Antiques & Art in Queensland by World of Antiques & Art

antiques & art IN QUEENSLAND NOVEMBER 2010 - MARCH 2011

ART OF Peter J Hill

THE HAYGARTH SHOOTING EXCERPTS FROM THE NTH. Q’LAND REGISTER, July 8th, 1901 Last night an extraordinary meeting of the Shareholders was held for the purpose of empowering the directors to borrow a sum of money, and those present were: Messrs G. Haygarth, R. Collins and J. Matchett (Directors), Messrs Alan A. Bright, J.H. Elliott, E. Cummings, J.S. Ancell, shareholders, and R. McBean, a senior clerk in Messrs Bright and Co.’s office, who generally acted as secretary at meetings. Mr Haygarth was elected to the chair, as it turned out to his death, on such small things does existence or death hinge. As they were about to commence business, Brown, putting his hand in his pocket drew forth the letter indicating that his salary as manager had been reduced from 8 pound to 6 pounds and asked what the letter meant; he wanted the minues of the Directors meeting, at which the resolution reducing his salary was arrived at read, and continued to insist, swearing considerably while doing so, on their production. It may be mentioned that it is now the general belief among those present that Brown wanted the minutes read so that he could ascertain the names of the Directors who moved and seconded the motion, enforcing the reduction of his salary and that had he obtained the knowledge, certainly attempted to shoot them.

The shareholders present objected to the minutes of the Director’s meeting being read at a general meeting. Of course, nothing serious was anticipated, but the shareholders felt that Mr Brown had no right to interrupt the meeting or to ask the chairman to take irregular action. Brown, however, persisted in his request, and, as a shareholder, demanded the production of the minutes, and Mr Haygarth, as chairman, refused to comply. Brown evoked the deity to witness that he would have the minutes read, and talked for some time excitedly; at length he stood up, remarking; “I’ve the bl__y minutes with me,” and drew a revolver. One account states he covered Mr McBean with the revolver and commanded him to bring forth the minutes, but Mr McBean replied he would not do so unless ordered by the chairman. Mr Haygarth, who appears to have acted with great coolness, refused to order the production of the minutes, but Mr Collins, a director, not liking the appearance of the affairs, and to humour Mr Brown, urged the minutes be produced. Before anything more was done, Mr Brown fired, the bullet entering Mr Haygarth’s head about 2 inches behind the right ear and on level with it. Blood spurted from the wound instantaneously, and the unfortunate chairman fell on the left side of the table and thence on to the floor on his face; never afterwards moving, death being instantaneous. On the 9th of December 1901, 5 months later, Mr Brown was hanged for his crime at Brisbane’s Old Gaol.

GOLD COAST / MOUNT TAMBORINE ANTIQUES & ART IN QUEENSLAND

Making Up Time

Breaking the Turf

Brumbies on the Run

At PJ Art Gallery HISTORY IS RECORDED FOR POSTERITY he Haygarth Shooting, a canvas painted by Peter in 1998 is to be hung in the newly refurbished Historical Culture Centre in Charters Towers. The painting was commissioned by then mayor of Charters Towers, Peter Black, and deals with a tragic event that occurred in 1901.

The responses were recorded in paint. Upon completion, The Haygarth Shooting was hung in the World Theatre which also housed the blood stained table. Peter’s painting of the event has been included in documentaries, films and travel shows featuring Charters Towers.

TRAGEDY at Charters Towers

ARTIST profile

According to the transcript of the Brisbane Courier, on the evening of 10 July 1901 the Pyrites Company held a meeting, with Mr Graham Haygarth chairing the proceedings. Earlier that day, David Alexander Brown, who was manager of the works, had been informed that his weekly salary was to be reduced from £8 to £6. The newspaper reported that Brown was a man with a violent temper and believed the chairman of the company (Haygarth) was responsible for the reduction in salary. He went to the meeting and asked for a reading of the relevant minutes recording the decision to reduce his salary. When this was refused Brown pulled out a revolver and shot Haygarth, killing him. Brown then attempted to shoot James Matchett, another director, but the revolver misfired. Those present then fled the room. Brown then attempted to take his own life, shooting himself in the head. The bullet only grazed him and Brown was arrested and tried for murder. On 7 November he was sentenced to death at the Criminal Sittings of the Supreme Court at Charters Towers, presided over by Mr Justice Chubb. For his defence Brown pleaded that he had been drinking at the time and remembered nothing of the shooting. He stated that he had worked hard as manager of the works, had sunk all his money in the company, and was in financial difficulties. He asserted that in 1883 he was under medical treatment in Sydney for mental affliction, when he had had to be watched. On his Honour’s advice, the jury returned a verdict of wilful murder. Brown was executed at Boggo Road Gaol on 10 December 1901. (‘Execution of David Brown at Boggo-Road Gaol’ The Brisbane Courier Tuesday 10 December 1901 http://newspapers.nla.gov.au/ndp/del/article/ 19143213)

RECREATING the story in paint Peter decided to construct a tableau of the event before beginning the canvas. He organised for a group of men dressed in the fashions of the day to sit at the table and on the count of three to react as if placed in a similar situation.

Peter was born in 1937 in the horse capital of Scone, NSW. He started painting as a 19year-old stockman while working on a property north of Broken Hill. Peter taught himself to paint as he worked his way around the outback as a station hand, shearer, fencing contractor, buffalo and crocodile hunter and grave digger. Painting was a hobby for Peter until the late 1970s when he decided to turn professional. He opened a gallery in Victoria at Olinda in the Dandenong Ranges. After successfully running it for a couple of years he decided to sell and move to Canberra where he set up a studio/gallery at Holt. He held many successful solo exhibitions throughout Australia and his works became very popular. He participated in art shows where he won awards and prizes. His work came to the attention of the Australian government and was given as gifts to international dignitaries visiting Australia. After many years in Canberra, Peter felt it was time to move to a warmer climate. The Gold Coast hinterland got the nod, where Peter and Judy now call home. The year 2000 was a good one for Peter. After an excellent solo exhibition at Beef 2000 in Rockhampton he set off to Broome, WA, to join the Spring Valley Heritage Horse Ride as official artist. Accompanying the northern riders, Peter travelled through the Kimberley to Kununurra and then returned to Broome. He then headed south to pick up the southern riders on the west coast, gathering material all the way. The body of work from the ride titled Spirit That Built The Nation was exhibited and then auctioned at a gala dinner held in Sydney to celebrate the completion of the ride. That same year the first P. J. Art Gallery opened in Surfers Paradise, Qld. After four successful years Peter and Judy decided to close the gallery, thinking they should take time out to smell the roses, but an opportunity too good to refuse came their way on Tamborine Mountain, where they built a brand new P. J. Art Gallery. The gallery is proudly managed by his wife Judy. The Australian outback is still in Peter’s

blood and features in many of his paintings along with his famous Clydesdales ● Judy M Hill, Gallery Director P. J. ART GALLERY judyandpeter07@bigpond.com.au www.pjart.com.au 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

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

140 Gallery Walk Eagle Heights Qld 4272 Ph: 07 5545 0089 Mob: 0428 259 014 Email: judyandpeter07@bigpond.com • Web: www.pjart.com.au Mention this advert to receive a 10% discount on the purchase of a painting 3

GOLD COAST / MOUNT TAMBORINE ANTIQUES & ART IN QUEENSLAND

Stephen Nothling, A wordless moment, 2010, oil on canvas, 40 x 50 cm

Stephen Nothling, Going the distance, 2010, oil on canvas, 50 x 90 cm

Stephen Nothling, Southern Cross in the sky, 2010, oil and enamel on canvas, 105 x 160 cm

An exciting series of exhibitions at MARKS & GARDNER GALLERY STEPHEN Nothling 3 December 2010 – 15 January 2011 est known for his paintings of roses, Queensland artist Stephen Nothling (b. 1962) has established a distinguished painting career over the past two decades. While his oeuvre incorporates a wide genre including landscape and quietly satirical works laden with kitsch images, the tryst with flowers has escalated his work into the international domain. His oversized (up to 2 metre-square) roses are not typical still lifes, though botanically correct and realist in style. It is the juxtaposition of the roses floating in space or teamed with unlikely items that make them unique.

Stephen graduated with a Master of Arts (Visual Arts) from Queensland University of Technology in 1994 and a Diploma of Art from Queensland College of Art in 1984. His extensive exhibition list contains almost 30 solo exhibitions, such as his 2007 exhibition in the Emirates Towers in Dubai UAE. Prestigious group shows include the 1988 Right Here, Right Now, Australia national touring exhibition; 1990 Balance at Queensland Art Gallery; and the 1994 An Exotic Otherness that toured Australia, Singapore and Southeast Asia. Stephen has been a finalist in the 2002 Archibald Prize exhibition, the 2008 Dobell Prize for Drawing and the 2008 Gold Coast

Art Prize. In 1992 he was overall winner of the Churchie Exhibition of Emerging Art and he won the 1990 Conrad and Gargett Architects Award for Painting. His works are widely collected and in numerous public and corporate collections. Stephen’s solo exhibition at Marks & Gardner Gallery starts on 3 December 2010.

AUSTRALIAN Icons Invitational Exhibition by Gallery Artists Until 20 December 2010 Australian Icons is an invitational exhibition initiated by Marks & Gardner Gallery. Inspired by Bill Bryson’s Icons of England that featured writers, Marks & Gardner Gallery challenged selected artists to portray their personal Australian icons. From painting through to ceramics, glass and sculpture, each work expresses what epitomises Australia to each artist – not public images such as kangaroos, Uluru or the Sydney Opera House. Prize-winning potter Mary-Lou Hogarth is inspired by the Australian vernacular – our slang and colloquialisms. This Victorian ceramicist has more than two decades’ experience, built on her Bachelor of Arts in Ceramic Design from Monash University (1988). Prior training as a drama teacher provides inspiration for her works that are in many public collections. Mary-Lou views each pot as a three-dimensional canvas on which to tell stories and to make wry reflections on life, family and community. Her vessels are slab built and decorated with underglaze and oxidised. They are highly collectable. The beautiful patterns and textures created by sand crabs on freshly cleaned beaches are inspiration for a body of silver jewellery by Lisa Gaze. Lisa trained as a silversmith, completed her Bachelor of Creative Arts in 1993 and has been exhibiting ever since. Teaching at Central Queensland Institute of TAFE, she has participated in the Queensland Flying Arts Touring Program and Public Art Projects in Rockhampton. Her individual handcrafted pieces are always strongly influenced by the coastal Queensland environment in which she grew up and she uses a variety of materials selected for their uniqueness and expressive quality to enhance the initial design. Lisa received the Queensland Aspects 2008 Award for her innovative design of the Crab Claw Cheese Knife jewellery piece that is now a Queensland Government official gift. Australian Icons features Joanna Bone, Bruce Buchanan, Annette Lodge, Shannon

Mary Lou Hogarth, They said she could talk under wet cement, earthenware vase

Lisa Pohlmann, container brooch, perspex and mixed media

Annette Lodge, The Mariner’s Hollo, oil on canvas, 40.5 x 50.5 cm

Garson, Lisa Pohlmann, Elizabeth Poole, Amanda Shadforth, Elizabeth Shaw and Rebecca Ward. This diverse exhibition reflects each artist’s personal beliefs, diverse in his or her expression and is cohesive in its central theme ● MARKS & GARDNER GALLERY At Secret Garden at Tamborine 07 5545 4992 www.marksandgardner.com

ANTIQUES & ART IN QUEENSLAND

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John Gollings (Australian b. 1944) Surfers Paradise Queensland 2010 (detail) Gold Coast City Gallery This image will be presented in 3D form in the exhibition installation of Now and When Australian Urbanism, Gold Coast City Gallery. Visitors will view a 16 minute series of projected images with 3d glasses. For exhibition viewing and public program details see page 12.

At PJ Art Gallery history is recorded for posterity – Judy M Hill An exciting series of exhibitions at Marks & Gardner Gallery Antiques on the West Side Exploring the Baroque style – Sheridan Bryant Unusual collectables and antiques at the Gold Coast Antique Centre 33 years of antiques anecdotes – Angela B What’s on Gold Coast City Gallery Summer 2011 exhibition program at Gold Coast City Gallery NOW+WHEN at the Gold Coast City Gallery Rotary Antiques Fair & Gold Coast Book Fair Artists exhibiting at the Spirit of Australia Gallery Spirit of Australia Gallery home to authentic Australian-made products At Voyager delight in commencing a new pursuit Rhoda Wager (1875-1953) jewellery designer and manufacturer – Moira Drexler Of Love and War at the State Library of Queensland Appreciating the skills of a manufacturing jeweller – Ken Penfold Drawing Brisbane: An Artist’s Journal – Robyn Bauer It is all happening at Paddington Antique Centre – Suzy Baines English furniture of the Regency period (1800-1830) Antique print styles – Derek & Kathryn Nicholls Designer parquetry flooring: – Nicholas Beer Turkey delights – Eilisha Little Buying furniture in France for Collectors Corner – Lyn & Ralph Muller Commercial Road Antiques and Decorative Arts Pack & Send art and antiques specialists – Stephen & Janet McCartney Expertise and personalised service - benchmarks of Brisbane Antique Emporium Meaningful valuation of jewellery = CSi + forensic analysis Art Deco: British hand-painted ceramics of the 1920s and 1930s – Cecily Critchley & Lynley Jenkins One of the largest selections of antiques in Brisbane, James Conley Antiques, Harrington’s and Latrobe Antiques in Woolloongabba – Sharyn Semmers A European adventure nets finds for collectors – Lisa Demartini Woolloongabba Antique Centre is taking the stuffiness out of antiques – Sarah Jane Walsh & Megan Rizzo Restoring a violin: ethical considerations – Ilja Grawert Jade - a stone of many colours from many cultures – Jason Bridge Collecting is exciting and a great way to strike up a conversation, says budding dealer Jessica Wallrock An exciting new venue – Gabba 5 Ways Antique Emporium – Vivien & Riza Your books deserve a fine library, so why not invest and indulge? – Gary N Olsson Sharing recent exciting finds – Graham See

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Custom leadlight gifts from Glassworx – Denise Allen Filled with antiques, collectables & old wares, modest looks can be deceiving! – Rob & Di Metcalfe The process of rescuing and rebuilding an exceptional piece of furniture – Manfred L McIntyre Frank van Brunschot explains that a craftsman is lost without the right equipment F.J.Mole-Silversmiths detail the process for making a ciborium At Kilkivan Fine Arts and Antiques there is much to discover Salts Antiques has added an exciting dimension to their business Salts’ seven tons of antiques have arrived Lancaster’s Toowoomba Antique Centre 16 years old and going strong Timeless clients a special story – Mark & Lynne Bennett The presence of absence: Images of an institution The art of healing through youth literature and illustration – Susanne Gervay The Art Gilding Academy is the only place in the world where you can learn professional gilding in just two weeks Orange oil is a miracle of nature – David Foster National Gallery of Australia, Ballets Russes: The art of costume – Dr Robert Bell AM Stephen Browne shares his passion for the pre-stamp postal history of New South Wales Rarity defines the banknote market

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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, 98 Main Western Road, next to Witches Falls National Park – the oldest National Park in Queensland – where you will 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. Repair and restoration of furniture is his preference, while Noelina is a skilled artisan with her sewing machine, materials and extensive range of old jewellery

e Old ’ n es d‘ Od tiqu try An oun &C

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 ●

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 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

EXPLORING THE BAROQUE STYLE

ls Fal s e tch iques se i W nt A t Hou if &G

he term Baroque derives possibly from the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl. Hence describing artistry of exuberant decoration, expansive curvy forms with an essential beauty that was, at times, grotesquely exaggerated. Beginning in Italy towards the end of the Renaissance, the Baroque style was fully developed by 1620. Using many materials and a multiplicity of shapes, typical forms were S-shaped curves, while typical decorations included cherubs clambering among swags of fruit around shields and scrolls, spiral columns, grinning satyrs, and Greek goddesses atop cornices.

The style spread to northern Europe and into a more classicised version in France during second half of the 17th century. The heritage of French Baroque cabinetmakers and decorative artists is the Palace of Versailles built for Louis XIV. Most Baroque furniture has an architectural character and an influence from sculpture. Techniques long forgotten were re-discovered including marquetry, parquetry and the use of veneers. Veneering is the process of overlaying a foundation of solid timber, often oak, with a relatively thin sheet of finely figured wood. Economy apart, effects can be achieved in this way which are impossible with solid wood. Marquetry is the inlaying of a design, using a variety of veneers into a groundwork of veneer. Parquetry is the formation of a geometrical pattern by setting small pieces of veneer against each other, so that their contrasting colours and opposing grains create the optical illusion of a three dimensional effect. The French cabinetmaker André-Charles Boulle perfected a highly specialised form of marquetry, covering large surfaces with a veneer of tortoiseshell, laid over coloured mica (a small plate of glistening crystalline substance in rocks) and inlaid it with intricate designs or arabesques cut out of thin brass. This technique was revived at intervals, notably in England during the Regency period (1800-1830) and in both France and England about 1860. Most of the Boulle furniture seen on the market today comes from this last period. The Baroque appeared later in England,

following its civil war and repression during the ensuing Commonwealth and Protectorate under Oliver Cromwell. In 1660, Charles II returned as monarch from exile in France, bringing with him the latest ideas of comfort and elegance.

IDENTIFYING Baroque features Chairs were tall with arched backs and narrow caned seats. The cresting rail on the top of the back and the stretcher joining the front legs were ornately carved, a popular device being two cherubs supporting a crown. Legs were turned, now called the barley sugar twist. A significant change in England was from oak to walnut as the fashionable wood, both solid and in veneers. This was supplemented by laburnum, olive, ebony and a variety of other woods for marquetry. The lacquer work imported by the East India Companies into Europe from China and Japan, such as cabinets mounted on carved and gilded stands, were embraced for their decorative novelties. Soon cabinetmakers in most European countries were making similar items. The vogue for such fantastical decorations probably reflected a desire for exoticism, expressed in Chinoiserie including Delft pottery and japanned furniture. Perhaps the three most significant developments of this period were establishment of textile manufacture capable of producing upholstery materials; great improvements in the quality and size of plates for mirrors; and the twist leg was gradually discarded in favour of a simple turned one.

Chair legs had a pronounced inverted cup towards the top, a tapering shaft and a bold bun foot. Then a leg following an S-shaped curve emerged, shortly to be smoothed out and become the cabriole. In England and America throughout the 18th century, handles were of brass, at least on sophisticated furniture. Original brass work is correctly viewed as an enhancement and attractive pieces that have had their handles replaced should not be rejected. Nor should simple country styles be precluded from a collection. For example, England’s rush-seated chair with ladder or splat back that was originally made of ash or beech, and the similar maple chair of the Delaware River Valley, Pennsylvania, were inspirations for the fine ladder-back chairs of mahogany made in the 1750s and 1760s. The more exotic decorations prepared the way for the freer lighter and more elegant Rococo style which we feature in the next issue ● Sheridan Bryant ODD ‘N’ OLDE ANTIQUES 07 5545 1141 info@oddnoldeantiques.com.au www.oddnoldeantiques.com.au Further reading John Fleming & Hugh Honour (revised ed), The Penguin Dictionary of Decorative Arts (London: Viking Penguin, 1989) Percy Macquoid & Ralph Edwards, The Dictionary of English Furniture From the Middle Ages to the late Georgian Period (London: Hudson & Kearns 1978)

ANTIQUES and affordable country wares 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 and Edwardian porcelain & glass • Comprehensive collection of English & Art Deco porcelain and china • Fully restored colonial telephones • Australian pottery, crystal, sterling silver, hand-made beaded lamp shades, together with a large range of trinkets and treasures, with new stock arriving weekly

97 Main Western Rd, North Tamborine

Ph 07 5545 1141 Open Friday to Sunday 10 am - 4 pm www.oddnoldeantiques.com.au

ANTIQUES & ART IN QUEENSLAND

Lid of box containing a vampire killing kit

Unusual collectables and antiques at the GOLD COAST ANTIQUE CENTRE

eed to kill a vampire? Stories involving vampires – supposedly dead people coming to life, drinking living people’s blood and sometimes changing into bats – have been common in Europe for hundreds of years and gained believers in 19th century America. Because these beliefs were so prevalent in Eastern Europe during the 18th and 19th centuries, travellers to those regions often sought protection and even carried a Vampire Killing Kit. Gold Coast Antiques Centre has an original vampire killing kit which contains everything to vanquish a vampire. You need not believe in vampires or myths of killing them, to appreciate this item and its cultural meanings. There are several opinions on the origin of vampire killing kits. Some experts believe that such vampire killing kits were commonly available to fearful travellers in Eastern Europe from the mid-1800s or earlier. Others think these kits were manufactured in the early 20th century, possibly to cash in on the revived popular concern about vampires sparked by the 1897 publication of Dracula by Irish author, Bram Stoker. However in 2005, a firearm hobbyist confessed to have manufactured vampire killing kits from the early 1970s and onwards to sell in Portobello Road London. Vampire killing kits were reportedly produced in the 19th century with examples now held in reputable institutions that either have held these kits for some time or are willing to attest to their approximate age through their documented provenance. Such institutions include Ripley Believe it or Not museums (Wisconsin Dells, etc.) collected before WWI, most created in the Boston area and available by mail order. Recently, the Henry J Mercer Tool Museum in Doylestown Pennsylvania declared its kit to be a modern assembly of mostly vintage parts.

PRICES FLY HIGH for vampire killing kits In October 2003, a vampire killing kit sold for US$12,000 in New York. This kit had the

Interior of box and contents for killing a vampire, label inside lid attributing the kit to a Professor Blomberg and the gun maker, Nicholas Plomdeur

key mythical components, namely a wooden stake, 10 silver bullets, a crucifix, a rosary and containers for garlic powder and other protective substances. Several days later, a second kit brought a staggering US$20,300. A lucky 2008 buyer paid only US$14,850 for a kit sold in Mississippi. With quirky timing on last year’s Halloween, (31 October 2009) and again in Mississippi, another vampire killing kit sold from the estate of Miss Isabel Person who lived most of her 93 years in the 1880s house built by her father and entirely furnished with antiques. Miss Person’s kit was in a rosewood case with mother-of-pearl inlay and contained all the vampire-killing essentials such as a prayer book, silver occult dagger, pistol, cleaver, wooden stake, crucifix, holy water vials and silver bullets in a coffin-style box. A relative bargain, this kit sold for US$8,800.

MID-19TH CENTURY vampire killing kit The Gold Coast Antique Centre vampire killing kit has a printed label explaining its contents ‘For the protection of persons who travel into certain little known countries of Eastern Europe, where the populace are plagued with a particular manifestation of evil known as Vampires. • An efficient pistol with its usual accoutrements • Silver bullets • An ivory crucifix • Powdered flowers of garlic • A wooden stake • Professor Blomberg’s new serum.’

VISITING THE Gold Coast Antique Centre The 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 an hour south of Brisbane. Our centre sells genuine and authentic antiques and collectables with a wide assortment of wonderful and quirky

Poster, The Return of the Vampires, Columbia Pictures, 1944

pieces, all of which are correctly labelled and competitively priced. Our more than 25 dealers offer a wide range of wonderful and quirky pieces. Decorative eras include Victorian, Art Nouveau, Edwardian, Art Deco, centuries of Oriental art and objects, through to retro and French farmhouse styles. Pick your periods and re-furnish your home with authentic lighting, silver, furniture and artworks and fine glassware from Victorian to 1950s Murano glass. Feature a 20th century item such as modern art glass, surfing memorabilia, prints, posters, toys and dolls. Jewellery collectors will adore our array of antique and vintage designer jewellery for men and women. Add garden artistry and statuary to your exterior entertaining space, enlivened with flowering plants from our greenhouse.

The walls of the centre are like an art gallery with a fine selection or works on paper, oils and watercolours, photography and art posters. Our genuine movie posters, magazines and books represent popular culture and entertainment trends, from the peak of the 1920s art deco period through to the 1960s. Miami’s Gold Coast Antique Centre is open every day from 10 am until 5 pm (closing 4 pm on Sundays). Come to visit the centre’s vast stock and to chat with our friendly knowledgeable dealers and staff who share your passion for antiques and collectables. You can easily see our black and white building painted in art deco style ● GOLD COAST ANTIQUE CENTRE 07 5572 0522/0414 338 363 www.goldcoastantcent.com.au

GOLD COAST / MOUNT TAMBORINE ANTIQUES & ART IN QUEENSLAND

33 years of ANTIQUES ANECDOTES

ver the last 33 plus years of being in the antique trade, I have heard some weird and wonderful stories, and every time I hear another, I say to myself ‘that’s one for the book.’ ‘The book’ is the one I would like to write when I retire, about my experiences in the antique trade. But it will never happen, as I don’t intend to retire – ever. Besides, I could not sit still long enough to write a book anyway. I will no doubt ‘pop my clogs’ with a torch clutched to my person in a pre-dawn raid at a boot sale or some other illustrious venue! However, there isn’t enough room on this page for such fancies, so I will attempt to amuse you with the more recent stories. A young man asked how much the insomnia clock was. Oh the Ansonia, yes, well it’s $250. ‘I have one at home just like that, except mine is taller,’ he proudly announced. So I inquired if it had a very loud tick that kept him awake! He did not get it. On a Saturday, smack in the middle of the busy afternoon’s trading, the power failed as it does from time to time on the mountain. So I rushed around and lit a few candles to brighten up the place, not that it mattered as neither the till nor the EFTPOS machine would work. A young man appeared out of the gloom and asked to see the tiny Bible in the showcase. Goodness only knows how he spotted it, as it measures just 1 cm by 2 cm, and contains the entire New Testament. The young man tried to read it, and was seriously put out because he couldn’t! He asked plaintively: ‘Do you have it in a larger size?’ You would need a microscope to read this little number with all the lights on, let alone by candlelight! Now, Bargain Hunt and the Antiques Roadshow have done a lot to increase everyone’s knowledge on the subject of antiques. However, they have also made some people think that they are entitled to huge discounts on our most precious and finest merchandise. The higher the price, the larger the discount. No, sorry, it doesn’t work like that. I don’t think people consider the time and effort involved in searching out items, or the research in establishing age, value and identification. The many hours spent in either stifling hot or chilly and drafty salerooms waiting for a particular item to come up. The meals missed and the disgusting hot dogs substituted for food in desperation. The long drive home, having packed and stashed purchases.

It’s a very long process, as you may have had a 5am start. But that’s not the end of it, oh no. Purchases now have to be unpacked on arriving home, where the cleaning, polishing, restoration, cataloguing and pricing begins. And yet people still think that of all the shops in the road, the antique shop is the one where you can go in and legitimately torment the proprietor. When you enter an antique shop, please don’t tell the owner that your mother had one of those except hers was bigger and better, or that you threw it on the tip. We hear it at least six times a day. We do try to smile and look impressed, but really, on the inside we are screaming. Like most retail shops we ‘lose’ a bit of stock, and it seems to happen mostly on a Sunday afternoon. We take the regular precautions, but we thought we would try a more subtle approach and had some signs printed that read ‘if the camera doesn’t get you, karma will.’ One day an elderly gentleman came into the shop and wanted to know who Karma was! I had to explain to him that it was not a person with a big club in hand, but a philosophy. He

took some convincing, and left still looking about him uncertainly. Then there was the lady who turned over the teapot to read the brand underneath, although all its details and price were clearly displayed on the tag attached to the handle. Naturally the lid fell off, hit something on the way down and shattered. She indignantly declared that it was my fault because all lids should be taped down! They are now! She also refused to pay for it, as I did not have a sign up stating that all breakages must be paid for, and that was my legal responsibility. There is now! So, next time you go antiquing, be gentle with us, we love our merchandise. They are like family to us, and when you enter our realm, it’s as if you are entering our home. So please leave your camera, ice creams and big bags at home and we will all have a pleasant visit. Happy hunting ●

Angela B. ANGELS ON THE WALK 07 5545 0322 angelsonthewalk10@bigpond.com

A N T I Q U E S & C O L L E C TA B L E S

You will think you are in heaven when you view our range of ❖ Fashion ❖Vintage Clothing & Costume Jewellery ❖ Rustic furniture ❖ Art Glass ❖ China ❖ Linen ❖ Lamps ❖ Table Ware ❖ Prints & Paintings ❖ Kitchenalia ❖ Blue & White China

Antiques & Collectables Bought & Sold 117 Long Rd, Cnr of Gallery Walk and Macdonnell Rd Phone: 07 5545 0322 angelsonthewalk10@bigpond.com OPEN 7 DAYS 9

GOLD COAST ANTIQUES & ART IN QUEENSLAND

WHAT’S ON Gold Coast City Gallery November 2010 – April 2011

Michelle van Eps, The conduit, 2010

Raynor Kirkbride, Happily Never After, 2010, watercolour on paper

Michelle van Eps – Fragments of art

Spray Tan Spread

23 October – 28 November Michelle Van Eps is a recently graduated artist living in Brisbane whose works draw from a Dutch heritage of finely observed interior painting as well as a fascination with reflective surfaces and the symbolic associations that they carry.

Queensland College of Art Gold Coast Campus Graduating Exhibition 23 October – 28 November The easy sunless option of a spray tan is now the preferred option to achieve that bronzed look, yet carries with it a stigma of fakery and pretence. The Gold Coast as a city has also been unkindly characterised in this

4 December – 6 February

way. However, the artists represented in this exhibition – all graduating students of Queensland College of Art at the Gold Coast – defy such stereotypical impressions and present a range of thoughtful and engaging artworks. Raynor Kirkbride’s Happily Never After draws from intense personal experiences and is a subtle subversion of the Mills and Boon perfect romance. Emma Stamp constructs two life-size sculptures of herself covered in images about her past and her future. David Bower bares the frustrations and hopelessness with his digital drawing series I think we are both suffering from the same crushing metaphysical crisis. He creates a triangle of characters – the unicorn, a squid in a bear suit and a toad – to ramble through a loose narrative of stages along life’s quest. Other graduating students exhibiting are Karl Phelan, Catharina van der Walt, Lucy Clark, Jenna Macintosh, Jude Alitja Ferrier and Lis Di Bartoto. Four honours students also present their new works. Anna Carey constructed photographs; Dale Collier, Emma Hill and Travers Nash are showing sculptures.

Namatijra to Now 13 November – 30 January The exhibition Namatjira to Now offers an in-depth look at one of Australia’s longest continuing contemporary art movements. More than 100 artworks including iconic Hermannsburg watercolours, as well as ceramics and paintings in acrylic are being shown. The exhibition begins in the mid-1930s with a number of works by Albert Namatjira (1902-1959), his teacher Rex Battarbee, and continues with more recent artists currently working in the community today, such as Judith Inkamala and Irene Entata. Namatjira to Now reveals the kinship and creative relationships that exist between Hermannsburg artists and the importance of tradition and continuity in their culture. Highlights of the exhibition include William Dargie’s Archibald Prize-winning portrait of

Albert Namatjira, Irene Entata’s bold acrylic Albert and Rex, 2003, as well as works by Namatjira’s sons - Enos, Oscar, Ewald, Keith and Maurice, and Namatjira’s eldest grandson, Gabriel. Also featured are the quirky and colourful Hermannsburg pots. The exhibition launch on Saturday 13 November (3-5 pm) features a talk by eminent scholar Dr Sally Butler of the University of Queensland and local collector Moira Lockhart talking about her passion and knowledge of Hermannsburg pottery.

2010 Stan and Maureen Duke Gold Coast Art Prize 4 December – 6 February This year’s judge, Geoffrey Cassidy, director of Artbank, has selected 63 finalists for exhibition in the Stan and Maureen Duke Gold Coast Art Prize. From a field of almost 300 entries, the exhibition of selected works promises to offer an interesting and diverse group sampling the varied aspects of contemporary Australian art practice. From the subtle manipulation of realism in Claudia Damichi’s stylised interior ‘psychological landscapes’ to Mostyn Bramley-Moore’s gestural abstractions, the fine art of painting has never been stronger. Other established painters in the exhibition include Kate Briscoe, Jun Chen, Joe Furlonger, Marie Hagerty and Victoria Reichelt, each with a particularly independent approach to the medium. The diversity of approaches to media is one of the most engaging aspects of the exhibition. Sculptural works feature quite strongly, such as the smartly presented abstract forms of Laurino De Abrue Soto, or the altogether unnervingly dynamic kinetic offering from emerging artist Michael Candy. Ceramics by Rod Butler, Steve Davies and Ken Yonetani also demonstrate the diversity of an age-old medium. New and possibly untried media are also included such as Shaun Weston’s Goonbox painted with red wine on paper, or the found plastic objects skilfully employed by Ian Munday and Andrew Blackwell ● For more details about the exhibitions contact GOLD COAST CITY GALLERY 07 5581 6567 www.theartscentregc.com.au

Joe Furlonger, Bridge to Bribie, 2010, acrylic bound pigment on canvas Courtesy the artist and Ray Hughes Gallery Sydney

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

William Dargie (19122003), Portrait of Albert Namatjira, 1956, oil on canvas, 102.1 x 76.4 cm. Queensland Art Gallery

GOLD COAST ANTIQUES & ART IN QUEENSLAND

Summer 2011 exhibition program at GOLD COAST CITY GALLERY

Robert McFarlane Received Moments Photography 1961 – 2009 5 February – 20 March orn in Adelaide in 1942, Robert McFarlane is one of Australia’s most prolific photojournalists. His archive of images reveals an instinct for reportage without ever gravitating towards the hard news and frontline dramas. As Gael Newton, Curator of Photography at the National Gallery of Australia explains, ‘He tends to focus on the dignity and integrity of an individual. …in his universe all subjects are equal; whether a child, a celebrity actor activist or beautiful woman.’ Rather than using the common description of photography as a ‘captured’ moment, McFarlane comments that ‘I see making pictures as a receiving of the image – where you stand both physically and emotionally decrees the kind of picture you, through your camera will “receive”.’ The exhibition features 90 images that begin with his early works in Adelaide of the late 1950s and early 60s. They show the emerging youth music scene and the influence of the new style of photojournalism as seen in the great picture magazines of the era, Life, Look and Esquire, as well as the gritty photorealism of Swiss photographer Robert Frank. After moving to Sydney in 1963, McFarlane began to develop what has become a lifelong interest in documenting performance in film and theatre. He also made a number of important suites of images on political life. On show are his shots taken in 1964 of indigenous activist and then law student Charles Perkins and the later recordings of Labor politics in the 70s and 80s.

Fiona Kennedy-Altoft Foyer Gallery 12 February – 3 April Local artist Fiona Kennedy-Altoft presents large scale paintings that she describes as portraying the free, crazy and playful side of life with children. She has transposed the features of dogs into people for she feels that dogs and people are similar in many ways. ‘Both are instinctive, affectionate, wild, disobedient, compliant and at times blindly loyal.’ Fiona began work on this series partly as a reflection on her role as a parent. She has found one of the privileges of that role is the way in

which it is possible to become a child again yourself. Rediscovering that fearlessness, mischief, pranks and laughter are all possible when relating to your children. These exuberant works capture those emotions.

12 Degrees of Latitude 12 February – 3 April Queensland is home to a growing network of about 80 regional and public galleries, many of which hold collections of local, state and national significance. Twelve Degrees of Latitude is an important tribute to the outstanding contribution our state’s regional galleries and collecting institutions make to Queensland’s social, economic and cultural wellbeing. They are a vast treasure house of cultural assets, collectively holding over 30,000 works of art. The title of the exhibition, Twelve Degrees of Latitude refers geographically to the approximate distance in degrees of south latitude from the northern most participating public regional gallery in Queensland to the southernmost. The exhibition title also references the many degrees of latitude artists apply when making artworks and alludes to the similarities and differences among regional and university galleries, collections, policies and communities. Co-curated by Bettina MacAulay and Brett Adlington for Queensland’s 150th year, the exhibition features major Australian, Indigenous, Pacific and European artworks dating from 17th to 21st centuries. The exhibition contains a range of visually spectacular small and large-scale wall works, three-dimensional, experimental and freestanding works. On show will be works by leading Queensland artists, many of whom have come to define our understanding of Queensland such as William Robinson, Vida Lahey, Scott Redford and Kenneth McQueen. The selection reveals some frequently observable Queensland characteristics such as a sense of place in 19th century landscapes which is generally civic or communal. They are generally not a projection of ownership or antipodean preening for European views commonly seen in large oil paintings from southern Australia. There is a vein of broad humour with laconic and quirky elements in some of these early works. Accompanying the exhibition will be an education program and new education resource

Fiona Kennedy Altoft, I can see your pink bits, 2009, acrylic on canvas

materials written for Australian schools and based on the Gold Coast City collection. Art Unpacked, Land and Place has been designed as a high quality long term teaching aid and offers teachers 37 large A3 images plus a 50 page booklet with curriculum related tasks. Kits may

be ordered for $50 plus postage through the Gold Coast City Gallery ● GOLD COAST CITY GALLERY 07 5581 6567 www.theartscentregc.com.au

12 February – 3 April

Michael Zavros, In Et Arcadia Ego, 2007, oil on canvas Gold Coast City Gallery Collection

Robert McFarlane, Bob Hawke ACTU Leader Newcastle Civic Centre, 1976

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

GOLD COAST ANTIQUES & ART IN QUEENSLAND

Australian Urbanism 26 March – 1 May ‘Now and When Australian Urbanism’ is the Australian exhibition at the 2010 Venice Architecture Biennale, a major project of the Australian Institute of Architects

GOLD COAST CITY GALLERY Gold Coast City Gallery 135 Bundall Rd Surfers Paradise 4217 07 5581 6567 www.theartscentregc.com.au gallery@theartscentregc.com.au Saturation City, McGauran Giannini Soon (MGS), Bild +Dyksors&Material Thinking. Image : FloodSlicer

Showing exclusively in Queensland is NOW AND WHEN Australian Urbanism 26 March – 1 May

OW and WHEN Australian Urbanisms – a dramatic visual experience – has only just been seen at the 12th International Architecture Exhibition in Venice. The Architecture Biennale is regarded as the most important international showcase for contemporary architecture. The presentation, within an intensive sound environment, features ground-breaking 3D stereoscopic technology, allowing visitors a view into existing and hypothetical urban environments. Led by the Australian Pavilion’s Creative Directors, John Gollings and Ivan Rijavec, the NOW and WHEN Australian Urbanism exhibition is intended to act as a catalyst for debate on the future of our cities, engaging in timely issues that include sustainability, urban sprawl and density, and immigration. The images cross over into the realm of art and the imagination, making the display a fascinating drawing together of different creative disciplines. The immersive environment is in two parts. NOW presents aerial views of five of Australia’s most interesting urban and nonurban regions as they are now including Surfers Paradise (cover image), captured by co-creative director and well-known

architectural photographer, John Gollings. Seventeen futuristic urban environments imagine WHEN we reach 2050 and beyond. Depicting Australian cities 40 plus years into the future, these ideas are the result of a national competition set by the Australian Institute of Architects. The national competition for WHEN submissions was intended to liberate architects from planning and design constraints to create a vision of the future. The visions range from a city that is powered by mould, one that is based on ‘aquaculture’ and regions that are connected by central ‘spines.’ In combining the NOW and WHEN components, the exhibition provokes discussion around issues of urban density and sprawl and inspires society to question how it can improve its cities. The presentation posits that the future urban transformation in Australia is being driven as much by political and economic imperatives as by technology and design. Australia could become the world’s fastest growing industrialised nation over the next four decades; its projected population growth of 65% by 2050 is almost double the global rate. South east Queensland and the Gold Coast region is the fastest growing urban area in

Saturation City 3. Courtesy: FloodSlicer

Australia, which makes the exhibition a timely one for our community. NOW and WHEN tackles questions such as: Is it better for cities to grow horizontally or vertically? What if a city’s growth boundary is not on its periphery, but at its heart? What if new planning initiatives were introduced governing the use of air space? Gollings comments that the exhibition will generate new ways of thinking about urbanism. Gollings has a long understanding of the urban environment of the Gold Coast and in 1973 made an in-depth photographic study of the Surfers Paradise area as a response to the then just published seminal architectural text – Learning From Las Vegas by Robert Venturi and Denise Scott Brown.

He has decided to revisit this work and make a new series of photographs that attempt to exactly replicate theses views from over 30 years ago. Using the same camera and lenses, these images are a powerful statement about the rate of change and the almost complete transformation of this city in such a short space of time. Some of these new photographs will form an additional component for the showing at the Gallery. For details of an extensive public and education program please visit our website www.theartscentregc.com.au ● GOLD COAST CITY GALLERY 07 5581 6567 www.theartscentregc.com.au

GOLD COAST ANTIQUES & ART IN QUEENSLAND

Antiques â&#x20AC;&#x201C; Antiques: Celebrating 24 years of the ROTARY ANTIQUES FAIR & GOLD COAST BOOK FAIR 6 - 9 January 2011 hat an incredible achievement! Twenty-four years of providing the perfect setting for browsers and collectors while raising an amazing amount of funding for distribution to the needy. The fair will be held at Jupiters, Broadbeach on the Gold Coast 6-9 January, and later in July (22-24) we are running our mid-year fair at the Albert Waterways. The annual fair is a major Rotary Club of Palm Beach fundraising project, so make a point of visiting. Enjoy the buzz of browsing among a stunning array of antiques and collectables presented by dealers from around Australia. The elegant Jupiters ballroom will be overflowing with an alluring range of porcelain, silver, linen, furniture, jewellery, lithographs, prints, maps and postcards, historical documents and much more to tempt the discerning buyer. Books of every kind will cater to those collectors with a taste for the written word, with an enticing selection of literary treats gathered from many parts of the world â&#x20AC;&#x201C; including old and rare volumes, weighty tomes, childrenâ&#x20AC;&#x2122;s classics and books covering a wide range of subjects and pastime pursuits. The Rotary Antiques Fair & Gold Coast Book Fair has a special ambience, and the

elegant surroundings, together with the diverse range of items available and the helpful assistance and interest of the many organising Rotarians, all contribute to the enjoyment, guaranteeing a memorable experience for all. The outstanding venue provides a superb setting for the display of fine pieces, while offering the astute visitor the opportunity to enjoy spectacular entertainment and excellent dining. Highly regarded by dealers and collectors and supported by the tourism industry, proceeds from the fair have assisted youth, aided in disaster relief, fulfilled community needs and contributed help to many areas of health, locally, nationally and internationally. Whether you are into serious collecting, or simply enjoying looking, allow time for relaxed viewing among the alluring assortment of collectables and antiques. The overwhelming variety of treasures will guarantee that something will catch your eye. Lucky Door prizes drawn at regular intervals during the fair are a special attraction. Who knows, it could be you â&#x20AC;&#x201C; wouldnâ&#x20AC;&#x2122;t that be nice? Twenty-four years of â&#x20AC;&#x2DC;doing it rightâ&#x20AC;&#x2122; has earned the Palm Beach Rotary Antiques & Book Fair the reputation for being one of the most varied and professionally presented in

the country. Club members look forward to welcoming one and all in January 2011 and thank dealers, sponsors and public for their continued support â&#x2014;? ROTARY ANTIQUES FAIR & GOLD COAST BOOK FAIR 07 5598 8188 www.rotaryantiquesfair.com

Celebrating Our Celebrating O ur 224th 2nd

ROTARY ANTIQUES FAIR jewellery, porcelain, china, silver, clocks, pottery, furniture, historic documents â&#x20AC;&#x201C; and much more! and

GOLD COAST BOOK FAIR rare books, prints, posters, maps and postcards

Antiques on The Gold Coast - January 2011 by The Rotary Club of Palm Beach at Jupitors January 2010 Fair Dates Thursday 6 Jan Friday 7 Jan Saturday 8 Jan Sunday 9 Jan

6 pm 10 am 10 am 10 am

â&#x20AC;&#x201C; â&#x20AC;&#x201C; â&#x20AC;&#x201C; â&#x20AC;&#x201C;

Admission 9 pm 6 pm 6 pm 4 pm

Adults Concessions Under 17

$12 $10 Free

Over 70 dealers present all types of antiques including estate jewellery, rare books, prints, posters, works of art, furniture and much, much more Donâ&#x20AC;&#x2122;t forget our Mid-Year Fair: 22 - 24 July at Waterways Centre PROCEEDS TO CHARITY Enquiries: Phone +61 7 5598 8188 www.rotaryantiquesfair.com

SURFERS PARADISE ANTIQUES & ART IN QUEENSLAND

Grant Lee Paulson, 70 x 90 cm, $390

Stephen Larcombe, Men Hunting, 90 x 90 cm, $790

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 ●

Anthony Walker, Turtles, 40 x 50 cm, $249

Jeannie Petyarre, Bush Medicine Leaves, 70 x 150 cm, $2400

Anthony Walker, Goanna Increase, triptych 3 x 50 x 90 cm, $1550

Jeremy Devitt, Dolphins, 122 x 180 cm, $2,500

Jeannie Petyarre, Bush Medicine Leaves, 60 x 90 cm, $950

Aaron Cora, Bush Passionfruit, 90 x 90 cm, $790

Spirit of Australia

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

Ningurra Naparulla, 60 x 80 cm, $1190

Anthony Walker, King Brown Country, 26 x 122 cm, $495

Wallangkura Napanangka, My Country, 30 x 90 cm, $2900

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 14

Claire Hayes, Waterholes, 40 x 70 cm, $590

Anthony Walker, Rockpools, 5 pieces 20 x 60 cm, $1250

SPIRIT OF AUSTRALIA GALLERY 07 5561 0330 www.spiritofaustraliagallery.com

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.

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

Spirit of Australia

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

BRISBANE ANTIQUES & ART IN QUEENSLAND

AT VOYAGER delight in commencing a new pursuit

oyager is frequented by book lovers desiring to covet rare and unusual editions – whether for their striking art deco covers, or the magnificence of their Victorian and earlier hand-coloured plates. Other collectors are drawn to quality leather bindings, the allure of early science or for students of local events, Queensland history – the list is endless. Books once owned by the famous (whether great bibliophiles, their author, or great scholars) are especially desired. Books with this pedigree are rather unimaginatively called ‘association copies.’ Being unique, such items have special value and are an ideal gift – if you can bear to let them go!

BOOKS on Australian crime from the Wilfred Gregg library Interesting accounts on Australian criminal law cases are few and far between. Amongst Voyager’s favourites are two writings relating to the murder of a 12 year old girl that took place in Melbourne in 1921. The Gun Alley Tragedy (1922) written by T C Brennan, a noted criminal lawyer who appeared for the defence and The murder of Alma Tirtschke: a challenge to T.C. Brennan: with a reply to his book “The gun alley tragedy” (1923) the written account of phrenologist Madame Ghurka. Both these items are from the library of Wilfred Gregg, co-author of The Encyclopedia

Voyager Rare Books Maps & Prints

Original Science at Voyager English mosses by Sollis On the Balcony, Brisbane Arcade 160 Queens Street, Brisbane

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

of Serial Killers (1995). His thoughtfully designed bookplate provides the requisite qualities a bookplate should display regarding the owner and his interests. Also obtained from Gregg’s library is The Chalk Pit Murder that explores the 1946 trial of Thomas Ley an ex minister of justice in NSW convicted and sentenced to death for arranging the death of John McBain Mudie. Three days before the execution, Ley’s sentence was commuted and he was committed to Broadmoor Criminal Lunatic Asylum, Berkshire.

POLAR exploration Voyager carries a near pristine copy of Sir Douglas Mawson’s The Home of The Blizzard, the story of the Australasian Antarctic Expedition (1911-1914). This is a must for any serious Antarctic collection. Sir Douglas Mawson’s (1882-1958) contribution to scientific studies and understanding of Antarctica and other related phenomena in geology and meteorology cannot be overstated. He was a man of great ability, integrity and courage. Also acquired from Mawson’s personal library are the two volumes that comprise The Three Cruises of the Blake by Alexander Agassiz. This is a highly detailed and early (1877-1880) account of an oceanographic survey. Both volumes carry Mawson’s striking bookplate that reflect his passion for the Antarctic, science and learning. One can imagine the great man holding these books of an evening and dreaming of challenges to come. An equally special place in history exists for the British Antarctic explorer, doctor, naturalist, superb watercolourist and morale builder Edward Wilson (1872-1912). Known affectionately as ‘Uncle Bill,’ Wilson died with Captain Robert Scott (1868-1912) during the ill-fated second expedition to the Antarctic. Following Wilson’s first visit to the Antarctic his father made a fine copy of his son’s diaries and notes. Available in store is this handwritten manuscript. The writing is superb, capturing the tension of the polar winter and the delight of seeing the first light of summer; a clear picture of the fragility of man out of his natural environment. From the opposite pole is the copy of Greely’s Three Years of Arctic Service. The book once belonged to Thomas Welsby (18581941). As well as being a company director, politician and sportsman Welsby wrote seven books about the history of the Moreton Bay region. He was foundation secretary of the Brisbane Gymnasium in 1882, sponsored boxing matches and formed the Queensland Amateur Boxing and Wrestling Union in 1909. There are several books containing his plate or signature in stock.

SCIENTIFIC works The staff drool (nicely) over the collection of early science. There is Moxon’s Treatise of the Use of Globes (1674) with its affectionate dedication to Pepys, or the works of Robert Boyle including his pharmacopoeia – ‘…for the bloody flux – dry pigs-dung, and burn it to grey ashes; of which give about half a dram for a dose; drinking three spoonfuls of wine + vinegar after it.’ It is hard to surpass the autobiography of Manne Siegbahn (1886-1978), winner of the Nobel Prize in Physics 1924 for his discoveries and research in the field of X-ray spectroscopy. This copy, signed by Siegbahn, was given as a gift to Sir James Chadwick, winner of the Nobel Prize in Physics 1935. Working in the domain of nuclear science, Chadwick proved the existence of neutrons. Of Australian interest is an F Manson Bailey’s Synopsis of The Queensland Flora published in Brisbane in 1883. This was the personal copy of Australia’s greatest 19th century botanist William Bauerlen (1840-1917) and features Bauerlen’s strong signature and bookplate. As this is a heavily reinforced book, the conjecture is that it may have been carried on many field expeditions, among them the Bonito expeditions to Papua New Guinea in 1886 where he served as botanical collector. From the field of medicine and carrying the bookplate of John Chapman is The Dawn of Australian Psychiatry by John Bostock (18921987). Bostock had a long and distinguished medical career. Among his achievements: he was a founding fellow in 1938 of the Royal Australian College of Physicians and in 1946 of the Australasian Association of Psychiatrists (Royal Australian and New Zealand College of Psychiatrists); he served as president of the AAP in 1948. He was president of the Royal Society of Queensland (1943). This work is on mental health from the time of the First Fleet to 1850, is a typed thesis, few copies must exist. Original work has a special quality, such as the MA thesis, University of Queensland, by Laila Haglund-Calley titled The Relation between the Broadbeach Burials and the Cultures of Eastern Australia (1968). With its diagrams, maps and comprehensive original photographic record, works such as this are especially valued ● VOYAGER RARE BOOKS MAPS & PRINTS 07 3211 1231 bjeffrey@tpg.com.au

BRISBANE ANTIQUES & ART IN QUEENSLAND

Page of designs from jewellery sketchbook, 1931 Jewellery by Rhoda Wager

Advertisement for Rhoda Wager jewellery, c. 1920s

RHODA WAGER (1875-1953) Jewellery designer and manufacturer in the Arts and Crafts style

n the late 1980s, I had the delightful experience of expanding my knowledge of Sydney-based jeweller Rhoda Wager from a customer. Visiting from Adelaide, the client who collected Wager jewellery was delighted in being able to share her knowledge; it was a very rewarding experience. Between 1921 and 1946, Wager made 12,000 pieces of jewellery, all meticulously recorded in her sketchbooks. She would become the best known of the craft jewellers in Australia. Rhoda Wager was born in 1875 at Mile End Old Town in London, and raised in Bristol. She studied at the Art School in Bristol followed by the School of Art in Glasgow, Scotland from 1897 until 1903. At the age of 28, she taught drawing as well as exhibiting her work with the Glasgow Society of Lady Artists’ Club. Rhoda taught art at St Mary’s Girls’ School in Bristol and spent her holidays making jewellery under Bernard Cuzner, an established jeweller who worked with Liberty and Co on the company’s Cymric jewellery range. Cuzner’s arts and crafts style made a huge impact on Wager’s work. In 1913, Rhoda Wager travelled to Fiji accompanying her brother who was to manage a sugar plantation. On her port layover in Sydney, she joined the Arts and Crafts Society of NSW. Later she would join the Victorian and the Queensland Societies. Wager set up a garden workshop while living in Fiji, making jewellery while her niece Dorothy Wager watched on enthusiastically. She sent jewellery to the Arts and Crafts Society of NSW Exhibition in 1914, where her work was admired. Wager moved to Sydney in 1918. Initially she was based in a studio and retail premises in Rowe Street with partners that she bought out. Staying in central Sydney she relocated several times over the years including Castlereagh Street, Pitt Street and Martin Place. During the Depression she had premises in Market Street, staying there until retirement in 1946. From 1922, her niece Dorothy also relocated to Sydney where she completed schooling while living with Wager. In 1928, Dorothy, who had watched Wager working in Fiji, joined the firm as a jewellery apprentice. Rhoda was Dorothy’s mentor, teacher and aunt all in one.

Others working with Wager were Violet Dupre, Victoria Blashke and Dora Sweetapple. Walter Clapham, her chief assistant, worked with Rhoda from 1919 until her retirement in 1946. Wager married Percival (Percy) George Ashton, son of Julian Ashton the artist. He was later general manager of Sydney Ferries. Several years after their retirement, they moved to Queensland in 1951 where Rhoda died in 1953. One aspect that I find absolutely amazing about the work of Rhoda Wager is her meticulous detail. She made every tiny little piece of gum leaf and foliage decoration individually by hand, and then each tiny piece was soldered on individually. She mentioned that opals and yellow sapphires were her favourite stones because of their light reflection with the sun. She used Australian and imported stones. Some of her favourites were moonstones, turquoise, lapis lazuli, black onyx, cornelian, coral and chalcedony. Her maker’s mark is on jewellery such as brooches and pins. She soldered a little plate on the reverse with the word (in capitals) WAGER. Rhoda Wager never signed her rings but they do have her signature double band. For pieces that look like Rhoda’s work but do not have the WAGER nameplate, then the chances are her niece Dorothy (Wager) Judge made them. Some of Dorothy’s early works were displayed as designed by Rhoda Wager and made by Dorothy Wager. Rhoda Wager’s contribution to the Australian jewellery industry was immense; her hand wrought designs of the highest quality workmanship in the arts and crafts tradition. Examples of her works can be viewed at the National Gallery of Australia in Canberra. Kellies Antiques want to share its small collection of Wager and Wager-attributed jewellery. If you own a Wager piece and would like more information about it, please drop by to Kellies Antiques on the Gallery Level of the Brisbane Arcade. All collectors are invited to see firsthand works by Rhoda Wager, a truly amazing jeweller and businessperson ●

Moira Drexler KELLIES ANTIQUES 07 3221 4825 www.kellies-antiques.com.au

Further reading Kenneth Caville, Graham Cocks & Jack Grace, Australian Jewellers, Gold & Silversmiths – Makers & Marks (Roseville: C.G.C. Gold, 1992) Anne Schofield, Kevin Fahy, Australian Jewellery 19th and early 20th Century (Balmain: David Ell Press 1990)

Kellies Antiques

Gallery Level (Upstairs) BRISBANE ARCADE Shop 16, 160 Queen Street Brisbane Ph: 07 3221 4825 www.kellies-antiques.com

BRISBANE ANTIQUES & ART IN QUEENSLAND

OF LOVE AND WAR keeps the home fire burning at the State Library of Queensland until 20 February 2011

Roy Hodgkinson (1911-1993), One Sunday afternoon in Townsville, 1942, crayon, watercolour, pencil on paper. AWM. In a series of portraits the artist conveys a beach scene in which members of the Australian Women’s Army Service mingle with men from the Australian and US forces

Love, romance, passion... they all help to shape our lives, even in times of hardship or sorrow and even in times of war.

he excitement of blossoming romance, the pain of separation and the great joys of reunion are captured in a special travelling exhibition at the State Library of Queensland, Of Love and War. The exhibition, which runs from November to February, explores relationships forged during times of conflict, the passionate affairs and whirlwind weddings of lovers caught up in war, the

Australian News and Information Bureau, Mackay, Queensland, American servicemen splash in the sea at Eimeo Beach, near Mackay with local girls from the ‘Air Force Victorettes’, c. 1943, digital print, 2009. AWM. The American Red Cross arranged for local women, such as the Victorettes, to entertain troops on a roster basis

loneliness of those serving away from home – and those they left behind.

EXHIBITION themes The exhibition is divided into five themes: Romance and Recruitment, Meetings and Marriages, Letters and Longing, Loss and Loneliness, and Beyond the Battlefield, each is illustrated with personal stories, photos, artworks, film and sound, and relevant objects such as gifts of jewellery, wedding dresses and marriage certificates. State Librarian Lea Giles-Peters said she is proud to host this major travelling exhibition from the Australian War Memorial in

Geoffrey Mainwaring (1912-2000), Sun worshippers, Lake Eacham, Queensland, 1944, watercolour with pen and ink, over pencil on paper. AWM

Canberra. ‘All wars dramatically affect the lives of men and women, and this exhibition reveals the personal tales of Australians affected in battles from WWI to recent conflicts in Iraq. The mix of emotions can be seen in documentation such as love letters, photos and treasured mementoes that are so beautifully displayed,’ said Ms Giles-Peters. Of Love and War curator Rebecca Britt, who has been working at the Australian War Memorial in various roles since 2000, has been continually surprised by the passion and generosity that visitors and those working on the exhibition have displayed. ‘Many would regale me with the most wonderful stories of their own – or their family’s experiences. The intensity of love amid times of war created a sense of urgency for some, with couples often defying convention and an uncertain future and marrying within days or weeks of meeting,’ she said. ‘I am so grateful for the willingness of the people we approached to share their very personal love stories, and of course their mementoes such as photographs, paintings and even a wedding dress.’

STORIES that touch Queenslanders

SState tate Li Library brary of Queensland Queensland ppresents resents

Exploring E xploring the relationships relationships for forged ged dur during ing times of conf conflict, flic l t, aand nd the eemotions motions felt bbyy couples p as as a rresult esult of sseparation, epparation, lo loss ss aand nd rreunion. eunion. 6 Nov Nov 2010 – 20 Feb Feb 2011 20011 • Open Open daily daily 10a 10am m – 5pm sslq lq Gallery, Galler y, le level vel 2, 2 State State Library Librar y of Queensland Qu ueensland Cultural C ultural Centre, Centr t e, SStanley tanley P Place, lace, So South uth B Bank ank

The exhibition has several Queensland stories including that of Carmelita Ingram, a young machinist at a corsetry firm in West End and Allen May, a young man who had just completed his basic army training. They met in 1965 and quickly developed a strong relationship, but sadly soon after, Allen was called up for National Service. They wrote to each other throughout Allen’s service in Vietnam with the 6th Battalion, Royal Australian Regiments, which included the Battle of Long Tan (18 August 1966). When he came home, Allen and Carmelita picked up the threads of their romance, but it

Photographer unknown, Carmelita helps Allen cut the cake at his twenty-first birthday party, March 1966, Brisbane, digital print 2009. AWM. Allen May carried this photograph throughout his service in Vietnam

did not last. The couple have since been reunited and today, both live in Brisbane. A photograph and interview with Carmelita and Allen are included as part of the exhibition. Of Love and War is on display at slq Gallery level 2, State Library of Queensland until Sunday 20 Feb 2011. Open daily 10 am – 5 pm, entry to the exhibition is free. The exhibition is supported by an extensive program of events and displays. Go to www.slq.qld.gov.au/whats-on for more information ● STATE LIBRARY OF QUEENSLAND 07 3840 7666 www.slq.qld.gov.au

Geoffrey Mainwaring (19122000), Sunday afternoon, 1944, pen and ink with coloured wash heightened with white, with pencil on paper. AWM. Lake Eacham, Queensland was developed by the army to provide amenities for troops stationed on the Atherton Tablelands, and was a popular social meeting place during WWII

BRISBANE ANTIQUES & ART IN QUEENSLAND

Appreciating the skills of a

MANUFACTURING JEWELLER

he ingenuity and skill in pieces of antique jewellery that I often come across are a constant source of amazement. As a qualified manufacturing jeweller my interest lies with how these earlier craftsmen could use such small amounts of metal to achieve such great impact and results. This is a craft and skill the industry has lost along the way, especially the modern industry of today. This was really bought home to me when a young lady collected her lay-by and with it a valuation certificate. She had purchased a very nice unique turquoise and seed pearl cross. I had always liked the piece because it was different, but it was not until I started to take the details for a valuation that I fully appreciated the skills used in its construction. This piece measures 23 x 23 mm and its weight is only 1.50 grams. It did not seem possible that it was so light given its size so I reweighed the cross on another set of scales. The result was the same. I always knew the piece was lightly manufactured, but did not appreciate just how light it was until now. The main bars of the cross were made from very fine wall pipe or chenier as it is referred to in the industry. This pipe was made from 0.20 mm wall thickness and a diameter of 2.5 mm. The small triangular sections which hold the seed pearls were made from 0.50 mm thick plates. Couple this with the settings for

each of the turquoise stones, also made from two small different lengths sections of 0.20 mm tube, one inside the other. Perhaps to the layman this does not seem like much of a task, but a craftsman would tell you that soldering on to such thin metal with temperatures in the order of 700º C is fraught with problems and drama. For a manufacturing jeweller, the difference between pieces of metal and a molten blob is so fine it is hard to comprehend. Then there is the skill of the setters who had to seat and set the stones without damaging and compromising the article. No mean feat when working with such thin metal! In so many pieces of jewellery that I come across it is always the same story – uncompromised design appeal, strength and wearability. Another example of fine gold workmanship is that used in the making of lockets. Often the wall thickness were so fine that brass stiffeners were used to strengthen the item. So next time, when looking at jewellery made by skilled artisans from the Georgian to Victorian through to Edwardian eras, consider the skills required to produce the fine pieces often in gold that seems no thicker than a gossamer web – no mean feat! ● Ken Penfold PENFOLD JEWELLERS 07 3221 7516 penfoldjewellers@tpg.com.au

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PADDINGTON ANTIQUES & ART IN QUEENSLAND

A new book and an accompanying exhibition

Robyn Bauer’s DRAWING BRISBANE: AN ARTIST’S JOURNAL

risbane artist Robyn Bauer is passionate about drawing, walking and Brisbane. This book contains hundreds of drawings that celebrate these passions. She has lovingly included things that appealed to her visually as an artist. It was not a question of just ticking off monuments. She includes the quirky and the unusual, the botanical and the cultural, captured with her personal signature line and handwriting. This book will appeal to everyone with links to Brisbane, whether people who live here, visitors, tourists, artists or students of history. It provides a personal eyewitness account of all things Brisbane in 2010. Artist’s statement On a walk several years ago along the Coronation Drive stretch of the Brisbane River, I had a transforming experience. While looking at the surface of the water I saw a long skinny bird head and neck emerge. It looked like a cormorant but I later discovered it was a darter. It seemed to appear out of nowhere, but must have been swimming underwater. Its head and neck were arched towards the sky and that image imprinted itself on my brain and was the start of many creative leaps. That arching bird has been present in many of my artworks since that day but the truly significant factor is that I found him in the

middle of the Brisbane River. I am a great walker, a keen observer and I love Brisbane. I found my bird motif in a way that combined many of these facets of my artist’s life. I am also a great journal keeper, all numbered on a shelf in my studio, with words and pictures. They chronicle my walks, my travels and my developing art ideas. They are not the types of diaries that detail the confessional or daily minutiae of life. My diaries are introspective in that they record my visual obsessions, how these things change and develop into artwork of various forms. Through all 14 of the journals preceding this one, is the continuing idea of book of Brisbane sketches. Every time I travelled elsewhere to Paris or Sydney, in particular I would come home fuelled with the compulsion to explore and record my home city of Brisbane. There is no doubt that Brisbane is exotic, multi-faceted and downright pretty in every season. As a child growing up in country Queensland, trips to Brisbane were always eye opening. I was amazed that absolutely everything seemed to grow here. There was bird life everywhere. At the impressionable age of fifteen, I moved here to school and the contrast with the black soil plains and flat streets of Dalby could not have been greater. Brisbane is hilly, tropical, and humid. Others have called it a

ROBYN BAUER STUDIO GALLERY AND SCULPTURE GARDENS The book Drawing Brisbane – An Artist’s Journal by Robyn Bauer is available only at Robyn Bauer Studio Gallery. The book will be launched on Thursday 25 November in the gallery.

54 Latrobe Terrace Paddington Qld 4064 07 3511 6380 Gallery Hours: Tuesday – Saturday 10.30 am - 4 pm www.robynbauergallery.com.au www.robynbauer.cpm robynbauerstudio@hotmail.com 20

quiet sleepy place but to me it has always been full of noise and colour. There was more wildlife here than I had grown up with in the country – scrub turkeys, noisy mynahs, whip snakes, frogs, crows, kookaburras. If there is a theme, it is one of diversity. I have included things that have appealed to me visually as an artist. It was never a question of just ticking off monuments, although I have tried to include objects that are generally regarded as icons of Brisbane. I want my drawings to have an authenticity that digital and mass produced images have lost. I want a personal signature line and original artist’s handwriting feeling. I have aimed to capture the personal, light years away from airbrushed advertised experience and glossy screen images that are everywhere these days. My images are from my own eye, brain and hand without computer enhancement. I have sought a real essence in each line particularly those of the people, animals and plants. Journal keeping is no longer central to a

culture that uses digital communication by phone, computer and web. It is more of a 19th century preoccupation, but although anachronistic, I am convinced that it still has value through the integrity and conviction of its adherents. A drawing by hand is a genuine commitment. It is my hope that this book is a celebration of all these things about Brisbane. The book Drawing Brisbane – An Artist’s Journal is only available at Robyn Bauer Studio Gallery. The book will be launched on Thursday 25 November in the gallery. The accompanying exhibition will run until 23 December ● Robyn Bauer ROBYN BAUER STUDIO GALLERY AND SCULPTURE GARDENS 07 3511 6380 robynbauerstudio@hotmail.com www.robynbauergallery.com.au www.robynbauer.com

PADDINGTON ANTIQUES & ART IN QUEENSLAND

From the international to the local – it is all happening at PADDINGTON ANTIQUE CENTRE

ravel broadens the mind, feeds the spirit, and stretches the wallet. If the Arts and Crafts era is your thing you could do worse than attend one of the specialist conferences held in the United States each year. I have just returned from the 12th annual Arts and Crafts Conference, which was held in New York City. The conference runs for four days and each year is held in a different American city. It was a combination of lectures, walking tours of the city, and trips to museums and galleries. It included a reception at the National Arts Club, a preview of the first ever Tiffany pottery exhibition that opened in November, a private viewing of the Gustav Stickley exhibition at Newark Museum and a tour of the overtly art nouveau New Amsterdam Theatre. As an Arts and Crafts tragic and compulsive history student this was exciting stuff. Each morning we met at a different location in New York City – a bit of a challenge but exhilarating. It was wonderful to walk the streets of NYC, constantly stopping to look at buildings and examine the architecture. With the expertise of architectural historians, stained glass window specialists, terracotta experts and general period academics to guide us, the revelations came thick and fast. Much of the information was obviously very American-based, but as this period was so heavily influenced around the world by Morris, Macintosh, de Morgan, and a clutch of other British luminaries, the relevance is universal. These conferences are a marvellous way to experience a city while also learning about this creative period. There were dealers, collectors and people who were just interested attending. Some popped in for a day, others stayed for the full four days including the three evening activities. If it sounds like your idea of heaven, be assured it was good value. Previous locations for the conference have included Buffulo, Pasadena and Seattle. Next year’s location is yet to be announced. If you’re lucky and organised you could wrap up your trip with an antiques fair of which there are many across the States. I flew to Chicago for the International Antiques Fair followed by a tour of six Oak Park Arts and Crafts homes previously never opened to the public. Oak Park is the famous Frank Lloyd Wright suburb of Chicago and while none of these homes were designed by Wright they were all Prairie style. I did also tour Unity Temple, which Wright claimed was his greatest legacy to architecture, a wonderful way to wrap up an Arts and Crafts themed

trip. Travel does indeed broaden the mind and feed the spirit, even if emptying of the wallet is a by-product.

Happenings at PAC There has been considerable activity in the Paddington Antique Centre of late. Found in France has moved in with a range of high quality French provincial antiques imported direct from France. Eighteenth-century farmhouse tables, bedroom suites, chairs, and a smattering of home wares make for an inviting space. Our vintage clothing section has introduced a higher-end section specialising in beautifully-presented excellent quality genuine vintage dresses, blouses, and nightwear in realistic sizes. Dealer Monica Usher, who already has a very successful jewellery shop in the centre, has turned her hand to vintage clothing and has a range of hats, handbags, and some shoes to complement her clothes and jewellery. Plans for our coffee shop have been finalised and we hope to have it in and trading for the new year. The Plaza Cafe will specialise in home-baked temptations prepared onsite, excellent coffee, and quality sandwiches and bite-sized morning tea and lunch treats will be available to take away or eat in. As the coffee shop is being built, a button and sewing nook will also be constructed. Fancy! Buttons @ Paddington will now be more than just a couple of cabinets. Antique, vintage, selected new buttons and a range of sewing collectables will be available in this new space. Our jewellery section is continually expanding and now includes a lovely range of engagement rings as well as antique gold and silver treasures. Adding to the selection is an extensive range of fabulous vintage costume jewellery. The centre now offers a great range of antique, vintage and retro lighting. Recently, we have had some very special art deco fittings come through. These tend to be snapped up quickly as they are popular and not easy to find. Our foyer displays continue to be a great success. Most recently we have had a western theme with a range of antique American saddles, a hide-covered sofa, a John Wayne billboard and an exhibition of character figures by artist, Michael Hunjas. Michael’s figures are made from old bits of hardware such as cupboard handles and doorknobs, hinges and bolts, and come to life as ‘someone’ completely new – the ultimate in

up-cycling! Michael’s works will be a constant that is exclusive to PAC. In November, we displayed work by talented PAC dealer and staff member Ashley Haye. Ashley is a true artisan in the Arts and Crafts sense and his furniture-making, pokerwork and emu-egg carving is divine. His work was complemented by a display of collectable pottery. Christmas will see toys galore and in the new year we will be looking to the Orient as we plan a Japanese exhibition. After some in-house strategic thinking, our

website has become a more dynamic part of the way in which we do business. We won’t be badgering you with twitters and twaddle but if you’d like to know what’s in and what’s happening check us out at www.paddingtonantiquecentre.com. Merry Christmas and all the very best for 2011 to all our PAC friends and family ● Suzy Baines PADDINGTON ANTIQUE CENTRE 07 3369 8088 www.paddingtonantiquecentre.com

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

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ANTIQUES & ART IN QUEENSLAND

Rosewood cabinet with original glass mirror

Sofa table, c. 1820s, original patination, typical of the Regency period with brass hairy paw feet

ENGLISH FURNITURE OF THE REGENCY PERIOD (1800 – 1830) The final hand-made furniture era in England

n 6 February 1811, the Prince of Wales was sworn in as Prince Regent. His title became the name of this period of furniture and decorative arts. The Prince of Wales was a great patron of the arts and noted as a man of fashion and arbiter of taste. Although he was Prince Regent from 1811 and George IV from 1820 until his death in 1830, the term ‘regency’ refers to the full period from 1800 to 1830, as these dates are

Mahogany library chair c. 1820

without any artistic significance. In fact, ‘regency’ is a modern and imprecise term for this late neo-classical style in the early 19th century. However, Regency provides a label for the predominant style in England from the 1790s until the early Victorian 1840s. It was a reaction against the expensive ornamentation of the later 18th century furniture. The fashionable idea was for furniture based on antique prototypes and not just fussily decorated with antique motifs. There was a tendency to general heaviness, with Grecian massiveness and elegance combined. It was inspired by the contemporary French Directoire and Empires styles, but not close to these French versions. The interest in Greece heightened in 1816 when the Parthenon sculptures were bought by public subscription. Five years later, the Greeks revolted against Turkey in 1821. One of the most memorable pieces of Regency furniture was a desk of a unique style made for one of the Regent’s residences, Carlton House. This style of desk was known thereafter as a Carlton House desk, examples of which are much sought after today. The main features of Regency style were extreme simplicity of outline, large uninterrupted surfaces emphasising horizontal and vertical lines, and a stress on solidity ornament having a minor role. Satinwood, rosewood and gilding were used as a conscious break from dark mahogany.

Classical Greek furniture such as the fashionable sofa and chair was copied from sources such as vase paintings and reliefs on ruins, and antique forms were adapted to modern usage. Favourite decorations were metal inlay and reeding. After the death of Nelson in 1805, numerous pieces of furniture were outlined with ebony stringing as a black line of mourning. The fashion for antiquity did not stop at Greco-Roman furniture. Egyptian sphinxes and hairy paws were copied as Egyptian antiquities had attracted attention after 1798 when Napoleon began his Egyptian campaign and in which the French fleet was destroyed by Nelson at the Battle of the Nile. Thomas Chippendale the younger had studied ancient architecture and designed Egyptian decoration and furniture for the room containing his collection of Egyptian antiquities. Gothic was rediscovered, most famously at Horace Walpole’s Strawberry Hill gothic house, furnishings and collections. The revival of Chinese motifs was partly due to the Prince of Wales whose Carlton House had a Chinese drawing room, illustrated in Sheraton’s Drawing Book (1791-94). The Prince had a Chinese gallery made at Brighton Pavilion in 1802, later re-decorated between 1815 and 1821 in the Chinese manner. Names associated with the Regency style are Henry Holland, C H Tatham, Thomas Sheraton, George Smith, Thomas Chippendale the younger, and Bullock and Gillows.

Thomas Hope (1768-1831), with a background in architecture and archaeology, published his Household Furniture and Interior Decoration in 1807, an invaluable reference to the styles and motives of furniture design in the Regency period. It was one of the greatest periods of English furniture and on the cusp of the industrial age, the Regency period was the final hand-made furniture era. By the early 1840s, the standard of artisanship fell off and furniture was made increasingly by factory processes. This Regency chest of drawers and sofa table, along with many other fine period pieces are available for purchase from Lavin Antiques. Lavin Antiques are the sole Australian distributor of Richard Bebb’s book, Welsh Furniture 1250-1950. Centrally located at 950 Stanley Street East in East Brisbane, we are open seven days a week, 10 am to 6 pm and welcome visitors from interstate and overseas ● Further reading Ralph Edwards & LGG Ramsey (eds), The Regency Period (London: The Connoisseur Period Guides, 1962) John Fleming & Hugh Honour (revised ed), The Penguin Dictionary of Decorative Arts (London: Viking Penguin, 1989)

LAVIN ANTIQUES 07 3391 2300 info@lavinantiques.com.au www.lavinantiques.com.au

MILTON ANTIQUES & ART IN QUEENSLAND

ANTIQUE PRINT STYLES

o appreciate the effort involved in creating an antique print, you need to know a little about the process involved in its printing. Printing describes the transference of ink from a prepared printing surface (the block, plate or stone carrying the image or words) to a piece of paper or other material. Ink can be carried on raised parts of a printing surface (relief process), in lower carved or etched grooves (intaglio process), or on the surface itself (planographic or surface printing).

RELIEF printing In the early process of relief printing, the relief surface was ready for printing after all the non-printing areas had been cut away (as with a rubber stamp), leaving the area raised to receive the ink. Early paper, made by hand, was quite expensive and often thin, so the woodblock printing on the reverse frequently showed through. Excellent examples of this process are the woodcuts for The Herball or Generall historie of plantes…, the primary work of John Gerarde (1545-1612), published circa 1597. John Gerarde was apprenticed to a leading surgeon, was educated as a surgeon, and eventually became warden of the BarberSurgeons Company. As with a number of surgeons of his day, Gerarde’s true passion was horticulture. He became an eminent botanist in Britain in the 16th century, and his grand Herball (compiled while caring for the gardens of his patron Lord Burleigh) was probably the most famous British herbal of the 16th century.

INTAGLIO process Subsequent to the relief process, the more refined intaglio process was developed. In this, the grooves were carved or etched into an engraving plate. Copperplates were soft enough to be beaten flat and re-engraved, and were particularly used for updating information on antique maps. Steel engravings were of denser metal, which provided greater durability of the carved lines for larger print runs. The varying intensity of the engraved lines was achieved by the different width and depth of the grooves. Ink was applied and then the surface was wiped, leaving ink in the grooves. The inked engraving plate was then applied, with considerable pressure, to transfer the ink from the plate onto the paper. An intaglio impression was created by the external edges of the engraving plate. When more than one image was engraved on a plate, the impression is not visible around the individual images. With a plate engraved into wood, less pressure was required to transmit the ink from the wider lines and relatively softer surface – so no intaglio impression was made. Among the finest steel-engraved images are the wonderful illustrations for China & the Chinese Illustrated. A series of views, from original sketches, displaying the scenery, architecture, social habits, etc., of this ancient and exclusive empire by Thomas Allom Esquire. Engraved by eminent topographical engravers of the day, they were published in London between 1843 and 1847, following declaration of peace at Nanking at the end of the first Opium War (18391842) between Britain and China. As well as the fascinating landscapes, these fine engravings revealed to the West the colourful and opulent life style of the upper classes in China, unfamiliar religious customs and strange occupations and inventions.

PLANOGRAPHIC process The planographic style of printing is still in use today. The printing surface of a lithographic plate was flat, but the process did not require

pressure. It relied on the principle of grease repelling water. Initially, the design was drawn with a greasy zinc crayon on very smooth limestone. The plate was then washed and the water was absorbed by the stone but repelled where the image had been drawn. When greasy printer’s ink was rolled over the plate, it only adhered to the drawing, as the water repelled the ink on the remainder of the plate. The ink was then transferred onto paper. Lithography is rather a complex process even though the principle is straightforward. It is even more complex when the lithograph is printed in colour. Different lithographic plates are required for each colour, and each coloured lithographic plate has to be exactly lined up on top of the previous impression. Excellent examples of lithographs are the works of John Gould (1804-1881). Arguably the best illustrations of Australian birds (and in many cases the first to be seen), Gould was fascinated with the birds of Australia. His hand-coloured lithographs of Australia’s birds were published over a period of 50 years from 1837 to 1888. Gould’s enormous task of recording the birds of Australia was finally completed after his death, by his friend and colleague Richard BowdlerSharpe, with the publication between 1875 and 1888 of Birds of New Guinea and the Adjacent Papuan Islands, including many new species recently discovered in Australia. Initially birds’ skins were sent to Gould in Britain from Brisbane by John Coxen, the brother of Gould’s wife. Gould was not satisfied with the lithographs produced for the 1837 Birds of Australia and the Adjacent Islands. In 1838 he withdrew the work and set out for Australia with his wife and the oldest four of their surviving children. John Gould married his artist wife Elizabeth (1804-1841) in 1829, and commissioned his collaborator, prominent parrot illustrator Edward Lear, to train her in the art of lithography. During their time in Australia, while Gould travelled and collected bird specimens, Elizabeth remained in Tasmania with their children and spent her time sketching the birds he sent her. During her relatively short life, Elizabeth produced around 600 superb hand-coloured lithographs for Gould’s grand works. Elizabeth died in England following the birth of their eighth child. As many of her sketches were transposed into lithographs by Henry Constantine Richter after her death, Elizabeth Gould’s great contribution to her husband’s work is largely unrecognised. Among Elizabeth’s earliest lithographs were the illustrations for A Century of Birds from the Himalayan Mountains published between 1830 and 1832, but rarely seen today. Though some of them are rather stiff in comparison with her later works, they are excellent examples of lithography, as each large plate shows a striking hand-coloured bird against an uncoloured background, with the lithographic sketch clearly visible. John Gould was both a naturalist and businessman. He travelled widely and published some of the grandest illustrations ever produced on the ornithology of different countries. Aware of his limitations as an illustrator, he employed the best illustrators available to transpose his and his wife’s sketches with their notations on colour. Gould

paid his illustrators well (though probably not in the case of his wife!), and he was wellknown for his close supervision.

decorative framed artwork – particularly those including children.

STENCIL, Serigraph, Pochoir

Antique Print Club is the new banner and website for the Antique Print & Map Company (antique maps and prints) and Decorator Art (reproductions and limited editions). Our Milton gallery in Brisbane will be closed from Christmas day until the last week in January. We will be exhibiting at the Rotary Antique Fair being held at Conrad Jupiters Hotel and Casino, Broadbeach, 6-9 January 2011. Our Antique Print Club opening at Neranwood in the Gold Coast hinterland will be on Sunday 16 January 2011. A superb collection of copperplateengraved antique maps, Allom’s steelengraved Views of China, John Gould’s birds (and Australian mammals), and Gazette du Bon Ton 1920s pochoir of fashion will be featured works exhibited at these venues●

Another example of surface printing is the stencil, serigraph, or pochoir. The name traditionally changes with the subject and medium. Stencil is the simplest description; serigraph is particularly associated with fabric printing and pochoir is used to describe the delightful French stencils that became a fashion narrative of the period prior to World War I, and into the art deco period of the 1920s. For the pochoir process, different colours were applied successively in the cut-out areas of a number of stencils to prevent the colours from running together. A combination of gouache and watercolour, applied progressively through a number of stencils, achieved the requisite delicacy and nuance of the style and fabric to produce charming fashion plates between 1913 and 1925 for Gazette du Bon Ton (Journal of Good Style). This exclusive publication was aimed at the wealthy and often showed the latest fashion in a particular setting to indicate where they should be worn. Some of these images were published on a double page and are not only charming – with the often humorous captions – but make spectacular

ANTIQUE Print Club

Derek and Kathryn Nicholls ANTIQUE PRINT & MAP COMPANY 07 3368 1167 / 0412 442 283 www.antiqueprintclub.com

Antique Print & Map Company Camford Square corner Douglas & Dorsey Streets MILTON Brisbane Wednesday – Saturday 10 am – 5 pm Phone 07 3368 1167 M: 0412 442 283

Antique Print Club Member discounts for website purchases

www.antiqueprintclub.com

Email sales@antiqueprintclub.com Antique Print Club gallery in Milton, Brisbane closes Christmas day until Wednesday 26 January. Antique Print Club exhibits at Broadbeach Jupiters’ Rotary Antiques Fair from 6 to 9 January. Antique Print Club January Open Day: Neranwood, Gold Coast Hinterland on Sunday 16 January. - featuring special collections of Antique Maps, Antique Prints of Allom’s ‘Views of China’,

Gazette du Bon Ton 1920s Fashion Pochoir, and John Gould Birds and Australian Mammals...

ANTIQUES & ART IN QUEENSLAND

DESIGNER PARQUETRY FLOORING: A 21st century take on 18th century designs

arquetry timber is a timeless alternative for flooring. This patterned wood inlay is used today to cover floors in sophisticated homes all over the world. From palaces to small apartments, lovers of home décor often chose parquetry to introduce elegance as well as the warmth and character of timber floors to their homes. Now a Brisbane-based company can enable you to have a parquetry floor pattern individually designed and tailored to suit your own home, décor and style. Using 21st century technology combined with centuries old techniques and craftsmanship, Frenchborn flooring designer Laurent Ternus offers a refreshing and exciting alternative to the traditional geometric shapes used in parquetry flooring. Introducing the curves and shapes often associated with marquetry woodwork, Laurent uses his flare for design to bring a new era in designer timber flooring. Maintaining the French connection, L’Amourette is represented by Unique France – Brisbane’s premier French antique and art boutique. Laurent’s flooring is a true parquetry.

HISTORY of parquetry The word ‘parquetry’ derives from the French parqueterie, a geometric mosaic of solid wood pieces used for decorative effect. Traditionally, castles and substantial houses were home to the wealthy and their large retinue of staff, and often their livestock awaiting their final trips to the kitchens. Floors of stone or marble were cold, hard and required constant washing. As the wealthy embraced new fashions and new technology became available, timber flooring gained preference. In 1684, large diagonal squares of timber, now known as parquet de Versailles, were first used in the construction of the Palace of Versailles and the Versailles pattern is still popular today. By the 18th century, industrialisation meant that parquetry flooring was more affordable and increased in popularity and usage. The essence of parquetry is geometric design, with patterns such as herringbone and square-onsquare being still popular and easily recognised. Marquetry, the inlaying of veneer pieces in a decorative pattern or design (used in Italy for decorating furniture since the 16th century) was not durable on floors. However, marquetry contributed patterns and shapes for parquetry.

L’AMOURETTE Pty Ltd The 21st century demands both beauty and functionality, both brought by L’Amourette and its founder Laurent Ternus. Laurent is a graduate of the prestigious Parisian cabinetmaking school École Boulle, named after the famous cabinetmaker Andre-Charles Boulle (1642-1732), cabinetmaker to Louis XIV. Laurent combines his skills and passion for both parquetry and marquetry, and creates designer parquetry floors. ‘I wanted to forget about traditional floor patterns and come up with an original design. I wanted to focus on the final affect,’ says Laurent. He can design a recurring pattern, incorporating more than geometric shapes, with curves and flowing patterns all possible, even a family crest, company logo or a client’s favourite flower. His Vegetal design, meaning organic or vine related, is a flowing design, visually softer than a traditional block on block pattern.

UNIQUE France L’Amourette is represented in Brisbane by Unique France, Brisbane’s French antique and art boutique owned and run by Denis Geoffray and Gregoire d’Harcourt. Denis hand selects each piece of their collection in Paris, and Gregoire coordinates the shipping to Brisbane. Their boutique gallery is uniquely French. Surrounded by a breathtaking collection of magnificent antique furniture, chandeliers, tapestries and objet d’art, Laurent’s designer

parquetry flooring completes the feel of a French château in the heart of Fortitude Valley, on Brunswick Street. These three Frenchmen have six years’ association, highlighting their combined talents in Brisbane. Come to the Unique France showroom to touch and feel several of Laurent’s designs. Unique France supplies Laurent with recycled antique timbers imported directly from Paris for truly authentic French floors. For design features, Laurent favours using local timbers such as blackbutt and spotted gum. ‘I love the visual and emotional contrast of using antique French timbers with the colours and richness of some of the Australian timbers. It’s a joining of my traditional home with my new Australian home.’ The friendly and truly professional attitude in Unique France makes it a pleasure to visit. The interior design service provides the same charm and expertise for a large-scale project or for small exotic Franco touches. Visit Unique France for distinctive French history and artistry with an Australian flavour. We are open six days, from Monday to Saturday between 9.30 am and 5.30 pm ●

Nicholas Beer for UNIQUE FRANCE 07 3254 0404 info@uniquefrance.com.au www.uniquefrance.com.au

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From palaces to small apartments, lovers of home décor often chose parquetry to introduce elegance as well as the warmth and character of timber floors to their homes

”

NEW FARM ANTIQUES & ART IN QUEENSLAND

TURKEY delights

ur first visit to Turkey was Gallipoli. I was not that keen to go there because I knew it would make me sad thinking of all those young men who lost their lives or were left incapacitated in their prime of life, but nevertheless I went. However, there was a sense of peacefulness surrounding the whole area. Some of our group went looking for the names of relatives who had died there and found some. We all said a few prayers and went into the Turkish cemetery next door and spoke with some people after which we left. After this very emotional experience we resumed our journey to Istanbul which was quite pleasant. Our tour guide was most informative and pointed out all the interesting places along the way. The next day we went to visit the Chora Museum or church, which it once was. Now that totally blew us away. No one knew when it was first built, but in 536 it was reconstructed by the Roman emperor Justinian I. All through the centuries it was built and rebuilt after eathquakes and being demolished by marauding armies and left in ruins. When Andronikos II took control of Constantinople in the 14th century he sought highly artistic and brilliant people for advice regarding redevelopment. He even travelled to Asia Minor and engaged the great Theodore Methocite who became Minister of the Treasury and during this time had the monastery and the church repaired. He decided to keep the central grand dome while adding on small tomb chapels. What he really excelled in was interior decoration and was a master of fresco, mosaic and wall and ceiling décor, whilst extolling the religious background of the Virgin Mary. The idea of using black mosaics was a new concept in Byzantine art and paralleled the early Renaissance experimental styles spearheaded by the Italian artist Giotto. Many of the frescoes depict the background of Mary and her parents and her betrothal to Joseph with added details of the holy family and the birth of Jesus which are not mentioned in the New Testament. During archaeological digs a big marble box was found containing mosaic and fresco

ornaments initially used as flooring ornaments. As glass began to be used in the Hellenistic period, the mosaic technique was enriched and developed. The small tiles were then covered with gold and silver foils and by cutting in triangles, squares and rectangular forms. Pots of various colours were compressed from stone, glass and seashells and then applied on an easy to dry surface. This was especially used in wall ornaments but it was more expensive than fresco materials and required meticulous application by palace artists. This was all done in the 6th century and then refreshed in the late Byzantine period, 14th century; all have a unique beauty. Frescoes, which involves paint dissolved in water then applied by bristle brushes onto just prepared wet plaster, maintain the original loveliness throughout the years because the paint has been absorbed into the wet plaster. Another technique used by sculptors in the ancient world was to create human forms using a nine to one ratio. This means the body is nine times longer than the head. The beautifully faced characters are created especially in tall portraits and high ceilings. In fact, observing the ceiling’s frescoes from the floor below was a magnificent sight. Constantinople was captured by the Ottoman Turks in 1453 and of course the church was turned into a mosque. All the walls, ceilings and every mosaic and fresco was covered with a coating of plaster and whitewash, which in most cases protected the paintings underneath. They also added a mihrab and a minaret to the main structure. When we visited most of the old wall covering had been removed, and the beautiful paintings could be viewed and admired again. As can be seen in the photos some mosaics and frescoes were damaged. But I must say the beauty of the frescoes and mosaics and their colour blend was a delight to behold. The name Constantinople was changed to Istanbul in 1930 ●

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

Eilisha Little EILISHA’S SHOPPE 07 3358 1448

NEWSTEAD ANTIQUES & ART IN QUEENSLAND

BUYING FURNITURE IN FRANCE for Collectors Corner

hy do people love French furniture? Well, I believe it is all about the country. It seems so many Australians are either going to or just come back from this magical place. As we deal in French furniture, we are also always either just going or returning from yet another buying trip. We often find ourselves in some remote little French village at aperitif time – sipping champagne in my case – or Ralph is drinking yet another beer that he has never tried before. This is a good time to try to resolve the answer to the much-asked question, why do people love France so much? Let’s start with the dealers’ working conditions. Most antique dealers only open their store five days a week, but there is no real norm as to which days those may be. Next, the usual hours are 10 am to 12 noon, followed by a two or three hours lunch break, and then back to the grindstone from 3 pm to about 6 pm. This two or three hour break in the middle of the day is not spent doing their own deliveries or visiting someone’s home to purchase stock, like Australian dealers would do.

French dealers frequently visit their local restaurant and spend their two hours partaking in the plat du jour and perhaps a glass of the local red wine. Now you can see how this simply wouldn’t work at Collectors Corner, as we would probably be rolling back into our store and giving all our furniture away for the rest of the day. Now after spending their working life of 25 hours a week, drinking wine every lunch hour and enjoying the best food in the world – bread, cheeses, olives, foie gras, etc – they can retire at 60 years of age. However, the current French government is trying to raise the retirement age to 62. Do you remember when our retirement age was raised to 65 (and now whispers of 67)? Apart from whinging, did we do anything to stop it? I know I didn’t walk down Queen Street with a protest placard. Yet there were demonstrations in the streets of France by the thousands, and all throughout Paris while we were there I wonder what will happen on our next buying trip? We always hire a French-made car, but for some reason the little Peugeot 307 diesel we hired seems to be able to go twice as fast as

the same car in Australia! Not only that, they seem to be twice the size as the same car in Australia, or does it just seem that way as most cars in France are smaller? Travelling along the French motorways feels like going at the speed of light and of course, never stay in the outside lane unless you think you can overtake the Porsche or Mercedes Sports whose drivers think they are on a race track. Avoid travelling on Saturdays and Sunday during French summer and alpine holiday times. However, the rest of the year these are the best days for driving on French motorways or routes nationales as trucks are banned. This means that unless you get stuck behind caravans or camper vans, combine harvesters or other slowdowns, driving is relatively hassle-free on the weekend. In Australia Ralph has a reputation for being a bit of a lead foot. Yet in France, more than once a local, even on a roundabout, has overtaken him. We have been pulled up for speeding, and have had to pay an ‘on the spot’ fine. We tried to argue with the gendarme, which one would never do in Australia. However, we are often amazed, if not

amused, at the ways that local drivers and French police debate about who was right or wrong. Now before I forget I am advertising French furniture and not tours to France, I should mention that we managed to buy yet another container of fabulous pieces. If you’re just about to go to France or just returned, between browsing and shopping we can talk further about the joys of travelling to magical France. At times, we fear that the supply of fine French furniture might be shrinking. Then we turn a corner, and find another dealer waiting for us, ready to negotiate on fine pieces of furniture that we transport to our shipper ready for Brisbane. Remember that Vella Bros upholstery is ready to redo your antiques in the traditional manner, so view the fabric choices at the same time that you call at Collectors Corner in Newstead, open 10 to 4 each Tuesday to Saturday. Our showroom is brimming with French goodies so please accept our invitation to see the latest authentic finds, direct from France ● At your service: Lyn and Ralph Muller COLLECTORS CORNER 07 3852 6084 cca7@bigpond.com www.collectorscornerantiques.com.au

TENERIFFE ANTIQUES & ART IN QUEENSLAND

Some of the exquisite range available from Commercial Road Antiques and Decorative Arts

COMMERCIAL ROAD ANTIQUES AND DECORATIVE ARTS A (Decorative Arts) Rose by Any Other Name...

hat really matters is what a business provides, not what it is called. Now with 43 different dealers selling an extraordinary range of items, this renewed but long established business has already a uniqueness that differentiates it from all other outlets in Brisbane. Commercial Road Antiques and Decorative Arts is the new name for the former New Farm Antique Centre, to reflect its location and the many more specialties inside. Juliet: What’s in a name? That which we call a rose By any other name would smell as sweet; (William Shakespeare’s Romeo and Juliet, 1600)

PERFECTED over years Ian Thomson, owner of Commercial Rd Antique and Decorative Arts “If we don't have it... we will find it for you.”

ELEVEN more exciting reasons to visit Commercial Road Antiques and Decorative Arts • Queensland’s largest and most diverse antiques and decorative arts centre • The new 100 square-metre expansion will enable the outlet to take on new and different styles and increase the already extensive showroom • Many seasoned dealers have joined the enlarged Commercial Road Antiques and Decorative Arts to add their exclusive touches • Fresh and fascinating stock, some of it not previously offered publicly • Friendly and welcoming venue • The friendly and informative team give great assistance to every treasured client • As Queensland’s largest and most diverse antique and decorative arts centre, we will most probably already have the items that you are seeking • If we don’t have it … we will find it for you! • Our decades of experience and connections within Australia and abroad mean that we can find almost anything you want • A coffee shop will offer light meals and beverages, handy on weekends when local eateries close • Live music on weekends to give extra pleasure to looking and shopping.

This centre has been and still is the prime source for collectors of all things, great and small, perfected over the years. Here are chandeliers, artworks, furniture of all types, tribal arts, carpets, through to Asian ceramics, estate jewellery, cameras and photographic collectables, with much more in the many cabinets of collectables and curiosities. All the traditional quality items of furniture, china and a vast range of collectables are on offer. It is the ideal shopping destination for decorators, architects, set designers and house-proud people of all ages. At Commercial Road Antiques and Decorative Arts, quality, variety and fair prices are the keys to customer satisfaction and so many repeat sales. Even the dealers find bargains!

MEET Ian Thomson The new owner, Ian Thomson, is working hard to offer a new deal to old and new customers. Decorative Arts gives new life to several old sites, and retains a vast range of traditional and sought-after stock. Ian ran his business Decorators Gallery for 13 years before taking a sea change. His business was voted the best decorative arts outlet in all of Australia by an American travel journal, ‘... better than anything in Sydney or Melbourne.’ Sustaining the uniqueness of this established antique, collectable and art centre, Ian has encouraged introduction of expanded fields of stock never previously carried. Already distinctive from other outlets in Brisbane, the former New Farm Antique Centre on busy Commercial Road in Teneriffe has kept all of its established credibility and superb service, along with supplying more decorative arts for a broader collecting audience. PS The centre has never been in New Farm, and has always been on Commercial Road in Teneriffe, hence the name change!

You will be pleased you took time to visit Commercial Rd Antique and Decorative Arts, where a friendly welcome awaits you. This will become your ideal destination, whether you are a connoisseur, a decorating or design professional, a new collector or a house proud person of all ages. Change your house into a home and your office into a gallery through purchases from Commercial Road Antiques and Decorative Arts ● COMMERCIAL ROAD ANTIQUES AND DECORATIVE ARTS 07 3852 2352

Special Offer: Enjoy a FREE movie at Palace Centro On Us! Just spend $147 or more at Commercial Road Antiques and Decorative Arts and you’ll receive a buy-one-get-one-free movie ticket from PALACE CENTRO Cinemas valued at over $16.00. This offer is strictly limited to the first 200 customers who come through our store from 1 November 2010 onwards and conditions apply. Simply cut out out this offer and present it when acquiring your beautiful antiques. Come and visit Commercial Road Antiques and Decorative Arts 85 Commercial Rd Newstead Qld. Ph 07 3852 2352

The Palace Cinema is located in the ‘Centro Complex’, which is a short walk from Commercial Road Antiques & Decorative Arts. Centro screens a combination of art house and quality mainstream movies... just what we like! The luxurious seating and the latest in Dolby digital surround sound make for the total cinema experience. Enjoy a drink at the licensed bar, or dine in one of the many restaurants in the New Farm/Valley/Chinatown area. (One ticket per person over the promotion period ending on 30 March 2011 or until all tickets gone)

FORTITUDE VALLEY ANTIQUES & ART IN QUEENSLAND

HAND-WOVEN RUGS • ANTIQUES AND ARTEFACTS • ARTISAN FURNITURE

G N I S O L C

N W O D The End Of An Era An icon in Brisbane for 30 years, Karavan has built its reputation on personally selected, highest-quality merchandise, friendly service and expert advice. After all these years, we’ve decided it’s time for a sea-change and we will close our Gallery permanently within the next few months. We would like to thank all our friends and customers for their support over the years, and in particular to those loyal clients who have been with us since the early 80s. We invite you to take this last opportunity to purchase a genuine KARAVAN carpet, antique or artefact–at hugely discounted prices–before our doors close for the very last time.

Look forward to seeing you soon, Wendyanne and Willie

Closing Sale... On Now... Up to 50% off... All stock must go!!! 28

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.

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 and Janet McCartney PACK & SEND 07 3262 9742 albion@packsend.com.au www.packsend.com.au

“

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

”

ANTIQUES & ART IN QUEENSLAND

Expertise and personalised service â&#x20AC;&#x201C; benchmarks of BRISBANE ANTIQUE EMPORIUM

ow the time seems to have flown since Brisbane Antique Emporium opened 28 July. From its opening two months ago the Emporium has been an exciting hive of activity, with many decorative arts collectors seeing the advantage of a quality, purpose-built antique emporium. Strategically located in Clayfield with abundant off-street parking, each visit is a pleasure. We have been fortunate to attract several knowledgeable dealers from southern Queensland and northern New South Wales. Every dealer has their own individual stock which creates an enormous variety, addressing a wide range of collecting interests. To meet the professional standard of the Emporium, dealers ensure that each item is clearly priced with details of age, condition and maker where possible. Well lit cabinets are numerous and all display wonderful and rare examples of silver, porcelain, statuary, glassware, vintage watches, works of art, oriental and collectables.

ESTATE jewellery The jewellery cabinets house the largest variety of quality estate jewellery in Queensland. Diamonds, rubies, emeralds, pearls, gold and silver in a variety of shapes,

periods and styles are available for that special person. Many pieces come with an individual valuation.

ANTIQUE to retro furniture Furnishing a home is made easier at the Emporium. From signature pieces to the functional and essential, you will find a wide variety of styles and periods ranging from Georgian to Art Deco, all are well presented. If you are looking for a particular item and it is not on the floor, we are happy to try and source it for you.

CUSTOMER service The Brisbane Antique Emporium offers personalised service. The wonderful knowledgeable staff understands what they are selling and can advise you; their focus is offering what is in the best interests of the client. Located on Sandgate Road at the corner of Junction Road in Clayfield the Emporium is open every day from 10 am to 5 pm. Prices for antiques and collectables are very reasonable at present so now is a great time to invest in quality pieces â&#x2014;? BRISBANE ANTIQUE EMPORIUM 07 3862 1600 www.brisbaneantqueemporium.com.au

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

ANTIQUES & ART IN QUEENSLAND

ART DECO: British hand-painted ceramics of the 1920s and 1930s

o understand the huge range of Art Deco ceramics it is useful to divide the ceramics of the 1918-1940 period into three distinct categories: wares produced by artist potters, traditional manufactories and industrial ceramists. It is the second category of Art Deco ceramics, i.e. wares produced by traditional manufactories with which the majority of present-day collectors are most familiar and it is a small group of these ceramics which this article will examine briefly. By 1920, the art pottery movement was in decline, with many studios having closed before or at the outbreak of World War I. However, this movement has certainly helped to make consumers aware that hand-painted wares were aesthetically superior. Potters and the artistic directors of manufactories were also aware of this and were quick to capitalise on special post-war economic and social conditions which enabled handpainted wares to be produced both inexpensively and in mass. For example, in Britain in World War I, the cheap but cheerful end of the pottery market had been largely dependent upon German lithographic transfers. After the war, anti-German feeling meant this source was not viable. However, wages, particularly for girl paintresses, were so low as to make hand painting a practicable substitute. Similar economic and social, even if not emotive, factors operated elsewhere in Europe.

CLARICE CLIFF pottery Best known today is the work of Clarice Cliff. Clarice commenced employment at the A J Wilkinson earthenware factory in 1916, but it was only in 1927, following the acquisition by Wilkinson of the adjacent Newport Pottery that co-director Colley Shorter offered Clarice the opportunity which resulted in the amazing story we now know as ‘Bizarre’ by Clarice Cliff. Of any artist/designer of one of the largest British manufactories, Clarice probably the greatest impact upon consumers of the 1920s and 30s, certainly in Britain. The years 1928-1935 saw her design pieces which, for the most part, are characterised by

“

Collectors will be very familiar with names such as Carlton Ware, Shelley and Doulton, plus the many small firms. There is something in this broad genre to suit every collector’s budget and the variety is enormous.

”

straightforward and identifiable qualities. They are bold and simple, abstract or stylised and always colourful. Her preference for orange with a strong supporting role for yellow and significant use of black could be regarded as much her trademark as her choice of names such as ‘bizarre’ and ‘fantasque’ for the largest group of wares. These colours were her preference and she influenced public taste accordingly. It is not surprising therefore, that the virtual disappearance in 1935 of these colours helps delineate the end of the Clarice Cliff era. Although she continued to design and ranges continued to be marked with her name, public taste dictated that these later pieces no longer reflected her individual style.

SUSIE COOPER designs Susie Cooper was another who took the trouble to transpose the modern decorative idiom of the 1920s into manufactured wares. Initially she worked for the firm of A E Gray & Co Ltd in Hanley. There she decorated blanks for the most part directly influenced by Cubism and always in bold, contrasting colours with thick and bold paint strokes. These

pieces, which date mostly from between 19211929, remain undetected by many people simply because they bear the mark of A E Gray with no mention of Susie Cooper. Her ‘Gloria Lustre’ range also belongs to this period. However, to the serious collector of Susie Cooper, these early wares are the focus of the search. They represent the artistic output of small number of years, but they are the ultimate. In the early 1930s Cooper accepted an offer from Wood & Sons’ Crown Works to execute shapes of her own design. She produced large numbers of tableware designs, decorated with abstract or geometric ‘jazz’ style patterns in much more muted tones than her previous work. Throughout her career, Cooper was always in touch with the requirements of the consumer. She understood the innate conservatism of the British public. This, combined with her strict attention to detail in both design and marketing meant her wares were an enormous success. Interestingly, just when Clarice Cliff was beginning to boldly decorate blanks at Wilkinson’s Susie Cooper had abandoned her bold, brash painting of usually traditional shapes. The list of British manufactories producing hand-painted wares in the 1920s and 30s is of course, seemingly endless. Collectors will be very familiar with names such as Carlton Ware, Shelley and Doulton, plus the many small firms. There is something in this broad genre to suit every collector’s budget and the variety is enormous. As with all collecting areas, the collector should adhere to a couple of sound principles – buy what you really like and try to obtain good examples by the artist or company. If you follow this advice then you should have an enjoyable and worthwhile collection which will also be a sound investment ● Cecily Critchley and Lynley Jenkins For DISCOVERY CORNER 07 3862 2155 discoverycorner@bigpond.com

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

Falcon Ware ginger jar, c. 1930, h: 39 cm

Alabaster figure, late 19th century, h: 66 cm

Set of Royal Doulton cups (6) saucers (6) cake plates (6) retailed by Thos Webb & Sons, Melbourne

Copeland Parian group, signed Hale c. 1850, h: 54 cm

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 33

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 34

ALBION / NEWSTEAD ANTIQUES & ART IN QUEENSLAND

View our beautiful quality collection online Be a fly on the wall and follow our overseas buying trips on our new blog at www.wallrocks.com.au Enquire now at sales@wallrocks.com.au or visit our showroom at 21 Crosby Rd, Albion Brisbane Qld 2010 or phone 07 3862 2253

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

www.brisbaneantiques.com.au

23 Crosby Rd, Albion 07 3262 1444

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

MILTON / CLEVELAND / SANCTUARY COVE ANTIQUES & ART IN QUEENSLAND

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

Antique Print & Map Company Camford Square corner Douglas & Dorsey Sts MILTON Brisbane Wednesday – Saturday 10 am – 5 pm Phone 07 3368 1167

Open all hours..

Join the Antique Print Club at www.antiqueprintclub.com Email sales@antiqueprintclub.com

EAST BRISBANE ANTIQUES & ART IN QUEENSLAND

L A

avin ntiques

FURNITURE · CHANDELIERS · CERAMICS · PAINTINGS · RUGS · TEXTILES

Importers of fine quality antiques

h: 700 mm x w: 1510 mm x d: 720 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

SHERWOOD / BOWEN HILLS / KURWONGBAH / GOLD COAST ANTIQUES & ART IN QUEENSLAND

The finest collection of antique, old and interesting lighting made available to you fully restored and ready to install

G.N. Olsson Traditional Mastercraftsmen Established 1983 Conserve Preserve Restore Document Research "Conserving Today's Antiques & Creating Antiques of Tomorrow."

Interiors, Furniture, Clocks, Frames, Books & More

39 Brookes Street Bowen Hills, Qld 4006 P 07 3852 5500 M 0417 630 706 E sales@chelseaantiques.com.au www.chelseaantiques.com.au

Also custom made. Members AICCM, AAADA, M&GNSW & MBAQ

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!

TURN O’THE CENTURY ANTIQUES E S TA B L I S H E D 1 9 7 0 • B E R N A R D & B A R B A R A S T R U M P F

Brasac ENTERPRISES

Our

40th yea r of tradin g

A selection of English hallmarked sterling silver frames and antique silver available Wonderful old English oak dresser, with barley sugar twist columns to base and to shelf support, c. 1880 h: 164 cm x w: 183cm x d: 56 cm

0733797311

377 OXLEY RD SHERWOOD QLD 4075

w w w. t o t c . c o m . a u 38

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

Vintage fashions and accessories

19th century cedar chair, one of a pair

Chinese ivory carving of a cricket sitting on a cabbage

Ivory elephants Meiji period

A set of brass nautical lamps

1960s swimsuit

Art deco Loetz vase, Royal Worcester figurine & enamelled glass perfume bottle

Pair of miniature ivory portraits & Royal Doulton vase

1930s telephones in working order

Australian pottery vase with koala figure group

Saratoga trunk, c. 1880s

The Gold Coast Antique Centre is an exciting new 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 39

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

ANTIQUES & ART IN QUEENSLAND

One of the largest selections of antiques in Brisbane JAMES CONLEY ANTIQUES, HARRINGTON’S and LATROBE ANTIQUES in WOOLLOONGABBA

id you know that Harrington Antiques has moved to Woolloongabba? Joining forces with James Conley Antiques and LaTrobe Antiques, earlier this year we bought a building in the Woolloongabba area. This is set to become (again) the antiques precinct of Brisbane, as more antique shops are opening in the area. Combining our stock – to name only a fraction – includes Georgian furniture, quality European antiques imported directly from select sources in the UK, antique French bronzes and sterling silver. There is investment art in both traditional and modern styles. We have some wonderful and rare Australian light fittings, including gasoliers, as remarkable in their styles as in their name, from gas + -elier, as in chandelier! We also carry a huge range of antique and vintage fully restored chandeliers. Stock listed on our website www.harringtonantiques.com is always being updated, and we have even more antiques not shown online. Please ask if you do not see what you are looking for as we may have it in stock or it may be arriving soon in the next antiques shipment.

Woolloongabba is an up-and-coming area for real estate investment. The area has been targeted for an urban makeover by the Urban Land Development Authority, responsible for transforming the Teneriffe and New Farm areas. Terry Ryder writing in The Australian forecasts ‘Woolloongabba to become Brisbane’s most talked-about suburb.’ (10 June 2010). In April, a 10-hectare block of land between Stanley Street and Vulture Street was designated to become a vibrant residential precinct within 10 years. Harrington Antiques, James Conley and LaTrobe Antiques secured a building on Logan Road. Although in a great location, the building was in dire need of some TLC! Formerly a mechanics’ workshop, it had scissor lifts and pits and was essentially a shed. It needed total refurbishment – new roof, new wiring, air conditioning, new floors, new windows and new doors. With enthusiastic and skilful tradesmen, we now have a stunning purpose-fitted space for displaying antiques. Neighbouring businesses and residents enthusiastically greeted our arrival and opening, and feel we are making a positive contribution to this area. We have chosen a sleek modern industrial design and feel, with plenty of shiny silver, against a backdrop of matt black and white walls. These colours and finishes allow the antiques to shine. We have chosen pale bamboo timber floors to provide a nice contrast with the mahogany and walnut timbers that predominate our stock.

WHERE are we? Centrally located, we are about five minutes’ walk from the ’Gabba, and halfway to Stones Corner. Located at 165 Logan Road, we are between Southside Honda and Deshon Street. Fortunately, we are on the corner of Lewis Street, so we have customer parking available on both Lewis Street

and out front on Logan Road. Through the combined talents of Mark, James and Roman, we now represent one of the largest selections of antiques in Brisbane, covering all facets of the antiques trade. If you haven’t popped in to see our great new antique showroom yet, we look forward to welcoming you soon ●

Sharyn Semmers HARRINGTON’S JAMES CONLEY ANTIQUES LATROBE ANTIQUES 07 3891 3880 / 0414 464 704 mark@harringtonantiques.com www.harringtonantiques.com

WOOLLOONGABBA ANTIQUES & ART IN QUEENSLAND

A EUROPEAN ADVENTURE nets finds for collectors

ummer in Europe is, for me, visiting antique fairs. Is there anything more enjoyable? Such opportunities are one of the reasons I have chosen to be an antique dealer. Somehow the sun makes everyone

good natured. People push dogs in prams, and a very fine grain scoop was secured by agreeing to give a stallholder a kiss as well as 20 euros. There were fairs situated beside turnip fields, alongside canals, and on a disused World War II airfield.

The scale of European fairs can be overwhelming as some events are held over several days with thousands of stalls arranged over many kilometres. A good natured red-haired Belgian dealer gave me a couple of hints, which I found useful and would like to share.

TIPS on how to buy in Europe

industrial antique furniture + collectables Paddington Antique Centre, 167 Latrobe Terrace Woolloongabba Antique Centre, 22 Wellington Road Mobile: 0402 128 629 lisa@industrialrevolution.net.au

The first tip was to only look at one side of an aisle or road at a time and come back and do the other side. If you walk down the middle looking from side to side you may miss something. I was cautioned not to touch anything desired. To do so indicates that you are really interested in the item and it becomes more difficult to negotiate. Ideally, I was told, is not to ask after what you wish for first. Initially ask about something else and then as an aside move on to what you are really after. You are more likely to get a better price this way.

HERE IS A TASTE of some special items purchased on my buying trip Postal sorting desk As a dealer who specialises in industrial antiques I was particularly pleased to come across this metal postal sorting desk with a built-in stool. It is French in origin and from the first half of the 20th century. These desks are a favourite of interior designers who make the most of the efficient storage by arranging colourful collectables and books in the pigeon holes. Bronze naval light Sitting on the ground in a very unlikely stall full of second-hand clothes and plastic toys I found a brass Belgian naval light. Manufactured in approximately 1910, it is shown in its found condition. Imagine this double sided light polished and on an impressive stand. Laboratory cabinet Sometimes you find magic in the most unexpected of places. Walking into a small dimly lit shop at a flower market in London I saw something shining at the back. I was drawn to explore further and discovered an elegant polished metal laboratory cabinet dated to around 1910. The cabinet was originally used to store medical instruments and has lovely brass handles. It is

perfect as a display cabinet and would add style to any room. Locomotive blueprints and drawings Three years ago, when I first decided to start this business, I went on a buying trip to Belgium and found an antiquarian book dealer who had a bundle of blueprints and technical drawings of turn of the century Belgian locomotives. They were breathtakingly beautiful, but at the time I could not justify the cost. Forward a few years, and once again in Belgium I retraced my steps to same antiques fair. The angels must have been smiling on me. I found the bookseller in the same spot and he still had the drawings. They are now mine and I cannot wait for my container to arrive so that I can study them in more detail. Factory clock Large factory or station clocks are always impressive and sought-after statement pieces. This clock’s housing is metal and the diameter measures an enormous 50 cm. It was made in Leeds, circa mid 20th century. Wooden lawn bowls I was lucky enough to secure a wonderful set of wooden lawn bowls with ivory dot inserts. The set consists of eight lawn bowls and the jack. They were made by Jacques of London, the oldest sports and games manufacturer in the world. A very dense hardwood was used and the set dates to circa 1900. Tuba floor lamp A fatally damaged tuba was saved from the scrap metal merchant and has been recycled into a floor lamp. To those who may think this is sacrilege, the tuba was well beyond restitution, without any chance of ever being played again. My favourite lighting artisan has been able to create a light fitting with a minimum of alteration to the instrument’s sculptural form. The now floor lamp looks inspired with its pistachio glass art deco shade. If you have any items like those talked about and would like more information I would be happy to discuss them with you ● Lisa Demartini INDUSTRIAL REVOLUTION 0402 128 629 lisa@industrialrevolution.net.au

WOOLLOONGABBA ANTIQUES & ART IN QUEENSLAND

WOOLLOONGABBA ANTIQUE CENTRE is taking the stuffiness out of 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) just over a year ago. 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. Just over one year ago, 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.

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

INDUSTRIAL antiques This year has seen a marked interest in industrial sourced furniture: 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. Recently we have sourced vintage Valentino pieces to complement a recent Valentino retrospective in Brisbane. A few lucky customers sported vintage Valentino last 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.

WOOLLOONGABBA ANTIQUES & ART IN QUEENSLAND

Label inside a German violin Antonius Stradivarius Cremonensis Faciebat Anno 1735. Actually made between 1850-1920

Front and back plates of German Strad copy opened for restoration

RESTORING A VIOLIN: ethical considerations

hen an old violin is brought in for restoration, I examine it to determine if it is an original or a copy and whether it has an authentic label. All violins should carry a label on the inside of the back plate. It can be read by peering through the left f-hole and awkwardly tilting the instrument back and forth. Usually these labels show the year the violin was made, where it was made and the name of the maker. There is a long history of incorrect or fake

labels being placed onto violin copies. Some of these copies can be quite valuable, depending on the fame of the maker. Throughout history, violin copyists have consistently fallen into three main types: the mass producer who just wants to export and sell; the dealer who may incorrectly label a violin; and the master violinmaker who undertakes extensive research to achieve a copy that is as exact as possible. The intent is not to make a fake, but to demonstrate admiration for the work of an old master, and

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

perhaps, to test the copyist’s own skill. The label on these violins should say ‘copy of …’ Where there is no label, many of these copied violins are ascribed as originals. In addition to authenticating the label, I also examine the instrument for previous repairs and modifications. In Australia, there are many damaged violins. This is not surprising, given that historically, most Australian violins would have been maintained by their owners, or perhaps the town carpenter, keeping the violin playable, but not necessarily preserving the original workmanship. At the time, the violins would have been regarded as instruments to be used, rather than as future antiques. Even today there are few specialised violinmakers in Australia, and very little training is available. We depend on overseas training and the absence of a formal violinmaking apprenticeship prevents the craft from growing in Australia. I see a lot of good violins ruined by amateur repairs. The most common mistakes include replacing parts instead of restoring old ones, removing the varnish and revarnishing with a permanent varnish, and using glues other than dissolvable hide glue. A violin’s set-up and parts such as the fingerboard, pegs, tailpiece and bridge are not necessarily considered as original parts. Like the tyres on a car, they need to be replaced. However, the original intention or style of the maker is just as important as the violin’s body and varnish. There are three main rules of violin restoration. These rules may also apply to the

restoration of any antique: 1. Remove as little of the original as possible 2. Carry out the restoration in a way that can be removed or modified without damaging the instrument 3. Ensure the instrument is fit to perform to modern standards Antique violins not only have to be beautiful, they also have to be functioning instruments, able to meet the performance requirements of the 21st century. They are expected to perform eight hours a day in concert halls. They must be able to withstand the pressure of modern steel and nylon strings, rather than gut strings. Antique violins were made for a totally different setting, with a lower angle in the neck and lower tension in the strings. Adapting antique violins to contemporary requirements is not easy. I bear all of this in mind when considering how to restore an old violin. Everything I do to the violin is intended to strike a balance between making the instrument playable and preserving the original. However, do not despair if your antique violin shows signs of modifications. Unmodified instruments are so rare they would be classified as museum pieces, having more historic value than functionality ● ILJA GRAWERT Violinmaker Freecall: 1800 882 468

WOOLLOONGABBA ANTIQUES & ART IN QUEENSLAND

From left: New Zealand (Maori), Jade hei-tiki amulet. Museo Pigorini, Rome. Courtesy Paul Hamlyn China (Qianlong period), Celadon green jade elephant, c. 1736-1795, gilt and enamel, h: 31.7 cm. Courtesy Christie’s Mexico (Zapotec civilisation), Jade breastplate worn by Shaman priests, c. 3rd-2nd century BCE. Courtesy Paul Hamlyn China (Qing dynasty), Treasures: white and spinach-green jade open work pomander, miniature white jade ruyi, brown and white miniature jar, 18th century. Courtesy Christie’s

JADE - A STONE OF MANY COLOURS FROM MANY CULTURES

eople think of jade as an opaque green stone, yet this semi-precious hard stone is almost infinitely variable in colour. Only coming to European attention since Marco Polo’s 14th century travels, jade has been prized for millennia for its delicate carving and subdued smooth surface. The same Chinese character Yü that stands for jade also has the meaning of jewel or treasure, indicating its preciousness. Most jade is translucent with an opaque ivory variety. There are two types of jade, nephrite and jadeite (slightly harder) and both are relatively heavy. Chemically they differ in proportions of alumina (high in jadeite) and magnesia (high in nephrite) that contribute to their respective colours. Collectors must learn how to detect other minerals resembling jade including chloromelanite (comparatively rare), steatite (softer than jade) and serpentine. Jade has a wide colour range from pale to forest green, reds, oranges and yellows, while more rare are violet, white and black, and the exquisite blue jade that was attributed to the heavens in ancient China. Many mystical qualities have been attributed to jade in many cultures. Carved only slowly and with difficulty, quality jade objects are almost miracles of artisanship and very valuable.

CULTURAL heritage recorded in jade Jade is material evidence of brilliant cultures, used for thousands of years in China, Mexico and Central America, and by the Maori in New Zealand. The Russian court jeweller, Fabergé, occasionally used jade.

CHINESE jade The best known jade is from China, with Neolithic ritual objects earlier than the Xia (2100-1600 BCE) and Zhou periods (1122249 BCE) including the pi – a circular disc with a central hole which represented heaven. Ritual jades were used for burial preparation and jade was placed in the body to keep out evil spirits. Ritual and decorative amulets, pectorals and girdle ornaments have survived both because jade is hard and these objects were revered and guarded for their imputed meanings and powers. Han dynasty (206 BCE–CE 220) jades show mature carving techniques and rich conceptual imagination continued through to the end of the Sung dynasty (960-1280). Figures of animals, fabulous monsters such as dragons, vases and cups with animal handles,

and vessels imitating bronze forms survive from this period. Ming dynasty (1368-1644) artists created large jade figures of horses and water buffalo and the earliest carved jade boulders, representing a mountain with intricate details. Qing (1644-1912) jade carvings are frequently intricate and fine, such as vessels hollowed until paper-thin, and frequently inscriptions are found. Parti-coloured jade was exploited for depicting for example, insects in one colour and a leaf in another colour. Beakers of bronze form, vases with free ring handles carved integrally, and small pieces such as belt hooks and pendants are highly collectable. Jade table screens mounted in wooden stands and jade writing implements are from this period.

The ancient La Hueca and Saladoid cultures in the Caribbean prized jade among their many zoomorphic stone carved objects. Neolithic jade pendants have been found in Costa Rico and in equatorial Amazonia (Peru, Ecuador, Bolivia) with little information on their origins. The largest known deposit of high-quality nephrite jade in the world is located outside Cowell on South Australia’s Eyre Peninsular. Cowell jade consists predominantly of medium to fine grained material showing, greenish yellow to green hues, grading to premium black.

Jason Bridge COLONIAL COLLECTABLES 0431 403 897 colonialcollectables@msn.com Further reading G Archey, ‘Maori carving patterns’, Journal of the Polynesian Society Volume 45, 1936, No. 178, pp. 49-62 Christie’s Hong Kong, The Imperial Sale: Fine Chinese Ceramics and Works of Art (Hong Kong: Christie’s 2002) Janet Hogan (Ed), Treasures from the Shanghai Museum (Brisbane: Queensland Art Gallery 1990) Oscar Luzzatto-Bilitz, Antique Jade (Middlesex: Paul Hamlyn 1969)

MAORI JADE Rich alluvial deposits of Pounamu or nephritic jade are found in the western region of the South Island, New Zealand. Jade contributed much to Maori culture as it was plentiful. It was used for utilitarian purposes, such as knives, hooks, hatchets and other tools, to build houses and canoes beautifully decorated using jade tools. The traditional hei-tiki, marakihau and pekapeka are carved talisman pendants. They are renderings in greenstone with spiral decoration of a treatment of the human form as also found commonly in woodcarving and whalebone carving, and are jade collectors’ prizes.

CENTRAL American jade Jadeite was the most precious material for Pre-Columbian peoples throughout ancient Meso-America, worked into a variety of items worn as emblems of social and political power. The jade carvers of Central America attained great skill over 2,500 years ago. The majority of surviving specimens are small personal ornaments and ritual masks, with most authentic pieces held by museums. In 1998, a large Proto-Mayan jade head of a deity, c. 300 BCE to 150 CE, sold for US$365,500. Olmec jade carvings from the 5th to 1st centuries BCE in the Gulf of Mexico region are characterised by classical simplicity. The ritual items in the subsequent Zapotec civilisation (3rd-2nd century BCE) are highly expressive. Mayan carvings dated to 2nd century CE are throughout the former empire, from southern Mexico through the Central American peninsula including Belize, Guatemala, El Salvador and Honduras.

COLONIAL COLLECTABLES

ANTIQUES • JEWELLERY • OLD WARES BOUGHT & SOLD

9 Logan Rd Woolloongabba 4102 M: 0431 403 897 email: colonialcollectables@msn.com 45

ANTIQUES & ART IN QUEENSLAND

COLLECTING IS EXCITING and a great way to strike up a conversation, says budding dealer Jessica Wallrock

t may sound strange, but one of the most pleasurable sides of the antique business is actually telling people what you do. Not because it sounds particularly glamorous or sexy, but because 90% of the time, it seems to evoke some curiosity or passion in the people who ask. Everybody seems to have a story they want to share with you, or a question they’re dying to ask. Being relatively new to the industry, this never ceases to both amaze and amuse me. These kinds of remarks are not generally uttered by diehard antique collectors, but by people as young as twenty, whose interest in antiques I had wrongly assumed would not extend past their inheritance. And I’m not talking polite interest; I’m talking ‘mad’ passion from some of these people. I have seen some of the most austere break into great raptures when given free reign. I recently flew back alone from a buying trip and was seated next to two world champion surfers returning home from a competition. Big guys and both typically men of few words; we exchanged pleasantries and of course our reasons for being on the plane. I could not help but be amused when these two grown men suddenly became excited little

boys when the conversation turned to antiques and interiors. ‘Oh we love those; we’re doing up our places; going to get some old pieces; think we’re going to use a neutral colour palette; those old pieces will work with that won’t they?’ Neutral colour palette – I was dumbstruck. Why all the excitement? To me, eternally the sentimentalist, antiques tell a story; and each piece is unique. Not surprisingly, they in turn seem to inspire people to tell their story. Perhaps antiques have always ignited this in people. Perhaps it is because a certain type of antique is suddenly back in vogue. Or – and I think this is more likely – they are timeless and in some way connect us all to our past. This is something everyone can relate to and hence this is why antiques are once again on the menu. So, slowly but surely I am building a little stockpile of memories and stories, collected from people who were strangers until I told them what I do. Many inform me that they’re going to head off in search of antique treasures and to this I would issue a word of caution. Finding and buying antiques takes many years of experience. I am in the fortunate position of having my family’s knowledge and experience

to draw on as I develop my skills. But for those that are not so fortunate, just beware as the traps are there for those that wish to chance them, and they’re greater and more prevalent. Fakes and reproductions are everywhere. Without the right guidance and knowledge, the probability of making an extremely expensive mistake is high. There is a way around this though. Make sure you buy from a reputable established dealer. Always get receipts stating the age, price and description of the piece, and learn about your area of interest so you can ask the right questions. Wallrocks have over 30 years experience sourcing and importing genuine pieces from all over the world. We travel three times a year to Europe to source items requested by customers. If you are looking for a specific object please do not hesitate to contact us, we are always delighted to advise and source that special piece ● Jessica Wallrock WALLROCK ANTIQUES 0407 590 977 sales@wallrocks.com.au. www.wallrocks.com.au.

WOOLLOONGABBA ANTIQUES & ART IN QUEENSLAND

An exciting new venue for collectors to visit GABBA 5 WAYS ANTIQUES EMPORIUM

elcome to Brisbane’s newest antiques emporium named after the historical intersection called the Gabba Fiveways. Here, from the early days of the last century through to more recent times, horse and buggy, trams, then trains and cars would cross through this intersection. Most suitably, we are in a heritage-listed building at 11 Logan Road. The building’s exposed brick, timber flooring and heritage shop front style all add to the Emporium’s ambience. The recently completed three million dollar upgrade of the precinct by Brisbane City Council makes this a must-visit destination. The area now boasts the best Italian, French and casual restaurants and cafes together with classy antique shops and the largest antique auction house in Queensland.

BRISBANE’S new retail premises Gabba 5 Ways Antiques Emporium is designed to house 45 plus exclusive dealers. The range of antiques and fine decorative arts include Georgian, Victorian, Edwardian, Oriental, contemporary furniture, jewellery, porcelain, glassware, sterling silver, art, Oriental and Eastern rugs. Entering the Emporium is a sensory delight. There are over 35 cabinets displaying beautiful and exquisite jewellery, silver, porcelain and collectables. All cabinets are brightly lit giving the area a sparkling effect. Continue further into the building for the many displays of furniture, porcelain,

artworks and rugs that will surely tempt you. Adding to the ambience are exquisite chandeliers that have been restored by Brisbane’s best chandelier restorer and now hanging from the 15 foot ceilings.

A SPECIAL experience Your shopping experience will be memorable. As soon as you enter be cheerfully greeted by myself or Riza. We are ready to offer any assistance needed, so please do not hesitate to ask for help or guidance. We have now been open for approximately 12 weeks and are attracting regular return visitors who cannot resist the temptations the Emporium offers. Why not come and visit us and perhaps like many others you will find the Emporium a special place to visit time and again. Opening hours are Tuesday to Friday 10 am – 5 pm; Saturday and Sunday 9 am – 4 pm. We are closed on Mondays. If you would like a sneak preview our website www.gabba5waysantiquesemporium.com has a complete list of dealers and the special pieces they are offering the discerning collector. We look forward to seeing you soon ● Vivien & Riza GABBA 5 WAYS ANTIQUES EMPORIUM 07 3891 5572 vivienkent@gabba5waysantiquesemporium.com www.gabba5waysantiquesemporium.com

GABBA 5 WAYS ANTIQUES EMPORIUM ABN 84391510036

11 Logan Road, Woolloongabba 4102

Telephone: 07 3891 5572 • Fax 07 3891 5573 Mobile: 0412 657 059 vivienkent@gabba5waysantiquesemporium.com www.gabba5waysantiquesemporium.com

OPENING TIMES Tuesday – Friday 10am-5pm, Saturday & Sunday 9am - 4pm Closed Monday 47

ANTIQUES & ART IN QUEENSLAND

YOUR BOOKS DESERVE A FINE LIBRARY, so why not invest and indulge?

s expounded by Jean Latham in Victoriana (1971 Stein and Day), Victorian gentlemen’s libraries, by and large, were rooms ‘dark with wood and leather.’ Ceilings were usually high, encouraging richly mounted cornices. Bookcases lined the walls and were usually free-standing. Frequently there would also be a contrived door lined with sham volumes whose titles followed a traditional but amusing pattern. For instance, the poet Thomas Hood (1799-1845) invented sham titles including Annual Parliaments: A Plan for Short Commons. The bookshelf would be filled with handsomely bound books whose authors and subject matter differed little from one library to another. Reference books of the time included The Annual Register; The Racing Calendar and The Gentleman’s Magazine. Bound copies of Punch and The Illustrated London News were also found in such bookcases. An indispensable adjunct of a country house, the good family library contained a collection of books to which a country gentleman owed his culture and learning. The room housing the library would be used to carry out estate duties and business, or was a sanctuary for the master of the house who would spend long hours there of enjoyable

reading and meditation. Hence, it was deemed necessary to provide furniture conducive to male comfort. Diamond buttoned or stamped leather upholstered chairs, usually with padded arms, were often of the Gothic or Elizabethan style – tall, straight-backed and some featured carving. Some chairs would have a small reading desk attached on one side, or a pullout to rest the book upon. The room contained a stately clock and a lovely Victorian fireplace would offer a warmer position for winter days and the cool ‘change of season’ nights. A gorgeous setting for Christmas, in the hope that Saint Nicholas soon would arrive. Small display cabinets housed collections of ancient coins, seals, fossils, semi-precious stones, butterflies and stamps. Two of the most important items in the room were a large round mahogany or rosewood ‘loo’ table on a pedestal base, and an equally large knee-holed writing desk (or a roll-top or fall front desk). For the lady of the house, a small bonheur du jour or Davenport was commonplace. There has always been a lot of interest in creating libraries for beautiful large homes. Despite, or indeed because of the technological age we live in, increasingly people are commissioning or revamping

libraries. The splendour and refuge libraries offer are increasingly sought as lives become more hectic. An unexpected bonus is that it is quite enjoyable being able to trace interests through the books. As you peruse your books they evoke memories and recollections to enjoy all over again. Those who enjoy collecting books and rarities find there never are enough shelves or cabinets. This article is illustrated with some of the finest libraries and bookcases we have made. The awe-inspiring classical solid ebony library made from rare and precious ebony (featuring classically turned columns with papyrus-like carvings), was installed in an inner city office. A library in an original inner city residence is the new home for our exquisite George III gothic style mahogany bookcase, which features hand bevelled glass in astragal door frames, flame mahogany panels, and finely reeded columns with carved acanthus corbels. The early Australian cedar bookcase features a triple breakfront and dental mouldings and is of the same style as the residence architecture. The Regency Style Library offers soft and stately beauty giving the room expansiveness and breadth, belying its true dimensions. The bookcase accommodates the exquisite vitrine in a most complementary fashion, the new

being French polished to match the rich colours of antiquity. The decorative brass door panels and English escutcheons and the gilded fluted columns effectively mirror the vitrine’s ornate ormolu mounts. There are plenty smaller homes as well as offices that feature suitably proportioned bookcases. I have included photos of a couple of smaller, exact replicas we’ve crafted: an early Australian mahogany bookcase and a dwarf walnut bookcase. The custom-sized revolving bookcase for a barrister’s chambers was purpose built to also take manila folders. All our libraries are built from solid timber using traditional cabinetmaking methods. This means they are strong and long lasting. It also means removal or restoring them in the future is both possible. They are worthwhile investments and are antiques of the future, increasing in value over time. Some are fitted with glass doors and custom gilded leather shelf edging to minimise dust and climatic change (important for valuable books). Usually we fit fully adjustable and reversible bookshelves with the feature timber jointed to the strong, traditional a-grade hoop pine. Our strong designs ensure shelves don’t sag and even if they do, you can flip them over to keep an even line. The fittings are mostly of solid English brass.

ANTIQUES & ART IN QUEENSLAND

PROFESSIONAL bookbinding service Perhaps many clients are unaware of another service we are able to provide –that of bookbinding. AT GN Olsson Mastercraftsmen is a team of skilled English and European trained, authentic traditional bookbinders. Our professional bookbinding service specialises in traditional gold finishing, hand stitching, restoration and conservation for both private and public collections. One-offs and custom small runs are our specialty. Whether a family heirloom book or bible, a high use or favourite book, or an antiquarian manuscript, we do basic repairs, sympathetic restoration and conservation work, by hand, to exacting standards. Any book which is falling apart, or which has seen better days will be returned to its former glory. We pride ourselves on retaining as much of the original book as is possible, utilising original covers and spine when rebinding. Our services also include re-sewing, headbands and paper restoration. In cases where the cover is completely missing, we bind using methods and materials appropriate

to the era and country where the book was originally bound. We can also replicate most binding, should you require an exact match. As our custom covers enable an almost limitless array of options, we are able to meet a client’s request. We use 23.5 carat gold, and a wide variety of bookbinding cloths, leathers and colours are sourced locally and from overseas. A store of authentic old papers and where necessary, reproduction papers, ensures an excellent match wherever replacement is required. Our English artisan provides us with magnificent hand marbled papers made in time honoured fashion.

A SPECIAL gift idea For that unique, exquisite, personalised gift (or corporate gift) look no further than a rebound book with a personalised cover. Perhaps to encourage the budding poet, author, photographer or artist you could bind their creative outpourings into what would surely become an heirloom. Likewise, you may have professionally bound an academic work or corporate manuscript. Special

journals, personal writings or family history records could be bound, or pages and images covering a special occasion – become a legacy for future generations. Your imagination is the only limitation.

CUSTOM made book boxes You may like to commission a remarkable exact replica book box to protect your most treasured books and manuscripts. We make book boxes or cases from premium materials using the same traditional bookbinding methods. They come in a wide range of sizes, look just like a book and are fully lined. Choose a custom design or an imitation of any book. Beautiful and long lasting, they are perfect for conservation, fun, or secrecy! Individualise the design by incorporating your choice in heading text, logo or other motifs. Book boxes are excellent for storing books, rare papers, prints, manuscripts, collectables and much more. You’ll be pleasantly surprised at the excellent value, given the traditional craftsmanship and premium materials, which goes into each commission ●

Gary N Olsson – Proprietor GN OLSSON MASTERCRAFTSMEN www.gnolsson.com 07 3888 1549

ANTIQUES & ART IN QUEENSLAND

Sharing recent EXCITING FINDS

Fig. 1: Giblet spoon, 1799, sterling silver, hallmarked. (Inset) Detail of slotted section designed to sieve out lumps in gravy

Fig. 2: Old Sheffield Plate entrée plate, c. 1820

Fig. 6: Trophy, 1913, pine and cedar. Design of the half-hull model used for the construction of the Australian yacht Weona

Fig 3: Detail of Old Sheffield Plate entrée plate, c. 1820

Fig. 4: Inscription engraved against additional layer of silver

Fig. 5: English carving set, c. 1890, featuring handles made from elephant tusks. The ivory taken from the tips rather than made from slaughtered animals

was recently asked to be guest speaker at one of the Queensland Antique Collectors’ Society meetings, and as readers might suspect, this was a task fraught with difficulties. The chances of choosing a subject unknown to the membership is likely to be nil – indeed, the real likelihood is that you will walk into an ambush, choosing some subject upon which one of the members is a world expert. The fact is that the collector in a particular field is almost certainly more knowledgeable than the dealer. He has, after all, only the one area to concentrate upon, whereas the poor old dealer has to try to learn the lot. To this end, I decided to simply take along a group of things which excited my interest recently, and hoped that the excitement might rub off on the audience. Looking back, I believe we had an interesting evening. I hope you don’t mind, but I thought I might do the same with this article and treat readers to a look at some interesting things I have seen lately. Just as at the Collectors’ Society meeting, I am happy to stand corrected.

SERVING spoon with a difference The serving spoon in the first picture (fig. 1) looks like a typical basting spoon, but has an added feature – a vertical, slotted panel. It is known as a sieve or giblet spoon, and was

Fig. 7: Sheffield sterling silver fruit service, 1909

Fig. 8: George Baxter (English 1804-1867), Australia – News From Home, 1853, oil print on woven paper

used for serving gravy. The purpose of the slotted divider is to separate the lumps, etc. This one is hallmarked for 1799, and is only the second one I have ever seen.

UNUSUAL Old Sheffield Plate Staying with silver is an Old Sheffield Plate entree dish, circa 1820 (fig. 2). As you can see it is a three-tier construction topped with a lid that has a very ornate detachable handle. Old Sheffield Plate has a copper core and the lid of this beautiful old thing has been polished away to the degree that the silver on top is so thin that the colour is almost gray. However, as can be seen in figure 4, where the inscription is, the manufacturer inserted a piece of silver so that any engraving would not uncover copper beneath. This area is still bright silver.

A CURIOUS handle The illustration of a Victorian carving set in its original English oak case is little different from dozens of others (fig. 5). With the fearfully sharp black steel blade and a beautifully wrought steel fork, this one is special. The handles are ivory, the tips of elephant tusks, turned at the one end to connect then to the blades. For the tenderhearted, we can assume that these were the tips removed from working elephants to save them damaging themselves.

Fig. 9: George Baxter (English 1804-1867), Letter From Australia, 1854, oil print on wove paper

MARITIME memorabilia The beautifully made pine and cedar model of a half-hull of a yacht and tender shown in figure 6 is far more interesting than I thought when I first saw it. It came in with a boxed sterling silver fruit service, hallmarked for Sheffield, 1909 and bearing the inscription ‘Q.F.S. Thorsbornes Trophy Presented By W.A.Thorsborne Esq. Won by “Weona” Feb., 1913’ (fig. 7). On their own, I would have assumed that the half-hull was an interesting curiosity, and that Weona was probably a racehorse. However, Weona was the yacht based on the model, and Q.F.S. stands for the Queensland Flying Squadron. I am assured by a restorer of vintage boats that this hull is typically an Australian shape. Now, I suppose, I really must try to sell the two rather diverse items together.

ENGLISH prints of early Australia Pictures eight and nine are of a pair of Baxter prints. George Baxter (1804-1867) patented his printing process in 1835. It was a process where an initial outline was printed from a steel engraving, and then, individual colours were printed onto the surface, one at a time – up to 20 colours. This extremely complicated and painstaking process was all done by hand. The two prints illustrated are the very

famous examples, Australia – News From Home and Letter From Australia, dated to 1853 and 1854. They are fascinating to view in detail. The former is of Australian settlers in a hut in the bush shown with a cockatoo and a dead kangaroo. There is the interesting error of an Aborigine wearing a Maori feather cloak. The latter print highlights contemporary attitudes to Australia. This is a poster urging migration to Australia. I assume the 100 pound note in one woman’s hand signifies that such migration will be financially rewarding. Sadly, the march of technology coupled with Baxter’s poor business practices left him in its wake. The complexity of the process together with slow output meant he could not compete with newer more efficient printing methods and he ultimately went bankrupt. Indeed, most of the items discussed here suffered something of a similar fate – electroplating destroyed the Old Sheffield Plate industry, thankfully plastics replaced ivory and the computer can solve all the complex problems associated with boat building. Mind you, the giblets still need separating from the gravy ● Graham See BRISBANE ANTIQUES PTY LTD 07 3262 1444 www.brisbaneantiques.com.au

ANNERLEY ANTIQUES & ART IN QUEENSLAND

CUSTOM LEADLIGHT gifts from Glassworx

ery many more leadlights have been designed and manufactured by Annerley Glassworx since you read the last Antiques & Arts Queensland winter 2010 edition. While our workload is not easing, our talented team is up for the challenge. Glassworx has six artisans to keep up with new orders in our 20th year in business. Most people do not realise that the labour and time required to make a leadlight is the same as it has been for hundreds of years. The process is the fascinating part and the primary reason that we have a happy and creative team here at Annerley Glassworx. There is a saying ‘...find a job you love and you will never “work” another day in your life.’ I am sure that we could apply that saying to our business and craft quite comfortably. We could do with a ‘Compliments Department’ but would never need a ‘Complaints Department:’ what a lovely problem to have! I’d love to record all the phone callers and visitors’ remarks when they pass on their thanks for service and a much-loved leadlight, created or restored. They tell us how much joy their leadlight has brought them or the person to whom they gave a Glassworx piece. It is an ancient craft and we supply similarly oldfashioned friendly service.

However, I admit that my daughter, who does the bookkeeping part-time, does complain about my lack of tidiness and failure to file correctly. This reminds me of another saying – ‘What goes around comes around.’ I can remember her untidy teenage bedroom many moons ago! Perhaps there’s hope for me to find time to tidy up my office in the future? Our workshop is easy to reach by train, buses, freeway access and bike paths, so visit to enjoy the service and feel the creative forces at 770 Ipswich Road in Annerley. We will show you the designs and range of glass from which to choose. You can meet the leadlighter entrusted with your special work. Glassworx welcomes your inquiries for commissions, repairs, restorations and lampshade creations for your home, business or for a gift. For all your Christmas and graduation gifts, and professional and business awards think of giving a distinctive leadlight item. If you provide a unique leadlight, when its owner holds a Glassworx treasure it is a reminder of you, the giver ● 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

ANTIQUES & ART IN QUEENSLAND

Paddington Antique Centre

The New Commercial Road Antiques

Brisbane Antique Emporium

Gabba 5 Ways Antique Emporium

Woolloongabba Antique Centre

Bayside Antique & Collectables Centre

4 6

The NEW Commercial Road Antiques

➡

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) 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 11 Logan Road, Woolloongabba Tues to Fri 10 am to 5 pm, Sat to Sun 9 am to 4 pm P: 07 3891 55572 F: 07 3891 5573 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)

GABBA 5 WAYS ANTIQUES EMPORIUM

Filled with antiques, collectables & old wares MODEST LOOKS CAN BE DECEIVING!

visit to the Bayside Antique & Collectables Centre at Cleveland is a journey of discovery. The centre’s outside appearance gives no hint of what awaits inside, although warmly greeted by our Roller Girl who stands outside the centre each day. Set back from the street, the front is dedicated to reserved customer parking. First time customers are always surprised and delighted when they walk through the front doors to realise just how large the centre is, and the many nooks and crannies that house dealers’ shops. A few have likened Bayside to the Tardis, Dr Who’s method of time and space travel, according to owners Rob and Di. Take a trip down memory lane, find an item to add to your collection or furnish your home in quality antique pieces. Whatever the reason, Bayside Antique &Collectables Centre at Cleveland provides 30 dealer spaces with a wide selection of antiques, collectables and old wares. Here is a particularly wonderful selection of quality English and Australian furniture from the late 1800s through to the 1950s and 1960s, in English oak, silky oak, mahogany, cedar, maple and pine. There is nothing to compare with the workmanship and warmth of an antique or early 20th century piece of furniture. Antique and retro items suit many different housing styles, from the traditional Queenslander to the modern contemporary architecture and new apartments. A quality piece of antique furniture is an investment and a pleasure.

COLLECTABLES in Cleveland Royal Doulton, Maling, Shelley and many other English ceramics feature, such as figurines, vases, dinner sets, cups and saucers or trios. Blue and white china abounds. A recent arrival is a Noritake specialist with a wonderful cabinet display. This stock is in high demand as Noritake is increasingly popular. Bayside dealers stock an interesting and eclectic range of collectables. As it is impossible to list everything, the main range includes silver, crystal, Australian pottery, kitchenalia, linen, decorator items, lamps and chandeliers. Glass of all types such as depression, uranium, custard, art, Murano and Murano style, catches the collector’s eye. Here are timber and brass items, clocks, toys, paintings and prints. Be sure to look at the fine selection of antique, estate and costume jewellery. Specialised areas are devoted to themed collections such as militaria, and one for coins, banknotes, stamps and ephemera. The book nook incorporates books, records and sheet music, while there are a tool room and an outdoor and garden area. A fascinating area holds photographic collectables and the centre now sells Photographic Trader, the source for the avid camera collector. These popular areas have very interesting items for sale, and are still works in progress, according to Rob. One dealer, Wayne Crotty (‘Wayne the Wonderful’) sells beeswax furniture polish homemade from his special mix, and he handturns bun feet finials and castors. Wayne’s business, in part, is furniture restoration and manufacturing furniture from recycled timber. A

number of the centre’s dealers and customers will attest to the quality of his restoration work and his reasonable charges, Rob and Di are happy to provide his contact details. Bayside dedicates the mezzanine floor to recycled fashions, including retro, vintage, preloved and designer labels. A number of Bayside’s dealers contribute to the fashion area which caters for women’s day and eveningwear, including real and faux furs along with accessories such as shoes, handbags, belts, hats, etc. There is a small section dedicated to men’s fashions and another for children’s clothing. This is popular especially with younger customers, whether for everyday wear, a special function or a theme party; some just love the great rummage! Bayside’s purposely-designed layout ensures easy access for wheelchairs, motorised chairs, walkers and prams: comments are very positive about its accessibility. Well-behaved pets are welcome visitors. Rob and Di have included a guest area to sit and relax with a complimentary tea or coffee, a popular spot to relax and socialise while visiting the Centre. There are reasonably priced food items for sale. Rob, Di and staff combine many years of experience and are happy to assist wherever they can, so please feel free to ask, ring or email, or simply visit the Centre for a cuppa and a chat. A visit to Bayside can be the start of a day enjoying the Redlands, from the bay and islands to the inland countryside. Bayside is at 162 Bloomfield Street, Cleveland (UBD map 185 Ref P18) between the intersection of Queen and Russell Streets, just one block from

the Sunday Cleveland Village Bayside Markets, again with a Farmers’ Market. Our Roller Girl will guide you to the Centre. There is plenty of reserved and on-street parking. The Bayside Antique & Collectables Centre at Cleveland is open seven days a week from 10 am to 5 pm. The Centre is easy to reach by car, bus or rail: a 30-minute drive from Brisbane City, a short flat walk from Cleveland Railway Station through Raby Bay Harbour and Cleveland CBD, or a bus stop at the door. We will help you get your purchases home no matter how you arrive! ● Rob and Di Metcalfe BAYSIDE ANTIQUE & COLLECTABLES CENTRE 07 3821 0936 / 0419 671 279 baysideantique@optusnet.com.au

BRISBANE ANTIQUES & ART IN QUEENSLAND

The process of rescuing and rebuilding AN EXCEPTIONAL PIECE OF FURNITURE

went to do a quote at a large Queenslander home in Brisbane which was being renovated. What struck me was that the carpenters working on the project left everything open to the elements. It’s a good thing that in Queensland it doesn’t rain everyday! The lady of the house said ‘I have this,’ and showed me partial pieces of what had been a fitted gentleman’s wardrobe. What I saw was that about 60 percent was missing. It was more a remnant rather than a complete piece needing to be restored. The client agreed to our removing what was there and taking it to our workshop. Although much of the original piece had been destroyed, what remained still made this an exceptional piece of furniture. Before undertaking any work we sat with the owner to reconstruct from memory how the piece originally looked. After extensive consultation we were able to devise a plan and establish a framework that would allow us to rebuild a complete piece sympathetic to the original.

Furniture design is not static, changing with each generation and accordingly, there are inherited pieces modified by their new owners. One constant is that furniture has always been made in wood, a material eminently suitable for utilitarian economic pieces to the elaborately decorative. Initially my thought was who could have designed and executed the carvings? But this consideration was put aside as the main focus was on the structure. What we had to work with were the bits and pieces of a gentleman’s robe, which we dated to around the 1840s. Before we were able to reconstruct the missing pieces we researched and found the correct veneers used during the early to mid 19th century, and also identified the missing structural parts. It was not possible to use the same timbers so we substituted the original main structural timber which was chestnut with oak, the closest matching wood we could find. The superstructure as you see it in the images has been rebuilt because half of the robe had been destroyed. We cut down a little further and then added a new side, completing the piece. The facade is fiddleback oak, a veneer on top of the mahogany. Deep carving to the outer layer created the highly decorative effect – absolutely stunning. I have never in my life seen anything as decorative as this. The illustrated final piece is reminiscent of c. 1840 – 1845 Biedermeier and the followers of Biedermeier will recognise the influence of Louis XV – Louis XVI styles. It also shows what German craftsmen were capable of producing in this era. An additional plus is that the handles are original. Have you ever seen anything like it? If you have, please let me know ●

Manfred L. McIntyre MANFRED L MACINTYRE ANTIQUES 07 3356 5613

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

07 3356 5613 4/272 NEWMARKET ROAD WILSTON, BRISBANE 53

BRISBANE ANTIQUES & ART IN QUEENSLAND

I LOVE MY TOOLS As Frank van Brunschot explains, a craftsman is lost without the right equipment

raftspeople have an intimate and symbiotic relationship with their tools. Although they remain in the background while the finished product steals the limelight, woodworking tools are often beautifully crafted objects in their own right. I have always enjoyed and respected these tools for the way they combine an aesthetic quality with a utilitarian function. The basic design and function of many traditional woodworking tools has changed little over 500 years (within the western tradition). I would like to bring to people’s attention some of these tools and how I use them daily in my workshop for both custom-made furniture and for antique restoration. Modern mass manufacturing has greatly marginalised craft-based workshops over the last 100 years or so. CNC (computer numerical controlled) machines emerged in the 1960s and their rapid development has led to the near extinction of many crafts. It seems to me that

more and more people are coming back to, and appreciating, the personal and more intimate connection that comes from owning a handmade item. I think this is driven by a growing awareness of the ethical and social implications of modern high volume, low quality manufacturing processes which recklessly exploit human and natural resources. In my workshop I focus on a craft-based approach where I daily use hand tools, many of them over 100 years old. These old tools are a pleasure to use and maintain. Many tools such as hand planes, scrapes and chisels achieve a level of quality and finish far exceeding mass-production methods. My many years of working with antique furniture has been an ongoing learning experience. I continue to be amazed as to what can be created with hand tools when combined with skill, experience and a sensitivity to the materials at hand.

About Frank van Brunschot Frank van Brunschot is a fully qualified cabinetmaker and has a Fine Arts degree from the ANU. His services include high quality custom-made and designed furniture; antique furniture restoration with a strong focus on conservation; traditional marquetry and French polishing ● FRANK VAN BRUNSCHOT FINE FURNITURE 07 3216 2707 / 0412 954 716 www.frankvanbrunschot.com

fine furniture restoration & conservation of antique furniture • cabinet-making • design • french polishing • free quotes

07 3216 2707 0412 954 716 1a 229 Robinson Rd Geebung www.frankvanbrunschot.com

Frank van Brunschot in his workshop

ANTIQUES & ART IN QUEENSLAND

DAZE

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

DON'T MISS OUT!!!

The largest range on the sunshine coast 162 Main St, Montville, Qld 4560 Ph: 07 5442 9400 shireantiques@bigpond.com

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

MANSON FRAMERS MFG PTY LTD

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

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

Days of business: OPEN 6 DAYS • CLOSED TUESDAYS

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

Collectables

T R A D E R

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PO Box 324, Bondi Junction NSW 1355 t: 61 2 9389 2919 f: 61 2 9387 7487 e: editor@worldaa.com

www.worldaa.com SUBSCRIPTION FORM Dr/Mr/Mrs/Ms: ............................................................................................. Initials: .......................... Address: ................................................................................................................................................ ................................................................................................................................................................ State:........................................Postcode:............................................................................................. Telephone:............................................................................................................................................. I enclose a cheque for $......................

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Inquiries to info@worldaa.com

ABN 22 071 181 854. Prices subject to change

BULIMBA ANTIQUES & ART IN QUEENSLAND

F.J.Mole-Silversmiths detail the process for MAKING A CIBORIUM

Spinning of the base over a wooden pattern

Church window style panels after stamping

hen Kevin Eager started his silversmithing apprenticeship, the firm of F.J.Mole was the premier maker of ecclesiastical silver. The year was 1962 and it was standard practise for silversmiths to provide the Church with brass, silver and gold items. Fast forward to 2010 and whilst F.J.Mole undertakes a lot of restoration work for churches as there is very little manufacturing taking place these days. It was therefore exciting when we received an email from a country priest requesting we design and make a ciborium to match an existing chalice. A ciborium is a vessel used to contain the Blessed Sacrament.

IDENTIFYING the design It turned out the chalice had been made by F.J.Mole, probably in the 1930s, and we had

designs for a standard ciborium to match. This ciborium was to be dedicated in memory of the donor family’s parents, long-standing members of the Church community. Our first task was to look up our ‘instruction book,’ an irreplaceable record of the sizes and methods of manufacturing all of our designs. It has everything from a pocket pyx (a small round box for carrying the Blessed Sacrament to the sick) to the Doomben Cup. We are also lucky enough to have pictures of most of the items made over 97 years of trading.

FINDING the patterns Our next task was to sort through our patterns to locate the ones used to make the ciborium. We needed to find the stamping blocks for the node, the spinning blocks for the lid, cup, node and base, and the stamping dies

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 MOVING IN THE NEW YEAR Please see www.silversmithsandplaters.com.au for details Shop 4, 77 Oxford St (enter from rear carpark), Bulimba 4171

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

PLEASE RING US BEFORE COMING IN Mon to Fri 7am to 4pm, Saturdays by appointment Free Pick-up and Delivery • Visiting the Gold Coast weekly Mail Order welcome to PO Box 3088, Norman Park 4170 56

Cutting out the base prior to final assembly

Different melting point solders were used to join the parts together

for the stem. With over 5000 patterns this is not an easy task – especially when some of the ones in question had not been used for decades. At the same time, as we were getting the patterns sorted, we organised to get the materials. Where 30 years ago we rolled our own silver sheet today we purchase this from interstate silver suppliers. We also needed to purchase stones for the node decoration, and make sure that we had an engraver available for the finished product.

The PROCESS The ciborium is made up of several components. The lid, bowl, node components and base are all spun. A flat sheet of sterling silver is cut into a round blank, and then spun on a lathe over wooden patterns to the correct shape. Our wooden patterns are made from a lovely fine grained timber called lignum vitae, and despite in some instances approaching 100 years of age, they are still in excellent condition. The node is spun in two halves, and then put into a drop-hammer to form the multisided final shape. The stamping of this is an art in itself. Care is taken to make sure the stamp is perfectly clean, and that the weight is correctly set to ensure the edges are not cut through. Copper blanks are used to test the stamping so that the expensive silver ones are not damaged. The stem on the ciborium is made out of 12 panels in a ‘church window’ design. Small pieces of sheet silver are cut out and softened, and then positioned over a steel die in a drop hammer. We enlisted the help of energetic 10 year old Tom with this part of the process as each panel required 16 drops of the hammer before the final design was crisp enough to use. Once these panels were trimmed they were soldered together to make the stem. The design called for six amethyst stones to be set around the node. Small individual settings were made by spinning and turning silver to the correct shape, and then soldering them onto the node. Each of the other components was then trimmed and finished. Edge wires were added to the lid and cup, and the base was cut out to the final scalloped shape. An intricate wire base decoration was added – and here modern technology came to the fore. Where once it would have been several days work to cut the pattern by hand and then file it to detail, we were able to utilise computerised water jet cutting to provide the band for the base detail. A cross was made for the lid, and soldered to a button before being attached. Once the parts were made they were polished to remove the working marks, and then the process of assembly began. Solders of different melting points were used in assembling each part so that the whole ciborium could be joined together. After joining the careful hand-finishing operation began,

Setting the amethyst in the node

The completed ciborium ready for delivery

making sure that each join was clean and that everything fitted together properly. The amethyst stones in the settings around the node were then set, and the completed article sent to the engravers for engraving of the dedication inscription around the base. Upon its return from the engraver the interior of the cup and lid were gold plated, and our final job was to place maker’s marks – the letter M, a Maltese cross, an emu, and 925 – on the cup, signifying another completed sterling silver piece from the workshops of F.J.Mole ● F.J.MOLE – SILVERSMITHS 07 3899 8383 / 0403 052 402 sales@silversmithsandplaters.com.au www.silversmithsandplaters.com.au

KILKIVAN ANTIQUES & ART IN QUEENSLAND

AT KILKIVAN Fine Arts and Antiques there is much to discover

xplore through our large range of china for that special piece. We carry fine pieces from notable manufacturers including Royal Doulton, Shelley, Wedgwood, Royal Worcester and Moorcroft, to name a few. Look for domestic tableware produced by the English firm of J&G Meakin, founded in 1851. There are pieces from W H Grindley & Co, which was set up in 1880 at Stoke-onTrent and noted for their earthenware and ironstone china. In stock is the highly collectable coloured glassware decorated with white enamel figures and motifs. Named after Mary Gregory, an enameller working in the American firm Boston and Sandwich Glassworks situated in Massachusetts, this type of glassware consists mainly of jugs, decanters and utilitarian wares rather than decorative pieces such as vases. If looking to furnish a room, or add an accent piece, we have some great furniture in store from cedar to silky oak. There are dining suites, wardrobes, tables, chairs, sideboards and bookcases, to name some of the stock we carry. No home or office is complete without artwork to enhance or compliment a setting. View our large range of original art including works by Pro Hart, Robert Dickinson, D’arcy

Doyle, David Boyd, Tracey Keller, Chris Hobel and Geoffrey Proud just to name a few. For collectors of Indigenous art there are works by Albert Namatjira, Oscar Namatjira, Harold Lankin, Herbert Raberaba and others. In stock is art by Rex Battarbee (1893-1973) instrumental in the foundation of the Hermannsburg school, and Albert Namatjira’s mentor. There is a large range of framed Norman Lindsay limited edition prints.

WORTH a visit to South Burnett Make it a day out to the South Burnett region and pay us a visit in Kilkivan. Our range of traditional collecting areas extends to the unusual. If ephemera are your passion then our stock of old tools, bottles and strange items will impress. Our opening hours are Wednesday to Sunday from 10am to 5pm. If unable to visit and browse through our extensive range then please phone or email with your inquiry. We will endeavour to help you to our fullest extent and will even post items to you if you cannot visit our shop ● KILKIVAN FINE ARTS AND ANTIQUES 07 5484 1602 info@kfaa.com.au www.kfaa.com.au

Burr walnut credenza $2,950, Maling plates from $495 to $595, Maling teapot $595 Maling sugar and creamer $195, Amberina glass $365

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 Wednesday to Sunday 10 am to 5 pm 57

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

S TILL THE BIGGES T AND BES T ON THE DOWNS NOW AT

www.saltsantiques.com

Lots of live steam Ex museum figure/ Enamel signs

Selection of tantalus

Over 700 pieces of furniture

Fantastic bracket clocks

Music boxes, polyphones and phonographs

Ginger beer bottles

Dozens + dozens of bureaux

Over 90 sideboards

Dozen+ pre-war radios

SALTS ANTIQUES has added an exciting dimension to their business heard someone say, ‘It’s about time that the biggest antique shop on the Downs had a website.’ This was not the first time we were reminded that business has changed and that we need to have a presence on the Internet, the new shopping portal. My response to the frequent statement was that it was something we needed to get around to. Finally it has happened. The site is now up and running with our vast range available for perusal. Recognising that interests and needs are infinite, we have uploaded images of our stock encompassing all price ranges, from very few dollars to pieces commanding significant sums. It has been a long process and as anyone who has developed a website knows, it has been more complex than we first imagined. Along the way we have learned a lot about technology and although a steep learning curve, we believe we have finally produced a wonderful product that our clients and visitors to our site will enjoy browsing. When you log on to our site at www.saltsantiques.com.au, it will be like entering the portals of our 12,000 square foot Edwardian showroom. Our menu gives visitors the easy to access option of selecting their area or areas of interest. Categories include clocks, glass, ceramics, scientific and furniture. Browse through the themed galleries to find what you like. To assist visitors, we have included a zoom feature that magnifies the selected image in great detail, clearly revealing all aspects of a piece. This is a great boon for the online shopper who can’t come into our showroom. Like all good sites, our contact details has our

Over 30 China cabinets

1894 ‘What the Butler Saw’ machine

Cocktail cabinets

Fancy cabinets

Tables full of Depression glass

Georgian brass + uranium glass

Heaps of old tools

Over 100 clocks

Good selection of gramaphones

40+ sewing machines 70+ genuine kero lamps

showroom address together with telephone numbers and other details should clients wish to find out more about pieces they are interested in. It is our intention to keep building the site, adding more pieces and over time developing and taking this venture in new and exciting directions. The beauty of having the website means that if there is a last minute purchase out of regular business hours, or if unable to visit, we are now just a click away. Please remember that not all our stock is up online so do give us a call and, if you prefer the time old tradition of a hands-on experience, we welcome your visit to our showroom. Happy hunting ● SALTS ANTIQUES CROWS NEST 07 4698 1266 www.saltsantiques.com.au

Always lots of new stock

150 pieces of Cranival glass

Steam engines

SALTS’ SEVEN TONS of antiques have arrived!

hat’s right , we have another shipment of antique furniture, glass, porcelain, clocks, and all manner of goods acquired in the UK unpacked and in store. For more than 30 years, the team at Salts has been importing quality merchandise, and the contents in this most recent container continues the well-established practice of bringing to collectors quality antiques. Experts in shipping to Australia, there have been more than 100 containers carrying antiques that collectively total in excess of an impressive 700 tons. Over the years, Salts has supplied thousands of customers looking to enhance a collection, furnish a room or house, to adding an accent decorator piece.

WHAT DOES a 40 foot container contain? Well, the list is too long to print here, but we’ll give you a rough idea. The bulk

consists of 120 pieces of hand selected furniture. Purchases are concentrated on the Victorian and Edwardian eras. Collectively, the pieces weigh approximately six tons. To maximize the space in the container, every drawer and cupboard is used to house all manner of smalls. The range is eclectic and among the finds for Queenslanders are bracket clocks, French clocks, pieces of porcelain from noted manufactories including Royal Doulton and Meissen, fine glass, model steam trains, music boxes and table lamps. To ensure that everything arrives in pristine condition, the precious cargo is packed by our professional packer. Because of our expertise in purchasing we are able to meet all budgets and needs, from practical furnishings to rare, hard to find pieces. Our 12,000 square foot showroom allows us to display more than 700 pieces of furniture through to the smalls transported in the containers. We are proud to state that the stock we carry is more varied and greater than anyone else in southeast Queensland. We invite you to come and view our new shipment and experience the delight of exploring our showroom; we know you will be impressed! ● Roger, Natasha and Judah Salt 07 4698 1266 / 0438 469 812 SALTS ANTIQUES CROWS NEST

Preparing stock for transport to Queensland

Roy Salt 07 4698 2179 / 0408 989 032 www.saltsantiques.com.au

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 16th 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 16 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

TIMELESS CLIENTS A special story

ld-fashioned customer service and building relationships is part of our specialisation – our restorations and clients receive 100% personal attention. We would like to share with you Ross and Fran’s story. ‘My husband Ross and I are visiting Toowoomba from Balmoral and would like to visit your shop, can you please advise when you will be open.’

Fran’s single bow front They arrived on a Saturday and we went touring through the workshop/showroom filled with current restorations. They were amazed to see 15 tons of old brass beds awaiting restoration. They wanted something special – they found it in the Chelmer bed with its single bow front. Restoration went smoothly and it was delivered within a few weeks. Fran was so excited – we knew it had found a special home – and we received this note. ‘Thank you so much for my beautiful bed. I have attached just a couple of photos, although I took many more for my album! It is so very comfortable and the slats smell divine... like I’m in a pine forest. I am a very lucky girl thanks to you both.’ They asked us to look out for another bow front and we placed the request on our client wish list.

Ross’s problem child His wish was granted when we saw

another bow front bed being sold online. We alerted them and they went to inspect. They replied, ‘We went to see the bed near Mount Mee! It was strange that the porcelains were not a matching set. What do you think about the condition?’ It actually had two foot ends from different beds! It had had a hard life and we nicknamed it ‘the problem child.’ Ross and Fran made the purchase, then brought it to us for restoration. Ross was thrilled his bed was different to Fran’s. Some very fun emails were exchanged with Ross during this second bed’s restoration: ‘Hi Mum and Dad, I am ready for the powder coaters, can you please confirm my colour – Antique White (to match my brother, er sister). How is my room coming along? Sorry, do not mean to put you under pressure, I just want to come to my new home – see you soon.’ ‘Hello wild child, I hope Lynne and Mark have set you on the straight and narrow now and that you are feeling a lot better… you certainly are looking rather more beautiful than expected... they have worked wonders! I’m sure they will want to be rid of you ASAP and we apologise that our wild child has caused the Bennetts so much trouble. Dr Bennett, could you please make a new set of slats, just like my bed?’ The bed had come a long way from being a problem child and now was back to being a magnificent bow front with a difference.

Double bed with single bow front – dressed. Fran’s bed

It followed us home Fran and Ross announced that their third and final bed would be an easier restoration. We were sceptical, but they were correct and this third restoration went smoothly and was delivered shortly after. Fran replied, ‘We hope number three didn’t cause Mark too much grief either! Many thanks to you, Mark and Tristan for bringing our bed down yesterday. The bed is beautiful. The base is just BRILLIANT... what a fantastic design! And the room smells divine!’

Ross and Fran’s words

TIMELESS

Antiques

Mark & Lynne Bennett Specialists in Original Brass Bed Restorations

‘We found Timeless Antiques website to be warm and welcoming with incredible information, no other restoration or antique shop came close to what they offered. We were amazed at their quantity of brass beds and we knew we had entered a very special and unique business. If we could not find a bed here, then it did not exist. They were passionate about brass beds and how to restore them to their original condition, including bed history, where and who made it, referencing old mail order catalogues. We had a wonderful time seeing Mark’s workshop and beautiful

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 The third bed, restored and dressed

The ‘problem child’ bed, the second or Ross’ bed, found with foot ends from two different beds, restored and dressed

finished beds. We finally decided on a sweet bowed bed. I couldn’t wait to sleep in my beautiful bed, only a matter of weeks and it was ready. They delivered the bed personally and we were thrilled seeing the bed put together. Had we purchased elsewhere, I do not believe this same kind of personal attention would be given. By now my beautiful bed was one of the family, it was natural we had to have a problem child and our second bed was it. Causing Mark some very unique restoration concerns, but before long he worked his magic again. We looked forward to welcoming it home too. Wow! It filled the room, it was hard to believe it was the same bed. The last bed was simpler by comparison and like its siblings, looked beautiful. From our personal experience, you will need to look a long way before getting this type of service and quality of workmanship’ ●

Mark and Lynne Bennett TIMELESS ANTIQUES 07 4633 1195 www.timelessantiques.com.au

TOOWOOMBA ANTIQUES & ART IN QUEENSLAND

Lancaster’s Auction Rooms

NEXT AUCTIONS

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Sunday 6th February 2011

Ph: 0418 730 904 Fax: 07 4613 1111

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Saturday 19th February 2011

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

“Antique Bottles & Stoneware” Bottle Show Weekend

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

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We are always interested in buying or consigning entire collections or quality individual items We are especially interested in antique bottles, advertising signs, Australiana & pottery. We pay top cash prices for good collectables! For prompt service and the best price

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Quality single items Sold $11,000

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IPSWICH

Peter Liddy Untitled #2 2010 | Gold toned silver gelatin photograph. The University of Queensland Collection

ANTIQUES & ART IN QUEENSLAND

The Presence of Absence: Images of an Institution Photographs of The University of Queensland Ipswich Campus by Peter Liddy

30 OCT 2010 – 13 FEB 2011

The University of Queensland Gallery d’Arcy Doyle Place, Nicholas Street | Ipswich Central Q 4305 W| www.ipswichartgallery.qld.gov.au T| 07 3810 7222 FREE ENTRY | Open 7 Days 10am–5pm (Closed 25 Dec to 3 Jan incl)

Peter Liddy, Untitled #3, 2010, gold-toned silver gelatin photograph. The University of Queensland

THE PRESENCE OF ABSENCE: Images of an institution Photographs of the University of Queensland, Ipswich campus showing until 13 February 2011

risbane-based photographer Peter Liddy’s photo essay about the University of Queensland’s Ipswich campus appear as a series of cool, distant, black and white goldtoned images, portraying spaces devoid of life. Incomplete architectural voids and empty, transitory spaces appear overlooked, as though they are only intended to be glimpsed at in passing, or for resting in briefly before moving on. Yet, these are images of a contemporary university campus, normally bustling with life where time is of the essence. Liddy was commissioned by the University of Queensland to document the heritage and contemporary buildings and grounds of the Ipswich Campus as part of the University’s centenary celebrations in 2010. The results are on display in the exhibition titled The Presence of Absence: Images of an Institution, currently on show at the Ipswich Art Gallery.

FROM AN ASYLUM to tertiary institution The photographer has deliberately chosen to document the non-descript ‘anti monumental’ spaces to reflect the more somber history of the site’s old and new buildings and the irony of their use, then and now. Although its life as the Ipswich Campus of The University of Queensland started just over ten years ago, the site’s fascinating history originated in the 1870s when the first buildings were constructed as a hospital for society’s less fortunate: the mentally ill, criminally insane and intellectually challenged. Pro-Vice Chancellor Professor Alan Rix said, ‘Peter’s photographic record of the campus will be a lasting tribute to the University of Queensland’s first 100 years and to its commitment to the preservation of a remarkable campus environment.’ The earliest building originally opened in 1878 as the Ipswich branch of the Woogaroo Lunatic Asylum. Over time it was renamed the Ipswich

Photographer Peter Liddy at the University of Queensland Ipswich campus

Hospital for the Insane, the Ipswich Mental Hospital, the Ipswich Special Hospital and finally, in 1968 became known as the Challinor Centre, named after early pioneer surgeon and chief superintendent of the original asylum, Dr Henry Challinor. In 1997, Challinor became the new site for the University of Queensland, Ipswich Campus. Liddy’s images are uniform in size and placement, untitled from 1-20. They suggest a corridor in a more Dickensian-type of institution. Formal, anonymous and impersonal, they are windows onto the meaningless; perhaps suggesting the hours spent in solitude and despair, looking out onto the same spaces in years gone by. Nowadays the 17 heritage-listed buildings, several contemporary buildings and many heritage-listed trees and gardens play host to the hopes and dreams of modern students pursuing higher education in health, business and the arts at the University of Queensland.

ACCOMPANYING publication A publication with illustrations of all works in the exhibition will be available from the Ipswich Art Gallery and the University of Queensland bookshops. The works will eventually be acquired by the University Art Museum at the UQ, St Lucia Campus ● The Ipswich Art Gallery is open 7 days a week (closed 25 December to 3 January inclusive). Entry is free.

IPSWICH ART GALLERY 07 3810 7222 www.ipswichartgallery.qld.gov.au

NEW SOUTH WALES ANTIQUES & ART IN QUEENSLAND

THE ART OF HEALING through youth literature and illustration ‘Anything received into the mind (of children)… is likely to become indelible and unalterable; and therefore it is most important that the tales which the young first hear should be models of virtuous thoughts...’ (Plato, 374 BCE)

istorically, using reading as a therapeutic tool to heal people dates from ancient Greece. The door of the library at Thebes welcomed readers with the inscription, ‘The Healing Place of the Soul.’ Aristotle advocated books as a way to purge illness, leaving the reader healthier and more sound in mind. A similar inscription, also in Greek, ‘The Medicine Chest for the Soul’ is inscribed above the doorway of the UNESCO heritage listed medieval St Gallen Abbey Library in Switzerland. Only in the second half of the 19th century did youth literature and illustration for healing purposes become a significant tool. Parents and educators began to utilise books for children to help them to develop their sense of the world and to navigate their paths. There was recognition that story journeys allow readers to identify with characters, work through issues, become emotionally involved in the struggle in a story, and ultimately achieve insights into their lives. Works such as Sir Walter Scott’s Ivanhoe celebrated chivalry and the values of courage and honour. Classics in children’s fiction invited young people into a story journey where youth were empowered, overcame obstacles and dealt with relationship issues, while being entertained. Think of the power of these now classic books from that period: Lewis Carroll’s Alice in Wonderland, L Frank Baum’s The Wonderful Wizard of Oz, Kenneth Grahame’s The Wind in the Willows, Norman Lindsay’s The Magic Pudding, Louisa May Alcott’s Little Women, JM Barrie’s Peter Pan, Robert Louis Stevenson’s Treasure Island, Joanna Spyri’s Heidi and Frances Hodgson Burnett’s Secret Garden. In the 20th century, during the world wars, books and illustrations became part of the process for healing and recovery from trauma for injured service personnel and civilians.

Youth are thrown into new realities through the words and art of fiction. Australian creators were and continue to be at the forefront, using a wide range of literary and artistic techniques from humour to stark dramatic realism. Australians are taking healing youth fiction throughout this country and to the world. A recent example is the internationally award-winning author Margaret Wild and illustrator Ron Brook’s Fox, a powerful illustrative work of love and betrayal. Adapted into a new Australian opera for young people through a Monkey Baa and Siren Theatre Company collaboration, it now brings an original musical score and dance to fiction, embracing readers of all ages. Hazel Edwards’ children’s literature classic series, There’s a Hippopotamus on Our Roof Eating Cake, makes children laugh while they gain insights into the realisation that it is all right to be individualistic. Award-winning illustrator Sarah Davis’ Mending Lucille, written by Jennifer Poulter, reaches into the emotional impact of the loss of a mother and healing through family relationships. Libby Gleeson’s picture book Mum Goes to Work, illustrated by Penny Azar, is one of the first feminist picture books celebrating and accepting all the many different roles of mothers as they raise their children. Illustrator Frane Lessac’s naïve artworks challenges readers with issues arising from war in the poignant Simpson and His Donkey, written by Mark Greenwood. Shaun Tan’s celebrated work The Arrival, has sold millions of books worldwide; it reaches deep into the experience of migration, dislocation and new home. Walkley awardwinning political cartoonist Cathy Wilcox’s illustration of Susanne Gervay’s Jack has become symbolic of the so-called average boy. The Jack books and illustrations are recognised for their healing, as they navigate with humour and warmth the challenges of growing up. Australia is a leading voice in the words and art of youth fiction, offering young people insights relevant to their lives. The works of some of Australia’s leading illustrators are on public view in the Reading Room of The Hughenden in Woollahra. The Hughenden is home to Sydney’s arts and literary events for the Australian

Storytellers Guild, Society of Children’s Booksellers and Writer’s SCBWI ● More information about Susanne Gervay’s new book, Always Jack, illustrated by Cathy Wilcox, is found at: www.sgervay.com

Susanne Gervay THE HUGHENDEN Free call 1800 642 432 02 9363 4863 www.thehughenden.com

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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

ANTIQUES & ART IN QUEENSLAND

Smoke damaged china cabinet before treatment with Howard Orange Oil

ORANGE OIL is a miracle of nature

range Oil is defined in Wikipedia as an essential oil produced by glands inside the rind of the orange fruit. It is usually extracted via a cold-press process or in some cases it is steam distilled. Premium quality essential orange oil is extracted from the orange peel by a cold-press process. It is composed mostly of naturally occurring d-limonene and is therefore often used in place of straight d-limonene, which is a harsher natural chemical extracted from orange peels and rind by the distillation process. Pure d-limonene is often used in cheap cleaning products which should not be used on furniture.

PROTECTING and preserving Always stick with products using pure cold-pressed orange oil where furniture and real wood is concerned. Howard Orange Oil is a classic blend of mostly pure orange oil and a lesser amount of high grade mineral oil which is known for its properties in the preservation of wood. When added to furniture polish, orange oil helps to protects wood against damage from a variety of bugs and it is used to create a non-toxic termite barrier being much less of an occupational health and safety risk than mineral turpentine. In the USA it is being used as an injectable anti-termite treatment and was heavily promoted by the Californian Structural Pest Control Board which reported on the findings of government commissioned research into on the spot treatment of drywood. It can also kill beetles, ants and even certain fungus in wood.

WHERE it comes from The orange tree is an evergreen which has dark green leaves, white flowers and bright orange round fruit with roughish skin. The trees are native to China (also famous for tung oil which is used in Howard Orange Tung burnishing oil), but are now cultivated extensively in other countries such as Brazil, America and Australia. The main chemical components of orange oil are a-pinene, sabinene, myrcene, limonene, linalool, citronellal, neral and geranial.

EXTREMELY safe Orange Oil is an extremely safe non-toxic, non-irritant and non-sensitizing oil for

working with. It is also known to support collagen formation in the skin.

MULTIPLE applications Apart from wood oil and furniture polish products, orange oil is used in many essential oil blends and curative potions as well as in Curacao type liqueurs and for the flavouring of food, drink and confectionery. Orange oil is also used a great deal in aromatherapy to create the feeling of happiness and warmth. Other known therapeutic uses of orange oil are as an antiseptic, an anti-depressant, it is antispasmodic, anti-inflammatory, calmative, and it is often utilised in sedatives and tonics. A sunny and radiant oil, it brings happiness and warmth to the mind and helps people to relax and helps children to sleep at night. Orange oil can be used effectively on the immune system. As well as for colds and flu, it assists in the elimination of toxins from the body. Hey, it even has mild aphrodisiac properties, so watch out you antique lovers! ● David Foster HOWARD PRODUCTS 0419 403 627 advice@howardsproducts.com.au www.howardproducts.com.au References http://en.wikipedia.org www.pestboard.ca.gov/ www.redgoldfish.co.uk/viewglossary

Smoke damaged china cabinet after treatment with Howard Orange Oil

RESULTS BIG with a little bit of Howard Orange Oil Polishes and shines antiques safely. Cleans and shines modern kitchens. Enriches and adds life to dull surfaces. Replenishes essential oils In dry wood. Purifies with the uplifting aroma of fresh oranges. Safely cleans fragile keepsakes. Lifts dirt and grime easily.

“Adds life to the furniture you love”

ONLINE or find a stockist near you: SHOP ONLINE

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1800 672 646 www.howardproducts.com.au 65

ANTIQUES & ART IN QUEENSLAND

Léon Bakst (1866-1924), costume for the Blue God from Serge Diaghilev’s Ballets Russes production of Le Dieu Bleu [The Blue God] 1912

Mikhail Larionov (1881-1964), costume for a buffoon’s wife from Serge Diaghilev’s Ballets Russes production of Chout [The Buffoon] 1921

Henri Matisse (1869-1954), costume for a mourner from Serge Diaghilev’s Ballets Russes production of Le Chant du Rossignol [The Song of the Nightingale] 1920

National Gallery of Australia BALLETS RUSSES: THE ART OF COSTUME 10 December 2010 18 March 2011

allets Russes: the art of costume celebrates the centenary of the first Paris seasons of the legendary Ballets Russes, the company that revolutionised ballet with its sensational fusion of art, movement and music in new productions organised by its founder, the Russian-born impresario Sergei Diaghilev (1872-1929).

SERGEI Diaghilev (1872-1929) As a producer and creative director, Diaghilev rejected conventional ideas of ballet. He encouraged the collaboration of contemporary artists, designers, choreographers and composers and was the first to bring Russian culture to the Western stage. Diaghilev integrated traditional dance narratives with modern design, folk art, contemporary music and new approaches to choreography, bringing modernity and a new excitement to ballet.

By raising every aspect of dance performance – dancing, choreography, music, stage and costume design and publicity – to an equal level of creative invention and excellence, Diaghilev unleashed a torrent of creativity to European theatre. He placed the moribund art of ballet into the modernist framework of early 20th century design and culture. Diaghilev’s first designers for the Ballets Russes’s costumes and sets were Léon Bakst and Alexandre Benois, long-standing colleagues from his formative years in St Petersburg when they worked together on their influential art journal Mir Iskusstva (World of Art) from 1898 to 1904.

RUSSIAN and European avant-garde artists From 1910 other artists of the emerging Russian and European avant-garde also became associated with Diaghilev and the company. Among them were Michel Larionov, Nicholas Roerich, Natalia Goncharova, Georges Braque, Pablo Picasso, Henri Matisse, Giorgio de Chirico, José Maria Sert, André Derain, Robert and Sonia Delaunay, Georgy Yakulov and Pavel Tchelitchev. Igor Stravinsky launched his career with the Ballets Russes and was Diaghilev’s closest musical collaborator. Diaghilev employed some of the 20th century’s most innovative choreographers to develop performances for the company. Among these whose choreographic innovations laid a foundation for later 20th century dance were Michel Fokine, Vaslav Nijinsky, Léonide Massine, Bronislava Nijinska and George Balanchine. Performances by émigré Russian dancers such as Vaslav Nijinsky, Tamara Karsavina, Serge Lifar and Adoph Bolm became legendary.

LES BALLETS Russes de Monte Carlo

Natalia Goncharova (1881-1962), costume for a seahorse from Serge Diaghilev’s Ballets Russes production of Sadko 1916

After Diaghilev’s untimely death in 1929, several new companies were formed to continue and develop his legacy. The most important of these was Les Ballets Russes de Monte Carlo, formed in Monaco in 1932 by the Russian entrepreneur Colonel Wassily de

Basil. Using some of the original Diaghilev sets and costumes, de Basil’s company revived many of the Ballets Russes’s earlier productions and commissioned new works in the innovative spirit of Diaghilev’s earlier company. Following the Ballets Russes tradition, prominent artists and designers were invited to design for these productions, including André Masson, Oliver Messel, Étienne de Beaumont, Jean Lurçat, Natalia Goncharova, and the Australians Sidney Nolan and Kathleen and Florence Martin. De Basil’s companies, which ceased with his death in 1951, toured in Australia, under several names, three times from 1936 to 193940 creating enthusiastic new audiences for ballet and an appreciation for the avant-garde. This set in train the formation of modern dance companies across Australia from 1940 by former Ballets Russes associates.

COSTUMES The costumes designed and made for the Ballets Russes had been conceived in the context of powerful and emotional artistic collaboration and they command attention as persuasive works of art in their own right long after they ceased to be worn on stage. Their ingenious design, cut and construction, innovative colours and patterns, along with their use of a variety of fabrics and trim materials, come together with the purpose of being worn in complex action by athletic dancers for maximum visual impact on stage. Even while bearing the ravages of time, use and neglect, they are tangible reminders of the craft of their makers and their wearers. The National Gallery of Australia holds one of the world’s most extensive collections of costumes from the productions of the Sergei Diaghilev and Wassily de Basil periods of the Ballets Russes and is an important part of the international legacy of dance and stage design from the early 20th century.

NGA conservation project The exhibition reveals the result of a major Gallery conservation project over the past five years with 140 of these costumes, many of which were previously too fragile and

deteriorated to be put on display, having been fully restored. Included are some of the Gallery’s most famous costumes: Alexandre Benois’ costume for Petrouchka, worn by Nijinsky in the 1911 ballet of the same name Léon Bakst’s costume for the Blue God worn by Nijinsky in Le Dieu Bleu 1912 Henri Matisse’s powerful costume for a mourner from Le Chant du Rossignol 1920 Natalia Goncharova’s joyous folk costumes from the 1914 and 1937 productions of Le Coq d’Or Mikhail Larionov’s cubist costumes for Chout Chout [The Buffoon] 1921 Giorgio de Chirico’s surrealist vision for the young man in Le Bal 1929 Leonard Massine’s futurist costumes for the symphonic ballet Les Présages 1933 These costumes are only parts of the larger context of the productions for which they were made, but each retains the power to evoke the intimacy and emotional charge between designers, performers and audiences that was central to the Ballets Russes experience. Through these fragments we can glimpse the work and passion of Diaghilev and his designers, dancers, collaborators and successors. They provide insights into their interpretations of both the great romantic stories and legends of history against the framework of the moral contradictions of the emerging 20th century. This exhibition aims to celebrate the centenary of the Ballets Russes by showing how its spirit continues for our time and place ● Dr Robert Bell AM Senior Curator Decorative Arts and Design NATIONAL GALLERY OF AUSTRALIA 02 6240 6411 www.nga.gov.au All costumes are from the collection of the National Gallery of Australia, Canberra. Photography: Brenton McGeachie, National Gallery of Australia.

Canberra | nga.gov.au

BALLETS RUSSES THE ART OF COSTUME

10 December 2010 â&#x20AC;&#x201C; 20 March 2011 Tickets: nga.gov.au

Presenting Partner

Principal Partners

Henri Matisse Costume for a mourner c.1920 from Le Chant du Rossignol, National Gallery of Australia, Canberra, purchased 1973 The National Gallery of Australia is an Australian Government Agency

NEW SOUTH WALES ANTIQUES & ART IN QUEENSLAND

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NEW SOUTH WALES / VICTORIA ANTIQUES & ART IN QUEENSLAND

Highly respected philatelist Stephen Browne shares his passion for the PRE-STAMP POSTAL HISTORY OF NEW SOUTH WALES (1801 – 1849)

began collecting stamps at the age of five and acquired my first ‘old letter’ at the age of 14. A fascination with the early history of Australia led to the beginnings of my collection of New South Wales postal history in 1985. Prior to 1850, envelopes were rarely used: letters were written on sheets of paper and folded and sealed with wax for posting. Missives from early settlers containing personal observations provide exciting insights into the circumstances and regular hardships of early colonial life.

HISTORICAL aspects The first permanent settlement in Australia was at Sydney Cove where Governor Arthur Phillip removed his squadron (the inaccurately named First ‘Fleet’) from Botany Bay in January 1788. New South Wales’ jurisdiction originally extended over the eastern half of the continent as far west as longitude 129°, the current border of Western Australia! My collection traces the development of postal services in the colony of New South Wales from first settlement, through the establishment of the first official post office in 1810 up until the 1849 Postal Act that heralded the issue of the colony’s first postage stamps (the famous Sydney Views) in 1850. The appointment on 25 April 1809 of the paroled convict Isaac Nichols as Assistant Naval Officer – with the task of taking charge of mail arriving in the colony – is generally regarded as the birth of the post office in Australia. Until the establishment of the Post Office Department in 1828, internal postal services beyond Sydney were very limited. Before 1828 postal markings were used only at Sydney and at three settlements in Van Diemen’s Land. From 1828, each country post office was issued with an undated postal mark. Many of these markings are exceedingly rare and some are unique. The principal reason for this situation was the very small literate populace. In 1828, the nonAboriginal population numbered 36,000 and as late as 1846 it had grown to only 189,000. My collection brings to life all the major postal history events of the period. It also includes items from the major regions that later became separate colonies: Van Diemen’s Land (until 1825), New Zealand (until 1841), Port Phillip District – later Victoria (until 1851), and the Moreton Bay District – later Queensland (until 1859). Internal mail, particularly between country towns, has not survived in any quantity. Soldiers’ letters are few in number, and mail written by convicts is very rare, probably because much of it was destroyed by descendants in order to hide their colourful genealogy!

SIGNIFICANCE In the context of Australian postal history, there are few subjects that come close to the significance of mail from our earliest settlers. One of the highlights of my collection is an 1801 letter from Sydney that may be the earliest surviving privately-held Australian letter with postal markings. There are also letters from the first overseas mails organised by the post office: from Sydney in 1810 and from Hobart Town in 1815. As well, there are holograph letters signed by Governor Lachlan Macquarie, the eminent explorer Sir Thomas Mitchell, and men who arrived on the First Fleet. As far as condition goes, perfection is generally unattainable in this field. As a consequence of being stored for 150 to 200 plus years in often less than ideal conditions, most letters of the

period have some faults, such as splitting along the folds and soiling of varying degrees.

COLLECTION HIGHLIGHTS Letter written by Mary Ann McCarty 1813 This letter was sent from Hobart Town to London via Sydney and bears the earliest recorded strike (by three years) of Australia’s first postal marking. The ‘SYDNEY/NEW SOUTH WALES’ undated handstamp was introduced by Sydney’s first postmaster, Isaac Nichols. Only six examples are known in private hands. Nichols charged three pence postage to the sender but the recipient had to pay an inwards ship letter fee of one shilling, which is indicated by the scribble to the left of the Sydney handstamp. Regarded as one of the most important items in all of Australian philately, the letter was written by Mary Ann McCarty (née Wainwright) who was born 14 January 1795 on Norfolk Island, the daughter of the First Fleeter Hester Wainwright. From the age of 14, she appears to have been the mistress of William I’Anson (that’s a capital ‘i’, not a lower-case ‘L’), having had a daughter with him. After I’Anson’s death in November 1811, and aged just 16, she married the Irish rebel Denis McCarty in the following month. In the letter, she writes of her regret that William’s best friend Matthew Bowden had not been given his power of attorney because I’Anson’s estate had been seized, no executor having been named. William I’Anson had arrived at Hobart with David Collins’ establishment party in 1803. He was the senior surgeon, Matthew Bowden his assistant. Denis McCarty had been transported to Sydney in 1800, and three years later was sent to Van Diemen’s Land for disobedience. This exceptional artefact was previously in the collection formed by my friend Brian Peace, who hails from England. When Brian sold his material through Prestige Philately in July 2009, I decided that this was one item I simply had to acquire. Even though the reserve price of $38,000 plus 15% buyer’s commission caused me to wince, I consider it to have been a bargain.

destination in this period: the vast majority of mail from Australia was to England. Having now been collecting for some 25 years, my passion for this inherently interesting material remains undiminished. While new items can be added only occasionally, each one excites me for the fascinating story it has to tell of our colonial heritage.

ABOUT Stephen Brown, Sydney agent for Prestige Philately Stephen is a highly respected philatelist. An active member of the Royal Philatelic Club of Sydney, he is also one of this country’s most successful competitive exhibitors. At the recent

international exhibition in Portugal, his display was awarded a gold medal. This is the highest honour ever attained for pre-stamp mail from any of the Australian colonies ● For more information and advice Stephen Browne can be contacted at PRESTIGE PHILATELY 02 9004 7300 Sydney@prestigephilately.com www.prestigephilately.com Further reading J S White, The Postal History of New South Wales 1788-1901 (Philatelic Association of New South Wales, 1988)

OFFICIAL letter to London 1823 Three Tasmanian post offices to which undated handstamps were allocated in 1828 were the capital Hobart Town, and the northern settlements of Launceston and George Town. An 1823 official letter to London is remarkable for being struck with both the ‘LAUNCESTON’ handstamp and the similar ‘HOBART/TOWN’ marking. In this case, the postage paid from Launceston was eight pence but, because of the weight, the addressee was charged the then princely sum of five shillings on arrival. The transit time was almost nine months, which was quite fast in an era when delivery times in excess of a year were commonplace. Many philatelists lack appreciation for early mail because it does not bear postage stamps. However, even in the absence of stamps, some of the early items are extremely attractive. One of the most eye-catching items in my collection is an 1839 letter to Batavia, in the Dutch East Indies. Carried by Mellish – as marked at the lower left – it received on arrival a stunning impression of the oval ‘ZEEBRIEF/[posthorn]/ONGEFRANKEERD’ (Sea Letter Underpaid) handstamp in vivid blue ink. Although Batavia was the closest port to the Australian continent, it was a very unusual

VICTORIA ANTIQUES & ART IN QUEENSLAND

Cerutty Collins £50 note (R67a), 1920, condition ‘very fine’

RARITY DEFINES the banknote market TANGIBLE BENEFITS, profitable investments

Ten years’ increased value of several Australian pre-decimal banknotes between 1913 and 1966

he Australian banknote industry in the 1960s and 1970s was one of the nation’s best-kept investment secrets. Comprised of a small band of passionate collectors professing a purist interest in the hobby, they were quietly enjoying the financial spoils that the market was already offering.

HOW THINGS have changed! In the 1980s and 1990s, national interest in our history, including our old banknotes began to flourish. Attention was heightened in 1995 when a leading banknote collector, Dr Allan Nicholson, sold his magnificent collection at auction. Painstakingly compiled over a quarter of a century, his was the largest and most comprehensive collection of Australian paper currency ever compiled by a private individual. Sensational bidding, record prices, $2.2 million in sales that were 70 per cent above estimates, all ensured that the Australian banknote market was firmly recognised by investors. The Government’s allowance of collectables into superannuation funds underpinned a further and broader expansion of interest in the banknote market. The numismatic world was overwhelmed by a tide of new interest as a younger generation of collectors and investors discovered the delights and profits that banknotes would provide.

While the profits may be self-evident, even to a newcomer, as in the table provided, perhaps the delights of banknote collecting may be a trifle hidden, at first. Buy wisely amongst our top banknotes and you can simultaneously relish the history, bask in the glory of ownership and know that you are making money along the way. How many other forms of investment can offer so many tangible benefits? Quality, scarcity and desirability remain the key factors in selecting banknotes. However when it comes to banknotes, it’s not always about quality. When a truly sensational note comes on to the market, a note that is defined by its rarity, quality considerations can be put to one side, knowing that no finer example exists. For example, obtaining a pre-Federation ‘issued’ banknote or a £50 or £100 banknote in uncirculated condition is impossible. So do not wait for a quality level in a banknote that is unachievable, as ultimately you will miss out on other investment opportunities. The key to assessing the investment potential of any banknote is therefore to identify precisely the quality levels at which extreme rarity kicks in. This is the point when consideration should be given to buying. Carefully selected quality banknotes have delivered strong capital growth over the last ten years as shown in the table. Some of the rarer notes have enjoyed massive price hikes as their scarcity becomes fully recognised in the market ● COINWORKS 03 9642 3133 info@coinworks.com.au www.coinworks.com.au Commercial Bank of South Australia £50 specimen note, c. 1870, condition ‘about uncirculated’