Antiques & Art in Queensland by World of Antiques & Art

IN QUEENSLAND MARCH - JULY 2011

ART OF Peter J Hill Drover Dan

Glen Eagles Falls

Along the Albert

Tara Pond

Water by the Road

Breaking the Turf Near Beaudesert Darling Downs

Mount Warning Lilly Pond

Hidden Falls

Christmas Creek

GOLD COAST / MOUNT TAMBORINE ANTIQUES & ART IN QUEENSLAND

P.J. ART GALLERY IS MOVING NORTH

fter six years on the corner of Long Road and Eagle Heights Road, Peter and Judy have decided to pack up and move two doors up north to 136 Long Road, also known as Gallery Walk. They are moving into the premises which once housed another famous gallery – Crafters. Part of the charm is the sense of history as this was one of the original antique and art shops on Gallery Walk. Peter and Judy are looking forward to moving into this freshly renovated and updated space that will be a wonderful showcase for Peter’s works. Another update is their website, which is attracting a lot of interest in Australia and internationally. So with a new gallery and fresh website, there is also a new collection that Peter is working on. It has been 17 years now since Peter and Judy moved up north from the Gold Coast to the Hinterland, so now at last Peter sees himself as a local artist. During this time, he has formed many close friendships with the

people in the area as well as the many farmers, graziers and cattle kings throughout Queensland and beyond. Peter’s latest venture will take him out and about the bush painting all the scenery for a book being written and published by Neale Stuart, the famous ‘voice of the outback’ and well-known Brisbane radio announcer and reporter. P.J. Art Gallery won’t be hard to find. There is plenty of signage and our familiar flagpole at the front flying the Australian flag. Positioned at the front door is our signature big horse. Alternately, you can see the gallery when you turn into Gallery Walk from the northern end.

“

P.J. Art Gallery won’t be hard to find. There is plenty of signage and our familiar flagpole at the front flying the Australian flag.

”

Judy M Hill, Gallery Director P. J. ART GALLERY judyandpeter09@bigpond .com.au www.pjart.com.au

ARTIST profile Born in 1937, Peter is a self-taught artist having started to paint as a hobby when he was 19 years old. Turning professional in the 1970s, Peter’s art works now hang in corporate boardrooms, hotels, clubs and in private collections both in Australia and around the world. Nearly every continent can claim to have at least one of his oil paintings on its walls. Peter lived in Melbourne in the 1970s where he owned and operated his own gallery at Olinda in the Dandenongs. When he moved later to Canberra, the Australian government purchased examples of his art for presentation to visiting heads of state. During a recent television interview a journalist asked Peter how he would describe his art. Peter answered ‘When I paint a horse it looks like a horse; when I paint cattle they look like cattle. So I guess you would call me a traditional artist. I paint my paintings the way I see them, which is why so many people can relate to the places and scenes that I paint.’ ● P J Art Gallery is the only gallery where the name Peter J Hill is signed on every painting that hangs on its wall. A Canadian customer once said, ‘To get to see the outback one only has to step into the gallery and take a look around. It is like stepping from the coast into the country in one step.’

“ P. J.”ART GALLERY Owned and operated by internationally known artist Peter J Hill and his wife Judy

llery Walk’

oad, ‘Ga R g n o L 6 3 1 to cating

Relo

Peter’s paintings suit all budgets and can be packed and freighted throughout Australia and overseas Open 7 days 10 am - 4 pm

140 Gallery Walk Eagle Heights Qld 4272 Ph: 07 5545 0089 Mob: 0428 259 014 Email: judyandpeter07@bigpond.com • judyandpeter09@bigpond.com Web: www.pjart.com.au 3

GOLD COAST / MOUNT TAMBORINE ANTIQUES & ART IN QUEENSLAND

Far left: True Blue Aussie From Wee Aussie Battler series Middle: Margaret Goldsmith. Photograph Chelsi Foskett Right: Solitude, oil on canvas

MARGARET GOLDSMITH ART GALLERY Recent glass commissions and paintings Middle: Lemon Purity, 51 x 87 cm framed, mouth-blown sheet glass

Right: Colourful Creation, 51 x 87 cm framed, mouth-blown sheet glass

Left: Platter, Celebration, glass, kiln fired, 34 x 34 cm

MARGARET GOLDSMITH ART GALLERY

n artist’s career began for Margaret Goldsmith as a professional potter for twelve years after studying for the Diploma in Ceramic and Sculpture in 1975 at the then-Coorparoo College of TAFE in Brisbane. Her first painting classes were at the innovative Brisbane Institute of Art in the early 1980s. Soon Margaret enrolled at Kelvin Grove CAE in the Diploma in Visual Arts, Painting, Drawing and Sculpture, majoring in painting. She simultaneously studied sculpture under George Verine. Through her art studies, Margaret was fortunate to have great tutors, including William Robinson, David Paulson, Irene Amos, Andrew Sibley and Joe Furlonger, all of whom are great artists as well as being wonderful teachers.

ARTIST’S statement

Open Wednesday to Sunday 10am- 4pm (or by appointment) 83 Bateke Rd, Mt Tamborine Qld 4272 (take Henri Robert Drive to the top, pass Guanaba Park and the next left is Bateke Rd)

One hour from Brisbane… 30 mins from Gold Coast

Ph/Fax: 07 5545 2727 • Mobile 0407 145 535 Email: margold@onthenet.com.au Superb views of the Gold Coast from the gallery

‘These and many other superb artists encouraged me. Through my paintings and glasswork, I attempt to capture a language that does not know stillness, only motion. My work is full of happy predictions, vital paint colours, fresh and vibrant moments of intense pleasure and the uncontrollable happiness of a dance on canvas or paper. My aim is to simplify the figure further. My love of strong colour interwoven with rhythmic design is obvious. I paint from the heart in an expressionistic style in a painterly fashion of directness when I paint and draw it is for you the viewer. If it pleases you, then your soul is running in tangent with mine.’ Margaret has won a good number of prizes and awards for her abstract expressionist paintings, and it tickles and delights her that the judges are enjoying her works. In 2010 she won second prize in the Portraits /Figures sub-category of the d’Arcy Doyle Art Awards. In 2009 she won the Nundah Village Festival Art Exhibition prize for portraiture. In the past 20 years, Margaret has held many solo exhibitions in regional and commercial art galleries and been in numerous major exhibitions.

MARGARET Goldsmith Art Gallery Seventeen years ago, Margaret established a fine art gallery open to the public. Here she shows her work on her property at Bateke Road, Tamborine Mountain. The gallery is set in the midst of beautiful gardens and orchards with spectacular views to the Gold Coast. Margaret and her husband Neil have collaborated in the creation of art glass, their dynamic designs and exciting colours in glass come in the form of large platters, vases, bowls, framed pictures, masks and large wall hangings. The Goldsmiths welcome commissions and have completed projects both large and small for corporate and private clients, including large wall hangings for restaurants and many smaller commissions. Last year they completed a significant commission for the Queensland Government Parks and Wildlife Department, comprising eight large plaques for the Shoalhaven National Park in the north of the state. Margaret is very excited with yet another new direction, laminating glass. The technique learnt after completing a specialist workshop. This mouth-blown sheet glass is really beautiful for lamination in large panels and wall hangings. This requires excellent craftsmanship, physical strength, and above all, a welldeveloped sensitivity. It is the only way to achieve the unmistakeable individuality of mouth-blown sheet glass. Readers are invited to Margaret Goldsmith’s gallery at the top of Henri Robert Drive (at the golf course end of Tamborine Mountain), open five days from Wednesday to Sunday, between 10 am and 4 pm ●

MARGARET GOLDSMITH ART GALLERY 07 5545 2727 / 0407 145 535 margold@onthenet.com.au www.margaretgoldsmithartist.com.au

ANTIQUES & ART IN QUEENSLAND

front cover

Editorial Content 03 04 06 07 08 09 10 11 12 13 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 43 44 45 46 47 48 50 51 52 53 54

Jacques Antoine Coinchon (French 1814-1881), Figure group, c. 1880, bronze, h: 42 cm. Courtesy Graham See, Brisbane Antiques For exhibition viewing and public program details see pages 24/39.

PJ Art Gallery is moving North – Judy Hill Margaret Goldsmith Art Gallery recent glass commissions and paintings Antiques on the West Side Ceramics a general introduction – Sheridan Bryant If adding to your collection or starting a new one there are quality finds at the Gold Coast Antique Centre Furnish your home with inspiration at Old Empire – Tom & Tisch Nancarrow Award exhibitions showing at the Gold Coast City Gallery Gold Coast City Gallery mid-year exhibitions Spirit of Australia Gallery home to authentic Australian-made products Spirit of Australia Gallery Watling Galleries a new location – a grand opening exhibition Books with the looks at Voyager Kellies Antiques offers a helping hand Rolex, hallmark for prestige and performance – Natalie McLaughlin Repairing antique jewellery, a task more difficult than customers realise – Ken Penfold Queensland’s leading antiques event, QADA Antique Fair is coming up Art in Queensland architecture on display at the State Library of Queensland Identification of antique maps – Derek & Kathryn Nicholls At Paddington Antique Centre an exhibition of Japanese craftsmanship Madeleine Castaing (1894-1992) the first significant decorator of the 20th century – Denis Geoffray Cultural exchanges – Eilisha Little At Collectors Corner Antiques it’s business as usual – Lyn & Ralph Muller Quality antiques, collectables and a wide variety of decorator items at Commercial Road Antiques & Decorative Arts Centre – Ian Thomson Appreciating antique and period jewellery, one-of-a-kind finds at Brisbane Antique Emporium – Karen Klaich & Michael Moyle Pack & Send art and antique specialists – Stephen & Janet McCartney My favourite things – Jill Phillips Military medals to collect from Harringtons Antiques – Sharon Semmens Reinvention of traditional craftmanship in 19th century England Meaningful valuation of jewellery = CSi + forensic analysis Bowed stringed instruments, refitting turning pegs – Ilja Grawert Collecting antique dolls – Jason Bridge Mastercraftsmen legacy for future generations Surviving the 2011 floods – Graham See At Glassworx restoring leadlights is a healing process – Denise Allen Expert framing advice, looking at moisture damage – Stefan Aleksiev Advice on collecting toy and novelty cameras – Rob & Di Metcalfe At Harrington Antiques a fine antique demi hunter made by Charles Frodsham

antiques &art

IN QUEENSLAND

ABN 39 945 398 132 PUBLISHER JQ Pty Ltd Suite 1b, 10 Spring Street Bondi Junction, NSW 2022

POSTAL ADDRESS JQ Pty Ltd PO Box 324 Bondi Junction NSW 1355 www.worldaa.com

MANAGING EDITOR Eva Jaku 02 9389 2919 Email: editor@worldaa.com

FAIR ORGANISERS PLEASE NOTE Please send us dates and other details of antique fairs for a free listing in our next issue.

COPY EDITOR Dr Margaret McNiven Email: editor@worldaa.com

CONDITIONS OF ACCEPTANCE No responsibility can be taken for the quality and accuracy of the reproductions, as this is dependent on the quality of the material supplied. No responsibility is taken for typographical errors. The publishers reserve the right to refuse and edit material. All prices and specifications are subject to change without notice.

ADVERTISING SALES – QUEENSLAND André Jaku 02 9389 2919 Fax 02 9387 7487 David Phillips 0417 605 562 DESIGN AND PRODUCTION Brian Cass, Kylie Kennedy, Kathy O’Grady, Danielle Cairis Email: production@worldaa.com PRINTERS CaxtonWeb 45 Huntingwood Drive Huntingwood NSW 2148 Rural Press Bells Line of Road, Nth Richmond NSW 2754 NOTICE TO DEALERS Articles for publication in Antiques & Art in Queensland should be up to 1,000 words in length, preferably typed as a word document and saved to a disk or emailed. Pictures can be supplied as prints, transparencies or digitally as jpegs either saved to a disk or sent by email. It is desirable that images be accompanied by captions. Publication of articles is conditional on an advertisement being taken. Next issue will be distributed in July 2011. Booking deadline 6 June 2011. Copy deadline 13 June 2011.

55 56 58 59 60 61 62 64 66 67 68 69 70 73 74

Silky oak masterpiece – an Australian work of art – Manfred McIntyre Being square is definitely ‘in’ when it comes to rare coins Saving the past for the future at Silversmiths and Platers Kilkivan Fine Art & Antiques giving everyone a little something back All roads lead to Salts Antiques – Roy & Roger Salt Lancaster’s Toowoomba Antique Centre 16 years old and going strong Sharing Timeless secrets, how do we know what we know? – Mark & Lynne Bennett Ipswich Art Gallery is being invaded by monsters & beasts Collected works, heritage collection display at Ipswich Art Gallery The Riviere College at the Hughenden, a Queen Street college for girls, with a focus on the arts The Art Gilding Academy where you can learn professional gilding in just two weeks Dealing with water damaged precious family heirlooms – David Foster Holding a mirror up to themselves, realistic sculpture from the Solomon Islands – Crispin Howarth Stamp collecting - where do I begin? – Gary Watson Woolloongabba Antique Centre is breathing new life into antiques – Sarah Jane Walsh & Megan Rizzo

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

1 unit 2 units (vertical) 2 units (horizontal) 1/4 page 1/2 page (vertical) 1/2 page (horizontal) Full page Double page All rates are inclusive of

Size (hxw) 67 x 65mm 134 x 65mm 67 x 130.5mm 168.5 x 130.5mm 337 x 130.5mm 168.5 x 261mm 337 x 261mm 380 x 552mm GST

B&W $132 $264 $264 $544.50 $1045 $1045 $1980 POA

Colour News $187 $374 $374 $764.50 $1375 $1375 $2420 POA

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

WE ARE OFFERING READERS AND SUBSCRIBERS A BONUS

VALUE PLUS online and hard copy

NOTICE TO ADVERTISERS The Trade Practices Act 1974 imposes an obligation not to engage, in trade or commerce, in conduct that is `misleading or deceptive’. Apart from any penalties, an individual or corporation which commits a breach of the Act is liable to proceedings for injunction and for damage suffered by an injured party. Advertisers should ensure that the provisions of the Act are strictly complied with. In cases of doubt advertisers should seek legal advice. COPYRIGHT JQ PTY LTD All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without the permission in writing from the publisher. 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.

Read all the magazines online and still receive them by post

Inquiries to info@worldaa.com 5

GOLD COAST / MOUNT TAMBORINE ANTIQUES & ART IN QUEENSLAND

ANTIQUES ON THE West Side

visit to North Tamborine is a memorable day trip from Brisbane or the Gold Coast. Take in the breathtaking views to the west while visiting Witches Falls National Park – the first National Park in Queensland – and be sure to spend time at the picnic areas, local shops, antiques and art galleries and cafés. It is rumoured that the name Witches Falls stuck after residents west of Tamborine Mountain saw lights on the side of the mountain many years ago and attributed them to the ‘Mountain Witches.’ Visitors with an interest in the arts and antiques find this village a perfect destination. Here they are able to explore the high-quality shops on the Main Western Road in North Tamborine in addition to enjoying the wonderful surrounding natural views.

Witches Falls Gift House at 98 Main Western Road is next to Witches Falls National Park – the oldest National Park in Queensland. Come and meet Noelina and Phil in what appears to be a small shop but is in reality a well-stocked gift store. Search through the vast array of old and collectable objects including Shelley, Royal Doulton, Crown Derby, Wedgwood, Royal Dux, Lladro and other fine names. They have old and estate jewellery, antiques, curios and beautiful furniture in mahogany, walnut, oak and other rare and exotic timbers. Phil combines his furniture making skills with a flair for bringing old pieces back to life. Furniture repair and restoration is his preference, while Noelina is a skilled artisan with her sewing machine.

Odd’n’Olde can be found at 97 Main Western Road, opposite Witches Falls Antiques and Gift House. As the name indicates, proprietors Ron and Sheridan Bryant carry an eclectic range of antiques and collectables, from furniture to glass, porcelain and silver, to name some of the collecting interests. There is sure to be something to appeal. Further along at 69 Main Western Road is Marks and Gardner Gallery. Here Janene and Mary will tempt you with their art gallery showing contemporary works, or their delightful Secret Garden bookshop. If tired from wandering through the plethora of shops, sit for a while at their verandah café and let it all soak in ●

lde O ‘n’ es d Od ntiqu try A oun &C

The S Time hop Forgo t & Kittys Vi & Kit ntage sch

Phil & Noelina Jackson 98 Main Western Rd Mt Tamborine QLD 4272 P: 07 5545 0885 F: 07 5545 0076 M: 0418 647 452 E: gifthouse@winshop.com.au www.witches-falls-antiques-and-gifts.com.au OPENING HOURS Wed, Fri, Sat & Sun 10 am - 5 pm inc. Public Holidays Closed Christmas Day and Good Friday Open Anzac Day 12 - 5 pm Other times by appointment

GOLD COAST / MOUNT TAMBORINE ANTIQUES & ART IN QUEENSLAND

CERAMICS A GENERAL INTRODUCTION

s all F es ti ch iques se W nt A t Hou if &G

ather than discuss the Rococo style of furniture in this issue as planned – I decided to introduce ceramics and return to furniture topics in another issue. From the earthenware of ancient times to the products of the 18th century that have been produced the world over, there is a wealth of ceramics from which to choose. Therefore, the collector needs knowledge combined with taste and enthusiasm when assessing pieces for a collection.

A basic knowledge, at least of the various aspects of the potter’s craft and the terms used to describe them, is essential for anyone hoping to build a collection. You will learn as you go along, getting to know the physical feel of the things, their texture and weight, as well as their outward appearance. First, there is the distinction between two allied materials. The word pottery is used in a general sort of way to cover just about everything made by a potter. In a special sense, it describes various kinds of earthenware and stoneware as distinct from porcelain or china. Pottery is the name for anything made of common clay – earthenware – and allowed to dry in the heat of the sun or baked – fired – in a kiln. It is usually porous unless glazed, and is opaque so that not even a strong light can pass through it. Stoneware is very hard pottery, which is fired at a high temperature and often salt glazed when salt is thrown in the kiln. At its best, it is so hard and close-grained that it requires no glaze to be watertight, and can even be cut on a wheel like flint glass. It is usually opaque, but can sometimes be semi-transparent. Porcelain (hard paste) is the true porcelain, which was made first in China and later in

Europe by mixing china clay (kaolin) with rotten china rock (petuntse) and firing it at a very high temperature (about 1,350 degrees Celsius). It is very hard in texture and usually in appearance. It is translucent except when used in a solid mass, as for figures. Porcelain (soft paste) is false porcelain made by adding materials other than china rock to china clay. For example in England, bone-ash and soap-rock were added, while glassy substances were used on the Continent. It is fired at lower temperatures than hardpaste, and is translucent to very varying degrees. Bone china is an English modification of hard-paste made by the addition of bone ash to the formula and has been in general use in Britain since the early 19th century. It is stable and consistently translucent. Glaze is a glassy coating applied to the surface of a pot by dipping or brushing on and it can be either clear or coloured. In the Far East, the glaze was usually applied to the pot after it had dried naturally (leather-dry) but before the first firing. In the West, it was applied after the first or biscuit firing. Unglazed porcelain is thus known as biscuit or bisque, and when enamel colours are painted directly on to the unglazed body, the process is termed enamelling on the biscuit. Under glaze and over glaze: If the pot is to be glazed, the range of colours that can be applied before glazing is limited to those that will withstand the temperature necessary to vitrify the glaze. Painting in these colours, of which the commonest is cobalt blue, is called under glaze

decoration. A far wider range of enamel colours, and gilding, can be applied over the glaze, after the first firing, and are then burnt in at a relatively low temperature that does not harm them. Marks are of great interest and usefulness, but they are not always reliable evidence for the collector as pirating and forging of marks has been prevalent for centuries. Until well into the 19th century, only a few European factories were consistent with their systems of marking, and a great many first class pieces have no marks whatsoever. Books on marks are helpful in understanding the language spoken by enthusiasts for ceramics in general, and can give a more detailed account of the main classes of pottery, as distinct from porcelain. It is not easy to separate them in discussion, so closely do they resemble each other at certain times and in certain places. Often the materials were in fierce competition with each other as many factories (for example Spode and Swansea) made pieces in both at the same time. Other potteries claimed to have made porcelain when in fact their product was a variety of stoneware. It is customary to deal with pottery and porcelain under separate headings, partly as there is a marked tendency by collectors to concentrate on one or the other ● Sheridan Bryant ODD ‘N’ OLDE ANTIQUES 07 5545 1141 info@oddnoldeantiques.com.au www.oddnoldeantiques.com.au

Specialising in the 1920-70s We have a great range of imported Vintage Fashion & Hats Art Deco, Retro, stunning Bakelite & Kitchenalia Something for everyone ! 97 Main Western Road, North Tamborine OPEN MOST DAYS 10 AM TO 4 PM ph 07 5545 4402 theshoptimeforgot@gmail.com www.KittysVintageKitsch.blogspot.com Buying & Selling

Something to suit every budget! We invite you to come and browse our extensive range of antiques, country wares & collectables including: • Colonial & country furniture: meat safes, kitchen cabinets, silky oak & cedar dining tables, dressers, chairs, architectural items, tools… • Victorian & Edwardian porcelain & glass • Comprehensive collection of English & Deco porcelain & china • Fully restored Colonial telephones • Australian pottery, crystal, sterling silver, hand-made beaded lamp shades, together with a large range of trinkets & treasures, with new stock arriving weekly

95 Main Western Rd, North Tamborine

Ph 07 5545 1141Ah 0408 884 346 www.oddnoldeantiques.com.au

REPAIR & RESTORATION SERVICE AVAILABLE

ANTIQUES & ART IN QUEENSLAND

If adding to your collection or starting a new one there are quality finds at the GOLD COAST ANTIQUE CENTRE nable to stop collecting genuine quality antiques? The Gold Coast Antique Centre can help you select from our extensive range. Whether porcelain or ceramics, fashion or jewellery, whenever you need to add to your collection or want to start a new one, make a special trip to our centre or our website to view and purchase from our massive and fine quality stock.

SILVER

ARTS from Asia

For the connoisseur of fine silver, we show the best of sterling through to hardy continental silver. Ideal special occasion gifts such as weddings and anniversaries, we have it: ewers, comports, tablewares, picture frames and candlesticks. A few special fine crystal and silver combination pieces are sure to catch the eye of designers and collectors.

We also specialise in high quality authenticated Asian antiquities, antiques and art that are timeless and revered. We have items from Japan, China, Tibet, Thailand and Korea with more stock arriving weekly. See our selection of furniture, porcelain, bronzes and netsuke, as well as Chinese and Japanese ivory carvings and lovely jade, all guaranteed old and in fine original condition.

PORCELAIN and glass

INVENTIVE and timeless

Our dealers carry a variety of fine quality Royal Albert, Royal Doulton, Pilkington and Shelley, among many collectable brands of porcelain and ceramics. We have on show a wide range of Australian pottery. The high quality glassware offered includes the finest crystal such as French, Swedish and Venetian, including names like Lalique, Orrefors and Murano, as well as popular Depression glass.

Among many treasures, here are beautiful old instruments, old records and players. Several represent the brilliance of one of our favourite inventors of internationally known products, Thomas Alva Edison (1847-1931). This American inventor, scientist and businessman developed many devices that improved life. His inventions ranged from the phonograph and motion picture camera to the long-lasting electric light bulb – along with the means of producing electric power for homes, businesses and factories. Holding 1,093 US patents and more in other countries, most of Edison’s inventions assisted and promoted mass communications and the yetunnamed field of telecommunications, informed by his first job as a telegraph operator. Edison’s work led to many collectable items: the stock ticker, a mechanical vote recorder (a problem in the 2004 USA Presidential vote counting), a battery for an electric car, the phonograph, recorded music and motion pictures. His first invention to gain public notice was his phonograph in 1877, recorded on tinfoil around a grooved cylinder. Alexander Graham Bell, Chichester Bell and Charles Tainter followed in the 1880s with a redesigned model using wax-coated cardboard cylinders. Edison triumphantly and immodestly introduced his Perfected Phonograph in late 1888, using a new type of wax cylinder. He also designed and manufactured a talking doll as well as a precursor to the jukebox, further applications of the phonograph wax cylinder. The Centre has a wide range of vintage telephones from the 1930s, all reconditioned to perfect working order, including modern coloured Erica phones to classic Bakelite phones. Speaking of moving pictures, if you collect movie memorabilia, make a special trip to sort through John’s fine collection of vintage movie posters that date from the 1930s.

FASHION and jewellery Discover designer and vintage clothes from New York, Paris and London. Classic styles from past eras never really date and remain stylish today. Buttons from the past century are a fun collectable, adaptable for jewellery or a stylish accent for a plain garment. Find Georg Jensen’s timeless sterling silver in elegant Scandinavian designs. We have lovely jewellery in sterling silver from England and Europe from the past two centuries. Currently very fashionable are the Bakelite jewellery that we have in a variety of styles, as well as Lucite handbags.

MORE like an Aladdin’s cave View and purchase many inventions from creative people such as Edison. There are the ceramics of Clarice Cliff whose art deco designs were within the budgets of most families – and within your budget at our centre. Stunningly innovative and popular when first introduced, Art Nouveau and Art Deco items are among our specialties, from small to large furniture, lamps and decorative items to suit everyone’s budget. Fossick through our later 20th century designs and toys, furniture and clothing, books and art. The goal of the Gold Coast Antique Centre is to guarantee genuine and authentic pieces, from antiques to collectables, including recent and popular retro items, that are all correctly labelled and competitively priced. Gold Coast Antique Centre is conveniently located on the Gold Coast Highway in the centre of Miami, halfway between the airport at Coolangatta and the heart of Surfers paradise, and only one hour south of Brisbane. We are open every day, between 10 am and 5 pm from Monday to Saturday, and on Sundays trading from 10 am to 4 pm ●

GOLD COAST ANTIQUE CENTRE 07 5572 0522 / 0414 338 363 decojenny@gmail.com www.goldcoastantcent.com.au

Acknowledgement wikipedia.org/Thomas_Edison

GOLD COAST / MOUNT TAMBOURINE ANTIQUES & ART IN QUEENSLAND

FURNISH YOUR HOME with inspiration at Old Empire

ld Empire on Tamborine Mountain and formerly of the Gold Coast continues its tradition of quality gifts and home wares including tapestries and furniture pieces from around the world. Well-established after more than six years at Eagle Heights on magnificent Tamborine Mountain, we offer our diverse ranges with pride. Our stock is sourced from over 60 suppliers and represents an eclectic array from the far corners of the globe. It is no wonder

that our store is regularly referred to as a delight, a treasure trove, a must-see and a knock-out, from our new and our regular customers who return time after time. The ground level of our store at Gallery Walk is brimming with exciting ranges which Tisch has acquired on her many buying sprees. Tom’s ‘Upper Room’ displays its speciality of tapestries, wall hangings and hand-picked furniture pieces. He also has a selection of gifts for the guys.

As stockist for Angad’s Impressions Fashion home furnishings we can now offer an even more extensive range. Choose from cushions, throws, table-runners and beautiful bed spreads among our soft furnishings, decorative ornaments, glass products and homewares. New designs and colours are arriving as this article goes to print. Located in Gallery Walk at 134 Long Road, we invite you to ‘come in and delight your senses’ when you next visit our beautiful Tamborine Mountain. You are very welcome to let us know in advance of your trip what you are seeking by phoning or emailing your ‘wish list’ to us.

We look forward to seeing you soon and sharing our superb increased range with you ● Tom & Tisch Nancarrow OLD EMPIRE 07 5545 1777 old_empire@ozemail.com.au

“

stock is sourced from over 60 suppliers and represents an eclectic array from the far corners of the globe

”

Furniture and Quality Giftware … new stock in store now …

discover the unexpected! Stockist of: • Adorabella tapestries • Miners Cottage French style furniture • Solid mahogany antique reproductions • Fitz & Floyd ceramics • Katherine’s decorative collectable dolls • Painted Pony collectors figurines • The Woodworkers & Weavers tapestries from North America • Tiffany-style and leadlight lamps • Reflective-style classic and modern lamps • Fob watches, quartz and mechanical • Stunning range of ceramic, porcelain home and tableware • Diverse range of tassels, tie backs and table runners • Gorgeous artificial flowers

134 Long Road, Eagle Heights ‘Gallery Walk’, Tamborine Mountain Phone 07 5545 1777 Open daily: 10am - 4pm

GOLD COAST ANTIQUES & ART IN QUEENSLAND

Helen Pynor, Liquid ground 5, 2010, type c print on glass. Finalist 2011 Josephine Ulrick and Win Schubert Photography Award

Berniece Sayer, Magic medallions. Winner, Viewers’ Choice Award 2009, Gold Coast Quilters Guild exhibition

AWARD EXHIBITIONS SHOWING at the Gold Coast City Gallery Josephine Ulrick and Win Schubert Photography Award 2011 On show until 9 April

he Josephine Ulrick and Win Schubert Photography Award is one of the most important annual surveys of contemporary Australian photographic practice. In recognition of the quality and

interest in the award, the Josephine Ulrick and Win Schubert Foundation have increased their support. The foundation is giving a $20,000 outright prize to the 2011 winner. In addition to this, a selection of significant photographs by finalists will be acquired to strengthen the Gold Coast City Gallery collection. This year’s selection made by Shaune Lakin, Director, Monash Gallery of Art, is of 54 artists whose work reflects the multitude of thematic and technical strands of

Liam Benson, A Christian country, 2011, digital print, finalist 2011 Josephine Ulrick and Win Schubert Photography Award

Gold Coast City Gallery 135 Bundall Rd Surfers Paradise 4217 07 5581 6567 gallery@theartscentregc.com.au www.theartscentregc.com.au

Darren Sylvester, What happens will happen, lightjet print. Finalist 2011Josephine Ulrick and Win Schubert Photography Award

contemporary photographic practice within Australia today. A concept explored is that of materiality and the artists stretching the limits of photography. In transit # 4 by Rebecca Beardmore depicts a blurred and ambiguous scene. She has constructed hazy fog of muted tones and shapes, the components forming the overall image which is intricately detailed, incorporating embossed typewriter text. The materiality of photography is also a focus for Harry Nankin. He does not use a camera to record an image, but instead uses a flash to record the migratory kinetics of locusts herded onto light sensitive photographic paper, thereby creating a photogram. The result is a striking play between negative space and shadows. Artists also use the capacity of photography to show the unseen, extracting an object from its surrounds and placing it in a void space. Anne Ferran focuses the viewer’s eye onto the physicality and movement of objects, giving them life and agile movement. Helen Pynor places the object into another world; enhancing its beauty and ethereality. Cultural identity and personal presentation to the world are another key area of issue for artists. Joanne Saad’s photo of a woman sporting a traditional Arab scarf questions what this accessory symbolises to a wider community. Liam Benson, who most recently won the 2011 Mardi Gras artist award, literally paints himself in the Australian flag and a halo to make an ironic comment on the limitations of this one-dimensional view of contemporary Australian cultural identity. Portraiture has a strong presence in the 2011 exhibition. Rod McNichol’s Phillip Motherwell: Actor, Writer, Playwright and Friend is an engaging piece. The drama of the sitters’ full frontal gaze is emphasised by the subdued dark background. The drama of the gaze is also evident in Danny Cohen’s arrestingly surreal image of a woman riding a hyena.

Gold Coast Quilters Guild Exhibition 2 – 24 July The biennial Gold Coast Quilters Guild exhibition is a revealing display that explores not only the materials and techniques that form these exquisitely made quilts but also the narratives behind quilt making. The quilts in this exhibition range from small art pieces to larger traditional sized quilts. There are over 100 works on display from more than 70 members of the Gold Coast Quilters Guild, which ensures a variety of styles, shapes and colours. One component of the 2011 Quilters exhibition will focus on a Christmas in July theme. Members were set a challenge to make a small quilt representing the idea of ‘Chrissie down under.’ Originally a domestic medium, quilts are increasingly becoming works of art to be hung on a wall and admired. Patchwork and quilting is an accessible craft which appeals to a variety of ages and often strengthens intergenerational bonds. The artisans have often been taught by their mothers and grandmothers and are employing techniques passed down the family line. All visitors to the exhibition will be asked to vote for their favourite quilt. The winner of this competition will receive a Bernina 350PE patchwork edition sewing machine, kindly donated by Bernina. Raffle tickets will be available for purchase to visitors of the exhibition. Prizes include a beautiful quilt, and three baskets of goodies. Some quilts and handmade Christmas decorations will be available for purchase. All proceeds go to Little Souls charity, a Gold Coast based child care and early intervention centre for children with autism ● GOLD COAST CITY GALLERY 07 5581 6567 www.theartscentregc.com.au

GOLD COAST ANTIQUES & ART IN QUEENSLAND

Vernon Ah Kee, from canchant 2007, colour photograph

Gerry Wedd, (M.P.) Michael Peterson, 2005, ceramic. Gold Coast City Gallery

GOLD COAST CITY GALLERY mid-year exhibitions Vernon Ah Kee: cantchant 7 May – 26 June

n cantchant Brisbane-based artist Vernon Ah Kee takes on the iconic subject of the beach, casting a critical eye on its special role in forming Australian identity. cantchant pushes aside the commonsense idea of the beach as a place of leisure, relaxation, and fun, and presents it instead as a cultural battleground. Works include surfboards decorated with north Queensland rainforest shield designs in red yellow and black, the colours of the Aboriginal flag. On the reverse of the surfboards the eyes of Aboriginal warriors silently gaze at their audience. Bold text works line the walls, and a spectacular threescreen video installation of interleaving images covers one whole wall. The video, set to Warumpi Band’s heart-thumping anthem, ‘Stompin Ground,’ includes symbolic imagery and that of Aboriginal pro-surfer Dale Richards displaying effortless grace and mastery of the waves. Vernon Ah Kee was born in Innisvale and moved to Cairns in his high school years. He studied at Queensland College of Art. Elements of this exhibition were included in the Australian group exhibition Once Removed at the Venice Biennale (2009) and in the Sydney Biennale (2008). He has exhibited in France, Germany, Austria, Canada, and the UK. He is represented in the collections of the Queensland Art Gallery, Brisbane; the National Gallery of Australia, Canberra; the Museum of Contemporary Art, Sydney and abroad.

Peter Walker: Fluid and Hollow Wooden Surfboards Gerry Wedd: RIP Surf and Sea Ceramics Michael Aird: Woogoompah My Country – My Swamp 28 May – 10 July Surfing and beach culture are integral to the Gold Coast lifestyle. This is a culture that is also a great source of inspiration to artists who engage with the rich stories and visual imagery of this dynamic sport. We present two distinct but connected exhibitions in the gallery. One features a

new series of beautifully crafted wooden surfboards by furniture maker and designer Peter Walker, the other is ceramics by artist Gerry Wedd. The works reference both ancient and contemporary myths and legends of the perils of the sea and the underbelly of the surf world. A surfer who was born in Sydney, Peter Walker now divides his time between Adelaide and New York where he serves as Associate Professor at the Rhode Island School of Design. Always fascinated by hand skills and fine craftsmanship, Walker’s awareness of the complexity of surfboard performance and design led him to start making his own wooden surfboards which he embellished with the work of leading Australian contemporary artists. Walker has researched and referenced notable surfboard designers from the past with his series of new hollow boards, including the American surfer Tom Blake who lived in Hawaii in the 1920s and who was an early proponent of the surfing lifestyle. He invented the ‘skeg’ or fin which helped to stabilise a board through the water. Walker also refers to Californian Bob Simmons who in the period immediately following World War II incorporated the new technologies of fibreglass, Styrofoam resin and plywood construction with his experience as an aircraft engineer to experiment with the dynamics of drag and turbulence. The beautiful boards are all meant to be used – yet they take on a presence of sculpture within the gallery space. Gerry Wedd also knows surf culture well, winning state titles in the 1970s. He continues to surf off the breaks near his home at Port Elliot just north of the Coorong in South Australia. He will present a monumental new group of urns, a series of tiles, plates and even thongs made with the traditional look of blue and white ware, but with contemporary references. The exhibition title RIP hints that the stories told deal with some of the darker, less acknowledged aspects of surf culture. The physical challenge of engaging with a force of nature so much greater than the individual compels the surfer to acknowledge their human frailty. However, this is often not part

of the heroic imagery associated with elite surfing. Wedd also references the destructive drug culture that grew up around surfing in the 1970s and, like Walker, mines the history of surf design and culture to produce an important body of new work. To complement the exhibition in Gallery 1 there will be a stunning display of photographs by Aboriginal photographer and anthropologist Michael Aird in the Dark Room. These images feature the waters and mangrove islands of his traditional country, the Logan and Pimpama River region ●

Peter Walker, Burnt fish 6’4”, 2009, decorated wooden surfboard made from Paulownia

GOLD COAST CITY GALLERY 07 5581 6567 www.theartscentregc.com.au

Vernon Ah Kee, from cantchant 2007, colour photograph An Institute of Modern Art touring exhibition. This exhibition is supported by the Contemporary Touring Initiative through Visions of Australia, an Australian Government program, and the Visual Arts and Craft Strategy (an initiative of the Australian Federal, State and Territory governments).

Gold Coast City Gallery 135 Bundall Rd Surfers Paradise 4217 07 5581 6567 gallery@theartscentregc.com.au www.theartscentregc.com.au

IMA receives financial assistance from the Queensland Government through Arts Queensland (major sponsor), from the Visual Arts Board of the Australia Council (the Federal Government’s arts funding and advisory body), and through the Visual Arts and Craft Strategy (an initiative of the Australian Federal, State, and Territory Governments). IMA is a member of CAOS.

SURFERS PARADISE ANTIQUES & ART IN QUEENSLAND

SPIRIT OF AUSTRALIA GALLERY Home to authentic Australian-made products AUTHENTIC Aboriginal didgeridoos

opal, mainly dug from the Queensland opal mines at Yowah, Koroit and Opalville.

OILSKINS, Jackets and Hats

pirit of Australia Gallery offers the biggest variety of Eucalyptus species didgeridoos on the Gold Coast. You can find plain ones such as Eucalyptus woolybutt from one to 1.3 metres, and plain ones in bloodwood and ironbark. Hand-painted didgeridoos by Aboriginal artists such as Johnny Turnbull, Colin Wightman, Lionel Phillips, Karl Hardy, Lionie Roser and others can be found in mallee and woolybutt (85 cm to 1.4 m). These artists also paint full size (1.3 – 1.6 m) didgeridoos on bloodwood or ironbark.

Spirit of Australia

G A L L E R Y Specialists in Authentic Aboriginal Fine Arts and Artefacts

Shop No. 5, 3171 Surfers Paradise Boulevard Surfers Paradise Qld 4217 Phone: 07 5561 0330 • Fax: 07 5561 0331 Email: info@spiritofaustraliagallery.com Website: www.spiritofaustraliagallery.com Open 7 days 9 am - 9 pm 12

OPALS and jewellery The Gallery displays a large variety of Aboriginal hand-painted necklaces, bracelets, and other jewellery. An impressive collection of black, crystal and matrix opals originated from Alanrise, Cooberpedy and other inland opal-mining centres. You can select your own loose opal stones and pendants from Boulder

Traditional oilskin jackets and leather bush hats for the harsh environment of the Australian outback.

APPAREL Large selection of t-shirts and lycra, hand dyed, tie dyed and printed that are Australian made and feature licensed Aboriginal designs. The Gallery offers a wide range of other distinctively Australian products: - Canvas paintings, boomerangs, emu callers and eggs, pottery, wooden carvings - Crocodile and kangaroo leather accessories (belts, wallets, necklaces, bracelets, bags etc) - Australian-made toys - Sheepskin footwear (slippers and Uggs) - Ties, scarves, nappery, novelties and gifts ● SPIRIT OF AUSTRALIA GALLERY 07 5561 0330 www.spiritofaustraliagallery.com

SURFERS PARADISE ANTIQUES & ART IN QUEENSLAND

Anastasia Bundey, 143 x 94 cm, $1,690

Benita Oliver, 92 x 65 cm, $990

George Tjugarrayi and family, 110 x 70 cm, $2,900, 40 x 50 cm $490, 50 x 60 $650

Kathleen Petyarre, Bush seeds, 94 x 83 cm, $2,400

John Turnbull, 90 x 120 cm, $1,390

SPIRIT of Australia Gallery

pirit of Australia Gallery is the only Aboriginal art gallery in Surfers Paradise. The Gallery offers a unique collection of traditional and contemporary Aboriginal paintings by Central Australia’s most famous artists such as Walangkurra Napanangka, Gloria, Jeannie and Kathleen Petyarre, Abie Loy, Evelyn Pultara, Margaret Lewis Napangardi and Ronnie Tjampitjinpa. The more contemporary and modern Aboriginal art is exhibited by Yondee, Trisha Mason, Colin Wightman, Melissa Wright, Grant Paulson, Bibi Barba and others. Spirit of Australia Gallery offers the largest collection of didgeridoos on the Gold Coast.

Over 200 authentic, termite-eaten didgeridoos are on display. The Gallery offers free lessons on playing the didgeridoo to customers wanting to learn. You will also find a unique and wide variety of Aboriginal artefacts and souvenirs including boomerangs, apparel, pottery, crafts and gifts. Visitors to the Gold Coast should drop by the Gallery and take a photo of the largest didgeridoo that the Gallery displays at our entrance ● SPIRIT OF AUSTRALIA GALLERY 07 5561 0330 www.spiritofaustraliagallery.com

Julie Robinson Nangala (Dorothy Napangardi’s daughter), 90 x 120 cm, $2,200

John Turnbull, 90 x 120 cm, $1,390

Jeremy Devitt, Spiritman Spiritwoman, 90 x 75 cm, $690

Spirit of Australia

G A L L E R Y Specialists in Authentic Aboriginal Fine Arts and Artefacts

Far left: Peter Overs, Emu Dreaming, 60 x 60 cm, $1,900 Left: Sean Bundjalung, 60 x 60 cm, $450

Anthony Walker, 106 x 136 cm, $1,490

Anthony Walker, Bush Anthony Walker, song grapes, 40 x 120 cm, $750 cycles, 66 x 122 cm, $990

GOLD COAST ANTIQUES & ART IN QUEENSLAND

Gerry Wedd

Peter Walker

RIP – Surf and Sea Ceramics

FLUID AND HOLLOW Wooden Surfboards

28 May – 10 July 2011

Gerry Wedd, Sea of heartbreak, 2011 (detail), ceramic

Peter Walker (from front) Swastika, Pointstick, Paulownia Planing Hull, Spitting, Boarder Lines, Firestick, Gun, Paisley, Burnt Fish, 2009

Gold Coast City Gallery 135 Bundall Rd Surfers Paradise 4217 07 5581 6567 gallery@theartscentregc.com.au www.theartscentregc.com.au

GOLD COAST ANTIQUES & ART IN QUEENSLAND

‘Landmarks’ by Jeffrey Makin Exhibition on now

Upstairs, waterside, Marina Mirage, Seaworld Drive, Main Beach, Gold Coast T. 07 5532 3332 E. info@astrasgalleries.com W. www.astrasgalleries.com Located in the former ‘Schubert Gallery’ space

GOLD COAST ANTIQUES & ART IN QUEENSLAND

Antonio Duarte ‘Romantic Impressions’ Artworks on display at Sofitel Gold Coast Broadbeach

Upstairs, waterside, Marina Mirage, Seaworld Drive, Main Beach, Gold Coast T. 07 5532 3332 E. info@astrasgalleries.com W. www.astrasgalleries.com Located in the former ‘Schubert Gallery’ space

GOLD COAST ANTIQUES & ART IN QUEENSLAND

Investment art at Astras Galleries

Upstairs, waterside, Marina Mirage, Seaworld Drive, Main Beach, Gold Coast T. 07 5532 3332 E. info@astrasgalleries.com W. www.astrasgalleries.com Located in the former ‘Schubert Gallery’ space

GOLD COAST ANTIQUES & ART IN QUEENSLAND

Joel Rea available at Astras Galleries

Upstairs, waterside, Marina Mirage, Seaworld Drive, Main Beach, Gold Coast T. 07 5532 3332 E. info@astrasgalleries.com W. www.astrasgalleries.com Located in the former ‘Schubert Gallery’ space

GOLD COAST ANTIQUES & ART IN QUEENSLAND

WATLING GALLERIES GRAND OPENING EXHIBITION

MAXWELL WILKS 20 May – 18 June …powerful slicing strikes of pastel, brilliant colour and energised movement, and alive gestural rendering of oil scenes typify his imaginative solutions to breathing new sensibilities into traditional representation.

Maxwell Wilks, Morning Light, pastel

Maxwell Wilks, Still Morning, oil on board

Maxwell Wilks, A Glimpse of the Water, Eyre Peninsula SA, pastel

Maxwell Wilks, Wandering Among the Thistles, pastel

INVITATIONS ISSUED UPON REQUEST – LIMITED NUMBERS

CUSTOM FRAMING & MIRRORS, RESTORATIONS & VALUATIONS Watling Galleries has an expert Custom Framing division offering hundreds of varieties of mouldings to choose from and a Restoration Service of high standard. Watling Galleries also provides a Valuation and Appraisal service. We specialise in cataloguing private collections for insurance purposes and superannuation funds and outside advice in the home can also be arranged. Encompassed in the gallery is a very eclectic collection of paintings, drawings, sculptures, pottery and artefacts. Log onto www.watlingart.com to view all works or call in for a visit or contact our friendly staff to assist you with any of your inquiries.

NEW LOCATION Watling Galleries: 115 Ferry Rd, Southport QLD 4215 P: 07 5531 4781 • M: 0421 016 953 • E: gc@watlingart.com • W: www.watlingart.com GOLD COAST MAP REFERENCE 29 E18 19

BRISBANE ANTIQUES & ART IN QUEENSLAND

Henry C Rowland, Many Mansions, 1932

Joseph Weil, Strictly Dishonourable, 1931

Curt Siodmark, Donovan’s Brain, 1944

Ernest Hemingway, Men Without Women, 1927

Movie poster for Alfred Hitchcock’s Spellbound, 1945

BOOKS WITH THE LOOKS AT VOYAGER

hoever said, ‘You cannot judge a book by its cover’ did not take into consideration the books which can be found at Voyager. A good decorative cover can transform a book and make an exceptional thoughtful gift. If the e-book finally kills off the dust cover for hard copy books, then surely the well-dressed period novel will only increase in value – the time to start collecting was yesterday!

BOOK covers From 1910 to 1980, there were waves of classic covers. The art deco period produced some stunning provocative covers with sympathetic writing. Strictly Dishonourable, a novel by Joseph Weil published in 1931 after the play by Preston Sturges first produced on Broadway in 1929, portraying Isabelle as a lusty strong willed woman capable of controlling her own life. Deserted by her

fiancé late in a New York speakeasy, she meets two strangers and for the first time spends the night in a man’s apartment. Many Mansions, the 1932 novel by Henry C Rowland (1874-1933), has a cover that embodies art deco style and within its pages, there is a racy narrative and a modern sex story about future life. During World War II, books were printed on low-grade paper due to shortages and by law, but every effort was made to maintain and improve visual appeal. Hollywood movies were released with romantic images of the stars of the day, such as Alfred Hitchcock’s Spellbound in 1945, starring Ingrid Bergman and Gregory Peck, which remains a favourite. Science fiction was on the rise and introduced new opportunities in cover art such as the sinister Donovan’s Brain (1944) by Curt Siodmark (1902-2000). Jonathan Cape in London raised the bar

Voyager Rare Books Maps & Prints

A Feast of Hemingway at Voyager Period Classics – a Perfect Gift On the Balcony, Brisbane Arcade 160 Queens Street, Brisbane

Phone 07 3211 1231 Email: bjeffrey@tpg.com.au 20

Extract from Mary Ann Berry’s diary, 1890

again in the 1950s with a series of striking wrap around covers for novels by Ernest Hemingway (1899-1961) such as Men Without Women (1927), a collection of short stories. In our view, these covers make the London editions the most attractive series of mainstream work of the 20th century – and now, surely forever.

QUEENSLAND history – a thoughtful offering Voyager carries an ever-increasing collection of key works pertaining to the history of our state and pays good prices for such items. Fox’s encyclopaedic History of Queensland (1919-1923) is particularly sought after. Northmost Australia (London, 1921) by Robert Logan Jack (1845-1921), geologist and explorer, was his last major publication. In two volumes he gave detailed accounts of all the explorations of north Queensland, including his own. This is supplemented by a number of government reports written by this eminent state geologist with fine maps and narrative. A prize item is a first edition of Journal of Landsborough’s Expedition from Carpentaria (Melbourne, 1862). William Landsborough (1825-1886) set out from Brisbane by boat, was shipwrecked on the way to Darwin, then travelled overland in an attempt to find Burke and Wills, only to find they had perished. He continued south to become the first to traverse Australia from north to south among his many explorations. Foundation books include Thirty years of colonial government, a selection from the despatches and letters of the Right Hon. Sir George Ferguson Bowen. Edited by Stanley Lane-Poole (London: Longmans, Green, 1889) – in stock is the most perfect copy. Two more key books are Genesis of Queensland by Henry Stuart Russell (18181889) and Queensland, Australia, A highly eligible field for emigration and the future cotton-field of Great Britain (London: Edward Stanford, 1861) by John Dunmore Lang (1799-1878). Descendants of these writers have recently visited our store.

Lord Lamington

Brisbane-published items are of particular interest, such as Australian pioneers and reminiscences, 1849-1894 by Nehemiah Bartley (c. 1830-1894), with his Queensland bias and important references to the foundation of the Queensland Club. There is an affectionate letter penned by the eighth governor of Queensland, Lord Lamington. He is the frugal Englishman after who our national delight is named. He is said to have insisted that a spoilt sponge cake be saved and then dipped in melted chocolate and coconut, creating the lamington cake (among a few versions).

BRISBANE diary 1868-1886 Of special interest is the manuscript diary of a Brisbane homemaker, Mary Ann Berry, whose personal account of everyday life and interests spanned nearly 20 years from 1868 to 1886. She recorded with clarity historical events and observations together with family matters and her own health. Historical events she noted were the first royal visit to Australia and Brisbane of Prince Alfred (1868) and the attempt on his life at Clontarf NSW; the first exhibition of wild animals (1868); the turning of the first sod for the Ipswich railway (1873) and its commencement (1876); the opening of the new Post Office (1874) and the New Victoria Bridge that same year; and the first ‘Exhibition’ in Queensland (1876). In 1877, a concert was held for the ‘famine in India.’ Mrs Berry noted that the Kelly gang were captured in July 1880 and Ned Kelly was hung later that year. There will be more about Mary Ann’s life in future issues ● VOYAGER RARE BOOKS MAPS & PRINTS 07 3211 1231 bjeffry@tpg.com.au

BRISBANE ANTIQUES & ART IN QUEENSLAND

KELLIES ANTIQUES OFFERS A HELPING HAND

e are counting our blessings as our shop in the Brisbane Arcade located in Brisbaneâ&#x20AC;&#x2122;s city centre escaped the flood. Watching the unfolding events in Europe; listening to Anna Bligh encourage local Brisbane businesses to return to work and try and get things up and running as quickly as possible, I came to realise that home is home and your roots are just that. Although not there, I still felt connected and mourned the devastating losses. My heartfelt sympathies go out to the families who have lost loved ones, lost family homes, lost everything.

FREE services At Kellies Antiques a free service we are offering is going through your list of items that may require a valuation based on description. This covers antique jewellery and

antique silver lost or damaged by the floods. The compiled list can then be sent to your insurer. If you require this assistance, please make contact with Susan Gaylard or Sue Jimmieson to arrange an appointment. For items of jewellery that require cleaning as a result of the floods, we are offering free cleaning while you wait. If valued pieces have become damaged, we are offering free assessments and quotes. So please pop in when convenient. Of course, our valuation service extends to items not flood damaged but may be in need of updating for insurance purposes.

Kellies Antiques

A GOOD news story There are always also good stories to come out of bad ones. A Queensland couple who had lost both of their gold wedding rings in the floods of 1974 were reunited with their lost bands when the rising flood waters dislodged the rings from their hiding place. Amazing to be found after 37 years!

LAUNCH of new range Kellies Antiques has just launched a very well made collection of high quality reproduction jewellery at very affordable prices. Please stop by when you are in the city and take a look at this wonderful range â&#x2014;? We look forward to being of service to the community, so if there are any questions whatsoever, please do not hesitate to contact us at

KELLIES ANTIQUES 07 3221 4825 www.kellies-antiques.com

Gallery Level (Upstairs) BRISBANE ARCADE Shop 16, 160 Queen Street Brisbane Ph: 07 3221 4825 www.kellies-antiques.com We now have a Kellies Antiques BLOG. kelliesantiques.wordpress.com 21

BRISBANE ANTIQUES & ART IN QUEENSLAND

Rolex Yachtmaster

Rolex Explorer

Rolex Datejust

Rolex Explorer II

Rolex Submariner

ROLEX: Hallmark for prestige and performance

he status and popularity associated with the global watch brand Rolex is undeniable. It is a watch company which, from its beginning in 1905 has grown successfully through constant innovation in watch design and product development. The history of Rolex, a name coined in 1908, is made up of many pioneering wristwatch inventions due to the entrepreneurial personality of its founder, Hans Wilsdorf. The first Rolex milestone was in 1910, when a Rolex wristwatch movement was recognised for its accuracy under timekeeping tests. The Horology Society in Switzerland awarded Rolex the world’s first wristwatch chronometer rating. Following this award, Rolex decided that all timepieces would undergo rigorous testing and would not be sold without an Official Timing Certificate. The next ambitious plan by Rolex was to brand their timepieces. Up to this point, Rolex watches did not all bear the now famous brand. Over the next few years, the name Rolex began to appear not only on their movements and watchcase backs, but also on their watch faces. This practice was not popular with retailers, as it was customary for shops to place their names on the watches before selling them; however Rolex was determined to put an end to its anonymity. It

was a very slow transition that took years to reach fruition. One of the signature design features of Rolex watches today is the screw-down crown and watertight cases. Rolex’s development of the screw-down crown in 1926 gave them the final solution to the problem of leaky watchcases. Rolex made the first-ever water and dust resistant case, named Oyster. The marketing machine of Rolex began with the Rolex Oyster being worn by Mercedes Gleitz while breaking the record for swimming the English Channel. At the time, as the Rolex Oyster was a sensational watchmaking achievement, the company promoted this feature in advertisements. In 1931 Rolex made the next big advance by developing a self-winding movement that would eliminate the need for manual daily winding. This style of movement would also eliminate the problem of crowns not being resealed in a moment of forgetfulness when winding an Oyster wristwatch. Rolex patented this automatic rotary winding mechanism which created the new Rolex model, the Rolex Oyster Perpetual. Only after 1948, when the original patent came to an end, were competitors permitted to introduce their own automatic systems. In 1945, to mark the firm’s 40th birthday and to

Brisbane Arcade, Shop 23 Street Level, 160 Queen St Brisbane 4000 • Ph: 07 3210 6722 • Mb: 0407 676 838 • sales@brisbanevintagewatches.com www.brisbanevintagewatches.com 22

showcase the improved automatic winding movement, Rolex released another watch. This was a world first and a model that would influence the appearance and technology of many future watches. The Datejust was the world’s first fully water-resistant men’s watch which was automatic, with central seconds and a window-type date display whose accuracy was verified by an official chronometer certificate. These are the characteristics which are now commonplace in all Rolex Oyster Perpetual watches. While Rolex is famous for its Oyster watches, other non-Oyster cased watches make up a very large percentage of the Rolex range. The most famous of these is the Rolex Prince, with its distinctive rectangular case and high quality movement. The Prince was marketed as a gentleman’s rather than a sporting watch and enjoyed strong sales worldwide. Certain Prince models are very valuable and highly sought after. The Rolex Prince was a manual wind watch and because of its unsealed case many have sustained water damage over the years; it is rare to see an original Rolex Prince in mint condition and these certainly demand a premium on the collectors market. Many Swiss watch manufacturers including Rolex exported only their watch movements to Australia in the 1930s, 40s and 50s. The movements were fitted into locally made cases and sold to retailers. One of the most prolific case producers was the Handley Company. Though these watches are still considered genuine Rolex, collectors don’t pay the same prices as for the Swiss made and cased watches. The success of the Oyster Perpetual watch led the way in the 1950s for the development of new models, known as tool watches. They were originally created for use in specific professions or recreational pursuits. The Explorer was the first of these ‘professional’ watch styles, designed to remain accurate while being worn in the roughest of conditions – an ideal watch for mountaineers. Prototypes to test and showcase its durability were given to Sir John Hunt’s Everest expedition, which culminated in Sir Edmund Hillary and Tenzing Norgay reaching the summit on 29 May 1953. Rolex had to cater for the heightened interest in scuba diving in the 1950s as people were, and still are, fascinated with the depths they could go underwater. This fascination created a new market for a purpose-built diving watch. The radically innovative Submariner was launched in 1953 and was an immediate success with the public as well as divers. In 1953 the deepest a person could dive was 90 metres, yet Rolex had created a watch that had a depth rating of 180 metres. In the same year, Rolex launched another specialist watch called the Turn-O-Graph. Similar in appearance to the Submariner, Rolex promoted the watch for the airline traveller, as it had a bezel that could be turned to measure elapsed time. The GMT-Master was another watch created for the frequent airline traveller. In 1953, PanAmerican Airlines asked Rolex to create a watch that could display the time in two time zones. The Submariner was adapted by adding an extra hand and a date feature. It is still popular today.

The only tool watch which is now discontinued was the unusual Milgauss. It was created in 1954 for people such as scientists or people in power plants who work near high magnetic fields. Rolex used anti-magnetic alloys in the watch movement, which were then cased in an iron shield. The Milgauss, while aesthetically similar to a Submariner in its original version, sold in small numbers because of its very specific purpose. Certain models such as the lightning hand Milgauss (with its second hand resembling a lightning bolt) have been known to reach upwards of $80,000 because so few were made. By the 1960s, Rolex had positioned itself as a leader in the development of watches used in science and exploration. The diving company Comex approached Rolex to create an advanced diver’s watch suitable for deep sea saturation diving. The watch developed was called the SeaDweller, released commercially in 1967 with the astonishing depth rating of 610 metres. Like the Submariner, it was immensely popular with people who would never dive. Rolex created the Cosmograph watch for the motor racing industry in the 1960s. Soon after its release Rolex added Daytona to the dial. Daytona Beach in Florida had been home for car racing and speed testing for many years and Rolex wanted to connect its watch permanently with car racing. This chronograph watch is capable of reading lap times to within a fifth of a second and for calculating average speeds. The Rolex Daytona is one of the most sought after of all vintage Rolex models; rare models can top $50,000. The final tool watch in the Rolex range is the Explorer II. Created in the 1970s, it was designed for a very unusual profession – speleologists. These are cave explorers, who from the depths of the caves need to distinguish night from day. The watch is similar to a GMT-Master, having an extra hour hand that rotates once every 24 hours against a fixed bezel, in contrast to the GMTMaster’s rotatable bezel marked with the 24-hour increments. Designed like the Milgauss for a very specific purpose, unlike the Milgauss it is still available in the current Rolex range. From its small beginnings, the Rolex Company has grown and developed into a watch producing giant. The company has been responsible for many enduring and appealing wristwatch designs. These innovative models continue to influence the style and features of watches produced by other manufacturers. The advancements Rolex made in watch movements and water resistant cases were groundbreaking and the technology they created means the company will always be associated with innovation, dependability, accuracy and style. Rolex remains a market leader in watches due its success and commitment to its tool watch models. The popularity of this style of watch is reflected in the demand for vintage models and the strong prices they achieve ● Natalie McLaughlin BRISBANE WATCHES 07 3210 6722

BRISBANE ANTIQUES & ART IN QUEENSLAND

REPAIRING ANTIQUE JEWELLERY A task more difficult than customers realise

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

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

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

Est 1964

Penfold Jewellers

Reg. No. 26

FOR ALL INSURANCE VALUATIONS ON JEWELLERY, GEMS, SILVERWARE Insurance • Probate • Matrimonial

18ct white gold sapphire and diamond cartwheel style cluster ring

18ct white gold lct diamond with surrounding sapphires

An original superb platinum art deco diamond pendant brooch

• Free cleans • 2 copies of valuation • Flat fee per item • Colour photos • Provenance established Brisbane’s Antique Specialists Silverware, collectables and gemstones Valuation ‘While You Wait’ (by appointment) FAMILY LAW • INSURANCE • PROBATE

P: 07 3221 7516 F: 07 3221 7206 M: 0400 322 175 Shop 5 Anzac Square 206 Adelaide Street Brisbane QLD 4000 Australia penfoldjewellers@tpg.com.au 23

ANTIQUES & ART IN QUEENSLAND

QUEENSLAND’S LEADING ANTIQUES EVENT QADA Antique Fair is coming up 26 May – 29 May

he weather is cooling down and the members of QADA are starting to gear up for the highlight of the Queensland antiques year – the annual Queensland Antique Dealers Association fair. This is the premier event in the antiques calendar and is to be held for the fifth year now, at the RNA Showgrounds in Bowen Hills. The fair successfully made the transition from the old City Hall to the far more convenient location at the RNA. The purposebuilt building with hosts of amenities, easy access for dealers and the visiting public, inexpensive all-day parking and no city traffic, is the only logical venue which satisfies everyone. This has proved to be a good decision as each year visitor numbers steadily increase. Although it has been a particularly difficult start to the year here in Queensland, and the memories of the floods and cyclones won’t be expunged easily, we expect that the trend will continue.

MORE stands at the fair Where else can you see an enormous array of quality antiques, many held back specifically for display at the fair? All are on show at one large venue where you can spend

the day wandering through the exhibits. For the comfort of patrons there is a coffee shop where you can rest and refresh with a coffee and cake, taking the time to contemplate before making that final important decision. The furniture displays will cover an extensive range, from large dining tables, bookcases, sideboards and desks to sets of chairs. Coming to the fair are many delicate occasional pieces including side tables, wine tables, work boxes, armchairs and wall pieces. Helping to complement and accessorise will be mirrors and over-mantels, etc. Specialist dealers in silver, fine porcelain, glass, metal wares, and pottery will be out in force. This year, there will be a large array of antique jewellery on offer. Excitingly, the amount of small items we expect will be even larger than usual, so if you have gifts to buy, here is the perfect opportunity to find those special pieces.

AFFORDABLE and special Prices range from a few dollars upwards, and the variety is almost limitless. Importantly, sourcing those special pieces extends to men as well as for the ladies. There will be specialist dealers in clocks, barometers, watches, rare books, vintage radios, music machines, old

tools, hunting and fishing equipment and furniture for gentlemen. Again, as in the past five years, we will be inviting guest dealers from Queensland and from interstate to participate at the fair. This is possible because of the size and layout of the venue. The additional dozen invited dealers, both local and interstate, add interest and diversity as their wares compliment those of our members. There is simply no where else you can go to see so much of interest in the one place.

PROFITS to charity Proceeds from the QADA Antique Fair go to support the Queensland Women’s Historical Association whose wonderful efforts maintain Miegunyah, the splendid historic mansion at 35 Jordan Terrace, Bowen Hills.

OPENING night 26 May Entry to this year’s Special Preview Night will again be by tickets sold at the door. As with the 2010 event, there will be no catering making entry a very affordable $15; this includes one free drink with further purchases from the open bar priced at only $3 per drink. We found last year that this approach increased the number of attendees to the opening night. Based on last year’s numbers, we expect that this year even more collectors will take advantage of attending the special preview night for the special pieces which always sell early. If unable to attend the opening night, entry during normal fair hours is $10 ● For further information on the QUEENSLAND ANTIQUE DEALERS ASSOCIATION FAIR Visit www.qada.com.au

BRISBANE ANTIQUES & ART IN QUEENSLAND

New municipal buildings Maryborough (site, elevation and sections), 1906, ink, watercolour, pencil with iron gall inscriptions on heavy woven paper (hand drawn), 56.5 x 78 cm. John Oxley Library, State Library of Queensland

St Brigid’s Church, Red Hill (east and west elevations-detail), March 1913, ink, watercolour, pencil on linen (hand drawn), 77.7 x 60 cm. John Oxley Library, State Library of Queensland

First section (public) Mater Misericordiae Hospital (sheet 5 1/8” entrance elevation and details), August 1909, watercolour and pencil on linen tracing cloth, 58.5 x 79 cm. John Oxley Library, State Library of Queensland

Art in Queensland architecture on display at the STATE LIBRARY OF QUEENSLAND April – June alented architect, designer and Arts and Crafts exponent RS (Robin) Dods helped refine the Queensland tradition more than a century ago. Art in Architecture: The work of Robin Dods, on display at the State Library of Queensland from April to June, gives insight into the range and volume of his work and presents many of his drawings for the first time. Art in Architecture also celebrates the State Library’s recent acquisition of almost 300 drawings from the creative Brisbane partnership of Hall & Dods (1896-1916). The firm’s Brisbane office opened in 1864 as John Hall and is the oldest continuing architectural firm in Brisbane. Currently known as Gray Puksand Hall and Dods, it became the most successful partnership of its time.

HISTORICAL architectural plans and drawings Now part of the John Oxley Library collection, the plans have been painstakingly conserved and digitised. This conservation work was made possible through the generous donations of the Partners of the State Library of Queensland through the Queensland Library Foundation. State Librarian Lea Giles-Peters said she is proud to display this important collection of historical architectural plans and drawings stating, ‘Some of these beautifully illustrated drawings and plans show Robin Dods was more than a designer of remarkable houses, but also a prominent designer of some landmark civic, religious and commercial buildings, many of which are sadly no longer standing. This makes the conservation and digitisation of this collection important, to protect and share this historical record of our architectural heritage.’ Exhibition curator Dr Robert Riddel, an award-winning Brisbane architect and architectural historian, knows Dods’ story intimately, the work being the focus of his 2008 Doctor of Philosophy thesis. ‘During the Hall & Dods partnership, Dods demonstrated his outstanding design abilities which put the firm’s work on the national, and

even international stage,’ he said. Riddel further states that ‘A century ago, as an architect, you would have to leave Brisbane to achieve a high profile, so the fact they had a national profile was unique. Their work was among the best being produced in Australia at the time. Dods’ influence on architecture, particularly in Brisbane but also more widely, is now recognised for its accomplishment and rare quality.’ Dr Riddel said while Robin Dods was well known for his residential work, the exhibition themes also showcase his important church, commercial, civic and hospital building designs throughout Brisbane and Queensland.

until 12 June. Open daily 10 am – 5 pm. Free entry. Dr Riddel will conduct free Curator’s tours on 19 April and 14 May ●

STATE LIBRARY OF QUEENSLAND 07 3840 7666 www.slq.qld.gov.au

For more information and to view the virtual exhibition, visit www.slq.qld.gov.au/whats-on.

ARCHITECTURAL legacy Some well known public buildings such as St Brigid’s Church in Brisbane’s Red Hill and the Mater Hospital are constant reminders of his legacy, while the drawings are all that exist for many buildings that have either been demolished, altered beyond recognition or that were never built. ‘Not only are these drawings important, but they reveal how Dods brought his skills and talents as an advocate of the Arts and Crafts Movement, yet blended with a wide vocabulary of influences to the buildings he designed,’ Dr Riddel said. ‘Dods has a respect for the traditions of building in our region in Queensland and Australia, but brought an arts and crafts approach to that. He infused the local vernacular with new ideas – making it more refined and responsive to the local environment.’ In this way Dods worked closely with other artists to enhance his work through wood carving, plaster modelling and stained glass. The drawings exhibited in Art in Architecture will be supported by Richard Stringer’s photographs of the buildings and fine examples of furniture, artworks and graphic design created by Dods to complement his work.

16 APRIL – 12 JUNE STATE LIBRARY OF QUEENSLAND CULTURAL CENTRE, SOUTH BANK, BRISBANE Discover the creative talent behind the early 20th century Hall & Dods partnership, that helped reﬁne the Queensland architectural tradition.

FREE Curator’s tour Art in Architecture: The work of Robin Dods is on display at Philip Bacon Heritage Gallery, State Library of Queensland from 16 April

Supported by Partners of the State Library

MILTON ANTIQUES & ART IN QUEENSLAND

Jacques Nicolas Bellin (France 17031772), Cartouche of map, L’Empire de la Chine, 1748

Philippe Buache (France 1700-1773), c. 1739 Chart Of The Antarctic Polar Circle With The Countries Adjoining, According To The New Hypothesis Of Monsieur Buache

Jacques Nicolas Bellin (France 1703-1772), Carte Réduite des Terres Australes, c. 1753

John Tallis and Co (publisher), The World, Mercator’s Projection, Shewing the Voyages of Captain Cook Around the World, steel engraving, c. 1851, later hand-tinting with watercolour

IDENTIFICATION OF ANTIQUE MAPS

ntique maps were often produced by a collaboration of individuals. A map may have been surveyed, drawn, and engraved by three people, for an atlas edited by a fourth, published by a fifth and then reissued by a sixth – sometimes reissued over hundreds of years by others. If you take the time to read the words around the map, identification is usually not that difficult.

CARTOUCHE In identifying and describing a map, the words in the title piece are used. An important map would have scrollwork and pictures surrounding a more elaborate description. In addition this cartouche can include the date of publication or voyage depicted, and the name of the cartographer or map-maker. A presentation map may also name the patron of the voyage or the royal personage for whom the chart was prepared. In addition to a brightly-coloured elaborate

cartouche, there might be decorative engravings around the mapped discoveries of the voyage. If the map was an update or adaptation of an earlier cartographer’s work, the original mapmaker’s name was often included in the cartouche description. All names across the base of a map are helpful in identifying and dating a map. On the right there may be the engraver’s name followed by engrav., engr., sculp., sc. Lower left may appear the name of the artist, designer, draughtsman or author of the work, followed by del. (delineated), descript., auctore. Sometimes the printer or publisher is found (usually in the centre), as excudit., excud., ex officina, formis.

ATTRIBUTION The custom of attributing early maps to a particular creator varies. The map is attributed to the publisher, rather than cartographer or the source of information, when the style of

www.antiqueprintclub.com

the presented image is the main identifying factor. For instance, the maps published by Tallis & Co are of a particular format and are usually attributed to Tallis rather than to those who drew or engraved them. Each map is surrounded by finely engraved borders, cartouche, and scenes of the region depicted or illustrating the voyage shown on the map.

DISTINCTIVE information Some maps are easily recognisable as belonging to a particular source. De Quiros was not successful in finding the east coast of Australia, but claimed a successful mission and pursued more lucrative pursuits in the Spice Islands to the north. Inaccurate information from the Portuguese explorer is responsible for mapmaker Philippe Buache (1700-1773) extending the east coast of Australia, north to Papua New Guinea, and east to the New Hebrides Terre de St Esprit, which was translated as The Holy Ghost Land, in the English publication of this map. The Chart of the Antarctic Polar Circle with the countries adjoining, according to the New Hypothesis of Monsieur Buache, circa 1739, is a wonderful map, including the South Pole as well as a most unusual outline of Australia. Quite unlike his relative and predecessor the great cartographer Guillaume De Lisle (16751726), Buache was a great exponent of theoretical geography. He republished many maps by Delisle and Alexis Hubert Jaillot (c. 1632-1712), but his own maps are notable for their inaccuracy. Probably the best-recognised early map of Australia, also compiled by a Frenchman, is the Carte Reduite des Terres Australes (Reduced Chart of the Southern Lands) circa 1753, by Jacques Nicolas Bellin (1703-1772). Bellin’s map has text along the dotted line of a hypothetical east coast: ‘I suppose Van Diemen’s Land (Tasmania) joins to Papua New Guinea, but without proof.’

DISTINCTIVE format

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

ANTIQUE PRINT & MAP COMPANY Camford Square corner Douglas & Dorsey Streets MILTON Brisbane Wednesday – Friday10 am – 6 pm Saturday10 am – 4 pm Phone 07 3368 1167

Website www.antiqueprintclub.com Email sales@antiqueprintclub.com 26

Victor Levasseur (France 18381854), Dept. de Gironde Carte Ancienne de Geographie de Departement (Department of Gironde, antique map of geography of departments), c. 1854

It is comforting to know that French map embellishment was not only in their guesswork. French engineer and geographer Victor Levasseur (fl. 1838-1854) attained a reputation for some of the grandest decorated maps ever published, with his Department (county) maps of France. His maps are easily recognisable – and are most informative. Each department map is surrounded by a beautifully engraved narrative of the region with illustrations of produce, commerce, coats of arms, local landmarks, peasants in costume, and historically important people; accompanied by scrolls of statistics.

COUNTRIES, states & publishing houses As well as geographical discoveries, wars, changes of country borders, and name changes necessitated maps being reissued. The

different information on a map assists in establishing its date – particularly if you are a historian. Close examination might reveal other discrepancies between maps when a map was urgently required and two plates were made. These are referred to as First State and Second State. This was a rare situation. The term is more often used when mistakes are rectified and a plate reissued. As each copper plate was an expensive commodity and relatively soft, a mistake was beaten flat and the section of the copperplate re-engraved. Some maps were re-issued during a period of over a hundred years and not necessarily updated to include current information. When a publisher bought or inherited map plates from a map publishing house, and then re-issued a map under his own name, this of course makes identification, differentiation and dating of the map much easier.

REPRODUCTIONS & limited editions When demand for a beautiful or historically important map exceeds availability – and often budget – reproductions and limited editions can be an acceptable alternative. When framed they are just as interesting and are often difficult to differentiate from an original antique map behind glass. Unless it is an obvious reproduction, few antique dealers are willing to risk their reputation on identification without un-framing the map. It is not possible to give an accurate valuation if a map is framed and unable to be examined, because even if identified, the map’s value will vary depending on its condition. Some later publications of early maps are easily recognised by the composition and age of the paper on which they are printed. A great example of a fine limited edition map is John Oxley’s chart of the Brisbane River (originally published in Paris in 1823) ● Derek & Kathryn Nicholls ANTIQUE PRINT & MAP COMPANY 07 3368 1167 www.antiqueprintclub.com

PADDINGTON ANTIQUES & ART IN QUEENSLAND

AT PADDINGTON ANTIQUE CENTRE an exhibition of Japanese craftsmanship: a story of design, discipline, skill and beauty

s regular readers will be aware, a feature of Paddington Antique Centre is its changing foyer displays. We now aim to change our displays/exhibitions each month, planning them well in advance so that as many dealers as possible can contribute. We have been overwhelmed with the response. Dealers enthusiastically hold back stock that will add to an upcoming display as well as provide great ideas for future displays. Customers keenly enquire as to what’s coming up. From time to time we’ve even had customers loan us treasured items from their personal collections. From my point of view the most gratifying thing to come out of this activity is once again the trivia, links and insights. This industry is like a semi-active volcano – full of information, bubbling away with such intensity that it is regularly forced to spit out offerings of red hot gems that can’t be ignored. An excellent example of this was our recent oriental exhibition. When it was suggested that we do a Japanese exhibition my initial thought was who would be interested in ‘made in Japan.’ In hindsight I can’t imagine why I would have thought this. I have travelled to Japan and love Japanese textiles. But I didn’t immediately think about the textiles, or the woodblock prints, or the ceramics. I suppose I was thinking more of our current ‘made in China’ attitude. Fortunately, I quickly realised my mistake. I began looking around the centre and talking to people. The possibilities became overwhelming. Furthermore, my family was already planning a pre-Christmas trip to Japan so the opportunity was there to look for some interesting bits to bring back. Before we left for Japan, I had many people say to me, including dealers, ‘The buying won’t be much good.’ On the contrary, the buying was fine. Admittedly, I wasn’t trying to find fabulous Satsuma or Imari, or in fact anything really early or high end. I knew we had a good selection of these. I was looking for great quality, colourful textiles, jewellery, small collectables and woodblock prints. The antique markets in cities such as Kyoto are great fun, but don’t expect to haggle as readily as you can elsewhere in Asia. The Japanese are an extremely well mannered and respectful people, so if you do want to negotiate a cheaper price do so with courtesy and respect, and always thank the vendor sincerely. The antique market in Tokyo, which is advertised as the biggest antique market in Asia, doesn’t quite live up to the expectations created, but is worth a visit nonetheless. We had considerable trouble finding the centre. None of the surrounding businesses knew that

the market existed, nor did our hotel or our taxi driver, so I would say that they have a very select clientele. It is bemusing to walk into an antique centre in Asia and be greeted by a full Susie Cooper coffee service. The prices here were quite variable although it was clear that many vendors were much more open to doing deals, often pre-empting my offer with a far better one! The exchange rate was in our favour and the Japanese economy has been flat for so long that they are keen to do business. Antique textile merchants in traditional mountain villages afford wonderful buying opportunities if you know where to go. About eight years ago, my mother and I had done an intensive tour looking specifically at the textile industry. It was with a small group of women and a guide who was able to open many private doors to us. Since then my mother has been making fabulous Japanese-style quilts using traditional textiles and sewing methods and incorporating traditional symbolism. If I could just coerce her into making me something for the foyer.

are the carved clay beads with the man’s face on one side and a child’s face on the other. We also had on show a pair of beautifully inlayed metal urns dating to around 1870. These pieces were complemented by colourful decorative fans, umbrellas, Buddhas, dolls, kimonos, obis, a fabulous quilt, ikebana, a lacquer screen, a bamboo screen as well as a fun display of fake food, uniquely Japanese. Rounding off the exhibition was a selection of superb Japanese militaria and jewellery including pearls, a 1930s whale bone brooch, a pair of tortoiseshell obidomei and a boxed two-piece traditional hair set in horn with maki-e in metal and enamel. As we were setting up, customer interest was keen. The kimono sold the minute it was

hung so that we had to borrow it back until the end of the display. Some things we elected not to sell until the end of the show as it became clear that they would ‘walk’ before we were even fully set-up. To look at Japanese antiques one has to look at the Orient as a whole as they borrowed shamelessly and still do today. They borrowed particularly from China and to a lesser extent from Korea. Therefore, we did allow some slippage into broader oriental pieces particularly Chinese, provided they were good quality and complemented the display. All in all, it was great fun and well worth the effort.

IN THE coming months Our hugely successful fashion event from last year, Frocks, Docs & Diamonds will be repeated this year on Friday 20 May. Tickets will be pre-sold through the centre at $20 each. It will be a fantastic evening with wine supplied by Clovely Estate, lots of nibbles, and of course the dynamic parade, plus the eye-popping foyer display. Don’t miss out! See our website, find us on Facebook or visit our blog ●

PADDINGTON ANTIQUE CENTRE 07 3369 8088 www.paddingtonantiquecentre.com

AN emerging picture What we ended up with in our display/exhibition was as usual a combination of items for sale and display-only items. While displaying items that are not for sale does irritate the occasional customer, most people appreciate the opportunity to see pieces that they otherwise would not get to see. These are usually the best items of the exhibition as they come from the private collections of dealers and PAC friends.

EXHIBITION highlights There were many special pieces on show including an impressive 1870s Imari vase almost a metre high, a wonderful collection of Satsuma and Kutani porcelain from 1830-1940, a collection of Satsuma from the 1930s, a cloisonné plaque, c. 1900, a superb Noritake cabinet plate of 1985, ceramics from 1900, some of which were quite rare, and a Satsuma tea set. There were a number of superb, handcoloured woodblock prints, one a particularly beautiful boudoir scene. Complimenting the prints was a yatate, c. 1850-70, which is a travelling brush and ink holder that fits in the obi sash. It is similar in principle to a chatelaine. This one was a rare example of bamboo and wood carved in the figure of Daruma complete with an ojime bead. An ojime necklace made up of a collection of beads dating from the late Edo through to the Meiji period was shown. Some ojime beads are of red coral, some of natural rock crystal, Peking glass, carved nut and seed, lacquered wood. The earliest and most unusual

Something old for something new Be seen to be green and adopt something old to become your something new

Antique

❖

Vintage

❖

Retro

English, Australian, French & Asian furniture • collectable costume and estate jewellery • vintage and retro clothing and accessories • Australian pottery • clocks & watches • china, glass, silver • linen • military • rustic European • arts & crafts • art nouveau • art deco • glamshackle • nana chic

MORE THAN 50 DEALERS

Phone 07 3369 8088 167 Latrobe Tce Paddington Brisbane 4064 www.paddingtonantiquecentre.com info@paddingtonantiquecentre.com

Trading 7 days a week, 10 am to 5 pm 27

ANTIQUES & ART IN QUEENSLAND

MADELEINE CASTAING (1894-1992):

The first significant decorator of the 20th century

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

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

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

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

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

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

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

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

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

Madeleine Castaing’s desk

NEW FARM ANTIQUES & ART IN QUEENSLAND

CULTURAL EXCHANGES

ravelling through various countries such as Russia and observing the magnificent treasures of the Hermitage Museum has been stimulating. I visited the barren island where Peter the Great had the vision to turn it into a masterpiece of sheer elegant design, fronted by a cascade of an ever-flowing waterfall with a semicircle of stone steps, graced by a heavily carved balustrade leading on to a terrace – that led to another fabulous palace. All of this was created from a wilderness of shrub and gorse. Then I went on to Moscow to view the famous Armoury, which held another fabulous display from a bygone era. Treasures depicting early carriages, costumes, ornaments, jewellery and furnishings showed how the Tsars and their entourages lived through the centuries. I toured prominent East European countries, too numerous to mention. I also visited Egypt and saw the pharaohs’

burial tombs, the sphinx and the pyramids. I wrote last issue about Cairo, visiting the Cairo Museum and viewing the mummified remains of some early pharaohs and their associates. Then I wrote how I loved Cairo, and the response was amazing. I had calls from many parts of Australia saying how much they loved Cairo too and agreed with all I had written, which pleased me greatly to realise so many people shared my observations. However, I will say I love flying back home to Brisbane and driving along Kingsford Smith Drive. I always come home through the city because I like to observe all those lovely marble buildings and all the older ones too, and for some reason the sun is always shining from a lovely blue sky.

HOW near one can be to disaster This brings me to the horrendous floods we had just recently and how our lovely city was nearly destroyed. I said nearly, and experienced how near one can be to disaster. Now I happen to live on a hill close to the city so I escaped being flooded but many families I knew went under. I do not know who shed the most tears, those who lost all their possessions or we who actually witnessed their plight and even felt guilty because they were not our homes that went under. We are glad that we did not have to face that tragic loss. What affected us the most was the look of devastation on their faces, trying to comprehend what had happened. The fact was that the water rose so rapidly that most had barely time to grab the kids and run. Even though our Premier kept urging us to be prepared, no one believed the water could rise so quickly. Of course, the saving aspect of this whole dilemma was the hundreds of volunteers who came with their buckets and brooms and their energy to hose away the smelly sludge from the walls and floors. I believe many antiques were sent to an early demise. Many old family pictures and treasures were so covered with muck and grime that they were thought to be beyond saving. The generosity of spirit from so many kind people lifted this horrendous situation from devastation to a kind of renewal of hope and love in our community. I heard many stories of goodwill and kindness, but the best one I

heard was on a roundabout in the midst of a flooded area, where a group set up a barbeque area and started handing out hot food to everyone. How about that for a helpful initiative? I am pleased to say even though my shop is close to the Brisbane River it was saved. None of my antiques were damaged nor had to be dumped, although the floods came halfway up my street.

So I guess I will probably live to see another disaster but I hope it will not be for many a long day because I want to visit many more countries and view many more palaces and museums.● Eilisha Little EILISHA’S SHOPPE 07 3358 1448

Member of QADA Proprietor: Eilisha Little

Antiques, Objets d’Art, Furniture, Porcelain, Sterling Silver, Old Jewellery, Collectables & Linen Experienced Hand French Polisher, Insurance Work Undertaken Open: Tuesday to Friday 10 am - 4 pm Saturday 10 am - 2 pm Sunday 11 am - 4 pm

109 James Street New Farm Qld 4005

Phone 07 3358 1448 AH 07 3844 3619 Mobile 0423 830 515

NEWSTEAD ANTIQUES & ART IN QUEENSLAND

AT COLLECTORS CORNER ANTIQUES it’s business as usual

e were very fortunate that we were not severely affected by the floods that inundated so many homes throughout Queensland. Our hearts go out to those who suffered loss. Our showroom was spared, however precautions needed to be taken and we were grateful for so many calls offering assistance. We have since received many calls from clients with flood-affected furniture. Our workshop and storerooms were high and dry at Salisbury so we were pleased to be able to assist clients by removing their damaged furniture to our workshop and now we are restoring it for them, piece by piece. It really surprised and disappointed us at how much furniture was discarded and was not even considered for restoration. Many flood affected households may be waiting for an answer from their insurers on their cover, which seems to be taking far too long in many cases. Our daughter’s property was flooded and she is yet to have her renovation or rebuild claim approved. What a frustrating time, not knowing whether you have suffered great financial loss or that you have been wise to insure with flood cover – and whether that actually means you were covered for this flood.

RESTORATION after the flood Mostly antique upholstered furniture is fully restorable, the solid timber frames can be re-

glued and re-polished and upholstery redone. Naturally, if they were pieces that still had their original hand-stitched finish, this may not have survived. However, this is where the expertise of a traditional upholsterer comes to the fore. It can all be redone just as it was originally made.

HERE are three rules of thumb for your damaged furniture Rule No. 1 Please do not succumb to modern finishes on your beautiful antique pieces. Rule No. 2 With cabinet ware, be sure to keep it in an airy dry area with doors and drawers open. Rule No. 3 If you are not sure if something can be salvaged, please ring 07 3852 6084 for a professional opinion before making an irreversible decision of disposal. Please call and discuss with us your damaged pieces. We are happy to see how we can help you to decide the best way forward with your collection. We can advise on restoration and re-upholstery and assist with valuations for your insurers ●

Flood-damaged furniture awaiting restoration and re-upholstery

Lyn and Ralph Muller COLLECTORS CORNER ANTIQUES 07 3852 6084 cca7@bigpond.com www.collectorscornerantiques.net.au

14 Stratton St, Newstead Ph 07 3852 6084 Fax 07 3252 3808

END OF LEASE SALE NOW ON

French 19th century mahogany chest was $3200 now $1750

Rare oak hutch was $4485 now $2450

French oak hallstand was $2800 now $1400

French oak Louis style armoire was $3800 now $ 1900

Set of 6 oak dining chairs was $3200 now $1600

French oak sideboard was $2700 now $1350

All furniture at Newstead will be sold – not moved AFTER FINAL CLOSE DOWN – BUSINESS WILL CONTINUE FROM OUR SALISBURY WAREHOUSE/ WORKSHOP

To stay informed please visit our website www.collectorscorner.net.au

All reproduction furniture up to 50% off Pair French walnut bedsides were $3600 now $1850

French oak bureau/bookcase was $2850 now $1450

TENERIFFE ANTIQUES & ART IN QUEENSLAND

QUALITY ANTIQUES, COLLECTABLES AND A WIDE VARIETY OF Let us take you DECORATOR ITEMS AT Commercial Road Antiques & Decorative Arts Centre

he best place in Brisbane to find quality antiques, collectables and a wide variety of decorator items is undoubtedly at Commercial Road Antiques & Decorative Arts Centre, formerly the New Farm Antique Centre. Whether you like old, retro or just plain practical, plan a visit to our rejuvenated centre. Allow yourself enough time to browse, as you will be surprised and tempted by the variety of stock available and thrilled with the good and fair prices in Queensland’s largest and most diverse antique and decorative arts centre.

FRESH look & new faces Every business is facing a few challenges, requiring us all to lift our game and to put the customer’s needs and wants first. You will see the improvements and conveniences immediately when you visit • a brighter look • freshly painted • several new dealers • exciting fresh stock • friendly and knowledgeable staff • open seven days, 10 am – 5 pm. Therefore, if you want a comfortable chair in which to read a good book and a fine glass from which to sip wine, we can offer you the lot, either old or new – except for the wine.

BONUS rewards We appreciate the support of our clients and organised a movie offer as a way of saying thank you. This recent event was well received by our customers and to ensure we reach as many of our clients as possible we will be sending invitations through Facebook to future events, so make sure to join us online.

on a surprising journey China England France India Japan PNG and around Australia

A DECORATOR’S resource With film and television productions increasing in south east Queensland, Commercial Road Antiques is again a major source of items for props and sets. Decorators and architects are other professionals who have found the varied range advantageous at Commercial Road Antiques & Decorative Arts. When will you join us? For the many residents affected by the horrific floods, we are attempting to offer the widest range of furniture at the best possible prices to refurnish your homes. If you have not found what you need or want, talk to us and we will always try to help you ●

Commercial Road Antiques 85 Commercial Road, Teneriffe

07 3852 2352 7 days 10am - 5pm

Ian Thomson COMMERCIAL ROAD ANTIQUES & DECORATIVE ARTS 07 3852 2352

ANTIQUES & ART IN QUEENSLAND

APPRECIATING ANTIQUE AND PERIOD JEWELLERY – One-of-a-kind finds at BRISBANE ANTIQUE EMPORIUM

he popularity of antique and period jewellery escalates every year, along with prices. There is an increased interest by celebrities and fashion houses. For example, America’s First Lady, Michelle Obama has a penchant for wearing antique brooches. It also is soundly based on the oneof-a-kind status of these coveted pieces.

GEORGIAN and Victorian jewellery During the Georgian and Victorian eras (1714-1901), jewellery was made in a diverse range of style and materials. Depending on the wealth of the buyer, and the fashion of the day, a lady could be seen wearing jewellery made from diamonds or tortoiseshell, paste or woven hair. Aesthetically, the Georgian era focussed on opulence and intricate designs, while jewellery created in Victorian times evoked romanticism and sentimentality. Diamond jewellery was silver set and gold mounted to best refract the light from candles or gaslights. The most popular designs were based on flowers, foliage, birds, butterflies and bows. Handcrafted and time consuming to make, they were typically set with rubies, sapphires, emeralds and pearls as well as diamonds, which were usually rose-cut. Today, these gorgeous pieces of Georgian and Victorian antique jewellery have come back into fashion. They are in limited supply although they can still be found and the purchase price is comparable to a newly made piece.

shank was usually yellow or white gold and the setting made of platinum, and all finely crafted by hand. These pretty rings can be found in a reliable antique shop. Among their many different configurations are those set with a single diamond stone and two, three or five diamonds, while others are set with a combination of coloured gemstones such as rubies, emeralds, sapphires and opals.

CURRENT Trends Beautifully crafted antique rings are highly sought after as engagement and wedding rings – perfect reminders of romance. The gracious designs of antique rings, necklaces and earrings complement bridal gowns, attendants’ wear, and guests’ dresses. The Brisbane Antique Emporium has a very comprehensive range of Georgian, Victorian, Edwardian, Art Deco and period jewellery. If you are looking for a diamond engagement ring or just a pretty piece of wearable unique jewellery, chances are you will find it here and at a competitive price. The beauty of collecting antique and period jewellery is its appeal and its magnificent quality. As a bonus, its value and demand will clearly increase in years to come.

NEWSLETTER for collectors Readers are invited to receive our free online newsletter – sign up on our website to be aware of new stock arrivals ●

1930S JEWELLERY By the 1930s, jewellery was being made to a very high standard, with jewellers expertly combining yellow gold, white gold and platinum in their designs. Diamond rings are a good example from this period, as a ring

Karen Klaich & Michael Moyle BRISBANE ANTIQUE EMPORIUM 07 3862 1600 / 0417 605 562 info@brisbaneantiqueemporium.com.au www.brisbaneantiqueemporium.com.au

ALBION ANTIQUES & ART IN QUEENSLAND

PACK & SEND art and antique specialists

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 ask us to take care of the entire logistical process – from pick-up to packaging to 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, dealers and collectors are free to concentrate on their core business. At Pack & Send we will personally manage the entire job and even computer-track the item en route until it arrives safely and in pristine condition at its destination.

PROFESSIONAL Packing Service Pack & Send is the only packaging and freight company that has access to Instapak Foam-in-Place technology, a system using soft foam that expands when two chemicals are combined in contact with air. Foam-in-Place moulds itself to fit the precise shape of the item being packed and this product possesses a density that aids in the prevention of damage from impact, vibration or from being dropped. Instapak Foam-in-Place enables glassware, paintings and various antiques to be sent through the freight system without compromising the safety of the item. Not only that, but Foam-in-Place is highly cost efficient and readily disposed of without harming the environment.

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

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

“

Museums, art galleries and antique dealers Australia-wide are finding Pack & Send’s service truly valuable because we take care of all the details

”

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 Albion is open 5 days a week, from 8.30 am to 5.30 pm Monday to Friday and by appointment Saturday. The team at Pack & Send look forward to the opportunity to offer their services in solving any packaging or freight problem you might have ● Stephen & Janet McCartney PACK & SEND 07 3262 9742 albion@packsend.com.au www.packsend.com.au

ANTIQUES & ART IN QUEENSLAND

Late Victorian grandmother and grandfather ‘nodders’

Baggage girls and ‘Cuties’ with checked skirts and hats, c. 1930s

MY FAVOURITE THINGS

here would an antique dealer start? I have the advantage of working each day with wonderful pieces and the good fortune to be offered a great variety of items. There is always an interesting historical or sentimental association with each article, no matter how small.

Little boy serviette rings, c. 1930s

SMALLER favourites Some of my favourites are the smaller items. I have a wonderful collection of Victorian and Edwardian ‘nodders.’ As a child, I was always fascinated with a pair of grandmother and grandfather figures that would nod their heads when touched. They were my mother’s treasured possessions passed down from her mother and are now in my collection. I now sometimes feel like I have cornered the market on nodders (head bobs) and swayers (move side to side) in all shapes and sizes. They are getting harder to find, but I still get that wonderful feeling of excitement when I find one to add to my collection. One of the rarest pieces in my collection is a group of six nodders, all in one stand inspired by Gilbert and Sullivan’s The Mikado.

PERSONABLE and fun collectables Something very different is my collection of art nouveau metal jewellery caskets. All of them are a different shape or size; each one a treasure in its own right. I do take into consideration the condition of the metal; that it should have a warm, original patina and its lining and hinges should be in good, original condition. To add a bit of light frivolity to my collection, I have on a hall table my ‘baggage girls,’ made of porcelain and so typical of the 1930s. These small, cheeky figures with their brightly coloured orange hats are sitting on or carrying a suitcase. When they were first made in the 1930s, they would have been very inexpensive, much as was Depression glass, but now fetch good prices – if you can find them. To compliment my ‘baggage girls’ I look for the ‘cuties’ that again feature the large orange hats and come in a variety of

shapes and sizes. Another splash of colour on the hall table are the charming little boy serviette rings dating from late 1920s to 1930s. With their top hats, smiling faces and outstretched legs, what a wonderful way to start the day at breakfast time. I have always thought collecting is a very personal and individual passion that does not have to cost a great deal of money. So get out there and go hunting for those things you know will always give you great pleasure to see and hold for years to come ● Jill Phillips DISCOVERY CORNER 07 3862 2155 / 0402 339 643 discoverycnr@bigpond.com

Late Victorian character ‘nodders’ inspired by Gilbert and Sullivan’s The Mikado

CLAYFIELD ANTIQUES & ART IN QUEENSLAND

Discovery Corner Established in 1976 & proudly run by the Phillips family Member of the Queensland Antique Dealers Association WE BUY QUALITY ANTIQUES AND COLLECTABLES QUALITY, RARITY, AGE AND PRESENTATION ARE OF PRIME IMPORTANCE

SPECIALISING IN FURNITURE, PORCELAIN, SILVER, STATUARY, GLASSWARE

812 Sandgate Road, Clayfield QLD 4011 corner of Sandgate Road and Junction Road Tel: 07 3862 2155 • Mob: 0402 339 643 • EMAIL: discoverycnr@bigpond.com OPEN 7 DAYS 10 am - 5 pm 35

CLAYFIELD ANTIQUES & ART IN QUEENSLAND

The ultimate antiques destination Thousands of pieces from a variety of quality dealers Great selection of

ANTIQUE JEWELLERY

LIMITED FLOOR SPACE / CABINETS AVAILABLE. CONTACT DAVID PHILLIPS 0417 605 562 794-810 Sandgate Road (Cnr Junction Road) CLAYFIELD Qld 4011 AMPLE ON-SITE PARKING (VIA JUNCTION ROAD)

Phone 07 3862 1600 Email: info@brisbaneantiqueemporium.com.au

Website: www.brisbaneantiqueemporium.com.au OPEN 7 DAYS. 10am – 5pm 36

ALBION / NEWSTEAD / MILTON / KURWONGBAH ANTIQUES & ART IN QUEENSLAND

BRISBANE ANTIQUES PTY LTD GRAHAM SEE Registered Valuer NCJV, Member AA&ADA & QADA graham@brisbaneantiques.com.au

G.N. Olsson Traditional Mastercraftsmen Established 1983 Antique Restoration & Custom Clocks, Furniture & Architectural Features

www.brisbaneantiques.com.au

Featuring: Portrait & Ornate Frame Restoration & Reproductions Photograph Restoration Gilt & Ornate Frames Convex Glass Today’s investments – Tomorrow’s antiques and heirlooms! Also custom made. Members AICCM, AAADA, M&GNSW & MBAQ

23 Crosby Rd Albion 07 3262 1444

TUESDAY-SATURDAY 10am-5pm Closed Sunday, Monday

Queries & Appointments 07 3888 1549

393 Narangba Rd, Kurwongbah Brisbane QLD 4503 Australia Fax: 07 3888 5330 • gnolsson@bigpond.com www.gnolsson.com

Today’s investments - tomorrow’s antiques and heirlooms!

Collectors Corner ANTIQUES PTY LTD Incorporating

Vella Bros

www.antiqueprintclub.com

Fine Upholsterers

Antique & decorator selections CE AN R A E from Europe, Asia & KacrCoss Australia L C O Fabulous furniture E STand fine upholstery S A E FL

O END

14 Stratton St Newstead Qld 4006 Ph: 07 3852 6084 Fax: 07 3252 3808 Email: cca7@bigpond.com www.collectorscorner.net.au

Antique maps & charts circa 1600-1900

ANTIQUE PRINT & MAP COMPANY Hours: Tuesday - Friday 10 am - 4:30 pm Saturday 10 am - 4 pm

Camford Square corner Douglas & Dorsey Streets MILTON Brisbane Wednesday – Friday 10-6 Saturday 10-4 Phone 07 3368 1167 Website: www.antiqueprintclub.com Email: sales@antiqueprintclub.com 37

EAST BRISBANE ANTIQUES & ART IN QUEENSLAND

L A

avin ntiques

FURNITURE · CHANDELIERS · CERAMICS · PAINTINGS · RUGS · TEXTILES

Importers of fine quality antiques

Shapland and Petter mahogany and inlaid display cabinet, h 2030, w 1350, d 430 mm

950 Stanley Street East (cnr Longlands Street), East Brisbane QLD 4169 Phone 61 7 3391 2300 Fax 61 7 3391 2331 Email: info@lavinantiques.com.au Website: www.lavinantiques.com.au Trading seven days a week 10 am – 6 pm

BRISBANE ANTIQUES & ART IN QUEENSLAND

QADA ANTIQUE FAIR 2011 Queensland Antique Dealers Association Fair 27 - 29 May Friday 27: 10 am - 8 pm Saturday 28: 10 am - 8 pm Sunday 29: 10 am - 4 pm Admission $10 Phone: 07 3891 1048 or visit: www.qada.com.au OPENING NIGHT PREVIEW Thursday 26 May 6.30 - 9.30 pm Admission $15, tickets available at the door

RNA SHOWGROUNDS GREGORY TERRACE, BRISBANE

GOLD COAST / SANCTUARY COVE ANTIQUES & ART IN QUEENSLAND

Brasac ENTERPRISES

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

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

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

BOTH OPEN 7 DAYS

GOLD COAST Miami ANTIQUES & ART IN QUEENSLAND

The Gold Coast Antique Centre is an exciting gallery in Miami with over 25 dealers displaying an ever changing range of rare antiques and collectibles. It’s an Aladdin’s Cave of treasures including the finest glassware, antique furniture, jewellery, clocks, toys, movie memorabilia and much more.

The Gold Coast Antique Centre is a must see venue located at

2076 Gold Coast Highway, Miami • Phone 07 5572 0522 • Mobile: 0414 338 363 www.goldcoastantcent.com.au OPEN 7 DAYS 10 - 5 Sun 10 - 4 41

THREE OF BRISBANE’S BEST DEALERS

NOW UNDER ONE ROOF

165 Logan Road, Woolloongabba, Brisbane

Phone: 07 3891 3880 Open 7 Days, Monday - Friday 10 am - 5 pm, Saturday - Sunday 10 am - 4 pm

IMPORTER OF FINE ANTIQUES LICENSED DEALER – MEMBER OF QADA

ANTIQUES & ART IN QUEENSLAND

(Obverse) Seringapatam medal, issued 1808, silver, diam: 42.96 mm

(Reverse) Seringapatam medal, issued 1808

Waterloo medal, issued 1816 –17, awarded to John Tritton of the 10th Royal Regiment Hussars

Military medals to collect from HARRINGTON’S ANTIQUES

ecently we purchased a collection of medals. Researching the particulars of each medal proved to be an interesting look at military history from the personal viewpoint of the medal recipients.

SERINGAPATAM medal The oldest medal in the collection is the Seringapatam medal distributed to soldiers who contributed to the British victory in the 1799 Battle of Seringapatam. This is an ancient fortress city and the capital for the rulers of the southern Indian kingdom of Mysore, Haidar Ali (c. 1722-1782) and his eldest son, Tipu Sultan (1753-1799), the ‘Tiger of Mysore.’ As a direct consequence of this victory, the British secured control of all of southern India, laying the foundations of English rule and the future British Raj. The medal was issued in 1808, but not allowed to be worn until 1815 when the Prince Regent gave permission. Obverse side shows the British lion triumphant over Tipu’s tiger. Reverse side shows a siege party entering the breached walls of the fortress. Two major types were issued. The British striking was slightly larger than the Calcutta striking. The British version (which we have in silver) has a diameter of 49.26 mm. They were issued to all participants but in different metals. The highest-ranking commanders were made of gold, then silver-gilt, silver, then bronze and lastly pewter or tin. They were unnamed, only sometimes being privately engraved. An Australian link with the Seringapatam Battle is that then Major Lachlan Macquarie served in the Bombay Army that combined with the Grand Army to defeat Tipu Sultan.

Macquarie’s records on this battle are in the Mitchell Library in Sydney.

THE WATERLOO medal The Waterloo medal was awarded to any soldier of the British Army who took part in one or more of the following battles: Battle of Ligny (16 June 1815), Battle of Quatre Bras (16 June 1815) and the Battle of Waterloo (18 June 1815). This medal was issued in 1816-17 to every soldier present at one or more of these battles. The medal is made of silver and is 37 mm wide, with 39,000 awarded. It was the first medal issued in an identical version to British soldiers of all ranks present at an action, not just the officers as well as the first campaign medal awarded to the next-ofkin of men killed in action. It was the first medal on which the recipient’s name was impressed around the edge by machine. The Waterloo medal we hold was awarded to John Tritton of the 10th Royal Regiment Hussars. The origin of this unit dates from 1715 in the first Jacobite Rebellion, called Gore’s Regiment of Dragoons. In 1806 the Prince of Wales clothed and equipped the regiments as Hussars (light cavalry) as the

10th (Prince of Wales’s Own) Regiment of (Light) Dragoons (Hussars). The 10th fought at the Battle of Waterloo as part of the charge that routed the French cavalry, making the final charge of the day between Hougomont and La Haye Sainte, sweeping everything before them.

MILITARY General Service medal Another medal collectively commemorated many more campaigns and battles of the British Army between 1801 and 1814 is the Military General Service medal. Combatants had to wait until 1848 to receive the Military or Naval General Service medal with just 25,500 eligible applicants awarded. It is estimated that only 10 per cent of those who fought in these battles and campaigns received the medal as the next of kin of deceased soldiers could not claim unless the veteran had earlier lodged a claim. The Military General Service medal we hold was awarded to William Christie of the 92nd Foot Gordon Highlanders, with three clasps: Toulouse (1814), Orthes (1811) and Vittoria (1813). Christie was apparently entitled to receive eight bars – Corunna, Fuentes de Onoro, Pyrenees, Nive and

Nivelle. The 92nd were raised by the Marques of Huntley, the last Duke of Gordon, and became known as The Gordon Highlanders. Their uniform kilt was the Gordon tartan and the traditional highland bonnet with a white plume. The Peninsular War began when French armies crossed Spain and invaded Portugal in 1807 and in 1808 turned on its ally, Spain. The 92nd joined Wellington’s army and in 1812 the British army drove Napoleon’s forces back to France. Famous actions followed in quick succession, six battle honours added to the colours, and in the mountainous Pyrenees the Gordon Highlanders succeeded at every skirmish.

MILITARY Cross The Military Cross was instituted in December 1914 as a reward for gallantry (distinguished and meritorious services in battle) for officers of the rank of captain or below and for warrant officers. The Military Cross held by Harrington’s has the George V cipher. The reverse is common to all issues and is usually plain and unnamed. In 1920, the terms were altered to clearly state the Military Cross was for gallant and distinguished services in action and that naval and air force officers could be awarded it for gallant and distinguished services on the ground ●

“

The medal was issued in 1808, but not allowed to be worn until 1815 when the Prince Regent gave permission.

”

Military Cross

Sharon Semmens HARRINGTON‘S ANTIQUES 07 3891 3880 / 0414 464 704 mark@harringtonantiques.com www.harringtonantiques.com

Military General Service medal, issued 1848, awarded to William Christie of the 92nd Foot Gordon Highlanders, three clasps: Toulouse (1814), Orthes (1811) and Vittoria (1813)

Acknowledgment Fitzwilliam Museum, University of Cambridge UK

ANTIQUES & ART IN QUEENSLAND

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

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

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

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

Oak sideboard, attributed to Bruce Talbert for Gillows

Display cabinet made by Shapland and Petter, mahogany and inlay

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

Christopher Dresser design, hallstand, cast iron and marble

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

ANTIQUES & ART IN QUEENSLAND

MEANINGFUL VALUATION of jewellery = CSi + forensic analysis

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

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

A GEMMOLOGICAL challenge I may be asked to value a necklace set with a multitude of cut gemstones, which could be a mixture of amethyst, citrine, zircon, garnet, iolite, topaz, peridot, emerald and synthetic ruby. Imagine the challenge from a large pearl necklace – are they from the South Seas or are

they freshwater pearls? They look very similar to one another, but have totally different values. There are now rubies on the market that are of really very low quality. They have been treated by heating and the addition of molten glass to fill the cracks in the stones which increases clarity. The value of this type of ruby is extremely low and can be very misleading for the purchaser. There are other treatments of rubies, so depending on the treatment, a wide range of values can be attributed to each gemstone sold as a ‘ruby.’ This has the potential to defraud prospective buyers. An interesting valuation was that of a lovely sapphire and diamond ring with a series of English hallmarks on the band. A closer examination revealed that the stamps were fake. The marks were actually cast into the ring and therefore clearly a modern reproduction, and of course fraudulent. The other sign that the ring was not antique was that modern diamonds that were set in the ring did not occur until at least the 1950s. Another time I was presented with a blue stone and diamond ring. The blue stone looked exactly like a blue Ceylonese sapphire – testing proved that it was an unusual blue stone called kyanite. This is a fragile stone and so the wearer has to be very careful not to crack it. New deposits of the mineral have recently been discovered, so it will be seen more frequently on the market, yet few will know its true (low) value. The above examples show just the tip of the iceberg of this vast subject. When seeking advice or valuations, a qualified and experienced person is obviously required to unravel the science and complexities of jewellery, watches and other items of personal adornment. The best thing about using a professional valuer is that you will get a precise description of the article along with an accurate current replacement price. A valuation is a legal document: it validates the existence of the items should either damage or loss occur ● PENFOLD JEWELLERS 07 3221 7516 / 0400 322 175 penfoldjewellers@iinet.com.au

REGISTERED VALUERS IN QUEENSLAND Peter Anderson FGAA Helen Antala FGAA Francesca Antonaglia FGAA Megan Austin Jay Bartlett FGAA Roy Beattie FGAA DipDT Shane Bryant FGAA Nola Buckingham FGAA John Calleija FGAA Sarina Cheney FGAA Norm Clarke FGAA Jon Crosbie FGAA Callum Curtis FGAA DipDT Mike Ford Susan Gander FGAA Monique Garvey FGAA Libby Want FGAA Sonia Giggins FGAA Matthew Gray FGAA DipDT Patti Groves FGAA Glen Hay FGAA Judi Hening FGAA Kym Hughes FGA FGAA Dip DT Pam Hutchins FGAA DipDT Graham Jackson Brad Kearton FGAA Nikki Keen FGAA DipDT Susan Kelly FGAA DipDT Liz Kratz Jillian Langford FGAA Grev Langford-Ely FGAA Peter Langford-Ely FGAA Helen Levonis FGAA DipDT Trisha Maher Craig McKim FGAA Doug Morris Marlon Ostergaard FGAA Michelle Paddenburg FGAA DipDT Renée Payne FGAA David Peel Robert Peel Roy Pemberton Ken Penfold FGAA John Poirrier FGAA Ralph Pownall David Ratliff David Richardson Susie Roach FGAA Bruce Robinson Ron Schey FGAA Karl Schwantes FGAA Mark Seddon FGAA Graham See Ritsuko Smith FGAA Nicole Hannaford FGAA Shane Tennant FGAA Ian Thomas FGAA Ronny Wachtel Mike Walsh FGAA Jan Whelan FGAA DipDT Peter Wiltshire FGAA

Anderson’s Treasure Store Helen Antala Valuations Giovanni Imports Jasmine Australia Kim Bartlett Master Jewellers Sonar Jewellery Jewellery Valuation Consultants Calleija Jewellers Birkbeck’s Jewellers Jon Crosbie Jeweller Charles Rufus Pty Ltd Birkbeck Jewellers S.E.T. Gems Montash Jewellery Design A Want for Jewellery Calleija Jewellers Haigh’s Jewellers Hay’s Leading Edge Jewellers Symmetry Gemmological & Valuation Services Wide Bay Valuation Laboratories Loloma Jewellers Brad Kearton Jewellers Calleija Jewellers Brisbane Valuation Service Kratz Exclusive Jewellery Langford & Palmer Jewellery & Art Valuers Langfords Langfords Karma Gems McKims Jewellers Doug Morris Jewellers of Redcliffe Elenium Jewellery & Valuations Northern Rivers Jewellery Valuation Service Phil Peel Jewellers Robert Peel Jewellers Independent Jewellery Valuers Penfold Jewellers Accord Valuation Services Accredited Jewellery Valuations Ratliff Opal Pty Ltd Richardson’s Jewellers Queensland Jewellery Appraisals Bruce Robinson Diamonds Accurate Jewellery Valuations Xennox Diamond World Pearls For Girls Brisbane Antiques Pty Ltd Paradise Gems Jewellery 5th Ave Jewellery Ten Ants Jewellery Pty Ltd Brisbane Vintage Watches 5th Ave Jewellery Loloma Jewellers

02 6672 2794 0412 875 861 07 3368 1808 07 3253 5671 07 4779 6711 0428 155 049 07 3229 4321 07 3210 0718 07 5528 3666 0421 528 904 07 5532 8833 07 3349 1056 07 3221 3543 07 5532 8833 07 3844 6371 07 3266 7411 07 5531 3611 07 5528 3666 07 4128 3326 07 5575 2883 07 4662 3023 07 3855 9100 07 5596 1775 07 4152 5827 07 4771 0300 07 3281 6800 07 5528 3666 07 3211 5188 07 3369 2711 0439 789 194 07 3210 0614 07 3210 0614 0415 275 823 07 5475 4169 07 3368 3377 07 3284 5423 0417 754 510 0414 656 933 02 6642 3210 07 4927 1855 07 4942 2784 0408 808 592 07 3221 7516 07 3807 9600 07 3003 1104 07 4041 5338 07 3284 1281 07 5573 3884 07 3254 4444 07 5493 5923 07 3210 6288 07 3012 8361 07 3262 1444 07 5526 5778 07 5575 5600 07 5538 0740 043 792 1781 07 3210 6722 0438 428 241 07 5575 5600 07 4771 0300

WOOLLOONGABBA ANTIQUES & ART IN QUEENSLAND

BOWED STRINGED INSTRUMENTS Refitting tuning pegs Even though it is very beautiful to play a valuable instrument, the quality of the instrument is often not as crucial as the quality of the setup.

ll violins, violas, cellos and double basses need some special attention to make them properly playable. They are different to stereos, computers or fridges, which can be sold right out of the box. If a bowed stringed instrument is not setup properly, it is considered unplayable. Very often people say to me ‘but it is just for a beginner.’ My answer to that is always that it is hard enough to learn the violin. Further, our children, especially beginners, need every help and support to produce a nice tone and to experience pleasure from their earliest music experiences. Looking back on 25 years of experience in serving beginners and professionals, I cannot stress enough that it is essential to play a well setup instrument. Even though it is very beautiful to play a valuable instrument, the quality of the instrument is often not as crucial as the quality of the setup. A well setup cheaper instrument will serve you better than an expensive one with a bad setup. I have seen many children give up because they or their parents thought that they were not gifted at the violin. Very often, they

did not stand a chance because their instruments were unplayable. A so-called professional setup is not always good enough. Sadly, any person earning money assembling instruments can call it s professional setup, whether or not they know what they are doing. That is why I developed the very special Deluxe Ilja Grawert Setup.

DELUXE Ilja Grawert Setup Whenever you see the label ‘Deluxe Ilja Grawert Setup’ on a violin you will know all the work was done here in my Brisbane workshop. Because we are in full control of the setup, we can guarantee the highest level of playability and tonal quality. Every violin needs work on the pegs, nut, fingerboard, bridge, sound post, tail piece, bow and very often, the strings need to be upgraded for good sound. In my shop, every instrument receives anywhere between three-quarters of an hour and eight hours of setup work, before it is offered for sale. Each of these procedures is done in order. Each is completed to top professional standards, with quality control every step of the way. 1. Refit or new pegs 2. Plane finger board 3. Adjust nut 4. New Ilka Grawert bridge 5. Refit and adjust or new sound post 6. New high quality strings 7. Lubricate metal parts 8. Assemble instrument and tonal adjustment 9. Final check

STEP ONE: Refit or new pegs

Tuesday~Friday Tuesday~Friday 10 10 am~5 am~5 pm pm Saturday Saturday 10 10 am~2.30 am~2.30 pm pm

The pegs on every instrument need to be refitted or replaced. To understand the process involved, see the photos. First, the pegs have to be tested whether they really fit or not. Usually they do not fit to the holes in the peg box. Using a reamer, the holes in the peg box are reamed to create a certain taper. Now the real peg fitting can start. The tool we use to fit the pegs is called a peg fitter. It looks like an over sized pencil sharpener with three holes. These holes have the same taper as the reamer, but are of three different sizes and the cutting blade has to be much sharper than the one in a pencil sharpener. A well fitting peg fits all the way around in the matching holes on both sides of the peg box. After all four pegs have been fitted, they have to be shortened so the ends are not sticking out of the peg box. We cut the ends with either a handsaw or sometimes using a band saw. After they have been shortened, the pegs ends need to be rounded. First, I use a file and then follow up with sandpaper, using successive five grades from the coarsest 180, through 280, 400, 600 and finishing with 800. After that, we polish the pegs with some polishing paste to make them nice and shiny. We drill the holes in the pegs for the strings usually by using a drill stand. The edges of the holes in the pegs have to be softened with a

round file to ensure that the strings are not breaking on any sharp edges. After the pegs are fitting perfectly, they need to be peg pasted in order to make them turn smoothly and still hold the strings in tune. We use different methods for professional players than we do for beginners. For beginners it is essential that each peg holds the string in tune, no matter what happens. They are a little bit harder to tune but do not require as much skill as the professional method. I use Hill peg paste for beginners’ pegs. For the professional player I use three different types of paste for the pegs. First, I use a commercial peg paste, which I actually consider too dry, from too much graphite in its formula. It makes the pegs stick. Next, I loosen them with a very special 80-year-old Sunlight soap, which I luckily found in Cologne in a flea market 19 years ago. It is much better than newer soap because it does not moisten the pegs. Then I leave the pegs sitting for a while. I finally fine adjust them with a soft white Pelikan chalk from Germany ●

ILJA GRAWERT Violin Maker Freecall: 1800 882 468 ilja@grawert.com.au

WOOLLOONGABBA ANTIQUES & ART IN QUEENSLAND

From left: Parian doll; doll with bonnet, 1890s; centre: glazed china doll, c. 1850-60; right: bisque doll made by Atl, Beck & Gottschalk

Bisque head, shoulder and arms placed on leather bodies, 1894 German wooden doll, c. 1850

COLLECTING ANTIQUE DOLLS Internationally, dolls rank only

behind stamps and coins as the world’s third most popular collectable

uring the 16th and 17th tcenturies dolls were not the baby dolls we know today.

QUEEN ANNE or wooden dolls

It was during the early and mid 18th century that the first dolls of real quality emerged, today’s antiques. They had wooden or wax heads and bodies crudely carved from wood or suggested by stuffed rags. These are known as Queen Anne dolls. Their wooden torsos and gesso covered heads and shoulders were primitive but full of character, with oval eyes and tiny mouths. There were jointed limbs on the best examples, but linen and leather tubes stuffed with sawdust were (and still are) cheaper. Protective English import duties were levied against painted dolls from abroad and although some unpainted German dolls made their way into Britain, most Queen Anne types were local British. These dolls were often beautifully dressed.

PAPIER-MÂCHÉ dolls It is believed that papier-maché dolls were first made in 16th century Germany, mostly in Nuremberg. Their heads were first moulded from a composition of rye flour, water and animal or vegetable glue, loved by rats, so sadly few of these have survived. Dolls were sold door to door. The Regency period was a great time for doll makers and many toy shops opened in London. Toy makers from Germany produced catalogues from which retailers could choose their lines. Regency papier-mâché dolls came with a wide variety of heads to attach to available bodies as required. They were often sold undressed and so great care was taken in the finish of the bodies. Hairstyles were moulded, unless a particular complicated style was called for, when a wig of human hair would be used.

German heads were full of character and detail. They whistled, ogled and opened and shut their eyes and were multi-racial. The French market grew with doll heads made by the Jumeau family between 1844 and 1898. These were made from bisque (unglazed porcelain) and had large soulful glass eyes with bodies of kid on a wire armature or jointed wood. The most soughtafter Jumeau doll is that with a long face and a closed mouth. Not every doll believed by its owners to be a Jumeau is always authentic. Many collectors consider the Bru doll more remarkable than the Jumeau. Late in the 19th century, major doll manufacturers from both France and Germany exhibited at the large trade exhibitions held in Sydney (1879) and Melbourne (1880-81 and 1888-89). Several dolls from these exhibitions have been found in Australia, a direct link

‘Long face’ Jumeau (Paris)

from the great doll periods of Europe and Britain ● Jason Bridge COLONIAL COLLECTABLES 0431 403 897 colonialcollectables@msn.com Acknowledgement Photographs courtesy Lila Rait, Through the Nursery Window. A History of Antique and Collectable Dolls in Australia 1788-1950 (Melbourne: Oxford University Press, 1989)

WAX dolls The custom of giving effigy figures to grieving parents of dead children – when infant mortality was very high – gave rise to wax dolls. The ability to reproduce in wax precisely the texture and plasticity of human skin gave realism which some found unnerving. Poured wax dolls were custom made, some even made with the recipient’s own hair. Due to the lengthy process, high prices were demanded. There were a number of families of wax doll makers. Henry Pierotti and his family had multiple shops. Some of the dolls he made were modelled on his own children and looked rather Italian, although the hair, made of mohair was fair. Pierotti dolls have puce colouring and blue eyes. They turn their heads slightly to one side. Since the same moulds were used for many years up until the 1930s, some dolls are difficult to date. Pierotti is credited with inventing the Royal Model Baby in the early 1850s, when Queen Victoria had many babies. His luxury wax dolls, many done as portraits of the royal babies were shown at the 1851 Exhibition and were very well received, though expensive. The Montanari family produced wax dolls during the mid 19th century. Their dolls are plump with rolls of fat around the neck, dark hair and deep violet eyes. These dolls were thought very life-like. Priced from ten shillings to five guineas (undressed) they too were expensive.

CHINA dolls Nineteenth-century china dolls (glazed porcelain) came in many variations and generally survived better than wax dolls. The more formal and idealistic china headed dolls usually were more popular than wax doll heads. Germans dominated porcelain doll head and body production in the 19th century.

COLONIAL COLLECTABLES

ANTIQUES • JEWELLERY • OLD WARES BOUGHT & SOLD

9 Logan Rd Woolloongabba 4102 M: 0431 403 897 email: colonialcollectables@msn.com 47

ANTIQUES & ART IN QUEENSLAND

Lance Bressow (Australian, b. 1942), Portrait of Elvin Harvey

Traditional bookbinding and restoration

GN Olsson photograph restoration (before)

Traditional upholstery and fabric

GN Olsson photograph restoration (after)

Specialty glazing, restoration and repairs

Hand-painted, decorative and faux finishes

Inlay restoration, French polishing and colour matching

MASTERCRAFTSMEN LEGACY FOR FUTURE GENERATIONS Trades, Artisans and Technicians Relining cutlery canteens and boxes

n days of old, a 15 year old would commence an apprenticeship under a mastercraftsman and learn a trade under close guidance. By the age of 22, as a journeyman he might have remained in employment or would commence a business. He would not pass into the ranks of mastercraftsman until the appropriate guild assessed his workmanship as worthy of the title. Gary Olsson commenced his trade with renowned mastercraftsman, Elvin Harvey (b. 1913-2009) of Harvey Bros in Woolloongabba. Upon completing his trade with honours at 19 years, Gary chose to stay with Harvey Bros as a modern journeyman. He fine tuned his skills and expanded his knowledge base with guidance from

his great teacher Elvin, son of the internationally famous artist, woodcarver, teacher and mastercraftsmen, L J Harvey (1871-1949). After an adventure-filled period on an outback cattle station near the border of the Northern Territory and Western Australia, Gary returned to establish his own fine furniture and antique restoration practice in Brisbane in 1983. Years of hard work and continual improvement have seen him evolve into a mastercraftsman of distinction and exemplary skills, accepted into the highest ranks by guilds, both formal and informal. He is recognised nationally and internationally as a mastercraftsman.

Gary bears a solid reputation as an antique restorer and conservator, cabinetmaker and joiner (architectural features) with expertise in timber, veneer, inlays, leather and metal. However, such success does not happen by one man acting alone. Opportunity is a pre-requisite to growth. Gary is very grateful and pays homage to those who provided such opportunities: his teachers, antique dealers, interior designers, architects, builders and private clients. GN Olsson Mastercraftsmen (Brisbane, Gold Coast and Sunshine Coast) values the past and acknowledges its traditions. Skills of yesteryear are sustained through teaching the next generations. These skills are available for clientsâ&#x20AC;&#x2122; projects, whether building or restoring.

Box restoration and gilded leather inlay Card table English Strachan baise (refelting) Gilding and ornate frames

Leather embossing, monograms and logos Armour conservation and restoration

Blacksmith and metal restoration

Locksmith, micro engineering and metal casting

ANTIQUES & ART IN QUEENSLAND

Exact replicas and reproduction furniture

Intricate joinery and architectural features

Woodturning, wood carving and veneer inlays

Wicker work and hand woven cane

Strategic relationships with artisans and trades people in allied trades have been forged and maintained. These mastercraftsmen and artisans collaborate at Olsson’s in a modern equivalent to the workshops of old. The best in each field, usually their own masters, are brought together as a highly skilled team. With Gary Olsson’s orchestration, they collaboratively restore and create unique and superlative works including furniture, clocks, artefacts and architectural features. At the hub, he manages each project, taking full responsibility for each outcome. This creative synergy, fostered and developed by Gary, has strengthened over the 30 years of his private practice. It brings advances in design, craftsmanship, conservation and restoration, and even in reproduction, with exactness that astounds. This ingenuity brings out the best in people, ensuring the very best outcome for clients. To access the Olsson team of dedicated men and women, to utilise traditional skills and authentic materials for your restoration or custom work, simply ask by phone or email. We are here to offer old-fashioned service, and to create a legacy for the future. Fostering traditional craftsmanship and artistic skills is every bit as vital as making and conserving cultural material for our future generations. Our motto is Today’s Investments... Tomorrow’s Antiques and Heirlooms ●

Barometer restoration

Custom railing

Bentwood

Floor inlay

Gramophone restoration Horologist, clockmaker and restorer

Pietra dura (decorative stonework) and marble masonry

For further information about Gary Olsson and his accomplished team, visit the pages ‘About Us’ and ‘Our People’ on www.gnolsson.com.

GN OLSSON MASTERCRAFTSMEN 07 3888 1549 gnolsson@bigpond.com www.gnolsson.com

Music box restoration

Brass bed restoration

Brass lettering and metal casting

Silver and goldsmiths

ANTIQUES & ART IN QUEENSLAND

Brisbane Antiques, 12 January 2011, knee-deep after the first high tide had receded

Brisbane Antiques before the flood

A big clean up ahead

Antique showcases, as good as new

SURVIVING THE 2011 FLOODS

want to start this article by pointing out that there are people in Queensland and other parts of Australia, who have suffered enormously in the last months from natural disasters. Therefore, anything I write about distress and agony has to be seen in the relative light of what other people endured. On Christmas Eve we closed for a twoweek break and re-opened on 11 January, all set to resume trading for another year. However, by then the flood was on its way to Brisbane, so we were forced to move the entire contents of the shop. We were very fortunate as Bill and Val Trindall offered crisis storage in their Albion Antique Auction Centre, up the road. On 12 January, what should have been our second day of business was when we urgently emptied almost everything. Deceptively, with the sun shining brightly, the only evidence of the rapidly approaching flood was media reports, until water started ominously bubbling up from the drainage grates on the street late in the morning. By that same afternoon, even after the first high tide had receded, you can see from the photograph how high the water had been and how much still lay above the shop’s floor. Sadly, we had to leave behind anything too heavy or awkward to remove, most notably our collection of antique showcases.

HEARTFELT thanks We carry a large amount of stock and could not have achieved this monumental task

without the many volunteers who helped us. The kindness of Bill and Val Trindall is beyond repayment as we crammed their premises for the next week. It took a week to restore our shop, from cleaning out the silt, disinfecting, to drying carpet tiles and relaying them. Finally, we returned the stock and put it in order. It was a bit like packing and moving for an antique fair, only 50 times as torturous.

ANTIQUES surviving the floods The good news is that our antique solid timber and glass showcases dried and only needed their polish revived, as did solid antique furniture throughout Queensland’s flood zones. Restorers are working hard for Brisbane’s residents, rubbing solid furniture pieces back and waxing them – unlike the masses of modern furniture, crumbled on footpaths and now landfill.

PAIR of Doulton Lambeth vases, 1885 On a brighter note, I would like to share with readers this stunning pair of vases. They are the second largest pair of Doulton Lambeth vases I have ever seen, standing at 79 cm (31 inches). They are signed in four places by the artist Frank A Butler and are date marked for 1885. They are testament to the enormous skills required to produce pieces of this size, fired 126 years ago at approximately 1250 degrees centigrade in a coal-fired kiln, with none of today’s technical advantages. Even more remarkably, the artist was deaf.

By 1860, Henry Doulton had become extremely wealthy through the manufacture of sanitary ware, salt-glazed pipes etc. A story goes that Mr John Sparkes, the director of the Lambeth School of Arts that taught painting, sculpture etc, for some time had tried to interest Henry Doulton in hiring some of his students to produce art pottery. Doulton finally agreed to hire George Tinworth in 1866, and several pots were exhibited among the commercial wares on the Doulton stand at the Paris Exhibition of 1867. They received enough acclaim that Doulton agreed to hire two more Lambeth School of Arts students, the ultimately famous Hannah Barlow and her brother Arthur. Their creativity realised a 70-piece exhibit at the International Exhibition at South Kensington in 1872. That same year, the fourth student, Frank Butler who painted these vases, started at the works. By 1885, the year these vases were created, there were 250 artists employed. By the time of the Philadelphia Exhibition in 1876, Doulton was able to mount a display of almost 1500 pieces that were first viewed by 10,000 people at the works, before they were sent to the United States. Prime Minister Gladstone said of a piece by Frank Butler, ‘It was... a beautiful piece of work produced by a youth who from his birth was both deaf and dumb. What a cutting off of resources! What a stinting of the means of training and improvement! And then consider,

Pair of Doulton Lambeth vases, 1885, signed by the artist Frank A Butler

notwithstanding this, how through an inborn resolution in the centre of his being, it was in the power of this lad to make himself a producer of works that could command admiration on the score of beauty.’1 Another admirer of Frank Butler, who worked for Doulton for 39 years until 1911, was Queen Victoria. Butler worked essentially as a modeller, and far more than many of his colleagues he followed the contemporary artistic trends. His work reflecting elements of Art Nouveau are particularly striking. Perhaps their massive size indicates that these vases were made for an exhibition. I will share my continuing research in the next issue ● Graham See BRISBANE ANTIQUES PTY LTD 07 3262 1444 www.brisbaneantiques.com.au Note 1 Desmond Eyles, The Doulton Lambeth Wares (London: Hutchinson, 1975), p. 29

ANNERLEY ANTIQUES & ART IN QUEENSLAND

At Glassworx RESTORING LEADLIGHTS IS A HEALING PROCESS

ho could have imagined that, a few months into a new year, there would be so many terrible natural disasters already entrenched in our 2011 history? We are so lucky to work in an industry that is like a healing process as we restore old leadlights damaged by floodwaters and building collapses. We are also lucky that none of our staff’s houses or our business were affected by water. The whole episode of the floods is quite a surreal memory… we all knew people who were flooded and to see what damage and devastation is left behind is very upsetting. My deepest sympathy to all Brisbanites who have lost treasured possessions, gardens and homes. We were of course affected by the floods as we are situated on Ipswich Road. Our road was closed for safety and cleaning after the water subsided. Be assured that we are up and running now.

LEADLIGHTS for the next 100 years Of course, many leadlights in Brisbane are very old and mercifully, they can be restored to last the next 100 years. Recently, I have helped a number of young people who seem not to have learnt about how leadlight is made, its history and its durability. I have heard comments on pieces such as, ‘There are all these pieces of glass stuck together with black stuff and, ‘Our glass is bending and

broken and I don’t think it can be fixed… it looks very old.’ Well, yes it can be fixed! First homes buyers love the old windows in so many Queenslanders, but do not know enough about their manufacture and salvage. Luckily, many find us and our team works to achieve a very satisfactory outcome for the leadlights and the owners’ homes.

CUSTOM made Apart from restorations, we have received many special orders that are keeping us very busy. One large commission is for a fabulous eco house in Indooroopilly. It will have wonderful bright Australiana themed leadlight windows reaching high up in the rooms to reflect colours and ambience into large airy spaces. The house features a bank of six very large windows looking onto a wonderful garden. I am really looking forward to seeing the results when installed ● Denise Allen ANNERLEY GLASSWORX 07 3892 5352 mail@glassworx.com.au www.glassworx.com.au

Annerley Glassworx LEADLIGHTS, LAMPSHADES, TUITION, SUPPLIES, REPAIRS 770 IPSWICH RD ANNERLEY QLD 4103 PH: 07 3892 5352 www.glassworx.com.au

OPEN 7 DAYS 51

ASHGROVE ANTIQUES & ART IN QUEENSLAND

EXPERT FRAMING ADVICE: looking at moisture damage

any people have had significant water damage to their artworks and other framed pieces due to the recent floods. After your higher priorities, now is the time to check your framed pieces for damage. Even those items that did not go under water could be damaged by the high humidity levels over summer.

CHECK framed artworks Although floods and cyclones may not be an everyday occurrence, moisture damage is

quite common. Even a small amount of moisture from a leaky roof, high humidity or a damp wall can do significant damage to a work of art, especially works on paper. Moisture, particularly if combined with inferior framing materials and high ultra violet light levels, can cause damage to the paper from mould, acid burn and foxing. It is advisable to have your framer inspect your artworks every 10 years.

You should check your framed artworks regularly for any signs of deterioration. Works on canvas can suffer from mould damage, as traditionally canvas is not glazed. The canvas will deteriorate over time from the effects of dust, grime, absorption of varnish, cracks and flaking paint. Inspecting the surface with a glancing light can often reveal spotting from mould. As a general rule, works on canvas should be cleaned and re-varnished every eight to ten years.

FRAMES can deteriorate

ESTABLISHED FOR 23 YEARS

Frames can also suffer over the years and older items may not be framed with appropriate materials. Check the backs to ensure the tape is intact and still sealing the frame to prevent the incursion of dust and bugs. Many frames have a layer of compo (a form of plaster) that can crack and ornamentation can fall off. Frames and mats should also be checked for damage and discolouration. If the bevelled edge of the mat board is buff or a darker brown, it may be the older style acidic board. Inferior framing may not be immediately obvious and it is advisable to have your framer inspect your artworks every 10 years. Old photographs also suffer over the years. You may notice some of your old black and white photos have a silvery haze, caused by the silver halides in the photo oxidizing. Photos can be damaged by water, fading, insects and mishandling. They can be scanned, restored and reprinted to their former glory, to take pride of place on your rogues’ gallery wall. Like all of us, the effects of age creep up when no one is looking. So do not delay, it is time to check out your framing and artworks. It is best to remedy any damage now before any permanent damage happens.

THE right framer for the job!

DISCOUNTS FOR ALL FLOOD DAMAGE REPAIRS 109 1 09 Ashgrove Ashgrove Ave Ave ASHGROVE ASHGROVE 07 07 3366 3366 5211 5211 www.jubileeframers.com.au w w w. j u b i l e e f r a m e r s . c o m . a u Mon-Fri: M on -Fr i : 9 9am-5pm am-5pm S Sat: at : 9 9am-2pm am-2pm

Not all pieces are an original Picasso, but they may be valuable to you for the memories they hold. Conservation materials and techniques should be used to ensure the longevity of your valuable piece. Specialty glass is available with ultraviolet protection, including one that is so good at minimizing reflections you would hardly know it was there. When you are dealing with pieces that are important to you, it is best to find a reputable framer. Look for one that has been established a while and is government certified. For convenience in your busy schedule, it is good

Above left: Frame restoration: before and after Above: Photo restoration: before and after

to be able to go to one location to have all your framing, art and photo restoration needs met.

STEFAN Aleksiev, Framer Jubilee Framers is owned by Stefan Aleksiev who is a government certified framer. He offers a complete framing service. Stefan can organise the restoration of oils and works of art on paper, a highly specialised area of expertise and work that is carried out by our professional conservator who has over 50 years’ experience. He can be relied on to do an expert job in a timely manner. Photo restoration is done in-house and photos can be enlarged and printed on canvas and fine art papers. They can also restore damaged frames, particularly if they have historical value. However, you will be given frank advice whether it may be more economical to start afresh, as reframing can bring new life to a precious piece.

STRESS free choices Finding the right framing choice for your artwork can be a daunting experience for many people. The expert staff has years of experience and the necessary creative flair to make each framing special. Remember, sometimes simplicity can be the best option. All aspects of framing are considered for three purposes: to complement the artwork; to enhance it; and to take into account the environment in which it will hang. Having a wide range of frames and matting options to choose from is essential and you have them with us. Choose from a range of over 2,000 frames wich includes exquisite hand finished Italian frames that are ideal for that very special framing job, or a feature mirror that requires the ‘wow’ factor. Another option is the beautiful gold leaf frames from France that includes one with a hard to find art nouveau motif. No matter what the challenge, Jubilee Framers pride themselves on finding a solution to meet your needs and to exceed them ● Stefan Aleksiev JUBILEE FRAMERS 07 3366 5211 info@jubileeframers.com.au www.jubileeframers.com.au

CLEVELAND ANTIQUES & ART IN QUEENSLAND

Promotional novelty camera Cartoon character inspired novelty camera featuring Bugs Bunny

Gemstar model Micro 110 camera

Cigarette lighter in the form of a miniature camera on a tripod Highly collectable Mickey Mouse camera Teenage Mutant Ninja Turtle novelty camera

Novelty Popeye camera, plastic case

Promotional novelty camera made by Kellogg’s

Advice on collecting toy and novelty cameras from BAYSIDE ANTIQUE & COLLECTABLES CENTRE

hotography paraphernalia, such as cameras and photographs, is a popular and well-recognised collectable topic. A lighter side to this genre is entertaining, interesting and FUN – collecting toy and novelty cameras, whether functional or purely decorative. Older models are rare, so consider collecting toy and novelty cameras for their shape, colour or design and build a comprehensive collection without a great cost.

digital era makes their workings and novelty forms seem more attractive. The 110 Black Cat camera is highly sought after in Japan. Cartoon character cameras such as the Bugs Bunny item are rising in value, from $80 to $150, depending on condition. Complex miniature cameras, such as an early folding camera or the Peter Pan gramophone in a box camera case can cost hundreds of dollars.

Rob & Di Metcalfe BAYSIDE ANTIQUE & COLLECTABLES CENTRE 07 3821 0936 / 0419 671 279 baysideantique@optusnet.com.au

Camera, plastic case, black cat design

TOY and decorative cameras NOVELTY cameras that take photos Since the early development of cameras, novelty cameras have been made with expert designs and manufacture. One very early camera made by Sanderson in the 1890s resembles a hard covered book when the camera was closed. Another early example is the Expo Watch camera. This disguised camera was a popular novelty. The watch winding stem was the camera’s lens. First introduced in the USA in 1905, it was sold as late as 1939. Post-Bakelite, plastics were the ideal media for many varied and unusual cameras to be produced worldwide. These working novelty plastic cameras used 126, 110 or 35 mm film. The quality of the lens and therefore the photo produced may not be great, but the cameras are definitely quirky and eye-catching. The greatest variety were produced from the 1960s to 1990s and there are still more designs produced today. Popular cartoon character shapes were used for working cameras, particularly in the 1960s to 1980s, including Mickey Mouse, Bugs Bunny and many others from Disney, Looney Tunes, Hanna Barbera and other production companies. There are cameras in the shapes of Teenage Mutant Ninja Turtles, bear faces, clown faces and animals. Many miniature cameras were promotional material, shaped as a branded soft drink and beer cans, cigarette packets, fruit juice and cereal packs, and sporting cameras in the shape of balls. Some looked like a camera and displayed the company’s name and/or logo, generally produced in brightly coloured plastics. All these working novelty cameras are very popular and starting to jump in value. Perhaps the general demise of film cameras in the

There are also toys and mementos that look like cameras but are only decorative, coming in a huge range. They can be photo albums, handbags, piggy banks, belt buckles, candles, clocks, coasters, compacts, vanity, decanters and flasks, dishes and tableware, jewellery, key chains, lights, music boxes, pencil sharpeners, phonograms, puzzles and games, radios, ‘squirt’ cameras, statues and figurines, viewing devices or just toy cameras. Even McDonalds produced toys in the shapes of cameras to give away. Looking at the miniature camera on a tripod measuring only a few centimetres, would you have guessed that it is actually a functional cigarette lighter? My favourite, it now fetches between $80 and $200, depending on condition. Some items were shaped like the lens of a camera, such as a mug that easily fools one into believing it is a lens.

EASY to reach, easy to shop We are in the heart of Cleveland at 162 Bloomfield Street – look for our Roller Girl out front – with plenty of onsite and street parking. Alternately, we are easily reached via public transport, with a bus stop at our door, or a short flat walk from the Cleveland Railway Station through scenic Raby Bay Harbour and Cleveland CBD. The Centre has easy access for wheelchairs, motorised chairs, walkers and prams. Wellbehaved pets are always welcome too. A small guest area is available for customers and dealers alike to sit and relax with a complimentary tea or coffee. We are open 7 days a week from 10 am to 5 pm. The friendly team combine many years of experience and are happy to assist wherever they can. Please free to ask, ring or email, or simply drop in for a trip down memory lane ●

Over 30 shop spaces catering for a wide range of antiques, collectables and old wares, including furniture, ceramics, glass, silver, decorative arts, antique & estate jewellery, books, coins, medals, ephemera, art, toys, photographics, militaria, tools, plus a large vintage clothing area.

BAYSIDE ANTIQUE & COLLECTABLES CENTRE 162 Bloomfield Street Cleveland Queensland 4163 (UBD map 185 p18)

Ph: 07 3821 0936 • Mobile: 0419 671 279 Email: baysideantique@optusnet.com.au OPEN 7 DAYS 10 AM - 5 PM • On site and street parking • Approximately half an hour from Brisbane CBD • Dealer enquiries welcome re spaces & cabinets • Complimentary tea and coffee 53

ANTIQUES & ART IN QUEENSLAND

Paddington Antique Centre 167 Latrobe Tce (Cnr Collingwood St), Paddington 7 days a week 10 am to 5 pm Phone 07 3369 8088 (UBD Map 25 Ref E7)

2 2

The New Commercial Road Antiques

Brisbane Antique Emporium

Woolloongabba Antique Centre

Bayside Antique & Collectables Centre

➡

85 Commercial Road, Newstead 7 days a week 10 am to 5 pm Phone 07 3852 2352 (UBD Map 26 Ref B9)

Cnr Junction and Sandgate Rds, Clayfield 7 days a week, 10 am to 5 pm Phone 0417 605 562

22 Wellington Road, Woolloongabba (Cnr Nile St) Tues to Sat 9 am to 5 pm, Sun 10 am to 5 pm P: 07 3392 1114 F: 07 3392 1116 (UBD Map 26 Ref M9)

162 Bloomfield Street, Cleveland 7 days 10 am to 5 pm P: 07 3821 0936 (UBD Map 185 Ref P18)

The NEW Commercial Road Antiques

AT HARRINGTON ANTIQUES a fine antique demi hunter made by Charles Frodsham

egarded by many to be one of the most influential pocket watch and clock makers of the mid-Victorian era, the highly regarded London firm of Charles Frodsham (1810-1871) produced timepieces and regulators to discerning clients worldwide as well as marine chronometers to the British Admiralty. Having been granted a Royal Warrant in 1854, the firm serviced the royal clocks for 125 years and today continues the rigorous standards of its founder. Therefore it is very exciting to have in stock a high quality demi hunter 18 ct gold pocket watch made by this important firm. Features of the demi hunter include the hand engraved coat of arms of the (French) Bellingers/ (Irish) Bellinghams on the back of the case. This consists of a silver shield with a black engrailed cross between four red roses, the crest, a stag’s head and the motto: Amicus Amico, Hostis Hostis. The white dial bears the name ‘Chas Frodham’ and ‘07608 AD Fmsz.’

DECIPHERING the letter code The letters ‘AD Fmsz’ are on the dials and back plates of the majority of Frodsham watches. The letters are a cryptogram and the code is based on a numerical sequence of the letters in “Fordham’ with z equalling zero. The numerals ‘07608’ appear on both the dial and movement and would have been

produced around 1887-1888. Pieces with marks ranging from 07000-08000 were produced from approximately 1885-1890. The case bears the maker’s mark HMF (Harrison Miles Frodsham), the 07608 serial number, hallmarks for London and assay date of 1889. The movement is clearly marked: Chas Frodsham 84 Strand London, by appointment to the Queen.

AUSTRALIAN connections Frodsham exhibited at the 1879 Sydney International Exhibition and the Sydney Observatory purchased a sidereal regulator clock made by Charles Frodsham, 1835-1885. As the clock was used for transit observations – measuring planetary or lunar motion relative to the stars – it was often referred to as the

‘transit’ clock by observatory staff. By 1861 it had been modified to enable it to be connected to the ‘equatorial clock’ by electrical current and was in continuous use at Sydney Observatory for over 100 years. Today, it is a museum piece ●

HARRINGTON ANTIQUES 07 3891 3880

BRISBANE ANTIQUES & ART IN QUEENSLAND

SILKY OAK MASTERPIECE An Australian work of art

t is always a thrilling surprise when a piece of furniture picked up for repairs is immediately recognised as a ‘wow’ piece. This was our experience with a piece that recently came through our doors. Measuring approximately 60 cm in diameter and standing about 60 cm, I found this round table very exciting. The legs have been fashioned by hand and the structure is a bit amateurish, but it has worked for generations. The inlay on the top is the ‘wow’ for me.

INLAY details The inlay on the tabletop, in the form of a chessboard with player’s positions and perimeter details, is an absolute work of art. On close examination, it is made of individually inlaid small octagonal and square blocks glued to the substrate. The detail and extent of the inlay work on this tabletop is phenomenal; it is made up of many thousands of individual pieces of timber. As I occasionally repair inlaid pieces, I appreciate the precision, patience and time required to create such work. Repairing it took nearly the same amount of time, with handrepair techniques and traditional materials sourced for this special table. Its dappled patterning and golden hue immediately identifies the timber used as silky oak, a timber loved by Queenslanders and recognised across Australia as a uniquely Queensland timber. In this table are silky oak and its sub-species, among them Southern Grevillea, Red Stenocarpus and Spotted Buckinghamia.

SILKY oak Silky oak occupies a unique place in Queensland’s environment, history and

regional culture. The native habitat of the silky oak (Grevillea robusta) is restricted to southern Queensland and northern New South Wales, with Brisbane at its centre, although it now grows all over Australia. Older objects made from silky oak usually have not travelled far from the original native home of the Grevillea robusta tree. This adaptable timber has suited many different forms and functions, from tiny treasures through to impressive 19th century carved sideboards and homemade pieces such as this table. Since the 19th century, the timber of this distinctive local tree was used throughout houses and public buildings, as well as to create furniture and everyday items of astonishing diversity. Today, designers and craftspeople continue this tradition by choosing silky oak to create striking and original objects. Two accolades are due for this piece. First, whoever had the patience and skills to make this piece must be recognised as a master craftsman and should be identified for our heritage records. Second, the piece is a true work of Australian art. It has returned to its owners who are ecstatic about the restoration of this Australian masterpiece ●

Maker unknown, Table, silky oak and silky oak inlay top in form of a chessboard. Private collection

We offer over 35 years’ experience & expert knowledge in restoration Our services include: • Non-caustic hand-stripping • Repair of all types of damage to antique furniture • Hand French polish or lacquer finishes • Veneer and inlay repairs • Pick-up and delivery

WE MANUFACTURE TO ORDER FREE QUOTES

Manfred L. McIntyre MANFRED L. McINTYRE ANTIQUES 07 3356 5613 Further reading Keith R Bootle, Wood in Australia, Types, properties and uses (Sydney: McGraw Hill, 2005)

07 3356 5613 4/272 NEWMARKET ROAD WILSTON, BRISBANE 55

ANTIQUES & ART IN QUEENSLAND

Type 10 crowned head square penny 1920

Type 6 square penny 1919

BEING SQUARE IS DEFINITELY ‘IN’ when it comes to rare coins

ad the 1921 government plan proceeded, Australian copper pennies would have been replaced by something very different – square cupronickel coins. This plan gave us some of the most fascinating and rarest Australian coins ever produced. The rarity of those square coins, struck between 1919 and 1921, combined with their novel shape make for a high and rising investment value. That value was well understood by a Coinworks customer who paid $145,000 to acquire an elusive 1920 square penny in July 2010. Four months later, it has been re-valued at $155,000. Australia’s pattern kookaburra pennies are one of Australia’s most successful investment coin series. Sir Reginald Marcus Clark was an

avid collector of prime Australian currency. In 1954, his five kookaburra pennies fetched between £8 and £12 each and a kookaburra halfpenny fetched £24. By the mid-1970s, the square penny commanded a minimum of $300, and $600 for the square halfpenny. Today expect to pay a minimum of $95,000 for the square penny and $300,000 for the halfpenny.

THE HISTORY As part of a grand plan for change after World War I, the Australian government proposed a major currency overhaul. The radical idea, said to be the inspiration of Treasurer William Watt, was to replace the traditional bronze coppers with a square shaped penny in an alternative metal. The design choice of the kookaburra was clear evidence of a new post-war Australian nationalism.

A limited number of individuals, companies and organisations, including Treasury and the Royal Mint in London, submitted sketches and designs. Treasury controversially endorsed the depiction of an uncrowned monarch on the kookaburra square coins, eventually receiving Royal approval. Square facts Just prototypes Only in 1919, 1920 and 1921 Made at Melbourne Mint Eleven penny designs Two halfpenny designs Approximately 200 coins Never in production Never circulated Prototypes were produced between 1919 and 1921. The Melbourne Mint issued eleven different penny designs and two of the halfpenny. Varying quantities were produced, totalling about 200 coins. To test the acceptability of the proposed changes, prototypes were passed to Treasury officials, Parliamentarians, business leaders and members of the public. These prototypes are exceptionally rare, exceedingly valuable and have an iconic status in Australia’s rare coin industry. The response was generally poor and the public showed resistance to change, while the practical barrier was the incompatibility of square pennies with vending machines operated by round pennies. Change became less likely when William Watt, the most influential proponent of the cupro-nickel kookaburras, resigned as Treasurer before the necessary regulations were in place. The kookaburra coins never went into production or circulation.

THE 1919 kookaburra coins Four penny designs were tested in 1919; each had minor variations in the style of the kookaburra and the legend. One of the most elusive of those 1919 coins is the Type 6 square penny. Over the last 35 years, only five examples have been at auction. The depicted 1919 Type 6 square penny was first at auction in 1993 and sold for $8400, but in 2004 it fetched $49,000 – a 5,800% increase in 11 years.

THE 1920 kookaburra coins Five different penny designs were tested in 1920, along with a very elusive and tiny halfpenny. Regarded as the glamour coins of the series, they fetch a minimum of $155,000. The only square penny to feature a crowned King George VI obtains up to $400,000. When two examples of the 1920 crowned head square penny came to auction in 1989 and 1993, another period of global financial crisis, these type 10 coins more than doubled in price. The specimen in 1989 fetched $10,200, while the example in 1993 fetched a

Type 12 square penny 1921

new price record of $23,500. During the recent global financial crisis, the latter example purchased in 1993 fetched $350,000 on a pre-auction estimate of $300,000. Only three examples of the 1920 halfpenny are known. The most recent available coin was auctioned in 2007 for $380,000, having been acquired in 1986 for 19,500 – a 2,000% increase over 21 years.

THE 1921 kookaburra coins Two square penny designs were tested in 1921 and just one halfpenny, and these are the leaders of the strong investment growth of the kookaburra series. The 1921 coins make at least one appearance at auction every year, with the following prices from the annual Industry Price Guide indicating the growth: 2010 – $95,000 2008 – $75,000 2006 – $49,000 2004 – $32,500 2002 – $13,250

COINWORKS kookaburra registry Not surprisingly, given the extreme rarity and exceptional capital growth of the kookaburra coins, there are waiting lists to acquire them. Coinworks’ kookaburra registry provides information and alerts on available specimens ● For more information or to register contact COINWORKS 03 9642 3133 info@coinworks.com.au

ANTIQUES & ART IN QUEENSLAND

DAZE

GONE BY OF GYMPIE

We currently have a large stock of quality Edwardian, Victorian and Georgian furniture. Plus Victorian, carnival & depression glass, oodles of china from Meakin to Worcester, lamps, clocks, and a wide range of collectable & desirable objects. VISIT OUR NEW WEBSITE to view a small selection of what we have to offer www.dazegoneby.com.au

CHAMBERS & CROSTHWAITE ANTIQUES 26 Nudgee Road (cnr Stevenson) Hamilton, Brisbane Antique and estate jewellery, porcelain, linen, silver, silver plate, glass, crystal, collectables and furniture bought and sold Shipments of sterling silver constantly arriving

Phone 07 3268 6778 Member of QADA

SUBSCRIBE SAVE &

2 MINUTES OFF THE BRUCE HIGHWAY, 15 CALEDONIAN HILL GYMPIE 07 5482 4571 Open Wed-Sun 9 am-4 pm

Australis of Montville Antiques

collectables ONLINE EDITION 6 issues – $25 11 issues – $50

SAVE 51% SAVE 59%

@ worldaa.com

collectables trader

SUBSCRIBE TO THE MAGAZINE AND SAVE OVER 22% – includes FREE delivery within Australia YES! I wish to (please tick one) ❏ subscribe ❏ extend an existing subscription ❏ send a gift subscription 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) I enclose my ❏ cheque/money order payable to JQ Pty Ltd OR charge my credit card: ❏ Visa ❏ Mastercard ❏ American Express ❏ Diners Club

We buy & sell quality antiques & collectables including a large range of • jewellery • fine china • silver • pottery • furniture • investment pieces

❏❏❏❏ ❏❏❏❏ ❏❏❏❏ ❏❏❏❏

Overseas rates available on request

For credit card orders call 02 9389 2919 or fax this coupon to 02 9387 7487 or mail to Collectables Trader, PO Box 324, BONDI JUNCTION NSW 1355

The largest range on the sunshine coast 162 Main St, Montville, Qld 4560 Ph: 07 5442 9400 shireantiques@bigpond.com Days of business: OPEN 6 DAYS • CLOSED TUESDAYS

MANSON FRAMERS

Langford jewellery & art

Mon-Fri 8.30 am - 5 pm • Sat. 8.30 am - 12 pm

ANDREW & RONALD STS WYNNUM QLD 4178

07 3396 4251

PATSY

KIMBELL ANTIQUES 184 Mooloolaba Road Buderim QLD 4556

07 5445 4033

Send Collectables Trader to: Name: ...................................................................................................................................................... Address: .................................................................................................................................................. .....................................................................................................................Postcode: ........................... Daytime phone: ......................................Email:.......................................................................................

Subscribe to the online

Palmer edition and save 48% @ worldaa.com

valuers & consultants

MFG PTY LTD

• RESTORATION OF OILS, PAPER ART AND FRAMES • CONSERVATION FRAMING • TAPESTRY AND ART SUPPLIES • CUSTOM MADE STRETCHERS • SPECIALISED MATT CUTTING

Cardholder Name:.....................................................................................Expiry Date: ........................... Signature: ................................................................................................Date:........................................

Valuations & Appraisals for Purchase, Insurance & Divisional Purposes • Registered Art & Jewellery Valuer, Queensland • Specialist auction advice • Bidding and representation • Confidential assistance with the purchase and sale of art and jewellery for individual and corporate collections • Organisation of projects: exhibitions, lectures and presentations • Writer on the visual arts and jewellery/gemstones When you next consider your arrangements for appraising art works and jewellery we welcome the opportunity to understand your requirements and quote accordingly.

1 year 2 years 3 years

$16 $32 $48

world

art

Antiques & of

An essential resource for collectors since 1966

DELIVERED SUBSCRIPTION

within Australia

Company: ........................................................................................................................................................... Mr/Mrs/Ms: ............................................................Surname:. ............................................................................ Address: .......................................................................................................................Postcode: ..................... Tel:..................................................................Email:..........................................................................................

I wish to ❏ subscribe ❏ send a gift subscription (please tick one) to World of Antiques & Art starting with the current ❏ or next ❏ issue ❏ 1 year subscription $34

❏ 2 year subscription $67

Postage within Australia. Overseas rates on request

❏ 3 year subscription $102

I enclose my ❏ cheque/money order payable to Antiques & Art Pty Ltd OR charge my credit card: ❏ Visa ❏ Mastercard ❏ American Express ❏ Diners Club Card No:

❑❑❑❑ ❑❑❑❑ ❑❑❑❑ ❑❑❑❑

Cardholder name:..........................................................................................................Expiry Date: ......./ ........

Langford & Palmer t +61 0439 789 194 a PO Box 174 Indooroopilly QLD 4068 AUSTRALIA

Signature: .................................................................................................Date:.................................................

Antiques & Art Pty Ltd PO Box 324, Bondi Junction NSW 1355 Australia t: 02 9389 2919 f: 02 9387 7487 e: editor@worldaa.com www.worldaa.com

BULIMBA ANTIQUES & ART IN QUEENSLAND

Saving the past for the future at Silversmiths and Platers

MODERN SOLUTIONS: Traditional techniques

t has been a very different start to the year for us at Silversmiths and Platers, as it has been for most businesses in this part of the world. Our well-laid plans of taking a break until mid-January were cast aside as we were in the path of the floodwaters. To avert disaster we found ourselves having to move quickly, relocating customer jobs, disconnecting electronic equipment, and implementing contingency plans in the wake of Council warning us that the floodwaters would flow up to 80 cm through our Bulimba premises. Although insured, we were very aware that customer jobs held valued memories that money alone would not replace, and so

concentrated on relocating some 600 items to a safe storage. Fortunately, the waters did not rise to the expected height, and we were lucky enough to stay dry. As many of our customers did not fare as well as we did, the last couple of months have been spent providing advice, then quotes and insurance claim advice for those who were unfortunate enough to be flooded. The only upside for people with metal items damaged in the floodwater is that in most instances we have been able to repair them. Unlike many books, paintings and some types of furniture, the flood affected antique metal wares tended to have survived the

F.J.MOLE – SILVERSMITHS EST. 1913

Also trading as Silversmiths and Platers F.J.Mole-Silversmiths continues their tradition of nearly 100 years of silversmithing in Brisbane. Manufacturers and Restorers of Silverware, Trophies and Churchware SPECIALIST RESTORERS OF ANTIQUE METALWARE Sterling Silver Items • Brass and Copper Wares Pewter • Bronze Figures • Silverplated Items BRASS AND IRON BEDS RESTORED AND FOR SALE

WE ARE RELOCATING FROM EASTER We will be closing our Bulimba premises on 21st April and opening at Birkdale on 3rd May 2011 We will continue to offer free pickup, while the workshop will be by appointment only from 3rd May

Please see www.silversmithsandplaters.com.au for details Phone 07 3899 8383 • Mobile 0403 052 402 sales@silversmithsandplaters.com.au • www.silversmithsandplaters.com.au

PLEASE RING US BEFORE COMING IN Mail Order welcome to PO Box 3088, Norman Park 4170 58

turmoil and are being restored to their former glory. As with all our quotes, we are happy to provide people with advice and recommendations at no cost or obligation.

RELOCATING to Birkdale: Opening 3 May We are also eagerly planning our move, which will be taking place over Easter. After 15 years in Bulimba the time has come where we feel we can provide customers with better service and attention by moving the business home, giving us greater flexibility with working hours and the bonus of saved travelling time. We will continue to undertake our electroplating operations off-site, enabling us to spread our ‘cleaner’ tasks out more. The majority of our work is picked up and delivered by us, and we intend to continue this service. We undertake commissions on a large variety of items, often requiring long periods of concentrated detailed work. To ensure that we can concentrate on the tasks at hand without multiple ad-hoc interruptions, visits to the workshop will be by appointment only.

A LOOK at some of our restoration projects I thought it would be interesting for people to see some of the items we have recently restored. The first item is a Scottish horn and silverplate dinner gong mounted on an oak base. I found this neglected piece in a cabinet at an antique fair. The mounting screws were missing, the silver plating was worn off, and the horns had been allowed to dry out. Firstly, we took a photo of the dinner gong, which gave us a record of the pieces before we dismantled it, as well as indicating the correct assembly. Next we sourced some small slotted old-style screws, an item becoming harder to get but very important to maintain the correct period of the piece. We then stripped and polished the timber, and treated the horns before polishing them. The metalwork was also silver plated and polished and finally the whole reassembled. Although decorative, this dinner gong is not to everyone’s taste. We have found it to be it to be functional, calling children in from the yard for dinner and it has become a centrepiece for discussions about times past. Another item is a lamp we’ve been asked to restore. This had a heavy build-up of verdigris under the lacquer coating. We stripped this off, pickled the metal to remove the corrosion, and polished it to the original shiny brass finish.

Because it is a difficult object to keep clean, we decided that the best way to preserve it in a presentable condition would be to apply a lacquer which would prevent corrosion from reoccurring. Once our work is complete it will be sent to our preferred electrician who is experienced with the repair and restoration of antiques. He ensures that the electrical work undertaken does not compromise the ‘antique’ appearance of an article. We’ve also been doing lots of silver restoration. The three-section dish shown in the picture dates to the early 20th century, and was made by the noted English firm Walker and Hall. When it came to us it was heavily corroded, the handle was loose, and one of the feet was missing. Despite its decrepit appearance it is a treasured family memento, which the family wants prepared for passing on to the next generation. The first step was to cast a replacement foot using a rubber mould and the lost wax process. Although time consuming, this allowed us to create an exact match, which is important if a piece is to be restored to its former glory. As the handle was off, it was much easier to polish so removing the corrosion and then to prepare it for repair. Once the pieces had been recast and repaired, the plating was done, followed by a finish polish and finally wrapped ready for collection. The final piece I want to talk about is a simple drawer handle. A customer came to us with a handle back plate which was missing the flopper. Originally fitted to a large 19th century chest of drawers, they had many years ago replaced the plate with a modern handle. They now wanted to replace the flopper. We took a flopper from another one of the chest’s handles and sand cast this to make a replacement. Sand casting is an inexpensive way of producing a copy, and is ideally suited to items such as handle floppers where you don’t need to make multiple copies and there is not a large amount of fine detail. It is also quick to do, with the entire job taking less than an hour; a pleasing outcome when we are able to provide customers with a restored item such as this. As we complete our move we will make sure to keep our details up to date at www.silversmithsandplaters.com.au. Please always check the website and make an appointment before coming in to our new premises ● F.J.MOLE-SILVERSMITHS 07 3899 8383 www.silversmithsandplaters.com.au

KILKIVAN ANTIQUES & ART IN QUEENSLAND

Victorian chest of drawers

Cedar bookcase

KILKIVAN FINE ART & ANTIQUES giving everyone a little something back

he management of Kilkivan Fine Arts and Antiques would like to pass on their sympathy to all those Australians who have been deeply affected by floods and cyclones. We offer 15% off all our stock to anyone who produces this advertisement to us. This may help anyone who has lost antique furniture or any fine china pieces in the recent flooding and storms. Rest assured, we are only a small business but we will endeavour to do our best to help anyone with their needs in these sad circumstances and times. The 15% off all stock is just not for flood victims, but for everyone in the whole community, to give everyone a little something back.

SPECIAL requests Please phone us with your requests so that we may assist you finding replacements as best we can. Explore our large range of china to replace your special pieces. We carry fine pieces from notable manufacturers including Royal Doulton, Shelley, Wedgwood, Royal Worcester and Moorcroft. Two English firms whose earthenware and ironstone are popular among Queenslanders are those are of J & G Meakin, founded in 1851 and W H Grindley & Co, which set up in 1880 at Stoke-on-Trent.

FURNITURE for all rooms If needing to refurnish any rooms or to replace accent pieces, we have some great furniture in store, from cedar to silky oak. There are dining suites, wardrobes, tables,

English oak barley twist table, 6 chairs and 2 carvers, matching sideboard

Silky oak display cabinet

chairs, sideboards and bookcases, to name some of the stock we carry and replace regularly.

ACCESSORISING Restore your sense of home with an artwork to enhance or compliment a setting from our large range of original art. If ephemera are your passion then our stock of old tools, bottles and strange items will give you a â&#x20AC;&#x2DC;newâ&#x20AC;&#x2122; start on enjoying old treasures once again. Kilkivan Fine Art and Antiques is open from Thursday to Sunday between 10 am and 5 pm. Take a day off from the cleaning and paperwork after the disasters, and have a relaxing day outing to the South Burnett region to pay us a visit in Kilkivan. Please do come in and browse through our extensive range of furniture, fine arts and china pieces. You may find a replacement for that treasured piece you have just lost or perhaps a similar item. If unable to visit and browse through our extensive range, then please phone or email with your inquiries. We will endeavour to help you fully and will even post items to you if you cannot visit our shop. We are confident that Queensland will be back to normality soon. KILKIVAN FINE ARTS AND ANTIQUES 07 5484 1602 info@kfaa.com.au www.kfaa.com.au

HELPING AUSTRALIANS 15% OFF ALL STOCK!!

6 Bligh Street, Kilkivan, Queensland 4600 Ph: 07 5484 1602 Fax: 07 5484 1603 Email: info@kfaa.com.au Website: www.kfaa.com.au OPEN Thursday to Sunday 10 am to 5 pm

CROWS NEST ANTIQUES & ART IN QUEENSLAND

S A LT S A N T I Q U E S C ROW S N E S T Phone 07 4698 1266 Mobile 0438 469 812 0408 989 032

OPEN Wed – Sun 9 am – 4 pm Please ring first

S TILL THE BIGGES T AND BES T ON THE DOWNS Now at

www.saltsantiques.com

Lots of live steam

Good selection of gramaphones

40+ sewing machines 8 bells & Gongs

Choice of 30

1920s for rebuild

Selection of tantalus

Tables full of Depression glass

Over 30 China cabinets

Georgian brass + uranium glass

Over 700 pieces of furniture

1894 ‘What the Butler Saw’ machine

Cocktail cabinets

Rare find

Music boxes, polyphones and phonographs

Live steam available

Fancy cabinets

Choice of enamel signs

E: saltsantiques@bigpond.com • rogersalt@bigpond.com

Choice of 6

Over 90 sideboards

Dozen+ pre-war radios

Always lots of new stock

150 pieces of Cranival glass

Over 200 clocks available

ALL ROADS lead to Salts Antiques

evastation has struck us daily from the floods and cyclones in Queensland with people trapped and misplaced and a terrible loss of life. There are many roads closed and landslides, water everywhere, and the massive task of rebuilding and clearing up – still difficult to comprehend. On a very small scale, this is the flood story of Salts Antiques in Crows Nest, a small country town high in the hills. You would think ‘No problems there’ – not much! It started after the big rains. Roy who lives only five kilometres from the shop, pulled out of his garden to drive on to the road – what road? There are giant craters where his road used to be, some up to 10 metres across and no road to drive to Salts Antiques. Now walking, he took a careful stroll down to what used to be a small creek crossing, only to see a raging river over 35 metres across – and no road at all. Roy was stuck at home for 10 days, but meanwhile Roger, who gets to work by a different route, managed to fight in and open the shop. While there were not many customers about, he had sold goods to deliver and other items to sort out. With plenty to do while stuck at home for 10 days, Roy heard that most roads were closed in most directions. Finally, Roy waded the nowreduced creek that was cold, deep and fast, then made his way to the shop. He promptly went out, bought a four-wheel drive vehicle and talked to the local council about putting in a track by another route. Now he drives 18 km to work by a bush track that scares the hell out of him. So, we are both finally back at work. A few more roads are now passable and to our surprise,

customers turn up to buy and browse. It looks as though there will be a demand for antiques after the flood disasters, so we are all moving on. We will see you in Crows Nest any time you are ready to browse or buy, and ring or email with what you are hoping to replace that was lost in the floods and we will try to help you put your home back together.

UK buying trip The UK buying trip is on again. Roger and Natasha left in March to fill another 40-foot container that will arrive in store in June. Our buyers have been busy in the snow and cold going round on the hunt for us, finding plenty of smalls and unusual lots. Already bought is a rare clock polyphone, as well as sets of chairs, chests of drawers, tables, display cases and desks. Prices in the UK seem to be down due to the hard winter they have had and our high dollar. Do not miss the arrival of new stock in June – make a note in your diary for around mid-month. Come and see us for your needs. If you are looking for something special ring now and we will try to acquire it for you on our buying trip. Our new website shows only a fraction of what is in the store. We hope to add hundreds more articles to view. Many thanks to our web buyers and browsers taking the effort to view. What do you think of it so far? Email us with any comments to make our site better for all. Anyway, Roy is still taking his 18 km bush road to the shop ● Roy & Roger Salt SALTS ANTIQUES CROWS NEST 07 4698 1266 www.saltsantiques.com.au

Roy’s Road

TOOWOOMBA ANTIQUES & ART IN QUEENSLAND

LANCASTER’S TOOWOOMBA ANTIQUE CENTRE 16 years old and going strong

ancaster’s Toowoomba Antique Centre is now celebrating its 17th anniversary. Located in Queensland’s garden city, nestled on the Great Dividing Range, Toowoomba is one of Australia’s leading centres for antiques and is home to more than a dozen antique shops. Lancaster’s Antique Centre is a must see when visiting the Darling Downs. After 17 years of trading from their Railway Street address, Lancaster’s has never been more progressive. The Christison family have owned and operated the antique centre since June 2002 when Jan and Barrie purchased the business from Graham and Gary Lancaster, the original owners who traded for the first five years. Since then, Jan and Barrie’s daughter, Sharon, and her team have successfully managed and orchestrated the workings of this bustling centre. Located opposite the historic Toowoomba Railway Station, it is easily reached from Brisbane or the Gold Coast, both less than an hour and a half away. Lancaster’s has certainly come of age and is regarded as one of the leading Australian antique centres with fourteen dealers displaying their wares; a showcase for the best of what southeast Queensland has to offer. Toowoomba, the gateway to the golden west, has always boasted a relatively large and wealthy population. This is reflected in the quality antiques and

collectables this city continually yields. Whether you are looking for Australian furniture, cedar, pine or silky oak, or even that one-off piece in English oak or mahogany – Lancaster’s always has an excellent range to choose from. But the real ‘jewel in the crown’ of this centre is the myriad of showcases and cabinets housing thousands of small antiques and collectables. There is fine china, quality glassware, jewellery, sewing paraphernalia, blokey stuff, metal ware, coins, medals, militaria, books, ephemera, toys, dolls, teddies, pottery, the list goes on. Whether you are an established collector, a beginner or just a browser, you are sure to enjoy the enormous range. There is a definite leaning to Australian and locally found pieces, a trend that has emerged and replaced the shiploads of antiques imported in the 1980s and 1990s. Lancaster’s is always buying and paying top prices for antiques and collectables. Whether you are a local or a visitor to Toowoomba, appraisals and valuations are most welcome ● Lancaster’s is open seven days a week, 10 am to 5 pm. Come and enjoy the huge range and fantastic display. LANCASTER’S TOOWOOMBA ANTIQUE CENTRE 07 4632 1830

Lancaster’ s

TO OWO O M B A

ANTIQUE

CENTRE

Australiana, Books, Collectables, Dolls, Ephemera, Furniture, Glassware, Hatpins, Inkwells, Jewellery, Kitchenalia, Linen, Metalware, Noritake, Oriental, Pears prints, Qld pottery, Royalty ware, Shelley, Toys, Unique pieces, Venetian glass, Wembley Ware, Xylonite,Yo-yos and Zithers With 14 specialist dealers under one roof, we carry a full range, from A–Z, of antique and collectables, with fresh stock arriving daily. Drop in for a browse, or chat with our friendly staff. Open 7 days 10 am - 5 pm 3 Railway St,Toowoomba Queensland 4350 Phone: 07 4632 1830 Mob: 0403 372 054

TOOWOOMBA ANTIQUES & ART IN QUEENSLAND

Double bow front/Serpentine bed (also known as the wedding bed)

Beds and furnishings in catalogues

Italian bedsteads in the Anthony Hordern & Sons catalogue

SHARING TIMELESS SECRETS: How do we know what we know?

fter 30 years of antique brass bed restorations we are still thrilled to return a brass bed to its original design and all its intricate detail and shining glory. Sometimes we have commenced with a client’s tangled mess of iron posts, brass pipe and a box of over 60 assorted brass pieces. Many times intricate pieces are missing and those feature porcelains, brass plaques and brass casting moulds have been lost or utilised for some other decorative purposes. Each bed

is a challenge somewhat like putting together a jigsaw puzzle and we are proud to ultimately return the jumble back into a family heirloom for our clients. Our research on how the bed would have looked brand new includes two principle sources. First we consult the range of original mail order catalogues from which we are able to identify the client’s surviving pieces and match them to the original bed design. These original mail order catalogues are valued

TIMELESS

Antiques

Mark & Lynne Bennett Specialists in Original Brass Bed Restorations

Phone: 07 4633 1195 Mobile: 0412 071 160 117-119 McDougall St Toowoomba QLD 4350 Email: timeantq@bigpond.net.au www.timelessantiques.com.au

Taking care of furniture for generations of tomorrow 62

reference books as they contain a wealth of information, especially in the intricate illustrations of brass beds. Each item had a detailed description, an elaborate illustration, colour and size and of course the price, as in the following extract from ‘Anthony Horden & Sons Pty Ltd, Universal Providers, Sydney.’ Italian Bedstead, 2 in. parallel post, enamelled Black, mounted Head, Foot rail richly mounted with Porcelain spindles, 3 Brass Rings and Brass cast Mounts and Gallery (DX612) 6ft 5in x 4ft 6in ................................£12/15/6ft 6in x 5ft ........................................£13/5/These early catalogues are a useful and precise visual reference for all manner of items, including jewellery to fashion, books to toys and hardware to farm equipment. Catalogues serve as a time capsule of daily life in the early 1900s, so sourcing these catalogues will guide you in the authentic decorating trends of that time. Another important source of information on original bed design and period display is the furnishings of historic homesteads and National Trust properties. We encourage collectors to visit historic properties to see the different styles of beds and how they have been displayed in these homes for genuine period decorating ideas that are rarely displayed elsewhere in Australia. You will also learn how to dress a bed suitably for its particular period from the carefully researched displays. Every visitor is also assisting in retaining our heritage when paying a modest entry fee to each historic property. Many early beds did not have a full tester as shown in the Italian Bedstead catalogue illustration. Instead they had ‘swing arms’ which allowed the drapes to be hung alongside the bed, an ingenious option that stopped draughts across their faces whilst they slept. Australia’s flying insects and creeping reptiles encouraged bed makers to create both square and round testers to which long mosquito nets could be fitted, which certainly would have improved the quality of sleep. From original catalogues we have disproved a common misconception that the queen size is a new bed size of recent years. Original catalogues include bed designs that are now known as queen size (catalogue size 6 ft 6 in long by 5 ft wide). Catalogues also offered King and up to Emperor sized beds (8 ft long by 8 ft 6 ins wide). The majority of people

still purchased double beds regardless of the temptations of the catalogues. Our own catalogue offers people a range from which to identify what they are visualising for their bed. Magazine clippings kept for years by customers on their ‘wish list’ are also helpful design starting points. Each old bed has its unique history. Clients have shared with us the individual histories of beds, and how they have acquired their particular brass bed. This history gives us a greater appreciation for our pioneers who purchased a stylish bed from a catalogue that was probably dispatched on a train and possibly delivered by a horse drawn vehicle to their home, and the subsequent owners (and neglect) in the decades since. Personal details like these should be passed on to ensure the unique history of each brass beds is not lost. Finally, there is no doubt in our mind that there is a bed style for everyone. We continue to discover beds which we have never seen before. One of our personal favourites is the serpentine or double bow front that is sometimes known as the wedding bed. This bed was extended to queen size. Thank you to the readers of Antiques and Art in Queensland for supporting the goals of our small business. Our aim is to continue ‘taking care of furniture for generations of tomorrow’ ● Mark and Lynne Bennett TIMELESS ANTIQUES 07 4633 1195 www.timelessantiques.com.au

TOOWOOMBA ANTIQUES & ART IN QUEENSLAND

Quality entries now invited for

Lancaster’s Auction Rooms 3 Railway Street TOOWOOMBA QLD 4350

FORTHCOMING AUCTIONS

Ph: 0418 730 904

Sunday 17th April 2011

Fax: 07 4613 1111

* Antique Bottles, Pot Lids & Stoneware. Dates to be announced for * Australiana & Pottery * Advertising Signs, & Garagenalia. For details check our website www.gdlauctions.com.au

Email: info@gdlauctions.com

View Catalogue & Photos One Month Prior to Each Sale: www.gdlauctions.com

WE AUCTION We are Australia’s leading auction house for: ◆ Australiana, pottery and carnival glass ◆ Advertising signs, tins and pub mirrors ◆ Antique bottles and stoneware We conduct both ‘In House’ auctions and ‘On Site’ sales

Sold $6,650

Sold $4,450

We will travel anywhere in Australia for major collections. For professional and confidential service and the very best results

Contact Graham: 0418 730 904

WE BUY

Sold $330 & $1,220

We are always interested in buying or consigning entire collections or quality individual items We are especially interested in antique bottles, advertising signs,

Sold $16,650

Australiana & pottery. We pay top cash prices for good collectables! For prompt service and the best price

Contact Graham: 0418 730 904 Sold $13,500 Sold $19,400

WANTED Sold $5,550

For Next Auctions

Sold $18,200

◆ Australian Pottery ◆ Enamel Signs & Garagenalia ◆ All Things "Blokey" ◆ Antique Bottles ◆ Whole Collections or

Quality single items Sold $4,800 Sold $12,750

Sold $20,000

Sold $11,000

ANTIQUES & ART IN QUEENSLAND

IPSWICH ART GALLERY IS BEING INVADED by monsters & beasts until 29 May

liens, gorillas and hideous monster-like creatures have invaded the Ipswich Art Gallery. How to Make a Monster: the art and technology of animatronics reveals the secrets of motion picture magic in this fascinating behind the scenes exhibition. How to Make a Monster features the work of John Cox and his company John Cox’s Creature Workshop. Cox, along with Scott E. Anderson, Neal Scanlan and Charles Gibson, was the Academy Award winner for Visual Effects in 1995 for the much-loved Australian movie Babe. Audiences have enjoyed John Cox’s menacing and curious monsters, animals and special effects in movies such as George of the Jungle 2, Inspector Gadget 2, Crocodile Dundee, Pitch Black and Oceans of Fire.

LEARN how motion picture animatronics work This is an opportunity to learn how animatronics work, based on material from the workshop of this remarkable Australian artisan and skilled inventor. Visitors get an inside view of the skills and processes involved in bringing a creature from the written page to the silver and LED screens. Explore how monsters and creatures are designed, next how the storyboard is made, then how maquettes are made and finally how full size creatures are sculpted, moulded and finished. Visitors will find out how to create blue-screen effects and see how animatronic components are designed and installed to create the bones and muscles that bring monsters to life. Inspector Gadget 2 The displays include the popular Disney movie Inspector Gadget 2, and here you can see various gadgets such as an LED message hat, light-up phone hand and net gun. See the Go Go Gadget scooter and the way it was powered by a battery vest worn by an actor on set. The combination of stunt work, animatronic devices and good editing that created many of the movie’s extraordinary stunts are all revealed.

George of the Jungle 2 A highlight is on the Disney movie George of the Jungle 2, where you meet some of the movie’s leading characters, Ape and Grouchy, and discover how their amazing gorilla costumes were sculpted, moulded and meticulously finished. A film explains how actors in the costumes created the illusion of real animals. Oceans of Fire One of the most imposing figures on display is Gillman from Oceans of Fire. This creature is tall, silent, green and gaunt, part-man, part-reptile and freakishly realistic. The muscle tone and skin texture of Gillman highlight the anatomical representation required to make a creature feel and look lifelike. This exciting exhibition opens the secrets and mystery behind motion picture animatronics and special effects, with demonstrations of how monsters are created. You see all the tools involved in delivering the illusion of reality on film, including mechanical and electronic devices, puppets, human actors, editing and the digital manipulation of images on screen. Visit How to Make a Monster and enjoy this extraordinary exhibition for movielovers of all ages. Try pushing buttons and operating levers like a professional animatronic puppeteer. Parental guidance is recommended as some monsters may scare younger visitors ●

IPSWICH ART GALLERY 07 3810 7222 info@ipswichartgallery.qld.gov.au www.ipswichartgallery.qld.gov.au Getting there Just 40 km west of Brisbane, Ipswich Art Gallery is located in the centre of Ipswich CBD, close to cafes and parks, and just a short walk from Ipswich Railway Station, bus stops and car parks. Opening hours are 7 days a week (only closed Good Friday) from 10 am to 5 pm. Entry is free.

IPSWICH ANTIQUES & ART IN QUEENSLAND

COLLECTED WORKS: Heritage collection display at Ipswich Art Gallery

he Ipswich Art Gallery’s heritage gallery offers an intriguing glimpse into Australian, and specifically, Queensland history. Showcased in the gallery are numerous items of significance to Ipswich and the surrounding region. This heritage display on show in the Freeman Gallery is located in the oldest town hall in Queensland. Dating from the 1860s, it provides the perfect setting to view the display of heritage items and fine artworks. A key piece on display is a painting by William Francis Emery (act. c. 1850-1865) titled View of Ipswich from Limestone Hill. Recognised as one of Queensland’s most important historical paintings, it provides a rare view of Ipswich just 19 years after the area was established as a free settlement. Emery travelled from Victoria in early 1861 to seek commissions in the area, which had rapidly become a thriving industrial and commercial hub in south-east Queensland. On display in a nearby cabinet are two secret jewel cases made by Welsh-born timber worker Thomas Griffiths. After retiring later in life to Tamborine Mountain, he took up inlay work as a hobby. These secret jewel cases in the form of books are fine examples of his work. Secret jewel cases were used for the safe keeping of small, precious items in a hidden internal drawer. Elaborately inlaid with a range of native timbers, these cases are

testament to the wealth and variety of Queensland’s timber resources. Recently acquired to celebrate the ten year anniversary of the Ipswich Art Gallery, Frosty morning by New Zealand born Elioth Grüner (1882-1939) was added to the display in 2010. An important Australian landscape painter of the early 20th century, Grüner sought to capture the visual sensation of early morning sunlight within a series of pastoral landscapes painted from 1915 to 1919. Each painting within the series is composed looking directly into the rising sun. As a result, forms encircled with light cast elongated shadows across the foreground. This series of paintings is widely regarded as Grüner’s finest. These pieces are just a small selection of the wonderful array of items on display in the Freeman Gallery. Drawn primarily from the Ipswich Art Gallery’s collection, the display demonstrates its richness and diversity. The collection is an important treasure to be enjoyed by locals and visitors from further a field; and to be preserved and built upon for years to come ● Ipswich Art Gallery is open 7 days a week (closed Good Friday), from 10 am to 5 pm. Entry is free. IPSWICH ART GALLERY 07 3810 7222 www.ipswichartgallery.qld.gov.au

William Francis Emery (act. c. 1850-1865), View of Ipswich from Limestone Hill, c. 1861-62, oil on canvas, 52 x 83 cm. Ipswich Art Gallery. Gift of Mr Les Thomas, 1986

Thomas Griffiths, Secret jewel case (in book form), c. 1920, silky oak inlaid with Queensland maple, palm wood, rose Casuarina, cedar, pine, tulipwood, Black Bean and other native timbers, 19.9 x 14.4 x 4.9 cm; 20.4 x 14 x 4.9 cm. Ipswich Art Gallery. Acquired through the Ipswich Arts Foundation with funds donated by Mr Andrew Spark and Mr Clinton Smith, 2009

NEW SOUTH WALES ANTIQUES & ART IN QUEENSLAND

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

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

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

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

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

“

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

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

NEW SOUTH WALES ANTIQUES & ART IN QUEENSLAND

French clock 1889

Learn professional gilding in just two weeks

German Master Gilder reveals the secrets of this ancient craft

THE ART GILDING ACADEMY The only place in the world where you can learn professional gilding in just two weeks

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 in Germany from master gilders the art of framing, and church restoration, 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.

Learn Gilding the Easy Way Only 6 students per class no prior knowledge necessary DISCOVER GILDING Saturday hobby workshop 10 am – 2 pm

Bedside tables

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

GOLDEN WEEKEND Sat & Sun 10 am – 4 pm MASTER GILDING CLASS Professional course running full time for two weeks. Certificate upon completion Monday to Friday 10 am – 5 pm

For free brochure and friendly advice Call Brigitte 02 9310 3007

Art Gilding Academy 99-101 Buckingham St, Surry Hills NSW 2010 (5 minutes walk to Central Station)

www.artgilding.com.au

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

Brigitte with gilding workshop project

WEEKEND Classes Sydney: Sat/Sun 10 am – 4 pm WOULD YOU LIKE TO ADD SKILLS AND MORE PROFITS TO YOUR BUSINESS? This class has been especially designed for people unable to attend week-day classes and is held once a month. We know how difficult it is for small business owners to find time during the week, so our intensive weekend class may suit you perfectly. The classes run from 10 am – 4 pm Saturday and Sunday and participants are taught, step-by-step, gilding techniques that are applied to furniture, picture frames and mirrors, cornices and even walls. Many students have found that gilding adds another dimension to their business, which they have been able to capitalise on by adding a new profit centre. Moreover, it’s fun! The weekend class is very reasonably priced at $795. This includes the project – an Egyptian plaque – and all tuition and materials. In certain circumstances this fee could be claimed as a tax deduction. Those able to benefit by acquiring this skill include artists, painters, framers, restorers and French polishers; in fact, anyone who wants to add new skills and a new source of profit to their business ● Art Gilding is based in Sydney and today’s readily available cheap air fares create a ‘golden’ opportunity to combine a weekend away or holiday with learning the art of gilding. We can recommend quality accommodation close by from $35 per night.

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

NEW SOUTH WALES ANTIQUES & ART IN QUEENSLAND

Water damaged dressing table

Water damaged china cabinet

China cabinet after treatment

DEALING WITH WATER DAMAGED precious family heirlooms

he flooding in regional Australia, in particular Queensland and its capital city Brisbane, has destroyed or badly damaged many homes and their contents. No photograph, item of memorabilia or piece of furniture is as precious as human life and that is a given. However, those who have survived intact but who have had their homes and possessions badly damaged face a dreadful clean-up. For some people the loss of links to their lives, such as furniture that has been passed down through generations, is a real body blow. There is a way to restore badly water damaged furniture – as long as the wood and the basic construction of the piece are sound. Murky, polluted flood water will strip away furniture surfaces and leech out all the natural protective oils and resins that the wood may contain. This leaves good furniture looking worn and stippled with white, blotchy water marks. Howard Restor-A-Finish – a product well known to restorers and fine furniture enthusiasts around the world – has the ability to penetrate the surface, going into the wood

itself and resurrecting old shellac and other materials from previous coats hidden below the actual surface. These elements, once released to the surface, are worked until they re-set as a light coating. Making it relatively easy to repair the worst problems in furniture by yourself for relatively little cost. Have a look at these photographs of seriously smoke and water damaged furniture in a house which was saturated by high pressure fire hoses. The proof is in these genuine before and after shots. These repairs were carried out by one lady using Howard Restor-A-Finish, four zero grade steel wool, Feed-N-Wax, Howard Orange Oil and Restor-A-Shine. The work was done virtually unaided. If any reader of this article has been caught in this horrendous flood situation and needs advice, please email us at advice@howardproducts.com.au or ring 1800 672 646 and we will get you the information and products you need at the cheapest price we can. Alternately, I can be contacted direct on 0419 403 627 if you prefer ●

David Foster HOWARD PRODUCTS www.howardproducts.com.au

Dressing table after treatment

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

Restor-A-Finish, simply miraculous

Restoring-A-Finish on grandma’s bridge chair

ANTIQUES & ART IN QUEENSLAND

HOLDING A MIRROR UP TO THEMSELVES: Realistic sculpture from the Solomon Islands

ithin the exhibition Varilaku: Pacific arts from the Solomon Islands are a number of intriguingly natural-looking sculptures. They are from a little documented tradition of sculptural realism, and almost nothing is known as to their context or why such works were created. A small number of less than 40 pieces exist in Australian collections comprising of both busts and free standing full figures in various poses from sitting to aggressive stances with axe, spear and shield in hand. All appear to have originated from the Roviana and Marovo Lagoon areas of New Georgia and were collected in the period between the mid 19th century and the first decade or so of the 20th century. Visitors to the islands during this period noted that such sculptures were produced almost solely for trade. It is possible any traditional, or Kastom, practices connected to the creation of such figures had already dissipated by the late 19th century. However, if no tradition of carving in this manner existed then they are to be marvelled even more at for the ability and willing leap taken by the artist to shift from their own canon of carving as this is clearly an impressive innovation. Whether these sculptures were for trade or community use they clearly demonstrate the artist’s abilities to create mirror-like representations of people. They allow us to peer into the lives of those they come from. They reflect personal vanity – what was considered fashionable such as particular hair styles – also in the status of the individual. It is unsurprisingly that these four works depict the young of both sexes as they paid great attention in their personal appearance. Bachelors especially tried to groom themselves in order to appear more alluring to women. Smaller figures have carved representations of adornments reflecting the wearer’s wealth and community standing. Only the strongest, or most influential, could afford to wear certain esteemed adornments. This is evident in the Effigy of Paruvu who is shown wearing an elaborate crescent shaped mother-of-pearl shell pendant suspended on his back. The exception is the naked Seated woman. It is possible, due to her size, that real clothing and adornments would have hung upon her. The Portrait bust of a young man’s face has segments of nautilus shell representing painted white decorative lines worn on a daily basis that creates a silvery contrast to the black facial surface. On smaller works, these are represented by white lines. Each is shown with pierced ears to receive wooden earspools. Ears and noses were pierced so ornaments could be worn. These piercings could be gradually stretched to immense proportions, to around four inches in diameter. Both Portrait bust of a young man and Effigy of Paruvu hold in their carved gaze and their countenance a personal quality much admired within New Georgia communities called varilaku in the Marovo Lagoon area. Varilaku is perhaps a calm but aggressive confidence from which warriors drew upon their courage, not caring if they lived or died. Warriors embarking on head-hunting raids prepared in a number ways for the expedition,

including the use of magic. But to convey an air of varilaku might have been more important than holding a rifle, axe or any magical assistance. The Effigy of Paruvu expresses a subtlety in its features. The unknown artist had a unique approach in his treatment of the body’s rounded forms down to the details of the eyes and the enlarged nose. This artist would have been recognised within his community as a carver of no small repute. The figure is shown at a relaxed moment dipping his spatula into the gourd, which is a container for lime required to chew betel. The original title given to this work was Effigy of Paruvo chief. There is no recorded village or chief called Paruvo in the Marovo Lagoon area. It is probable the figure may depict an influential man called Paruvu who was born between 1870 and 1880. Paruvu came from a chiefly family; his brother was the strongest and most respected chief in the Marovo Lagoon area during the 1890s. Paruvu is shown with a disfigured hand. One possibility is the missing digits are a result of an accident resulting from fishing. It has been recorded that by the late 19th century, the risky technique of fishing with explosives was practiced in the Marovo Lagoon. Revealing details about the lives of Solomon Islanders in this period can be discovered through their ear, hair and facial decoration and adornments. The Seated woman, Portrait bust of a young man and the Effigy of Paruvu have hair styles formed through plugs of fibre or real human hair to resemble the ‘pudding bowl’ type style fashionable for both men and woman alike. To recreate this on the smaller sculpture, a cross hatched cap-like dome is carved and painted white to depict the tightly cropped style which, in life, would have been a dazzling platinum blonde. Bleaching was done through applications of caustic lime – it is a fashion that can still be seen among Solomon Islanders today. Through cutting with a sharp edged shell, singeing with embers and plucking with ‘tweezers’ of shell men kept immaculate facial hair of sprouting small goatees and manicured tufts. Of great interest is the Mother and child figure group. The female figure wears a necklace resembling teeth and has large ear spools, a pair of clam shell arm rings can be seen just above her elbows. However, it is the activity portrayed that underlines the fact that these sculpture are indigenous forms of documentation. During the 19th century both adults and children from New Georgia ate only one proper meal a day and child mortality was very common. To give a baby the best chances of survival, their mother would massage the child’s belly to encourage defecation prior to eating and so effectively absorb the nutrients of that single meal. Upon first sight realistic sculptures appear to be examples of 19th century western objectification of indigenous cultures, perhaps the emergence of which was a direct a response to viewing western representational arts. These figures can be interpreted as analogous to the anthropological practices of

New Georgia Group, Western Province, Solomon Islands, Mother and child, 19th or early 20th century, wood, paint, fibre, shell, glass, 30 x 23 x 11 cm. Australian Museum

New Georgia Group, Western Province, Solomon Islands, Seated woman, 19th century, wood, fibre, shell 65 x 38 x 65 cm. Australian Museum

creating life casts from indigenous peoples and photographic anthropometry. However, these figures open a window from which we can see how Solomon Islanders represented and regarded themselves during the 19th and early 20th century ● Crispin Howarth Curator, Pacific Arts NATIONAL GALLERY OF AUSTRALIA 02 6240 6411 www.nga.gov.au

Roviana Lagoon, New Georgia Group, Western Province, Solomon Islands, Portrait bust of a young man, 1870-1900, wood, paint, shell, hair, 33 x 26 x 22 cm. National Gallery of Australia, Canberra

Marovo Lagoon, New Georgia Group, Western Province, Solomon Islands, Effigy of Paruvu, 1910-1930, wood, paint, 45 x 13 x 14 cm. The South Sea Islands Museum

CANBERRA ANTIQUES & ART IN QUEENSLAND

Canberra | nga.gov.au

26 FEBRUARY – 29 MAY 2011 Australia holds some of the greatest collections of Melanesian art. Varilaku is a rare opportunity to view the ﬁnest works from the Solomon Islands at the National Gallery of Australia.

Marovo Lagoon, New Georgia Group,Western Province, Solomon Islands Efﬁgy of Paruvu 1910-1930 (detail) The South Sea Islands Museum, Cooranbong, NSW

NEW SOUTH WALES ANTIQUES & ART IN QUEENSLAND

NEW SOUTH WALES / VICTORIA ANTIQUES & ART IN QUEENSLAND

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

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

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

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

COLLECTING suggestions New clients often ask what they might consider collecting. The number of possibilities is limited only by your imagination, so here are a few ideas that may appeal. Australia 1901-1912. Even after federation, the six states issued their own stamps until 1913. These are properly Commonwealth issues but most collectors have treated them as the tail-end of the colonial period. Very few have made a serious assault on this area and it remains significantly undervalued. Destination mail. It is easy to obtain covers from Australia to Great Britain, New Zealand and Germany. Try finding covers from Australia to Colombia, Tunisia or Mongolia. A collection of such material would provide a significant challenge without putting a great strain on the budget. Postage dues. This is one stamp area where anyone has the chance to own items nobody else has ever seen. One routinely hears of the

Between 1911 and 1924, Australian letter cards had a photo on the reverse. These often have thematic interest; in this case, railways and waterfalls

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

discovery of previously unrecorded watermark and perforation varieties. Many of these have literally been found in bundle ware or junky collections. Scenic letter cards. From 1911 until 1924, Australia issued postal stationery with views from around the nation on the reverse. A basic collection can be put together without much effort. Many of the views are rare, others are common but rarely seen on particular issues, and of some scenes, two or more versions exist. Blocks of 4. Most collectors want only single stamps, resulting in sheets and blocks having been destroyed to supply this demand. Multiples of many stamps are now very elusive. Despite this, many dealers sell such items without adding the significant premium that they deserve. Apart from being scarce, blocks are obviously more visual than single stamps. Illustrated envelopes. You may collect printed or hand-painted envelopes, humorous types, advertising or political subjects. This is an area where art and philately truly meet. Fine used stamps. Most used stamps are poorly cancelled or have faults, but fine used stamps are a different matter. Well-centred, neatly cancelled stamps are, to me, far more appealing than mint. Plus, they are usually available for a fraction of the prices of their unused counterparts. You will need to learn about non-contemporary cancels and other dodgy markings but that’s half the fun.

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

Postage due stamps with attractive and legible postmarks are highly sought after

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

WOOLLOONGABBA ANTIQUES & ART IN QUEENSLAND

WOOLLOONGABBA ANTIQUE CENTRE is breathing new life into antiques

isters Sarah Jane Walsh and Megan Rizzo could not have imagined the positive response when they flung open the doors of the Woolloongabba Antique Centre (WAC). In attempting to revitalise a staid and conservative antique culture these young dealers thought outside the square to challenge the notion of antique. Along the way, they have introduced a host of new customers to the joys of truly unique homewares. Always seeing the big picture, the sisters

have not just cobbled together a giant market but have curated a unique shopping experience. The constantly changing displays and whimsical shop fit outs speak to the irony that this may be an antique centre, but the entire stock is likely to be completely different now to what is was a month ago. With over 60 dealers busily sourcing unique items for a showroom well over 1,500 square metres, you can expect a hive of activity. The place buzzes on the weekend. A visit to

WAC can be a few hours with a half time break at the café and a little music from the Butter Brothers, the house jazz band. Alternately, take a seat in the 1950s cinema where silent black and white burlesque films from the early movie era are constantly screened.

HOW DID it begin? Sarah Jane and Megan’s passion for quirky recycling was sparked when growing up in their country hometown, Tamworth in NSW. They watched their mum sew together dance costumes from old material, while a large extended family provided an abundance of hand-me-downs. The sisters recall many a game of dressing-up, which led to a passion they just could not shake. After many years of doing the markets around Brisbane, they opened their first retrothemed store in Paddington with overwhelming success. Almost a year to the day of opening their first store, Megan and Sarah Jane opened a second store in New Farm. After years of researching to find the right building, the sisters opened an antiques superstore in Woolloongabba on 1 July 2009. The Wellington Road edifice housing Woolloongabba Antique Centre was formerly occupied by Copeland & Pickers for 30 years. An impressive one million dollar renovation restored it to its original saw toothed industrial glory. Sarah Jane’s work as an assistant director in film and television gave her great insights as to what designers were looking for and what works in fashion. She has an amazing ability to pull together a themed shoot for a production company with record speed, searching high and low for the right props and costumes. Megan’s artistic flair as a photographer and artist is combined with her background in finance and business. They have the perfect combinations of skills and talents to create what is now Brisbane largest collection of dealers under the one roof.

INDUSTRIAL antiques A marked interest in industrial sourced furniture continues to grow: antique items built for commercial use and now restored for use in a home or office. Typically, these items come from an era where robust materials and ‘last forever’ construction ideals resulted in clean utilitarian lines and impressive quality. Designers of all types love this stuff! Architects, interior and industrial designers

have purchased items and it has an appeal to men who find the utilitarian style satisfying, and the built quality is superb.

VINTAGE fashion never dates This oxymoron neatly describes the growing appeal of vintage items. Its timelessness keeps people guessing. The idea of finding something no one else owns is contagious. The sisters sourced vintage Valentino pieces to complement the Valentino retrospective in Brisbane. A few lucky customers sported vintage Valentino that winter as well as vintage YSL, Prada, Chanel, Tiffany’s, Cartier, Versace, Hermes and Marc Jacobs – all imported from the vintage hub of the world – New York City.

NEW INFLUX of French and European antiques WAC’s French and European antique stock reflect a renewed interest in fine furniture, with rustic and second Empire period furniture being quite popular. WAC now houses the highly regarded jeweller John Stone from Stone Jewellers, displaying and selling antique and estate jewellery. Woolloongabba Antique Centre continues to challenge the notion of antique. ‘We deal in the past, we are not from the past and this place is well and truly alive,’ said director Sarah Jane Walsh. ‘A simple scratch, or a worn out name patch evoke a million tales.’ ● Sarah Jane Walsh and Megan Rizzo WOOLLOONGABBA ANTIQUE CENTRE 07 3392 1114 www.woolloongabbaantiquecentre.com.au

22 Wellington Rd Woolloongabba Qld 4102 (cnr Nile St) Off street parking off Wellington Rd behind centre • Open 7 Days 9 am - 5 pm • P. 07 3392 1114 F. 07 3392 1116 info@woolloongabbaantiquecentre.com • www.woolloongabbaantiquecentre.com