Antiques & Art in Queensland-Nov 2011-Mar 2012

antiques&art IN QUEENSLAND

NOVEMBER 2011 - MARCH 2012

ART OF Peter J Hill

GOLD COAST / MOUNT TAMBORINE ANTIQUES & ART IN QUEENSLAND

One location, two galleries

railway sleepers, heavy iron bars, wool bales and more and then run with their loads as far and fast as they can down the street. Judges measure their achievements in weight carried, over what distance and their time.

After that feat, they ride a bike, swim in a muddy creek, push a heavy truck down the main street and finally run a marathon. How different is this from city iron man comps? All this exercise is in the boiling heat of the day when the bitumen is so hot it is lifting off the road. The prize money is always sizable, around $10,000.

THE DUNNY RACE

Riding one, leading one

Out and about in the outback

F

or the tenth time, Peter was asked to be the official artist for the Outback Festival which is held at Winton, Queensland every two years. This festival has the unique characteristic of being organised just by Winton’s residents, which numbers 1,100 all up.

A fixture on the outback festival events calendar, people from all around Australia come to compete, taking in the warm weather with temperatures sitting around 40ºC.

THE IRON MAN COMPETITION This is probably the most popular event. It is held in the main street where the contestants, who like to be called iron men, pick up

The famous dunny race requires teams of six people to compete, each team first constructing a dunny (bush toilet) on wheels.

Then three teams race their dunny in each heat, with two to push the dunny, one runs with toilet paper, one sits on the dunny, one ‘empties the can’ and one runs with a toilet brush. Team names are fun, such as ‘Harry Potty’ after the popular books and movies.

THE DUNNY DOOR AUCTION Peter has created and donated a Dunny Door painting for the last ten years, each the size of a door. He donates all the proceeds from the painting’s auction as his sponsorship for this festival. Over the years his Dunny Door has brought in thousands of dollars including this year.

This year’s painting was a little different than earlier works. It was a little satirical, cartoonish and a bit political, and was a hit, receiving much media publicity. The people loved it and the bidding was fierce. This year’s Outback Festival was a great experience and we will keep attending it every two years.

Prints of this year’s Dunny Door painting are for sale at our gallery. If you cannot visit, email judyandpeter07@bigpond.com.

Forest glow

ARTIST PROFILE Born in 1937, Peter is a self-taught artist having started to paint as a hobby when he was 19 years old. Turning professional in the 1970s, Peter’s art works now hang in corporate boardrooms, hotels, clubs and in private collections both in Australia and around the world. Nearly every continent can claim to have at least one of his oil paintings on its walls.

Peter lived in Melbourne in the 1970s where he owned and operated his own gallery at Olinda in the Dandenongs. When he moved later to Canberra, the Australian government purchased examples of his art for presentation to visiting heads of state.

During a television interview a journalist asked Peter how he would describe his art.

Peter answered, ‘When I paint a horse it looks like a horse; when I paint cattle they look like cattle. So I guess you would call me a traditional artist. I paint my paintings the way I see them, which is why so many people can relate to the places and scenes that I paint.’

P. J. Art Gallery is the only gallery where the name Peter J Hill is signed on every painting that hangs on its wall. A Canadian customer once said, ‘To get to see the outback one only has to step into the gallery and take a look around. It is like stepping from the coast into the country in one step.’

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

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

Riverside gums

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

136 Long Road ‘Gallery Walk’ Eagle Heights Qld 4272 Ph: 07 5545 0089 Mob: 0428 259 014 Email: judyandpeter07@bigpond.com • judyandpeter09@bigpond.com Web: www.pjart.com.au Flight into sunset

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ANTIQUES & ART IN QUEENSLAND

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

Cartier Gold on sterling silver quartz c. 1990 $1500

Omega Seamaster automatic-date black face, c. 1965 $2295

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

Omega Constellation 18 ct app 115 gm automatic-day-date c. 1968 $6500

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

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

Set of five framed $2,500. Individual $600 each.

Moonflower, 1982

Sunbaker, 1937

Interior Elizabeth Bay House, 1978

Of the three nine piece sterling silver tea sets made

by Garrard & Co London in honour of the coronation of Queen Elizabeth II, this is the only known surviving example.

Hallmarked Garrard & Co London 1953/54, weight approximately 11 kilos

Gold diamond and jade stick pin $3750

Omega Seamaster 14 ct c. 1960s $1895

GOLD COAST ANTIQUE CENTRE 2076 GOLD COAST HIGHWAY MIAMI QUEENSLAND

P 61 7 5572 0522

M 0412 229 117

OPEN 7 DAYS 4

At Toowoon Bay, 1985

Blue Gum Forest, c. 1940

ANTIQUES & ART IN QUEENSLAND

front cover

Editorial Content 03 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 41 42 43 44 45 46 47 48 49 50

Sherrie Knipe Baggushka, 2010 pine and found veneers, cotton, plywood Courtesy of the artist

One location, two galleries – Judy Hill Antiques on the West Side The Shop That Time Forgot & Kittys Vintage Kitsch The Dragon and the Queen Fish – Shari Louise Wright Artists showing jewellery and small objects at Marks & Gardner Gallery Identifying bronzes Marian Drew + Alana Hampton: The Lorikeet Island Project at the Gold Coast City Gallery Summer shows at the Gold Coast City Gallery The Stan and Maureen Duke Gold Coast Art prize 2011 Spirit of Australia Gallery home to authentic Australian-made products Spirit of Australia Gallery showing indigeneous art Behind the scenes: a quiet achiever and his life-affirming journey The Silver Jubilee Rotary Antiques & Book Fair 2012 Tracing the all too short life of an extraordinary Australian – Paul McGinness Grace Galleries at Main Beach one of the best-kept secrets on the Gold Coast Promoting history in Queensland Symbols for good luck and their decorative appeal – Moira Drexler What’s so special about antique maps and antique prints – Derek & Kathryn Nicholls Lockets ... and warnings on rubies – Ken Penfold Shari Louise Designs presents The Antique Guild – Shari Louise Wright Industrial Revolution expands to Stamford Plaza Hotel – Lisa Demartini The earliest illustrations of Australian ‘natives’ talking about indigenous flora – Kathryn & Derek Nicholls Past trends and styles revived – Suzy Baines A heritage corner revitalised, Buy Design at Clayfield – Leah Edwards Robin Bauer Studio Gallery presents ten artists’ new works inspired by the Story Bridge – Robyn Bauer Napoléon III and the second French Empire style – Denis Geoffray Reminiscences of musical memories, old style music sheets – Eilisha Little Ready for holiday gift shopping at Brisbane Antique Emporium Quality at a glance – Sharyn Semmens Quality is the best policy at Lavin Antiques Collectors Corner from shop front to online selling Accurate valuations help ... Insurance, Superannuation and Family Dispersal – Graham See Pack & Send art and antique specialists – Stephen & Janet McCartney The violin bow: a fiddlestick examined – Ilja Grawert Jewellery through the centuries – Jason Bridge Ba-Ta-Clan Antiques et Salon De Café – Vivien Kent Fresh faces at the Woolloongabba Antique Centre Annerley Glassworx recent commissions – Denise Allen

antiques &art

51 52 53 54 56 57 58 59 60 62 63 64 65 66 68 69 70

Inspiring the next generation of collectors – Rob & Di Metcalfe A hot trend for interior design, industrial furniture at Harrington Antiques – Sharyn Semmens A restorer’s diary – Manfred McIntyre Beautiful rugs deserve the best care – Stephen Muncey Celebrating 50 years as a silversmith and jeweller with F.J. Mole Silversmiths – Kevin Eager & David Bissett Make a visit to the South Burnett region Are antiques for investment? An antique dealer’s opinion – Roger Salt Lancaster’s Toowoomba Antique Centre 17 years old and going strong The magic and beauty of brass bed porcelains – Mark & Lynne Bennett Autumn weekend art show at Toowoomba Grammar School Remote and Wild at the Ipswich Art Gallery The Art Gilding Academy, the only place in the world where you can learn professional gilding in just two weeks Illustrators and writers of children’s books at the Hughenden – Susanne Gervay National Gallery of Australia collection, Lucian Freud (1922-2011) The festive season: Party time in your home – David Foster It’s all about the coin - or the note Stories from Commercial Road Antiques where shopping is fun and friendly

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IN QUEENSLAND

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GOLD COAST / MOUNT TAMBORINE ANTIQUES & ART IN QUEENSLAND

Antiques on

the West Side A

visit to North Tamborine is a memorable day trip from Brisbane or the Gold Coast. Take in the breathtaking views to the west while visiting Witches Falls National Park – the first National Park in Queensland – and be sure to spend time at the picnic areas, local shops, antiques and art galleries and cafés. It is rumoured that the name Witches Falls stuck after residents west of Tamborine Mountain saw lights on the side of the mountain many years ago and attributed them to the ‘Mountain Witches.’

Visitors with an interest in the arts and antiques find this village a perfect destination.

Here they are able to explore the high-quality shops on the Main Western Road in North

Tamborine in addition to enjoying the wonderful surrounding natural views.

Witches Falls Gift House at 98 Main Western Road is next to Witches Falls National Park – the oldest National Park in Queensland. Come and meet Noelina and Phil in what appears to be a small shop but is in reality a well-stocked gift store. Search through the vast array of old and collectable objects including Shelley, Royal Doulton, Crown Derby, Wedgwood, Royal Dux, Lladro and other fine names.

They have old and estate jewellery, antiques, curios and beautiful furniture in mahogany, walnut, oak and other rare and exotic timbers.

Phil combines his furniture making skills

with a flair for bringing old pieces back to life. Furniture repair and restoration is his preference, while Noelina is a skilled artisan with her sewing machine.

Continue opposite at 97 where you will now find The Shop Time Forgot and Kittys Vintage & Kitsch.

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.

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

Phil & Noelina Jackson 98 Main Western Rd Mt Tamborine QLD 4272 P: 07 5545 0885 F: 07 5545 0076 M: 0418 647 452 E: gifthouse@winshop.com.au

www.witches-falls-antiques-and-gifts.com.au OPENING HOURS Wed, Fri, Sat & Sun 10 am - 5 pm inc. Public Holidays Closed Christmas Day and Good Friday Open Anzac Day 12 - 5 pm Other times by appointment

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GOLD COAST / MOUNT TAMBORINE ANTIQUES & ART IN QUEENSLAND

The Shop Time Forgot & Kittys Vintage Kitsch s all F es ti ch iques se W nt A t Hou if &G

T

he phenomenon most markedly associated with the 1930s is the Great Depression. While the world has seen many recessions, bear markets and depressions since, it remains the longest, most severe and most widespread depression of the 20th century.

Although the causes were varied and numerous, it was largely precipitated by an enormous crash of the Wall Street stock market on 29 October 1929. In one day, $14 billion was lost; today’s equivalent would be $377,000,000,000! Unemployment hovered around 25 per cent for some years and with no government benefits, the resultant poverty was intense.

The public mood was sombre. Gone were the carefree attitudes, celebrations and hedonism of the 1920s. This was a new era and it was full of financial worry. Despite only around 60 per cent of the population suffering direct effects of the depression, everyone was nervous about their financial future and was mindful of their less fortunate counterparts.

All this gloom and doom had innumerable flow-on effects. For many families with reduced incomes, this was the real start of the ‘make do and mend’ era. Manufacturers started making cheaper dresses, lower-heeled shoes and smaller, plainer hats in order to stay in business and give the public what they could afford.

This was of course an era where almost every woman could, and did, sew. Although many women had worked outside the home during WWI, most returned to homemaking and domestic duties if their men returned from service. It was not socially acceptable for married women to take on employment, and the traditional arts of sewing and embroidery were still viewed as desirable and suitable accomplishments for women.

As family budgets stretched further and further, garments were altered and re-altered, handed down and updated. The advent of colourful Bakelite in the late 1920s did much to promote the wearing of costume jewellery, so it became easier to update an outfit with cheap accessories, a pair of shoe clips or a few new ribbons and feathers for an old hat.

As moods changed, so did styles. In reaction to the straight silhouette and mannish styles of the 20s, a more conservative and feminine look returned. The waistline resumed its natural position and hemlines were lowered to mid-calf length. Women now wanted to be genteel, ladylike, curvy and refined. Yet this was no reversion to the stiff corsetry and voluminous skirts of the Victorian era; this was an elegant yet simplified fashion decade. Clothes were feminine yet allowed for ease of movement.

Detail was all around the sleeves and shoulders. In 1931 the Academy Awardwinning movie Cimarron, starring Irene Dunne in one of the first big sound films, strongly influenced this trend with costumes featuring 1890s-style leg-o-mutton sleeves, exaggerated shoulder pads and plenty of ribbons and bows.

It was from this point that American cinema became a lasting influence upon western fashions. Zips became common, replacing the buttons or press studs previously used on side closures. Synthetic fabrics, particularly rayon became widely used as they lent themselves to lustrous fabrics like shimmery lame, thought so elegant for evening wear.

Despite the impact of Hollywood films on fashions, Parisian couturiers continued to influence, most notably Madame Vionnet and Elsa Schiaparelli. Vionnet focussed on pastel colours with swirly chiffon skirts and bias-cut silks. Schiaparelli not only defined the 30s look with her classic suits and little black dresses but collaborated with cubist artists to produce a revolutionary array of hats in colours such as cobalt blue and deep fuchsia.

For most women the colours of the 30s matched the public mood: shades of brown, blue, olive green, maroon, taupe and black.

This is not to say that prints and happy colours were unavailable, but they were certainly less prominent.

Sunbathing became popular for the first time. With the new decade, swimwear had become briefer, leaving much more skin exposed than ever before. While the rich were able to travel, Australians went to local spots such as Stradbroke or Bondi Beach. This new trend influenced fashion, as in order to show off their tans men wore white dinner jackets; women wore halter tops and bare midriffs and backless evening dresses.

Furs were a luxury item that every woman aspired to own. Whether worn over the shoulder with a winter suit or as an evening accessory with long gloves, real fur was the height of fashion throughout the 1930s and remained popular until well into the 1950s.

Gloves were enormously important and no self-respecting woman would leave the house without them. The length and fabric were tailored to the occasion; usually long gloves for evening and wrist or mid-arm length for daytime. Colour co-ordination was a definite fashion rule. To match one’s handbag, shoes, hat and gloves was essential.

The Shop That Time Forgot & Kittys Vintage Kitsch stock a range of original 1930s dresses, hats, furs accessories and homewares, and of course an enormous range of Bakelite.

Come in and see Sue or Celia seven days a week to find your 1930s look.

THE SHOP TIME FORGOT KITTYS VINTAGE KITSCH 07 5545 4402 theshoptimeforgot@gmail.com www.KittysVintageKitch.blogspot.com

Specialising in the 1920-70s We have a great range of imported Vintage Fashion & Hats Art Deco, Retro, stunning Bakelite & Kitchenalia Something for everyone!

97 Main Western Road, North Tamborine OPEN 7 DAYS 10 AM TO 4 PM ph 07 5545 4402 theshoptimeforgot@gmail.com www.KittysVintageKitsch.blogspot.com www.facebook.com/KittysVintageKitsch Buying & Selling

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ANTIQUES & ART IN QUEENSLAND

Dragon necklace, carved mammoth ivory, 18 ct gold, South Sea pearls, diamonds and briolette citrines

Queen fish necklace, carved mammoth ivory, 18 ct gold, diamonds, moonstones, South Sea pearls

The Dragon and the Queen Fish A billiard ball recycled into uniquely crafted jewellery

I

magine a dragon carved from mammoth ivory that was originally made into a billiard ball that was found in an antique shop in New Zealand. This antique shop was filled to capacity with all kinds of treasures, which is one of the many reasons we have extended our business into antiques.

CONCEPT Donald Powell, the Queensland awardwinning sculptor found this billiard ball and immediately envisaged what it was to become.

Its round shape gave him an idea that it was an egg about to crack and give birth – to a dragon. He envisaged a dragon with its tail and claws enveloping its own egg. In dragon folklore, the egg represents wisdom.

The detail Donald carved into the ivory is exquisite and gives character to this dragon.

Although it has teeth and claws able to tear apart its prey, this dragon gives the impression it is far happier protecting its egg and hoard of precious jewels that it is nesting. The weakest part of a dragon is its belly where the armoured covering does not reach. So dragons are in the never ending search to find precious gems, which they lay on and embed into their belly, creating armour of their own. The fact that there are no living dragons of this nature gives the mammoth ivory dragon a timeless appeal, capturing everyone’s imagination.

The jeweller working on this project with Donald was Shari Louise Wright, his daughter.

Shari Louise designs and manufactures exclusive jewellery for discerning buyers who

8

collect and adore jewellery that is extremely rare, making only one of each piece.

JEWELLED DRAGON The completed dragon is made from mammoth ivory and 18 ct gold. The egg that is being protected is an A grade gold round South Sea pearl with a rather magical lustre.

The belly is set with canary yellow and white diamonds, and where the dragon has rolled over, diamonds in varying colours have stuck in the chinks of his armour. Beneath the body is a hoard of larger precious gems, which hangs like a tassel on the wearer. These stones are briolette citrines, natural Keschi South Sea pearls and diamonds.

SCULPTED NECKLACE The Queen Fish is the newest mammoth ivory necklace made by jeweller Shari Louise and sculptor Donald Powell. She is a fanciful creature designed to bring great joy to the wearer. Her crown of green and blue diamonds matches her fins which shimmer in 18ct gold and shades of green and blue diamonds. Her lips are pouting and her eyes are beautifully detailed with a single black diamond glinting. She is dropping from bubbles of moonstones which attach to three strands of natural Keschi South Sea pearls – a magnificent wonder to view and wear.

THE SCULPTOR Don Powell is an award-winning wood sculptor from Maleny who displays a deep passion for his work. Classically identified by

the realism and intricate detail in his carvings, he has a particular affinity for figures and works on a wide range of objects including carvings in St Mary’s Cathedral in Sydney.

His works include The Mercenary, a wood carving based on old engravings of medieval European mercenary soldiers who were the first riflemen. Over a metre tall and carved from over 20 species of wood, this sculpture is ornamented with gold and silver to bring colour and texture to the piece.

The Dragon Slayer is carved from over a dozen species of wood. The pages of the open book depict the picture of the dragon and the story comes from – ‘Once upon a time, there was a dragon slayer...’ Powell also has carved miniature ivory pieces from his Alice in Wonderland collection, as well as fantasy figures and animals including tigers, fish and a centaur lady.

The Dragon Slayer, multiple species of wood

ORIGINAL DESIGNS This collaboration between sculptor Don Powell and jeweller Shari Louise with mammoth ivory has been incredibly successful. Working in this ancient beautiful material has enabled a range of stunning pieces to be created with more to be seen. Commissions are invited.

Shari Louise Wright SHARi LOUiSE DESiGNS JEWELLER 07 3221 3110 / 0413 520 036 sldesign@bigpond.net.au www.sharilouisedesigns.com.au www.theantiqueguild.com.au

The Mercenary, gold, silver,multiple species of wood

GOLD COAST / MOUNT TAMBORINE ANTIQUES & ART IN QUEENSLAND

Artists showing jewellery and small objects at

Marks & Gardner Gallery Small Works 11 November – 24 December

M

arks and Gardner Gallery at Mt Tamborine is holding an eclectic exhibition called Small Works opening in November and running until Christmas Eve. The Jewellers and Metalsmith Group of Queensland (JMGQ) has invited its members to submit items that reflect their individual style showcasing jewellery and small objects.

LISA GAZE Central Queensland artist Lisa Gaze has been a regional member of JMGQ since 1999 and is one of the artists exhibiting in our annual Christmas event. Her studio windows present a glorious view of Central Queensland bushland and of the native wildlife wandering into the backyard, the intimate space is full of collections of pieces that have caught her eye.

Artist’s statement ‘I have always collected “bits” along the way – gathering shells, rocks, bones, leaves, rusty bits of metal – they clutter my studio shelves offering inspiration (or inclusion) at a glance.

I generally use materials that are selected for their uniqueness and expressive quality rather than their preciousness. Pieces feature sterling and fine silver, gold, cow bone, paua and beach shell as well as local gemstones.

My passion is for creating individual, handcrafted wearable works of art that the owner will wear and cherish. My environment has always been an inspiration for my artwork and this is especially so with the works that will be featured in Small Works.’

The bracelet titled ‘Rock Pools’ has been created using sterling silver that has been fused and also cuttlefish cast to portray the

flooding of the incoming tide flowing over, around and into the rock pools (depicted by beach glass). Whereas an art nouveau inspired hair comb, ‘Water Bubbles’ features iridescent bubbles (titanium domes) floating on the water’s surface.

Growing up in the coastal town of Yeppoon, Central Queensland, then moving to FNQ and working and living on tropical Bedarra Island has strongly influenced Lisa’s creativity. Gaze has been involved in the visual arts and crafts field since completing a Bachelor of Visual Arts (1995), at the University of Southern Queensland, Toowoomba.

In 1997 Lisa joined Central Queensland TAFE’s Art Department at Rockhampton and in 1999, introduced jewellery making to the range of artistic offerings. She currently lives in the historical gold mining town of Mount Morgan.

ELIZABETH SHAW Brisbane-based art jeweller and metalsmith Elizabeth Shaw established her studio in 1993.

She has graduated from Queensland College of Art Griffith University (QCA) and Brisbane College of Advanced Education (now QUT).

Her practice is focused on creating original jewellery, tableware and sculptural works.

Shaw’s interest in social reflection and commentary provides the inspiration for her work and ethical and environmental concerns guide her materials choice and studio practices. She investigates aspects of societal and cultural values and the meanings associated with objects of material culture.

Elizabeth is interested in narratives and how objects and jewellery can provide a record of society, culture, events and place.

Shaw is convenor of Jewellery and Small Objects at QCA and maintains an active exhibiting profile. In her most recent solo exhibition held in Brisbane this year, Shaw presented a series of small scale working tools she had created in response to found or collected fragments such as a handle broken from a pair of scissors, a trimmed branch, or a blade broken from a ‘waiter’s friend.’

In her exhibition statement (2011) Elizabeth says, ‘The works, combining precious sterling silver with collected oddments continued her investigations into the relationship between the symbolic function of objects and their more practical uses.

I draw on the aesthetic of repair and honesty in mechanics that was valued in earlier mechanical tools, apparatus and implements, but is all but lost in modern technology. The integrity of the found fragment is maintained, my additions to repair it are consciously obvious. Materials and objects carry meaning, I have worked with these fragments to uncover

new meanings; these objects transform fragments into “functional“ tools in a transparent manner.’

Her interest in working mechanical actions is continuing in Shaw’s current series Mechanical Wearable, featuring rings and pendants with mechanical movements. Like the previous works, they are made from recycled and reclaimed sterling silver. Each features a working mechanical movement, demonstrating a mechanism that in modern tools, cars and household devices is unlikely to be encountered as they are sealed behind a plastic casing.

In another body of current works, Shaw has created a series of rings titled ‘Inundated House’ started not long after the January floodwaters had receded, quietly recording the event. ‘In January 2011 large areas of Queensland flooded and unnerving images of houses submerged to the ceiling flooded the media. The flood was indiscriminate as to whose houses were inundated – these rings provide an impersonalised record on a personal scale. They capture a moment in time.’ (E Shaw, ‘Inundated House rings statement,’ 2011) Pieces from Shaw’s two series, ‘Mechanical Wearable’ and ‘Inundated House’ will be exhibited at in Small Works.

Marks and Garner Gallery is just 35 minutes from the Gold Coast beaches and one hour from Brisbane.

Elizabeth Shaw, Scissors sterling silver, broken piece from scissors Elizabeth Shaw, Inundated Houses rings

MARKS & GARDNER GALLERY @ Secret Garden on Tamborine Mountain 07 5545 4992 art@marksandgardner.com www.marksandgardner.com

Lisa Gaze, Water Bubbles hair comb, sterling silver, titanium domes Lisa Gaze, Rock Pools bracelet, sterling silver fused and cast, beach glass

9

ANTIQUES & ART IN QUEENSLAND

Identifying bronzes M

any objects look like bronze, based on their metallic makeup.

Over the centuries and places of origin, the composition of bronze and its copies varied greatly. The collector needs to be able to identify the differences.

BRONZE, BRONZED OR WHITE METAL? Enjoy discovering the variety among bronze sculptures and white metal works.

Bronze is a hard alloy of copper, zinc and tin, the last making it stronger than copper alone. Known from before 2500 BCE, it was used for hardy weapons and utensils, and later for statuary and decorative objects. It is especially suitable for casting due to its fluidity in molten state and slight contraction on cooling. Other ingredients readily combined with bronze include aluminium, nickel, lead and silver that enhance colour and bronze patina.

White metal is usually zinc and lead based and has a very low casting temperature.

Known as spelter, it derives from an old Dutch word, spiauter for zinc.

Brass is an alloy of copper and zinc without tin, the key difference between the three. A red brass colour comes from 10 per cent zinc, golden brass indicates 15 per cent zinc and brass with 20 to 40 per cent zinc is in the yellow colour range.

Bronzed refers to any metal that has been bronze-plated. Indeed many goods described as bronze or bronzed are rarely made of bronze, many being made of chemically patinated brass.

COLLECTING BRONZE & SPELTER Countless works have been cast in both bronze and spelter since the 1850s. Most techniques for making bronzes and spelter figures are the same or very similar, so it was not unusual for foundries to produce both alloys and cast works of art in both bronze and white metal since the mid-19th century.

Beware that most quality white metal pieces easily pass for an expensive bronze counterpart. Avoid quick decisions based on subjective criteria such as weight, metallic sound, patina, price or a signature of some kind.

Misconceptions, poorly labelled descriptions and terminology make certainty elusive, complicated by phrases

such as bronzed, bronze metal, French bronze and Florentine bronze.

Because of its viscosity white metal can be cast into moulds more thinly than its bronze counterpart, therefore making the object much lighter in weight. By sound a bronze object will have a higher ringing tone because of its density and relative thickness of production, while white metal sounds duller. Usually bronze items will have a smoother lustre and definition due to the density and qualities of the alloy.

It is a misconception to call spelter pieces fakes, copies or even imitations as some sculptors made identical pieces in both metals.

Usually the first castings were made in bronze and because of higher temperatures required for casting, the moulds became worn and lost definition. Then foundries would use the moulds to cast white metal pieces. Much more spelter pieces were produced to meet the demand of the market where bronze articles were too expensive, frequently three times the cost of white metal pieces.

Some white metal pieces were cast in inferior moulds as complete pieces, so the air vents to cool them, even when filled in by soldering, are obvious on close inspection.

This is another way to detect white metal rather than bronze, as it is very unusual for bronze pieces to be cast as complete items.

High quality bases for bronze sculptures include coloured Argentinean onyx, French slate or Italian marble. Spelter counterparts were usually based on dyed alabaster or veneered marble over plaster or cement, or even painted wood simulating marble.

Most classical bronze pieces were given chemical patinas whereas spelter pieces were either painted or plated. At the turn of the 20th century some of the better replicas were electrically plated with copper; plating was also used over plaster, porcelain or resin bases to produce pieces of quality appearance. Over time that copper plating separates from the base composition and flakes, so scraping the bottom of suspect ‘bronze’ figures with a sharp object will usually show the white plaster or resin base, positively identifying it as a plated composition.

Chryselephantine style figural sculpture, flesh was made of ivory and the drapery of gold, in this example, bronze

BRONZES AT GOLD COAST ANTIQUE CENTRE If you are interested in collecting these fabulous pieces and are not sure where to begin or if you are a collector and not sure of your collection, feel free to contact us and speak to our experts in this field. Their advice will give you the confidence to make an informed decision concerning the purchase an original bronze. We also look forward to assisting in the purchase of a white metal masterpiece.

AN ECLECTIC CENTRE Our centre sells authentic antiques and collectables that are correctly labelled and competitively priced. With over 20 selected dealers offering a wide assortment of wonderful and occasionally quirky pieces, your time browsing will be rewarded with a find that will give you pleasure for years.

Open seven days, the Gold Coast Antique Centre is conveniently located on the Gold Coast Highway in the centre of Miami, halfway between the Coolangatta airport and the heart of Surfers Paradise, and one hour south of Brisbane.

GOLD COAST ANTIQUE CENTRE, MIAMI 07 5572 0522 / 0414 338 363 www.goldcoastantcent.com.au Further reading

Collins Encyclopedia of Antiques Wm Collins Sons & Co, London 1973

Figure of a gondolier, made in bronze by Hagenauer (Vienna, Austria)

Bronze figure made by Hagenauer (Vienna, Austria)

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GOLD COAST ANTIQUES & ART IN QUEENSLAND

Marian Drew + Alana Hampton: The Lorikeet Island Project A multi sensory experience, featuring photography and video installation by two leading Queensland artists

24 March – 6 May 2012

(Detail) Marian Drew + Alana Hampton, Lorikeet Island as it appeared, 2011, digital image. Courtesy the artists

The Arts Centre Gold Coast 135 Bundall Rd Surfers Paradise 4217 07 5581 6567 www.theartscentregc.com.au gallery@theartscentregc.com.au

Feature exhibition of the 2012 Queensland Festival of Photography

This project has been supported by the Regional Arts Development Fund, which is a Queensland Government through Arts Queensland and Gold Coast City Council partnership to support local arts and culture

Marian Drew + Alana Hampton: The Lorikeet Island Project at the Gold Coast City Gallery 24 March – 6 May 2012

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stablished Queensland artists Marian Drew and Alana Hampton present a multi-channel video installation; creating an immersive environment through the layering of light, sound, objects, drawing and projection. The

result is an experience filled with moments of darkness, to emulate the experience of being on the water – floating in suspension in flux with the tide.

Their work is based around a little visited island in the middle of the Gold Coast Broadwater – which the artists have named after the multitude of lorikeets living there.

The island is covered with mangroves and at high tide is completely washed through by the sea, creating an environment that is totally transformed by the rhythms of the moon and sea water.

Over the past 18 months the artists have made regular visits to the island, staying on a moored houseboat off the island, their base to launch their dingy and canoes and to make work. That time allowed their thinking to be immersed in the rhythm of the tides, the

changing light throughout the day and the moods of the birds.

The artists were successful in obtaining a Regional Art Development Fund Grant supported by Gold Coast City Council and Arts Queensland to develop the exhibition, including hiring their houseboat base.

Marian Drew is Associate Professor Queensland College of Art Griffith University based at Southbank, a multi-award winning artist with qualifications from Mt Gravatt College of Advanced Education, postgraduate studies at Kassel University Germany and Bachelor of Visual Art majoring in photomedia from the Canberra School of Art. She has a dazzling list of solo and group exhibitions in most Australian states, New York and Los Angeles USA, France, Taiwan, Germany and the United Kingdom and is held in collections worldwide.

Alana Hampton is currently studying for her MA at Queensland College of Art Gold Coast Campus and earned her BA Visual Art (Teaching) from the University of Tasmania and School of Art, majoring in photography and drawing. Now Head of the Faculty of Art at St Hilda’s School in Southport, Alana has an extensive teaching career in Queensland and Tasmania while maintaining her art practice and exhibiting widely, extending to illustrating two book covers.

Marian Drew + Alana Hampton: The Lorikeet Island Project will be a feature exhibition of the 2012 Queensland Festival of Photography.

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

Alana Hampton, Half and Half, 2011, digital video (still). Image courtesy the artist

11

GOLD COAST ANTIQUES & ART IN QUEENSLAND

Summer shows at the

Yong-Seok Oh, Cross, 2002, single channel video (still), 5 min. Collection Seoul Museum of Art, Korea

Gold Coast City Gallery KOREA_RE-IMAGINING THE CITY Contemporary Korean media art about cities and change

Until 11 December

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eoul is one of the most densely urbanised cities in the world and its very shape and form has been radically transformed in less than one generation. The population of over 20 million people have one of the highest accesses to broadband connections and smart phone technology in this very connected city. Digital screens are everywhere, from the tiny phones up to giant screens covering whole buildings with their flashing messages.

South Korea has a very strong history of media art with Nam June Paik (1932-2006) considered to be the first video artist. His legacy continues with important new works being made in this media by a new generation of artists.

Joon-Bum Park, I Parking, digital still from video. Seoul Museum of Art

Earlier this year both Gold Coast City Gallery and Seoul Museum of Art (SeMA) exhibited the Australian exhibition, Now and When Australian Urbanism, formerly the Australian presentation at the 2010 Venice Architecture Biennale. Korea_Re-Imagining the City is in response to the latter exhibition and shared experience of cities that have experienced great recent changes.

Drawn primarily from works in SeMA’s collection, this is part of the KoreanAustralian Year of Friendship that celebrates 50 years of diplomacy between Korea and Australia. These Korean artists provoke thought about how the city is recognised and what relationship it has with the environment in the 21st century.

The artists’ perspectives consider urban space as inseparable from continually accumulating historic events, more than the materials and buildings. Using a variety of editing and film techniques, these artists transform their urban environment with their imagination.

Artists include Ahn Se-Kwon, Gyuwan Choe, Jeon Joon Ho, Joon-Bum Park, Ryu Biho, Sim Cheol-Woong and SoYoun Jeong.

Many of these have exhibited in Europe, USA and Australasia. One of the best known artists is Joon-Bum Park. Like a child playing with a toy Lego set, he manipulates a miniature world – a car park, a building site – through shifting in scale. Human size becomes miniscule as the giant hands of the artist appears to manoeuvre cars while safely careening pedestrians from harm. As humans avoid the giant hands, they are simultaneously guided by them.

Contemporary Korean media art about cities and change

5 NOVEMBER – 11 DECEMBER 2011 Works by Ryu, Biho Ahn, Sekwon Park, Jun-Burn Jeon, Jun-Ho Jung, SoYoun

21ST CENTURY BEGINNINGS: The Corrigan collection of Aboriginal art

17 December 2011 – 29 January 2012 The lands of the central deserts, Kimberley and Top End are the home to some of the greatest artists practicing in Australia today. A big story of land, culture and colour will fill the gallery when highlights from the Corrigan collection of Indigenous art are on display.

In addition to his role as chairman of the Gold Coast City Gallery, Patrick Corrigan AM is an avid collector and arts benefactor. In 2000, after noticing the growing variety and dissemination of art by contemporary Indigenous artists, Corrigan began specifically collecting millennium-period Aboriginal paintings. His collection documents Aboriginal painting over the last decade.

He focused primarily on accumulating the works of mostly new and emerging artists from various Australian desert regions.

Although many of the Pitjantjatjara artists had experience in woodcarving, the collection features many works by older artists who, in their 60s and older, are picking up a paintbrush for the first time.

Leading Western Desert artist Walungkura Napanangka comes from a family of artists.

Her parents (who were part of the Papunya School), her two sisters and her husband are all Kintore school painters. Although she first started painting in 1995 it was not until 2002 that she became a full-time artist.

Women’s ceremony (pictured) features unique iconography. Painted in a free style that

references formal patterns of squares and circles, Napanangka leaps further to innovatively depict dense formations of rockholes and sandhills in strong dazzling colours.

A Queensland artist in the collection is Sally Gabori. As a teenager in the early 1940s, Gabori was moved from her homeland on Bentinck Island off the northern tip of Queensland to Mornington Island. She only became a professional artist in 2005 aged in her late 70s. After her sell-out exhibition in Brisbane in 2005, Gabori flew to the island of her birth to be reunited with her traditional lands and reconnect with family. Outside Story Place at My Country is a stunning example of Gabori’s confident and unbridled use of brilliant colour.

Patrick Corrigan has formed a high quality collection which acknowledges the aptitude and celebrates the power of these artists and the sophisticated ways that they approach their painting. The older artists may be looking at country with mature and wise eyes but their approach to traditional narrative is fresh and innovative.

With the retrospective distance of 11 years at the most, this collection features many of the modern masters of the Western Desert, Kimberley and Top End, including Paddy Bedford, Eubena Nampitjin, Makinti Napanangka, Minnie Pwerle, George Tjungurrayi, Tommy Watson and Regina Wilson.

Further reading Emily McCulloch Childs, Ross Gibson, New beginnings: classic paintings from the Corrigan collection of 21st century Aboriginal art, McCulloch & McCulloch Australian Art Books Pty Ltd, 2008

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

Nam, Sang-Hun Sim, Cheol-Woong Kim, Young-Kyeong Oh, Yong-Seok Lee, Zune Kim, Young-Eun

KIM, Young-Kyeong, blend_polis#01 (Dongdaemun stadium), 2006, Pigment print (detail)

An exhibition from the Seoul Museum of Art presented as part of the Korea-Australia Exchange Exhibition for 50th Anniversary of Diplomatic Relations: Australia Digital Urban Portraits – Part II and NOW and WHEN: Australian Urbanism.

The Arts Centre Gold Coast, 135 Bundall Rd, Surfers Paradise 4217 07 5581 6567 www.theartscentregc.com.au

12

Thanks to MAAP and IMA for technical support

Walungkura Napanangka, Women’s Ceremony, 2006, synthetic polymer paint on linen canvas. Corrigan Collection

GOLD COAST ANTIQUES & ART IN QUEENSLAND

Samara Adamson-Pinczewski, Flying buttress, 2010, synthetic polymer paint on paper. Image courtesy of the artist

The Stan and Maureen Duke

Judy Watson, heron island suite # 16, etching from two zinc plates and one screenprint. Coral calcification rate, graph courtesy Professor OveHoegh-Guldberg; turtle measure graph courtesy Dr Kathy Townsend; feeding frequency graph, courtesy Dr Bradley Congdon. Image courtesy of the artist and grahame galleries + editions

Gold Coast Art Prize 2011 10 December 2011 – 5 February 2012

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he Gold Coast Art Award was established in 1968, which makes it one of the longest running, as well as richest, art prizes in Australia. From a field of over 300 entries, 2011 prize Judge, Davida Allen, has selected 69 finalists for this prestigious art award, which offers a diverse sampling of contemporary Australian art practice including painting, photography, sculpture, works on paper and video art. This year there is a strong focus on the relationship between man-made and natural structures, as well as the future of the Australian environment.

Over half of the works selected are paintings. Nic Plowman brutally subverts the delicacy of watercolour through his investigations into masculine relations via violence. Samara Adamson-Pinczewski relies on the interaction of modular forms in space to create a dizzying and disorienting image.

She translates these to two-dimensional imagery which shares a resonance with architectural forms. Dean Brown voyeuristically records human interaction in time and space from an unusual perspective in his painting In passing.

2011 Finalists include Jun Chen, Sally Gabori, Rew Hanks, John Honeywill, Chris Langlois, Nic Plowman, Sylvia Schwenk, Ian Smith and many more. Over the past 41 years more than 400 works of art have been acquired through the Gold Coast Art Prize.

Together these have made the city collection one of the strongest and most diverse in regional Australia.

COMING UP IN FEBRUARY

JUDY WATSON HERON ISLAND SUITE

11 February – 25 March 2012

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n February 2009 senior Queensland based artist Judy Watson was appointed artist-in-residence at the University of Queensland’s Heron Island Research Station.

Watson’s residency coincided with the official launch of the Research Station which was rebuilt after being destroyed by a devastating fire in 2007. heron island suite is her response to the time she spent on the island, where she examined worrying signs of the impact of human activity and the onset of global warming on the Great Barrier Reef. On her daily walks she would collect material for visual research, such as coral forms, seaweed, feathers, vegetation and sea pods. The drawings she produced from this material provided the stimulus for these highly coloured series of etchings.

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

13

SURFERS PARADISE ANTIQUES & ART IN QUEENSLAND

Spirit of Australia Gallery Home to authentic Australian-made products AUTHENTIC ABORIGINAL DIDGERIDOOS

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

OILSKINS, JACKETS AND HATS Traditional oilskin jackets and leather bush hats for the harsh environment of the Australian outback.

APPAREL

Spirit of Australia

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

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

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

SURFERS PARADISE ANTIQUES & ART IN QUEENSLAND

Jeannie Petyarre 89 x147 cm $2,900

Ningura Napurrula 86 X 54 cm $1,690

Ningura Napurrula 86 X 55 cm $1,690

Jeannie Petyarre 109 X 147 cm $3,200

Stephen Larcombe 187 X 94 cm $1,650

Spirit of Australia Gallery S

Aaron Cora 87 x 245 cm $1,900

pirit of Australia Gallery is the only Aboriginal art gallery in Surfers Paradise. The Gallery offers a unique collection of traditional and contemporary Aboriginal paintings by Central Australia’s most famous artists such as Walangkurra Napanangka, Gloria, Jeannie and Kathleen Petyarre, Abie Loy, Evelyn Pultara, Margaret Lewis Napangardi and Ronnie Tjampitjinpa.

The more contemporary and modern Aboriginal art is exhibited by Yondee, Trisha Mason, Colin Wightman, Melissa Wright, Grant Paulson, Bibi Barba and others.

Spirit of Australia Gallery offers the largest collection of didgeridoos on the Gold Coast.

Over 200 authentic, termite-eaten didgeridoos are on display. The Gallery offers free lessons on playing the didgeridoo to customers wanting to learn.

You will also find a unique and wide variety of Aboriginal artefacts and souvenirs including boomerangs, apparel, pottery, crafts and gifts. Visitors to the Gold Coast should drop by the Gallery and take a photo of the largest didgeridoo that the Gallery displays at our entrance

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

George Tjugarrayo 70 X 110 cm $4,000 Jake 50 x 60 cm $690, Rose 40 x 50 (sold)

Jeannie Petyarre 90 X 148 cm $2,900

Spirit of Australia

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

John Turnbull 60 x 90 cm $790

John Turnbull 188 x 105 cm $2,490

Antony Walker 60 X 150 cm $1100

Antony Walker 150 X 60 cm $990 each

Anthony Walker, small sizes from $249

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 15

ANTIQUES & ART IN QUEENSLAND

Behind the scenes a quiet achiever and his life-affirming journey

In early 1980 Greg met Chet Krause (left), the publisher of the Krause Catalogue of World Coins, now the world’s biggest publisher of collector orientated coin and banknote catalogues and guides Greg with Stuart Devlin (right) in 2000 at official launch of the Sydney Olympic series of coins. Mr Devlin has designed most of the coins used in Australia since 1966

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Australian Coin and Banknote Market Guide was illustrated with coins and banknotes from Greg’s personal collection

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any people involved in a horror car crash might say that the accident was ‘life changing.’ Unfortunately for many it is a change for the worse. For numismatic dealer and author, Greg McDonald, the aftermath had a happy ending that led to a career path in its 33rd year, with 25 books published on coins and banknotes, a bi-monthly subscription newsletter and regular pricelists. Over the years he has attended over 400 coin fairs, including every Australian capital as well and bourses in Los Angeles, Chicago, New York, London, York, Basel, Singapore and Hong Kong.

He was also the original co-owner and editor of the Australasian Coin and Banknote Magazine and a founding delegate for the National Numismatic Association that was formed in the early 1990s. He is also a founding member of the Australian Numismatics Dealers Association (ANDA) – member number 20 and a life member of the Australian Numismatic Society that was founded in 1913. From 1984 to 1989 he also had his own monthly column in the Australian Coin Review.

In 1979 McDonald was a journalist with the Northern Daily Leader in Tamworth (see the advertising logo on what’s left of the car), asleep in a passenger seat when the car went through a barrier and flipped end-to-end five or six times. ‘To cut a long story short,’ McDonald said, ‘I spent about six months off work recovering from fairly serious neck and back injuries.’

An avid coin collector since a kid, while recovering Greg re-read a book received for his eighth birthday written by numismatic doyen Tom Hanley, and this book rekindled Greg’s interest. During rehabilitation he started writing his Coin Corner column for the paper while not being able to go out to interview people.

The success of the column was a complete surprise. ‘I then stated to write to papers all over the country which was harder than you might think as this was before emails – or even computers. Before long I had around 30 papers taking the column every week in centres from Port Hedland, Mount Isa, Manly and Port Lincoln.’

A year later Greg was offered an A Grade journalist position with the Sydney-based Cumberland group. He visited Sydney’s coin shops and soon becoming a fulltime coin dealer. Now married, together with his wife Jennifer they hosted weekend coin shows and at the end of the year had driven over 100,000 km organising and attending over 60 shows. Adelaide based Rigby Books, on the recommendation of a Sydney dealer, invited Greg to write a coin book in 1981.

In 1983 Rigby printed 6000 copies, illustrated with coins and banknotes mostly from Greg’s collection, and needed a reprint after six weeks. By 1985 dealers and collectors were asking for another book, and Greg decided to self-publisher, the first called How to Buy and Sell Australian Coins and Banknotes. Now, 27 years later this original book that cost $12.95 when it first came out sells for over $80 second hand when available. This was followed in 1987 with Australian Coin and Banknote Market Guide.

Greg continues, ‘In October 1990 we published the most successful book we had produced to date.

Collecting and Investing in Australian Coins and Banknotes was our first hardbound book we had written and at $40 it was an “up-there” price. Luckily the first edition sold out and an extra 100 or so pages were

added to the second edition produced about a year later.’

An early adopter of IT ($22,000 for his first computer and laser printer), he used new technology to produce the first pocketbook in 1993, which until this time had been coffee table size. ‘I had a table at a coin fair in Melbourne when a collector looking over my stock took a wad of folded sheets of paper from his pocket (photocopies of ) all the pricing section of my last book to tick off all the coins he had in his collection and to decide what price he should pay.’ This proved to be the trigger for Greg’s revolutionary and practical annual pocketbook.

‘Accuracy is very important to us – to the point that we have contacted a number of internet coin and banknote forums and encouraged them to let us know of any errors, omissions or suggestions on how to improve the book. You don’t want to be a shrinking violet when you put out that kind of challenge, as some people can be fairly blunt with their criticism. However it has been a fantastic outlet and many collectors and dealers have been very generous in offering illustrations and suggestions. Two years ago we took the step of going full colour – over 3500 coloured photos.’

Greg summarises life as a coin and banknote Dealer and as a publisher, ‘I’m looking forward to challenges the next 20 years will offer.’

For more information about POCKET GUIDE TO AUSTRALIAN COINS AND BANKNOTES Contact Greg McDonald at greg.mcdonald@optusnet.com.au

Pictured are the first 20 books produced by Greg and Jenny McDonald

GOLD COAST ANTIQUES & ART IN QUEENSLAND

The Silver Jubilee ROTARY ANTIQUES & BOOK FAIR 2012 Celebrating 25 years!

5 – 8 January 2012 hat an incredible achievement for the Rotary Club of Palm Beach as the organisation plans that the Silver Jubilee Fair is a celebration event.

Since its inception, the fair is always held in the Convention Centre of Jupiters Casino on the beautiful Gold Coast. Here, in this perfect setting browsers and collectors are treated to stunning displays from over 80 dealers.

Such is the reputation of the fair that dealers travel from across the country to be part of this exciting event. The additional benefit of being in the Gold Coast’s landmark venue is that visitors can extend their visit to a fine dining experience or perhaps take advantage of the entertainment options showing in the Casino’s theatres.

The Rotary Antiques and Book Fair has a special ambience. The elegant surroundings, together with the diverse range of items on offer and the helpful and cheery assistance from the organising Rotarians, all contribute to the enjoyment, guaranteeing a memorable experience for all who attend the fair.

excess of one million dollars, which has been distributed to assisting disadvantaged youth, disaster relief, building schools, housing in needier countries. The Rotary Club contributes to many areas of health and community wellbeing locally, nationally and internationally.

The fair is the major fundraiser of the Rotary Club of Palm Beach, so please make a point of visiting.

THE MAJOR FUND RAISING EVENT

RAFFLE FOR CHARITY

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As well as providing a forum for lovers of the arts, the fair serves to raise significant funds for projects to aid the needy both here in Australia and overseas. Over the years, the Rotary Club of Palm Beach has raised in

FOR COLLECTORS Enjoy the buzz of browsing among a stunning array of collectables and antiques presented by dealers from all around Australia.

As usual, the elegant Jupiters Ballroom will be overflowing with an alluring range of porcelain, silver, linen, furniture, jewellery, lithographs, prints, maps, historical documents and much more to tempt the discerning buyer.

ANTIQUARIAN BOOKS Books of every kind ranging from early editions to fiction and reference as well as sought-after out of print editions will cater for those collectors with a taste for the written word.

We are fortunate to have the support of the antiques industry, and again this year dealers are kindly donating spectacular prizes for the raffle.

Twenty five years of ‘doing it right’ has earned the Palm Beach Rotary Antiques and Book Fair the reputation of being one of the most varied and professionally presented fairs in the country.

Club members look forward to welcoming one and all in January 2012, and wish to thank all dealers, sponsors and the public for their continuing support.

For more information contact Denis Hawksley SILVER JUBILEE ROTARY ANTIQUES & BOOK FAIR 0410 887 537 / 0414 321 186 www.rotaryantiquesfair.com

The Silver Jubilee ROTARY ANTIQUES FAIR jewellery, porcelain, china, silver, clocks, pottery, furniture, historic documents – and much more!

AND

GOLD COAST BOOK FAIR 2012 rare books, prints, posters, maps and postcards BROUGHT TO YOU BY THE ROTARY CLUB OF PALM BEACH

Celebrating Our 25th year

Convention Centre of Jupiters Casino Broadbeach, Gold Coast, Queensland

Thursday 5th - Sunday 8th January 2012 January 2012 Fair Dates Thursday 5 Jan Friday 6 Jan Saturday 7 Jan Sunday 8 Jan

6 pm 10 am 10 am 10 am

– – – –

Admission 9 pm 6 pm 6 pm 3 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 Don’t forget our Mid-Year Fair: 20 - 22 July 2012 at Albert Waterways Centre Sunshine Boulevard, Broadbeach Queensland PROCEEDS TO CHARITY Enquiries: 0410 887 537 / 0414 321 186 www.rotaryantiquesfair.com

17

ANTIQUES & ART IN QUEENSLAND

Paul McGinness (in helmet) on a fundraising trip for QANTAS

Wilmot Hudson Fysh standing outside the early QANTAS office at Longreach, c. 1922.

The QANTAS office is the building with the flat roof

Tracing the all too short life of an extraordinary Australian ~ Paul McGinness DFC DCM (1896-1952)

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aul ‘Ginty’ McGinness is believed to be the only Australian serviceman in World War I or World War II to be awarded both the Distinguished Flying Cross (DFC) and the Distinguished Conduct Medal (DCM). In November this unique World War I medal group will be offered for auction at Leonard Joel, Melbourne.

The medals are accompanied by a fascinating archive of photographs and ephemera following McGinness’ military and post-war career as an aviation pioneer and co-founder of QANTAS. Paul Joseph McGinness was born in Framlingham, Victoria on 4 February 1896. He attended St Patrick’s College in Ballarat and at age 18 enlisted in the Australian Imperial Force (AIF) with the 8th Light Horse and was one of the few survivors to take part in the ill-fated charge at the Nek at Gallipoli. He was later awarded the Distinguished

McGinness’ Royal Flying Corps transfer card AIF, 8th Light Horse

18

Conduct Medal (DCM) for action against the Turkish Army at Jifjafa in 1916.

The success of this mission was particularly significant as it proved to the British High Command the effectiveness of the Australian Cavalry in the Middle East.

At age 20 McGinness requested a transfer to the Flying Corps. This decision was to shape his future, of which he seemed to be well aware. In a letter he wrote to his mother in 1916 from the Sinai Desert he explained, ‘... You cannot get a commission in the (A.I.F.) Light Horse or Infantry unless you are over 23 years of age. Now in the Flying Corps you can get a commission at 21 and with a DCM to my credit, I should have a good chance. Another reason is that aviation is only in its childhood and, say, if a man had a good deal of experience in it here, after the War he might follow it up in Australia - if not in the military, then perhaps as a profession.’

McGinness transferred to the Australian Flying Corps in 1918, joining No.1 Squadron.

He flew Bristol Fighters in the Middle East, gaining seven victories and recognition as a flying ace – five victories was considered the qualification. He was awarded the DFC for action on 24 August 1918. The citation in the Supplement to the London Gazette 8 February 1919 reads: A bold and gallant airman who has displayed marked initiative and skill in attacking and destroying enemy aircraft, notably on 24th August, when, with his observer, he crashed two enemy machines in an engagement against heavy odds. He has also carried out successful attacks on enemy aerodromes, inflicting heavy casualties and causing serious damage.

During some of these missions, McGinness’ observer and gunner was Lieutenant Wilmot Hudson Fysh.

After the war, McGinness and Fysh reunited to enter the Great Air Race. A prize of £10,000 was on offer to the first Australians to complete a flight from Great Britain to Australia in less than 720 hours before midnight on 31 December 1919.

Sir Samuel McHaughey had donated the Bristol Fighter that McGinness had flown in World War I and agreed to fund the pair’s entry into the race. However, McHaughey died suddenly and his estate refused to honour the funding so McGinness and Fysh were forced to withdraw from the race.

Their involvement in the race did continue when they were commissioned by the Defence Department to survey suitable landing sites for the race, from Longreach in Queensland to

Darwin in the Northern Territory. It was during this period that the plans for a local air service began to form.

McGinness and Fysh used a Model T Ford to complete the survey. This was a phenomenal achievement considering the complete absence of sealed roads at this time.

The journey had been painstakingly slow with roads and bridges often rendered impassable due to flooding. With these experiences, the two aviators realised that there was huge potential for a local commercial air service, but needed to raise significant funds to get the project ‘off the ground’.

As luck would have it, McGinness had met Fergus McMaster, a grazier whose car McGinness repaired when it had broken down on the Cloncurry riverbed. McMaster agreed to invest and persuaded a friend, Ainslie Templeton to match his contribution.

McGinness was instrumental in further fundraising, flying from town to town in Queensland and the Northern Territory asking locals for investments and support.

Arthur Baird, a highly talented engineer, who had served with McGinness and Fysh in the Australian Flying Corps also agreed to join the fledgling company.

With adequate funds the Queensland And Northern Territory Aerial Service (QANTAS) was formally established at the Gresham Hotel, Brisbane on 16 November 1920. The early office was located at Longreach. Initially, two aircraft were used: an Avro 504K and a BE2E. The latter was purchased from a Longreach stock and station agent, who had experienced an uncomfortable delivery trip in the plane and refused to ever travel in the air again!

Early flights were generally joy rides and demonstrations until the company secured the mail service contract between Charleville and Cloncurry in 1922.

Paul McGinness left QANTAS in 1922 to farm in Western Australia but times were hard. After attempting to join the Chinese Air Force in 1939 he re-enlisted with the RAAF during World War II as a trainer. At the end of the war he returned to WA as a tobacco farmer with limited success. His health was failing and he passed away aged 56 in Hollywood Hospital, Perth on 25 January 1952.

The McGinness Collection will be offered for public auction at Leonard Joel, Melbourne on 20 November at 11.30 am.

For more details contact Giles Moon 0439 493 038 or email giles.moon@leonardjoel.com.au.

GOLD COAST ANTIQUES & ART IN QUEENSLAND

French mirror

Oriental cabinet

Japanese screen

Grace Galleries at Main Beach one of the best-kept secrets on the Gold Coast

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ake time to visit Grace Galleries at Main Beach (all-day parking is easy and free) when you are on the Gold Coast – we are only 5 minutes north of Surfers Paradise. Part of the WOW! factor for visitors is the view across the ocean from our high-rise location – New South Wales to the south and The Broadwater and Stradbroke Islands to the north.

If you have not yet visited us you are missing out on a wide and spectacular range of furniture, decorative arts and collectables.

Here are more than 800 items on display and available for immediate sale in a spectacular high-rise location.

Grace Galleries especially cater for decorators and people who are looking for a unique or striking piece to add individualism or a fashionable touch to enhance their living or working environment with quality, collectable pieces that cannot be found in regular retail outlets.

The wide range of timeless and eclectic stock suits any home, unit, office and in many cases a restaurant or boutique retail fit-out.

Our stock includes Chinese blue and white ceramics, Tiffany style lamps, crystal and coloured glassware, oriental furniture, huge floor vases, classical and modernist figurines and sculptures as well as stunning mirrors.

As proprietor Rodney likes to remind his clients, ‘One large piece makes a much stronger decorating statement than ten small pieces.’

Stock is sourced from many countries including Austria, Japan, China, Korea, England, France, Floor vase

For equestrian themed collecting, a figurine of a horse

Ireland, Spain, Egypt, India, Germany, Italy, Denmark, Sweden, South Africa, Thailand, USA – and of course, Australia.

Due to astute buying, Grace Galleries often offers high-end brand name merchandise such as Chanel handbags, Moschino clothing and Riedel glassware for around half of normal retail prices. For people on a budget interested in art, a wide range of good paintings are always available and priced in the low hundreds.

It is always interesting to reflect on items that sell very quickly, including many that sell on the first day. An art deco style drinks trolley, countless small tables, specimen cabinet, wooden advertising/storage box, glass candelabra, Lucite shelf, a chocolate wheel and a carved male torso all fall into this category despite having no link to each other.

Conversely, even after 30 years of trading, it is a constant frustration to miss out on buying choice items. This occurs at least once a week and often within minutes, because of going away to think about it or to do some research. The moral is if you like it, buy it and trust your first impressions.

GRACE GALLERIES 07 5531 1130 grace@gracegalleries.net www.gracegalleries.net Right: Pair of vases Far right: Movie memorabilia collectable, figure of Charlie Chaplin

STOCK NOW ONLINE Grace Galleries is displaying a wide range of stock on www.gracegalleries.net. We sort it for you under five major categories: Ceramics and glassware Collectables and ladies fashion Furniture and mirrors Paintings, prints, sculpture Tableware and décor

DELIVERY ARRANGED Transport of larger items to Brisbane can be arranged on a cost-effective, next day basis.

Interstate delivery is promptly and efficiently arranged. Potential buyers from anywhere in the world can now browse and shop online, and contact Grace Galleries – grace@gracegalleries.net – to arrange shipping.

Most of the smaller collectable items sold

by Grace Galleries can be posted anywhere in Australia in a 5 kg Express Bag for a cost of just $20, with next-day Australia Post service to capital cities.

BY APPOINTMENT ONLY Any day of the week, make an appointment that suits your schedule by phoning 07 5531 1130.

With clear driving directions, easy and free parking in Main Beach, you will arrive at Grace Galleries to view our wide range of furniture, decorative arts and collectables with a WOW! factor.

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BRISBANE ANTIQUES & ART IN QUEENSLAND

Log of Master John Nicholson of HM Sloop Royalist, 1811

Promoting history in Queensland Voyager’s Queensland collection continues to build

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are and interesting books on the history of Queensland continue to arrive at Voyager. Memories of Pioneer Days in Queensland by Mary MacLeod Banks (d. 1914) was first published in 1931, relating to her times at the Cressbrook Homestead (near Esk). It is an often overlooked account of life from the early 1860s and is written in a personal manner.

Of similar vintage and by another with a long memory is William Henry Corfield’s Reminiscences of Queensland (1862-1899).

WH Corfield (1843-1903) set out as a carrier, establishing the town of Winton – a pub at first, of course – writing his incredibly detailed

account of the tough bush life. Corfield entered politics and did much to ensure that the north was not completely neglected. Our copy is in its rare pictorial card covers.

Overland from Southampton to Queensland

by Matthew Henry Marsh (1810-1881) was published in 1867 by E Stanford in London. He mentions his stop in Ceylon (Sri Lanka). He travelled inland from Newcastle to Brisbane and a simple map records the journey.

My Wife and I in Queensland: An Eight Years’ Experience in the Above Colony (London, 1872) by Charles Henry Eden (1839-1900) is a rare account that starts with a bang – there is a death on the ship Queen of

Voyager Rare Books Maps & Prints

the Colonies as it approaches Brisbane in 1863, and quarantine allows a burial on a Moreton Bay island. Next a storm brews and the ketch taking the funeral party gets separated and lost from the mother ship which makes for Brisbane. Days pass as help is sent to the survivors who were found close to death on Moreton Island.

Left without financial means, Eden, his wife and party decide that work as agricultural labourers can be found in the Darling Downs, so they set off by foot through the Cunningham Gap! Walter E Roth’s (1861?-1933) Ethnological studies among the north-west-central Queensland Aborigines, published in Brisbane in 1897 records Aboriginal language and customs – and our copy includes the ‘ethnopornographic’ plate often removed from early copies. We also have a set (eight in total) of Roth’s initial large-form North Queensland ethnography bulletins.

To complement Roth, we have nice copies of Geographic History of Queensland (Brisbane, 1895) by Archibald Meston (18511924), a journalist, politician, civil servant and explorer. Norwegian-born zoological collector, Carl Sophus Lumholtz’s (18511922) Among Cannibals (London, 1889) describes his travels in Australia.

IMPORTANT NAVAL RECORDS

Golden Rain by Owen Rutter First Edition, published 1928 Gift Quality Early Editions at Voyager

On the Balcony, Brisbane Arcade 160 Queens Street, Brisbane

Phone 07 3211 1231 www.voyagerbrisbane.com 20

Our 18th century Captain’s log of the Cornwallis flag HMS Minerva, has made its way to the Queensland Supreme Court Library gifted by a very generous and gracious retired academic.

We still hold our Trafalgar items; the mid18th century order signed by the Lords of the Admiralty including the ‘Father of the Navy’ Admiral Lord George Anson (1697-1762), and letters (including a prize letter) to the great Captain William Pryce Cumby CB RN (17711837) who took control of HMS Bellerophon after Captain John Cooke was killed in that greatest of naval battles.

Our latest acquisition is the log of Master John Nicholson of HM Brig Cracker and later the HM Sloop Royalist, recorded in 1810 and 1811. His account of enforcing the Channel blockade during the Napoleonic Wars, in beautiful legible script, meets the highest Admiralty standards. In the early period day to day activities are recorded as the vessel prepares for active duty (cleaning, painting, tarring and receiving supplies), reminding the crew about the Articles of War. Actions include assisting in the salvage of a wreck and vessels in distress, and exchanges with other British Navy vessels, including HM The Princess of Orange, HM Bloodhound and

Plate: James C Prichard, The Natural History of Man, Hippolyte Balliere, London

other superior craft. Then it’s out into the Channel and the ‘chace’ (sic) is on, often several times per day.

Ships recaptured from the French and the French officers taken prisoner are shipped to jail in England. A Spanish crew member (Francisco) dies in the Cracker. Twice Americans in passing vessels are pressed into service re-enforcing the historical record that many British crew were foreigners.

There are mentions of six-pounders and muskets fired, providing a rare and detailed account far more alive than CS Forester’s Horatio Hornblower series. Reading his log you can almost smell the sea air and the spent powder, feel the wind against your face and the tension rise when approaching the foe.

MORE RARITIES Our passion for esoterica includes From India to the Planet Mars by Théodore Flournoy (1854-1920) a parapsychologist in Geneva, translated by Daniel B Vermilye (New York and London, 1900). It is an account of a Helene Smith who once lived on Mars and drew Martian life and examples of its language.

Match that with our beautiful 1895 vellum bond copy of Iamblichus on The Mysteries of the Egyptians, Chaldeans, and Assyrians, and you have a perfect weekend’s reading.

POETRY Our most treasured volume is Mary Russell Mitford’s 1811 romance poem Christina, the Maid of the South Seas, dramatising the early history of Pitcairn Island and mutineers and Tahitian exiles following the mutiny on the HMS Bounty. Our copy came from the library of the late Viscount Escher. Prized works always in stock are by James Brunton Stephens (1835-1902), Scottish-born Australian poet and Queensland’s first poet of merit.

Bill Jeffrey VOYAGER 07 3211 1231 www.voyagerbrisbane.com

Plate: Robert Logan Jack (1845-1921), The Geology and Palaeontology of Queensland and New Guinea, 3 vols (Brisbane 1892)

BRISBANE ANTIQUES & ART IN QUEENSLAND

Symbols for good luck and their decorative appeal

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e certainly love our trinkets, but are they more than trinkets with a meaning behind them?

There are so many good luck charms and symbols from all over the world made into jewellery, so let us have a closer look at these and their symbolic meanings.

THE WISHBONE BROOCH This brings back memories from my childhood and my mother taught me about this. I will never forget the first time ever she kept the wishbone from a roast chicken. She dried it out on a window sill and then she asked me and my sister to curl our little fingers around each end and pull! My sister had the larger piece of the bone and was allowed to make a wish.

In antique jewellery, we often see wishbone brooches at Kellies Antiques. It is a symbol of good luck because it is a wish maker, just like my mother taught me.

TURTLE The turtle represents longevity and heavenly blessings, believed to represent the primal mother and the mother earth. Turtles and tortoises in Feng Shui are bringers of luck, apparently a link between heaven and earth.

SCARAB

FOUR-LEAF CLOVER This is predominately an English and Irish symbol. One leaf is for faith, the second for hope, the third for love and the fourth for luck.

Adapted in Irish Roman Catholic beliefs, the regular three-leaf clover represents the holy trinity, and a fourth leaf represents God’s grace. An early myth is that when Eve left Paradise, she took with her a four leaf clover.

Sue Jimmieson, who has been working at Kellies Antiques for many years, tells the Irish blessing: ‘For each petal on the shamrock this brings a wish your way. Good health, good luck and happiness for today and every day.’

BAMBOO A present in the form of bamboo will bring luck. Very popular in the late Victorian era, antique and handmade reproduction bamboo bangles in gold and silver are found at Kellies.

DICE This symbol for good luck comes from its gambling and betting significance. An antique working dice inside a gold barrel is sure to bring lots of luck.

Kellies Antiques has an extensive range of antique jewellery items that represent good luck symbols. Each one has its unique history which we can rarely know: who wore the piece before? Where did it come from? Did it bring good luck? For as long as people live, we will carry our good luck charms and traditions from all our cultural heritages.

Moira Drexler KELLIES ANTIQUES 07 3221 4825 www.kellies-antiques.com Blog: kelliesantiques.wordpress.com

HEART This one is obvious, representing luck in love.

Egyptians believed the heart is the main centre for psychic energy. Hearts come in so many shapes and forms including rings, pendants, brooches and pins.

ACORN This is a personal favourite. Vikings noted that oak trees attracted thunder and that because the acorns survived storms, the acorn was a protector and thus brought wealth and a symbol of fertility.

Thus Victorians used acorns on their interiors and on gateposts for protection of property. Victorian acorn earrings are beautiful.

Dating back to Egyptian times, scarabs symbolise the rising sun and protector from evil. In my talks on ancient Egyptian jewellery, I tell how the scarab brooch was placed over the heart of the deceased, to bring good luck in the afterlife.

HORSESHOE

FROG

WISHING WELL

Among many different interpretations and meanings, frogs symbolise rebirth like the scarab. An Egyptian frog goddess named Hekt protected new born babies. Frogs are also said to bring wealth and prosperity, while Native Americans thought frogs brought the fire to humans. Indigenous Australians know that the frog brings thunder and rain in order to help plants grow. Frogs are also symbols of fertility.

The ancients thought by tossing something into a well, it would make sure that the well didn’t run dry. Some believe in throwing a coin into a well and making a wish, so the well has become a symbol for good luck. Depending on where you are in the world, the wishing well rules change. If you are in Rome, you are not allowed to throw fewer than three coins.

DRAGONFLY

CAT’S EYE (SEA SNAIL)

I have written about dragonflies many times as they are a favourite. Because dragonflies are associated with wind, they represent change. Their association with water means they represent dreams. They symbolise strength, peace and harmony. How could you not fall in love with this beautiful creature and its themes?

We often see late Victorian and Edwardian pieces set with cat’s eye, the operculum or foot-closure of a sea snail called a Turban Shell or Turbo, widely used in Europe and the Middle East. It symbolises moving forward in life. It also wards off the evil eye or ghosts, if you believe in either and gets rid of life’s obstacles. Finally, cat’s eye helps to gain wealth and riches and this is why some gamblers have cat’s eyes in their pockets.

meanings of good luck, the trunk may represent a ladder to help reach your higher goals or spiritual elevation.

Kellies Antiques

The horseshoe’s U shape holds good luck, so don’t wear it upside down! It symbolises strength. It also represents a womb as well as a crescent moon, both associated with fertility.

CROSS An early symbol representing the tree of life, it was adopted by early Christians as a reminder of the crucifixion. Among its

Gallery Level (Upstairs) BRISBANE ARCADE Shop 16, 160 Queen Street Brisbane Ph: 07 3221 4825 www.kellies-antiques.com 21

ANTIQUES & ART IN QUEENSLAND

What’s so special about

antique maps and antique prints?

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ell, for a start, they have survived for over 100 years. We have some that are over 400 years old. It’s amazing that pieces of paper have survived so long. When they are still in good condition it is a good indication that the artistry and the subject have been appreciated, so they’ve been carefully preserved.

Obviously some survive better than others, but we try to deal only in works of fine condition.

WHY AND HOW WERE THEY MADE? To provide multiple images for circulation in the 15th and 16th centuries, illustrations were created by carving away from the surface of a block of wood, to leave the image as the raised surface. Antique prints as we now refer to them, were made by inking this plate and pressing it onto paper. There was great interest in botanical specimens and their uses in the 16th centuries. One of the best-known herbals, with woodcut illustrations on fine hand-made paper, was The Herball, or generall historie of plantes published by Master Surgeon John Gerarde (1545-1612).

COPPERPLATE ENGRAVING TECHNIQUE The development of the copperplate engraving technique was a great leap in technology. The clarity of the image was greatly improved when scratched into a sheet of copper, and there was the additional benefit of being able to alter or re-use the plate by beating it flat again. The bigger the engraved groove and the closer the space between the grooves, the darker the print when the plate was inked, then surface-wiped, and the ink image from the grooves was pressed onto paper. To accommodate new discoveries, copper was an ideal medium for engraving maps and charts.

STEEL PLATE A BETTER ENGRAVING OPTION An image carved into a harder steel plate, however, was found to be better at surviving the repeated pressure when making the prints.

This was the predominant medium used from the middle of the 19th century, once the publication demand for images increased. The ability to do fine swirls and vines, intricate geometrical borders and extra scenes

John Tallis and Company map of New South Wales, c. 1851

Lithograph by Elizabeth Gould (1804-1881) of Orange-bellied Grass Parrakeet, c. 1845

illustrating the main subject was turned into a signature presentation style on maps and prints published by John Tallis and Company between 1851 and 1856.

The engraving work might have been labour intensive, but it certainly added another dimension to the image, and with this individual style Tallis established their reputation as a publisher of distinction. Fine Tallis maps, views and portraits are always in demand. The fact that Queensland was not separated from New South Wales until 1859 is disturbing to many people looking for an early map of our state, however

capitals, columns, buildings and bridges; immigrant ships and maritime scenes; Australian views from colonial times; fashion through the ages. The list of subjects is endless. I'm sure we can find engravings and lithographs to satisfy most interests.

Early antique prints of fauna were sometimes given questionable shapes. On early voyages, when Australia was first discovered, sketches of unfamiliar wildlife were compromised by the limitation of time and movement of the animal or bird. These images were even stranger to the engraver back in England, and were sometimes varied to a more familiar form – to look more like a rat than a wallaby for instance. An example is the illustration titled ‘Kangooroo Rat’, c. 1789 from Voyage of Governor Phillip to Botany Bay. Taxidermy of skins that were sent to England also produced misshapen mammals.

Once again, the inaccuracies that resulted are now eminently collectable.

MISTAKES TO COLLECT As with stamps and coins, maps and prints printed inaccurately are always appreciated.

Most engravings were printed the right way round by engraving the printing plate in reverse by mirror image. Occasionally the image has been printed in reverse, as with the copperplate engraving showing ‘Captn. Cook having been shipwrecked in his Voyage round the World, has the ENDEAVOUR repaired in an Harbour on one of the Hope Islands’ published in London in 1790 for Moore’s Voyages and Travels.

Cook had actually run aground on one of the Hope Islands (named by Cook) about 23 kilometres southeast of where he laid up for repairs at Cooktown in the Endeavour River.

In this case, the engraving was not made in reverse to produce the correct landscape and position of the Endeavour, as appeared in the Admiralty-approved Hawkesworth account of Cook’s voyages in 1773.

Correct landscape and position of the Endeavour in the 1773 Hawkesworth edition

A DRAUGHTSMAN’S SKILL Ability as a draughtsman in drawing a subject and skill in being able to etch or engrave a plate for printing, were acquired through years of practice – usually dedicated to a particular style of subject. Superb classical studies of Raphael’s work at the Vatican and wonderful vases and urns by Giovanni Piranesi are among the grandest and most technically skilful antique prints ever produced.

INSIGHT INTO EARLY DISCOVERIES

Image printed in reverse of Captain Cook’s repairs to the Endeavour in Moore’s Voyages and Travels, 1790

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While centuries-old classical images provide us with insight into a different time and way of life, antique prints are important in recording progressive discoveries and creations from around the world. Perhaps you are interested in geographical strata of coal mining or a newly invented safety lamp; Herschel’s telescope and astronomical discoveries of comets and eclipses; charting of new countries and coastlines; early coins and coats of arms; images on excavated walls, and antiquities that were covered for centuries by the Mt Vesuvius eruption; beautiful Sèvres porcelain and faience pottery; architectural

INTRODUCTION OF LITHOGRAPHY By the end of the 19th century, the lithograph was the most used antique print style. A greasy crayon sketch was made on a limestone surface, and then the stone was washed with a solution so that the ink from the roller was repelled from all but the greasy crayon sketch when the paper was applied for printing. The fluidity enabled by sketching the image directly onto a very smooth surface resulted in beautiful studies of wildlife.

Gould's Birds of Australia published between 1840 and 1848 are an excellent example of this style of antique print.

Elizabeth Gould (1804-1881) a talented artist, accompanied her husband John Gould (18041881) to Australia and remained in Tasmania with their children, improving the sketches her husband sent to her with birds he had caught.

Combining ornithological knowledge and business acumen, Gould employed the best lithographers to produce some of the finest illustrations of Australian birds ever done.

While Gould is well remembered, Elizabeth is little known today. Having been instructed in lithography by Edward Lear (the great parrot illustrator), Elizabeth completed around 600 hand-coloured lithographs for Gould’s ornithological monographs, until she died following the birth of their eighth child.

Hand-colouring of early images was another skill we could not afford to use today.

Cameras make these artistic skills redundant, but the painstaking work and skilful imagery are still appreciated. That is why antique maps and antique prints are so special.

Derek & Kathryn Nicholls ANTIQUE PRINT CLUB admin@antiqueprintclub.com www.antiqueprintclub.com

BRISBANE ANTIQUES & ART IN QUEENSLAND

Lockets...and warnings on rubies ockets in one form or another have been in existence since people first found a need to adorn themselves with trinkets. In early times they were simplistic in form but nevertheless they performed the job of carrying or holding some form of personal treasured memento.

As time progressed, lockets developed and were not only used for personal mementos but were seized upon and adapted by various religions as priestly adornments. Within Christianity, the orthodox strains of Catholicism embraced lockets strongly. Whilst these did not always look or conform to a set shape, they often took the shape of a cross or religious motifs. They were very ornate and quite intricate in design, manufacture and methods of operation.

Many times secrecy was paramount, hence the complication of concealed compartments.

I have seen and have personally manufactured very ornate crosses for the Russian clergy.

One in particular I made necessitated that each arm of the cross was held in a hard to access secret compartment.

During the late Georgian and the Victorian periods lockets reached their height of popularity. Simplicity in design and ease of manufacture made them affordable to the masses. With the Industrial Revolution well under way, the use of presses saw many designs which not only gave the locket appeal but also allowed the use of thinner gauges of metal (as thin as one tenth of a millimetre), thus cutting the cost. These pressed designs also gave the shape strength with the many different angles that they incorporated.

Sometimes these ‘improvements’ were to the detriment of the survival of the locket.

When light gauge cases were made they were stiffened with an internal strip of either

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brass or gold which held the overall shape rigid. When brass was used the locket was stamped 9 ct B&F – which meant 9 ct back and front. Most engraved finishes were pressed in by the initial striking, with just minor hand embellishment being needed in some instances.

When hand engraving was done, the frame of the locket was filled with either pitch or shellac which gave support to allow the engraver to work without denting or distorting the locket. Hinges were very fine. The art of fitting hinges was and still is an art which scares many jewellers today.

Hand made lockets are much heavier and generally more simplistic in shape with crisp, sharper shapes and edges. They are finished with hand engraving or applied gold and silver appliqués in the form of small flowers, rosettes or animals.

BUYING AND REPAIRING LOCKETS Good quality lockets in either silver or gold are not cheap and are becoming scarce.

Multiple compartment lockets are very scarce, command big prices and are in strong demand.

When buying a locket, check the frame and case closely, following these guidelines.

• Inspect for cracks in the surface of the case, especially along the engraved lines and any sharp edges. This is best done from looking at the internal surface and holding the case up to the light to see if there is any light penetration.

• Look closely at the internal surface for a large honeycomb pattern which indicates metal fatigue.

• Make sure that the hinges work properly and operate smoothly and that they have not been stressed or broken.

• Check that the keeper frames, which hold the glass or plastic in place, are intact. If these are missing it could cost from $20 to over $60 each to have them remade.

Although it is impossible to get the very fine thin glass today, stiff plastic from the top of a shirt or similar box suffices and is easy to install.

• Lastly, if ever your locket needs a repair, choose carefully where you take this precious piece of history. Enquire and deal with a firm that specialises in this form of work.

ALERT ON RUBIES

Late Edwardian six compartment locket, 9 ct yellow gold

Be very careful when buying a ruby ring, especially if it is new or of a newish finish such as from a second-hand or pawn shop.

Recent developments in Asia have led to the treatment of rubbish low-grade corundum undergoing several heating process and finally having all of the cracks and fissures in the stone filled with yellow lead-filled glass.

This treatment turns an opaque piece of rubbish fit only for the concrete mixer into a very presentable ‘gemstone.’ Sadly, this treatment does not last nor is it impervious to normal wear and tear. It will not even stand

simple resizing or repairs to the ring. This rubbish ‘ruby’ costs US$3 to $6 per kilo in the rough and can be bought wholesale for a few dollars per carat when cut.

WHAT TO DO ABOUT RUBIES: • There is no such thing as a cheap ruby: if it‘s cheap there is a problem.

• Thousand of these stones have found their way into internet sales: stay away from online jewellery auction sites.

Victorian sterling silver • If the ruby ring is in white locket, die struck gold with a numbers of manufacture diamonds and a big ruby, beware.

• Some processed ‘rubies’ are being set into older mounts by unscrupulous operators.

• If you buy a ruby ring, have it valued from a registered valuer of your choice.

• Always be very careful of valuations that are presented with an item at the point of sale, unless you know the valuer.

Gold locket in the form of a change purse • Make sure that your receipt states that the ruby has not been glass-filled or fracture-filled.

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

Late Victorian sterling silver locket, hand made and fully hand engraved

Est 1964

Penfold Jewellers

Reg. No. 26

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

18ct white gold sapphire and diamond cartwheel style cluster ring

18ct white gold lct diamond with surrounding sapphires

An original superb platinum art deco diamond pendant brooch

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

15 ct gold locket, four compartments, 9ct gold locket, pressed manufacture with a in the form of a bible machine-turned finish

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

BRISBANE ANTIQUES & ART IN QUEENSLAND

Shari Louise Designs presents

the Antique Guild A

s a creator of fine handcrafted and sculpted jewellery, Shari Louise and her team of experts have ventured into the world of antiques through establishing the Antique Guild, set amongst the banks of the Brisbane River and the Botanic Gardens, with its vivid display of jacaranda flowers visible from its windows.

The Antique Guild is in the Stamford Plaza hotel and quite in a class of its own. It is in the old Port Office building which was once the main port of Brisbane. A visit to this beautiful serene place affords a memorable experience where dining, music, laughter and joy fill the air.

VISITING THE ANTIQUE GUILD

“

Besides being immersed in the luxury of jewels, we now proudly present in the Antique Guild Lisa Demartini’s Industrial Revolution.

Customers say that this space takes them to a place where time was slower and puts a smile on their face as they hold and cherish each item that Lisa has lovingly displayed, and brought back to sight and potential use.

The Print Club is a collection of the finest prints set in an atmosphere of luxury and joy.

The ambience is so inviting, it is a must-

A visit to this beautiful serene place affords a memorable experience where dining, music, laughter and joy fill the air.

experience. Perfect to relax and chose from one of these timeless stunningly framed prints for that place in your own home.

We showcase Patsy Kimbell Antiques who has over 30 years experienced in antiques. She specialises in 18th and 19th century silver and displays an eclectic mix of wonderful antiques. If only these pieces could talk, imagine the stories and history they could tell. I can only say, come and lose yourself in this rich wealth of history.

It is great pleasure to feature awardwinning sculptor Donald Powell. Don is primarily a wood sculptor from Maleny who displays a deep passion for his work, classically identified by the realism and intricate detail in his carvings. He has a particular affinity for figures but he works on a whole range of objects including carvings in St Mary’s Cathedral in Sydney.

The Antique Guild holds many special events, with experts giving advice and showcasing wonderful items. Our website calendar of events will keep you up to date.

Each month our events are showcased throughout the many beautiful spaces in the Stamford Plaza Hotel, including have regular high teas with guest speakers.

” ON SHOW IN THE GUILD: THE LUSITANIA FAN This delicate souvenir was probably presented to a lady passenger at the captain’s gala night in the Lusitania’s ballroom. RMS Lusitania was the sister ship to RMS Titanic and RMS Empress of Ireland, three proud symbols of Edwardian Britain in the early 1900s.

In 1907 in the warm glow of the 700th anniversary of the City of Liverpool, the future looked brighter than ever as the Lusitania made its first voyage. Yet, they say disasters come in threes. The sinking of the Titanic (1912), the Empress of Ireland (1914) and the Lusitania (1915) all occurred within three years. Each was a major world catastrophe with a devastating combined effect on the Port of Liverpool, only worsened by damage during WWI. From the same period, admire a steel medical cabinet of circa 1910 associated with Medical Association of London.

So it is with great pleasure we invite you to celebrate all that is unique and timeless, and on your journey perhaps the desire to own something of your very own will overtake you. We can only admire and congratulate you on your fine taste, and share the pleasure of your new purchase. We look forward to meeting you soon.

Shari Louise Wright THE ANTIQUE GUILD 07 3221 3112 / 0413 520 036 sldesign@bigpond.net.au www.theantiqueguild.com.au www.sharilouisedesigns.com.au

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Steel medical cabinet, London, c. 1910

BRISBANE ANTIQUES & ART IN QUEENSLAND

Industrial Revolution expands to Stamford Plaza Hotel

T

he 1885 Port Office Building is one of the oldest buildings in Brisbane and now part of the Stamford Plaza near the Botanical Gardens in the city. This elegant building houses the newly formed Antique Guild and the Industrial Revolution is another part of this new venture.

Industrial Revolution stock is housed in a beautiful room with wonderfully high ceilings, large casement windows and a fireplace, all wonderful foils for my pieces. The hotel patrons and business people browse amongst tools, telephones, locks and some of my larger signature pieces. You are cordially invited to experience this new space as well as my other sites at the Paddington and Woolloongabba Antique Centres.

Handmade wooden toy, c. 1940s

condition, among its charms being its metal wheels which set off the piece beautifully.

Handmade toys are difficult to date but the type of screws, the materials, its colour and general condition of the piece indicate that it was made in the 1940s.

Lights made from copper and brass fire extinguishers and brass nozzles of fire hoses

LIGHTS RECYCLED INTO ORIGINAL DESIGNS

Restored old telephone

Restored telephone operator’s lights

One of the joys of being an antique dealer is the opportunity to turn something which no longer has a place in this technologically advanced world into something that can still be used. The fittings from a telephone exchange provide a perfect example. Two sets of wall mounted lights from a very small country telephone exchange were to indicate various reasons why a line was not working such as tone fail, ring fail, fuse alarm or power failure.

Now these lights have been rewired and restored into lamps retaining their original industrial feel.

Choose from among a number of lights made from copper and brass fire extinguishers and brass nozzles of fire hoses.

TOOLBOX CRAFT FROM AN EARLIER AGE Two months ago I purchased a time capsule.

The time capsule in question was in fact a handmade pine toolbox from the 1920s, filled with all the tools a good craftsman would have used at the time the toolbox was made. It was a delight unpacking the box and touching each well-maintained piece and wondering how it had remained intact. However, this was only part of the charm.

Even more compelling was the inside of the tool box, in particular a number of beautifully

Toolbox, 1920s, pine with original tools

crafted tiny drawers with silky oak fronts and little square handles. A collector may want the option of purchasing it along with all the original tools that occupied this toolbox, as the more sentimental amongst us recognise something that has stayed together this long should not now be separated.

Lisa Demartini INDUSTRIAL REVOLUTION 0402 128 629 lisa@industrialrevolution.net.au

WORKBENCH TO DÉCOR

TELEPHONES WITH AN EDGE At the Antique Guild I have a lovely collection of phones ranging from the 1920s to the 1950s. They have been lovingly brought back to life by a former engineer with Australia’s Post Master General and telephone enthusiast. Part of their magic is that the original metal or Bakelite has been resprayed a number of wonderful colours including the traditional black, white and pillar-box red as well as the more fashionable lighter colours such as coconut ice pink, creamy lavender and pistachio green.

CUSTOMER SERVICE It is also possible to have a phone sprayed a particular colour to match your décor. All phones operate on both digital and analogue lines, and come with a two year guarantee.

Repair and restoration of old telephones can be arranged.

More often than not, industrial pieces are items of substance, weight, size and if I am lucky, gravitas. A bench almost 3.4 m long has caused removalists pause for both thought and panting. This beautiful combination of hardwood and pine was originally a glazier’s workbench, circa 1910s.

A classic glazier’s bench, its top has two slightly differing levels so that glass can be pushed up against the higher level to ensure the glass will not move while cutting. Almost heartbreakingly, it was found awaiting curb side pickup and intended for disposal. A workbench serves well on a back deck, in a commercial foyer, or could make a wonderful dining table or imposing desk (with modifications).

Glazier’s workbench displays stock at Industrial Revolution

TOYS FOR COLLECTORS On the lighter side, collecting handmade toys is one of my passions. Last week I came across a handmade wooden train in original

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MILTON ANTIQUES & ART IN QUEENSLAND

The earliest illustrations of Australian ‘natives’ talking about indigenous flora

I

n the 17th century, when blown east of their course across the Indian Ocean on their way to the Spice Islands (East Indies), the Dutch were the first to sketch and briefly describe the unfamiliar wildlife they saw in Western Australia. As these early landings were hazardous, the west coast of Australia was declared inhospitable and not worthy of further exploration or settlement.

BUCCANEER and artist The first drawings of Australian flora and fauna were taken to England by William Dampier. Having first gone to sea on merchant vessels, at 23 years of age Dampier joined the Royal Navy and took part in two Royal Navy assaults in support of the French land attack on the Netherlands during the

Franco-Dutch War in 1673. Forced to return to England to recuperate from illness, Dampier then unsuccessfully tried other employment. In 1679, he joined Bartholomew Sharp and left England for a life of buccaneering around Central America. From there they sailed to the East Indies, Asia and New Holland (as Australia was then known) and that’s where Dampier becomes part of Australian history.

In 1688 while the pirate ship Cygnet was beached for repairs near King Sound in north Western Australia, Dampier sketched the natives, fauna and flora. In 1697 after returning to England, Dampier had woodcuts made from his sketches for publication with his journals as A New Voyage Round the World

Antique Print & Map Company Camford Square corner Douglas & Dorsey Streets MILTON Brisbane Wednesday - Friday 10 - 6 | Saturday 10 - 4 | Ph 07 3368 1167

AUSTRALIAN BOTANY. Antique engravings & lithographs

by William Dampier. As the finances were limited the volumes were not circulated well, but their popularity was so great that a second edition appeared the same year. A third edition was published the following year, with alterations and additions made each time.

The British Admiralty was greatly impressed by the journals’ lucidity, and gave Dampier command of the Roebuck in January 1699. He was commissioned to chart the east coast of New Holland, but delays and unsuitable weather resulted in his sailing via South Africa instead of South America. In July, arriving on Australia’s west coast at Dirk Hartog Island at the mouth of a bay he named Shark Bay, Dampier commenced the first detailed recording of Australia’s flowers and wildlife. Although he mapped parts of New Holland and New Guinea, he did not discover the east coast of Australia.

THE FIRST major records of Australian nature Seventy years later, the east coast of Australia was discovered and charted by James Cook aboard the Endeavour with the Royal Navy/Royal Society scientific expedition to the southern seas.

Accompanying this voyage were the great English naturalist Sir Joseph Banks, Swedish botanist Daniel Solander, and Finnish botanist Dr Herman Sporing Jnr, accompanied by botanical artist Sydney Parkinson.

While some of the animals and birds from Cook’s voyage were published in Hawkesworth’s official account of the voyage published in 1773, the botanical discoveries were largely unknown. It is a great pity that most of the amazing collection from this voyage was not published at that time.

Banks, who was mainly interested in botany, retained the majority of the botanical specimens in his own library. The specimens were bequeathed to botanist Robert Brown who subsequently presented them to the British Museum (now Natural History Museum). Between 1980 and 1990 the engraved plates for Bank’s Florilegium were restored by the British Museum for their initial publication.

CURTIS’S Botanical Magazine

www.antiqueprintclub.com sales@antiqueprintclub.com

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Following settlement of Australian in 1778, botanical specimens were sent to Kew in England as they were discovered. From 1787, ‘…in response... to solicitations for a work... (combining) Botany and Gardening, William Curtis (Praefectus Hortis of Chelsea Physic Garden at Kew) began publication of handcoloured copperplate engravings illustrating botanical specimens from around the world in The Botanical Magazine; or Flower-Garden Displayed.’ Illustrations of Australian botany (many with fine dissections of flowers) were accompanied by text information of the location and type of terrain where the specimens had been found, and advice on how to cultivate them in England.

Curtis’s Botanical Magazine proved so

successful that it has been published continuously for over 222 years, and is now known as The Kew Magazine. As with all botanical illustrations, the printing process changed over time. While early copperplate engravings were published on hand-made paper and were hand-coloured with natural ochres, this process changed to hand-coloured steel engravings, then hand-coloured lithographs, lithographs printed in colour, photolithography, and today the images are published digitally.

PAXTON’S Magazine of Botany Two exceptional botanical artists created brilliantly detailed and coloured illustrations for a periodical mainly illustrating new and uncommon plants, Paxton’s Magazine of Botany and Register of Flowering Plants published between 1834 and 1849 by Sir Joseph Paxton. Frederick (F W) Smith perfected the process of aquatint etching on a copperplate, printing in colour and colourfinishing by hand (highlighting some by gum arabic). The beautiful hand-coloured lithographs were by Samuel Holden.

With little formal education, Paxton started as a gardener at the age of 15. His skill and enthusiasm were rewarded by promotion at the age of 23 to head gardener on the Duke of Devonshire’s Chatsworth estate, one of England’s finest gardens. Paxton became skilled in garden design, irrigation and drainage, and then designed conservatories to produce foreign climate conditions for plants from around the world. Paxton’s Crystal Palace design for the London Exhibition of 1851 was based on his design for the glasshouse at Chatsworth. Apparently he drew the intricate design for the Crystal Palace in under nine days after authorities complained about the plan and construction progress of the first proposal!

Exotic botanical art: Native to Australia Australia’s distinctive botanicals have always been appreciated. Framed on the wall, their beauty can be enjoyed all year round.

Unlike animals and birds, botanical specimens did not challenge artists by moving, so tended to be more accurate scientific portrayals.

Banksias – named for Sir Joseph Banks – were among the most unusual botanical specimens and images received in England from Australia. They were quite ‘exotic’ in the true sense of the word, that they were introduced from another country and were not plants that were native to England.

Native or exotic, we have hundreds of wonderful antique botanical lithographs and engravings available from our gallery at Camford Square in Milton, Brisbane (open Wednesday to Saturday from 10 am) – or online, anytime.

Kathryn & Derek Nicholls ANTIQUE PRINT & MAP COMPANY www.antiqueprintclub.com

PADDINGTON ANTIQUES & ART IN QUEENSLAND

Past trends I

t seems that everywhere you look, past trends and styles are being revived.

From the catwalk to high-end interiors, the looks of yesteryear are providing inspiration.

Recently a fashion editor wrote that he was tired of this retro trend and wished that designers would be more creative and forward-thinking. As any follower of design will know, there is nothing completely new under the sun; almost everything is born of something else.

One of the most creative times of the past century was the art deco period (1918-1939) when creativity was at a peak. However, it wasn’t all completely new, unseen ideas that were emerging but a melting pot of reinvention and rediscovery: Egyptian, Oriental, Native American, Mexican, and French design elements provided motifs for the new art deco style.

The best revivals over the centuries added something fresh to styles readopted from an earlier period. And so it should be with today’s obsession with retrospectives: either respect the original for its intrinsic value borne of endurance and a sense of history, or value the reinterpretation of past designs that add a new dimension. Be wary of straight reproductions that are mass produced and hold no respect for quality and workmanship. They are just more ‘stuff’ filling space with future landfill.

PAST IDEAS FOR TODAY’S LIVING In these days of reduced space and decluttering, multi-tasking period furniture that is well made and good looking is perfect.

Gate-leg tables, Sutherland tables, corner cupboards, hallstands, side tables and nests of tables are all functional furniture that suits modern settings and yet are often overlooked.

We all know that old and new can work exceptionally well together, especially using a little bit of old to add warmth and depth in what can be an otherwise severe modern space. For those of us who don’t want all evidence of the lives we lead shut away behind sleek cabinetry, functional furniture is important. Where do you hang your hat and coat? Where do you put your book and cup of tea? Where do your keys and bag go when arriving home? If only two of you share a small space on a daily basis but you’d like to be able to entertain six at a dinner party, flexible furniture may be for you.

A gate-leg table is one where two sides fold down, leaving a narrow ledge suitable for displays that can easily be placed against a wall or slid behind another piece of furniture.

Fold one side out supported by a swinging gate leg and it is a table for two. Lift up the

and styles revived

other side, swing out the other gate and you have a table for four to six. Versatile and very attractive, often made in oak and sometimes mahogany, they sell at very reasonable prices.

The hallstand is a terrific piece of furniture. It can be small and inconspicuous, or larger with a lift-up seat and plenty of hook spaces for hats and coats, as well as a mirror for that last minute check before rushing out the door.

Corner cupboards are useful for displays and good use of an otherwise ‘dead’ space. I love occasional tables as they come in all shapes and sizes, suiting many purposes. Their functionality and decorative flexibility is unsurpassed.

HAPPENINGS AT PADDINGTON We are delighted to welcome popular Brisbane vintage and collectable boutique, Travels With My Aunt into the centre. They will now be working with PAC to establish Brisbane’s largest vintage button outlet as well as providing a wonderful array of Victoriana boudoir items, artisan treasures, curios and jewellery.

Our in-house Plaza Theatre Cafe is taking bookings for high tea. Sandra Tilbury’s reputation for her goodies all baked and prepared on the premises has taken on a life of its own with a dedicated following coming for her specialities.

Visit our monthly foyer displays.

September’s vintage country wedding theme made way for lots of greenery and floral china in a riot of springtime in a garden themed setting. We also dedicated a space to all things nautical which generated keen interest. This was followed by an art deco month.

In November the centre hummed on Sunday afternoons with French gypsy swing played by a duo of guitars, enjoyed by patrons sipping mint juleps in the coffee shop.

Varied art deco stock featured an original Bauhaus dressing table designed by Marcel Breuer (1902-1981), Hungarian born modern designer and architect, and made by the factory of Michel Thonet. Other furniture included a dining room suite, bedroom suite and occasional chairs.

For decorating touches there were lamps, glass and china. The interesting range of jewellery included a striking and comprehensive display of Bengel pieces, one of the most concentrated examples of this highly collected work ever seen in Queensland.

Displays for 2012 will include sewing and related collectables, and in May, our highly anticipated third fashion extravaganza. Keep up to date through our website and Facebook.

THE BENGEL STORY The Jakob Bengel Trinket Factory was founded in 1873 by Fredrick Jakob Bengel in the German town of Idar-Oberstein, making

metal chains and chatelaines. From 1924 onwards, Bengel and his son-in-law Ernst Hermann Hartenberger Snr made a jewellery line marrying metal and the early versatile plastic made from milk, galalith.

Their art deco range had simplicity and clarity: machine age chromium-plated metal combined with galalith in all colours and geometric elements, even tailor-made to suit the demands of fashionable women. Bengel became a top seller in the wake of Chanel’s costume jewellery trend. Although the production lasted a relatively short time they were prolific.

The so-called brick tile chains were typical of Bengel, with many small rectangular entwined links joined together to form a tile-like pattern.

WWII stopped Bengel’s production, both because

milk could not be diverted to decorative plastics and they had to turn their factory over to German munitions manufacture.

All their jewellery was unmarked and almost forgotten after 1939, but sample books found in 1993 have enabled identification of pieces which have found their way all around the world. Bengel jewellery has a modern, industrial timelessness that make the pieces both collector items and stunning wearable additions to a contemporary wardrobe.

Suzy Baines PADDINGTON ANTIQUE CENTRE 07 3369 8088 info@paddingtonantiquecentre.com.au www.paddingtonantiquecentre.com.au

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

Antique

❖

Vintage

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Retro

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

MORE THAN 50 DEALERS

Phone 07 3369 8088 PLAZA THEATRE CAFE IS NOW OPEN Offering light lunches, morning and afternoon tea. Book for High Tea. All food baked and prepared on the premises.

167 Latrobe Tce Paddington Brisbane 4064 www.paddingtonantiquecentre.com • info@paddingtonantiquecentre.com

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

ANTIQUES & ART IN QUEENSLAND

A heritage corner revitalised Buy Design at Clayfield

E

xciting changes are on show at the corner of Sandgate and Junction Roads in Brisbane’s inner north. Buy Design at Clayfield operates where the beloved Discovery Corner previously traded. Readers can picture this huge time of change for the Phillips family, with renovations and removalists.

This heritage corner shop has been sympathetically renovated, retaining the same wonderful atmosphere of the old with its original pine floors, but now all is crisp and white with a cutting-edge design feel. Leah says she has created a one-stop shop for gifts and interesting items for all ages. The shop carries an edgy range of stock at affordable prices that are of excellent quality and style and are quite different from elsewhere in Brisbane. We also offer a loyalty card system and a gift register.

INAUGURAL ART SHOW Buy Design at Clayfield showcases the works of local artists and sculptors on a rotational basis in the purpose-built gallery annexe. The opening artists are well-known local Brisbanites. Jan Jorgensen, noted for her spectacular works of our city, and abstract artist Deborah Johnston-Booker. Come to see the wonderful works by Queensland sculptors, Janna Parmeijer, Kirsten Cash, Leonard Wilkinson and Belinda Stanton.

Showing artists will rotate on a monthly basis. All art that has been hung will remain on our website www.buydesignatclayfield.com.au for purchase at a later date if still available.

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CRAFT/ARTS TO COLLECT We offer many interesting items including a beautiful range of handmade felt works by artisan couture specialist Katelyn Aslett; pokerwork and engraved emu eggs by Ashley Hay; and small screen printed resin plaques

by Melbourne artist Maurice Golotta.

FRESH DIMENSION We also specialise in outdoor furniture, a huge range of unisex gifts for all ages, and home wares.

The Espresso bar provides a wonderful respite.

TWO-IN-ONE DESTINATION Across the car park is the Brisbane Antique Emporium where Jill moved to continue her personalised antique business that already spans over 35 years. She does visit Buy Design on a regular basis, lured by the coffee and cakes!

Buy Design and the Brisbane Antique Emporium together form an ideal and interesting destination to visit and browse. As Jill explains, ‘We continue to offer the same friendly service our customers have come to expect – and that every customer deserves.’

The precinct offers plenty of free off-street parking (enter Junction Road from the Sandgate Road end) and is open seven days a week from 9-5.

We look forward to welcoming you soon.

Leah Edwards BUY DESIGN AT CLAYFIELD 07 3862 1344 / 0411 764 875 www.buydesignatclayfield.com.au

PADDINGTON ANTIQUES & ART IN QUEENSLAND

Phil Bazzo

Stephanie Morris

Shinji Ogata

Robyn Bauer Studio Gallery presents

TEN ARTISTS’ NEW WORKS inspired by the Story Bridge 14 February – 4 March

P

aris has the Eiffel Tower, Sydney has the Opera House and Brisbane has the Story Bridge.

The familiar skeletal framework of iron curves and angles that constitutes the Story Bridge was opened in 1940. Since then many Queensland artists have been inspired by its outlines arching over the river, framed by skyscrapers and cliffs to reproduce it in pencil and paint.

THE TEN ARTISTS Craig Amos, Phil Bazzo, Gaye Cook, Kathleen Dempsey, Martin Edge, Evan Hollis, Nerida Grace Howland, Stephanie Morris, Shinji Ogata and Clare Treston will fill the gallery with images of this much loved and now-iconic landmark.

HISTORY OF THE STORY BRIDGE The Story Bridge is a cantilever bridge spanning the Brisbane River between Fortitude Valley and Kangaroo Point. Inspired by the Montreal Harbour Bridge, it was designed by Sandgate prodigy Dr John Bradfield who also designed the

Sydney Harbour Bridge. Two Queensland companies Evans Deakin and Hornibrook Constructions won the tender for the fabrication and work began in 1935, funded initially as a public works program during the 1930s depression.

Initially it was known as Jubilee Bridge in honour of King George V’s jubilee in 1935 celebrating the 25th anniversary of his coronation in 1910. By its opening, the name was selected for John Douglas Story, a senior public servant who had advocated for its creation and later to serve as vice chancellor of the University of Queensland. A relatively high toll of sixpence was initially charged for its use, paying for the bridge by 1947 when the toll ceased.

Evan Hollis

Clare Treston

Robyn Bauer ROBYN BAUER STUDIO GALLERY & SCULPTURE GARDEN 07 3511 6380 robynbauerstudio@hotmail.com www.robynbauergallery.com.au

Gaye Cook

AN ICONIC IMAGE The Story Bridge is an important historical site in the bustling modern metropolis of Brisbane. Its image has come to represent the city and its iconic shape is instantly recognisable. These new artworks will appeal to collectors and local residents who wish to celebrate the history and iconography of their city, and visitors who want to take away a symbol of Brisbane to their homes further afield.

Martin Edge

ROBYN BAUER STUDIO GALLERY AND SCULPTURE GARDENS ‘Story Bridge Show’ 10 artists

14 February-4 March

54 Latrobe Terrace Paddington Qld 4064 07 3511 6380 Gallery Hours: Tuesday – Saturday 10.30 am - 5 pm www.robynbauergallery.com.au www.robynbauer.com robynbauerstudio@hotmail.com Kathleen Dempsey

Craig Amos

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ANTIQUES & ART IN QUEENSLAND

Napoléon III and the Second French Empire Style

Small three-seat indiscret, Napoléon III period

T

he Napoléon III style refers to a mode of architecture and furniture in France that flourished during the Second French Empire with the patronage of Napoléon III (1808-1873), including most of Paris’s buildings and important avenues. He was the nephew and heir of Napoléon Bonaparte (1769-1821).

After a visit to Biarritz in the south west part of France, that became renowned in 1854 when Empress Eugenie (Napoléon III’s wife) built a palace on the beach (now the Hôtel du Palais), I decided to write about this particular style. She was born in Granada, Spain and appeared at several balls given by the ‘princepresident’ at the Elysée Palace, and they married on 30 January 1853.

Charles Louis-Napoléon Bonaparte (18081873) was elected the President of the French Second Republic by popular vote in 1848. After he initiated a coup d’état in 1851, he ascended the throne as Napoléon III on 2 December 1852, the 48th anniversary of Napoléon I’s coronation, ruling until 4 September 1870, thus being both the first titular president and the last monarch of France.

Napoléon III is primarily remembered for an energetic foreign policy to reassert French influence in Europe and abroad. As in all of Europe, it was a major period of industrialisation.

NAPOLÉON III STYLE The Napoléon III style is associated with the renovation of Paris under Baron Haussmann between 1852 and 1870, the buildings showing a singularity of purpose and design, an unusual consistency in urban planning for that time. The style is characterised by high façades, mansard roofs, more rarely pavilions and clearly defined outlines, altogether a very ornate and rich style. Napoléon III also refers to furniture and interiors of that period.

This was the wealthiest period in French history with industrial expansion, and so with rising national wealth came an increase in the wealth of décor in private and public places.

The décor was abundant, always using exquisite quality materials and plenty of furnishings and fabrics.

The Second Empire designers loved grand interior architecture elements. The focal points of rooms were fireplace mantels, mirrors, candelabras, sconces and chandeliers with caryatids, the draped female figures used instead of columns among the decorative symbols of luxury.

The Napoléon III style, also called Second Empire style, is summed up in one word – abundance. Plenty of inspiration, profusion of materials and a wealth of décor were derived from a generous mix of 17th and 18th century styles.

It was an era of progress, innovations and industry. The technique for large tufted cushions was invented in 1838, as well as cast iron furniture that could be reproduced mechanically.

New machines enabled very fine and precisely cut veneer, the process of gold electro-deposition was used on bronzes, while marble carving became easier and when papier-mâché was invented it allowed for fake sculptures.

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Electrotyping and the use of silver plate, which Christofle excelled in, gave much creative freedom and access to products that had up until then been reserved for the extremely wealthy.

In general, the Napoléon III style was characterised by exuberant shapes, a profusion of decorative motifs, and naturalism in the representation of human figures. The sculpture of nude women encircling the spirit of dance urging on the circle of bacchantes, completed in 1869 by Jean-Baptiste Carpeaux (1827-1875) for the façade of the Paris Opera, initially shocked the public.

Denis Geoffray in front of Villa Eugénie, now Hôtel du Palais, Biarritz

FURNITURE Whimsical shapes, the return of painted wood and mother-of-pearl featured in the furniture.

Dark woods were used as well as exotic woods to create pieces sometimes inspired by colonial incursions in distant Vietnam and China. The chinoiserie style is very present in a Napoléon III décor. The period is remembered for its tortoiseshell and metal parquetry furniture in the manner of the French cabinetmaker, André-Charles Boulle (1642-1732); Louis XV and XVI style living room sets; and Renaissance style or King Henri II (r. 1547-1559) dining room sets. It was an eclectic mix of styles inspired by the prior 500 years, with often several styles used for one piece.

The important names of the style are Bellangé, Beurdeley (Imperial warrant), Cremer, Dasson, Grohé, Diehl, Fourdinois (Empress Warrant), Linke and Sormani. The cabinetmaker Antoine Krieger added mechanisms inspired from 18th century furniture. Small side tables on rollers were created as were black-lacquered furniture covered with bouquets of flowers.

Understanding the historical and economical contexts explains why this style created such rich pieces of furniture and also why they were so different. Here was an entire country which needed furniture and the new rich population wanting the same style of furniture that only the noble families could have afforded just a few decades before. With the help of machines, mass production of numerous pieces in solid wood became possible, reviving the heavy style of the Renaissance as well as the precious Louis XV and the elegant Louis XVI styles.

Experts in furniture often describe the Napoléon III style as that which combines all other styles in one, with the best technical and quality realisation.

Opéra Garnier in Paris

Denis Geoffray UNIQUE FRANCE 07 3254 0404 www.uniquefrance.com.au

Napoléon III period cabinet in walnut and geometrical veneer of rosewood and burl wood, highly decorated with ivory incrustation inlays and ormolu, original Carrara marble top

BRISBANE ANTIQUES & ART IN QUEENSLAND

Reminiscences of musical memories

Old style music sheets A

while back I bought a piano stool from a lady who, in passing, asked if I was interested in sheet music. I said I was and she went on to tell me that she had in her possession a large quantity of sheet music that she had inherited via three generations of aunts. As she had no family and had lost interest in playing she was happy for me to take the music as I played the piano and was interested in the old manuscripts. We negotiated the sale for a nominal sum and so the deal was done, or the dye was cast, so to speak.

About an hour later her car stopped outside my shop and in between delivering the bundles of sheet music she declared there was more to come. There was not enough room in the car for all the sheets but should be able to fit it all in with the next delivery. Needless to say I was a bit taken aback with all this music which just seemed to keep on coming, so much so that every available space in the shop was taken over by all the sheets. There were bundles on tables and chairs (and I have many chairs), on the arms of armchairs and underneath the chairs and tables. Suddenly my shop was transformed into what looked like one of those old-fashioned music stores seen in old movies. She made a hurried exit after depositing the last of the bundles, probably fearing that I might change my mind. I have not seen her since.

To put it mildly, at first I was completely overwhelmed then, as I slowly began to sift through the sheets, my interest was aroused.

I realised that some of the music dated from early last century. Many of these older copies were well used and had been stitched back together. Others were dog-eared, some had notations marked by the music teacher, which evoked a certain sense of nostalgia. Then there were all the different categories and composers. I found Beethoven, Liszt and

Chopin among the papers. There were books on studies, arpeggios and fingering – all essential for the student of pianoforte to master if they are to attain a certain standard.

When I brought some of the special ones home and tried them on the piano I was enthralled with the lovely melodic chord arrangements. They gave me so much pleasure that I don’t think I can ever part with them. But naturally I had to dispose of some of them quite quickly as the shop was swamped. I sent a bundle of the nice romantic ones to a choir I was involved with. They were more than happy with the selection as the

tunes were of a date well beyond the copyright limit. I also took some to an antique fair where they attracted a lot of interest. I sold a good number at the fair.

Over time I was able to dispose of many more, but I have kept my favourites. It is my intention to improve my sight reading skill so that the composers of such beautiful music will be happy to listen to and enjoy their lovely compositions in their happy hunting ground.

Eilisha Little EILISHA’S ANTIQUES 07 3358 1448

Member of QADA Proprietor: Eilisha Little

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

109 James Street New Farm Qld 4005

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

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ANTIQUES & ART IN QUEENSLAND

Ready for holiday gift shopping at

Brisbane Antique Emporium T

he Brisbane Antique Emporium is in full swing and ready for the coming holiday season. We specialise in jewellery, furniture, porcelain, silver, statuary and glassware – each eminently welcome gifts at any time of the year.

Our jewellery dealers excel in finding quality estate jewellery at very competitive prices. Most pieces come with written valuations for insurance and rings re-sizing is included in the price of most rings.

There is a wide range of antique and period furniture in a variety of timbers from Australia, England, Europe and Asia. There is

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a good selection of extension and dining tables, desks, sideboards, chairs, display cabinets, dressing tables and wardrobes.

In our 51 large display cabinets we have a wide selection of porcelain, English and European art pottery, Oriental ceramics, sterling silver, art glass, statuary, crystal, clocks and watches. View our vintage paintings and antique prints.

to all of our customers past and present who have made it all possible. To all of you who we have had the pleasure of serving in years gone by, to those who currently grace our business and to all who we look forward to meeting in the near future.

With our best wishes for the holiday season, The Phillips Family.

ANNIVERSARY AT BUY DESIGN At our major location, Buy Design, we celebrated our first anniversary in July 2011, following remodelling and transformation of the old Discovery Corner building. Thank you

THE BRISBANE ANTIQUE EMPORIUM 07 3862 1600 info@brisbaneantiqueemporium.com.au www.brisbaneantiqueemporium.com.au

CLAYFIELD ANTIQUES & ART IN QUEENSLAND

The ultimate antiques destination Thousands of pieces from a variety of quality dealers Furniture, Jewellery, Silver, Glass, Ceramics, Oriental, Art & Collectables

American oak ladies bureau cabinet, c. 1900

English oak pedestal desk, c. 1890

Georgian mahogany bureau, c. 1800

English oak rolltop desk, c. 1900

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

Lynzay Antiques

Antique & Estate Jewellery, Silverware, Ceramics, Glass and Collectables PETER MARTIN 0412 599 299 BRISBANE ANTIQUE EMPORIUM 07 3862 1600 33

CLAYFIELD ANTIQUES & ART IN QUEENSLAND

Discovery Corner Now incorporated in the Brisbane Antique Emporium

WANTED TO BUY QUALITY ANTIQUES

Clarice Cliff Art Deco cup and saucer

French, 19th century, chest, kingwood on mahogany with quality ormolu decoration

19th century Spode porcelain campana vase

Clarice Cliff bowl, ‘Lotona’

WE BUY AND SELL QUALITY ROSENTENGEL FURNITURE

794-810 Sandgate Road (Cnr Junction Road) CLAYFIELD Qld 4011 AMPLE ON-SITE PARKING (VIA JUNCTION ROAD)

Jill Phillips : 07 3862 2155 or 0402 339 643 • EMAIL: discoverycnr@bigpond.com 34

ALBION / CITY / MILTON / SANCTUARY COVE ANTIQUES & ART IN QUEENSLAND

SPECTACULAR UNIQUE TREASURED DISTINCTIVE INSPIRED MAGICAL

SHARI LOUISE DESIGNS Shop 9 Stamford Plaza Hotel 39 Edward Street Brisbane QLD 4000 Telephone: 07 3221 3110 Mobile: 0413 520 036 E: sldesign@bigpond.net.au www.sharilouisedesigns.com.au

Antique Print & Map Company BRISBANE ANTIQUES PTY LTD

Camford Square corner Douglas & Dorsey Sts MILTON Brisbane Wednesday - Friday 10 - 6 | Saturday 10 - 4 | Ph 07 3368 1167

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

www.brisbaneantiques.com.au

Sale n ow 12 D g osin uary 20 l C ine g Jan u n Ge innin Beg

23 Crosby Rd Albion QLD 4010 07 3262 1444

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

Australian subjects – sales@antiqueprintclub.com

www.antiqueprintclub.com 35

EAST BRISBANE ANTIQUES & ART IN QUEENSLAND

L A

avin ntiques

FURNITURE · CHANDELIERS · CERAMICS · PAINTINGS · RUGS · TEXTILES

Importers of fine quality antiques

Marquetry and ormolu commode after Georg Haupt

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

36

WOOLLOONGABBA ANTIQUES & ART IN QUEENSLAND

BA–TA–CLAN ANTIQUES ET SALON DE CAFE SHD 3498384

(formerly Gabba 5 Ways Antiques Emporium) COMING SOON FRENCH ART DECO THEMED COFFEE LOUNGE

11 Logan Road Woolloongabba QLD 4102 Ph 07 3891 5572 Fax 07 3891 5573 Mob 0412 657 059 Opening Times Tuesday – Saturday 10am - 4pm Sunday 10am - 3pm (closed Monday) 37

GOLD COAST Miami ANTIQUES & ART IN QUEENSLAND

Marble bust, c. 1895

Left to right: vintage factice perfume bottle, 1950s made for Mauboussin; ocelot hat; vintage crocodile handbag, c. 1940s; retro novelty porcelain figurine

Bronze and ivory figurine of French origin, signed

Murano art glass vase, c. 1965 designed by Anzolo Fuga for AVeM

Left to right: factice perfume bottle made for Jaguar for Men; English fur felt top hats, c. 1940s

Set 3 graduated Falcon Ware wall flying ducks, c. 1950s

Art Deco alabaster figure group, c. 1930s

Left to right Crown Devon jug; Crown Devon John Peel musical jug; Crown Devon John Peel musical cigarette box

Daum Nancy etched glass vase c. 1910

Left to right: Arts & Crafts copper water jug made in Hayle, Cornwall; Arts & Crafts copper watering can; French squirrel bookends, c. 1930s.

Winterhalter & Hoffmeier quarter striking bracket clock

Colin Heaney iridescent hand blown art glass vase, c. 1970

The Gold Coast Antique Centre is an exciting gallery in Miami with over 25 dealers displaying an ever changing range of rare antiques and collectables. 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 More than a website – shop online @ www.goldcoastantiquecentre.com.au OPEN 7 DAYS 10 - 5 Sun 10 - 4 38

NOW NO OW CON CONSIGNING NSIG GNIING SPORTING MEMORABILIA

COLLECTABLES

PRE-OWNED LUXURY

1895 VFA PREMIERSHIP FOOTBALL PRESENTED TO FITZROY CAPTAIN TOM BANKS SOLD MAY 2011 $12,000

WORLD WAR II MEDAL GROUP AWARDED TO AIR VICE MARSHAL BRIAN EATON SOLD DECEMBER 2010 $70,800

A LIMITED EDITION ‘EYE LOVE YOU’ HANDBAG BY LOUIS VUITTON SOLD AUGUST 2011 $4,960

LEONARD JO JOEL EL Primary Salesr Salesrooms o ooms 333 Malvern Ro Road, oad, South Y Yarra, arra, a Victoria V ictoria 3141 Australia A (03) 9826 4333 leonardjoel.com.au leonar djoel.co om.au

For an obligation n fr free ee appraisal contact: Giles Moon Head of Collecta Collectables bles & Sporting Memorabilia a (03) 8825 5635 giles.moon@leon giles.moon@leonardjoel.com.au nardjoel.com.au

John D’Agata Head of Jewellery & Pr Pre-owned e-owned Luxury (03) 8825 5605 john.dagata@leonardjoel.com.au john.dagata@leona ardjoel.com.au

TWO NEW SHIPMENTS ARRIVING IN STORE EARLY NOVEMBER Quality English & French Antiques | Industrial Furniture

165 Logan Road, Woolloongabba, Brisbane

Phone: 07 3891 3880 Open 6 Days, Monday - Friday 10 am - 5 pm, Saturday 10 am - 4 pm now closed Sundays

IMPORTER OF FINE ANTIQUES LICENSED DEALER – MEMBER OF QADA

ANTIQUES & ART IN QUEENSLAND

Quality at a glance E

ven when new, today’s best quality antiques were always expensive to purchase, as they were only affordable by royalty and the affluent upper classes.

Nowadays, in relative terms, these quality pieces are more accessible and actually when considering the quality of the materials and workmanship involved in their making quite inexpensive. But it is not always easy for buyers to immediately recognise quality. One of the simplest means to know if an antique is of high quality is to ascertain the material it is made from.

DETECTING QUALITY IN FURNITURE In furniture, the timber used to create the piece is an indicator of high quality. This is because quality craftsmen typically expended their expertise on woods worthy of their skill – and they often had the clientele who would appreciate it.

Mahogany replaced oak in Georgian times with its discovery in the Caribbean, Cuba and Central America. The lifting of taxes on the importation of mahogany by British Prime Minister Sir Robert Walpole in the mid 18th century started the mahogany craze.

Mahogany was very suitable for crisp carving and could be finished to a high shine.

With the expansion of the colonialist interests by the Portuguese, Dutch, German and British, more exotic timbers with interesting figuring became popular. These included rosewood, satinwood, amboynas and ebony. Such timbers were always more expensive to buy. So you know when you see a piece made from them that it has come from a quality craftsman.

Satinwood

EXOTIC TIMBERS Rosewood is a highly figured dark redbrown wood, so-named because it is reputed to exude the scent of roses when cut. It came from the former East Indies.

Amboyna is light coloured with tight whirls or burr, and is commonly used as a veneer, found in the West Indies.

Ebony is a dense heavy, almost black wood from India, Sri Lanka and Africa. The trees are now on the endangered list because of over-harvesting. Today, ebony is only available for the production of small items such as components in musical instruments Satinwood is a light yellow coloured wood from West Indies. Its features include taking a high shine and it is frequently used in inlay and banding because of the lovely colour contrasts.

There are more timbers indicating quality pieces, such as coromandel, birds-eye maple, pollard oak, and of course my favourite, burr walnut. Skilled craftsmen are well versed in the ability to exploit the natural beauty inherent in these woods.

We invite you to drop in anytime to appreciate these happy unions of nature and the human hand. Open six days, three of Brisbane’s best dealers have combined to offer quality choices.

Sharyn Semmens HARRINGTON’S AND JAMES CONLEY ANTIQUES 07 3891 3880

Rosewood

Amboyna burl

Ebony

Macassar ebony

West Indian satinwood

41

ANTIQUES & ART IN QUEENSLAND

Quality is the best policy At Lavin Antiques we believe good quality is here to stay, surpassing all future fads and fashions FURNITURE: MID 19TH CENTURY CANTERBURY

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urniture and decorative objects which were made with the best material of the day, design and workmanship at the very outset will still be admired and valued, and considered well-made and designed in another 100 years and more.

In our showroom quality ranges in price and size from $60 for a copper miniature gallon hat to $55,000 for a plum pudding bookcase.

We are always on the lookout for quality items to bring to our clients, so fresh stock is continually arriving at Lavin Antiques.

Discover wonderful pieces that will enhance your home décor from among our most recent arrivals.

Italy, Carrara marble statue, c. 1880

MURANO GLASS SCULPTURE

LAVIN ANTIQUES SHOWROOM

Homage to Botero is a handmade sculpture, amazingly made using traditional glass processing techniques by Oball in Murano Italy in 2005. The subject, Fernando Botero (b. 1932) is a living Columbian artist known for his rounded exaggerated ‘plastic’ human figures and thus he is depicted.

La Vetreria Artistica Oball was established

by Luigi Onesto and then assisted by his sons Fabio and Michele over 30 years ago. The Oball hallmark is handmade, using antique and traditional glass processing techniques.

Our showroom is located in a 1900s corner store with rear house attached, at the corner of Longlands and Stanley East Streets in East Brisbane. Here you may view interesting pieces not as in a shop but in a home-like setting.

Lavin Antiques website, www.lavinantiques.com.au shows current stock and we are happy to answer questions by phone or email as well as in person.

Feel welcome to visit our beautiful display showroom, open 7 days a week from 10 am to 5 pm.

La Vetreria Artistica Oball (Murano, Italy), Homage to Botero, 2005, glass

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

CARRARA MARBLE SCULPTURE Marble quarried from Carrara in Italy has a white hue and is translucent, making it highly desirable and expensive. David, the famous sculpture by Michelangelo, was created from Carrara marble between 1500 and 1504. It stands 5.17 metres high, created using millennia-old practices of chiselling, carving and then polishing. Lavin Antiques has an antique Carrara marble figural statue from about 1880.

GOLDSCHEIDER CERAMIC CANINE GROUP The Goldscheider Porcelain Manufacturer and Majolica Factory was founded in 1885 by Friedrich Goldscheider in Vienna. It was the leader in standard and style for ceramics through the Art Nouveau and the Art Deco movements, manufacturing for over 50 years.

Their works, such as this group of Borzoi or Russian wolfhounds, have remained in demand and holding their value through to the present. Artists to have worked for this famous manufactory include Walter Bosse and Demètre Chiparus.

Goldscheider Porcelain Manufacturer and Majolica Factory (Vienna, Austria), Canine theme ceramic group

42

Canterburies were made for holding sheet music and music books and are outstanding furniture. The material and workmanship in a burr walnut Canterbury speaks for quality.

The piece illustrated made circa 1860, is clearly the work of a highly skilled craftsman with its fretwork panels, bowed front, upper shelf on turned and spiral incised supports, lower shelf fitted with dividers and a drawer.

The maker’s selection of burr walnut, with knotty whorls in the grain as a result of disease or injury on the trunk or roots of the tree, indicates that this piece was to be a superb example of the craftsman’s skills.

Maker unknown English Canterbury, c. 1860, burr walnut

Continental Majolica glazed mantel clock, 20th century standing on commode (Sweden, c. 1900) after Georg Haupt (Swedish cabinetmaker, 1741-1784), marble, sycamore, satinwood, mahogany, kingwood and rosewood veneer, and ormolu panels

SALISBURY ANTIQUES & ART IN QUEENSLAND

Set of 6 beech and walnut Louis style chairs $1400

Ph 07 3277 4555 Fax 07 3875 1182 French double height sideboard $2100

Set of 6 Louis style oak chairs with rush seats $1500

3 door oak Louis style wardrobe $1390

Oak court cabinet $2400

Set of 6 Chippendale style chairs in original condition c. 1900 $2100 set

Set of 6 beech deco chairs $1200

Folding French cafe chairs from $45 each

Lots of bed heads starting at $500 English walnut bedside cabinet $350

French Louis style oak armoire $2400

Inlaid mohogany wardrobe $1490

French 3 mirror dressing table $1450

French upholstered double bed as is $450

Pair French single beds as is $650 pr

Ph 07 3277 4555 Fax 07 3875 1182

ADVERTORIAL

Collectors Corner Antiques from shop front to

online selling

PRICING

W

e have embraced online selling.

With our new warehouse not on a main road where thousands of people drive by, we knew it was time to rethink our marketing. Fortunately we have our wonderfully loyal customers who still come to us at our new Salisbury headquarters.

TRADING ON EBAY To address this loss of presence we decided to embrace the new way of doing business and have joined the internet site hosted by eBay. It has proved to be very successful because more and more people are accepting the idea of buying online.

We have been guilty of making the assumption that antique furniture is different;

that people like to feel, see and to communicate face to face with the antique dealer. Well, it is true some people do.

However, a growing number of clients don’t need this, and since embracing online selling, it has absolutely amazed us how much we have sold in a short time.

Previously, the advertising costs involved in letting the public know that we had acquired fresh pieces often entailed a budget of thousands of dollars, and it would sometimes be months before the right buyer walked through the showroom door to purchase. With eBay a piece is uploaded onto the site and within minutes people are looking, many with an aim to buy. Moreover, it may have cost us just a few dollars promoting the piece.

We are pleased to say that since moving to our warehouse, the overheads are very different. The cost of advertising and selling on eBay is so inexpensive that we are able to pass on the savings in the pricing of the stock we sell online.

BUYING ONLINE OPTIONS Remember, you don’t have to buy sight unseen. If you see something on eBay you can come to the warehouse and view before bidding for it on the internet.

Not everyone likes the auction process and so we have taken advantage of the Bid or Buy it Now option. This gives purchasers the ability to buy the item outright.

For consumers who have never purchased from us before, the site hosts a feedback forum, and the information posted by our satisfied clients will allay any concerns

from first-time purchasers. This is an option not often available when visiting a showroom. As a business with over 35 years experience we would hope our reputation has been established, however, this feedback is reassuring.

PAYMENT OPTIONS We accept direct debit, credit cards, or PayPal, which gives payment protection.

DELIVERY Our delivery service is available for purchases made via the eBay site. The charge is an affordable $88 for delivery in the Brisbane area and is offered most days with 24 hour’s notice.

For more information contact COLLECTORS CORNER 07 3277 4555 www.collectorscorner.net.au

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ANTIQUES & ART IN QUEENSLAND

Accurate Valuations Help...

Insurance, Superannuation and Family Dispersal eptember is generally a slow retail month in the antiques trade. The Brisbane Festival seemed to run nonstop, supplying people with a vast array of other things to do. When the school holidays take people away from Brisbane, business in antiques really becomes quiet.

Sadly, what increases during the school holidays in particular is the amount of house break-ins and this last September was just as bad as ever. I know this by the increase in the number of people who came to see me for help with their insurance claims. As many readers of this magazine obviously have an interest in antiques and art, now is a good time to review your insurance cover.

S

1. REVIEW YOUR INSURANCE COVER It has been a feature of our business that we write ‘quotations to replace’ for items lost, damaged or stolen for clients who have suffered a loss. It is sadly far too common that not only have the victims lost valuable and often sentimentally important items, but compounding their loss they are also underinsured. Accidents, bad weather and fires can all lead to losses of antiques and art.

Generally, an insurance policy is for an amount which is quite adequate to cover the likelihood of total loss. However, in most household policies unless certain categories of goods are specified, with specific values on the policy, their loss will be limited often to only $1000 per item. In the case of jewellery, sometimes the loss is covered for a maximum of no more than $3000 in total, no matter how many pieces have been lost and what their replacement will cost. At first glance this may seem reasonable.

A. SPECIFY ITEMS

Unrestored Australian cedar chest of drawers.

Replacement value over $1000

many readers will have at least one or more pieces of antique furniture. An unrestored Australian cedar chest of drawers has a replacement value of more than $1000, despite still needing its runners replaced, a nasty repair to the front of one drawer and a complete re-polish.

B. PROFESSIONAL VALUATIONS Such items need to be specified on your policy, accompanied by an insurance valuation from an approved antiques valuer, a service which Brisbane Antiques provides. A member of the National Council of Jewellery Valuers, highly qualified gemmologist valuers, works independently of retailers to provide jewellery valuations.

of jewellery from a reputable dealer, it would have likely come with an insurance valuation.

However, there is a vast amount of jewellery in households, perhaps inherited, or bought over the years which is not listed on insurance policies. It is no exaggeration to say that at least once a week we are faced with someone who has lost a piece or pieces of jewellery for which they will receive a mere fraction of its true replacement value because it was not specified on the policy.

If you own a 9 ct gold curb-link bracelet with a replacement value of $2450, or a diamond ring that is valued for replacement at $9200, each must be specified and professionally valued for insurance. We are not jewellery valuers, so we arrange to have valuations done for our clients by a member of the National Council of Jewellery Valuers. This area of antiques valuation occupies most of our time. We offer several other valuation services.

3. FAMILY DISPERSAL Another large valuation area we assist in, with great sensitivity, is for family matters.

In divorce settlements, the recent changes to the Family Law Act now require that the divorcing partners hire the same valuer to assess both sets of assets. This is an advantage to valuers and fair to both parties.

For deceased estates, we generally recommend that we assess the items at the wholesale level, or the price one might reasonably expect a dealer to pay. We think it helps if beneficiaries draw lots and choose items in order, always with a view to maintaining a monetary balance.

The amazing thing about this whole situation is that so many people really need to look into their insurances and have the necessary valuations done, and so many have not done so. My colleagues and I are merely scratching the surface.

2. RE-VALUE YOUR SUPER Antiques bought as parts of the assets of a superannuation fund generally need valuing every three years or so. There is a growing demand for such valuations in our business, especially in light of the collapse of the share market.

Graham See BRISBANE ANTIQUES VALUATIONS 07 3262 1444 www.brisbaneantiques.com.au

JEWELLERY The most common loss is of course jewellery that is small, easily dropped or stolen and too easily disposed of. If you have purchased a piece

Let us consider a Royal Worcester handpainted and signed vase from the 1940s with a replacement value of more than $2000. If your cat knocked it to the floor, you will realise that with a replacement value of more than $2000, an insurance payout of just $1000 would leave you well out of pocket, and certainly not in a position to buy a replacement.

Okay, so not everyone has a collection of Royal Worcester (or a cat) in their home, but

Above: Curb-link bracelet, 9 ct gold, replacement value $2450 Left: Diamond ring, replacement value $9200

“

It is sadly far too common that not only have the victims lost valuable and often sentimentally important items, but compounding their loss they are also under-insured Royal Worcester vase, 1940s.

Valued in excess of $2000

44

”

ALBION ANTIQUES & ART IN QUEENSLAND

Pack & Send art and antique specialists

A

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-inPlace technology, a system using soft foam that expands when two chemicals are combined in contact with air. Foam-in-Place moulds itself to fit the precise shape of the item being packed and this product possesses a density that aids in the prevention of damage from impact, vibration or from being dropped.

Instapak Foam-in-Place enables glassware,

paintings and various antiques to be sent through the freight system without compromising the safety of the item. Not only that, 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.

opportunity to offer their services in solving any packaging or freight problem you might have Stephen & Janet McCartney.

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

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

“

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

” 45

WOOLLOONGABBA ANTIQUES & ART IN QUEENSLAND

A selection of bows. The French style bass bow has black horsehair. The hair appears white in places because of the rosin

A collection of well-used rosins

Top to bottom; German style double bass bow; French style double bass bow, both carbon fibre sticks with single eye on frog; cello bow; violin bow, both Pernambuco sticks with Parisian eye on Frog. The violin bow is the only bow where the frog has a right-angled corner

The violin bow:

Black and white horsehair shanks for hairing bows

a fiddlestick examined

V

iolins, violas, cellos and double basses are all bowed stringed instruments played with different sized bows. While the violin usually receives more attention than the bow, the bow is actually very critical to sound quality. There are people who prefer to play on a cheaper violin with a more expensive bow, rather than the other way around.

The violin had developed into its modern form by the early 16th century, but the violin bow at this time was still a crude springy stick curving away from the hair with no standard length. It was often held further up the stick

than the modern bow. During the 17th and early18th centuries bows were made predominantly by violin makers and perceived as an accessory to accompany the violin along with its case. Bow making as a profession was still emerging. By the late 18th century, however, bow design had become standardised. It is believed that two bow makers, Francois Tourte and John Dodd separately developed similar prototypes, but credit as the father of the modern bow usually falls to the Parisian Francois Tourte, who took advice from Italian violinist Giovanni Viotti.

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

46

Silver wire for bow windings

The diagram and accompanying list of parts and materials demonstrates the complexity of the modern bow. Without getting too technical there are a few general observations that are interesting to note.

The largest parts of the bow are the stick and the hair. These days the stick can be wood or synthetic. The preferred wood, slightly reddish in colour, is from the Brazilian tree Caesalpinia echinata also known as brazilwood or pernambuco wood. Incidentally, the country of Brazil was named after the valuable red dyewood (pau-brasil) found in that country rather than vice versa.

In general, the better quality, more expensive bow wood that can retain its elasticity for over 100 years is made from pernambuco, while the lesser quality, cheaper wood is of brazilwood. Recently, the super strong carbon fibre or fibreglass bows have increased in popularity.

Bow hair comes from horses’ tails. Between 110 to 200 hairs are used to hair a bow.

Traditionally, Siberian stallion hair is preferred.

It is believed that stronger hair originates in countries with colder climates. Today, the majority of bow hair comes from China, Mongolia and more recently Argentina. White hair produces a smoother sound and black hair, sometimes used for double bass bows, a coarser sound. A salt and pepper combination also exists.

Bleached hair should be avoided. While synthetic bow hair is also available, it is used only on the cheapest bows and perhaps in cases where animal products are refused.

Other parts of the bow were traditionally made from gold, silver, nickel, brass, ebony, ivory, mother-of-pearl, whalebone, leather, waxed linen, silk, and tortoise shell. These days plastic, rubber, nylon, vinyl and stainless steel form part of many bows. Some

materials, such as whalebone and ivory, are no longer an option for new bows. Predictably, the choice of materials for the mountings (metal parts) and frog gives a rough indication of a bow’s value, as can the degree of decoration or intricacy of the finishings.

Round inlaid single or Parisian eyes are the predominant decorative feature.

Usually the name of the bow maker or the brand is branded into the stick, above the frog.

As with all instruments, the violin bow must be properly cared for to ensure its longevity. The bow hair tension needs to be completely slackened when the bow is not in use to prevent damaging the springiness of the stick. The hair needs to remain free from grease and should never be touched with fingers etc. Obviously, the bow should not be used as a fencing sword, pointer, backscratcher, walking stick or spanking cane. The hair needs rosin (hard sticky stuff made of resin/ tree sap) to make the strings sound, and to prevent slipping and squeaking. Too much rosin will cause the hair to grip the string too much producing a coarser tone.

Bows need to be rehaired periodically. If the bow hair becomes brittle it is most likely that mites have taken up residence in the violin case. These mites eat proteins such as those found in horsehair, old felt, silk or velvet case linings. Once they infest a case they are very hard to get rid of, but extended exposure to sunlight is said to help. A bow rehair and a new violin case help more!

Ilja Grawert ILJA GRAWERT VIOLIN-MAKER 1800 882 468 www.grawert.com.au

References J.E. Smith, Violin Bow Diagram, 1983 ● Johnson & Courtnall, The Art of Violin Making, 2005 ● Hugo Pinksterboer, The Rough Guide to Cello, Penguin, 2002 ● Theodore Rowland-Entwistle, The Violin, English Universities Press, 1967 ● http://en.wikipedia.org/wiki/ Bow_(music) ● http://en.wikipedia.org/wiki/ Brazilwood ●

WOOLLOONGABBA ANTIQUES & ART IN QUEENSLAND

Jewellery through the centuries T

he history of jewellery is as old as the desire to wear an item combining beauty, value and distinctive characteristics. Jewellery – such as brooches, rings, necklaces, earrings and bracelets – has a primary function of looking appealing, conveying status or success. Considering its derivation, from the word jewel which was anglicized from the Old French and earlier Latin words for plaything, humans have been producing, wearing and admiring (if not coveting) jewellery for a long time.

Practical purposes of jewellery included some beliefs that it or its components protected the wearer from misfortune. Others were made to fasten garments, shoes or belts, or kept hair in place.

Gemstones, precious metals, beads and shells have all been used on most continents according to availability and discovery or introduction of techniques. Depending on the culture and times, jewellery may be appreciated as a status symbol, for its material properties, its patterns, or for meaningful symbols worn on many body parts.

Examples of this human impulse have been traced back to the Sumerian civilisation of the 3rd century BCE. As an example of the history of jewellery, rings convey the social, economic and technical changes over thousands of years.

By the second millennium BCE, signet rings were important for signing documents, as writing was a skill of only a few. Such rings were made in the form of scarabs carved from hardstone. By the 5th century BCE, in Greece, goldsmiths produced signets with fixed bezels, engraved either on the metal or on an inset hardstone. When Pharaoh made Joseph ruler of Egypt he ‘took off his ring from his hand and put it on Joseph’s hand.’

In Roman times, lawyers such as Cicero wore rings to signify his professional status and success. As Romans became richer, gold came into vogue except among solders and slaves who still wore iron rings. During the Roman Empire a custom began that continues until today. Military valour was rewarded by massive gold rings set with coins, much later re-emerging as the must-have Bulgari coin ring of the 1960s.

Pendant, c. 600 BCE

Church leaders in the 2nd century CE proscribed the pagan symbols of contemporary jewellery designs and advocated new designs such as doves, fishing, saints and soon pious inscriptions came into practice and fashion. During the Dark Ages, ancient gems set in gold were surrounded by the owner’s name.

Changes in adornment came with developments in clothing, both materials and garment construction. Formerly pragmatic clasps became larger and more embellished as brooches. These stages are well represented in portraits that form valuable references, as jewellery from the dark and middle ages remains rare.

In medieval society only a select few could wear valuable jewellery. Beautiful jewellery from the early Middle Ages, half tribal and half creative, came particularly from regions of the Rhine and the Meuse.

Some of the most valuable women’s jewellery comes from the treasures of the Empress Gisela, c. 1043, that she is supposed to have worn at her marriage to Conrad II in 1027. Found at Mainz in Germany, a town famous for the first European books printed using movable type manufactured by Gutenberg in the 1450s, her jewels included a necklace of cameos, lunette earrings of gemset filigree clearly oriental in type, and a splendid eagle brooch in which earlier bird brooches inspired a new imperial ornament.

Such spirited designs for secular purposes were repeated in ecclesiastical adornments.

The Renaissance allowed jewellery to be more widely worn, notably on the aristocracy and higher clergy, portrayed in contemporary portraits with several rings often worn on one hand. Precious stones and coloured enamel were in vogue and the pendant became a favoured form of jewellery, richly ornamented.

The 17th century was a turning point for diamond cutting, when the brilliant cut was devised, revealing the unique beauty of this most precious stone. In the 18th century, delicate pieces of jewellery such as brooches, necklaces and rings in cluster, spray or bow forms, were ornamented with glittering diamonds. In period ballrooms and court receptions these would have sparkled in full splendour.

In France and other parts of Europe, sets of matching jewellery consisting of necklaces, earrings, brooches, bracelets and occasionally tiaras were produced, again with diamonds prominent in the design. Cut stones remained in fashion in the Empire period and in the succeeding years.

In the first half of the 19th century newly discovered processes and techniques further enriched the jewellers’ arts at the same time as a growing middle class could afford jewellery to emulate the aristocracy. The second half of the 19th century was marked by stagnation and preoccupation with the styles of the past.

Manufactured and fashion jewellery have made jewellery more accessible and egalitarian that the former aristocratic jewels.

Today jewellery is still an important part of society and will continue to be worn as an adornment to impress and dazzle those who wear it and those who gaze upon its beauty, and for the pleasure of the wearer.

Jason Bridge COLONIAL COLLECTABLES 0431 403 897 colonialcollectables@msn.com Further reading Diana Scarisbrick, Rings Symbols of Wealth, Power and Affection, Thames and Hudson, London 1993 Joan Evans, A History of Jewellery 1100-1870, Faber and Faber, London 1970

Above left: Mourning ring, c. 1792, inscribed ‘Nipt in the bud’ Above right: Necklace and natural sapphire pendant, c. 1660 Left: Necklace and earrings, c. 1806, emeralds and brilliant-cut diamonds

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COLONIAL COLLECTABLES

ANTIQUES • JEWELLERY • OLD WARES BOUGHT & SOLD

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

ANTIQUES & ART IN QUEENSLAND

Ba-Ta-Clan Antiques et Salon De Café Formerly Gabba 5 Ways Antiques Emporium

W

elcome to Bataclan! Our name denotes a vivacious eclecticism, from hippy or bohemian to stylish, outrageous to serious: the unique, the rare, the coveted, in other words EVERYTHING conceivable.

Named after the famous French theatre/café which brought unprecedented entertainment variety despite many changes of fortune, Brisbane’s Bataclan is formed from a common vision to share our experience, knowledge and love of all things bright and beautiful with our wonderful customers, who often also become our friends.

An operetta by Jacques Offenbach, Bataclan was first performed in 1855 and was Offenbach’s first big hit. The witty piece satirised everything from contemporary politics to grand opera conventions, frequently revived in Paris, London and New York, providing us with over 150 years of fame and fabulousness to emulate.

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Come and sit at craftsman-made tables and eclectic chairs and indulge yourself in French patisseries and delicacies while you contemplate how a hand-carved sideboard, antique chandelier or writing desk could grace your home. Can you pause to imagine what sights and secrets a 100-year-old mirror has seen? What gossip has a 60-year-old teacup heard? What hopes and dreams has an art deco diamond ring held?

We will help you marry your new furniture with something complimentary but with history, or your new outfit enhanced with a unique piece of jewellery that will have all your friends asking what it means, where you found it (and what it’s worth). Best of all, we especially pride ourselves as having something rare, beautiful or interesting for any budget, so anyone can share in the passion for a time when craftsmanship and pride were invested into everyday items.

WHAT’S INTERESTING IN STORE? With over 65 dealers and consignors we have an amazingly vast array of items that are so exciting you may not be able to resist purchasing something – whether for your home, office or wardrobe. From William and Mary to retro furniture, circa 1700 Victorian jewellery, to sparkling diamante costume pieces, early 19th century ivory including scrimshaw and netsukes, we come up to date with 1970s Japanese and Chinese bangles and pendants.

We stock Tiffany style lamps to chrome art deco lighting and French Empire gilt bronze chandeliers through to exquisite crystals.

You’ll adore the rococo style console table and mirror to modernistic wall mirrors – .and the list goes on.

Wendy and I are delighted to be the proud owners and operators of Ba-Ta-Clan Antiques.

With the opening of Café de Salon, we will have achieved the realisation of our dream for the perfect business – antiques and a French café.

Come and see us, allow plenty of time to view the stock, and you will be returning for that special something time and time again.

Open six days, our hours are Tuesday to Saturday from 10 am to 4 pm and Sundays from 10 am to 3 pm (closed Monday).

Vivien Kent BA-TA-CLAN ANTIQUES ET SALON DE CAFÉ 07 3891 5572 / 0412 657 059 See page 37

WOOLLOONGABBA ANTIQUES & ART IN QUEENSLAND

Fresh faces at the Woolloongabba Antique Centre

stop at the centre’s revamped 1950s diner, boasting famous booths from a former television set. The jazz band, the Butter Brothers, draws loyal admirers as they play out some smooth tunes in the foyer.

OWNERS’ VISION Woolloongabba Antique Centre promises to continue 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 WAC founder Sarah Jane Walsh.

‘Woolloongabba Antique Centre is a thoroughly modern approach to an old idea of presenting antiques, collectables, jewellery, furniture, clothing and kitchenalia in an airconditioned and vibrant space. At every juncture of the space, customers will be exposed to four or more eras in one visit,’ says Walsh.

The centre’s diverse shops offer surprise next to nostalgia, style next to kitsch. In a snapshot, some items of provenance may include accessories reminiscent of Hollywood glamour, a fine collection of Australian antiques, industrial design antiques, French antiques, rural antiques or retro clothing, rockabilly and furniture.

In 1500 sq m there are more than 60 dealers and a 50s-style diner/ café, all air conditioned, Woolloongabba Antique Centre is Brisbane’s largest. There is plenty of off-street parking in our exclusive car park at the rear of the building. We are open seven days from 9 am to 5 pm.

WOOLLOONGABBA ANTIQUE CENTRE 07 3392 1114 info@woolloongabbaantiquecentre.com www.woolloongabbaantiquecentre.com

F

ast becoming Brisbane’s most popular destination, Woolloongabba Antique Centre is an eclectic mix of antiques, vintage collectables, retro homewares, art, music and good old fashioned service. If you haven’t experienced WAC’s hospitality and huge range of goods, then come on down to the Gabba Antique Precinct where you will be delighted by what we have on offer. As part of our promise to bring in new stock and ideas we are freshening up for summer.

WILCOMEN DANSK VINTAGE After 20 years living in Copenhagen buying, restoring and selling antique Scandinavian furniture for export Woolloongabba Antique Centre is delighted to welcome this new vintage dealer. Importing direct from Copenhagen, they have an exciting range of classic mid-20th century furniture as well as lighting, ceramics, paintings and art.

Dansk will also feature rustic and older antique pieces from Scandinavia in their collection so be prepared for a wide range of northern European exposure, perfect for the aspiring modernist, apartment living and the simplicity of the modern Queensland lifestyle.

A new container load has just arrived so we encourage you to drop in and see what this fresh dealer has to offer.

BROCANTE FROM THE ATELIERS OF PARISIAN MARKETS Come and view all sorts of finds from the Parisian weekend markets. Seen a replica French item? Here’s the original. We now stock French industrial pieces, vintage leather boot trunks, prints dating back to the 1700s, railway clocks from a train station refurb, and a host of other gorgeous items from the Parisian brocante markets.

Regular buying trips to France promise to unearth vintage treasures, truly unique items for your home. Here is a slice of the bustling brocante markets in Brisbane.

AMERICAN VINTAGE Completing the round the world ticket of new stock, we welcome in-store new stock from the USA. Classic Eames Company chairs by celebrated designer Herman Miller feature in a wide range of styles, wood, fibreglass, upholstered and even a rocking chair. The American vintage theme includes a great set of industrial stools and more bric-à-brac direct from the States.

BLING AND MORE Well-regarded Brisbane jeweller John Stone has new jewellery instore this season with an ever popular collection of estate and vintage pieces. It is well worth a visit for those seeking diamonds and gold.

INFAMOUS BARE BONES BARBER SHOP ~ NOW AT THE WAC In 2012 we are really excited to bring the Bare Bones Barber Boys to the WAC. Yep that’s right, on the last Sunday of every month you can come on down, hop in the barber chair, have a twist on the Barber’s pole and let the best barbers in the country work their magic.

In all their clipping, quiffing and pomading glory the boys will be working out of a pop-up barber store in our cinema, bringing their full range of Uncut hair products, potions, t-shirts etc.

AMBIENCE AT THE CENTRE The centre is bursting at the seams on the weekend as customers pick their way through the centre, stopping only for a half time pit

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ANNERLEY ANTIQUES & ART IN QUEENSLAND

Annerley Glassworx recent commissions

Six leadlight panels for an eco house

ustom leadlights for homes and offices are our special mission at Annerley Glassworx. To please the customer, we strive to meet each personal passion as well as all the technical requirements.

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Alzheimer’s disease. He has a remarkable passion for birds, so the full panel has kingfishers, lorikeets and butterflies as well as the Gouldian finches. The precise bird features were a challenge our team met with relish, and he absolutely loves it.

BRIEF 1: ECO HOUSE

BRIEF 4: ENTRANCE PANELS

We designed and installed six leadlight panels in a wonderful eco house recently completed in Indooripilly. The house is at the end of a cul-de-sac backing on to the Mt Cootha forest .The end wall was a bank of 1800 x 550 cm windows but they looked straight at a retaining wall.

My job was to design something suitable to add fabulous atmosphere but still see the greenery as it grew outside, below and on the retaining wall. We also supplied four lampshades in compatible art deco designs that complimented these panels, already dramatic with their wonderful art deco-inspired design.

A colourful entry way celebrates waratahs in a Pullenvale house. The installation could have been a challenge, but luckily we changed the day, if we had not, Pira would have been stuck for three days because of the January floods!

BRIEF 2: RENOVATED HOUSE An internal panel of leaf design was installed between a bathroom and living area in a newly renovated home.

BRIEF 3: AVIARY PANELS A touching brief came from a wonderful lady who is nursing her husband who has

Entry way panel with waratah motif

SOMETHING DIFFERENT We sourced funky animals made from recycled drums: flying pigs, goats, sheep and three blind mice. They are such fun and are selling to collectors, interior designers and landscapers, visitors and Brisbane residents.

For the convenience of our clients Annerley Glassworx is open every day.

Denise Allen ANNERLEY GLASSWORX 07 3892 5352 mail@glassworx.com.au www.glassworx.com.au

Top left: Large leadlight bird themed panel featuring Gouldian finches Left: Animals made of recycled drums

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

OPEN 7 DAYS 50

CLEVELAND ANTIQUES & ART IN QUEENSLAND

Inspiring the next

to ‘give it a go’ and who knows, some could discover a passion for collecting that will last a lifetime. How many of us wish we had started our collecting at a much younger age.

stock. Bayside welcomes our newest dealers, Linen and Lace, who specialise in shabby chic and decorator items.

generation of collectors

BAYSIDE – WORTH THE VISIT

Wednesday 16 November Bayside’s themed open night is our end of year Christmas shopping night. Enjoy the holiday atmosphere as dealers and customers socialise and enjoy good company, nibblies and drinks. Look for the specials and negotiate direct with the dealers – be there to win a lucky door prize.

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re you an avid collector who may also have a partner that enjoys collecting? So when you decide to stop and visit an antique shop or centre are you regaled with protests from the back seat?

A weekend drive does not have to be like this as there are so many opportunities to inspire children’s interest in collecting.

We are fascinated by the number of children, both boys and girls, who are already avid collectors. The universal collections are books, stamps and coins, as these are affordable gifts and easy second-hand finds.

EASY OPTIONS We want our children to be literate, so books offer amazing array of themes and images, authors and stories to encourage reading.

Most children have a collection, probably started with gifts in infancy. There are limitless books on the different collections and, while it is acknowledged that many of them can be costly, it is often surprising that a hunt through some of the general book stores can turn up some good basic reference books at reasonable prices.

Stamp collecting had been a standard pastime of children for generations well before ours. It was inexpensive and a readily accessible hobby to pursue. Tools required were just albums and used stamps saved by family and friends. However, stamp collecting does not seem to have maintained its popularity with children and posting is a losing business in the internet era, only making stamps more valuable.

Coins and tokens are the most favoured, perhaps because they bring the added interests through sporting and historical events, such as WWI and WWII, Olympic and Commonwealth Games, and the opening of iconic structures such as the Sydney Harbour Bridge or Brisbane’s Story Bridge.

NEW COLLECTING FOR KIDS So, what else could take their fancy, that is relatively easy to find and fairly inexpensive?

Whatever they choose will be a terrific way for them to appreciate the complete art of collecting, from a wanting and funding perspective through to display and sharing.

There are a number of items that could suit, some for boys, some for girls, some which suit different age groups and some that

are universal. Of course, many of these are already on the lists of ‘grown up’ collectors – what a family affair it could become. The following are collections that could spike the interest of even relatively young children.

• Die cast models • Coins • Medals and tokens • Banknotes • Comics • Books, e.g. Annuals, Enid Blyton

• Dolls & teddy bears • Doll houses and furniture • Postcards • Trade cards • Old board games • Vintage toys

Older children may already collect some of these yet they might like to vary the style of their collections. Vintage handheld computer games, old Sega and Nintendo games and even the 80s Walkman radios can be cool collectables as they are technology, even if antiquated from their teen perspectives.

Perhaps decorator items for teen bedrooms are a new collecting perspective – think movie or action figure prints, posters and signs, soft furnishings or funky furniture (e.g. shabby chic). Teens are ready for anything, so try introducing these collectables: • Retro or vintage clothing • Costume jewellery • Car memorabilia – badges, old magazines, prints • Cameras, particularly the more basic models such as the box camera, 35 mm and SLRs Each suggested area offers opportunities to start at the ground floor with very inexpensive available varieties. Of course, many such interests can lead to rarer more expensive items. A number of these suggestions don’t need any specific equipment for storage or display but even those that do can be accommodated without too much cost involved.

The internet is a valuable tool which nearly all children love to use so it is another great way for the young collector to research the collection of their choice. Encourage using the local library for reference books on a wide range of antiques and collectables. We have found that reference books not held at local libraries can be ordered in from the Queensland State Library.

As with adults, not all children will embrace collecting as an interest. Perhaps this article provides inspiration to encourage them

Bayside is located in the scenic Redlands at 162 Bloomfield Street Cleveland, and is a 30minute drive from Brisbane City. It is a short flat walk from Cleveland Railway Station and the bus stops at the door. There is ample parking, both onsite and on the street.

We are open 7 days a week, 10 am to 5 pm.

The centre’s spacious layout ensures access for wheelchairs, motorised scooters, walkers and prams. Relax and enjoy a complimentary cuppa. Well-behaved pets are also welcome to visit with their owners. Our staff combines many years of experience and our aim is to assist wherever possible and provide a relaxing and friendly atmosphere for our customers.

With over 30 shop spaces, our dealers bring together a wonderful array of antiques, collectables and old wares, as well as each dealer bringing a different perspective to the centre and constantly refreshing and adding

ANNUAL OPEN NIGHT

WE ARE ON THE NET Check out our website and visit us on Facebook for a glimpse of what the centre has to offer. Remember to Like Us on Facebook to keep updated with information and photos of new stock.

Rob & Di Metcalfe BAYSIDE ANTIQUE & COLLECTABLES CENTRE

07 3821 0936 baysideantique@optusnet.com.au www.baysideantiqueandcollectablescentre.com

Over 30 shop spaces catering for a wide range of antiques, collectables and old wares, including furniture, ceramics, glass, silver, decorative arts, jewellery, books, coins, medals, ephemera, art, toys, photographics, militaria, tools and much more. Includes a mezzanine floor dedicated to vintage, retro, pre-loved and labels fashions and accessories.

BAYSIDE ANTIQUE & COLLECTABLES CENTRE 162 Bloomfield Street, Cleveland Queensland 4163 (UBD map 185 p.18) Open 7 days 10 am - 5 pm • Ph: 07 3821 0936 • Mobile: 0419 671 279 • Find us on Facebook • Email: baysideantique@optusnet.com.au • www.baysideantiqueandcollectablescentre.com • On site and street parking • Approx. 30 mins from Brisbane CBD • Complimentary tea and coffee • Easy access for wheelchairs, mobility scooters, prams • Dealer enquiries welcome re spaces and cabinets

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ANTIQUES & ART IN QUEENSLAND

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Paddington Antique Centre

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The New Commercial Road Antiques

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Brisbane Antique Emporium

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Woolloongabba Antique Centre

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Bayside Antique & Collectables Centre

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Ba-Ta-Clan Antiques et Salon de Cafe

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

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

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

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

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

11 Logan Road Woolloongabba Tues-Fri 10 am to 5 pm - Sat & Sun 9 am to 4 pm Closed Monday P: 07 3891 5572 F: 07 3891 5573 Mob: 0412 657 059

The NEW Commercial Road Antiques

A hot trend for interior design industrial furniture at Harrington Antiques

H

arrington’s are pleased to announce the arrival of a container of French industrial furniture, one of the hottest trends in interior design. We have tables, chairs and stools to mention a few items in high demand.

Industrial furniture even hit the small screen this year with the eye-catching dining table chosen by Katrina and Amie, the renovating sisters on The Block. Their dining table imported from Holland has a distressed timber top mounted on a bolted steel frame, with large casters underneath: the whole table can be wheeled outside. It stamped their bold and dramatic, yet stylish aesthetic on their dining room.

French industrial furniture is a meld of rustic materials such as aged timber, sheet steel and cast iron with exposed castors, rivets, nuts and bolts. The style is an echo of the industrial world that emerged after both 20th century world wars to embrace modern manufacturing industries, from the 1920s to the 1960s.

The furniture is extremely practical and solid, and guaranteed to slot into a modern décor. Having a vintage look, such items were made to be used and enjoyed for a long time.

Each gives its individual touch of warmth.

Pieces are often made from recycled objects – fitting Harrington’s 21st century philosophy.

We have sourced a shipment of industrial furniture. Made from quality components, buyers will find the items surprisingly

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affordable. To better appreciate the design aesthetic, come and view the French industrial design pieces on show and available for purchase in our shop.

Sharyn Semmens HARRINGTON’S 07 3891 3880 www.harringtonantiques.com

BA-TA-CLAN ANTIQUES ET SALON DE CAFE

BRISBANE ANTIQUES & ART IN QUEENSLAND

Set of walnut balloon back chairs

Pair matching marble top commodes, circa 1920s

A restorer’s diary s one gets older, a sense of perspective starts to develop about what you – as an experienced worker in the antique restoration and one-off furniture manufacturing industry – see on a weekly basis. We restore many different items and with this article, I have chosen a variety of images that reflect the general work that passes through our workshop today.

A matching pair of marble top commodes was made in the USA in the 1920s. All the veneers were lifting, the inlays were in a state of bad repair, and the ormolu mounts needed replating. Two pieces of furniture that needed to be saved for another era.

A Biedermeier coffee table, circa 1830, came to us after it had been badly restored in the USA. There were massive cracks and lifting veneer on the top, and the base had been repaired with a modern epoxy adhesive.

A set of walnut, balloon back chairs. The client had just two left after the grandfather

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took the others to the dump because they gradually fell apart. Two were original and four purchased for a second hand dealer.

Chairs of this era usually had the back upholstered, and the four had been reupholstered several times, showing thousands of tack marks that had been added in the last 160 years.

When this rosewood and inlay cabinet was presented to us, it was so bad that we had to ask, is this economic to restore? The client thought it was. All the inlay was loose and some of it was missing. At the end of the exercise, the client was ecstatic.

An Art Deco half-round table that arrived in our shop painted white is now a great example of what was produced in that time.

Biedermeier coffee table, circa 1830

Art Deco semi-circular table

Manfred McIntyre MANFRED MCINTYRE 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 Mirror backed sideboard, circa 1900

4/272 NEWMARKET ROAD 53

BRISBANE ANTIQUES & ART IN QUEENSLAND

Beautiful rugs deserve the best care C “ areful maintenance of your rugs is essential. At RugWash we are experienced in this work and encourage discussion to reach a clear understanding of what can be expected to keep your rugs in the best possible condition.

CHOOSING A RUG CLEANER ISN’T EASY Whether you bought a rug, kilim or carpet for decorative, practical or investment purposes, cleaning begins with finding the right rug cleaning company. At RugWash we all share a common love for the pieces of woven art that clients bring through our doors.

Weavers have spent months and sometimes years to weave that rug that you have placed

in your home, so we continually hone our skills and knowledge to ensure that we provide the very best services to protect these textiles. We are regarded nationally as one of the premier rug cleaning and repairing facilities in the country.

At RugWash, cleaning a hand-woven rug is a multi-step process from vacuuming, to washing and drying. Care is taken in every step to ensure your investment is maintained and your rug is brought back to its original beauty. As not all rugs are woven identically, different weaves and dyes require custom cleaning techniques – but sadly, not all rug cleaners know these important differences.

We recommend having your rugs professionally cleaned by an experienced rug cleaner.

KEEP IT CLEAN!

The best way to keep a rug clean is to keep it from getting dirty in the first place. If everyone removes outdoor shoes when entering the house, as people do in most rugweaving countries, it will save your rugs from most dirt, provided this practice accords with your lifestyle. Bare-foot or sock-foot traffic is much gentler to a rug than a hard outdoorshoe sole or spiked heels.

Have your rug cleaned only when really necessary. Rugs in main areas may need a yearly cleaning. Rugs in other areas can wait several years for professional cleaning. To judge how dirty a rug is, pick up a corner and while holding it, kick the back of the rug sharply. If a cloud of dirt flies out of the pile, the rug is dirty and is begging for a good cleaning. Take heart, some loose dust and wool fibres are normal.

RugWash offers a pickup and delivery service throughout the Brisbane metropolitan area. We are open every Saturday morning from 8:30 to 11:30 am for convenient drop off and pick up of your rugs.

REPAIRS AND RESTORATION Est. 1957

• Immaculate traditional rug washing • Expert repairs • Restoration • Conservation • Custom cut non-slip underlay • Moth repellent

Rugs often lead a very tough life. Pets, insects, flower pots and the wear of daily use all take their toll. There are always times when something has to be done to maintain your rugs.

Many different stabilisation, repair and restoration techniques are available to treat these weavings done by hand. Likewise it requires skill, experience and the right materials to repair and restore your rugs.

• Holes and damage can be rewoven with nearly undetectable results, or simply sewn to prevent further loss • Fringe repair and edge repair is one of our frequent minor repairs • Worn areas can be restored, though extensive overall wear can be cost-prohibitive to treat.

Good results require materials with the closest match of colour, fibre, and spin. We dye the majority of our materials ourselves, using both synthetic and natural dyes. Yarns are spun, or re-spun to provide the best match.

As not all rugs are woven identically, different weaves and dyes require custom cleaning techniques

” STORAGE TIPS The first and most important piece of storage advice is to always store rugs clean. Have them washed properly and then prepared for storage. We highly recommend applying our moth-repelling agent which makes the wool less appetising by changing the taste of the wool.

Otherwise there’s a chance you’ll wrap hungry little rug-snacking insects in with your rug in a nice protected environment, and a year or more later when you open it up again you could be in for an ugly and expensive surprise.

It is so important that each rug be wrapped in material that allows air to pass through, but nothing else. Cotton or linen is recommended.

Avoid plastic at all costs.

With changes in the weather, moisture must not be allowed to become trapped inside air-tight plastic wrapping. The results will be a mould problem, that will likely next become dry-rot and finally, you may find irreversible damage to your rug.

It is important that the integrity of the package is intact. Avoid storing wrapped rugs directly on a floor. Always keep them elevated, at least on a very low shelf or rack to allow better access to air circulation. Should there be a flood or unnoticed leak, this elevation will keep your rug sitting above a puddle, avoiding the risks of slowly absorbing water.

Finally, it is wise to open your wrapped rugs once a year or so, just to enjoy a look and to run a vacuum over them. Check both the front and back sides. You don’t need to have them re-washed.

Unit 24-315 Archerfield Road, Richlands Qld 4077

Phone: 07 3375 9896 Email: stephen@rugwashqueensland.com.au www.rugwashqueensland.com.au

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Stephen Muncey RUGWASH QUEENSLAND 07 3375 9896 stephen@rugwashqueensland.com.au www.rugwashqueensland.com.au

ANTIQUES & ART IN QUEENSLAND

DAZE

GONE BY OF GYMPIE

Just arrived: kitchen dresser with kookaburra carvings to doors • silky oak dressing table and wardrobe • cedar dressing table and matching demi lune table • plate cameras • magic lantern • crystal kero lamp with original shade.

Plus constantly changing range of china, collectables and desirable objects all at prices that please.

See the website www.dazegoneby.com.au for a small selection of our stock

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

Australis of Montville Antiques

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

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

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

MANSON FRAMERS MFG PTY LTD

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

07 3396 4251

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KIMBELL ANTIQUES 184 Mooloolaba Road Buderim QLD 4556

07 5445 4033

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55

BIRKDALE ANTIQUES & ART IN QUEENSLAND

Celebrating 50 years as a silversmith and jeweller with

F.J.Mole Silversmiths O

WHAT WAS F.J.MOLE LIKE THEN?

n 12 February 2012 Kevin Eager will celebrate 50 years since the day he commenced his apprenticeship as a silversmith and jeweller with F.J.Mole Silversmiths. Kevin talks about his career as a silversmith.

HOW DID YOU GET YOUR JOB AS A SILVERSMITH? I finished year 10 at Cavendish Road State High School at the end of 1961 and I initially wanted to be an electrician like my older brother, but places were scarce. Our Dad was the minister at Hawthorne Church of Christ where a lady told him that her husband would take me on as an apprentice silversmith if I was interested. I started the following Monday and after three months’ probation I was signed up as an apprentice.

Christening cup produced to order by F.J.Mole

Mr Mole had retired, but still came in every now and then to visit. I can recall him being interested in what I was doing – he would spend the morning chatting to us in the workshop and telling us about his working life.

I was indentured to Johnny Ketelaar, who had himself been one of Mr Mole’s apprentices.

The workshop in those days was all beltdriven with one large motor powering the overhead belts that ran the lathes and other machinery. The building was two stories, located in Stanley Street at Mater Hill.

WHICH WERE THE MOST MEMORABLE JOBS? From a manufacturing point of view I have really enjoyed making trophies. In 1963, I made my first Doomben Cup – it was 9 carat gold, hand-raised from a flat sheet. From memory it took over 70 hours, a lot more than the 30 hours when I made my last one in the early 1990s.

I made the Brisbane Winfield Cup and the replica trophies. The original cup is currently in the National Museum of Australia in Canberra as part of the Rugby League exhibit – something I’m very proud of.

Over the years I’ve either made or repaired sporting trophies for nearly every sport, getting opportunities to meet many of the trophy recipients. We also were called upon for many ‘rescue missions’ where major trophies were damaged during the victory celebrations and needed urgent attention.

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 HAVE MOVED TO BIRKDALE Free Pickup and Delivery throughout Brisbane and on the Coast

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

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

56

Doomben Cup made 1963

Another memorable job was some ceremonial drums for the Royal Australian Navy, supplying the drum barrels in sterling silver. Because of their size, we had to send them out for rolling, and I then had to solder them together and polish them. At the time a guard was posted to provide security and we were sworn to secrecy because of the cost of the silver.

REMEMBERING SOME OF THE GOOD WORKING RELATIONSHIPS WITH OTHER COMPANIES When we were making brass candlesticks and vases for churches we would get Wilson Waratah Foundry over at Norman Park to do our castings. Those were the days when we would order a dozen of each size base and receive them back within the week.

When we made chalices and other church silver or gold, Pratt and Sons made the boxes for us. We still have a couple of boxes which they would have made in the 1960s – wonderful quality that is almost a lost art today.

Arthy’s the engravers did all our engraving.

This was an important part of the final production of most trophies and church silver and we would design the work to be engraved and send the sketch of this with the job to be engraved. They were hand engravers and produced very artistic finishing touches to the work we were doing.

Whilst we always did our own gold plating, we would send most of our silver plating to S. Cook and Sons. When I broke my collar bone playing rugby league during my apprenticeship I was given the job each day to travel over to Cook’s by tram with jobs for them to plate and would then bring back any repairs they had.

Elvin Harvey was another one we worked with. He had founded Harvey Bros with his brother George and their firm had become an icon in Brisbane for furniture manufacture.

Harvey Bros made all of the timber plinths for our trophies as well as shields. Elvin had been one of my teachers at college where he taught modelling and carving. When they were commissioned to make a grandfather clock for the wedding of the Prince and Princess of Wales we made the brass fittings for the clock case. Mr Mole and Lewis Harvey had been friends and this had established a relationship that continued until Harvey Bros closed in the 1990s.

by the time I became the full owner of the business in 1977 manufacturing was less than 50 per cent of our work. Repairs to antiques were becoming the mainstay of the business, to a point where today we do very little manufacturing work.

I still enjoy making things – a sterling silver ciborium we made last year was a good chance to exercise my skills and to teach others the techniques involved. At the same time, the last 40 or so years have been spent restoring everything from brass beds to sterling tea sets, and I’ve enjoyed using my skills in a whole new area.

IN A FEW MONTHS TIME YOU’LL CELEBRATE 50 YEARS WITH F.J.MOLE. WHAT ARE YOUR PLANS FOR THE FUTURE? When you’ve been doing something like this for so long it becomes more than a job, it is a passion that I can’t imagine ever walking away from. We have a wonderful variety of work and this keeps me interested. I’ll probably start working shorter days, but I’ll certainly continue for as long as I can.

I enjoy the work, the customers, and the chance to exercise the skills I started learning 50 years ago.

Kevin Eager and David Bissett Silversmiths and Platers F.J.MOLE – SILVERSMITHS 07 3899 8383 / 0403 052 402 please ring before visiting sales@silversmithsandplaters.com.au www.silversmithsandplaters.com.au

WHAT ARE THE MAJOR CHANGES YOU HAVE SEEN OVER THE YEARS? When I commenced my apprenticeship I would say that 95 per cent of my time was spent manufacturing church wares. By the end of the 1960s this was rapidly decreasing, and

Kevin Eager at work

KILKIVAN ANTIQUES & ART IN QUEENSLAND

Make a visit to the

K

ilkivan Fine Arts and Antiques at Kilkivan in the South Burnett region invite you to visit and browse our wide variety of quality stock. Start visiting Kilkivan this summer for good finds and no doubt, repeat antiquing trips.

CERAMICS AND PORCELAIN Here you’ll find an extensive range of fine china.

Many items of Shelley, Royal Doulton, Maling, Wedgwood, Royal Worcester and Carltonware are among the many makers in stock. If you are looking for a specific piece or pattern, call us to assist your search. We specialise in Mary Gregory, Moorcroft, signed Royal Worcester pieces, Gouda and Beswick animals.

ESTATE JEWELLERY Maybe you are looking for estate jewellery?

Browse and try on the many rings, necklaces,

South Burnett region

earrings and brooches in our stock – take your time to find the right look and fit for a lifetime purchase.

FURNITURE FOR ALL SETTINGS If furniture is on your list, we carry an extensive range for all rooms including wardrobes, dining suites, lounge suites, chest of drawers, washstands and hall stands.

Open from Thursday to Sunday, between 10 am and 5 pm, we welcome your visit. If you are unable to visit us or have an inquiry, please don’t hesitate to phone or email us so we can help you. We can arrange for items to be posted anywhere.

KILKIVAN FINE ARTS AND ANTIQUES 07 5484 1602 info@kfaa.com.au www.kfaa.com.au

CONTEMPORARY ART Original art is plentiful, including works by Robert Dickinson, D’Arcy Doyle, Pro Hart, David Boyd and Tracey Keller just to name a few. We also have many paintings by Albert Namatjira, Oscar Namatjira, Harold Lankin and others. We have a wide stock of limited edition prints, featuring a representative collection by Norman Lindsay.

“

Start visiting Kilkivan this summer for good finds and no doubt, repeat antiquing trips.

”

OPEN Thursday to Sunday 10 am to 5 pm WE WOULD LIKE TO WISH ALL OUR CUSTOMERS, PAST AND PRESENT,

A very happy Christmas & a prosperous New Year 6 Bligh Street, Kilkivan, Queensland 4600 Ph: 07 5484 1602 Fax: 07 5484 1603 Email: info@kfaa.com.au Website: www.kfaa.com.au

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 Please ring first

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

www.saltsantiques.com

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

Fantastic art deco 8 piece oak dining suite + matching fully fitted cocktail cabinet

100 + clocks to choose from including over 20 grandfather clocks

Fine quality Spanish mahogany 6 piece dining suite

Good choice of polyphones & music boxes

Are antiques for investment?

An antique dealer’s opinion

R

ecently as a retailer I have heard far too often the woeful tales of how couples, who have worked all their lives and saved for their retirement, have lost much of their nest egg due to stocks slumping etc.

There is little one can do after the fact.

A different approach to gaining ongoing financial security might be to invest in antiques. I enjoy the pleasure of having my money secured in antiques and have done well out of the process. Antiques are investments for at least four reasons: • You have the endless pleasure from their aesthetic presence • Their quality handmade construction ensures lasting value from a purchase • You also gain much practicality from the use of them in your home, and • Finally, they appreciate in value.

Remember, everyone needs furniture – even the diehard minimalists need tables, chairs, cupboards and chests. So, if you must have furniture (and you do) why not enjoy having antiques?

The antique is versatile. It offers a quality of workmanship that cannot be purchased in new furniture, all too often factory-manufactured from inferior synthetic particle board and other substitutes for genuine workmanship.

The antique adds elegance with a range of designs from over the centuries. Just to name a few they include Jacobean Revival (that’s your barley twist and cock-beading), Art Nouveau (gentle flowing lines, often inspired

58

Left to right: Roll top desk with field panels George II carved oak bureau Victorian carved oak bookcase

by nature), Victorian includes your colonial heritage and parlour grandeur, while Art Deco’s rounded lines and square edges are the 1918-1939 modern style that continues to inspire artists and architects today.

Looking around our stock, I first suggest a George II carved oak bureau as a good investment piece. The massive Victorian carved oak bookcase is a sound investment as well as a very practical purchase. A good quality roll top desk with field panels is a pleasure to own and use.

No room for a large Victorian mahogany mirror back sideboard? That’s ok; there is a myriad of other antique articles to select. A close friend has done very nicely financially by collecting clocks, barometers, music boxes and polyphones. No, he does not have 30 clocks all chiming at once! What he has is the security of owning possessions that he could sell if he wished to realise their cash value.

These articles give him a solid low risk investment.

BUY QUALITY OVER QUANTITY If I may offer my opinion on buying antiques for investment, I suggest that you always buy quality over quantity. My reasoning for this suggestion is that there are always other people who can identify that your piece is a top shelf article or a one-off. These two factors denote the hardest and rarest pieces to find that are then the fastest to sell.

Another point I would like to make is that you should always buy articles that please you because not only do you enjoy an investment increase, but you also have satisfaction from ownership and joy of displaying.

Note that I am not saying that you can buy an antique today and make a profit by lunchtime tomorrow (unless you have a good eye for rarities). I am suggesting that antiques offer a solid alternative investment that can be purchased in relatively small increments to build an impressive portfolio of tangible

stock. They cannot vanish in one flutter on the stock market.

Throughout history people have always valued artistic expression in objects and artworks. Today articles of an antique pedigree fill stately homes and museums. All such pieces have always appreciated in price, without exceptions.

So why not try a little antiquing as a retail option? I‘m sure you could catch the bug and who knows, make a good investment along the way.

Happy hunting!

Roger Salt SALTS ANTIQUES CROWS NEST 07 4698 1266 / 0438 469 812 www.saltsantiques.com.au

TOOWOOMBA ANTIQUES & ART IN QUEENSLAND

Lancaster’s Toowoomba Antique Centre 17 years old and going strong L

ancaster’s Toowoomba Antique Centre is now celebrating its 17th anniversary. Located in Queensland’s garden city, nestled on the Great Dividing Range, Toowoomba is one of Australia’s leading centres for antiques and is home to more than a dozen antique shops.

Lancaster’s Antique Centre is a must see when visiting the Darling Downs. After 17 years of trading from their Railway Street address, Lancaster’s has never been more progressive.

The Christison family have owned and operated the antique centre since June 2002 when Jan and Barrie purchased the business from Graham and Gary Lancaster, the original owners who traded for the first five years.

Since then, Jan and Barrie’s daughter, Sharon, and her team have successfully managed and orchestrated the workings of this bustling centre.

Located opposite the historic Toowoomba Railway Station, it is easily reached from Brisbane or the Gold Coast, both less than an hour and a half away. Lancaster’s has certainly come of age and is regarded as one of the leading Australian antique centres with fourteen dealers displaying their wares; a showcase for the best of what southeast Queensland has to offer.

Toowoomba, the gateway to the golden west, has always boasted a relatively large and wealthy population. This is reflected in the quality antiques and

collectables this city continually yields.

Whether you are looking for Australian furniture, cedar, pine or silky oak, or even that one-off piece in English oak or mahogany – Lancaster’s always has an excellent range to choose from. But the real ‘jewel in the crown’ of this centre is the myriad of showcases and cabinets housing thousands of small antiques and collectables. There is fine china, quality glassware, jewellery, sewing paraphernalia, blokey stuff, metal ware, coins, medals, militaria, books, ephemera, toys, dolls, teddies, pottery, the list goes on.

Whether you are an established collector, a beginner or just a browser, you are sure to enjoy the enormous range. There is a definite

leaning to Australian and locally found pieces, a trend that has emerged and replaced the shiploads of antiques imported in the 1980s and 1990s.

Lancaster’s is always buying and paying top prices for antiques and collectables. Whether you are a local or a visitor to Toowoomba, appraisals and valuations are most welcome.

Lancaster’s is open seven days a week, 10 am to 5 pm. Come and enjoy the huge range and fantastic display.

LANCASTER’S TOOWOOMBA ANTIQUE CENTRE 07 4632 1830

Lancaster’s

TO OWO O M B A

ANTIQUE

CENTRE

Australiana, Books, Collectables, Dolls, Ephemera, Furniture, Glassware, Hatpins, Inkwells, Jewellery, Kitchenalia, Linen, Metalware, Noritake, Oriental, Pears prints, Qld pottery, Royalty ware, Shelley, Toys, Unique pieces, Venetian glass, Wembley Ware, Xylonite,Yo-yos and Zithers

L

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

59

TOOWOOMBA ANTIQUES & ART IN QUEENSLAND

Faith and Freedom design

Lots of designs

Victorian lady design

Above: Porcelain numbering Below: Short squat blue porcelains

The magic and beauty of

brass bed porcelains I

ron beds were new inventions in the early 1800s and in time artisans introduced brass to their original iron designs. Gradually designs became grander by adding porcelain, mirror and mother-of-pearl decorative features.

Almost 200 years later they still capture the heart and imagination of many.

In the years since they have been recreated and reproduced but whilst there have been good quality reproductions, they will never meet the quality of hand workmanship of the original brass and iron beds from the pre 1930s.

The invention of the internet has opened a vast amount of information to help us research

TIMELESS

Antiques

Mark & Lynne Bennett Specialists in Original Brass Bed Restorations

almost anything, including brass beds.

However, we are always concerned of claims to being antique against modern reproductions. To earn the title of antique, technically the item needs to be over 100 years old. However items from 1930s/1940s appear as such.

BUYER BEWARE Our particular concern is the resale of the decorative brass bed porcelains. Many a time we have seen cheap reproductions being described as beautiful antique brass bed china pieces or porcelains and many unsuspecting buyers have purchased under the belief this is true. On several occasions we have contacted the seller advising them of their mistake and they have amended, advising us they were also of the belief these were original porcelains.

IDENTIFYING ORIGINAL BRASS BED PORCELAINS

Phone: 07 4633 1195 Mobile: 0412 071 160 117-119 McDougall St Toowoomba QLD 4350

Whilst there are many convincing reproductions of almost everything these days, there is a vast and obvious difference when comparing original porcelains to reproductions.

The main difference is the weight of the porcelain. Original porcelains were solid with only a round hole measuring approximately 16 mm through the centre for the threaded rod to be fed through. Then brass/nickel porcelain holders were placed on either end before being fitted into the brass bed. In comparison, cheaper reproductions are lightweight and have a very thin ceramic frame with a very large centre cavity hole.

Email: timeantq@bigpond.net.au www.timelessantiques.com.au

Taking care of furniture for generations of tomorrow Brass bed centres

60

Next is the way they were decorated.

Original porcelains were hand-painted and often you are able to feel the raised surface where colour areas have been highlighted by accentuating the paint colour and one of the best signs is that each porcelain had a serial number painted on the bottom of each one.

Whereas reproduction usually have a mass produced decal style picture.

Our knowledge has been gained over 30 years of specialising in antique brass beds and our exposure to all types of brass beds in all types of conditions. We have seen dozens of original porcelains in all shapes, and sizes. From odd singles to complete sets; the variety of colours and patterns is a joyful part of the trade. They are part of what makes an original antique porcelain bed – a beautiful family heirloom.

We would like to be able to catalogue as many of these porcelain bed features as we can, but a picture paints a thousand words, so we will let the accompanying photo images tell their own story. We would love to have readers email us with photos of their own porcelain or medallion centre, together with a photograph of the top or bottom with the number. This will then help us to collate all the threads of information and write another article based on what we receive.

We look forward to receiving your emailed comments soon and making this article interactive collaboration.

Mark and Lynne Bennett TIMELESS ANTIQUES 07 4633 1195 / 0412 071 160 timeantq@bigpond.net.au www.timelessantiques.com.au

TOOWOOMBA ANTIQUES & ART IN QUEENSLAND

Our Annual ‘BLOKEY’

AUCTION (Toowoomba Car Swap Weekend) Sunday 5th February 2012

FEATURING: The Ray & Eileen Park Collection (Perth WA)

Garagenalia, Enamel Signs, Tins Cow Bells, Railway Memorabilia Cast Iron, Kitchenalia, Pedal Cars Toys and much more

QUALITY ENTRIES STILL INVITED Auctioneer

Graham Lancaster Auctions 3 Railway Street TOOWOOMBA QLD 4350

Ph: 0418 730 904 Fax: 07 4613 1111

E: info@gdlauctions.com Colour catalogues $10 each (Cheques payable to G. Lancaster)

View our online catalogue from early January 2012 www.gdlauctions.com.au

61

TOOWOOMBA ANTIQUES & ART IN QUEENSLAND

Norman Lindsay, Benevolence, c. 1934, watercolour

Christian Morrow, Engineering and Grace, 110 x 79 cm

Autumn weekend art show at

Toowoomba Grammar School 24 - 25 March 2012

TOM MCAULAY’S ICONIC AUSTRALIAN ART

‘Those Magnificent Men and their Flying Machines’ sets the theme for the 2012 Toowoomba Grammar School Art Show, featuring artist Christian Morrow.

The son of an aviation engineer, Morrow grew up surrounded by all things aeronautical and his continued fascination with flying machines is captured in his loose, yet detailed depictions, often featuring classic War Birds.

Interestingly, his paintings often include notes that were written by pilots who flew the original planes.

Iconic Australian artist, Tom McAulay will include some of his visually captivating and evocative works that capture the essence of Australia – his works are in public and private collections in Australia and overseas. In August 2011 the School held a very successful one-day exhibition of McAulay works, attracting considerable buyer interest.

In addition to Morrow and McAulay, there will be 40 new artists bringing an exciting range of genres, topics and talent to the Autumn Weekend Art Show. Works by over 200 artists totalling 600 pieces include talented

emerging artists, sought-after investment art and awe-inspiring Indigenous art. Prices start as low as $80, up to six-figure masterpieces.

NORMAN LINDSAY SHOWCASE One of the highly anticipated features of the investment art section will be original watercolours by Norman Lindsay (18791969), the legendary painter of the female form. These rare watercolours are in pristine condition, painted during the 1920s and 1930s, the period in which Lindsay created his best watercolours.

FLYING MACHINES Complementing Morrow’s art is an exciting range of raffle prizes including flights in two magnificent War Birds, a helicopter or a black hawk helicopter simulator.

‘We thought this was a great theme for the art show since Toowoomba Grammar School is a boys’ school, and many boys tend to have a natural fascination with aviation,’ said Mr Peter Hauser, Headmaster of Toowoomba Grammar School.

Christian Morrow, Salvation, 90 x 85 cm

HEADMASTER’S WELCOME ‘It is my pleasure to invite you to plan an enjoyable autumn weekend in Toowoomba over 24 and 25 March next year,’ said Mr Hauser.

‘Toowoomba is increasingly attracting a great range of fine coffee shops, restaurants, boutique shops of fashion, antiques and home décor. Each year, we aim to make the art show better with new and exciting artists, making it an ideal opportunity to view the works of 200 artists from around the country under one roof.’

Autumn Weekend Art Show TOOWOOMBA GRAMMAR SCHOOL 07 4687 2500 tgs@twgs.qld.edu.au www.twgs.qld.edu.au

HIGH TEA High Tea was introduced at the 2010 show and was very successful. We will be serving High Tea on Saturday 24 and Sunday 25 March. This is extremely popular and requires advance bookings so as not to be left out.

Tickets are $35.

OPENING NIGHT Opening night is a major calendar date for Darling Downs art supporters, with Brisbanites eager to mingle with local art lovers. The 23 March opening night is a ticketed event, costing $55.

Tickets to the exclusive 23 March opening night and High Tea on 24 and 25 March will be available for purchase from 1 February.

Please note that bookings are essential.

Enjoy the special High Tea experience

Opening night, 2011 Autumn Weekend Art Show at Toowoomba Grammar School

62

IPSWICH ANTIQUES & ART IN QUEENSLAND

the photography of Richard Green 26 Nov 2011 – 29 Jan 2012 Nicholas St | Ipswich CBD Qld 4305 | www.ipswichartgallery.qld.gov.au FREE ENTRY | Open 7 Days 10am-5pm (closed 24 Dec - 2 Jan inclusive)

Richard Green Gnarled skeletons, Sturt Stony Desert, SA 2006

Remote and Wild at the Ipswich Art Gallery 26 November 2011 – 29 January 2012

P

ilot and photographer Richard Green has used his private helicopter to explore Australia’s wildest places to capture the untouched, majestic beauty of nature for over 20 years. Many of his exquisite images will soon go on display at the Ipswich Art Gallery in the dynamic exhibition, Remote & Wild: the photography of Richard Green.

The exhibition comprises over 20 largescale photographs – some are panoramas over four metres in length – many on public display for the first time. It includes imagery from the wide open skies of the Central Desert to the heat-scorched Top End and the wind-stripped Tasmanian wilderness.

Richard’s images are a powerful testament to the timelessness of the environment. Together, they create a very humbling reminder of the raw, majestic splendour of nature.

Having built a reputation as one of Australia’s most sought-after landscape photographers, Richard has held four solo shows during the last four years and his works are on permanent display at the Australian Museum in Sydney. In 2008, Richard’s solo photographic exhibition at the National Library of Australia in Canberra attracted more than 30,000 visitors.

Richard has been flying his helicopter across Australia to photograph the most remote parts of the continent since the 1980s. Most of the destinations he visits are not accessible even by four-wheel drive vehicles, and many have never previously been photographed.

Richard Green, Myrtle & Pandani, photograph

A scientist by training, Richard uses the latest photographic technology to produced dramatic large format, highly detailed panoramic photographs. Along with his wife Carolyn, he has flown across Australia more than 30 times, covering in excess of a quarter of a million kilometres.

Behind the raw beauty of Richard’s photos, however, is a serious message. Richard is hopeful that the popularity of his images will contribute to environmental awareness. An active conservationist, he is passionate about the politics of climate change and commercialisation.

‘I’d like to think my images may help convince politicians and the public that the environment’s protection is key to our continued existence on the planet. It is clear to us that if significant changes are not made, in years to come my images will no longer be a celebration of what exists, but a record of the magnificent wilderness that once was.

Richard Green, Fiery Sky (Watarrka National Park, NT), photograph

Protection of our unspoiled and irreplaceable landscapes is vital,’ says Richard Green.

His photos are on show at the Ipswich Art Gallery from Saturday 26 November 2011 until Sunday 29 January 2012. The show is open daily from 10 am to 5 pm, except for Christmas closure from 24 December to 2 January inclusive.

ACCOMPANYING PUBLICATION The Gallery Shop will stock and sell copies of Richard’s stunning publication REMOTE & WILD - Seeking the unknown Australia. His book has received wide acclaim from the public and critics, and will be a spectacular memento of a visit to this exhibition. His book would also make a perfect gift for the wilderness-lover in your life.

PUBLIC PROGRAMS Richard will present a public lecture on Sunday 27 November of the opening weekend.

He will describe the heli-camping lifestyle that he and his wife have perfected in order to capture these photographs. Richard will also explore the photographic techniques he has developed in order to create these very large and stunning panoramas.

For these and other event details, check the gallery’s website www.ipswichartgallery.qld.gov.au/exhibitions.

Ipswich Art Gallery is open 7 days a week from 10 am to 5 pm (closed 24 December to 2 January inclusive). Entry is free.

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

63

NEW SOUTH WALES ANTIQUES & ART IN QUEENSLAND

The Art Gilding Academy The only place in the world where you can learn professional gilding in just two weeks

A SPECIAL PROJECT: GILDING AN ICON SCREEN AND THREE ALTARS AT ST NEKTARIOS CHURCH IN WOLLONGONG

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rt Gilding Australia was approached

by Fr Savas Pizanias of a Greek Orthodox Church in the heart of Wollongong NSW (65 km south of Sydney).

The St Nektarios Church was established in the late 1960s with the dedicated efforts of the local Greek community.

This commission came close after the recent success of Art Gilding Australia’s frame restoration at the St Joseph’s Boys College. We again invited our Master Class student, Ana, to accompany us on the Wollongong project.

Our international reputation for renowned

excellence in craftsmanship brought everyone involved, especially the founders of the parish, great joy and satisfaction to see the icon screen and three altars being transformed by gold leafing. This young dynamic priest believes that by creating a beautiful ambience in his church he will be able to attract young people, through marriage and baptism ceremonies, back to this parish.

This is but the most recent of our historical, prestigious and church gilding projects on prominent heritage buildings and prestigious sites that include: Sydney Town Hall (with the largest organ in the Southern Hemisphere), NSW State Parliament House and Legislative Assembly Area, Sydney Mint, Government House Sydney, Admiralty House and many places of worship.

Golden Opportunity Learn gilding the easy way No prior knowledge nessary

MASTER GILDING CLASS Professional course over 9 days straight GOLDEN WEEKEND Sat & Sun 10 am – 4 pm

Only 6 places per class For friendly advice and to check availability Call Brigitte on 02 9310 3007

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

Watch the gilding video on our website

www.artgilding.com.au 64

Brigitte with gilding workshop project

ART GILDING ACADEMY’S NEW FORMAT MASTER GILDING CLASS As many prospective students find it difficult to allocate two whole weeks, full time to complete our Master Gilding Class, we have changed its format. The Master Gilding Class will now run over a nine-day period.

CURRICULUM UNCHANGED The curriculum, which has proven successful over the last 10 years, is not changing. During these nine days, students learn more than they could in a three-year apprenticeship. We provide a relaxed and fun atmosphere and attendees are always like-minded people. After the end of a day’s class there is plenty of time in the evenings to enjoy what beautiful Sydney has to offer with restaurants and entertainment to suit every budget.

For your benefit, classes enrol no more than six students, guaranteeing personal attention.

Completing the Master Gilding training course allows students to add skills to your chosen profession and offers the freedom to build up a business and work from home.

On completion of the professional Master Gilding Class, students receive a certificate.

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

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

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

NEW SOUTH WALES ANTIQUES & ART IN QUEENSLAND

Graeme Base, From the Shadows for the Hope Card

Kris Aro McLeod, Northern California for the Hope Card

Frané Lessac, The Garden

May Gibbs Children’s Literature Trust

Illustrators and writers of children’s books

at the Hughenden

Governor Marie Bashir AC, CVO with Maurice Saxby AM

O

riginal Australian children’s book illustrations by renowned Australian artists were exhibited in The Hughenden Reading Room. Academy Award short film winner for The Lost Thing, Shan Tan is represented with his stylised illustration of the monkey alienated in the modern world. Multi award winning illustrators Donna Rawlings, Nina Rycroft, Coral Tulloch, Frane Lessac, Cathy Wilcox and Steven Woolman are included. A rare etching by Pixie O’Harris (1903-1991) reminds viewers of this much loved artist and her illustrations of fairies and Australian bushland flora and fauna.

The Governor of New South Wales, Professor Marie Bashir AC, CVO was welcomed by authors, illustrators and those involved in children’s literature as Patron of the Children’s Book Council NSW. Speaking at its dinner hosted at The Hughenden, she advocated for children’s literature. Among the literati acknowledged for their contribution to children’s literature were the writer and critic Maurice Saxby AM, Margaret Hamilton AM, former children’s publisher and President of the Children’s Book Council Australia (CBCA) and Susanne Gervay OAM.

THE Hughenden c. 1870s The 19th century Hughenden, is a natural home for children’s literature and illustration as it was the 19th century which saw the emergence of children’s novels and poetry.

Major authors include E Nesbitt, Banjo Paterson, Ethel Turner, Rudyard Kipling, Robert Louis Stevenson, Lewis Carroll and Charles Dickens. In fact in Centennial Parklands, 1888, on Dickens Drive there is one of only two statues in the world of Charles Dickens, opposite The Hughenden.

Associated with Australia’s first philosopher, Barzillai Quaife, it was built by Dr Frederick Quaife who had six children.

The home later became the Riviere College for girls, whose students included Dame Constance Elizabeth D’Arcy (1879-1950) obstetrician and gynaecologist who fought to reduce maternal deaths and Lillian Daphne de Lissa (1885-1967) an educator of young children who directed the first Adelaide free kindergarten, Franklin Street, in a cottage in the city’s slums.

The motto of the Riviere College, ‘The Rewards of Work and Diligence’, is etched in the glass above the entrance of the Riviere wing of The Hughenden alongside memorabilia and original artwork by Australian children’s illustrators Patricia Oktober and Sarah Davis.

Jean Chapman donated her collection of children’s books, such as special Hans Christian Anderson editions, to The Hughenden, on display in the heritage gallery.

One of Australia’s best-loved writers for children, Jean lived in Sydney and studied at the National Art School, starting writing stories for pre-school children for the ABC Kindergarten of the Air. In addition to 25 years as a scriptwriter for ABC children’s radio and television programs, such as Play School, she is widely known for her retelling of traditional stories and collections of stories, poems and songs, including Velvet Paws and Whiskers, Pancakes and Painted Eggs.

EXHIBITIONS and events The Hughenden is home to the Society of Children’s Book Writers and Illustrators (Australia and New Zealand). We host children’s literature and literary events, book launches, international and national literary dinners, publishing, literature and arts conferences, and storytellers’ afternoons.

Another specialty is hosting indigenous Dreamtime days with traditional oral story, drawings and paintings. Dr Garry Darby, a specialist in indigenous art has regular exhibitions of paintings from leading Central and Western Australia Aboriginal artists.

Committed to children’s literature, the Book Menu offers modern titles with all proceeds from sales donated to Room to Read, a charity introducing literacy children in the developing world (www.roomtoread.org), with over five million reached to date.

Children’s authors and illustrators from northern California – Linda Boyden, Angela Dominguez, Kathie Strother-Scholl, Danna

Smith, Zu Vincent and Kris Aro McLeod – sent their words and illustrations in the beautiful Hope Card book to the children of Australia and the Victorian fires. This is sold in the Book Menu along with autographed children’s books.

Books in homes for indigenous and disadvantaged children, The Cancer Council, Relay for Life, Children’s Book Council Australia, The Alannah & Madeline Foundation, MonkeyBaa Theatre for Young People, Starlight, networks of children’s writers and illustrators are part of the fabric of the life of children’s literature at The Hughenden.

Storyteller Anna Conomos

Visitors are welcome to wander through the Victorian lounge and find the portrait of the Victorian girl, discover the Reading Room illustrations, select a book from the Book Menu, purchase autographed children’s books and discover an authentic literary and arts life.

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

Your boutique Sydney escape Buy one night, get one free • LITERARY EVENTS • ART EXHIBITIONS • RESTAURANT, PRIVATE DINING, CONFERENCE & FUNCTION ROOMS

FROM

188

$

PER NIGHT IN A COSY ROOM*

The Hughenden c. 1870, associated with Australia’s first philosopher Barzillai Quaife, is home to literature & the arts. Discover the works of Archibald artist Wendy Sharpe; 1930s Laurent works; c. 1850 painting of the Victorian girl, artist unknown. Jazz & musical evenings, art exhibitions and books are part of Hughenden life. *Not valid Friday and Saturday nights. Valid until 30 November 2011

HUGHENDEN BOUTIQUE HOTEL 14 Queen Street, Woollahra, Sydney

www.thehughenden.com.au 02 9363 4863

Free Call 1800 642 432 65

ANTIQUES & ART IN QUEENSLAND

National Gallery of Australia collection

Lucian Freud (1922-2011), After Cézanne, 1999-2000 T

his year marks the passing of one of the greatest British painters of the 20th century, Lucian Michael Freud OM CH (1922-2011). As a central member of the School of London, Freud was an artist who challenged the dominance of abstraction and painted exclusively in a figurative style. The National Gallery of Australia has one of his most significant late paintings, After Cézanne, 1999-2000, an intriguing and impressive example of the artist’s mature style.

Freud, the grandson of the famous psychoanalyst Sigmund Freud, was born in Berlin. His family moved to Britain in 1933 and later he became a citizen. Freud completed his formal art studies in 1943 and held his first solo exhibition the following year. For most of his life he painted portraits, characterised by their

psychological depth and unflinching emotional honesty.

After Cézanne is an impressive and large painting that took Freud nearly nine months to complete. It stands out as one of the artist’s few deliberately ‘theatrical’ works, where the subjects act out an implied narrative. This story derives in part from the French master Paul Cézanne (1839-906), from whom Freud takes his theme, but is also expressed in the human drama at the centre of the work.

In the 1870s, Cézanne completed a series of small paintings entitled Afternoon in Naples based around a boudoir scene. Freud bought one of these works at auction in 1999 and another is in the National Gallery collection. Both works show two lovers resting on a bed while a maid enters carrying a tray. These pictures are light,

sensual scenes that demonstrate Cézanne’s interest in the classical subject of the nude, and his engagement with masters such as Titian and Manet.

Freud’s After Cézanne translates the French artist’s work on a monumental scale.

While his painting retains the two lovers and a maid, the mood is completely different. At the heart of the painting is a tense moment between the man and woman, who sit on a pile of crumpled sheets.

Although the scene implies an intimate moment, the body language between the two appears strained. She touches him with a look of concern; he turns away, leaning on a block of stairs which seems to lead out of the work – but doesn’t.

Freud applies paint in a thick impasto style. He distinguishes between the male and female bodies in his choice of colours and

technique. The women are softly modelled in a peachy pink palette, while the man is depicted in darker colours accentuated with reds and browns. The rest of the painting is marked by muted tones, with an emphasis on brown and yellow hues.

This scene, like most of Freud’s paintings, is set in his studio. More than a mere backdrop, the studio is a character in the drama. The grungy interior, with its peeling walls and dirty floor boards, adds to the tense atmosphere. The overturned green chair in the foreground mirrors the disorder in the painting, while the cabinet against the back wall suggests enigmatic secrets. Like the figures themselves, Freud makes no effort to ‘romanticise’ the room. He retains the rising damp lines on the back wall, which in this case appears like the silhouette of distant mountains.

One of the most striking aspects of After Cézanne is the unusual shaped canvas. Freud often added sections to his paintings if he felt that it was necessary to complete the work. In this case, a small canvas was joined when he decided to show the maid’s entire body.

Interestingly, Freud did not make the addition the full length across the top. The final work echoes the shape of the block of stairs.

Another significant change was to the maid. She was originally dressed in a gown but was later repainted in the nude. This reworking can be traced in the layers of paint streaks visible around her back. By portraying her in the same manner as the two lovers, the maid is no longer a secondary figure as she was in Cézanne‘s work; instead, she becomes a key player in the drama. Her presence raises additional questions about the complex relationships in the painting. Is she interrupting the scene, or is she entering it? The relationship between the three figures is never articulated.

Lucian Freud’s After Cézanne is a compelling painting with an ambiguous meaning. More than an appropriation, it is a visual re-imagining of Cézanne‘s Afternoon in Naples that also intensifies the human drama. Freud’s interest in the character of his subjects is emphasised by his unflinching and honest depiction. Although the painting contains few elements, every object reflects the larger sense of disorder.

In this work, one of Freud’s most ambitious and intriguing, numerous questions are posed but never answered.

NATIONAL GALLERY OF AUSTRALIA CANBERRA 02 6240 6411 www.nga.gov.au

Lucian Freud (1922-2011), After Cézanne, 1999-2000, oil on canvas, 214 x 215 cm (irregular). Purchased with the assistance of members of the NGA Foundation, including David Coe, Harold Mitchell AO, Bevelly Mitchell, John Schaeffer and Kerry Stokes AO 2001. National Gallery of Australia, Canberra

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CANBERRA ANTIQUES & ART IN QUEENSLAND

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ANTIQUES & ART IN QUEENSLAND

The festive season: Party time in your home T

he festive season is almost upon us and this is the time when you will appreciate Howard Products and how they can really help with Christmas/New Year stress.

We have a lot of customers who like to share their ‘before’ and ‘after’ stories about favorite items damaged during Christmas/New Year revelries and also during family/friends visits over the holidays.

The shellacked early 20th century table (above) looked disastrous in the ‘before’ photo owing to a holiday period of get-togethers with people leaving wet glasses, damp napkins and hot plates on its surface.

The owner emailed me about the situation and I recommended Restor-A-Finish in golden oak. I also suggested a thin application of Feed-N-Wax after the surface was restored to provide durable carnauba protection which would resist any further moisture damage.

Here’s the customer’s response after she took my advice.

Hello David, I have just become acquainted with Howard Products thanks to you, and I would like to tell you how absolutely fantastic my husband and I think they are. During the holidays, we noticed more than a few white rings and marks on a very precious table which was handed down to us by my in-laws.

After taking your advice about Restor-AFinish we decided to try it – I could not believe how it brought our table back to the original finish. Thank you very much! Please keep your great products and your terrific advice coming.

Best regards, Maggie Boothe The 1940s to 1950 retro sideboard (pictured above right) was in poor condition with scratches and deeply embedded marks. The customer in this case was keen to have the piece looking better before family and friends arrived. In the era that this piece was made it would have been coated in either thinly applied shellac or possibly even a nitrocellulose material which was in fact the

forerunner to modern polyurethane. I recommended Golden Oak Restor-A-Finish to be applied using our premium soft grade #0000 steel wool. Here’s what the customer had to say.

Hi David, You sent me some pretty detailed information on how to tackle my old sideboard. I purchased your products and have used them with fantastic results. I’ve attached some before and after shots. I am really impressed with Howard products. As you can see the sideboard now looks so much better. It would probably have cost well over a thousand dollars to get the sideboard properly restored but your products have brought great dignity to a nice old piece of furniture. It worked just as the on-line video demonstration suggested it would – amazing miraculous stuff.

Many thanks, Jennifer Santas One customer from Victoria had what she described as a disaster when a nail polish remover bottle was knocked over onto her treasured walnut blanket box. The nail polish remover of course dissolved the coated finish leaving a nasty big bare patch on this lovely item. I advised her not to panic and to go to a stockist and purchase a Walnut Restorer kit which would give her enough of everything to restore her precious blanket box back to reasonable if not perfect condition for less than $70. Here is some of her email to me after she’d taken my advice.

Hello David, Thank you so much for responding so promptly after the disaster of the nail polish spill on my precious old blanket box. Following your advice I bought the Restore-a-Finish kit from one of your suppliers in Melbourne. Well I was amazed!

Instead of 80% better as you suggested, the box looks 90% better! I am so happy with the results. At first it actually looked 100% but if you look really hard you can still just see the

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“

After taking your advice about RestorA-Finish we decided to try it – I could not believe how it brought our table back to the original finish

”

smears where the acetone did its damage.

Both a friend of mine and the salesperson where I bought your product, said to me ‘This stuff is great, you will be surprised with the results,’ and they were both right. I will be telling everyone I know how wonderful your products are!

Many thanks and kind regards, Fiona Kennett So there you have it. If you are either preparing furniture for Christmas/New Year visitors or repairing surface damage to furniture or polished wood following the Christmas/New Year period, you now know what to do.

You can always email advice@howardproducts.com.au with your particular furniture restoration issue and I’m sure I’ll be able to help.

All the very best for Christmas and the New Year, David Foster HOWARD PRODUCTS (AUST) advice@howardproducts.com.au 1800 672 646

ANTIQUES & ART IN QUEENSLAND

It’s all about the coin – or the note n 2002, a 1916 specimen proof set became available for sale at auction. The catalogue value was $30,000, while the pre-auction estimate was just $25,000. We acquired the set for $60,000.

Our winning bid drew gasps from the auction audience and set a new record. The question is: were we foolish to pay over double the auction estimate? Our answer is very simple. It’s all about the coin.

The auction item was a cased presentation set of four silver coins – one of only eight original sets known. It had been created by the Melbourne Mint in 1916 to commemorate the inaugural striking of Australian silver coins at the Mint and presented to politicians and other dignitaries.

This particular set came from the Royal Australian Mint archives. It had accompanying documentation and was considered to be the finest known – a status it still retains. Today, we estimate the set’s value to be $275,000.

web priced at $13,000. We had an amazing response when we posted this coin finding our office inundated with calls.

The key is to look for genuine quality in an area of the market that suits your budget. That is why we advise against purchasing a coin that has been discounted because of damage, like edge knock.

PURCHASE DECISIONS NEED TO REFLECT THE COIN – AND ITS POTENTIAL

The other characteristic we look for in a coin is history. By that we mean both the historical significance of a coin and its history of ownership.

Specimens that are historically important will almost always be in continuous demand.

In a supply and demand market like the numismatic investment market, that is critical to sustaining growth.

Highly historical pieces, such as holey dollars and dumps, are the showpieces of the industry. It is their history that underpins their continuity of demand, and that in turn ensures an ongoing increase in value.

I

The set, which is still held by a Coinworks client, has clearly achieved an outstanding increase in value. But that wasn’t our primary focus.

At Coinworks, our mantra is: it’s all about the coin – and, naturally, the banknote. In a nutshell, we believe that if you acquire a high quality piece at a fair market price, growth – over a reasonable time frame – will follow.

However, in recent years it seems like almost all we’ve heard across the industry are cries of ‘the return, the return, the return.’ In fact, we regularly take calls where the very first question is, ‘So what level of return can you deliver?’ It’s almost as if the coins themselves are an afterthought.

Of course, whether someone pays $5000 or $100,000 for a coin, they should expect value for money. They should also expect that, given time, their investment will grow in value. But the starting point must always be the coin itself.

IT’S ALL ABOUT THE COIN – QUALITY We believe that quality must always come first. Prime quality is the best insurance against market fluctuations and importantly, high quality pieces are always highly liquid.

Quality isn’t just about price. While it’s true that Coinworks is associated with high value pieces, we guide clients at all dollar levels. In January, we sold a choice uncirculated 1918 Perth half sovereign for $15,000. We also had a very fine 1956 proof Perth penny on the

IT’S ALL ABOUT THE COIN – RARITY Although we place a higher priority on quality, we obviously also look for rarity.

Rarity is an important consideration in any coin or banknote purchase because, with fewer specimens available, there will be a higher comparative demand, and less likelihood that a price will be challenged in the market. That helps insulate the coin against downward price pressures.

AN IMPORTANT PART OF A BALANCED INVESTMENT STRATEGY We would never suggest that our industry can guarantee the best returns, or that our clients should place all their funds in numismatic investments.

But we do believe that rarities can and should form part of a balanced investment strategy.

Naturally, consideration must always be given to your overall financial goals.

Many of our clients take a high risk position in shares, but balance that with a low risk numismatic investment portfolio. The benefits of this kind of thinking were there for all to see in 2009 when share prices plummeted.

It is important to remember coins and banknotes need to be thought of as a genuine

investment, not a short term speculation. The owner of the famous Madrid Collection was always more interested in steady growth than spectacular overnight returns. He showed no concern if his valuations did not alter greatly over a 12 month period, instead looking for growth over several years. His patience was handsomely rewarded.

In the end, it is about understanding the market and knowing the direction the market is heading – and that is Coinworks strength.

COINWORKS 03 9642 3133 www.coinworks.com.au

IT’S ALL ABOUT THE COIN – HISTORY

QUALITY AND PRICE – A CRITICAL RELATIONSHIP Of course, buying quality doesn’t mean buying at any price. The balance between quality and price needs to be carefully considered to maximise the investment opportunity.

Buying a house in Toorak or Cottesloe for $10 million probably means you have purchased quality, but if the market value of the house is only $5 million you may have to wait many years before going into profit. With a good property, it will happen eventually. But it will take a long time.

When deciding on a price for a coin or banknote, we take account of all the key factors. After quality and rarity, we look at market movements and current price guides.

We also do extensive historical research.

The extra yards we put in are the key to the results we deliver for our clients. Our purchase of the 1916 specimen proof set in 2002 is just one example of those results.

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ANTIQUES & ART IN QUEENSLAND

Stories from Commercial Road Antiques where shopping is fun and friendly

Japanese military swords in shop 3: John Summerville’s Military Antiques

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ifferent and interesting stories abound among our many diverse dealers, where traditional and art deco furniture, tribal crafts, a wide oriental range, pictures, lighting, books and decorative items each has a story to tell.

BELL BROTHERS OF BRISBANE A Brisbane establishment with a solid reputation for crafting fine furniture, Commercial Road Antiques frequently have various pieces from the Bell Brothers extensive furniture range. Older patrons remember taking the tram to their Spring Hill establishment in the 1950s at the corner of Brunswick and Water Streets. In the centre is a fine walnut veneered table and four chairs, upholstered in black leather that are good examples of their work.

brooches, lockets and rings, especially popular between parting lovers and soldiers.

Romance and sentimentality heavily influenced the design of Victorian jewellery.

Lockets are a good example of romantic jewellery for holding close the memories of loved ones in compartments (sometimes hidden) for keepsakes like a hand painted miniature, a lock of hair and later photographs.

The most popular form of romantic jewellery is a ring given on engagement and marriage or as a gift of friendship. Other popular pieces include earrings, necklaces, bangles and bracelets, most often made of gold and silver and set with precious and semi-precious stones.

JOHN SUMMERVILLE MILITARY ANTIQUES Most Japanese military swords encountered in Australia were captured, surrendered or confiscated during WWII. They represented the end of a traditional veneration of the sword that had lasted over 1000 years. Many were carried and used in campaigns of extreme ferocity or hardship. Naval swords were carried aboard warships and midget submarines. Officers could, if they wished, have their militarypattern swords mounted with old ancestral blades often kept as family heirlooms.

Most swords in Australia are 20th century Showa-era blades, mass produced after 1926 for officers and forged from western imported steel. Until the final surrender by Japan in 1945, an officer’s sword was considered essential both as a fighting weapon, a symbol of authority over his men and a representation of the Samurai code of Bushido.

An official USA estimate of swords captured and surrendered in WWII was 372,609 dispersed as trophies or for display in museums, and 289,012 were destroyed. None were returned to Japan.

Further reading Richard Fuller and Ron Gregory, Military Swords of Japan, Arms and Armour Press, New York, 1986

MICHAEL MOYLE Victorian jewellery is one of the most collectable of antiques, partly for its beauty and craftsmanship but also for its inherent symbolism. During Queen Victoria’s reign (1837-1901), the wealthy middle class began to travel widely, bringing back souvenirs which influenced fashion and jewellery styles.

Travel abroad also meant long separations between lovers and family members which brought about the exchange of sentimental jewellery, sometimes with coded messages created from gemstones, or embedded with keepsakes, such as a lock of hair. Mizpah jewellery (after a biblical reference in Genesis to a watchtower) is often found in the form of

Bell Brothers furniture in shop 1

porcelain made and decorated China, mainly from 1700 to 1725, in the colours which until then had only been attributed to Japan.

Due to unsettled conditions in China between the Ming and Ching dynasties, the Dutch East India Company turned to Japan to provide porcelain to satisfy the demand from Europe for the Imari style. These had predominantly an underglaze blue, overglaze red (derived from iron) and gilt, but sometimes having a little green, aubergine, yellow or black in the design, and were used in Chinese production once trade resumed.

When trade ships returned to Europe there seems to have been confusion as to where the Imari decorated ware originated. Thus there

are Chinese pieces in the Dresden Collection formed by Augustus the Strong (1670-1733) engraved with the symbol identifying Japanese ware entered into the palace inventory. The Dresden Collection is very important as its inventory enables a fairly firm date to be put on a wide variety of Chinese and Japanese porcelain for comparative study.

Further reading D Howard and J Ayers, China for the West (London and New York, 1978) F Reichel, Early Japanese Porcelain

COMMERCIAL ROAD ANTIQUES 07 3852 2352 www.commercialroadantiques.com

Victorian jewellery from shop 30: Michael Moyle

Popular gemstones include diamonds, emeralds, amethysts, rubies, citrine, aquamarine, pearls and garnets. Many exquisite, pretty pieces of Victorian jewellery can still be found today and at reasonable prices.

Mourning jewellery became popular in Victorian times. Relatives expressed mourning through sombre clothing and lockets and brooches containing compartments to hold mementos of the deceased. After the death of Queen Victoria’s husband Albert, there was a surge in the popularity of mourning jewellery – from simple elegant jet pieces to elaborate items with intricately woven hair.

SHIRLEY MACLEOD: AMBASSADOR ANTIQUES The description Chinese Imari appears to be a contradiction of the origin of porcelain decorated in this style. It causes confusion because Imari to many people would mean that it is exclusively Japanese, but the term Chinese Imari came into use to describe the Chinese Imari porcelain from shop 31: Shirley MacLeod’s Ambassador Antiques

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Shopping

WHERE IS NOT ONLY REWARDING -

but fun!

With so much variety you will be pleasantly surprised

Books, Furniture, Jewellery, Tribal crafts, Asian, Retro, Deco items & some surprising decorative pieces

Commercial Road Antiques & Decorative Arts

85 Commercial Road Teneriffe QLD 4006 Open 7 Days 10 am – 5 pm 07 3852 2352

www.commercialroadantiques.com

482 Brunswick Street - Fortitude Valley QLD 4006 - 07 3254 0404 – www.uniquefrance.com.au