aaa qld nov 13

antiques DECEMBER 2013 - MARCH 2014

IN QUEENSLAND

art and

ART OF Peter J Hill

MOUNT TAMBORINE / CITY / KURWONGBAH

This painting by Queensland based artist Peter J Hill, acclaimed for his equestrian oils on canvas, features legendary Australian horse Black Caviar being ridden by her jockey Luke Nolen in the BTC Cup at Doomben Racecourse, Brisbane Queensland, May 2011; a Group 1 weight-for-age race attracting the best sprinters in the country. This was Black Caviar's 13th unbeaten race – of 22 so far.

One of only four paintings in the series, one of which has already been sold. Price: $20,000 Dimensions: 76 x 60 cm unframed, 100 x 76 cm framed

Established 1983

G.N. Olsson Traditional Mastercraftsmen featuring their Vintage Household Technology restoration commission work

Antique Restoration & Conservation Custom Fine Furniture Intricate and Heritage Joinery 22ct Gold Embossed Leather

Queries & Appointments 07 3888 1549

393 Narangba Rd, Kurwongbah Brisbane QLD 4503 Australia gnolsson@bigpond.com www.gnolsson.com

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

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MOUNT TAMBORINE

An invitation to see FINE EQUESTRIAN ART ith the many things to see on the Gold Coast and Brisbane area, our beautiful mountain sometimes misses out, although it is always open and in all seasons.

The scenic drive up to Mt Tamborine makes for a pleasant time out, ideal as a day trip away from all glitz and glamour of the Gold Coast. The quiet and peace of the mountain is a refreshing break.

Only 20 minutes from the coast, and with the many inviting attractions here set in amongst the breathtaking scenery, you can shop and peruse at leisure.

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A GOOD TIME TO INVEST If contemplating the purchase of a fine piece of equestrian art, now is a good time to invest in one of Peter’s paintings. Perhaps one of Clydesdale works, or on show in the Stable gallery where you will find another Peter J Hill first, is a work dedicated to Australian icons Black Caviar and Phar Lap. This famous duo is gaining much interest as the two horses together make for a striking piece of art as only Peter could execute. On view is a smaller portrait of Black Caviar, painted without the jockey as the artist’s intention is to focus solely on this legendary mount.

REALISM IN ART Although his favourite subject is that of horses, Peter’s palette extends to Australian landscapes. His canvases bring the outback into the interior works that capture the grandeur and unique topography of this country. As was noted by a Canadian visitor to the P.J. Art Gallery, ‘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.’

ARTIST’S STATEMENT ‘I started painting when I was 19 years of age.

I was working on Reola, a station property north of Broken Hill where the owner of the property saw my sketches. He went into town and bought me some brushes and a How to paint book. I turned pro in the 70s. When I lived in Canberra I would often visit the Australian War Museum and sit for hours just looking and studying the great war horses on show.’

When thinking about what he likes to paint, Peter said, ‘There is not a specific image as such, I am amazed by all the ever-changing colours of nature; the beautiful sunsets and the sun rises. I want to paint everything unique to our country such as our plant life and magnificent gum trees.

I paint subjects as I see them, which makes me a ‘traditional’ artist and not a contemporary modern artist. I enjoy painting horses the most, and over the years I have lost count as to how many I have painted on canvas.’

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

P.J. ART GALLERY AND THE EXTENSION CALLED THE STABLE Unlike other galleries, the works in the P.J. Art Gallery and the Stables are those of one artist, an exceptional experience for visitors and one that should not be delayed as Peter is thinking of a change in pace in 2014. It is a good time to acquire one of Peter’s signature works.

Collectors are invited to come and discuss works of interest. We are happy to negotiate terms that are favourable to both parties.

Judy M Hill, Gallery Director P.J. Art Gallery 07 5545 0089 / 07 5527 3107 Judyandpeter09@bigpond.com.au www.pjart.com.au

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 Antiques and

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MOUNT TAMBORINE

MARGARET GOLDSMITH ART GALLERY on Tamborine Mountain is celebrating 20 years of successful operation in 2014 arking the milestone of 20 years’ operation, Margaret will commence the new year with a solo exhibition of paintings and glass in January. This is to be followed with the gallery showing many more new works and offering specials throughout the celebratory year.

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ART GLASS SKILLS For more than 23 years Margaret and Neil Goldsmith have participated and completed many art glass workshops held locally and internationally. As members of the international Glass Art Society (GAS) they have honed their skills at this prestigious society’s conferences and workshops. They have attended workshops in Scotland, Italy, New York and Seattle in the USA as well as in Australia.

SPECIALISTS IN MANY GLASS TECHNIQUES Neil has worked in leadlight, completing many large windows and wall hangings.

Margaret has produced fine pieces using glass bead making, made glass mosaics and glass

sculptures incorporating the techniques of blowing and laminating. Other exciting techniques are warm glass (kiln firing) and the lamination of sheet glass.

SPECIAL COMMISSIONED WORKS Celebration awards Margaret and Neil her husband have collaborated in the creation of art glass for more than 20 years. This year’s special commission for New Acland Operations New Hope Coal was 12 platters made as a celebration award, given to employees in recognition of 25 years of service to the company. In 2012 the company commissioned 18 platters of a very different design.

Glass wall hanging The Goldsmiths continue to design large wall hangings using the hand blown Lambert Glass technique in the Lamination method. A special commission has produced a lustrous glass painting filled with movement and vibrant colours. Their clients love this wall hanging as it can be positioned either indoors or outdoors on a patio.

Medium of canvas – paintings and prizes Margaret continues to win awards for her abstract figurative paintings. Her delight continues when visitors to the art shows and the gallery purchase her powerful works.

MARGARET GOLDSMITH ART GALLERY

Commission of six panels, 27 x 57 cm, inserted into specially designed niches in the stairwell

Artist statement Exploring the figure as a vehicle for the rights of the individual to social activity is a preoccupation for Margaret. Over time, the figure has become more elemental, suiting her powerful brushstrokes. ‘I paint from the heart in an expressionist style, in a painterly fashion of directness. When I paint and draw, it is for you, the viewer. If it pleases you, then your soul is running in tangent with mine.’

Margaret believes that the technique of exposing humour is the best way to see life ‘Humour is the nearness of truth.’

Adult painting classes Tuition for beginners through to advanced is held every Saturday from 12 noon to 3.30 pm.

Refreshments are served. At the end of the year there is an exhibition of students’ works at a Gold Coast gallery – a wonderful experience for the students who have the opportunity to showcase their works.

Margaret’s solo exhibition of new art opens 12 January 2014 at Hilltop On Tamborine, 1525 Tamborine Oxenford Rd Tamborine, which is open Wednesday to Sunday, 10 am to 4 pm or by appointment. Call:

Family Trio. Winner watercolour & ink section, Art Festival Goondiwindi

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

Glass platter, 34 x 34 cm. Commission for New Acland Operations New Hope Coal

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

One hour from Brisbane… 30 mins from Gold Coast

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

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Red Head, acrylic on acid free Arches paper.

Winner first prize, Nundah Village Art Festival 2011

Colourful Portrait, acrylic on canvas

front cover

Editorial Content 03 04 06 07 08 10 11 12 13 14 15 16 17 19 20 21 22 24 25 26 28 29 30 33 34 39 40 41 42 43 44 45 46 47

Anna Carey, Fantasy, 2009 (detail), Digital print. Gold Coast City Gallery, acquired 2009 Anna Carey is a Gold Coast based artist whose work investigates the architectural character and the layers of associations and memory with the motels, guest houses and holiday cottages that are so distinctive to this city. Her work is featured in Fibro Coast at Gold Coast City Gallery 15 February - 23 March 2014 and in July - August at University of the Sunshine Coast Gallery.

An invitation to see fine equestrian art – Judy M Hill Margaret Goldsmith Art Gallery on Tamborine Mountain is celebrating 20 years of successful operation in 2014 Antiques on the West Side Buying gifts ... helpful suggestions from Antique Print Club – Kathryn & Derek Nicholls A specialist furniture manufacturer: Churchill Chesterfield made in Australia Reflecting on the ups and downs of collecting – Jenny Thomas Mark your diary for the annual Rotary Antiques Collectables & Book Fair at Jupiters Hotel & Casino Gold Coast – Peter Campbell Travel posters: insight into tourism from the 1930s to 1970s Two important prizes at Gold Coast City Gallery Summer highlights at Gold Coast City Gallery Engaging exhibitions at Gold Coast City Gallery Spirit of Australia Gallery: home to authentic Australian-made products Showcase of Aboriginal work Collecting or decorating requires a visit to The Runaway Bay Antique and Arts Centre The brilliance of 18th century artworks at Brisbane Antique Emporium – Kathryn & Derek Nicholls Ginger beer: the drink of a nation Petrie Terrace Gallery summer program A window into past Queensland jewellery and silverware manufacturers – Ken Penfold Symbols for good luck and their decorative appeal – Moira Drexler The art of feather inlay: Tian Tsui - dotting with kingfisher Childhood nostalgia rekindled by vintage toys – Suzy Baines Selecting specials abroad – Eilisha Little Meeting collectors’ needs and interests – Ian Thomson Pack & Send: art and antique specialists – Stephen & Janet McCartney The Ed Rosenstengel story – Jill Phillips The elegance of living – Chris Hughes Nudgee Road Antiques & Design Centre: 30 years trading and still going strong – Catherine Ricketts & Kevin Parker Learn how to restore furniture & French polish at Frank van Brunschot Fine Furniture Bowed stringed instruments – refitting tuning pegs Loving Art Deco – Jason Bridge New shipments in-store now at Woolloongabba Antique Centre & Licensed Cafe Antiques for the new home owner – Kym James Annerley Glassworx showroom a feast for the eyes – Denise Allen The art of needlework lives on at Bayside Antique & Collectables Centre – Rob & Di Metcalfe

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Full steam ahead for GN Olsson Mastercraftsman Beautiful rugs deserve the best care – Stephen Muncey The fine art of restoring antique bronze A good time to invest in fine art at Kilkivan Fine Art Roger Salt has unpacked a new shipment from Europe Val & Jane Salt at Hampton Toowoomba Grammar School’s Autumn weekend art show Lancaster’s Toowoomba Antique Centre 19 years old and going strong The three r’s: resuscitation, rustoration and restoration – Mark & Lynne Bennett Jamfactory exhibition tours to Ipswich Ipswich Antique Centre is selling the ‘sizzle’ – Heather Mildwaters National Gallery of Australia: Gold and the Incas: Lost worlds of Peru – Christine Dixon Partnering with Howard Products completes a successful restoration project – David Foster Christmas from the Victorian era to today – Susanne Gervay Treat yourself to a once in a lifetime golden opportunity Oriental Antique Gallery welcomes collectors and purveyors of fine furniture to their Brisbane store – Phillip Guan

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

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

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

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

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

TWICE UPON A TIME (Michael & Carol Belham - late of Woolloongabba)

QUALITY ANTIQUES and COLLECTABLES IN QUEENSLAND

at GENUINE WHOLESALE PRICES

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

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

64 RIVERSDALE ROAD OXENFORD

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

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

OPEN WEDNESDAY to SUNDAY 10am – 4pm

COPY EDITOR Paula Towers editor@worldaa.com

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

Full stock listing including over 200 pieces of Royal Worcester on the net at

NOTICE TO ADVERTISERS The Trade Practices Act 1974 imposes an obligation not to engage, in trade or commerce, in conduct that is `misleading or deceptive’. Apart from any penalties, an individual or corporation which commits a breach of the Act is liable to proceedings for injunction and for damage suffered by an injured party. Advertisers should ensure that the provisions of the Act are strictly complied with. In cases of doubt advertisers should seek legal advice.

0412 764 699 & 0414 240 281

ADVERTISING SALES – QUEENSLAND André Jaku 02 9389 2919 andre@worldaa.com David Phillips 0417 605 562 info@worldaa.com DESIGN AND PRODUCTION Brian Cass, Kylie Kennedy, Brigitta Campbell, Kathy O’Grady, production@worldaa.com PRINTERS webstar 1/83 Derby Street Silverwater NSW 2128 Rural Press Bells Line of Road, Nth Richmond NSW 2754 NOTICE TO DEALERS Articles for publication in Antiques & Art in Queensland should be up to 1,000 words in length, preferably typed as a word document and saved to a disk or emailed.

Pictures can be supplied as prints, transparencies or digitally as jpegs either saved to a disk or sent by email.

It is desirable that images be accompanied by captions.

Publication of articles is conditional on an advertisement being taken.

Next issue will be distributed in March 2014 Booking deadline 3 February 2014 Copy deadline 10 February 2014

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

GOLD COAST HINTERLAND (Easy access from the M1, exit 57, off Mt Tambourine Rd. Can’t get there? We’ll bring it to you without obligation.)

(and all over the festive season excepting Christmas Day)

www.twiceuponatime.com.au We are always pleased to undertake restorations of antique furniture; valuations for insurance, sale and family division

email: twiceuponatime@bigpond.com

Worcester Granger vase & cover c.1870

The Oxenford outlet is a warehouse at our residence creating a country atmosphere similar to that of an English antique dealer’s premises

COPYRIGHT JQ PTY LTD All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without the permission in writing from the publisher.

NOTICE The publishers reserve the right to refuse and edit material.

The opinions expressed in this publication are not necessarily those of the publisher.

No responsibility will be taken for any decision made by the reader as a result of such opinions.

Superb Victorian large spirit kettle by Elkington

Pair of 19th century bronze Coalbrookdale wine coasters

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GOLD COAST/MOUNT TAMBORINE

s& k r Ma rdner Ga llery Ga

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.

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.

Margaret Goldsmith Art Gallery

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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BUYING GIFTS... helpful suggestions from Antique Print Club Clockwise from right: Carlo Pellegrini, ‘English Cricket’, Vanity Fair, c. 1884

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

uying presents is easy… or not? An antique print or map can be a special and thoughtful solution. When framed, they add interest to any corner of a home ‒ enjoyed every day by everyone, or hung in a more private area. Antique prints and maps suit all budgets and can be large or small, conventional or strange, over 400 years old, or surprisingly modern-looking. Best of all, there’s a huge choice of subjects.

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BOTANY, BIRDS & ANIMALS Anyone who loves Australian flora, or has a favourite plant or shrub in the garden, might like an antique image flowering continuously.

Beautiful antique prints show Australia’s unusual botany. Botanicals sometimes have finely engraved dissections beside the main image. Gerarde’s Herball (Generall Historie of Plantes) 16th century woodcuts show some of the earliest botanical prints. Around 1800, Pierre Joseph Redouté recorded flora from around the world for Napoleon’s wife, Josephine. Less expensive are Henry Ryan’s groups of countryside flora in Rough Sketches from Nature, c. 1880, or small engravings of circa 1860, with several botanical specimens from one family. Hundred-year-old lithographs of ferns and leaves can look quite modern.

Antique prints of wildlife also vary greatly.

During 50 years, John Gould published grand hand-coloured lithographs of birds from around the world, and Australia’s marsupials.

Birds and Australian marsupials were exquisitely engraved circa 1840 by W.H. Lizars. Fifty years later, his small engravings were used by Richard Lydekker to produce chromolithographs that are less expensive ‒ as are the 19th century Lacepede engravings that updated Buffon’s mammoth 18th century natural history work. Perhaps strangely-shaped Australian animals are more appealing? Children always love the animals.

Lute in Hipkins’ Ancient Instruments, c. 1888 Pompelmus (Grapefruit) by Johann Volckamer, c. 1814 Chloe Preston, Peek-aBoo’s Holiday, c. 1912

Not only architects appreciate the design of early buildings. Superb engravings show the classical Palladian architecture introduced to England by Inigo Jones. Simpler architectural elevations with floor plans show living conditions centuries ago and also look great on our walls today. Early Australian town or country scenes are a reminder of our past, while wonderful holidays can be remembered – perhaps with chateaux and palazzos of Europe.

PROFESSIONS, TRADES & ENTERTAINMENT Builders and engineers appreciate engravings and lithographs of early tools and machinery, wood framework, stone arches and carved architectural details. For the medical fraternity there are early engravings of medical instruments and anatomy lithographs.

Blackstone’s 18th century legal engravings of wigged gentlemen who invented our laws are quite a different style from the 19th century caricatures for Vanity Fair, the periodical that also irreverently featured politicians, sportsmen, and anyone else who was newsworthy.

Musicians might like lithographs of ancient instruments by Hipkins, or a portrait of a serene lady playing a lute or harpsichord, or music linked to fashion in a group playing string instruments of circa 1920. Fashion links with sport in ‘plus-fours’ worn by men in the 1920s, a lady golfer in the cubism-style illustration by Thayaht, circa 1922, or a lady with a golf bag in a small pochoir of 1913.

Costumes Parisiens and Gazette du Bon Ton charming fashion studies are enjoyed by everyone ‒ even men!

CHOOSING THE APPROPRIATE FRAME MAPS, MARINE & MILITARY Not only appreciated by males, early military images can be equally engaging, from 17th century small engravings of military fortifications by Mallet or large Bartoli engravings of the continuous battle story from Trajan’s column in Rome, to 19th century finely-engraved battle scenes on land and sea.

Engravings of the Crimean War are collected, but more often seen on the wall are the 18th century engravings from early voyages and Finden’s finely engraved 19th century English coastal scenes – or a group of sailing ships that carried immigrants and cargo around the world in the late 19th century.

Varying discoveries and information, inaccuracies of engraving, and political and geographic representations, provide endless fascination in antique maps – sometimes referred to as Map Pox. The east coast of Australia was discovered by James Cook in 1770, so 18th century engravings still show unusual coastlines with European conjecture of our country. Antique maps from the 17th century to the 20th century are all affordable.

A map in recognition of your ancestry, or a map of a country you visited may not be as much in demand as a map of the world, so will cost less. There’s a large choice of periods and styles – from as little as $40.

Your designer or framer will know that larger and often more interesting pictures can be achieved with two or three in one frame – vertically or horizontally. Your picture framer should use U/V glass and other conservation materials to preserve your artwork.

RESOURCES AT ANTIQUE PRINT CLUB Imagination is your only limitation in gift selection. We can always help. We know the antique maps and prints available and Antique Print Club has over 20,000 of them. We continually add to our website, and our displays change. Open daily are the Brisbane Antique Emporium at 794 Sandgate Road Clayfield, and south-side’s Brisbane Antique Centre at exit 30 on the Pacific Highway at Loganholme.

The Antique Print Club-house at Neranwood is open by appointment. Buy online from our website any time and email or phone if you need assistance. If all else fails, buy a gift voucher and let them choose!

Kathryn & Derek Nicholls ANTIQUE PRINT CLUB 07 5525 1363 /0412 442 283 sales@antiqueprintclub.com www.antiqueprintclub.com

ARTEFACTS & ARCHITECTURE For a lover of porcelain, there are beautiful lithographs of the finest Sèvres and faience.

Interesting engravings show hieroglyphics and furniture painted on walls of tombs in Egypt.

More dramatic and flamboyant are furniture and wall decoration engravings published by Claesen, circa 1860. These are a complete contrast to the painted wall and ceiling designs from around the world, published as large soft-coloured lithographs circa 1890

by Rémon.

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GOLD COAST

A SPECIALIST FURNITURE MANUFACTURER

Churchill Chesterfield made in Australia ased on Queensland’s Gold Coast, Churchill Chesterfields are leather chesterfield and bespoke furniture manufacturers.Proudly Australian made, the firm makes an extensive variety of designs.

Choose from English reproduction traditional chesterfields, a range of Queen Anne wing chairs and recliner chairs.

There are leather office/study swivel chairs, such as Captains, Admirals, Director’s, Gainsborough, Mountbatten’s, London swivel and larger wing swivels, also office/study or commercial compact chesterfield tub chairs, plus many more designs. All furniture is hand made by one of Britain’s most experienced craftsmen, using only the best possible resources available today to create everlasting masterpieces.

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SPOILT FOR CHOICE Our many ranges are all available in leather and fabric in a wide range of colours. We use original English antique rub off leathers plus the aged distressed pull up aniline and waxed aniline leather which are imported from the UK exclusive to us. The leather is fire resistant and is of the finest A grade hides.

Imported from the UK are five leather ranges with a choice of over 70 different colours. If preferred, choose fabric or velvet upholstery.

Perhaps you have a fabric already purchased – let us make it up in the style of your choice.

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

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

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

OUR SPECIAL CHESTERFIELDS The chesterfields are made with sprung seats and hand-built sprung backs units, dispelling the myth that these designs are uncomfortable.

Our designs, many not seen in the country before, are soft and luxurious, designed to suit a customer’s preference.

For something different, there is the Art Deco range of plain unbuttoned chesterfields with mixed contrasting leather fabric combinations.

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

WHERE & WHEN THE CHESTERFIELD WAS FIRST INTRODUCED In England a chesterfield evokes an image of

Visit our web site www.churchillchesterfields.com.au

8 Moondance Court Opening hours 8am to 5pm Bonogin, Gold Coast Monday to Friday Queensland 4213

By Appointment Mobile: 0424 882 144 Saturday & Sunday only Telephone: 07 5530 2648 Email: info@churchillchesterfields.com.au

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elegance and sophistication. This deep-buttoned sofa is synonymous with traditional English furniture design, its origin dating back to mid 18th century. In circa 1773 the fourth Earl of Chesterfield commissioned noted furniture designer Robert Adam to design a piece of furniture that would permit a gentleman to sit with the back straight and avoid what the Earl referred to as ‘odd motions, strange postures and ungenteel carriage.’ In our opinion, we assume this to be the forerunner of the now famous chesterfield sofa.

The deep-buttoned leather chesterfield is one of the most distinguished luxury products of the British Isles, renowned worldwide for the craftsmanship used in its construction and for its beauty.

A MODERN CHESTERFIELD SOFA Due to modern health and safety legislation, the old methods of producing a chesterfield sofa have changed. Our chesterfield sofas feature full flame retardant leather and foam fillings amongst many other modern refinements ensuring the safety of you and your loved ones while retaining the original character of chesterfield furniture.

CHURCHILL CHESTERFIELDS 07 5530 2648 info@churchillchesterfields.com.au www.churchillchesterfields.com.au

GOLD COAST

Brasac enterprises

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

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

Moonflower, 1982

Sunbaker, 1937

Interior Elizabeth Bay House, 1978

At Toowoon Bay, 1985

Blue Gum Forest, c. 1940

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

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

24 Jewel VGOC 31198614 case 168018, 18 ct gold Omega Constellation c. 1971 $3800

Of the three nine piece sterling silver tea sets made by Garrard & Co London in honour of the coronation of Queen Elizabeth II, this is the only known surviving example.

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

Omega Seamaster 14 ct c. 1960s $1895

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

GOLD COAST ANTIQUE CENTRE 2076 GOLD COAST HIGHWAY, MIAMI QUEENSLAND P: 07 5572 0522 M: 0412 229 117

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

Gold diamond and jade stick pin $3750

CAMPERDOWN MEWS 212-220 PARRAMATTA ROAD CAMPERDOWN NSW P: 02 9550 5554 M: 0412 229 117

BOTH OPEN 7 DAYS

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

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REFLECTING ON THE UPS AND DOWNS OF COLLECTING eing an art collector myself it has not been difficult to see how certain antiques and collectables that were at one time very popular and commanded high prices are now no longer that sought after.

Here I reflect on some our favourite collectables and fashionable items.

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MARKET FACTORS At the beginning of this century we were all still madly collecting English ceramics like there was no tomorrow and I remember the days where a small Clarice Cliff Bizarre sandwich tray would bring close to $1000 and a Royal Winton Chintz trio was hard to pick up at auction at $200-$300 depending who was there on the day.

I use these two examples mainly because of the huge fluctuation in the prices of these two brands. This harsh reality has come about because of different factors affecting the market – the main one being the fall in the number of collectors. The older generation who may have had more of an interest in antiques is slowly dying off, causing stock to come on the market to a dwindling population of ardent collectors. In reality, more stock, fewer collectors.

ELECTRONIC IMPACT: CAUGHT IN THE NET The second – and most important reason – is the growth in the electronic media. Thousands of websites offer the same goods that were once considered rare, and which are shown to be in abundance. We are fighting an uphill battle to absorb the cups, saucers and plates that are coming on the market while the beautiful colonial cedar chest is replaced with reproduction Louis (XVI) revival or shabby chic.

LESS IS MORE IN THE HOME Contemporary homes generally do not have on show a cabinet full of Royal Doulton character jugs. This has perhaps been replaced by modern electronics and the walls of paintings have now become minimalistic to a much more discerning market where less is more.

INCREASING TASTE FOR EUROPEAN GOODS There are two countries in the past five years that have striven to buy back their heritage – China and Russia. During these years our Asian clients have significantly invested in Chinese ivory as well as in Chinese ceramics and jade. In that time the Russians were very keen in buying antique Russian silver and quality Russian fine art and jewellery. These huge wealthy middle classes are now developing a taste for quality European fine china, glassware and jewellery. In the past 12 months our clients have ventured into anything European and the trend is growing at a good pace.

‘MOVERS’ IN FURNITURE Now let’s consider ‘What’s hot and what’s not’. Depending on interest, colonial cedar and Scandinavian teak furniture are on the rise. The hot movers in furniture are good quality high end English, French and American, but by far the biggest increase has been experienced by a booming economy in China for genuine rosewood and cherry wood pieces, especially late Qing.

WHAT’S HOT IN DECORATIVE ITEMS & COLLECTABLES If you follow auction catalogues you will notice that the estimates on Asian export silver are being exceeded by sometimes more

than double, whereas English and continental silver items struggle to reach reserve and are frequently passed in. Chinese ivory and Chinese porcelain – especially pre Republic – are highly sought after, whereas Japanese goods which were popular in the 1990s struggle, these include Satsuma, Imari, Kutani, Japanese bronzes and woodblock prints.

Collectors of contemporary English china will note a downturn, especially when companies such as Royal Doulton and Royal Albert have moved off shore. Since Doulton moved to Indonesia the prices of its figurines have dropped to bargain basement prices and character jugs have followed suit. However Royal Doulton’s finer ranges such as Chang, Sung, and Lambeth have maintained value and in some instance have increased. Staging a revival is Carlton Ware, as is Clarice Cliff – the more geometric designs finding an appreciative niche market.

LEARN TO UPGRADE My advice is to hang onto your better pieces and upgrade pieces of inferior quality or trade in for Chinese or Russian collectables. As always, the top end of the market remains very strong with ever more record prices paid for the best whether it be a painting, a ceramic or a piece of furniture. Rare and desirable pieces will always be hot such as old jade, ivory, Chinese porcelain, oriental silver, high end mid 20th century furniture such as the famous Eames lounge chair, bronze statues such as Chiparus or Hagenauer, sought after Australian pottery by potters such as Grace Seccombe, John Campbell and Castle Harris, and English porcelain such as Royal Worcester decorated by the Stinton family, blue and white porcelain, Ruskin Pottery pieces and the London-based Martin Brothers.

ABOUT THE GOLD COAST ANTIQUE CENTRE The top end of the market remains very strong so it is a great time to buy. With rare and interesting antiques and collectables arriving daily, the Gold Coast Antique Centre is an exciting place to visit. The centre sells authentic antiques and collectables that are correctly labelled and competitively priced.

Come to the centre and chat with the friendly dealers and staff who are all very passionate about antiques. 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.

DIRECTIONS Open seven days, on Monday to Saturday 10 am – 5 pm and Sunday 10 am – 4 pm, the Gold Coast Antique Centre is conveniently located at 2076 Gold Coast Highway in the centre of Miami, halfway between Coolangatta Airport and the heart of Surfers Paradise, and one hour south of Brisbane.

Look out for the black and white building.

Jenny Thomas GOLD COAST ANTIQUE CENTRE 07 5572 0522 / 0414 338 363 www.goldcoastantiquecentre.com.au

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GOLD COAST

Mark your diary for the annual ROTARY ANTIQUES COLLECTABLES & BOOK FAIR AT JUPITERS HOTEL & CASINO GOLD COAST 9 – 12 JANUARY 2014

he eagerly anticipated Antiques Collectables & Book Fair will again be presented by the Rotary Club of Palm Beach from 9 – 12 January 2014 at the popular Jupiters Hotel & Casino’s Pavilion Room at Broadbeach.

Having grown to become an institution for locals, holiday makers and serious collectors, the fair is being presented in a superb setting for the display of an array of fine pieces. This venue has the added bonus of offering visitors an opportunity to enjoy the spectacular entertainment and excellent dining options available at Jupiters.

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WHAT’S ON OFFER Over 70 dealers from interstate and locally will be exhibiting in spacious air conditioned surroundings. They will be displaying and selling an eye-catching selections of jewellery, clocks, silver, porcelain, furniture, coins and toys. Antiquarian collectors can find historical documents, as well as books with an enticing selection of literary treats gathered from many parts of the world – including old and rare volumes, children’s classics and books on a wide range of subjects.

Enjoy the buzz of browsing among an inspiring array of antiques, collectables and books presented by dealers from around Australia.

FUND RAISING FOR CHARITY Revenue generated from the 2014 fair will be donated towards raising funds for a Neonatal Retrieval System and associated equipment needed to transport sick new born babies to other facilities for additional treatment. The equipment is to be used by the Gold Coast’s three maternity hospitals: Pindara, Gold Coast and John Flyn.

We look forward to welcoming one and all at Jupiters in January for our 27th annual fair and thank dealers, sponsors and the public for their continuing support.

27th ROTARY ANTIQUES, COLLECTABLES & BOOK FAIR jewellery, porcelain, china, silver, clocks, pottery, furniture, historic documents, rare books, prints, posters, maps and postcards – and much more!

BROUGHT TO YOU BY THE ROTARY CLUB OF PALM BEACH

For more information contact Peter Campbell ROTARY ANTIQUES COLLECTABLE & BOOK FAIR 07 5577 2771 / 0411 649 242 AntiquesFairChairman@tpg.com.au www.rotaryantiquesfair.com

Jupiters Hotel & Casino Pavillion Room Broadbeach Queensland

Thursday 9 - Sunday 12 January 2014 January 2014 Fair Dates

Admission

Thursday 9 Jan 5 pm – 9 pm Adults $12 Friday 10 Jan 10 am – 6 pm Concessions $10 Saturday 11 Jan 10 am – 8 pm Under 17 Free Sunday 12 Jan 10 am – 3 pm For FREE Jupiters Parking – validate your parking ticket at the Antiques Fair

All proceeds towards purchasing neonatal cots for three local maternity hospitals Phone: 07 5577 2771 / 0411 649 242 Website: www.rotaryantiquesfair.com Email: AntiquesFairChairman@tpg.com.au Antiques and

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TRAVEL POSTERS insight into tourism from the 1930s to 1970s he beauty of the travel poster lies in its capacity to document a specific moment in time. Travel posters present us with visual tour of the most desired tourist destinations from an era where travel was for privileged high flyers. As such, it’s not surprising that most of these posters portray images of elegance and sophistication. Travel conjured up images of women in white gloves, straw hats and matching leather suitcases, a very different picture to how travel is viewed these days.

The tourism industry has seen many an innovative marketing campaigns and top-end artists and publishing companies have long been employed to entice the public. These posters, like all posters, capture distinctive moments in time. In this case, we’re thrust back to an era when travel was exotic, elegant and extravagant. We’re able to understand how a certain destination, country and culture were viewed by society at that time. Travel today might have lost the elegance that was once at its very core, but these beautiful posters have not. We’re celebrating this beauty at Vintage Posters Only and we’d love for you to join us.

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MEET SAM JOHNSON Vintage Posters Only owner Sam Johnson, a.k.a. the Poster King, began his interest in vintage posters when living in Paris during the early 1990s. On seeing the vintage posters that adorned the walls of cafes, restaurants and shops the P.K. (as he’s known to many) started his own collection which soon grew into a gallery of works that can be viewed at his Melbourne shop front.

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WHY OUR POSTERS ARE SPECIAL We are just obsessed with these stunning artworks. Every poster has a story to tell, from the artist who created it, to the product it is selling. So what is it that makes our posters special? Firstly, they are all original vintage posters. This means that they are prints existing from the original print runs ranging from the 1930s to 1970s. Quite often they have a history behind them. Many were hung in subways, buildings or kiosks, basically anywhere that had a large enough surface for the public to take notice.

Secondly, some of the most important poster artists of all time are represented in the collection.

Villemot, Savignac and Cappiello were all masters of their art and to have their work accessible to everyone is rare in the art world.

POSTERS FOR ALL COLLECTING INTERESTS We have an extensive collection and an array of categories. We’ve got posters relating to cars and bikes, fashion, food and beverage, art exhibitions, events and entertainment – everything you can think of.

Vintage posters are great for decorating any space and are a guaranteed talking point in any home or business. Given that there is such a wide range of images and themes available, it is possible to find the perfect vintage poster for anyone.

You can view our posters in store or on our beautiful new website at www.vintagepostersonly.com.

Feel free to contact us with any questions regarding posters, we are more than happy to help. We love what we do, working with posters all day everyday and sharing these stories and this experience with anyone who is interested. If you can’t afford the holiday to Hawaii or the Bally heels, come in and grab the poster!

VINTAGE POSTERS ONLY 03 9500 2505 sam@vintagepostersonly.com www.vintagepostersonly.com

GOLD COAST

TWO IMPORTANT PRIZES AT GOLD COAST CITY GALLERY THE REVEAL: DESIGNS FOR A NEW GOLD COAST CULTURAL PRECINCT 22 November – 15 December 2013 he vision for the new Gold Coast Cultural Precinct has been one that has been growing over the past years and finally the architectural form and character of this transformational city project will be showcased at a dynamic three-week exhibition titled The Reveal.

Seventy-five teams entered an international competition to design a landmark cultural precinct for the 2018 Commonwealth Games host city and three multi-disciplinary teams – ARM Architecture, CRAB_VOGT_DBI and Nikken Sekkei – were selected by an independent jury comprising highly skilled international, national and local adjudicators. The selected teams were then invited to progress to a 12-week intensive design phase. One of these teams will be announced as the winner of the competition and will progress to the design development of the site.

Visitors are invited to inspect these visions for a new arts museum to display the extraordinary city collection now hidden in storage and for the presentation of both the latest in contemporary art and the rich and unique story of the Gold Coast. The concept is for a living arts centre that will be home to the development and presentation of excellence in the performing arts, multiple cinemas and extraordinary events, all to be enveloped within an outdoor subtropical artscape where all forms of creative practice can be experienced outdoors.

Linking the new precinct to the bustling hubs of Surfers Paradise and Chevron Island are

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designs for a new walking bridge.

The Reveal: Designs for a new Gold Coast Cultural Precinct, will convey the teams’ visions through large scale highly detailed models, drawings and animations. A specially commissioned film tells the story of the development of the vision for the Cultural Precinct and gives an insight into how the diverse and multidisciplinary teams worked together to create their schemes.

Talks and events run throughout the showing period and we invite visitors to share an image of themselves in the Cultural Precinct of the future by stepping into a specially created photo booth and sharing their image through their favourite social media platform.

For more information, visit the website: www.Goldcoastculturalprecinct.info

GOLD COAST ART PRIZE 2013 7 December 2013 – 9 February 2014 Now in its 45th year, the popular Gold Coast Art Prize provides an opportunity to showcase excellent contemporary art practice from across Australia. The prize is open to all Australian artists working in any art media except photography.

Over 450 works of art have been acquired through the prize to date and this year we are happy to announce there is $30,000 for acquisitions.

Gallery Manager John Walsh observed: ‘Since 1968, the Gold Coast Art Prize has been a rich source for acquisitions for the city collection.

Some inspirational purchases have been made over the years that together have made this collection one of the strongest and most diverse in regional Australia.’

Artists acquired include William Robinson, Sydney Ball, Elisabeth Cummings, Suzanne Archer, Euan Macleod, Guan Wei, Lisa Roet,

Lucy Culliton, Bernard Ollis, Bruce Reynolds, Tom Risley, John FirthSmith, Jon Molvig, John Rigby, Mostyn BramleyMoore and Ian Smith.

Interestingly, it was the Gold Coast Art Prize that was the impetus for the gallery to be founded.

Established in 1968, the Gold Coast Art Prize was seen as a cultural drawcard for visitors to the Gold Coast over the summer holidays. The City Council administrators were the initial major sponsors with further financial assistance coming from the Tourist Association and local businesses. Over the years there have been a few manifestations regarding the branding of this prize. For many years it was sponsored by Conrad Jupiters and later it became known as the Stan and Maureen Duke Gold Coast Art Prize. Sadly, this ended in 2011 and the title has reverted back to the Gold Coast Art Prize.

Since its inception, the Gold Coast Art Prize has lured prominent figures in the art industry to judge. Reading almost like a who’s who of the Australian art world, former guest judges include gallery directors Eric Westbrook, Hal Missingham, Laurie Thomas, Doug Hall, Edmund Capon and Betty Churcher; art historians, curators and writers including Alan McCulloch, John McDonald, Tony Bond, Giles Auty, Hetti Perkins, Andrew Frost to highly respected artists Lloyd Rees, Lawrence Daws, Davida Allen, John Olsen, John Coburn, Garry Shead, Ken Unsworth and Ann Thomson.

This year we are delighted to announce Chris Saines, Director, Queensland Art Gallery / Gallery of Modern Art as guest judge of the Gold Coast

Art Prize. Known for his energetic and inspirational leadership, Saines graduated from La Trobe University with a BA Hons (Art History) and is an alumnus of the J Paul Getty Trust’s Museum Management Institute.

A highly respected gallery director with over 30 years’ experience, Saine’s first major job was as curator and then acting director of Victoria’s McClelland Art Gallery. He worked for 11 years at Queensland Art Gallery in curatorial and managerial roles. For the past 17 years Saines was director of Auckland’s Toi o Tamaki Gallery where he held a key role in the $125 million building development for the Auckland Art Gallery that spanned over ten years from 2001 to 2011.

Saines has admitted his taste in art is broad, describing himself as an open book when it comes to his interests. Each year visitors and artists eagerly await to see which artist’s work the guest judge will select to be hung and who will be awarded the prestigious Gold Coast Art Prize, with the winning artwork entering our collection.

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

Nicola Moss, Resource ecology (Conserve-Develop), courtesy of the artist

THE FIRST BEAT OF OUR CULTURAL HEART Exhibition Fri 22 Nov – Sun 15 Dec Gold Coast City Gallery

135 Bundall Rd Surfers Paradise Qld 4217 www.theartscentregc.com.au 07 5581 6567

Gold Coast Art Prize 2013 7 December 2013 – 9 February 2014 The Arts Centre Gold Coast 135 Bundall Road Surfers Paradise Qld

07 5581 6567 www.theartscentregc.com.au/gallery/ Antiques and

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GOLD COAST

Clarise Nampijinpa Poulson, Yankirri Jukurrpa (Emu Dreaming), 1993, synthetic polymer paint on linen. Judges Selection, 1993, Gold Coast City Conrad Jupiters Art Prize focusing on the Art of Indigenous Australia

Josie Petrick Kemarre, Wild bush berry, 2009, synthetic polymer paint on linen canvas. Gift of Patrick Corrigan AM under the Cultural Gifts Program, 2011

Karen Richards, Flora Non Evidens, installation (detail). Courtesy of the artist

SUMMER HIGHLIGHTS AT GOLD COAST CITY GALLERY OPEN COUNTRY: INDIGENOUS ART FROM THE COLLECTION 21 December 2013 – 2 February 2014 his exhibition celebrates the growing collection of Australian Indigenous art that began in earnest when the gallery opened in 1986. One of the first exhibitions held was by Indigenous ceramic artist Thancoupie signalling the importance of Indigenous art for both the gallery’s program and collection. An important group of bark paintings was acquired in the late 1980s and early 1990s by artists such as England Bangala, Charlie Djurritini, John Mawurndjul, George Milpurrurru and Jimmy Wululu.

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In 1993, to mark the 25th year of the Gold Coast Art Prize, and also to honour the United Nations Year of Indigenous Peoples, the art prize focussed solely on the art of Indigenous Australia. Judged by Hetti Perkins, AGNSW curator of Aboriginal art, and with an advisory panel consisting of Michael Aird, Allen Brown, Michael Eather and Lindsay Wilson, this special prize and exhibition included the work of 73 Indigenous artists.

Acquired that year were works from Richard Bell, Denis Nona, Clarise Nampijinpa Poulson, Karen Casey, Willie Gudabi as well as Gold Coast artist Joyce Summers.

The collection has continued to grow through judicious purchases such as Paddy Bedford’s painting Fig Tree, 2002 and through the great generosity of a number of donors, not

least of which has been the Gallery Chairman Patrick Corrigan AM. Over the years he has donated almost 100 works to the Indigenous collection and has solicited a similar number from other donors. The majority of donated works are by artists from the Central and Western desert regions of the Northern Territory and Western Australia. Some highly cherished donations include works by artists such as Sally Gabori, Nyurapayia Nampitjinpa aka Mrs Bennett, Ningura Napurrula, Naata Nungurrayi, Gloria Petyarre, Rover Thomas (Joolama) and Walala Tjapaltjarri.

The artists in this exhibition act as custodians of ceremonial stories and the land encapsulated in the work. Each artist provides us with a representation that allows access to their close spiritual connection to place. Their artworks relate to stories about their land, culture and associated Dreaming stories.

KAREN RICHARDS: FLORA NON EVIDENS

Naata Nungurrayi, Marrapinti 2010, synthetic polymer paint on canvas.

Gift of Craig Edwards under the Cultural Gifts Program, 2013

Open Country Indigenous art from the collection 21 December 2013 -2 February 2014 The Arts Centre Gold Coast 135 Bundall Road Surfers Paradise Qld

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18 January – 2 March Flora Non Evidens is an installation of rare and endangered plants from Victoria delicately crafted into life-sized panels. This stunning and thought-provoking installation features trees, water plants, orchids, creepers, shrubs, peas and even the small quillwort which is only 6 cm tall. It also contains a Southern Pipewort which was rediscovered only last year, after it had been assumed extinct for 20 years.

While embroidery and flora have had a long association, this installation seeks to challenge our expectations in several ways. Embroidery is a time consuming technique even when made by sewing machine and seldom appears on this scale. The largest piece in the installation is a black gum that measures approximately 2.5 x 3 metres. Most of the embroidery is free machined on a domestic sewing machine. However, a digital embroidery machine was used to make the hundreds of leaves that feature on the branches and ground foliage.

The plants have been embroidered using newly available reflective thread enabling them to appear briefly, as if drawn in the air with silver light, and then disappear as the viewer, wearing a head torch, glances away.

The fleeting nature of the light reflective embroideries represents the fragile nature of the plants, all of which are rare and not found outside of Victoria. The plants appear to hover ghost-like in space, foreshadowing their possible extinction. Most of the plants in the installation are humble specimens, few of which have been seen by the public. It is precisely that rarity and their vulnerability that makes them poignant.

GABRIELLA SZABLEWSKA & BRENT WILSON: VOICE OVER MATTER 22 March – 27 April Brisbane-based artists Gabriella Szablewska and Brent Wilson share a studio and collaborate with one another in between work, band practice, tending their garden and family commitments. Both graduated from Queensland College of Art: Wilson completed his BA in 2007 and Szablewska was awarded her Master of Arts in Visual Arts with First Class Honours in 2008, and is currently completing her Ph D. Of their practice, Curator Samantha Littley observed ‘Their shared desire to work as activists as well as artists forms the platform from which their art springs.’

In their most recent collaboration Voice Over Matter, which was first showcased in Poland last year, Szablewska and Wilson explore the contention that ‘those with freedom [of speech] impinge on the freedom of others’ in exercising that right, and that people ‘are only free to speak if [what they say is] okay within the dominant ideology’.

Voice Over Matter consists of a tiny microphone caged within a large glass bell dome. It requires audience participation, yet the technical equipment is designed to deliberately disseminate the spoken word. By doing so, the speaker literally ‘can’t hear themselves think’. Continues Littley, ‘The installation embodies Szablewska’s and Wilson’s own intentions: to collaborate and communicate on a deeper level. Their premise and its execution are evidence of their dedication to social reform – what they demonstrate is the true value of having a voice. By depriving us of the power of speech, they free our thoughts.’

GOLD COAST CITY GALLERY 07 5581 6567 gallery@theartscentregc.com.au www.theartscentre.com.au Gabriella Szablewska & Brent Wilson, Voice over matter, 2012 (installation detail), mixed media, dimensions variable. Courtesy of the artists

GOLD COAST

Vida Lahey, Monsoonal storm over Tweed Heads, c. 1946, watercolour and Lloyd Rees, At Cooloongatta, 1919, oil on canvas on wood panel. Private collection. Image courtesy of Phillip Bacon traces of pencil on paper. The University of Queensland, purchased 1947 Galleries, Brisbane

William Bustard, Untitled [Fibro beach house], c. 1950s, watercolour.

Gold Coast City Gallery Collection, purchased 2004

ENGAGING EXHIBITIONS AT GOLD COAST CITY GALLERY

Fibro Coast 15 February – 23 March 2014

t a time when rapid change to the urban fabric of the Gold and Sunshine Coasts is taking place, this exhibition aims to creatively re-engage with the cultural, artistic, architectural and design legacy of the humble fibro beach house which has been an important part of Australia’s beach culture for more than four generations. Not only are these dwellings among the most loved and recognised of mid-20th century Australian design, they also hold the stories and memories of the many families who settled or holidayed on the beach.

This exhibition will also present the work of contemporary artists who have been invited to make a response to the continuing resonance of these structures within the rapidly changing beach front environment as evidence of the fibro beach house is now becoming rare on the Gold and Sunshine Coasts.

The stories of these houses will tell a wider history of leisure and the transitory patterns of relaxation and escape. Although humble, many of the houses featured in the exhibition carry many layers of memory of family and personal experiences. Often made with scarce materials and following rudimentary plans, their construction was often inspired by a DIY ethos and popular home magazines. Their design also reflected a growing understanding of making architecture that suited the climate and the position, so simple features such as open plan living, built-in barbeques, louvers and wide eaves became part of the lexicon of architectural elements.

Featured historical works include paintings by artists such as Vida Lahey, William Bustard, Lawrence Daws, Ethel Carrick Fox and Betty Quelhurst, who knew and loved the beaches and headlands of both coasts and made virtual portraits of the cottages where they stayed. Contemporary artists include Anna Carey, Bruce Reynolds, Rebecca Ross and Elaine Campaner. Their works reflect the interest of a new generation who have begun to appreciate these cottages and all that they represent in a much changed environment.

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RENEGADES: OUTSIDER ART 22 March – 27 April 2014 The exhibition emerged from an artist-inresidency at Weave Arts Centre (a mental health focused non-government organisation now called Weave Youth Family Community)

by Masson-Talansier two years ago. Having previously worked on art projects at psychiatric units of Sydney’s Royal Prince Alfred and Concord hospitals, and been director of Lockhart River Aboriginal Art and cultural centre for two years, MassonTalansier was well placed to unveil the freespirited Outsider Art creations of more than 50 unlikely artists: illiterate people, people

with disabilities, people with an experience of mental illness, hermits, marginalised people with disabilities and artists in Cape York Peninsula’s remote Indigenous communities.

Masson-Talensier noted, ‘Frequently renegades come from places where art-making is a means of spiritual and mental survival; visual incursions into places of personal relevance for the artist, such as machines, home life, stories about illness, imaginings, spirituality, and whimsical fables.’ The work of Catherine Staughton incorporates a humorous autobiographical narrative captured through a vivid colour palette as seen in her Love kitten massage face (Sim Luttin) whereas the often figurative work of Jodie Nobel draws upon popular culture with her portrait of Lindy drawing quirky comparisons to a superhero.

Ingrid Hoffmann, director of KickArts Contemporary Arts, acknowledged that ‘Renegades art comes from a sparkling spectrum of makers: studios supporting people with intellectual disabilities, community care centres, psychiatric settings and outer geographical reaches, or from purely free spirits. These “unlikely” makers brim with creativity without academic instruction, connections to commercial or public art galleries, marketing, critics or art schools.

Renegades: Outsider Art is a KickArts Contemporary Arts touring exhibition created in partnership with Arts Project Australia and funded by Visions of Australia, an Australia Council for the Arts initiative.

The concept for the installation is also inspired by the lawn sprinkler and pool paintings of British-born artist David Hockney. Di Mauro’s grandparents migrated to Australia from Sicily in the 1920s, and he sees parallels in their experience of life in far north Queensland with the work of Hockney who relocated to Los Angeles on the west Coast of America in the mid 1960s.

Di Mauro’s reflections on Hockney’s experience, translated into the context of the Gold Coast, is an exciting new extension of his practice. In everything from motels, signs, entertainment and outdoor lifestyle, Californian culture has shaped the development of the Gold Coast.

This link relates to Di Mauros’ long term interest in commenting on the human interaction with nature and the way we seek to control it. While the beaches, waterways and sub-tropical plantings of this city appear

‘natural’, in fact much of the landscape of the Gold Coast is completely artificial – the beaches shaped by groynes and deepwater bars, the canal estates perfectly shaped to maximize water-frontage and the palms and lush grass all introduced and requiring extensive watering to maintain.

The exhibition is a fitting way to reflect on the experience of summer and is one of the Gallery exhibitions that is a feature of the BLEACH Festival running at the time of the international Pro-Surfing World Tour event on the Gold Coast in March 2014.

Sebastian di Mauro is a leading Queensland artist based in Brisbane and is a senior lecturer at Queensland College of Art. He is represented by CREATIVEMOVE. GOLD COAST CITY GALLERY 07 5581 6567 gallery@theartscentregc.com.au www.theartscentre.com.au

SEBASTIAN DI MAURO: SURF ‘N’ TURF 8 February – 16 March 2014 Over summer as we head to the beach or to the backyard to cool off around the pool, highly acclaimed Brisbane artist Sebastian di Mauro transforms Gold Coast City Gallery though a timely and playful sculptural installation of artificial plastic grass and colourful neoprene – the rubbery stuff that wet suits are made of.

His exhibition, Surf ‘n’ Turf taps into some of the aspirations of the suburban Australian dream, and acknowledges that a large percentage of the population live on or close to the coast, and that despite being droughtprone, there is a strong desire to create and maintain the evergreen manicured lawn and a ‘little piece of heaven on earth’.

Materiality is critical to the meaning of Di Mauro’s work. His deliberate use of ‘fake’ grass plays with the concept of seeking greener pastures – a better life, which is what most immigrants who venture to Australia including his own family, were searching for.

Surf ‘n’ Turf will feature a number of sculptural forms made from artificial grass that extend this idea into a more fantastical world of improbable topiary like shapes. One wall features square grass modules, referencing both the visual language of Minimalism and obsessional gardening and his freestanding forms Sway, Surge and Nap populate the gallery floor.

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SPIRIT OF AUSTRALIA GALLERY

Home to authentic Australian-made products AUTHENTIC ABORIGINAL DIDGERIDOOS 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 – 1.4 m). These artists also paint full size (1.3 – 1.6 m) didgeridoos on bloodwood or ironbark.

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OPALS AND JEWELLERY

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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 Alan Rise, Coober Pedy 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.

There’s a 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 - Harley Davidson official licensed merchandise

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

Spirit of Australia

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

Shop No. 5, 3171 Surfers Paradise Boulevard Surfers Paradise Qld 4217 Phone: 07 5561 0330 • Fax: 07 5561 0331 Email: info@spiritofaustraliagallery.com Website: www.spiritofaustraliagallery.com Open 7 days 9 am - 9 pm 16

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

GOLD COAST

Goompi Vgerabah

Anthony Walker

Showcase of ABORIGINAL WORK S 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 Walangkura 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

Jeannie Petyarre

John Turnbull

Anthony Walker

Spirit of Australia

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

Kuddtji Dorothy Napangardi

John Turnbull

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 John Turnbull

Dorothy Napangardi Antiques and

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RUNAWAY BAY

Collecting or decorating requires a visit to THE RUNAWAY BAY ANTIQUE AND ARTS CENTRE f you are a homemaker, decorating your home, a collector or a tourist, then a must visit shopping destination on the Gold Coast is Runaway Bay Antique and Arts Centre. The centre has multiple dealers and a huge range of stunning decorator pieces, collectables and investment quality artworks.

FASHION FILM & PHOTO SHOOTS

ADMIRAL NELSON’S TELESCOPE

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We were recently approached by a local family wanting to sell Admiral Horatio Nelson’s telescope. The telescope is inscribed ‘Admiral Nelson, 1798, Ship Vanguard’.

During the course of the Napoleonic wars, in August 1798, the Royal British Navy led by Rear Admiral Horatio Nelson defeated and destroyed the French fleet at the Battle of the Nile, also known as the Battle of Aboukir Bay. HMS Vanguard was Nelson’s flagship during this pivotal naval engagement.

The telescope comes with impeccable provenance. Nelson gave it to his cabin boy ‘Cookie’ who migrated to the Hunter Valley and lived there until his death in 1882 when the telescope was subsequently passed down through the family. Also passed down by descent was Nelson’s personal bucket from HMS Victory, Nelson’s flagship during the Battle of Trafalgar (1805) and where he died.

Later, while living in the Hunter Valley, Cookie made a magnificent replica of Nelson’s chart table. The Bulletin magazine ran a story about Cookie and his association with Nelson in August 1881.

Our stock is available for hire for fashion, film and photo shoots.

Grace Galleries have been at the Runaway Bay Antique and Arts Centre since day one.

Grace Galleries

We send out a weekly email with details of new items. If you would like to be on our mailing list, email us: info@runawaybayantiquecentre.com.au.

DIRECTIONS We are less than one hour from Brisbane.

Take the Hope Island turn off from the M1 (we are 13 km from this turnoff) and follow that road until it becomes Oxley Drive. We are on the right once you pass the roundabout at Lae Drive. If you are coming from the south, we are one kilometre on the left past Harbourtown.

RUNAWAY BAY ANTIQUE AND ARTS CENTRE 0408 109 427 info@runawaybayantiquecentre.com.au www.runawaybayantiquecentre.com.au

FURNITURE, DECORATIVE ARTS & COLLECTABLES 445 Oxley Drive, Runaway Bay QLD 4216 Ph 0408 109 427 OPEN DAILY 10 – 4.30 grace@gracegalleries.net wwwgracegalleries.net Grace Galleries have moved from Southport to Runaway Bay Antique Centre We have a huge and constantly changing range of Furniture, Decorative Arts & Collectables.

Add a WOW! factor to your decorating!

We ship to anywhere in the world!

Film & photographic hire service available.

Trade welcome!

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GOLD COAST / BRISBANE

Raphael (1483-1520), Loggia pilaster, c. 1777, copperplate engraving

The brilliance of 18th century artworks

Bernard Picart (1673-1733), Amor, c. 1725, copperplate engraving

AT BRISBANE ANTIQUE EMPORIUM

POMPEII AND HERCULANEUM IN COPPERPLATE ENGRAVINGS

esigned and painted by Raphael during 1518-1519, the magnificent frescoes in the Loggia at the Vatican were the final work by Raphaello (Raphael) Sanzio da Urbino (1483-1520). Raphael is considered one of the finest artists of the Renaissance period, and his Vatican frescoes a High Renaissance masterpiece of classical design.

Continuing Donato Bramante’s decoration of the Vatican, Raphael had previously adorned the rooms of the private apartment of Pope Julius II. The next Pope, Leo X, commissioned Raphael to design and paint the colonnade adjoining the Pope’s residence.

With his assistants, Raphael painted his designs on the 13 pilasters (support pillars), and ceiling arches and vaults.

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Raphael (1483-1520), Loggia arch, c. 1777, copperplate engraving

Antique Print Club www.antiqueprintclub.com Purchase securely online. Email sales@antiqueprintclub.com for assistance DAILY at Brisbane Antique Emporium 794 Sandgate Rd (Junction Rd) CLAYFIELD DAILY at Brisbane Antique Centre at Exit 30 Pacific Hwy (Beenleigh-Redland Bay Rd)

RAPHAEL’S GENIUS RECORDED IN COPPERPLATE ENGRAVINGS To record Raphael’s brilliance, by order of Pope Clement XIII, the intricate designs of his early 16th century frescoes were engraved onto copperplates 250 years later for Le Logge di Rafaele nel Vaticano (The Loggia by Raphael at the Vatican). The central vertical folds on the large copperplate engravings of the ceiling arches indicate the size of this grand publication. The images are approximately 33 x 57 cm.

To show the magnificence of each tall pilaster two large copperplate engravings were joined.

Each pair measured 105 x 44 cm and was superbly hand-coloured to accentuate Raphael’s imaginative grotesque motifs of beribboned flowers and fruit, gods and graces, and other mythical figures. Where the frescoes had deteriorated too far to be legible, elements from Raphael’s Vatican tapestries were incorporated to remain faithful to his design. The grace and classical beauty of Raphael’s design – particularly the grotesques – greatly influenced the popularity of the neoclassical style.

The grand engravings of Raphael’s pilasters were considered to be so important that ten years later they were engraved in pairs half the size of the first publication, each 37 x 50 cm. In 1813, these exquisitely detailed copperplate engravings were published in Paris by French draughtsman and engraver, Pierre-Philippe Choffard (1730-1809). Once again they are brilliantly hand-coloured in gouache and watercolour.

FRESCO WALL DECORATION WAS NOT A NEW IDEA The Vatican contracted hundreds of talented professionals. Swiss architect and engineer Domenico Fontana (1543-1607) was responsible for much of Rome’s redevelopment. In 1600 Fontana accidentally discovered the buried region of Pompeii during tunnelling for the construction of a viaduct. Not then identified as a great municipium, dedicated excavation of these ruins did not begin until 1748 – and haphazardly continued for the next 112 years.

Another great municipium of the 1st century, Herculaneum was not discovered until 1709 when men digging a well uncovered a decorated wall of the city. A town had been built above, so excavation did not begin for 30 years.

Artefacts and decorated walls from Pompeii and Herculaneum were illustrated as they were uncovered. Engravers were employed to transpose them onto plates for prints to be made to circulate the findings. Some of the finest classical engravers of the day were employed to engrave the frescoes for the most important 18th century archaeological work Le Antichità di Ercolano Esposta (The Antiquities of Herculaneum Exposed), published in Naples between 1757 and 1792. Some of these wonderful copperplate engravings have cross-hatched shaded sections indicating where the paint or mosaic had been destroyed, which reminds us of their source.

BERNARD PICART: ONE OF THE MOST FAMOUS ENGRAVERS OF THE 18TH CENTURY A contrast of 18th century classical artwork are the engravings circa 1725 by Bernard Picart (1673-1733). Picart was a distinguished designer and engraver who is better known for his religious illustrations. His engravings of (much magnified) medallions portraying ancient kings, and Greek and Roman gods and mythology, recorded antique fragments that he was given access to in important museums and libraries.

Classicism was paramount in the 18th century. The epitome of elegance would have been to have the walls painted with frescoes, but obviously only the wealthy could aspire to this extravagance. Since that time, the decorative designs, particularly from Raphael’s loggia, have inspired and influenced generations of decorators, architects and designers. They were a standard of excellence and style for the world to follow, and exemplified the classical design of the Renaissance period.

Eighteenth-century classical design encompasses some of the grandest wall decoration from any era. Imagine how grand they would look on your own walls! Many of these rare original antique engravings have been framed superbly and are available in the current spectacular exhibition of classical 18th century engravings at the Antique Emporium in Clayfield, Brisbane – not far from the airport!

Kathryn & Derek Nicholls ANTIQUE PRINT CLUB 07 5525 1363 / 0412 442 283 sales@antiqueprintclub.com www.antiqueprintclub.com

Nicholas Vanni (d. 1770), Herculaneum landscape, fresco, c. 1757, copperplate engraving

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BRISBANE

GINGER BEER

The drink of a nation! o you remember your very first thirst quenching mouthful of ginger beer? While some of us did not take to the fullness of flavour, others were immediately hooked on its invigorating and effervescent qualities.

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HISTORY: FROM ENGLAND TO AUSTRALIA Way before it was thought to be a patriotic duty to consume brewed ginger beer, this nonintoxicating beverage had been brewed in England since the mid-18th century. Many a Yorkshire lass enjoyed the flavour when the inhabitants of this area first came up with the idea of fermenting ginger, sugar, water and lemon juice with a ‘ginger beer bug’ comprising of a mix of fungus, bacteria and yeast. Perhaps it was Australia’s particularly warm climate that propelled the massive consumption of brewed ginger beer in the early pioneering days, with the peak period being the early years of the 20th century.

At the height of its popularity, there was at least one manufacturer of brewed ginger beer in the majority of even the smallest of Australian country towns, and sometimes several competitors depending on the population that they had to service. The original vessels that held this volatile liquid were made of glazed earthenware and as the decades marched on, so too did the quality of presentation of these beautiful bottles that are so very collectable today.

BOTTLES: THE EARLY YEARS The earliest bottles used in Australia were rather plain and drab in comparison to their later counterparts. They were often crude, hand thrown salt-glazed pieces of pottery shaped with a bulbous lip to allow a cork to be physically tied down to retain the effervescence. Although organic in appearance, they sometimes bore the hand-impressed marks of the drink manufacturer and/or the pottery works that produced the bottle for them.

The earliest Australian made pottery examples may simply have two different surnames impressed on the body of the bottle, usually the ginger beer manufacturer near the shoulder and the potter near the base. As the earliest sustained colonial settlement stems out from Sydney, so to do the earliest impressed bottles that are highly sought after by many collectors.

EARLY MAKERS TO COLLECT Names such as Leak, Field, McArthur, Dunn, Fowler, Moreton and Munro impressed in earthenware bottles can certainly raise the eyebrow of informed collectors.

RISING POPULARITY MATCHED WITH FRESH DESIGNS As the decades rolled on there was an everincreasing demand for ginger beer, which impacted on the manufacture and design of their containers. Potteries began experimenting with under-glaze transfer designs and colours to distinguish the various manufacturers that were supplying the beverage to the marketplace.

RECYCLING NOT A NEW CONCEPT The pottery ginger beer bottle was not a cheap item to manufacture and manufacturers all but relied on the return of their empty bottles to allow refilling and redistribution back out to customers. Out of this industry sprung the vocation of the professional ‘bottle-oh’ whose role was to see the branded bottle (both pottery and glass) returned to its rightful manufacturer for a small fee. The usage of various under-glaze colours in the lip and neck region of the bottle allowed quick and easy sorting of the bottles into separate crates for the manufacturers.

DATING AND COLLECTING BY COLOUR AND TRADEMARKS Collectors find that both colourful tops and pictorial under-glaze trademarks used in the

Samuel Mansfield operated in Maryborough (QLD) as early as 1869, with his son James continuing from 1912. This beautiful example of an 1890s ginger beer bottle has a distinctive coloured top and pictorial trademark of a cassowary to distinguish his bottles from his competitors

early days by various manufacturers are very useful when organising a display. The vast array of colours and trademark combinations used by Australian manufacturers make for a beautiful kaleidoscopic display. Other display options could be based around collections organised by categories such as geographical region or closure style.

was an amber glass dump-shaped crown seal bottle with similar glass embossing design on the side to that of the under-glaze transfer of the its pottery predecessor.

The evolution of closure style to a more contemporary screw top closure on most soft drink and glass ginger beer bottles that we remember as children did not have any bearing on the already dead and literally buried pottery ginger beer bottle that all collectors are still trying to unearth to this day.

VALUATION AND APPRAISAL Current market values of the more than 3,000 different types of Australian branded ginger beer bottles in all their shapes, closure types, sizes and glaze colours are dictated by many factors. This includes rarity, condition, eye appeal, closure patent, historical significance and availability to name a few. From a noncollector’s point of view, it can be very hard to understand why one example is only worth $30 and another example is worth $300 or even $3000! Even veteran collectors are sometimes left scratching their heads as to why a high price might be paid for any one bottle by other collectors.

Various publications over the years and more recently, websites, have made good attempts at summarising the numerous varieties that do exist and potential price ranges of these bottles. Please remember they are only guides and depending on the date of publication, journals may be completely out of date and not reflect today’s market and information on recent discoveries.

We are happy to offer our advice on rarity and current market value of any ginger beer bottle or any old bottle / jar for that matter that you may have sitting on a shelf or in a box.

We welcome your enquiry at BRISBANE ANTIQUE CENTRE 07 3806 0118 admin@brisbaneantiquecentre.com.au Acknowledgements Images courtesy Steve Baxter Thanks to Des Crump for his ongoing research into the numerous Queensland manufacturers.

Group of Gold Coast (QLD) ginger beer bottles used over four decades, showing both swing stoppers and crown seals, along with both plain and coloured tops for easier identification

BOTTLE TOP PATENTS The earliest form of ginger beer bottle closure was that of a cork tied down over a bulbous lip.

This design was used for many decades. Two other bottle top closures that were invented and became popular to varying degrees in the early 20th century were the swing-stopper (lightning stopper) and the crown cap.

SWING-STOPPER The swing-stopper was invented and patented

by Charles de Quillfeldt of New York City in 1875. It consists of wire bails anchored around the neck of the bottle and connected to a ceramic stopper with rubber ring, allowing physical clamping of this stopper to effectively seal the contents and not allow gaseous loss. While some manufacturers adopted this type of closure around Australia, its overall usage was limited although .

CROWN CAP The next most popular closure was the crown seal which was originally patented in the USA in 1892 by William Painter. Most would still be familiar with this type of closure today, albeit in the form of the metal twist tops that we now find on many our most thirst quenching and more intoxicating ales. The earliest forms that grew to be the most popular in Australia from the first decades of the 20th century had a similar appearance but were designed with a metal crimped top lined underneath with cork and fastened over a crown pottery lip of the bottle.

BOTTLE DESIGNS IN ALL SHAPES AND SIZES As the evolution of branding and closure type marched on, so too did the design shape of the bottle. The earliest forms often have a defined and pronounced shoulder region before quickly tapering in to the very bulbous top that allowed the cork to be fixed. These examples are often referred to as dumpshaped and with blob lips or simply dump blob-tops in collector circles. The later shape that was more favoured, especially for the crown seal closures, was a more gently tapering neck to the crown seal closure making the overall height of the bottle taller than their dumpy shaped cousins.

AND THEN THEY WERE GONE: POTTERY SUPERSEDED BY GLASS The demise of the pottery ginger beer bottle in Australia came about through pottery bottles being banned from usage for the sale of drinks for human consumption in the 1940s. By this stage glass, the widespread use of glass bottles with various closures including gravitating marbles, crown seal tops and swing stoppers was abundant, and so pottery ginger beer bottles were phased out to be replaced with glass embossed counterparts of similar shapes.

As the same manufacturer may have also produced various flavoured soft drinks, the style that was typically used for ginger beer

4014 Pacific Highway Loganholme QLD 4129 ◊ 2300+ sq m one level antique super centre ◊ French themed Café Eiffel as our entrance ◊ 140+ dedicated off-street car parking ◊ 24 hour on-site security ◊ Great Motorway (M1) visibility and very easy access immediately off EXIT 30

admin@brisbaneantiquecentre.com.au

07 3806 0118

www.brisbaneantiquecentre.com.au Antiques and

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BRISBANE

Atelier art classes in progress

The gallery at Petrie Terrace

PETRIE TERRACE GALLERY

Nick Leavey, Portrait of Carmen

summer program ATELIER ART CLASSES he second exhibition of student work from Salisbury-based Atelier art classes opens on Saturday 7 December at 6.30 pm at Petrie Terrace Gallery. Students of the Atelier show the skills they have developed as a result of the thorough ongoing traditional training offered at this school.

The Atelier owes its origins to the Julian Ashton Art School with its partners – Nick Leavey, Ryan Daffurn and Scott Breton – all having trained there. More recently, Ryan and Scott have both won the AME Bale award, which with a prize of $50,000 offers the richest fine art travelling scholarship in Australasia. This exhibition highlights students’ work over the past year, with some

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of the students having attended the school since it opened in 2010.

At the school, students have the opportunity to study drawing and painting and sculpting skills ranging from the beginner to the advanced. Students may also take part in plein-air painting, anatomy studies, figure drawing, and workshops with artists of the calibre of David Briggs, Tim Miller, Keith Dewell and Archibald prize-winner, Francis Giacco, who all have a close association with the Atelier.

Also showing their work are the teachers and studio artists resident at the Atelier. In addition to Nick, Ryan and Scott, there will be work from Mark Feiler, Dr Kay Kane, Anita West, Nick Manion, Lindy Perrin,

Petrie Terrace Gallery 162 Petrie Terrace, Brisbane 07 3367 1977 secretary@rqas.com.au www.rqas.com.au

Natacha Arena and Penelope Gilbert-Ng. Many of the works are for sale, offering the opportunity to purchase work of a high quality at reasonable prices from new and established Brisbane artists. More information at www.atelierartclasses.com.

PETER HUBBARD: SOLO EXHIBITION Peter Hubbard’s 13th solo exhibition will be on view at Petrie Terrace Gallery from 18 February to 22 February 2014.

This is his second solo show at Petrie Terrace, the first being in 2012. Hubbard is a Fellow of the Royal Queensland Art Society and recently won first prize in their annual exhibition. He also won that prize in 2003.

Hubbard started painting about 1960 as a student of Roy Churcher. About that time he also associated with RQAS through Dorothy McPhee’s young members group.

ARTIST STATEMENT ‘I take my cue from life, from nature – therefore I am representational. But I want it to be real in a different sense beyond imitation; it is a composition. Strong design and composition is what I’m after. Shapes, colours, even brush strokes should form a unity. Ideally, the picture is to be a self contained universe with its own space, existing by rules dictated by the painting itself.’

ROYAL QUEENSLAND ART SOCIETY(BRISBANE BRANCH)

See these upcoming exhibitions

Atelier Art Classes Brisbane’s Fine Art Atelier Second Exhibition of Students’ Work 10 Dec to 21 Dec 2013

Peter Hubbard Recent Work – Thirteenth Solo Exhibition 18 Feb to 22 Feb 2014

The Agnes and Harold Richardson

Drawing Award An open competition hosted

by Royal Queensland Art Society, Brisbane Inc. 25 Mar to 5 April 2014 22

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RQAS has had a busy year in 2013. Doubling its membership over the period, it hosted major workshops, established regular life drawing sessions and provides a venue for other established art groups.

The major RQAS annual exhibition was but one of 19 exhibitions at their Petrie Terrace Gallery during the year. Opened by Governor Penelope Wensley AC, it was accompanied by artists’ talks, demonstrations and a panel discussion. The society’s Petrie Terrace Gallery

Peter Hubbard, Flowers

remains the ideal spot for art lovers to investigate for investment or pleasure. In particular, the Agnes and Harold Richardson Drawing Award attracts the best talent locally and interstate and is a must for art lovers.

SUMMER SCHEDULE – PETRIE TERRACE GALLERY The Image Makers 21 Nov – 5 Dec 2013 Atelier Art Classes 10 – 21 Dec 2013 Spaces (RQAS members’ exhibition) 21 Jan – 8 Feb 2014 Peter Hubbard: Recent work 11 – 16 Feb 2014 Phoenix Kenny’s First Solo 18 – 22 Feb 2014 The RQAS 3D show: jewellery, sculpture, etc 25 Feb – 15 March 2014 For more information PETRIE TERRACE GALLERY 07 3367 1977 www.rqas.com.au Peter Hubbard, Scenic Drive

BRISBANE

CHELSEA ANTIQUE LIGHTING

39 Brookes Street Bowen Hills Brisbane 4006 07 3852 5500 email sales@chelseaantiques.com.au web www.chelseaantiques.com.au (for lighting dimensions please visit our website)

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BRISBANE

A window into past QUEENSLAND JEWELLERY AND SILVERWARE MANUFACTURERS n the past little attention has been paid to Queensland jewellery manufacturers, in particular makers working in the Brisbane area. In the early 1920s Brisbane had three quite large jewellery factories in the inner city: Wallace Bishop, Mackay’s and W.F. Cole Pty Ltd.

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WALLACE BISHOP The firm of Wallace Bishop established in 1917 was a retailer and manufacturer. Their factory, under their old King George Square shop (where Bupa is located today), employed up to 18 tradespeople working in badge and regalia, jewellery, and enamelling sectors.

Est 1964

This firm is still in operation, their manufacturing branch now in Doggett Street, Fortitude Valley. They also have some of their pieces completed overseas.

MACKAY’S Based in Wickham Street, Mackay’s large workshop specialised in basic jewellery items.

They made pieces for sale in their own shops and also sold to Brisbane wholesale distributors.

W.F. COLE PTY LTD Manufacturing jewellers W.F. Cole Pty Ltd was located in George Street, and employed

Penfold Jewellers

Reg. No. 26

FOR ALL INSURANCE VALUATIONS ON JEWELLERY, GEMS, SILVERWARE INSURANCE • PROBATE • MATRIMONIAL

34 tradesmen; 18 being chain makers and finishers. The firm produced many high quality pieces such as gem set spray brooches, bracelets and rings. Their maker’s mark was an anvil. This firm together with Mackay’s, no longer exists.

OTHER SMALLER MAKERS Another firm no longer trading was F.W. Nissan which had a reasonably sized workshop with up to ten tradespeople working onsite. All these workshops had large impact presses as much of the work consisted of pressing and stamping components before these pieces were finished and then assembled into the finished article.

Most of the completed pieces were sold to the wholesale firms of Hoffnungs, Arthur Cox & Co, Star Bros and Lewis. These firms employed commercial travellers who supplied retailers in country towns.

Coupled into this were many smaller workshops employing anywhere from three to ten people. The excellent silversmith H. Brown had a small factory in Adelaide Street.

JEWELLERY FIRMS WORKING IN QUEENSLAND

Brisbane’s Antique Specialists 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

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The biggest jewellery manufacturer in Queensland today is Michael Hill which has an enormous facility at Murrarie and employs about 50 jewellers and finishers. The company makes jewellery for their Australian retail outlets and for their overseas operations in the USA, Canada, UK and New Zealand.

Still working is the highly regarded firm F.J. Mole that was initially situated in Stanley Street, South Brisbane where the children’s hospital now stands today. Noted for their high quality church plate they also made trophies and table wares. Their maker’s mark is the emu. The firm continues today at premises in Birkdale.

Continuing the tradition of fine workmanship is Penfold Jewellers, established in 1964. Here, collectors can bring their heritage pieces whether jewellery or silverware for advice on restoration, valuation, or if wanting to commission the making of a new piece of jewellery.

For more information contact Ken Penfold PENFOLD JEWELLERS 07 3221 7516 penfoldjewellers@tpg.com.au

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collectors can bring their heritage pieces whether jewellery or silverware for advice on restoration

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BRISBANE

SYMBOLS FOR GOOD LUCK

and their decorative appeal 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.

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THE WISHBONE BROOCH This brings back memories from my childhood and my mother who 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 asked my sister and I 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 Mother Earth. Turtles and tortoises in Feng Shui are bringers of luck, apparently a link between heaven and earth.

SCARAB 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.

FROG 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.

CAT’S EYE (SEA SNAIL) 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.

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.’

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

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 was also a symbol of fertility. Victorians used acorns on their interiors and on gateposts for protection of property. Victorian acorn earrings are beautiful.

Kellies Antiques

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

WISHING WELL 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 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?

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 Antiques and

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The art of feather inlay: TIAN TSUI – DOTTING WITH KINGFISHER hina is home to many incredible and beautiful arts. Chinese porcelain, cloisonné, silks, carvings, and jade are all highly sought after by avid collectors everywhere. However, the art of tian tsui (also known as dian cui) remains relatively unknown outside of its native homeland. Tian tsui aptly translates to ‘dotting with kingfisher’, a turn of phrase that sounds nearly as beautiful as it actually is.

Tian tsui is the 2500-year-old practice of inlaying iridescent kingfisher feathers into a silver gilt frame for mainly hair ornaments and jewellery. As the kingfisher art was so painstakingly time consuming and precise, only the wealthy could afford to purchase such a luxury item. High-ranking government officials would often own a headdress, hairpin, or fan that featured the feathers, eventually turning the opulent blue of tian tsui into a status symbol. One particular species of

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kingfisher from Cambodia was particularly favoured amongst the Chinese, as its feathers were considered to be of the highest quality. It is believed that the Khmer Empire of Cambodia gained much of its wealth from exporting these kingfishers to the Chinese, which helped fund many of the empire’s incredible temples such as Angkor Wat. Upon closer inspection of these incredible pieces of art, it is easy to see why they were so highly sought after. The meticulous care and accuracy of the inlaid feathers highlight the iridescent blues and greens that shimmer in the light. The beauty of the kingfisher feathers has inspired countless Chinese artists.

An example is Tang dynasty poet Du Fu (712770), whose poem A Song of Fair Women spoke of Emperor Xuanzong’s consort Yang Guifei, one of the famous four beauties of ancient China who wore the luxurious blue of tian tsui.

Many beauties take the air by the Changan waterfront, Receptive, aloof, sweet-mannered, sincere, With soft fine skin and well-balanced bone.

Their embroidered silk robes in the spring sun are gleaming With a mass of golden peacocks and silver unicorns.

And hanging far down from their temples Are blue leaves of delicate kingfisher feathers.

Unfortunately, the demand for tian tsui outgrew supply, tragically leading to the extinction of many kingfisher species. However, it wasn’t until late in the Qing dynasty that the decline of the kingfisher population was addressed, resulting in the eventual ban on the production and sale of modern tian tsui in mainland China.

The Chinese Cultural Revolution (1966-1976) saw many luxury items labelled as ‘immoral’, leading to the destruction of numerous historical and cultural artefacts including tian tsui.

Fortunately, many pieces have been excellently preserved, with examples of headdresses, hairpins, fans and screens being found in museums and privates collections throughout China. The art of tian tsui has almost been lost completely, with only a few master silversmiths in China skilled enough to repair antique pieces.

THE ANTIQUE GUILD 07 3221 3112 www.theantiqueguild.com.au Further reading Adrien von Ferscht, ‘Treasured kingfisher feathers ...’ www.worthpoint.com

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The meticulous care and accuracy of the inlaid feathers highlight the iridescent blues and greens that shimmer in the light.

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PADDINGTON

CHILDHOOD NOSTALGIA REKINDLED

BY VINTAGE TOYS DOLLS FROM CHILDHOOD TOY TO ADULT COLLECTABLE

uch about collecting is to do with nostalgia and sentiment. Nothing typifies this more than the collecting of toys. Whether it be dolls, teddy bears or train sets, toys captivate our inner child.

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TRAIN SETS AND RAILWAYS My grandfather had a train set. It was a serious thing, set up on hallowed ground in his man cave in the back garden. As an amateur carpenter he had a large and well-equipped shed and running right around the middle was his prized train set. I only ever had a glimpse of it. It was clear my appreciation of it was lacking. Today, Hornby Dublo, the 00 gauge railway kits, locomotives and accessories are highly prized. Made by Frank Hornby, the creator of Meccano, these table-top railways are of tinplate and metal and made to last.

Dolls are another whimsical collectable. From boudoir dolls to dolls of the world, the variety is staggering. My daughters have a respectable collection that began with a beautiful celluloid doll passed on from my grandmother and then added to as family members travelled the globe bringing back Hina and Kokeshi dolls, Matryoshkas, Native American and African dolls.

THE STORY OF BARBIE When it comes to dolls, I was a baby doll girl, but many of my friends were Barbie fans.

Both are collectable today. However, it is Barbie that has become one of the world’s most popular collectables. She is a charming

icon of 20th century culture and her history is a tale worthy of any storyteller.

Barbie started life in Germany in 1955 as a raunchy adult doll sold through tobacconists.

She had a pronounced pout to her red lips, painted nails, voluminous breasts and long, long legs with high heeled shoes moulded to her feet. Her name was Bild Lilli, named after a confident, independent but rather saucy newspaper cartoon character. Men purchased her to hang from the rear view mirror of their trucks or cabs. While she was regarded by the moral majority as a sex toy, her appeal spread nationwide and children began to take an interest. This led the manufacturer to introduce new outfits for her.

In 1956 the wife of the founder of Mattel, Ruth Handler, was holidaying in Germany. She noticed the dolls and bought three: one for her daughter Barbara and two to be used as moulds for Mattel to create a new concept, Barbie. They acquired the rights to Bild Lilli and launched Barbie at the New York toy fair in 1958 as a teenage fashion model. She was immediately both controversial and successful. Many considered her too provocative as the only physical changes made were that her pout was less pronounced and her high heels were removed so she could take removable pumps.

However, she endured most successfully until 1966 when a number of changes were made to meet changing market conditions. The most significant of these was the launch of the patented Twist and Turn Barbie that is still sold today.

BEARS TO CUDDLE AND COLLECT

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

Antique

❖

Vintage

❖

Retro

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

MORE THAN 50 DEALERS

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

Trading 7 days a week, 10 am to 5 pm In-house coffee shop offering refreshments in a friendly & relaxed setting

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The birth of the teddy bear comes about due to the intertwining of a number of stories – a president call Theodore, a King called Edward, a young girl with polio determined to be financially independent, and a tobacconist with a keen eye. This interesting tale is too complicated to summarise here but suffice to say the enduring human-like qualities of the bear lent themselves to a very marketable children’s cuddly toy.

While bears in soft toy form were produced prior, the birth of the Teddy Bear occurred in 1903 and its popularity became a phenomenon almost immediately. Of course the most famous teddy maker is the German company Steiff, begun by Margarete Steiff, the young girl with polio.

Two pieces of trivia relating to teddy bears are that those who collect teddy bears are known as arctophiles and the collective noun for a group of teddies is ‘a hug’.

From mid November through to the New Year, Paddington Antique Centre will have a display of vintage toys in the foyer, most of which will be for sale.

HAPPENINGS AROUND PAC PHOTOGRAPHY Our in-house photographic studio, Paddington Art Portraiture & Wedding Photography, has opened and is attracting much interest. Whether it be family groups pining to dress up in vintage kit, wedding parties or beloved pets, there is plenty of lights, camera and action at PAC.

CHRISTMAS Our foyer Christmas display is a varied feast for the senses this season. As already mentioned, the display cabinets will feature collectable toys such as vintage Barbies, Hornby train sets, collectable board games, and reproduction tin toys.

The floor space will be dedicated to the latest shipment of art deco furniture imported from the UK, which includes some interesting pieces that originated in a French hotel. Jay Gatsby and Miss Phyrnne Fisher would feel most at home.

FOYER DISPLAYS Our first foyer display for 2014 will be music related. Expect vintage instruments, sheet music, records and anything else you might imagine to do with collecting music.

Following on from this will be a fresh container of mid-century Danish furniture.

ASIAN COLLECTABLES A dealer new to the centre is David Edwards Antiques. David deals in high end Asian collectables including ceramics, glass, ivory and bronzes. With the proliferation of reproduction and fake Asian antiques, David takes pride in seeking out genuine period pieces of high quality. His grandfather worked in China in the early 20th century and his mother was born in Shanghai, so it is little wonder that David is an avid collector and discerning dealer. He has been operating in Toowoomba over the last 10 years but now his stock is available at the Paddington Antique Centre.

HISTORY OF THE PLAZA THEATRE One of our dealers, Dr Martina Lipton, is a specialist in the history of musical theatre and related topics. She is compiling a book on the history of the Plaza Theatre, home to Paddington Antique Centre for the last 30 years. She is seeking community stories relating to the building. If you have an anecdote or a personal experience you would like to share, please call Martina on 0408 480 718.

The publication will be launched in the centre in the first half of 2014.

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

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SELECTING SPECIALS ABROAD hile travelling through different countries, and being an antique dealer, I have always gravitated towards museums, jewellery shops and of course, antique shops. The problem is the local guides hired to conduct the tour always invariably steer us towards art galleries. Now that is fine, but I start to get a bit agitated when we lose so much time. Even though I like paintings, they are not my main interest. I guess my overall interest is design plus visual appeal, from large items all the way down to ceramics and jewellery.

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BLACK PEARLS IN VIETNAM My reason for being especially interested in jewellery is because it’s easy to carry, is unbreakable and found in the most obscure places. For instance, two years ago I was in Vietnam, and part of the trip was to go up north to Hanoi and the ‘must see’ Halong Bay, which was awesome, as I wrote in a previous issue. An add-on was a boat trip to explore the fabulous caves in the area. When I had finished lunch the skipper asked me would I like to see some jewellery, and of course I said yes. In amongst the collection were these black pearls. Now, the strange thing is that before I left Brisbane my son asked me if I had ever seen black pearls. I said no, I hadn’t. So here on a junk boat heading towards these obscure caves I am offered black pearls plus other trinkets.

porcelain – this shop was packed with such treasures hidden in every little alcove as if waiting to be discovered.

BRISBANE FOR FURNITURE I never buy furniture overseas because I like to choose stock from my sources here in Brisbane and restore on the premises. This suits my clientele, and with a background in furniture and all to do with French polishing and how much restoration is required, makes it all a labour of love.

Eilisha Little EILISHA’S SHOPPE 07 3358 1448 / 0423 830 515

Member of QADA Proprietor: Eilisha Little

Antiques, Objets d’Art, Furniture, Porcelain, Sterling Silver, Old Jewellery, Collectables & Linen

EGYPTIAN FINDS Another time in Egypt we went on a boat trip along the Nile to visit this very old village and a handsome young Egyptian appeared. He was so tall and stately, he reminded me of some of the pharaohs I had seen at the museum. He produced this bag with some very interesting jewellery. All nicely designed and with natural gem stones like amethysts, topaz, garnets, moonstones, etc, and all reasonably priced. I had already bought some nice trinkets at Luxor, but I still purchased some more from him.

SPECIALS IN NEW YORK During a trip to Poland I bought some nice amber, and when I visited Alaska I was overwhelmed by all the diamonds. Next February I am going to South America. I hear the emeralds and diamonds there are worth looking at.

New York is another fabulous place to shop.

To walk along Fifth Avenue on a Saturday morning has a charm all of its own. One particular shop had such a variety of exquisite pieces – apart from the jewellery and sterling silver. The Dresden ornaments, pieces of genuine signed Fabergé, early Sèvres

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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TENERIFFE

MEETING COLLECTORS’ NEEDS

and interests ‘T

he best centre in Brisbane has never looked better.’ These are not just our sentiments, but those of so many who have found us recently. And as we head into our 22nd Christmas in this building, we plan for even more varied events, exhibitions and, as always, a surprising variety of stock with great prices. With our proposed High Tea area, spending more time here will be even more pleasant. We continue to support many local charities, functions, films, photographers and artists as Teneriffe comes of age with the opening of the wonderful Gas Works shopping centre.

QLD FURNITURE MAKER JOHN HICKS AND CO We have on the floor (at the time of writing) a complete John Hicks setting, including table and eight chairs (including two carvers) an elegant side board, lazy boy and chez lounge, a total of 12 pieces in silky oak. John Hicks & Company was established in Brisbane in the 1880s on the corner of George and Ann Streets, and later at Margaret Street, Toowoomba.

They and another local firm, F Tritton Limited, Fine Furnishers, were keen competitors. This competition in style, manufacture and price, continued for nearly a century. In the early years John Hicks and Company also used the more expensive timbers like cedar, rosewood and mahogany.

Their master craftsmen kept abreast of overseas trends, particularly following the Paris World Exhibition in 1937.

The Great Depression changed the economic structure of the local furniture industry. In the

1938 Hixco catalogue, a new term ‘Lay-By’ emerged, and the catalogue used phrases such as: ‘Good discounts for cash buyers’, ‘Freight concessions to country customers’, ‘A Bride’s Special’, ‘Four rooms furnished (bedroom, dining room, lounge room and kitchen) for 110 pounds with 16 pounds deposit’. With so many of these catch phrases in common use today, one has to wonder how close we came to another depression!

LARGE SELECTION OF LIGHTING OPTIONS Oil lamps, and later gas lights, heralded the greatest advance in lighting until the introduction of electricity in the late 19th century. These advances threw a whole new light on the domestic scene, exposing all rooms to inspection. Designers such as Leger of Paris and Swiss scientist Ami Argand made good advances; the latter patented the Argand Burner in England in 1784. This began competition from many countries. Later, mid 19th century, the large scale manufacture of kerosene lamps was centred in the United States.We have an extensive selection in the centre for you.

UNDERSTANDING THE NEEDS OF TODAY’S COLLECTORS The decorative aspect of collecting features strongly in the centre. Along with traditional antiques, furniture, jewellery and crystal chandeliers, the centre has diversified with retro and recycled clothing to accommodate the youthful market. Centred in a fast developing area, Commercial Road Antiques is receptive to the requirements of the new breed of resident in the area. So much of what the youth purchase today must be functional.

So as the practical aspects of business rise to the surface, we provide a wide variety of merchandise that caters to a contemporary market. Come and enjoy the changes for yourself. Easy access by public transport, bus or city cat, since the new terminal was built at the foot of Commercial Road.

Ian Thomson COMMERCIAL ROAD ANTIQUES & DECORATIVE ARTS 07 3852 2352 www.commercial roadeantiques.com

Ian Thomson officiating at the opening of the expansive new Woolworths Newstead store where we also provided a display in the food court

Complete 12 piece lounge/ dining room setting in silky oak made by John Hicks & Company, Brisbane

“THE BEST CENTRE IN BRISBANE”

Lynzay Antiques

IS ALSO A HAPPY, HAPPENING PLACE

Exciting new showplace with fine furniture, antique & estate jewellery, silverware, ceramics and glass

Commercial Road Antiques & Decorative Arts

85 Commercial Road Teneriffe QLD 4005

PETER MARTIN • 0412 599 299 AT COMMERCIAL ROAD ANTIQUES • 07 3852 2352 30

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Open 7 Days 10 am – 5 pm 07 3852 2352 Au s t ra l i an An t i q u e a n d Art Deal e rs A s s oc iat i on

www.commercialroadantiques.com

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BRISBANE

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.

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.

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 5.00 pm Monday to Friday. The team at Pack & Send look forward to the opportunity to offer their services in solving any packaging or freight problem you might have.

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

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.

Packing for The Antique Guild, Stamford Plaza Brisbane

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Dressing table stool

THE ED ROSENSTENGEL STORY n recent years there has been an outburst of interest all over Australia in the work of regional craftsmen, especially those who are members of the Guild of Fine Furniture. Most admired of these in Queensland is Ed Rosenstengel who 40 years ago – at the time of his retirement – was already a household word among collectors for elegance of design, integrity in the use of local materials and craftsmanship of the highest order.

Born in Toowoomba in l887, Ed Rosenstengel was the son of German immigrants who had come to Australia in 1871. His father, originally an upholsterer, set up a furniture business and Ed, the ninth of 12 children, left school at the age of 15 and became an apprentice in his father’s workshop.

He left at the age of 18 to travel and acquire skills as a furniture craftsman from a series of masters: first in Sydney, then Auckland and later in the United States and Europe. At the turn of the century he spent several years in Grand Rapids, Michigan, the best-known American centre for the manufacture of domestic furniture.

After brief periods in Europe he returned to

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Jardinere and pedestal

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Toowoomba in 1911. In 1922 he moved to Brisbane which offered him the kind of clients for whom he could do his best work, since the majority of his pieces were custom built to the needs of individual clients, though always under the master’s guidance.

His taste was refined and eclectic. He was an admirer, for example, of French rococo, which was in fashion in the 1920s – as we can see in the decoration of the State Theatre, Sydney. If he used more austere forms – those drawing on neoclassicism, he liked to add decoration in low relief, always with exquisite delicacy and the finest detail.

His showroom and workshop were at 524 Brunswick Street, New Farm. He preferred to work in Queensland maple or silky oak and always chose the soft furnishings and stains that he kept secret. Polishing was done by hand. All his employees were craftsmen in the field.

Ed Rosenstengel was a designer who supervised all that was manufactured and inspected it before allowing it to bear his name. His early pieces had a small metal plate attached and later he affixed a small red transfer. Some of the special pieces were signed by hand. Upon his retirement, he preferred to close the business, rather than sell the goodwill, in order to protect the integrity of his name forever.

But he had a general as well as a sophisticated clientele. For these he made kitchen furniture, tables, chairs, cabinets, and sometimes bedroom and dining room furniture as well. All were elegantly designed and crafted but in a cheaper wood such as pine.

At the end of World War II, when soldiers were coming home to marry and set up house, his name was one that young people knew.

Whole households of his furniture were provided for this new and educated market. As these households are sold up it is these more commercial pieces that find their way, along with many other finer pieces, into the shops of local Brisbane dealers.

Over the years the Phillips family has handled many wonderful Rosenstengel pieces.

During the course of a special weekend, Discovery Corner had on display a selection of furniture from Rosenstengel’s private collection such as a maple gentleman’s chair, with his initials carved in the centre back and a special extension on the arm designed to hold a cup and reading matter.

All of Rosenstengel’s pieces, even those

Doon bookcase

that were made for the commercial market, show signs of individual distinction. He was an artist as well as a craftsman, and the finest of his work, with its elegant lines and tasteful decoration, is unique.

Although their age does not qualify them as antiques, it is only a matter of time.

They already have the values of distinct

Doon china cabinet

individuality and rarity that go hand in hand with classic craftsmanship.

Jill Phillips DISCOVERY CORNER AT BRISBANE ANTIQUE EMPORIUM 07 3862 2155 discoverycnr@bigpond.com

CLAYFIELD

Sterling silver teapot made London 1819

WMF biscuit barrel c. 1890

Carriage clock made England c. 1890

Moorcroft vase decorated in Wisteria pattern

Chronometer by Frodsham & Parkinson

BRISBANE ANTIQUE EMPORIUM

Group of four 19th century porcelain cherubs or putti, h: 19 cm each

at ‘Discovery Junction’ Cnr Sandgate & Junction Road Clayfield Qld 4011

07 3862 1600

0417 605 562

info@brisbaneantiqueemporium.com.au Ring in the form of a cicada set with sapphire, ruby and diamond Charm bracelet in 9 ct gold with 45 charms

Diamond ring by Omega

Royal Dux porcelain figure, h: 57 cm

Chinese 19th century heavily carved footstool with needlepoint seat

Murano glass figure signed by Loredano Rosin, h: 61 cm

Georgian 18 ct gold memorial ring c. 1832 Victorian mahogany bookcase

Pair 19th century cast iron figures, h: 213 cm

English oak roll top desk c. 1900

Three piece tea set by Aynsley in orchard gold pattern

Georgian mahogany bureau

OPEN 7 DAYS 10 AM – 5 PM RARITY, QUALITY, AGE & CONDITION ARE OF PRIME IMPORTANCE Discovery Junction incorporates Buy Design at Clayfield & Atomic Martini Vintage Antiques and

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VICTORIA

Wanting to buy original lithographic posters from the turn-of-the-century to 1970.

Condition not important!

Paying Australia’s best prices.

Contact: Sam Johnson 03 9500 2505 Email: sam@vintagepostersonly.com www.vintagepostersonly.com

1136 High Street Armadale Victoria 3143 36

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GOLD COAST

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 Antiques and

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CITY

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THE ELEGANCE OF LIVING wise man once said, ‘Elegance is the maximum effect with the minimum amount of effort.’ I could rationalise my way through what I thought that meant when I first heard this, but realising what it actually means to live that way has been completely different. I always thought elegance was bow ties, strands of pearls and candlelight diners.

But isn’t getting dressed up and hosting elaborate meals a lot of work? This definition at first seemed to be a paradox, but I have come now to not only see the truth of it; I have made it part of my philosophy on life.

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A PLACE FOR SILVER WARE IN TODAY’S LIFESTYLE To give a little example of how it relates to actual antiques, sterling silver is a prime example. One of the things I used to find amusing with silver was how everything made

was designed for a very specific use. Items purpose designed and crafted to perform specific tasks with ease and efficiency. There was a special serving blade for jellied cakes; of course a different server for tomato and cucumber slices, and please do not confuse that with the slotted olive spoons or the asparagus server. Let’s not even delve into condiment paraphernalia!

At first it all seemed so fussy and ridiculous. I mean, really, do you actually need a set of scissors just for cutting grape stems? How is that elegant? Aren’t antiques and silver supposed to epitomise elegance?

Moreover, how is polishing all that silver even remotely high impact with low effort?

What I have come to realise about this kind of design, is that most people don’t live the life these things were made for anymore. To most people these implements have lost their relevance because that isn’t how the majority

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Instead of leaving the best china, crystal, silver and linen in a display cabinet, why not throw open the doors and start using them?

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have decided to live. Most don’t put on a grand table so often, because they are just too busy and live in such a small unit. Sound familiar? Very rarely, do they treat themselves with the pleasure that comes from wellpolished silver, pressed linen, and artfully crafted furniture. They have come to adopt the lifestyle of convenience as the substitution for elegance. As a society we have traded down to stainless steel cutlery and particleboard furniture built with an Allen key. One man even put it to me by saying, ‘In 200 years the only antiques left from this generation will be those rubber bracelets young people wear.’

AN EYE FOR BEAUTY COMBINED WITH BUSINESS ACUMEN What if that didn’t have to be the case? At the Antique Guild in Brisbane, we suggest the Elegance of Living is something we could all have. To make this a reality, we suggest that for every dollar you earn, 10 percent should be put aside as a tithing to yourself. Look at it as an investment dedicated to bettering your quality of life. We suggest taking that 10 percent and setting it aside as savings, using the funds to buy those secretly desired pieces.

Use it for things like jewellery, antiques and beautiful objects in precious metals you know are wise investments and that will hold value.

Gentle reader, this article is intended as an invitation. Why not pop the cork on life; grab your best and coveted glasses and start LIVING? Instead of leaving the best china, crystal, silver and linen in a display cabinet, why not throw open the doors and start using them? Instead of seeing the silver service as fussy old bits of cutlery, take the view these fine hand-crafted wares made so long ago are actually a wonderful gift to yourself, a joyful celebration of life. For those of you who are willing to go on that adventure, we invite you to the Antique Guild where we are ready to help you explore The Elegance of Living.

Chris Hughes THE ANTIQUE GUILD 07 3221 3112 www.theantiqueguild.com.au

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BRISBANE

NUDGEE ROAD ANTIQUES & DESIGN CENTRE

30 years trading and still going strong!

CATHERINE’S 30 YEARS IN AUSTRALIA It was like yesterday. I can still remember the day I left Taiwan behind, after having lived there for 27 years and migrating to Australia. I arrived on 4 October 1984, landing at Brisbane airport. Straight away I fell in love with the sweet fresh air, the amazing blue sky, and the spectacular full bloom of the jacaranda trees. I was so excited and right there and then decided to spend the rest of my life in this beautiful country.

My first ten years in Australia was like a rollercoaster: spectacular experiences and periods of living hell. After having gone

through those ups and downs I learned the lessons of life, and looked at the world in a different way. I learnt to compromise my fantasy with reality, and became determined to be always positive, to always do the right thing, and never give up.

Kevin and I first met at the Jupiters Casino Antique Fair in 1995; we were running stalls close to each other. At that time I was struggling to run my business and to look after my son, Alexander, as a single mum.

Kevin could see that I had been through a tough time and decided to close his business in Victoria and come to Brisbane to rescue both me and Alexander. He charged in like a knight in shining armour.

Nudgee Road Antiques & Design Centre Operated by Parker International Pty Ltd

277 Nudgee Road, Hendra Queensland 4011

Kevin’s version of a white horse was his vintage blue convertible Mercedes Benz, with his being dressed like a punk rocker in a hot-rod shirt and bright red suspenders. Seven-year-old Alexander was so impressed with Kevin’s tough, wild-man look that he quickly gave his permission and we welcomed Kevin to our family.

From that moment our business took off. It was East meets West – Catherine Ricketts, the oriental antiques specialist, and Kevin Parker, the expert on all things European. The combination of our vast knowledge and experience has made us a successful and dynamic team.

We frequently travel overseas to source items for our extensive range of antiques and decorative art pieces. Kevin, the treasure hunter, is always out and about looking for exciting stock, and is continually buying whole collections from estates. After years of trading we have accumulated an amazing amount of collectables amongst our treasured possessions.

Eighteen years have passed. Kevin and I have gone through the seven-year-itch sequence twice, in addition to a major property renovation, something which most couples don’t seem to survive these days. But we made it, and are still sharing the passion of the antique trade and, more importantly, we still enjoy our life together.

THE BRICKHOUSE CAFÉ European Arts & Furniture

Antiques and Fine Works of Art Importer, Retailer and Wholesaler

Oriental Arts & Furniture

A treasure trove to be discovered

Marble Items

• Custom designed material for projects • Developers, Landscapers & Interior Designers welcome

Stoneware

Antiques Appraisal Services

Cast Iron Wrought Iron

Lighting

• General Insurance

• Family Division

• Deceased Estates

• Antique Certificate

Australian & European Specialist

Oriental Antique Specialist

Kevin Parker

Catherine Ricketts

0411 709 660

0411 709 669

Mon-Fri 9am-5pm Sat-Sun 10am-4pm Tel 61 7 3268 2869 Email info@parkerinternational.com.au Website www.parkerinternational.com.au

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Our son, Alexander, travelled and worked in Europe and China in the hospitality industry since graduating from university. He arrived back home in January this year and has joined our centre, opening his own café in the complex.

The Brickhouse Café is located near the centre’s courtyard. Alexander has tastefully decorated the café with vintage and collectable pieces, and is running this new venture with the experience gained overseas coupled with the exuberance of youth.

He is serving espresso, specialty teas and light meals. Alex has a team of caterers capable of hosting private functions and

events either inside the café or outside in the courtyard area.

If you are looking to hold that cosy birthday party or an intimate special event with a few friends, or even just a morning or afternoon tea with a group of pals, Alexander would be more than willing to discuss your needs and work out a menu. Alex can be contacted on 0419 922 442 or by email: alex.parker.ricketts@gmail.com.

CHANDELIER RESTORATIONS AT THE CENTRE Chandelier Restorations’ showroom-cumworkshop has settled into the front premises of the complex. Proprietor Kamahl Mustafay has over 20 years in the trade and is an expert in lighting restoration and re-designing.

He can be contacted on 0433 120 208/ 07 3268 7725 or by email: chandelierrestorations@gmail.com.

WE ARE ON YOUTUBE The 30th anniversary of my settlement in Australia was 5 October and I made two YouTube videos to celebrate this milestone.

You can check them on our homepage link: www.parkerinternational.com.au. I hope you enjoy watching them.

REGULAR SHIPMENTS OF NEW STOCK The regular arrival of containers bringing new and exciting stock to our centre means there is always something fresh and exciting to see.

Take the opportunity to combine a leisurely stroll around the complex with a cup of aromatic coffee or tea in hand and explore our fabulous treasure trove.

Catherine Ricketts & Kevin Parker Proprietors PARKER INTERNATIONAL PTY LTD 07 3268 2869 info@parkerinternational.com.au www.parkerinternational.com.au

BRISBANE

Learn how to restore furniture & French polish at FRANK VAN BRUNSCHOT FINE FURNITURE ocated on the north side of Brisbane, Frank of Frank van Brunschot Fine Furniture teaches furniture restoration and French polishing from his fully equipped workshop. Here he discusses the materials and processes involved.

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DEMYSTIFYING FRENCH POLISHING Shellac has been used as a finish for hundreds of years but it was not until the early 19th century that it was perfected as a process, by which time it had superseded inferior oil and wax finishes. Although widely accepted across the industry as the king of finishes, French polishing remains poorly understood and almost never used.

ADVANTAGES OF THE PROFESSIONAL TOUCH When having your antiques restored it is important to understand the finish that will be used. A finish over 100 years old in reasonable condition can be successfully restored – a French polishing rubber is used to rebuild and incorporate more finish as needed. An old patina is an important and valuable aspect of antique furniture and needs to be professionally retained and maintained.

I have come across many antiques that have been poorly restored. Often they have been striped back, aggressively sanded and sprayed with lacquer. Modern finishes have a very different look and feel; they leave a thick brittle film, which has the look of plastic.

People may argue that shellac is soft and easily marked: it is certainly softer than modern finishes but has well and truly stood the test of time. I have seen many shellac finishes well over 100 years old and still in good condition. Lacquer only lasts 20 to 40 years before it starts to break down.

Step 3: stiffing or pulling over The grinding and bodying stages are executed using circular motions moving across the surface. The stiffing stage does not add much polish – its purpose is to smooth out the finish, removing any circular marks left from the earlier processes. This is done by gradually stretching out the circles into longer and longer ovals, then into figures of eight and finally by using straight strokes with the grain.

Step 4: spiriting off In this final stage any residual oil is removed with a separate rubber wrapped in a clean cloth and filled with only alcohol. During the stiffing and grinding process quite a lot of pressure is needed. Spiriting off requires a lighter touch. The rubber lightly glides across the surface removing any oil and leaving a brilliant finish.

ABOUT THE CLASSES Shellac is an amazing material and a pleasure to use. I have had many students who have achieved excellent results with a little patience and commitment.

I teach all aspects of furniture restoration focusing on traditional techniques and materials and also offer restoration services with a strong focus on conservation. Feel free to contact me for a free quote or an inquiry about classes.

FRANK VAN BRUNSCHOT FINE FURNITURE 07 3216 2707 / 0412 954 716 www.frankvanbrunschot.com

FRENCH POLISHING IS A FOUR-STAGE PROCESS As the name implies, French polishing originated in France. Shellac is applied with a rubber – a cloth wrapped around cotton wadding. The rubber is more than just a rag used to wipe on a coat of liquid; it is a sophisticated applicator that feeds polish out at a controlled rate. The rubber is loaded with shellac directly onto the back of the wadding.

As you grip the rubber in your hand the pressure applied to the sides controls how much polish feeds out the face of the rubber.

Step 1: filling Open grain timbers (hardwoods) have pores that need to be filled to achieve a full, glasslike finish. Pumice is often used, lightly sprinkled on the surface of the timber. An excellent choice as a filler, pumice is an abrasive which, when mixed with the shellac, turns translucent which makes it the most natural grain filler available. The pressure of the rubber combined with the pumice force a mixture of shellac and pumice into the open grain.

Step 2: bodying At this stage, a film of finish is built up on top of the filled grain, which is what gives French polish its depth and clarity. This process is done with a separate rubber to the grinding process. As the polish builds up, a lot of friction develops between the face of the rubber and the polished surface. At this stage, oil is introduced to the process – the oil is not a constituent of the finish but helps the rubber run smoothly.

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

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

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BOWED STRINGED INSTRUMENTS

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

were not gifted at the violin. Very often, they did not stand a chance because their instruments were unplayable.

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

ll violins, violas, cellos and double basses need some special attention to make them properly playable. They are different to stereos, computers or fridges, which can be sold right out of the box. If a bowed stringed instrument is not setup properly, it is considered unplayable. Very often people say to me ‘but it is just for a beginner.’

My answer to that is always that it is hard enough to learn the violin. Further, our children, especially beginners, need every help and support to produce a nice tone and to experience pleasure from their earliest music experiences.

Looking back on 25 years of experience in serving beginners and professionals, I cannot stress enough that it is essential to play a well setup instrument. Even though it is very beautiful to play a valuable instrument, the quality of the instrument is often not as crucial as the quality of the setup.

A well setup cheaper instrument will serve you better than an expensive one with a bad setup. I have seen many children give up because they or their parents thought that they

Whenever you see the label ‘Deluxe Ilja Grawert Setup’ on a violin you will know all the work was done here in my Brisbane workshop. Because we are in full control of the setup, we can guarantee the highest level of playability and tonal quality.

Every violin needs work on the pegs, nut, fingerboard, bridge, sound post, tail piece, bow and very often, the strings need to be upgraded for good sound.

In my shop, every instrument receives anywhere between three-quarters of an hour and eight hours of setup work, before it is offered for sale. Each of these procedures is done in order.

Each is completed to top professional standards, with quality control every step of the way.

1. Refit or new pegs 2. Plane finger board 3. Adjust nut 4. New Ilka Grawert bridge 5. Refit and adjust or new sound post 6. New high quality strings 7. Lubricate metal parts 8. Assemble instrument and tonal adjustment 9. Final check

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DELUXE ILJA GRAWERT SETUP

STEP ONE: REFIT OR NEW PEGS

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

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The pegs on every instrument need to be refitted or replaced. To understand the process involved, see the photos. First, the pegs have to be tested whether they really fit or not.

Usually they do not fit to the holes in the peg box. Using a reamer, the holes in the peg box are reamed to create a certain taper.

Now the real peg fitting can start. The tool we use to fit the pegs is called a peg fitter. It looks like an over sized pencil sharpener with three holes. These holes have the same taper as the reamer, but are of three different sizes and the cutting blade has to be much sharper than the one in a pencil sharpener. A well fitting peg fits all the way around in the matching holes on both sides of the peg box.

After all four pegs have been fitted, they have to be shortened so the ends are not sticking out of the peg box. We cut the ends with either a handsaw or sometimes using a band saw.

After they have been shortened, the pegs ends need to be rounded. First, I use a file and then follow up with sandpaper, using successive five grades from the coarsest 180, through 280, 400, 600 and finishing with 800.

After that, we polish the pegs with some polishing paste to make them nice and shiny.

We drill the holes in the pegs for the strings usually by using a drill stand. The edges of the

holes in the pegs have to be softened with a round file to ensure that the strings are not breaking on any sharp edges.

After the pegs are fitting perfectly, they need to be peg pasted in order to make them turn smoothly and still hold the strings in tune. We use different methods for professional players than we do for beginners.

For beginners it is essential that each peg holds the string in tune, no matter what happens. They are a little bit harder to tune but do not require as much skill as the professional method. I use Hill peg paste for beginners’ pegs.

For the professional player I use three different types of paste for the pegs. First, I use a commercial peg paste, which I actually consider too dry, from too much graphite in its formula. It makes the pegs stick.

Next, I loosen them with a very special 80-year-old Sunlight soap, which I luckily found in Cologne in a flea market 19 years ago. It is much better than newer soap because it does not moisten the pegs. Then I leave the pegs sitting for a while. I finally fine adjust them with a soft white Pelikan chalk from Germany.

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

WOOLLOONGABBA Clarice Cliff, Coffee pot, c. 1929

Clarice Cliff, bowl, c. 1927

Art Deco mantle clock

René Lalique, Peach St Odile glass box, c. 1932

René Lalique, pin tray, c. 1925

LOVING ART DECO rt Deco is the fashionable style of the inter-war period, 1918-1939. It grew out of the anti-historical, modernist elements in Art Nouveau and so it can be stated that its origins can be traced back to the early years of the 20th century. French architect and furniture designer Hector Guimard (1867-1942), a leader of the Art Nouveau movement, designed forward looking furniture for his own home. The style was a response to the developments of mechanisation and increasing industrialisation and the name is derived from the first decorative arts exhibition to be held after the First World War. L’Exposition Internationale des Arts Décoratifs et Industriels Modernes was held in Paris in 1925.

Practitioners were found in all branches of the decorative arts as well as the disciplines of architecture, industrial design and graphic arts. It also translated into the fine arts. Art Deco had a big influence on daily life especially as big manufacturers of household and decorative objects took up the style. It also became the style of choice for fashion houses and jewellers.

By the 1930s, the Art Deco style was everywhere. Animal skins were all the rage as was ivory, mother-of-pearl and even tortoiseshell.

It has a very distinctive look. Bold geometric and angular shapes and the use of materials such as glass, mirrors, chrome, shiny fabric, marble and highly polished wood and glossy black lacquers.

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CLARICE CLIFF Important ceramic designers of the period

include names such as Clarice Cliff (1899-1972).

She started work at the Staffordshire pottery of A.J. Wilkinson Ltd from about 1916 and in about 1925 began to do experimental work at their Newport factory, becoming art director in 1930. Her now famous ‘Bizarre’ wares began in 1928 and at the time of their inception, management was stunned by the boldness of her designs. They were further astonished by how quickly they sold.

In 1999, centenary celebrations of Clarice’s life and work was held. One of the main events was an exhbition titled the ‘Bizarre Art of Clarice Cliff’ held at the Wedgwood Visitors Centre, Barlaston, near Stoke-on-Trent.

SUSIE COOPER Susie Cooper (1902-1995) was another great artist from this time. She joined A.E. Gray & Co in 1922 and was among the first to promote ‘rustic’ hand-painted designs. During her time at A.E. Gray she introduced abstract geometric patterns, but these did not last long. In 1929, she left the firm and set up her own business at Burslem buying earthenware made for her by Staffordshire potteries and decorating it. She started with five artists and soon increased to 40 within a couple of years. Her work is highly sought after.

fields. He used silver and mixed it with onyx and other dark stones. A highly innovative designer, he was a founding member of the Union des Artistes Modernes.

EILEEN GRAY When it comes to furniture, architect Eileen Gray (1878-1976) is one of those designers who never received the credit she deserved. She was one of the finest lacquer artists and designers of her day.

Eileen used reddish browns, brilliant reds and striking blues. She developed methods of rugged and subtle textures on lacquered surfaces by using materials such as gravel and sand. She also used silver, gold leaf and mother-of-pearl in her designs. Her furniture designs became more austere, more clean lined and practical. Her works are sought after by collectors and galleries all over the world.

RENÉ LALIQUE René Lalique (1860-1945) was a leading French

Art Nouveau jeweller. He then turned his attention to designing glass in the early 1900s.

Lalique then pioneered the way of mass producing art glass in his factories. He designed a large range of items including tableware, lamps, vases, perfume bottles, statues, and jewellery. His glass designs found their way into furniture, ocean liners and buildings. The company he founded still operates today. However, his most valuable and sought after pieces, signed R. Lalique, are from during his lifetime.

I have only mentioned a small handful of Art Deco artists but they are some of my favourites.

The Art Deco style is loved and collected by many people today and will always be remembered for its bold and witty designs. So, if you have a love for Art Deco pieces, whether it be jewellery, furniture, ceramics, glass etc, there is always plenty of beautiful things to choose from in this period.

Jason Bridge COLONIAL COLLECTABLES 0431 403 897 colonialcollectables@msn.com

RAYMOND TEMPLIER Raymond Templier (1891-1968) came from a family of jewellers. His designs were very bold and distinguished by an uncompromising geometry. His brooches, pendants etc were scattered with diamonds against dark platinum

Top far left: Eileen Gray, Chair, c. 1928, wood, nickle plated Far left: Bronze lamps Top left: Raymond Templier, Clip and pin, c. 1925, silver and paste Left centre: Art Deco ring Left: Art Deco cabinet

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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 Antiques and

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NEW SHIPMENTS IN-STORE NOW!

at Woolloongabba Antique Centre & Licensed Café WAC DEALERS ARE GLOBETROTTING TO SOURCE FURNITURE e have exciting new shipments of furniture and homewares landing from overseas right now.

A new full container of Danish mid-century furniture, ceramics, lighting and art has landed and will be rolled out over the coming months, the highest quality and the best value in Australia for this much sought after genre is guaranteed.

We also have more picker’s delights and American retro arriving from the Midwest USA with an emphasis on industrial and Eames company products.

Also soon to arrive is a huge range of rustic, rural and shabby chic furniture from the UK as well as more wonderful brocante from the Paris flea markets. It will be a busy spring clean as our globetrotting dealers unveil their new stock.

A new range of Georg Jensen Art Nouveau silver jewellery, and antique ivory jewellery is being added to our wonderful range of vintage Tiffany & Co and Cartier prestige vintage, a must-see for the ladies.

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ANNIE SLOAN CHALK PAINT Woolloongabba Antique Centre is proud to be the first Australian stockist of the wonderful Annie Sloan decorative range of chalk paint and soft waxes. This celebrated American paint range is made specifically for painting furniture, floors and walls, giving them that completely matt velvety finish. This paint has some unique qualities and ease of use that restoration enthusiasts will find invaluable in their restoration and décor projects. The full range is in store now

BOOK IN TO THE LINDY CHARM SCHOOL S POP UP SALON Dedicated to the revival of the golden age of glamour, Lindy Charm School headmistress Miss Chrissy is bringing her rollers and hairspray to Woolloongabba Antique Centre with a pop-up salon.

If you fancy a make-over, or are keen to delve into Miss Chrissy’s world of red lipstick, sky-high heels, victory rolls, pin curls and finger waves, this is your chance. Be sure to book in advance, as numbers are limited for these one-on-one makeovers.

Help Miss Chrissy keep the traditions of our foremothers alive. Let her enhance your

natural inner and outer beauty through the best of vintage style and etiquette.

Check our website and Like us on Facebook for details over spring.

WAC CAFÉ – OUR MID SHOP PIT STOP, NOW FULLY LICENSED! Pull up chair and a glass of wine as you contemplate that special purchase. The Milk Bar Café is now fully licensed. We have a selection of fine wines and beers as well as our own special micro-brewed beer and cider range.

Described by the Courier Mail as one of Brisbane’s best ‘secret’ cafes, our Milk Bar Café is at the heart of the store. With over 65 dealers and 1500 square metres it can be a bit exhausting getting around to all of our nooks and crannies. So mid-shop, our customers put their feet up in our ’50s inspired booths and feast on our wide selection of savouries and indulgent sweets.

With fresh juices, malted milkshakes, great Merlo coffee, toasted wraps and Turkish sandwiches we can fill you up! The café is also home to our famous Mars Bar cheesecake – a must for the sweet tooth.

JOHNNY VOODOO: IN-STORE BARBERS The last Sunday of each month is buzz and clipper time, now offering beard trims and shapes and full-face shaves. We have built a new barbershop complete with two early 1900s barber chairs. Bring the kids in for a cut as well.

WHY WOOLLOONGABBA ANTIQUE CENTRE IS SO SPECIAL We offer a thoroughly modern approach to an old idea of presenting antiques, collectables, jewellery, furniture, clothing and kitchenalia in an air-conditioned and vibrant space. We offer exclusive off street parking to the rear of the centre.

The centre’s diverse range of shops will see surprise sit next to nostalgia, style next to kitsch. The same goes for the tunes you will hear, with the likes of Dolly Parton, Etta James and Muddy Waters, and some good old fashion Slim Dusty weaving their magic in your ears.

In a snapshot, items of provenance may include an exciting range of modernist midcentury furniture and homewares. Vintage fashion of the Hollywood glamour genre, a fine collection of Australian antiques, estate jewellery, industrial design and up-cycled antiques, French brocante, rural antiques, shabby chic, rockabilly, kitsch and collectables such as militaria, ceramics, glassware, toys, kitchenalia and garagenalia.

Designer classics with items from Chanel, YSL, Hermes, Dior, Valentino and Tiffany are a must see.

This place has become a ‘destination’ with jazz band The Butter Brothers now drawing their own loyal admirers to the centre most weekends as they play out smooth tunes in the foyer.

The Wellington Road edifice which now houses Woolloongabba Antique Centre was formerly occupied by Copeland & Pickers for 30 years and has recently undergone an impressive $1 million renovation to bring the building back to its original ‘saw toothed’ industrial glory.

The centre is open every day, 9 am to 5 pm, and there is plenty of off-street parking in our exclusive car park at the rear of our building.

Like us on FACEBOOK for updates.

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

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ANTIQUES FOR THE NEW HOME OWNER uite a lot of thought is given by us to the insides of our houses or apartments, or bedsits or whatever.

Kitchens and bathrooms need to be affordably functional. Beds need to be large enough and properly serviceable. Tables need to be sturdy and practical, and chairs need to be sturdy and comfortable. There are many factors to consider when choosing suitable seating as people have different comfort needs. There is also proper lighting and storage to consider, plus a good functional laundry.

Those that are cashed-up can attend to these furnishing needs in one go, the rest of us do things as we can, bit by bit. Yet even for home owners not on a restricted budget, certain items for the home need to be acquired over a period of time as suitability and compatible design elements require research and then judicious selection.

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FLOOR COVERINGS: RUGS Logically, ideally, one should begin with the floor. Does one want the bare boards look? If so, rugs will be needed. The best rugs are Persian of course. These can be acquired for fair prices at specialist antique shops, antique centres or at auction. Reading books about rugs and carpets and looking at lots of magazines helps in understanding the value of the pieces and with what appeals.

Some people are perfectionists and their rugs must be in good condition. However, the world over, rugs get eaten by moths and over time become worn. Most of us can put up with good rugs that have seen a few bad moments but are reasonably priced. Before purchasing, make sure the rug is presentable and not a total ruin. As designers will tell you – the rug is the SOUL of any room. Its design, colours and quality set the tone, including the overall colour scheme.

Many people prefer to carpet a room as this is easier to keep clean and often more comfortable. It is not as glamorous or as much fun (nor as annoying when rugs on bare boards slide and creep).

CONSIDERING FURNITURE PURCHASES Furniture is the big money item. Ask yourself: what do I need my pieces of furniture for? Is it for crockery, ornaments, books, for a study, etc?

Keep the amount of furniture as small as possible.

Go for the best co-ordinated effect that you can.

Be eclectic, after all, we are in Brisbane and don’t have full repertoires of French, Italian, or Swedish items ready to buy at call. Don’t buy pieces that clash or are badly damaged.

Some collectors or home decorators like to follow themes. Silky oak furniture of the 1930s might be a case in point. It is so important to avoid furniture that has been coated with estapol or some other ready remedy. Size, condition and look are of the essence. Bell Bros period style furniture is reasonable at the moment. It is well made and often in cedar. A good buy, so take the time to search for pieces.

MIXING IT UP

furniture mixed with one or two older items in rooms. This is intelligent and gets one away from a museum look. Abstract pictures go well with this look.

Display cabinets can make very interesting features in a sitting room. A cabinet may contain a collection of Royal Doulton Shakespearian plates for example, or a small collection of fans and beaded purses. China and porcelain are always traditional choices for cabinet displays. The earlier the pieces, the more specialised and expensive it all becomes.

But finally, it is a test of skill and continual searching that forms collections and those occasional treasures found at bargain prices add to the pleasure.

DECORATING WALLS Pictures are very important and so are mirrors.

Affordable engravings are found in art galleries, antique shops and at auction – these are worth seeking out. They are timelessly acceptable, interesting and easy to integrate with most decorating approaches. Try them.

Local libraries have books on the history of engraving and the techniques used to create these interesting art works. If the books are not on hand, the librarian can get them in.

People love to look at good engravings, make sure you have a safe, reliable, reasonably priced picture framer to mount the works. If you don’t, ask around.

Mirrors often make an interior. Choose the best you can, and if possible avoid cheap reproductions. Ideally, your mirrors should

be antique. Again, take your time and look around.

ADD A SCULPTURE Have you ever thought about getting a piece of sculpture for your home? Statuettes are always a great idea. Go for quality and again, look at interior design publications such as The World of Interiors. A good reference is The Australian Room by Williams and Lloyd, published by Lothian in 1999.

STERLING SILVER A bit of silver or silver plate ware is a great decorating element. Good plated tea, coffee, sugar and cream sets are well worth having, but don’t buy anything where the silver is coming off. Look for simpler styles such as those marketed by Hardy Bros.

DECORATE WITH BOOKS Books make for fabulous interior decorating.

They can take up a lot of space but a home without books is soulless, even in this age of computers and electronic paraphernalia.

Huge television sets can look ugly in any interior unless you have a media room especially set aside. Don’t overdo the featuring of electronic gear. Harmony, comfort and an orderly use of space must always be your primary consideration.

the price of an item that interests you. It doesn’t hurt to negotiate on the price, but it is important to conduct the transaction so that both parties are satisfied with the outcome.

FITTING OUT OTHER ROOMS Four-poster beds, Elizabethan blanket boxes, tilt top tables, oak stools and all the rest of it are just some of dozens of decorating scenarios. Always be on the lookout, look around the shops on the weekend, read books on your areas of interest, look at your friends’ houses, it all helps. Enjoy the hunt – it’s lots of fun and it can go on for a lifetime. Also don’t forget, old is often cheaper than new and will last longer. Having antiques in your home is without doubt an excellent way to go.

For advice contact Kym James JAMES & BELL ANTIQUES 07 3891 5233 / 0438 677 788 www.jamesandbell.com.au

RETAILING WITH CONFIDENCE We all find ourselves drawn to a particular shop, or couple of shops that sell items we like and can afford. It is an opportunity to build a relationship with the shop owner – to learn about their stock and to feel comfortable discussing

500 sq metre SHOP & WAREHOUSE with a GREAT VARIETY of Antique, Deco & Vintage Furniture, Collectables & Luxury Vintage HANDBAGS A large selection of imported and quality Australian furniture, porcelain, Waterford crystal & clocks HOURS

Wed – Sun 10am – 4pm

Some people like to have new modern Antiques and

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ANNERLEY

ANNERLEY GLASSWORX SHOWROOM

a feast for the eyes n this edition I thought to concentrate more on Annerley Glassworx’s showroom as all my previous articles have been focused on our workshop and manufacturing arm of our business. Redressing the imbalance, it is time to explore the many and varied delights that can be found on the showroom floor.

There is rarely a day that goes by that someone doesn’t say to us ‘This shop is amazing!’ Rather than contain all our amazing pieces inside I try to find astonishing items that can be placed on our footpath which fronts Ipswich Road. Here, more than 85,000 motorists traverse past our showroom and I hope the intriguing pieces on display add a fun and humorous element to the day for the commuters who pass by our premises.

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At the moment we have a full-sized sow made of resin sitting outside contemplating the noise and fumes. She is delightful and has proved to be a hit and we have sold many of these fun pieces. The problem is they are so large that only two can fit on a pallet making delivery to the showroom a logistic nightmare, and a challenge to keep up with sales!

EXPLORE OUR SHOWROOM We invite you to come to our showroom and view our dozens of lampshades. The range is diverse and customers can choose from locally made or imported shades. These fabulous splashes of colour are nestled amongst lanterns, ornaments, gift items and furniture both old and new from Australia, India, Indonesia and Africa. We support local crafts

and among the pieces have beautiful timber products made by Peter Robson.

NOW BACK TO OUR MAIN INDUSTRY We are currently restoring dozens of small windows for Brisbane City Hall and as part of the project are also making 80 new panels. We are proud to be involved in the restoration of one of Queensland’s beautiful heritage buildings.

New leadlight orders have not slowed down either so our little ‘family’ here is happy and

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

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busy; so busy that we have renovated Jane’s office, tripling the area she had, and even she is happy! So pop in and see us. We are open every day and so easy to find – just look for a very fat pig!

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

CLEVELAND

THE ART OF NEEDLEWORK lives on at Bayside Antique & Collectables Centre I f your passion for collecting revolves around ceramics, crystal and glass used for decorative purposes or entertaining, you might also be tempted by the handmade needlework associated with these collections.

Some were designed for display and to protect timber surfaces under vases, ornaments, dressing table sets and the like. Other pieces were table linen to be used with fine dinnerware china for those special occasions, or more serviceable styles for everyday meals.

Regarded as domestic art, needlework could include embroidery, crochet and tatting, along with applique, cutwork and cross stitch worked on doilies, duchess sets, table runners, tray covers, table and supper cloths, serviettes, milk jug covers.

ORIGINS OF EMBROIDERY While this article focuses more specifically on the above forms of needlework that complement homewares, embroidery encompasses many styles and according to one source, the roots of needlework can be traced back thousands of years to the ancient Egyptians. There are also many references in the Bible to elaborate needlework on religious articles.

In her book, History of Hand Embroidery, Heather Howard points out that hand embroidery began with the first garments – that of furs sewn together – and their wearers adorning them with other materials to make the clothing more personal. It is interesting to note that the basic decorative embroidery stitches – chain, blanket, stem, satin, cross – continue to be used, having remained basically unchanged since their creation.

CROCHET: WHEN DID IT BEGIN? Research indicates that where and when crochet originated is unclear. What has been determined is that there is no evidence of crochet in Europe before 1800. Another line of research suggests crochet may have developed from a much earlier form of embroidery known as ‘tambouring’ where a background fabric is stretched tightly across a

frame and a chain stitch created with a hooked needle and thread. At the end of the 18th century the background fabric was discarded and the stitch worked on its own in what the French called ‘crochet in the air’.

TATTING: FROM SAILOR’S KNOT TO DECORATIVE LACE Like the origins of crochet, the history of tatting is unclear. However, there are literary references that help in identifying a timeline such as the poem The Royal Knotter by Sir Charles Sedley written in 1707, which is the story of Queen Mary (daughter of England’s James II), and her habit of taking her knotting wherever she went. Others believe tatting may have evolved much earlier from knotting techniques used by sailors and fishermen when making nets and decorative rope work for their ships – this work bore a striking resemblance to tatting.

imaginative applications are old doilies sewn together for quilts, used as large centrepieces at functions such as weddings, for cushion covers, or grouped together to be framed and displayed on walls. Pieces are also used for jewellery, bunting, clothing and homeware decoration – the possibilities are endless.

Whether you have an existing needlework collection, are starting a collection or looking for ‘props’, there is an amazing selection of items lovingly created by talented people for their own and others’ enjoyment; and best of all, here is another collecting option that can be started or added to with minimal cost.

BAYSIDE TURNS FIVE! It’s hard to believe that five years have passed since Bayside opened its doors. Having

operated out of antique centres since the early ’90s, it really does provide a different perspective. What a wonderful and interesting journey so far! The centre continues to attract new visitors as well as our ‘regulars’ on the hunt for that next find. We love the great feedback about the centre’s spaciousness, everchanging layout and wide selection of stock, thanks to the hard work of all our dealers.

The centre’s atmosphere is relaxed and friendly, and our staff, who combine many years of experience, aim to assist wherever possible.

With over 30 shop spaces, the array of antiques, collectables and old wares is constantly changing and fresh stock is always on offer. The centre’s spacious layout ensures access for wheelchairs, motorised scooters, walkers and prams. Relax and enjoy a complimentary cuppa. Wellbehaved pets are also welcome to visit with their owners. One visit and you’ll be hooked!

GETTING THERE Bayside at Redlands is just a 30-minute drive from Brisbane city, a short flat walk from Cleveland Railway Station or a bus stop right at the door. There is ample parking, both onsite and on the street. We are open every day, 10 am to 5 pm.

NEWS AT BAYSIDE Bayside is a stockist for the very popular Howard Products for wood care and furniture maintenance, such as Restor-A-Finish, Feed'N'Wax, Orange Oil, Wax sticks, #0000 steel wool.

Check out our website and 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 / 0419 671 279 baysideantique@optusnet.com.au www.baysideantiqueandcollectablescentre.com

A FASCINATING SUBJECT TO EXPLORE This is only a very brief introduction to some of these needlework styles. If the beautiful art of handmade needlework does capture your fascination, as with nearly all collecting interests, there is an abundance of information to be found. Although the favourite one-stop shop is the internet, do not overlook the value of printed reference books or local and state libraries. It is heartening to see an increase in antiques and collectables reference books available for loan from public libraries.

Of course, your collection need not be restricted to the above styles. There are so many other forms of needlework such as needlepoint, tapestry, lace making, quilting, knitting and sewing. Apart from hand-worked items, you might start a collection based on the ‘tools of the trade’, for example crochet hooks, knitting needles and cases, tatting shuttles, thimbles, scissors and other sewing implements. Perhaps old pattern and instructions books might interest you.

Decorative needlework evolved from a utilitarian necessity into a pastime reserved for the upper classes as a leisure activity.

While industrialisation lead to machine needlework, the art of producing handmade items has not died out. Gift and craft stores and markets are everywhere and their stock is testament to the fact people continue to enjoy this pastime. Commercially, high end fashion designers love to incorporate handmade needlework into their designs. Annual shows around Australia with their craft exhibitions and competitions are further evidence that this art form is alive and well.

RE-PURPOSING DOILIES AND OTHER PIECES It is interesting that needlework pieces are being sought after for other uses; the most obvious being the popular High Tea. Other

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 labelled 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 • Like 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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Honorary PS Emmylou captain, Gary Olsson

PS Emmylou on the River Murray near Echuca, Victoria

Full steam ahead for the pearler of a diamond jubilee year at GN OLSSON MASTERCRAFTSMEN (EST. 1983) n our want-it-now modern society, the 30th jubilee is the diamond jubilee. Traditionally, the 30th anniversary was known as the pearl anniversary. For sheer brilliance the year 2013 certainly is a pearler for GN Olsson Mastercraftsmen.

This year of landmark business achievement included a tribute to Australia’s colonial past. The renowned and traditional restoration, conservation and reproduction commissions for local and national clientele are still a feature of GN Olsson Mastercraftsmen’s services. Remarkably, this is all done in the contemporary context of our information technology world.

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With over 45 years association with steam engines, initiated by ride on model steam trains in his family’s backyards, this honorary engineer enjoyed stoking the largest engine ever – a fully restored, British Marshall, Sons and Co 1906 model

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Portable steam engine driven threshing machines were regularly seen working on farms and travelling along rural roads in by the late 1800s. Grain is separated from the stalks and husks with some machines able to separate out various sized grains. Grain was bagged whilst hay was cut into fine chaff or stacked, and with later technology, baled

The recently restored Ruston Hornsby of Lincoln, England, Bucyrus No. 4 Face Shovel tops the scales. Originally imported in 1923 to work the Fyansford (Geelong) quarry, it remained in operation there until 1958

Steam driven timber mill demonstrations occurred over the weekend at Lake Goldsmith steam rally

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The PS Emmylou is one of the very few paddle steamboats which remains genuinely steam driven

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MURRAY RIVER RAMBLING & LAKE GOLDSMITH STEAMING Gary and Cathy Olsson enjoyed a memorable sabbatical including a paddle steamboat cruise aboard the Emmylou for three nights on the Murray River from the historic, river port town of Echuca in Victoria. The PS Emmylou is one of the very few paddle steamboats which remains genuinely steam driven. The rhythmic charm of her chug, chug, chug, and splash, splash, splash on her leisurely jaunt along the ever-winding Murray River lined with River Red Gums was joyous to behold.

A highlight was a guided tour by a past employee of the original Torrumbarry Weir. This weir, originally built in 1923, consisted of a series of steel trestles that were guided along a concrete slab extending the full width of the river. A steampowered winch, still there today, powered the cable drive which placed and removed the trestles.

The height of the weir pool was adjusted by a well orchestrated team who manually added or removing horizontal wooden drop boards on the upstream side of the trestle frame. They also used to operate large chainsaws whilst standing thigh high in rushing water to remove flood debris.

The next stop on the sabbatical was to the largest steam rally in the southern hemisphere.

Held at Lake Goldsmith, about two hours west north west from Melbourne, the successful mission was to exhibit and to research steam and other engines. Hard to locate collegiate expertise and restoration publications became temporarily abundant. It was an excellent adjunct, delving into restoration and engineering practicalities for steam engines, traction engines, stationary engines, even windmills and associated early Australiana.

Ploughing engines were bought and worked in pairs. Parked either end of a field the steam driven winch pulled the plough to and fro between them along the rows.

Individual engines, let alone pairs, are quite rare to see these days

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Werribee Mansion laundry was one of the largest in the colony during its heyday and included living quarters for the head laundress. It now boasts an audio visual presentation detailing the Victorian era use of laundry items and consumables

Single men’s quarters kitchen at Werribee Farm

EXPLORING WERRIBEE MANSION

ornamental and food plants are in the farm section, with all being appropriate to the Victorian era and name tagged.

Completed in 1877, Werribee Mansion, a Victorian statement of Italianate architecture, was built by wealthy pastoralists Thomas and Andrew Chirnside. The Mansion boasts 60 rooms in several wings. Many of the Chirnside family’s items, including clothing, furniture and other household items, remain on display, demonstrating authentic restoration and conservation of antique interiors and furniture, plus a keen eye for detail.

Werribee Farm is in impressively good order boasting many outbuildings including the manager’s house, stables, single men’s quarters, the store, carriage shed – later becoming the machinery shed, blacksmith’s shop, carpenter’s shop and more.

Finally, to delve deeper into early colonial and rural Australia, we travelled to Werribee, half an hour west from Melbourne. A guided tour with the curator of the Werribee Mansion and a self guided tour about the adjacent farm

Werribee Mansion Drawing Room

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proved highly rewarding. This would be one of the best conserved and restored built and natural, Victorian era environments in Australia. There are highly formal gardens in the grounds of the mansion and the adjacent, internationally acclaimed, Tudor style Victoria State Rose Garden. Informal gardens of both

Inside the stables at Werribee Farm

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Werribee Mansion, a Victorian statement of Italianate architecture, was built by wealthy pastoralists Thomas and Andrew Chirnside

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BRISBANE

Historic Beechworth in autumnal display had lots of early Australian streetscape and architecture. It also boasts a fine museum and many heritage buildings. The centre lower photo depicts conduct of Morse code by telegraph volunteers in the telecommunications museum

REVISITING BEECHWORTH Beechworth, an historic Victorian town, 45 minutes from Albury Wodonga, was visited by Cathy in the early 1990s. It was revisited by both Gary and Cathy with a key focus on early architecture, furniture and Australiana themed collectables.

EASY TO NAVIGATE WEBSITE The new experience and knowledge gained from this memorable year will benefit clients with antique interiors, furniture, clocks, Australiana and engine restoration commissions. The impressive and informative website, www.gnolsson.com, offers an excellent reference to the services and products available at GN Olsson Mastercraftsmen.

Additionally, the user friendly menu system with photo buttons makes for easy navigation around the site, whether using a desktop computer, iPad or smart phone. For example, click on ‘Other’ to view an amazing array of miscellaneous items including Australiana and engines.

For more information or advice contact GN OLSSON MASTERCRAFTSMEN 07 3888 1549 www.gnolsson.com

Established 1983

G.N. Olsson Traditional Mastercraftsmen featuring their Rural Australiana restoration commission work

Antique Restoration & Conservation Custom Fine Furniture Intricate and Heritage Joinery 22ct Gold Embossed Leather

Queries & Appointments 07 3888 1549

393 Narangba Rd, Kurwongbah Brisbane QLD 4503 Australia gnolsson@bigpond.com www.gnolsson.com

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

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Paddington Antique Centre

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Offering Professional Service On Site or in Rooms Antiques • Art • Furniture • Silver • Ceramics • Glass • Jewellery • Collectables • Clocks • Old Toys • Militaria • Speciality Items Complete estates or single items through AUCTION or on CONSIGNMENT Quality and interesting items bought and sold For an independent Licensed Auctioneer with many years of specialised experience in the Antique and Collectable Trade contact Mark Nott 0419 703 886 mgnott@optusnet.com.au

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ANTIQUES 184 Mooloolaba Road Buderim QLD 4556

07 5445 4033

DAZE

MANSON FRAMERS MFG PTY LTD

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

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

ANDREW & RONALD STS WYNNUM QLD 4178

07 3396 4251

Cnr Junction and Sandgate Rds, Clayfield Open 7 days, 10 am to 5 pm P: 07 3862 1600

Woolloongabba Antique Centre 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

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Bayside Antique & Collectables Centre

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Nudgee Road Antiques & Design Centre

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Ipswich Antique Centre

162 Bloomfield Street, Cleveland Open 7 days 10 am to 5 pm P: 07 3821 0936 277 Nudgee Road, Hendra Mon to Fri 9 am to 5 pm, Sat 10 am to 4 pm P: 07 3268 2869 86 East Street, Ipswich Central Thurs to Mon 10 am to 5 pm (closed Tues & Wed) P: 07 3281 2330

Brisbane Antique Centre 4014 Pacific Highway (crn Beenleigh-Redland Bay Road, Exit 30 off the M1), Loganholme Open 7 days 9 am to 5 pm P: 07 3806 0118

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

Australis of Montville Antiques

OF GYMPIE

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

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Brisbane Antique Emporium

CHAMBERS & CROSTHWAITE ANTIQUES

GONE BY

View a selection of our range @ www.dazegoneby.com.au

Antiques and

85 Commercial Road, Newstead Open 7 days 10 am to 5 pm P: 07 3852 2352

Commercial Road Antiques & Decorative Arts

Come and visit us in Gympie for a large selection of collectables and antiques, displayed over two floors. We present a constantly changing range of china, glass, kerosene lamps, clocks and furniture from Georgian to Edwardian including Australian cedar and silky oak.

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KIMBELL

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167 Latrobe Tce (Cnr Collingwood St), Paddington Open 7 days 10 am to 5 pm P: 07 3369 8088

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

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

RICHLANDS

BEAUTIFUL RUGS

deserve the best care

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As not all rugs are

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.

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

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.

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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.

woven identically, different weaves and dyes require custom cleaning techniques

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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.

Stephen Muncey RUGWASH QUEENSLAND 07 3375 9896 stephen@rugwashqueensland.com.au www.rugwashqueensland.com.au

Est. 1957

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

REPAIRS AND RESTORATION 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.

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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BIRKDALE

The fine art of RESTORING ANTIQUE BRONZE s silversmiths we are often entrusted with antique bronzes for a range of restoration and repair work. We find that people are often confused about what differentiates a bronze from a spelter and what should be done to care for them or repair them. This varies depending on the metal used in the manufacture and the original finish.

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WHAT IS BRONZE? Strictly speaking, bronze is an alloy of copper and tin. Since the Bronze Age it has been used not only for the creation of functional objects such as tools but also for decorative items such as statues and other objects of beauty.

The majority of decorative bronzes we see in our workshop are from the 18th, 19th and 20th centuries. Although many are copper and tin alloys, some are comprised of copper and zinc – more commonly known as brass. As the copper and tin alloys and the copper and brass alloys have similar properties, we use similar methods of repair.

TECHNIQUES AND PROCESS Method 1 Types of repairs include manufacture of missing parts such as fingers and ears, as well as rejoining broken limbs. To replace an item such as a finger, one of two processes will generally be used. Sometimes we will carve a timber pattern and then use this pattern to sand cast a metal replacement in an alloy of copper and zinc or tin, which matches the colour of the original. We will then braze this onto the statue using a brass or bronze brazing material.

Method 2 The second method is to attach a piece of bronze or brass rod to the statue and use tools to shape this piece until the desired outcome is created. If it is a particularly small piece we tend to use this method as we can strongly join a large piece and then shape it down until the fine detail shows. If we cast a piece first then join it, we risk losing some of the detail in the brazing or soldering process.

Some more modern bronzes, popular with sculptors because of the ease of casting and working, include silicone bronze and manganese bronze. These are repaired in a similar manner but using alloy specific brazing rods for joining pieces.

PATINA Irrespective of which process we undertake, the patina will need to be touched up. Over time, bronze develops a patina based on the original treatment and the way it has been stored. This patina affects only the surface layers of the metal and where we work on the piece the patination is lost.

Simple brown or black colouration can be restored using chemicals such as Liver of Sulphur mixed to different strengths depending on the desired colour, and we can also chemically reproduce the green effects of verdigris.

Once the patination has been restored we will normally use a good quality clear or coloured wax to provide a uniform sheen to the piece. This will involve cleaning the entire piece to remove surface dust and contaminants then applying the appropriate wax before hand-finishing the piece.

F.J.MOLE – SILVERSMITHS EST. 1913

Also trading as Silversmiths and Platers F.J.Mole Silversmiths celebrating 100 years of silversmithing in Brisbane in 2013.

Manufacturers and Restorers of Silverware, Trophies and Churchware SPECIALIST RESTORERS OF ANTIQUE METALWARE Sterling Silver items • Brass and Copper Wares Pewter • Bronze and Spelter figures • Silverplated items BRASS AND IRON BEDS RESTORED AND FOR SALE

Free Pickup and Delivery throughout Brisbane and the Gold Coast region or make an appointment to visit our Birkdale workshop

Please see www.fjmole.com.au for details Phone 07 3822 8563 • Mobile 0419 700 069 sales@silversmithsandplaters.com.au Mail Orders welcome to PO Box 3320, Birkdale QLD 4159

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SPELTER V BRONZE Throughout the latter half of the 19th century and into the early 20th century spelter became popular as a material for making figurines and other items that were previously cast in bronze. Spelter is basically either zinc or zinc alloyed with another metal such as lead. Zinc has a melting point of around 420ºC which is considerably lower than bronze which is around 950ºC, and zinc is historically between one-third and a quarter the cost of copper (which is the major component of bronze).

This made spelter a popular choice for casting figurines, which were traditionally cast in bronze. Due to its low melting temperature and good flow properties spelter is able to produce excellent cast detail and requires little cleanup.

Spelter became popular with clock companies such as Ansonia for use in the manufacture of their cases, as well as with many of the French figurine sculptors who were now able to provide a lower priced product for a bigger market.

TREATING & FINISHING SPELTER PIECES Method 1 Because zinc is a grey or silver coloured metal it has to be patinated to enable it to look like bronze. Two main methods were used to achieve this patination. Sometimes objects were either copper or brass plated, generally with a thick coating. This coating was then patinated using chemicals in much the same way as bronzes were patinated. The heavy coating of copper enabled them to be oxidised and a variety of finishes, including verdigris, was possible. Sometimes the electroplated copper finish was plated over with gold or silver, mainly on clock parts and some statues.

Method 2 The second method, and by far the most common, was to cold paint the figurine.

Particularly common on art deco figurines, cold painting was the process of using enamel paints to produce finishes which either replicated the appearance of bronzes or sometimes to add colour to emphasise detail.

REPAIRING & RESTORING Typically we receive a spelter either missing small pieces or with limbs or other parts either cracked or completely broken off. For spelter we alloy our own solders and also our own zinc if required, although pewter can be used successfully for the manufacture of replacement pieces. The methods of joining pieces are similar although these are soldered rather than brazed due to the lower melting point.

Where spelter has been electroplated we can normally replate the repaired area using a plating process called brush plating. Rather than immersing in a tank where the entire piece is replated we use a special electrically charged brush soaked in the plating solution and connect the piece to the current to transfer the metal from the plating solution to the job. If repairs have been extensive then sometimes we will use the standard immersion electroplating process.

Where spelter has been cold painted we use artist quality paint colour matched to the original and then a clear finish to produce the correct gloss level. Having repaired spelter for more than 30 years, we have over 200 paints and other patinating products, enabling a good match with the original finish on the item.

Kevin and I enjoy the challenges associated with repairing and refinishing spelter and bronze pieces. The challenges of repairing the head of a

spelter figurine that has been broken off can be every bit as difficult as working on repairing the tail of an 18th century bronze horse. As the damage we repair is often catastrophic we derive a great deal of satisfaction from restoring the piece to its original glory and returning it to its grateful owner.

F.J.MOLE - SILVERSMITHS 07 3822 8563 / 0419 700 069 www.silversmithsandplaters.com.au

KILKIVAN

Gary Myers, Morning Shadows

Ewald Namatjira

Pro Hart

A good time to invest in fine art at KILKIVAN FINE ART he coming months up to and including Christmas is a very good time to purchase a piece of fine art from Kilkivan Fine Arts and Antiques at 20 percent off normal selling price.

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CHOOSE FROM GALLERY OF WELL-ESTABLISHED AUSTRALIAN ARTISTS Some of the artists that are available include Pro Hart, Reginald Ernest (Rex) Battarbee, Gary Myers, Tracey Keller, Paul Anderson, Kym and David Hart, Geoffrey Proud, Ewald Namatjira, Jill Wilson and many others. There

are also many prints in stock including Norman Lindsay limited editions.

FOCUS ON REGINALD ERNEST (REX) BATTARBEE (1893-1973) Among the famous artists featured in the gallery is Reginald Ernest (Rex) Battarbee (1893-1973). Born in Victoria and educated at Warrambol Academy, in 1916 he enlisted in the Australian Army. During the war he was invalided back to Australia and was hospitalised until 1920. Unable to resume farm work he studied art in Melbourne until 1923, and then five years later he set out on a 15 month trip painting with John A. Gardner.

The watercolours produced during their second trip to Central Australia were shown at an exhibition at the Finke River Mission.

Battarbee returned to the Centre alone in 1934 and at the Mission taught Arrante artist Albert Namatjira and other Aboriginal painters the art of basic watercolour painting.

He wrote Modern Australian Aboriginal Art, published by Angus & Robertson in 1951.

From 1940 Batterbee moved permanently to Central Australia where he later died in Alice Springs in 1973. His work is held in the Art Gallery of South Australia and the National Gallery of Victoria although he is better known for his connection to Albert Namatjira.

For more information about the artists and their art contact KILKIVAN FINE ART & ANTIQUES 07 5484 1602 www.kfaa.com.au

CK O T S L AL F F O 30%

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

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ROGER SALT HAS UNPACKED A NEW SHIPMENT FROM EUROPE hat’s right, we have another new shipment just arrived. What’s in it?

Easy, three tonnes of hand-selected antiques from Europe expertly packaged into a 40 foot high cube container. I’ll break it down a bit more. There are 140 pieces of antique furniture including 10 roll top desks, a dozen grandfather clocks (1820s-1920s), numerous tables and sets of chairs, washstands, hallstands, chests, dressing tables, bureaux and cocktail cabinets just to mention a few.

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This consignment also includes a good array of bric-à-brac with over a dozen Victorian lustres, kerosene lamps, French clocks, and a couple of the tidiest bracket clocks I’ve seen. Both are chiming: one is in an oak case and has a silver dial, the other is housed in red walnut with a repeat movement.

There are pairs of French gilt chairs, throne chairs, rocking chairs, high chairs, mangles, 1930s vintage wood cased televisions, fold-up cake stands and silver plate. For glass

collectors there are boxes of uranium and depression glass. For something different we have stacks of leather bound bibles, the list could go on and on.

We are passionate about antiques and that is why we hand select our stock from some of Europe’s largest antique fairs and dealers. This is an easy task as I can draw on my second generation antique dealer knowledge with over 25 years of personal trade experience. With this in mind, I offer you the largest antiques emporium

on the Darling Downs where we love to close deals and turn over stock.

A RECENT BARN FIND I thought I’d like to take a moment to include a small article on a special new arrival. We acquired a 1920s showman engine manufactured in 1925 by Federal Motor and Engine Company, based in Richmond, Victoria. It was used on the south east Queensland show circuit during the 1920s and 30s, hauling children on its carriages for a few pennies a time. After over 30 years in a Brisbane private collection, it is now looking for a new home.

OPENING HOURS Our store is open from 9:30 am to 4 pm, Wednesday through to Sunday, but if travelling from afar it is advisable to ring ahead first. We believe that forward planning will avoid disappointment in case the shop’s operating hours have been amended due to unforeseen circumstances. We look forward to welcoming you soon.

For more information contact ROGER SALT’S AT CROWS NEST 07 4698 1266 / 0438 469 812 rogersalt@bigpond.com

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CROWS NEST

RO G E R S A LT A N T I Q U E F U R N I T U R E S P E C I A L I S T I N T E R N AT I O N A L I M P O R T E R Wed to Sun 9am – 4pm Please ring first

Phone 07 4698 1266 Mobile 0438 469 812 E rogersalt@bigpond.com

1 Thallon St Crows Nest QLD 4355

S TILL THE BIGGES T AND BES T ON THE DOWNS

cmyk

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HAMPTON

SALTS ANTIQUES & T.J. SALT

Our shop is located on the New England Highway in Hampton near the Esk turn off – look for the red flags

OPEN WED - SUN 10am - 4pm Ring first to avoid disappointment if travelling from afar CUSTOMER PARKING AVAILABLE

Salts Antiques 0408 989 032 Valerie Salt T.J. Salt 0439 024 559 Jane Salt

VAL & JANE SALT AT HAMPTON e are pleased to say that our old customers, friends and collectors have found their way to our new shop at Hampton.

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THE CONNECTION The most frequently asked question is: ‘What is the connection between the shops?’ Sorry for any confusion. The truth is Roy and I first started trading in Australia in 1980 operating as Salts Antiques Crows Nest, moving first to The Palace Hotel, Childers, then on to The Big Cow at Yandina. Next we moved to the Staging Post Inn, Esk, and finally back to Crows Nest.

Roy passed two years ago and we are closing down the Salts Antiques business that Roy and I ran. Closing down in Crows Nest was not an option so new premises had to be found – hence the new shop in Hampton. We hope this sorts out any misunderstandings.

RANGE OF STOCK My husband dealt mainly in clocks and we still have a good selection of French clocks, bracket clocks and grandfather clocks in stock plus Royal Doulton, kerosene lamps, early porcelain figures, model steam, epergnes, as

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well as carnival glass, Shelley china, Staffordshire pottery, brass and copper, silverplated ware, jewellery, barometers, pictures, Pears prints, bibles, Victorian spelter figures, dolls, teddies and cameras, etc for those looking for that special item in those lines.

EXTENDED SALE ‘When will the closing down sale be over?’ is the next most asked question. Well, there is no quick answer. There is a lot of stock in the shop plus we need to empty the warehouse which comprises mainly stock needing restoration, so it will be a while before I cease trading.

JANE’S FAB RETRO FINDS In her new Retro shop, Jane displays and sells her fabulous finds. These include an interesting range of vinyl records from the 1950s to the 1980s and a large collection of ’45 singles, as well as over five hundred ’78 records, early Australian country artists, jazz, swing, and music for all tastes. In addition she has a wonderful selection of retro sci-fi collectable toys and models.

from Brisbane and the coast. Hampton is a lovely little village in which to stop and have a break or enjoy a meal and have a look round our shop.

Customer parking is available and we're open from Wednesday to Sunday, 10 am to 4 pm but it is advisable to call ahead first if coming from a distance. Keep a look out for the red flags which makes it easy to find us – hopefully you will see that something you can’t live without.

HOW TO FIND US Our premises are located on the New England Highway at Hampton – on the Esk turnoff, a short drive from Toowoomba and a pleasant drive

SALT S ANTIQUES & TJ SALT Valerie Salt 0408 989 032 Jane Salt 0439 024 559

TOOWOOMBA

TOOWOOMBA GRAMMAR SCHOOL’S

Heidi Tansey, Hatching, mixed media and collage, 120 x 120 cm

From left: Georgia Shine, Repose, pastels

Autumn weekend art show 29 – 30 MARCH 2014

Lamp by Jesse Wright

FEATURE ARTIST: HEIDI TANSEY litterati bugs, lollipop bugs, travel bugs – be mesmerised by Heidi Tansey’s unique perspective on bugs, trees and nature! Feature artist for the 2014 Toowoomba Grammar School Art Show, Heidi Tansey creates fascinating mixed media and collage pieces, inspired by the colour palettes captured in her travels to Europe, India, Nepal, Thailand, Indonesia, Guatemala and indigenous Australia and her life-long intrigue of beetles and the myths associated with them.

Tansey’s naïve and modernistic work belies an attention to detail and design, which make the pieces quite mesmerising.

G Heidi Tansey, Web Tangle, mixed media and collage, 54 x 54 cm

Whilst a lot of art is bought online these days, it does not compare to seeing the actual art with all its detail and fine nuances. Set against the backdrop of the magnificent garden city of Toowoomba with its spectacular autumn leaves in March, the Toowoomba Grammar School Art Show provides a wonderful event for an indulgent

weekend, combined with the beautiful cafes, boutiques, winery and gardens of Toowoomba.

TOOWOOMBA GRAMMAR SCHOOL 07 4687 2500 tgs@twgs.qld.edu.au http://artshow.twgs.qld.edu.au

MORE ARTWORKS ON SHOW TO CHOOSE FROM With 30 percent of the 600 exhibits selling last year at the two and a half day show, the curatorial team have been working hard to secure an even better range of paintings, aiming to provide something that appeals to everyone. The exhibition features novice and emerging talent to high-end investment art from 200 artists, including 40 new artists for 2014. Prices start as low as $40, up to sixfigure masterpieces, with the art show generating over $120,000 of sales each year.

Heidi Tansey, Flaming Groovy, mixed media and collage, 65 x 90 cm

Providing exposure for talented emerging artists and young people is a commitment of the curatorial team of the Toowoomba Grammar School Art Show. Some of the gifted young people exhibiting in 2014 include Jessie Wright (25 years) with his lamps constructed from intricately folded book pages, Jade Moroney (17 years) with her edgy design interpretations of the anime genre, Oliver Lilford (16 years) whose three watercolour paintings sold very quickly at the last art show, and Georgia Shine (19 years), a current cello and languages student at the University of Queensland who has developed a solid following for her mature, atmospheric and simply beautiful pastel life drawings.

SIGNIFICANT INVESTMENT ART ON SHOW

Jade Moroney, Japan’s Idol, anime handsketched & digital colouring

Established artists for the 2014 art show include Margaret Olley, Robert Dickerson, David Boyd, Pro Hart, Patrick Kilvington, Norman Lindsay, Hugh Sawrey, Kate Smith, Geoffrey Proud, d’Arcy Doyle, Denise Daffara, Antje Collis, Suzy Platt, Elisabeth Lawrence, Christian Morrow, Judith Da Lozzo, Starr, Di Elsden, Anna Petyarre, Betty Clubb, Jacqueline Hill, Brendon Mogg, Harriet Posner and Damien Kamholtz.

Artists include: Margaret Olley, Robert Dickerson, David Boyd, Pro Hart, Patrick Kilvington, Norman Lindsay, Hugh Sawrey, Kate Smith, Geoffrey Proud, d’Arcy Doyle, Denise Daffara, Antje Collis, Suzy Platt, Elisabeth Lawrence, Christian Morrow, Judith Da Lozzo, Starr, Di Elsden, Anna Petyarre, Betty Clubb, Jacqueline Hill, Brendon Mogg, Harriet Posner and Damien Kamholtz.

Images supplied by Tiffany Jones Fine Art Gallery

A PLATFORM FOR NEW AND EMERGING ARTISTS

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TOOWOOMBA

LANCASTER’S TOOWOOMBA ANTIQUE CENTRE

19 years old and going strong L ancaster’s Toowoomba Antique Centre is now celebrating its 19th 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 19 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 14 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

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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

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TOOWOOMBA

Photograph of bed-bicycle, Warana Festival, Brisbane, late 1950s

Poddy calf feeder bed

Rustorations and restorations!

THE THREE R’S: RESUSCITATION, RUSTORATION AND RESTORATION any years ago a young boy walking past an old shed noticed some old beds inside the door. He asked the owner, the local publican, what was happening to them. He was told that the shed was about to be demolished and he could have the beds if he removed them all by the next day. So the boy went home, to return with his only mode of transport – his pushbike – to set about the task of removing the beds, pedalling between the shed and his home.

As you can imagine, it was quite a sight in a small country town. This was the beginning of a life-long passion. An old shed, as any young boy or antique lover knows, is a treasure chest waiting to be explored and, luckily for some, they find more than dust and cobwebs. Old furniture, including beds, have emerged from dark corners, some of it in better condition than others. Whilst many have been restored or are awaiting restoration, others have found new roles in life; most of these new functions occurred from the 1940s on as timber furniture became a more popular bed option (plus they didn’t rattle like the old iron beds or require polishing) and still, unfortunately, to this day people are finding new ways to use them.

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BED TALES FROM OUR CUSTOMERS Our customers often have interesting bed tales to tell as old beds in the country seem to have as many uses as no. 8 fencing wire. As any farmer knows, the good old no. 8 can be used to fix anything, from the farm ute or tractor to holding up trousers in place of a broken belt.

Brass and iron beds have been used as pens for animals of all sizes including chickens, pigs, sheep and the rest. Old iron posts were a good fence substitute when things were tough.

We even had one family tell us that the old family cot had made a wonderful cockatoo cage. Then there was the double brass and porcelain bow-fronted bed used as a sweet pea trellis in the farmer’s wife’s garden: ‘Looked good,’ she said, ‘Even when they weren’t in bloom.’ Luckily we rescued that one.

Now, we are not saying that our country folk are more creative. Oh no, city people are equally creative: iron ends used as garden

gates, porcelains as candleholders, stage props and dog gates. One particularly creative fellow in the 1970s (an electrician) wired up his bed and placed four coloured globes to replace the usual bed knobs. He now has a bed and breakfast and had us restore the beds. To his embarrassment, it was his wife who delighted in telling us that story of his youth.

OTHER CREATIVE USES Old beds have been found in local cemeteries used to fence the graves of loved ones, or the bed springs used to sift sand for concreting (after using the bed as reinforcing). Another sight we have seen is a bed that was allowed to grow up a tree. The original owner had taken us to the back of his property and said, ‘I leant it against this tree years ago.’ We looked up and there it was, two metres above the ground – a pair of matching iron ends. The angle irons were nearby embedded in the soil and grass.

Amazingly, the only casualties were the wooden wheels, which had rotted away; these beds were certainly built to last the test of time.

THE AMAZING BED-BICYCLE Just when we thought we had seen and heard it all, we were challenged with yet another novel use for an old iron bed while on a trip to Roma. When there in 2002, we were introduced to a local gentleman who talked about his bed-bicycle. We had a great talk and he said he had a photo and would be happy to give us a copy next time we were in town.

We were unable to visit in 2003, but during our 2004 trip he came to see us, saying he had heard we were back and true to his word, brought us the image of his bed-bicycle. This must be the most unique instance of bed recycling we have encountered. It was shown at the Brisbane Warana Festival in the late 1950s and received a lot of attention.

He warned us that it was not made for comfortable riding as the seat was placed on top of a bedpost. The unique bed-bicycle came complete with steering. Unfortunately, the tram tracks of the day proved too challenging for the narrow wheels and were ultimately his undoing.

With the wheel becoming trapped and no supports to hold on to, he fell into the crowd. He particularly remembers one of the crowd, a lady

and her umbrella. The lady was okay, but the same could not be said for the umbrella. He told us, ‘Once I was up and riding, it was great; it was the stopping that was the challenge.’

We told him the story of how Mark became involved with brass bed restoration as a young boy with a pushbike. It is unfortunate that he could not remember the fate of the bed-bicycle as he would have given it to us as a display for our shop.

Tree bed

EARLY CATALOGUES AN INVALUABLE RESOURCE

would be delighted and would love to hear your stories or see photos of other examples of bed-recycling

Imagination is a wonderful thing, yet we continually refer to our old reference book of the time – the mail order catalogue – in order to retain the originality and character in our restoration work. We would appreciate any assistance from readers. If you can help us source original mail order catalogues, we

Mark & Lynne Bennett TIMELESS ANTIQUES 07 4633 1195 / 0412 071 160 timeantq@bigpond.net.au www.timelessantiques.com.au

TIMELESS

Antiques

Mark & Lynne Bennett Specialists in Original Brass Bed Restorations

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

Taking care of furniture for generations of tomorrow Bed graveyard Antiques and

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IPSWICH

JAMFACTORY EXHIBITION TOURS TO IPSWICH 6 FEBRUARY – 23 MARCH 2014 n exhibition celebrating 40 years of the iconic South Australian contemporary craft and design centre JamFactory will open at the Ipswich Art Gallery next February.

Designing Craft/Crafting Design: 40 years of JamFactory premiered in Adelaide in April and is now embarking on a national tour to major regional centres around the country, including Ipswich, to mark the anniversary milestone. The exhibition will feature all new works by artists who have been involved with JamFactory throughout its history with contemporary glassware, pottery and jewellery among the artworks on display.

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SHOW PARAMETERS: ESTABLISHING THE CRITERIA Designing Craft/Crafting Design has been curated by a team of three including former employee, Adelaide-based arts writer, Margot Osborne as well as JamFactory’s current chief executive officer Brian Parkes and curator/exhibitions manager Margaret Hancock Davis.

Hancock Davis said the group ‘set out with a few parameters’ when selecting works for the show. ‘The designers and craftspeople chosen had to be either an associate, creative director or studio tenant in the past 20 years and still had to be producing works currently. We also wished to look at the four media currently practised in our studios: metal, glass, ceramics and furniture. We did not want to be bound by equal representation of studios. We simply wished to present 40 of the best. The breadth and calibre of people we had to choose from meant that some excellent makers were not selected which was a disappointment for all the curators,’ elaborated Hancock Davis.

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The underlying aim of Designing Craft/Crafting Design: 40 years of JamFactory was to highlight ‘the many and varied career trajectories’ that JamFactory artists have enjoyed from producing one-off works for exhibition to working for design firms and creating products for large-scale batch manufacture commented Hancock Davis.

CONTEMPORARY CULTURAL VISION JamFactory was established by State Premier and arts advocate Don Dunstan in 1973 and took its name from the old suburban jam factory it originally called home. It was founded the same year the Sydney Opera House officially opened and the Australia Council for the Arts was established. Hancock Davis believes (the late) Don Dunstan’s cultural vision was good for its time but it should be ‘challenged and reviewed’ in the context of today’s contemporary environment. ‘We need to constantly be forward thinking and provide the right infrastructure and support to enable engaging and thoughtprovoking things to happen. When the right support is there, such as the New Exhibitions Fund from Arts SA and also Visions of Australia which provided the touring funds for this exhibition, organisations are able to present ambitious exhibition programs which engage audiences on many levels,’ observed Hancock Davis. She attributed JamFactory’s success to the ‘excitement and passion’ shown by its people.

‘The people I have worked with since being here are keen and wish to challenge themselves to achieve the best results for themselves and for the organisation as a whole. Over its 40 years, JamFactory has had many ups and downs, however, the dedication of its people has always seen it through.’

ABOUT THE EXHIBITION Designing Craft/Crafting Design: 40 years of JamFactory is a JamFactory and Country Arts SA touring exhibition. It is supported by Art SA’s New Exhibitions Fund and by the Commonwealth Government’s Contemporary Touring Initiative.

The exhibition will open at Ipswich Art Gallery on Thursday, 6 February and runs until Sunday, 23 March 2014. The gallery is located in d’Arcy Doyle Place, between Limestone and Brisbane Streets, in the Ipswich CBD. The Ipswich Art Gallery is open daily between 10 am and 5 pm and entry to the exhibition is free.

Below: Clare Belfrage, Left: Fluence #020711, 2011, blown glass 35 x 39 x 8 cm Right: Fluence #010711, 2011, blown glass 38 x 50 x 8 cm

For more information contact IPSWICH ART GALLERY 07 3810 7222 info@ipswichartgallery.qld.gov.au www.ipswichartgallery.qld.gov.au

Above: Robin Best, The Arcana Bowl, 2011, eggshell porcelain, on-glaze decoration 30 x 50 cm diameter

IPSWICH

Ipswich Antique Centre IS SELLING THE ‘SIZZLE’ ong gone are the days when antique centres and shops could survive in business by offering only furniture and collectables. Now people are looking for extras, ‘the sizzle’, to enjoy with their shopping experience. Thus there are a number of antique centres which include a coffee shop or café within their premises and are able to provide a ‘destination’ for a day or half day outing. Antique businesses must also be aware of, and respond to trends, as stock can no longer be confined to traditional items.

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air-conditioned building with its onsite café is constantly receiving positive comments. This is one of the finest buildings in private ownership in Ipswich.

Customers are very impressed with the layout of the centre, as well as the quality and range of antiques and collectables presented for sale by our wonderful dealers – ‘City antiques at country prices.’

SPECIAL THEMED DISPLAYS FOR GREAT STYLING IDEAS Every month we create a themed room or area combining appropriate items from all our dealers. We let them know in advance the nature of the next display so they may source or bring in special items.

Some themes have been ‘The Conservatory’, ‘The Haberdashery’,’ Men’s Shed’, study or office, and styled bedroom settings. One interesting observation we have made is in the sales of various sizes of beds. Queen and double sell readily, but singles are slower.

Are today’s children being placed in bigger beds earlier?

COLLECTING TRENDS

INAUGURAL HIGH TEA EXPERIENCES AT THE CENTRE We at Ipswich Antique Centre are no different as we have just hosted our first High Tea for a party of 15 ladies in our in-house café. One Sunday morning, Heather and Allen arrived early to make the scones, finger sandwiches, etc, and to fill up our beautiful tiered floral stands with goodies such as rocky road and white chocolate cheesecake (all made in-house of course!). Leaf tea and our exclusive Ludos blend of coffee was made to individual order.

‘Amazing High Tea! Would definitely recommend to anyone who was thinking of having a High Tea. Yummy food and beautifully styled!’ was one comment left on our Facebook page. Not the sort of comment an old-style antique shop would generally receive.

MARKING THREE SUCCESSFUL YEARS The centre will be celebrating its third birthday in December – and it certainly has been an interesting journey. A great benefit to visitors is that we have our own large free car park, which is a distinct advantage with the growing proliferation of council installed parking meters. Who wants to feed the meter when that money could be used towards the purchase of the next treasure.

The ambience of our 1895 heritage listed

Also sales of polished furniture probably exceed those of ‘shabby chic’ indicating, perhaps, more traditional values are held by many of our customers.

Collectables will always sell – a true collector will ‘do without a feed’ to acquire that special or long sought after item. Always have – always will!

Over the years, we have seen various trends.

Once upon a time if an item was featured in Vogue Living it became ‘hot’. Now, with the proliferation of ‘reality’ TV shows, we find people seeking to emulate the rooms and decor depicted on ‘the box’.

Speaking of boxes – if they are shown being stacked in a room on a reality television show, we had better bring in a supply of boxes. The same applies with suitcases shown to be being used for storage on these shows.

Oh to be able to predict the next big trend!

Will steampunk take off here as it has in the USA? Will shabby chic join the dinosaurs and ‘brown furniture’ experience a huge revival?

Will Victorian clutter and fine dining reappear as in the late 1980s? Perhaps so, as kitchens are apparently getting bigger, as well as better equipped, so more people will choose to dine at home and eat inside rather than on the deck. Eating at home has distinct advantages. No taxi expenses or R.I.D. patrols, and you get to choose your dining companions!

This could bring demand for extension tables, chiffoniers or sideboards, sets of chairs and even table centrepieces. Very evocative of times past and gracious living. All we need is the butler.

With the trend towards restoration and renovation of existing homes, architectural antiques are being sought. I wonder if this will lead to people being interested in restoring and reviving furniture again rather than merely painting it.

Of course, what is ‘old’ to our younger clients today is what grandma had, so this may well be from the 1940s, 1950s, or even later, rather than beautiful solid Victorian or Edwardian furniture. As has always been the case, just because something is old, does not necessarily mean it is of good quality. There are beautiful, well-built items in every era – and then there is the rubbish.

Good advice has always been to buy the best quality you can possibly afford, and enjoy the beauty and workmanship with a view to handing it on. Remember, we are only the custodians of these items!

Heather Mildwaters (Director) IPSWICH ANTIQUE CENTRE 07 3281 2330 www.ipswichantiquecentre.com.au

G.P.O. E N A B S I R S FROM B E T U N I M ONLY 30

Antiques, Collectables and Café Dealer enquiries welcome for space and showcases Open 10.00 am to 5.00 pm Thursday to Monday (closed Tuesday and Wednesday)

Ph: 07 3281 2330 • Fax: 07 3281 2331 86 East Street (cnr Roderick Street) FREE ON-SITE CAR PARK Ipswich Central 4305 www.ipswichantiquecentre.com.au • info@ipswichantiquecentre.com.au

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Sicán-Lambayeque culture (North coast 750-1375 CE), Tumi [Sacrifical knife], gold, silver, chrysocolla, turquiose, lapis lazuli, spondylus, 27.5 x 10.3 cm. Museo Oro del Perú, Lima © Photograph Daniel Giannoni

Inca culture (Central, south and north 1400-1533 CE), Llama, gold, 6.2 x 5.5 cm. Museo Oro del Perú, Lima © Photograph Daniel Giannoni

Vicús culture: Frías style (North coast 100 BC-400 CE), Female figure known as The Venus of Frías, c. 200-600, gold and platinum; 15.3 x 8.7 cm. Instituto Nacional de Cultura, Piura © Photograph Daniel Giannoni

NATIONAL GALLERY OF AUSTRALIA

Gold and the Incas: Lost worlds of Peru 6 DECEMBER 2013 – 21 APRIL 2014 CANBERRA ONLY he National Gallery of Australia presents a magical exhibition which showcases the splendour of ancient preHispanic cultures of Peru. Art. Gold, silver, turquoise, shell, textiles and ceramics will excite visitors and provide a new experience.

More than 200 objects, from scintillating gold pieces made to decorate the body in life or in the grave, intricate jewellery, elaborate embroidered and woven cloths to breathtakingly sophisticated ceramic sculptures, are included.

Australian audiences will encounter the aesthetic depth, drama and beauty of the famous Incan empire and its predecessors.

As well as being highly-skilled metalworkers, potters and weavers, the artisans of the Peruvian civilisation included in their works various religious and political ideas based on the importance of the natural world. Lively depictions of animals, birds and fish decorate the works of art. Technological inventions such as the knotted string quipu provide a new outlook on the sophisticated world of the Incas.

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INCA EMPIRE BEFORE THE SPANISH CONQUEST The Chavín, Moche, Chancay, Chimú and Huari cultures were eventually overcome by Inca warriors in the decades after 1400, themselves to be conquered by the Spanish in 1532. Although the conquistadores under Francisco Pizarro easily vanquished the Inca empire with horses and superior weaponry, the Incas had established control over a vast territory that stretched from modern Colombia in the north, east into Bolivia and Argentina, to Chile in the south. They defeated the Chimú kingdom and carried off their craftsmen. In this way we can often trace cultural traditions which continued under the triumphant new rulers.

IMPACT OF SPANISH CONQUEST Then the Spanish came, razing the Inca capital Cuzco and looting vast numbers of gold and silver artefacts, which were melted down for their ore. Twenty percent was reserved for the Spanish throne. It is estimated that perhaps 90 percent of the native population were killed or died of introduced disease. Despite this looting and destruction, an amazing amount of the brilliant art of the previous two millennia has been discovered and excavated in the last century. Many of these masterworks are on display in Canberra.

SYMBOLISM IN PRE-HISPANIC ARTEFACTS

Moche culture (North coast 100-800 CE), Bead in the form of an owl’s head, gold and turquoise, 3.7 x 3.3 cm. Museo Tumbas Reales de Sipán, Lambayeque © Photograph Museo Tumbas Reales de Sipán

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Dualism underlies much of the world view of pre-Hispanic Peru: day and night, gold and silver, the sun and the moon, male and female.

Sometimes these elements are combined within a single object. Creation stories divide existence into three planes. The sky is dominated by gods and rulers, symbolised by birds, the human realm of earth and sea is represented by felines such as the jaguar and fish, while the underworld is ruled

by reptiles and insects. All these worlds are fertilised by liquids – rain, blood and semen – which are exchanged between the three levels of existence to continue the cycle of life. So a fearsome sea creature is invoked to help catch food, to propitiate nature, and probably to represent the occupation of the person with whom it was buried. Lively and decorative, the animal (whale) or fish (shark) is based on observation and enhanced with magic and imagination.

AMAZING ARTEFACTS RECOVERED FROM BURIAL SITES Most of the works have been disinterred from burial caches, where they accompanied the dead in their journey between worlds. Vessels such as these contained ceremonial liquids for ritual purposes, and remains of chicha or corn liquor have been found, which was meant to nourish those buried with it. Similarly, some glorious textiles of the Paracas culture survive, up to 30 layers wrapped around bodies found in dry and dark caves in the southern desert. The skill and sophistication of their makers is unparalleled, combining as they do intricate weaving and embroidery techniques with images of gods, animals and humans.

Some of the most surprising survivors, often many hundreds of years old, are the brilliant feathers of Andean birds, especially the macaw and other tropical species. They were trapped, or traded, or even bred. The Lambayeque culture unku (tunic or cloak) uses thousands of bright yellow feathers for the body, with a black and blue motif of felines, probably jaguars, morphing into birds on the front. The creatures' bodies are made up of triangles, simple yet immediately recognisable. At the bottom is a stylised red wave, so that the components symbolise the earth, the heavens and the sea.

Sparkling minerals and shells such as mother-of-pearl decorate wooden and ceramic

sculptures. The litter to carry royal or noble Chimú personages displays four divine figures, recognisable from their headdresses. The red shell is spondylus, imported from Ecuador in the north into the Andes for its brilliant, unusual hue. The use of such materials, including gold, silver and copper, was restricted to the ruling class, as they were separated by their physical brilliance from ordinary people who wore fibres native to Peru, such as camelid wool and cotton. Similarly, precious and semi-precious stones were used with gold for spectacular jewellery to decorate the living and the dead.

COLLECTION TRAVELLING FROM LATIN AMERICA TO AUSTRALIA The works of art in Gold and the Incas come from the Museo Nacional de Arqueología, Antropología e Historiadel Perú (the National Museum) and its fraternal collections, the Museo Arqueologico Rafael Larco Herrera (Larco Museum), the Amano Museum and the Museo Oro del Perú (the Gold Museum of Peru).The exhibition is staged as the National Gallery’s major contribution to the AustraliaLatin America Year of Cultural Exchange, and is organised in co-operation with the Peruvian Ministry of Culture. 2013 also marks the centenary of Canberra.

A major catalogue, consisting of essays, entries, maps and timeline, as well as colour illustrations of each object, accompanies the show.

Christine Dixon Senior Curator, International Painting and Sculpture NATIONAL GALLERY OF AUSTRALIA 02 6240 6411 http://nga.gov.au First published in Artonview, issue 75 © National Gallery of Australia, 2013

CANBERRA

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PARTNERING WITH HOWARD PRODUCTS

completes a successful restoration project hen Marie and her husband retired to Ballina, NSW, they discovered the town had a branch of the Australian Men’s Shed Association (AMSA). After making contact with Rob Bruce, the supervisor of the shed, they were introduced to the group which included a number of very experienced woodworkers looking for an interesting project to start on.

Marie had been left a treasured heirloom by her grandfather, a captain’s chair from the very early part of the 20th century. This lovely old piece had been stored in a large box under their house for at least 20 years. As soon as the box was delivered and opened the Men’s Shed group commenced work on the chair.

They found that the chair was in pieces with plywood nailed in place where the hand-made wicker seat used to be.

They began with repairing all the broken pieces and carefully secreting new work within the old joints. This was difficult work as the old glue was hard and brittle and the old wood in the joints had been repaired a number of times making the wood crumbly and dry.

It was a steep learning curve even for these experienced old hands, especially when it came to restoring the chair’s seat. None of the men had ever replaced a wicker seat before.

But by following an old manual that they came across, plus a bit of old fashioned nous, the project wasn’t as impossible as it had initially seemed.

Rob, the supervisor, had seen Howard Products advertised in various woodworking magazines over the years, but it was an article in one of the Antiques & Art in Queensland editions that convinced him that Howard Products would do the job.

Rob ordered the appropriate colour in Restor-A-Finish by email because, as he told me, he had been impressed with the byline in the advertisement – ‘Don’t strip it, restore it’ – which had jumped out at him. Then Rob

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decided to come to the Working with Wood Show in Brisbane where we were exhibiting.

He came to our stand and had a long chat with my partner Sally Gregson who advised him to add Howard Feed-N-Wax and Howard Orange Oil to the Restor-A-Finish he had already purchased.

When he got back to the Men’s Shed the team used the products to finish off the chair to the way you see it on this page.

If you or your group need any advice related to a project you may be working on, please don’t hesitate to email me.

David Foster HOWARD PRODUCTS AUSTRALIA advice@howardproducts.com.au

For marks like these we use Restor-A-Finish • Howard Restor-A-Finish blends away minor scratches, heat marks and water rings instantly and permanently using a simple wipe-on, wipe-off process • Available in 8 wood tints plus neutral. Restor-A-Finish blends in with any existing wood colour.

• Feed-N-Wax is recommended after Restor-A-Finish to protect and nourish the new finish.

• If a shine is preferred Restor-A-Shine Polishing Compound used after Restor-A-Finish removes dullness and replaces it with a deep shine.

• For dusting without removing either finish always choose Howard Orange Oil. Howard Products have stockists all over Australia and interactive websites in both Australia and New Zealand. The range pictured here features a specialised product for every kind of situation involving the care of good wood.

“

It was a steep learning curve even for these experienced old hands, especially when it came to restoring the chair’s seat

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CHRISTMAS

from the Victorian era to today or thousands of years people around the world have participated in midwinter festivals. With the arrival of Christianity, pagan festivals became mixed with Christmas celebrations. Signs of these pagan days are the custom of decorating houses and churches with evergreen plants like mistletoe, holly and ivy which was a guard against evil spirits as well as a welcome to the return of spring.

Before Victoria’s reign started in 1837, there was no Santa Claus or Christmas crackers, no Christmas cards or holidays from work or that spirit of Christmas giving.

However, the wealth and technologies engendered by the Industrial Revolution would change this. The face of Christmas would start to reflect middle class ideals and values which would spread to all classes of society.

Charles Dickens is often credited with contributing to this new era of Christmas. In the 1840s Charles Dickens wrote his Christmas stories generating what is considered today the true spirit of Christmas, with celebrations of family, community and giving.

A Christmas Carol, the first of Dickens’ Christmas books, advocates against the spiritual and personal meanness of Scrooge, inviting everyone to celebrate Christmas as a time of laughter and charity: ‘He was wise enough to know that nothing ever happened on this globe, for good, at which some people did not have their fill of laughter in the outset.’

From The Hughenden, a Victorian Hotel on Queen Street named after Queen Victoria, is the historic sandstone gates of Centennial Parklands 1888. It is a short walk through Centennial Parklands to Dickens’ Drive, to visit only one of two statues in the world of Charles Dickens.

The Victorians re-introduced old traditions, such as caroling, and invented new ones such as sending Christmas cards. They promoted church-going, gift-giving, and charity to the poor as essential parts of the holiday. They transformed the folk figures of Father Christmas and Santa Claus into symbols of holiday generosity, and they popularised Germany’s traditional Christmas tree or Christbaum.

The Victorians made Christmas a family celebration, with its primary focus on children. A Victorian Christmas entailed the exchange of gifts between parents and children; attendance together at Church services; a generous family dinner; and visits with friends, relatives, and other families.

FATHER CHRISTMAS/ SANTA CLAUS

CHRISTMAS GIFTS

The traditional Victorian era Christmas dinner would include a breed of fowl such as a goose and there was always a pudding. What was served at the feast was determined by region and country. Repasts might include standing rib of beef with Yorkshire pudding, a boar’s head, turkey, ham, oysters, cranberry pie, mince pie and plum pudding. Rabbit was found on the tables of the less wealthy.

The signature Christmas pudding was a great ritual of the Victorian Christmas dinner. Mrs

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At the start of Victoria’s reign, children’s toys tended to be handmade and expensive, generally restricting availability to the rich.

With factories however came mass production, which brought with it affordable games, dolls, books and clockwork toys. Affordable, that is, to middle-class children. In a poor child’s Christmas stocking, which first became popular from around 1870, there would be perhaps be an apple, orange and a few nuts.

Father Christmas was originally part of an old English midwinter festival, usually dressed in green, a sign of the returning spring. The stories of St Nicholas (Sinter Klaas in Holland) came via Dutch settlers to America in the 17th century. From the 1870s Sinter Klass became known in Britain as Santa Claus and with him came his unique gifts and toys, reindeers and sleigh.

CHRISTMAS CRACKERS The first illustration of a Christmas cracker appeared in The Illustrated London News in 1847, but there is some argument as to who invented it. Two London sweet makers, Tom Smith, and James Hovell, both claim to have invented the cracker. In 1840s Paris, sweets called bon-bons were wrapped in twists of brightly coloured paper. Tom Smith (or James Hovell) brought back the idea but added a little slip of paper with a message on it, called ‘kiss mottoes’. Later, other attractions were added, such as little paper hats, tokens and small toys, plus the ‘crack’.

It is said that Tom (or James) was sitting in front of his Christmas fire where the yule logs were crackling, which gave him the idea of putting a cracker strip inside his bon-bons.

The crackers were also made to look like tiny yule logs, as they still do today.

Beeton’s recipe includes suet, bread crumbs, raisins, spices, candy peel and an optional glass of brandy. The preparation was a family effort on Stir-Up Sunday, the last Sunday before Advent, giving the plum pudding enough time to mature. Everyone took a turn at beating the mixture, making a wish and stirring clock-wise for good luck. A ring, coin or thimble was then tossed into the batter.

CONTINUING THE TRADITION OF CHRISTMAS CHARITY AT THE HUGHENDEN The Hughenden is associated with Barzillai Quaife, Australia’s first philosopher and a dissenting minister who preached in Ocean Street, Woollahra, and was built by his son Dr Frederick Harrison Quaife. Christmas at The Hughenden was always a time of giving. Today The Hughenden supports the charity Room to Read which has brought education to nearly

eight million children in the developing world.

During the Christmas period, the staff of The Hughenden participates in Christmas carols, providing the master of ceremonies for the Queen Street and West Woollahra Association’s Christmas Carols at Chiswick Gardens, Woollahra. There is a celebration of children with the exhibition of the works of Australian illustrators of children’s books. As in Queen Victoria’s time there are Christmas decorations, a tree, crackers, gifts, Christmas lunch and dogs are welcome guests. As in Charles Dickens’ A Christmas Carol ‘God bless us, every one!’

Susanne Gervay THE HUGHENDEN 02 9363 4863 reservations@thehughenden.com.au www.thehughenden.com.au

CHRISTMAS CARDS Children in Victorian England had the task of writing greetings to their parents in their best handwriting. The custom of sending printed cards was started in England by Henry Cole who did not have time to write letters to each of his relatives. He asked an artist, John Calcott Horsley, to design a card for him.

About 1,000 of these cards were printed, and those not used by Sir Henry were sold by the printer for one shilling.

With the introduction of the penny post in 1840, it became cheaper to send mail, and as a result of colour printing and the invention of printing machines, cards could be printed faster and cheaper. The first company to print and sell Christmas cards on a large scale was Charles Goodall & Sons of London in 1862.

The first charity card was produced in 1949

by UNICEF.

CHRISTMAS FEAST

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TREAT YOURSELF TO A ONCE IN A LIFETIME GOLDEN OPPORTUNITY! German Master Gilder reveals the secrets of the ancient craft of gold leafing

Gilded French clock

ave you ever wished to have the skills to apply gold and silver leaf to your furniture, frames, and artwork? Or embellish your cornices, columns, walls and ceilings with metal leaf? Work for yourself from home at your own pace? Master gilder Karl Eggert can make your dream come true – and you need no prior knowledge of gilding.

In the past, this ancient craft with all its secrets was passed from father to son. But in 1999, Karl Eggert, together with his wife Brigitte, founded a unique teaching establishment to make the wonderful craft of gilding available to anybody who wants to learn in Australia.

Learning the art of framing and church restoration in Germany from master gilders, Karl has a broad knowledge and more than 46 years’ experience in gilding. This knowledge and experience is reflected in his teaching program at the Art Gilding Academy. Class sizes are kept to a maximum of six students to ensure the best learning experience.

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Master Gilding class, Surry Hills

MASTER GILDING CLASS BUILD YOUR OWN BUSINESS AND WORK FROM HOME The Professional Master Gilding class is fully hands on and runs over a nine day period, starting Saturday and finishing on the following Sunday, from 10 am to 4 pm daily.

During these nine days, students learn more than they could in a three-year apprenticeship.

We provide a relaxed and fun atmosphere and attendees are always like-minded people.

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

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Peter with Master Class project

Small classes For the benefit of students classes, are restricted to a maximum of six students, guaranteeing personal attention.

Completing the Master Gilding training course allows students to add skills to their chosen profession and offers the freedom to build up a business and work from home.

On completion of the professional Master Gilding Class, students receive a certificate.

Hands-on experience for students Master Class students are invited to join the Art Gilding team on our many outside commissions.

Translating theory to practice under the watchful eyes of experts is a valuable learning experience for students as they apply their newly learned skills to practical situations. This is a win/win situation for everybody.

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

For those who’ve completed one of our gilding courses, this free ongoing advice for any project is supported through phone and email. In addition generous discounts of 10% – 20% are available on all materials and supplies.

WEEKEND CLASSES 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.

The weekend class is very reasonably priced at $795. This includes the project – an Egyptian plaque (value $345), flat boards and a canvas – and all tuition and materials. Students are able to purchase materials on completion of the class. 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 students wanting to stay longer, I have arranged a special low rate in a lodge nearby, two minutes walk from the academy.

Please check our homepage for the video on gilding a plaque and details about our class schedule.

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

VICTORIA

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ORIENTAL ANTIQUE GALLERY WELCOMES collectors and purveyors of fine furniture to their Brisbane store riental Antique Gallery, a family business, was established in 1997 and is a specialist importer of Chinese furniture. The first store was in Armadale, Victoria, and from there the business grew, opening showrooms in New South Wales and Queensland.

Our exclusive antiques are sourced from all parts of China including major cities such as Shanghai and Beijing, and outer provinces such as Ningbo, Shanxi, Mongolia and Tibet.

Each piece is hand selected with particular attention to its design, character and quality.

Our stores carry a wide range of Chinese furniture, from antique and restored pieces to custom designed items with new shipments coming from China every eight to ten weeks.

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TRADITIONAL DESIGNS ADAPT WELL TO CONTEMPORARY SETTINGS Qing period (1644-1912) furniture is a popular choice for enhancing homes, offices and public buildings. The designs – including lacquered, natural finish, carved and painted exterior scenes – are easily adapted to a multitude of uses. They come in a range of forms from wardrobes to trunks, chairs, tables and desks.

If looking for entertainment units, bedside tables, coffee tables, etc, we carry modern

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solid timber pieces specifically designed to meet these functions. To complete a room’s design there are ceramics, carved wood, stone and bronzes – wonderful accessories for that decorative element.

REVITALISING THE FAMILY BUSINESS From 2005 to 2009 Oriental Antique Gallery ran a very successful store in Newstead.

After the shop’s closure Queensland customers patronised the NSW and Victorian shops for their oriental antiques and furniture. This continued support led to Phillip Guan, brother-in-law of founder Wen Qing Li re-opening a showroom in Queensland, choosing a Brisbane location – 41 Brookes Street in Bowen Hill.

We invite you to visit our Brisbane showroom and browse through our extensive range of traditional Chinese furniture. Here you will find furniture that evokes the timelessness of fine antiques combined with contemporary convenience, creating the perfect blend of East meets West.

For more details contact Phillip Guan ORIENTAL ANTIQUE GALLERY phillip_kwan@hotmail.com 07 3257 3889 www.orientalantiquegalleryqld.com.au

Oriental Antique Gallery Fine Chinese Antique Furniture Porcelain and Bronze Pieces, Chinese Jade through the ages, Temple Statues, Decorative Objects

41 BROOKES STREET, BOWEN HILLS QLD T 07 3257 3889 F 07 3252 1889 SHOP 1, 479 PACIFIC HIGHWAY, CROWS NEST NSW T 02 9906 8588 F 02 9906 1788

OPEN: 10am – 5pm 7 DAYS email: phillip_kwan@hotmail.com www.orientalantiquegallery.com.au