Antiques & Art in Victoria by World of Antiques & Art

IN VICTORIA

AUGUST - DECEMBER 2011

HIGH STREET ANTIQUES & ART IN VICTORIA

PETER ARNOLD

ANTIQUARIAN BOOKSELLERS

RARE

BOO

IN & PR S P MA RAL AU S T A RT

Hurnall’s

I A NA

Antiques & Decorative Arts 612 High Street, East Prahran, Victoria 3181 Tel and Fax: 03 9510 3754 Mobile: 0407 831 424

KS BOO

By appointment

SOLD & T H BOUG

606 HIGH STREET, PRAHRAN 3181 TEL 03 9529 2933 FAX 03 9521 1079

Condition of all items guaranteed

Specialist dealer in Australian Colonial Furniture (c. 1830-1950) and Australian Decorative Ceramics including works by Remued, the Boyd family, McHugh, Melrose, Campbell, Douglas, Seccombe, P. James, Perceval, Ricketts, Jolliff, Klytie Pate.

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antiques &art IN VICTORIA PUBLISHER

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PHOTOGRAPHY RUSSELL WINNELL Specialising in antiques and artworks

0415 929 712 QUALITY WORK • COMPETITIVE RATES

Specialising in French antiques and Art Deco Please contact us for more information 491 High St Prahran Vic 3181

03 9510 8522 Warehouse by appointment only 0412 560 371 3

ANTIQUES & ART IN VICTORIA

From left: Una Deerbon, Mantle vase, c. 1930, decorated with applied stylised flowers, 18 x 21 cm, incised signature ‘Deerbon’ Una Deerbon, Water jug, c. 1930, 21 x 20 cm, incised signature ‘Deerbon’ John Castle Harris, Mantle vase, 1941, 31 x 25 cm, decorated with applied angel fish and octopus, incised signature ‘Castle Harris’ Decoration attributed to John Castle Harris made by Remued, Vase, c. 1940, 17 x 12 cm, incised signature ‘Remued’ John Castle Harris, Figurine, c. 1930, hand-modelled earthenware, 15 x 40 cm, incised signature ‘Castle Harris’

Collecting Australian art ware

A family affair

MELBOURNE YEARS

Una Deerbon (1882-1972) and her cousin Jack Castle Harris (1893-1967)

he potter and craft worker Una Deerbon was born in Woollahra in Sydney in 1882. Her parents Alfred and Clara Deane sent her to a convent school as a boarder, and it was there that her interest in fashion and design was ignited via regular needlework classes held by the nuns. She attended Sydney Art School after she completed her schooling, studied painting under Julian Ashton. In 1904, when she was 22 years old, Una married English-born businessman Richard Darlow, who was also a part-time journalist and artist. Although exact dates are not known, we do know that between 1904 and before the outbreak of World War I she designed clothes for the department store David Jones, and opened the Sydney-based Madam Darlot’s Design School. Una also created and sold sets of humorous postcards, signing them ‘Una Darlow.’ During the years of her first marriage she travelled to London studying at the Slade School, and the United States where she studied at the Chicago School of Art. After the collapse of her marriage she moved to Brisbane where she worked as a potter. It was here that she met the Czech economist Karel Jellinek whom she married in 1922, and with whom she two children. She changed her working name to ‘Deerbon.’ However, after plans to move to the United States failed to eventuate, Deerbon found herself a single mother, and in order to make ends meet she opened a guesthouse. At the same time she continued to create and sell pottery, as well as give lessons. Her cousin John Castle-Harris was one of her students. Although living and working in Brisbane, Deerbon was registered as a craft worker with the Society of Arts and Crafts of New South Wales, which provided her with the opportunity to exhibit at the Society’s annual exhibition. In 1931 she exhibited pottery and in 1932 she showed needlework and weaving, with just a single piece of pottery – a jug (Powerhouse Museum, Sydney). However, in June 1933 she exhibited more than 200 pieces of pottery in the Anthony Hordern & Sons department store gallery. The display was favourably reviewed in the Sydney Morning Herald (13 June 1933) stating: ‘The exhibition of pottery by Mrs. Una Deerbon which is being held at Anthony Hordern’s art gallery contains more than

200 pieces. Whatever one may think of Mrs. Deerbon’s manual skill, it is impossible not to admire the fecundity and liveliness of her imagination. The variety both of the forms and of the surface decorations is remarkable. It is only to be expected that the quality of work done by so adventurous a crafts woman should be uneven. Some of the pieces display admirable delicacy of form, and are decorated in an amusing style. In some pieces there has been less success, particularly in the colour schemes, but all of them are patently the work of an exceedingly enterprising and vigorous potter.’ By the end of 1933 Una Deerbon had moved to Melbourne where she established the Deerbon School of Pottery. She set up her own kiln, wheel and pugmill, and taught students including Eric Juckert who began potting with her in 1936. They produced a range of wares in 1937 that were sold under the name ‘Jacqueline’ in the Myers and David Jones department stores. Deerbon also employed Geoffrey Wilkinson as her thrower so that she could spend more time on her flamboyantly designed decorating and glazing. It was during this Melbourne period that John Castle-Harris once more worked with his cousin. Deerbon’s pottery, which predominantly comprised earthenware jugs and plates with earthenware masks being made after c. 1936 was sold in Melbourne through an interior design gallery called Riddells and at the Myer Emporium. Her wares were also shipped to New Zealand and sold locally via exhibitions that doubled as genteel social occasions. Writing in Australian Art Pottery 1900-1950, Keith Free says ‘Deerbon’s pottery relies upon its decoration for its appeal, with a spontaneity and whimsicality in the tradition of Staffordshire, and her wares were made to appeal to a comfortable and well-off middleclass market.’ He notes that wheel-thrown jugs were given unusual profiles and handles, and were ornamented with painted, applied, carved and moulded decoration.1 The originality of her work was noted in the arts section of The Argus (13 December 1934), in a review of an exhibition that stated: ‘Original and distinctive pottery is to be seen at an exhibition of handmade work from the studio of Mrs. Una Deerbon which opened yesterday. All the pieces on exhibit, especially those by Mrs. Deerbon herself, show appreciation of the unusual and the

grotesque, and the creations in which the central subject is a gargoyle or a fearsome fish’s head or frog are striking.’ The influences for such designs were derived from pottery of a number of cultures including Egyptian, Aztec, Greek and Persian, and some Aboriginal motifs. By turn, Deerbon influenced the work of her cousin John (Jack) Castle-Harris, who was also to become a wellknown potter in the 1930s and 40s. The career of John (Jack) Castle-Harris Born in Waratah, New South Wales, in 1893 to a printer father named Harry and Lucy, his English-born mother (Lucy and Una Deerbon’s mother Clara were sisters), CastleHarris spent six years as a farmer and a member of the volunteer cadets before enlisting in the Australian military in February 1916. He made the rank of sergeant within six months, but suffered a gunshot wound to the thigh in March 1917 whilst serving on the Western Front with the 36th Battalion, and he was invalided to England. In December 1917 Castle-Harris was discharged in Sydney as medically unfit. He lived in Sydney in the early 1920s, and it was here that the tall, fair-haired and blueeyed artist met Alice Rochfort, sister of Neville William Cayley and herself a bird painter. The couple married on New Year’s Eve 1923, and it’s thought that Alice’s artistic talents had a significant effect on the work of Castle-Harris, especially his punched and embossed leather tablecloths which often incorporated examples of Australian flora and fauna. (Regretfully, a large selection of these sold in my summer 2004 Sale and Exhibition. I say regretfully, because I wish I’d kept some!)

Neville William Cayley (1886-1950), ornithologist and artist, painted mostly birds. His popular book What Bird is That? was published in 1931. Australian Finches in Bush and Aviary (1932), Budgerigars in Bush and Aviary (1933), Australian Parrots … (1938) and The Fairy Wrens of Australia (1949). Cayley was also a founder of the Cronulla Surf Life Saving Club, member of the executive of the Surf Life Saving Association of Australia and the Royal Life Saving Society.

In 1935, during a visit to Melbourne, CastleHarris worked informally at the Deerbon Pottery School. He was also employed at the Premier Pottery (Remued) at Preston where he modelled animals and lizards. Although all the creatures made at the Remued pottery were signed Remued, there does exist a piece that carries the dual incised signatures of John CastleHarris and Alan James (the pottery’s founder) and the date 1937. Until the discovery of this vase – which is illustrated in Australian Art Pottery 1900-1950 – it was speculated that Castle-Harris modelled for Remued, but there was no proof.

LIVING AND WORKING IN NEW SOUTH WALES In the late 1930s and 1940s, Castle-Harris ran a studio in Sydney where he produced purely decorative items that were sold through gift shops and similar outlets. His ceramics often featured Australian and grotesque animals with recurring motifs including flannel flowers, applied fish and grapes, and lizards and dragons, the latter appearing to be his favourite. Keith Free noting that ‘His earthenwares vary from excellent to ordinary, usually with pink, blue, green or mottle majolica glazes.’2 Among the vigorously-modelled, applied decorations used, pierced lattice work or piecrust edging occasionally appears. CastleHarris’ most impressive pieces are large vases, with more carefully modelled applied fish and lizards, and sometimes life-sized, free-standing figurines of native fauna’. His designs showed a strong oriental influence despite being powerfully Australian in origin, and there’s evidence of an interest in the work of French potter Bernard Palissy (c. 1510-c. 1590) who used fish, frogs, snakes and lizards in his decoration. Around 1946, Castle-Harris established a studio at Wentworth Falls in the Blue Mountains outside of Sydney. He died in April 1967. Reproduced courtesy Collectables Trader, edition 98, May-June 2011 Marvin Hurnall HURNALL’S ANTIQUES & DECORATIVE ARTS 03 9510 3754 www.hurnallsantiques.com.au NOTES 1 Kevin Fahy et al (eds), Australian Art Pottery 1900-1950 (Sydney: Casuarina Press 2004), p. 133 2 Ibid, p. 94 FURTHER READING • Peter Timms, Australian Studio Pottery & China Painting (Melbourne; New York: Oxford University Press 1986) • Grace Cochrane, The Crafts Movement in Australia: A History (NSW: NSW University Press 1992) • Australian Dictionary of Biography online edition (http://adbonline.anu.edu.au/adbonline.htm)

ANTIQUES & ART IN VICTORIA

Editorial Content

AMANDA ADDAMS AUCTIONS

Auctioneers and Valuers

FRONT COVER John French Cotton organdie wedding dress 1953 Designed by Hardy Amies for the Cotton Board ©Victoria and Albert Museum/V&A Images See p. 49

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Collecting Australian art ware, a family affair – Marvin Hurnall Leclerc Antiques brings French antiques to Australia Clasic workmanship & French styling Expressions Gallery Philip Stokes at Veronica George Gallery Vintage posters: some frequently asked questions answered – Sam Johnston Vintage posters: framing and conservation – Brett Ross The beginnings of time in horology (1500-1700) – Michael Colman Tyson China Repairs one fully guaranteed The Louis XV style – Mario Dominguez-Gorga Spelter: a desirable alternative Money makes money Emily Koenders at Guild House Unlocking the mystery of Australia’s first coin Vintage collectable or new toy? – Ron Gregor The art of packing, consult the masters for a solution Visit Schots Home Emporium for fine home furnishings The magic of lemon oil – David Foster Artist profile: An insight into Gregory R Smith FVAS The Victorian Artists Society: the VIC’s... In the interests of art The Pastel Society of Victoria 24th Annual Art Exhibition A special showing of Carole Milton artworks You know you’re a collector! – David Freeman DIY Downton Abbey – Roy Williams Walter Magilton celebrating 60 years of his art at Manningham Gallery Art Gallery of Ballarat spring exhibition program The white wedding dress – 200 years of wedding fashions Carriage clocks Di King Gallery prepares for the 2011 October exhibition – John Thomas Stamp collecting – where do I begin? – Gary Watson Sherbrooke Art Society for gallery exhibitions, classes & artists’ studios Without Pier Gallery, Artist profiles Encaustic tiles at Schots Home Emporium Murano glass famous since the Middle Ages Sorrento and Flinders Fine Art Galleries, artists from the Mornington Peninsula, Melbourne and interstate The Peninsula Arts Society, visit exhibitions in the gallery, take a class in the studio Mornington Peninsula Regional Gallery’s series of special exhibitions Visit the Mornington Peninsula’s 33rd annual Mt Eliza Art Exhibition White Hill Gallery spring exhibition program McClelland Gallery + Sculpture Park spring exhibition What’s on at Hamilton Art Gallery Ceramics: the art of restoration – Paul Rosenberg Geelong Gallery’s exhibition program, August-November Featured artists at Eagles Nest Gallery Queen Victoria’s Queen Street Woollahra arts and literature – Susan Gervay Ballarat International Foto Biennale 2011, photography exhibited throughout Ballarat Bendigo Art Gallery exhibitions August to December Woven works of art that are living history – Majid Mirmohamadi Welcoming Spring at Mayfield Gallery The Victorian Antique Dealers Guild member profile City views and town plans by Braun & Hogenberg Out of the West: Art of Western Australia from the National collection – Anna Gray 2011 AAADA Melbourne antique and art show breaks records Geelong Gallery presents Reflections of the Soul, Chinese contemporary ink wash painting

ADVERTISING RATES 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 (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

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

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

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

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

All rates are inclusive of GST

NOTICE

AMANDA ADDAMS AUCTIONS

Jeffrey Smart (Australia 1921- ), The Bather Bondi, oil on board, 48 x 76 cm, signed lower left. Exhibited South Yarra Galleries 1962 Catalogue Number 7 – Estate of Jean Ramsey, Toorak, in the collection since 1962. Illustrated in The Beach by Geoffrey Dutton, 1985. Illustrated in Jeffrey Smart Unpublished Work, 1940-2007 April 2008. Illustrated cover Amanda Addams Auction catalogue 13 April 2008. Sold for $336,255, a new Australian record for an early 1960s Jeffery Smart

SALE DATES 2011 Monday 5 September 2011 6.30 pm Viewing: Saturday 3 September 11 am – 2 pm Monday 5 September 10 am – 6 pm Monday 3 October 2011 6.30 pm Viewing: Saturday 1 October 11 am – 2 pm Monday 3 October 10 am – 6 pm Monday 7 November 2011 6.30 pm Viewing: Saturday 5 November 11 am – 2 pm Monday 7 November 10 am – 6 pm Monday 5 December 2011 6.30 pm Viewing: Saturday 3 November 11 am – 2 pm Monday 5 November 10 am – 6 pm

AUCTIONS HELD ON THE FIRST MONDAY NIGHT OF EACH MONTH AT 6.30 PM Receive all the latest news. Register for our new email newsletter and receive all the auction details and catalogues

QUALITY SINGLE ENTRIES OR LARGE COLLECTIONS (ANTIQUES, ART, COLLECTABLES, DECORATIVE ARTS AND DECEASED ESTATES) ARE ALWAYS INVITED FOR SPECIAL AUCTIONS

AMANDA ADDAMS AUCTIONS 194 Bulleen Rd, Bulleen, Victoria 3105 Tel: 03 9850 1553 Fax: 03 9850 1534

www.aaauctions.com.au David Freeman 0419 578 184 Amanda Freeman 0419 361 753 Member of the Auctioneers and Valuers Association of Australia

VALUE ADDED @worldaa.com NOW ONLINE Australia’s foremost magazines on the decorative arts antiques, art & collecting vintage & retro Need to contact your local dealer but don’t have a copy of your state’s Antiques & Art? Problem solved – log on and read online. Peruse World of Antiques & Art – the most authoritative magazine on the decorative (antiques) and fine arts in Australia. A portal to national and international collecting trends, subscribe to the online edition and SAVE! Check out Collectables Trader – subscribe to the online editions and save! Australia’s only bi-monthly magazine on vintage, retro and collectables.

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ANTIQUES & ART IN VICTORIA

Leclerc Antiques brings French antiques to Australia

eclerc Antiques has been importing French antiques and Art Deco examples into Australia since 1985. Back then, the attitude here was that furniture crafted in the art deco style was seen as bizarre. This attitude did not phase me for since my early days in the business I appreciated the exquisite lines and fine materials used in the manufacture of the Parisian designs. For the last 21 years here at Leclerc Antiques we have been focusing on sourcing unusual and quality Art Deco pieces and have furnished some of the finest homes in the country. Our range is not limited to Art Deco; we also stock a large selection of 18th and 19th century provincial furniture, marble fireplaces, mirrors, architectural and decorative bronze items. We also carry French decorative lighting.

VISIT OUR WAREHOUSE In October 2009 we opened our large warehouse to the public. So come and view the competitively priced pieces and buy direct.

Every single item on the floor is personally selected, packed, and shipped out of France by Leclerc Antiques. By eliminating the middle man we are able to offer items at a very competitive price. The stock arrives in as found condition, which gives prospective buyers the opportunity to undertake the restoration themselves, a trend we have noticed that is becoming increasingly popular. Otherwise, where necessary, we have the facility to restore items.

OUR RESTORATION POLICY This is done to the highest standard as we use some of the best French polishers in the business. It is my policy to never cut corners when restoring, especially with French polishing, as it reflects on the integrity and reputation of the business. A good piece of antique furniture or decorative arts item always adds character, warmth, value and most importantly, style to a home and no expensive reproduction can replace the charm of an old piece.

A SPECIAL OPPORTUNITY For some people antiques are intimidating and so they will not walk into an antique shop. They could be missing out on finding that special piece. One young couple who understood the excitement of visiting an antique shop came in to our store. They were particularly attracted to a lovely bronze art deco ceiling light with beautiful shades. ‘How much is this?’ the young lady asked. ‘$2,900,’ was the reply. ‘This is a pretty good price considering my husband just spent over $2,000 on a new set of golf clubs!’ The husband felt uncomfortable and ended up buying the light for his wife. Many people are not aware of what good value antiques are unless they walk into a good antique shop. Antique dealers are hard working people who factor into their lives the cost of stocking a shop and what it takes to run a reputable business – it can be very frightening. Then there is the cost of restoring, importing and the hours spent in the shop. It

is not uncommon for a dealer to work six days a week. Reputable antique dealers offer service, knowledge, expertise, and quality stock with guarantees.

RULES TO FOLLOW As a rule, buy the best you can afford. I have found that good pieces are becoming scarce, both here and overseas. One reason may be that banks are offering poor returns on money, another that collectors are loathe to part with their collections. Quality antiques are an international currency and can be traded anywhere in the world. Leclerc Antiques is looking forward to welcoming you to their warehouse for a private viewing of our latest shipment from Europe.

Pascal Leclerc LECLERC ANTIQUES 03 9510 8522

HIGH STREET ANTIQUES & ART IN VICTORIA

Classic workmanship & French styling F

or a large selection of beautiful French reproduction pieces, visit Image De France at the High Street gallery in Prahran or online at www.imagedefrance.com.au Image De France gallery displays an impressive range of classical pieces. In our collection are examples from Louis XIV, Regence, Louis XV, Louis XVI as well as Empire and Art Deco. The collection is expanding with new ranges of fabrics and diverse finishes, which provide modern interpretations of classical looks. The close working relationship Image de France has with craftsmen who create these masterpieces means infinite possibilities when it comes to special orders for your home. With an architect and an interior designer in the gallery, you will receive plenty of helpful advice. Finishes are customised to suit your preferences. Popular options are gold or silver leaf, antique gold or the simple beauty of the timber. You will find it difficult to choose from our magnificent marble options.

ACCESSORIES Image De France now offers soft furnishings and will measure, supply and install classical curtaining of the highest quality complementing the range of Image De France furniture and your homeâ&#x20AC;&#x2122;s style. With handmade fringing and tassels, traditional pelmets, swags and deep tails these curtains are far from ordinary. The gallery has a vast

collection of quality fabrics from Australian and European designers. A spectacular range of crystal chandeliers and wall lights are displayed in the gallery with crystals of the highest quality available and containing more than 30 per cent lead oxide; these crystals provide exceptional clarity and high refraction prismatic colours. They are plated with 24-carat gold or sterling silver, complete with a 25-year guarantee. A wide range of bronze chandeliers is also available.

FRENCH INFLUENCES ON EGYPTIAN FURNITURE MAKING One of the lasting effects of Napoleonâ&#x20AC;&#x2122;s invasion of Egypt in 1798 was that the French designers who had travelled with him left a legacy that remains in the old European parts of Cairo. Egyptian carpenters have always been excellent craftsmen, learning from various influences including invaders and traders. Their marquetry is renowned for its extraordinary smoothness and finish. Mounts of gilded bronze, the leading characteristic of most of the century, were finished with minute delicacy. Egyptian carpenters became and remain proficient in gilding furniture in many colours, including rose, silvery green and grey-blues. They adhered to the strict symmetry and ornamentation styles characteristic of French furniture periods. Furniture making was and still is a respected craft in Egypt and skilled artisans are highly regarded with their particularly advanced techniques. They are skilled woodworkers and their ability to work with precious metals and especially in French furniture reproductions demonstrates a high skill level which would be difficult to match anywhere in the world. IMAGE DE FRANCE 03 9529 5003 www.imagedefrance.com.au

HIGH STREET ANTIQUES & ART IN VICTORIA

Expressions Gallery E

Above: Tim Storrier, Empire of the Coals Right: Jeffrey Smart, Surfers Bondi

ARTIST PROFILE: XIANZHU SHI

xpressions Gallery offer a wide range of fine art limited editions from leading Australian artists including John Olsen, Jeffrey Smart, Howard Arkley, Lin Onus, Sidney Nolan, Arthur Boyd, Charles Blackman, Fred Cress, Garry Shead, Frank Hodgkinson, David Boyd, Jason Benjamin, Melissa Egan, Clifton Pugh, Helen Norton and Tim Storrier. Our high quality fine art limited editions are available at an affordable price. A pleasure to own, they will hold their value and brillance for many years to come. Expressions Gallery also offer high quality framing in their onsite studio workshop.

Xianzhu Shi is a Chinese-born artist who now lives in Australia. His cross-cultural experiences have found expression in his work, which is more than the telling of his life in Australia. But this complexity is only one aspect of a profoundly rich cultural mix. Just as important, and perhaps more interesting, is the blending in his art practice of Chinese, Western, contemporary and ancient, modernist and post-modernist influences. In Xianzhu Shi’s work a subtle and individual fusion occurs, naturally, without any troubled or forced self-consciousness. EXPRESSIONS GALLERY 03 9500 0667 xart668@yahoo.com.au

Expressions Gallery John Olsen, Wet Season

John Olson, Spoonbill and Egret

1110 High Street, Armadale Vic 3143 Australia Tel/Fax 03 9500 0667 xart668@yahoo.com.au also at 332 Malvern Road Prahran Vic 3181 • Mob: 0413 992 501 FINE ART LIMITED EDITIONS VINTAGEPOSTER LINEN BACKING CUSTOMER FRAMING 8

Xianzhu Shi, Abstracted Nudes 8

HIGH STREET ANTIQUES & ART IN VICTORIA

The Veronica George Gallery represents a large number of leading Australian glass artists and showcases many of their complex glass techniques.

Gordon Glass

In addition to the wide selection of tasteful gifts and special pieces for the interior, we have unique works of art for the collector. As well as the magnificent variety of original hand-blown glass, there is a fine collection of contemporary jewellery by well-known Australian artists.

veronica george G A L L E RY 1082 High St, Armadale Melbourne 3143 Ph: 03 9500 9930 Fax: 03 9500 9125 veronica@veronicageorge.com.au www.veronicageorge.com.au Open 7 days Mon to Sat 10 am to 5.30 pm and Sun 11 am to 5.30 pm

Phil Stokes Urban eyes 2011

Philip Stokes at

eronica George Gallery is located in the heart of Melbourne’s arts and antiques precinct in High Street Armadale. The site was purpose-constructed to serve as a showcase of the gallery’s everchanging art glass pieces, stunning handmade jewellery and new exhibitions. The gallery celebrates its tenth anniversary in September 2011. Art glass and jewellery draw almost every passer-by into the gallery attracted to the collections of unique pieces crafted by wellknown Australian. From one-of-a-kind art glass to studio glass and collectables, there is something for every collector. The gallery offers creative gift-giving options when looking for those significant gifts. Whether for a wedding, graduation, anniversary or company achievement award, your search will succeed here.

Veronica George Gallery

FEATURED ARTIST

ARTIST’S STATEMENT

Philip Stokes completed a Bachelor of Applied Arts with Honours in 2000 from Monash University, being awarded the Pilchuck Partnership Scholarship in recognition of his outstanding work even as a student. His studio provides hot shop and cold work access and workshops. Stokes looks to support emerging and established glass artists and to provide a vibrant arena for creative exchange. Stokes’ architectural sculptures are in the lobby of the Four Seasons Hotel in Hong Kong, and the Sheraton Hotel in Xiamen, China. He is a regular speaker at creative forums and his work is highly sought after. His first career was in theatre, earning in 1991 a Bachelor of Education majoring in Drama and Dance from the then Victoria College at its Rusden campus.

With a background in theatre, I find that handling hot glass is surprisingly similar to the stage. Spontaneity, improvisation and chance are all elements that I enjoy and exploit both in the making and in the final installation. Stimulated by the sculptural possibilities of human form and the organisation of musculature, I hope to create dialogue between the viscous and sinuous qualities of the glass medium. My work alludes to the tenuous nature and fragility of human tissue, whilst also referring to its inherent strengths. It is similarities between glass and muscle, flesh and fluids of the body that inspires the making and installation of these forms. Having moved my studio from the banks of the Yarra River bend to the inner city edge, I

have become fascinated with the vibrant outdoor gallery on my doorstep. The series Urbaneyes is inspired by the vibrant and contrasting styles of street art and graffiti which adorn the streets of Cremorne and Richmond in a bombing of vividly contrasting colours. Veronica George Gallery is open seven days a week and or the convenience of clients, the gallery arranges safe delivery of purchases. If destined out of Australia, purchases are sent tax-free and insured – worldwide.

VERONICA GEORGE GALLERY 03 9500 9930 veronica@ veronicageorge.com.au www.veronicageorge.com.au

ANTIQUES & ART IN VICTORIA

Vintage posters some frequently asked questions answered WHAT is an original poster? An original poster, quite simply, is the first printing of a graphic promotion. Later reproductions, although decorative, have no real value.

DO you sell reproductions? In a word, no. Vintage Posters Only deals only in original posters. As stated above, reproductions have no intrinsic value and therefore of no real interest.

CAN you tell me where I can find a reproduction? Once again, the answer is no. Since we do not deal in reproductions, it is not something that we try to keep current. It is not an issue of snobbery; reproductions are just not our business.

WHY should I be interested in purchasing an original poster? • Because it is the world’s most popular art form • Its documentation is exceptionally diverse – at once historic, artistic, graphically wide-ranging and nostalgic • In addition, posters are decorative • Some of them are stunning and imaginative • Others are just downright pretty • Their appeal is timeless. They strike a chord

• They are rare • Plus, above all, they are original • They can be vintage or they can be contemporary. Remember that today’s latest advertising graphics are the classics of tomorrow.

HOW many copies of a poster were printed? In all honesty, we do not know. It is impossible to say how many copies were made for pasting on the walls of any given city.

THEN why are the remaining posters valuable? In fact, the quantity of the original run of the poster does not relate to its value – the quantity printed does not really matter. What does matter is how many copies were saved on the day that it was printed. There is no ‘Day 2’ for original posters. During the height of the poster craze in the late 1890s, printers would overrun an edition of a design and sell these extras to poster clubs, advertisers, individual collectors, etc. These are the copies that have come down to us. They are the very few posters saved from the original overrun.

WHAT is a maquette? A maquette is the original artwork from

which a poster is taken. A majority of the time, this artwork is used to create the finished poster. However, there are cases where incredibly beautiful artwork is never used to create a printed poster. The precise reasons for the absence of artwork are among the mysteries of vintage posters.

WHAT are the most popular themes in vintage posters? Whatever turns you on: art, cars and bikes, cinema is big, events, food and beverage, fashion is major, health and safety, political, sport and of course travel are all popular subjects of fantastic original vintage posters.

WHEN is Vintage Posters Only open? I’m open seven days a week, between 10 am and 5 pm.

CAN you help me find a particular poster? Ring me Sam Johnson VINTAGE POSTERS ONLY 03 9500 2505 / 0419 588 423 sam@vintagepostersonly.com www.vintagepostersonly.com

HIGH STREET ANTIQUES & ART IN VICTORIA

VINTAGE POSTERS ONLY Wanting to buy original lithographic posters from the turn-of-the-century to 1970. Condition not important! Paying Australiaâ&#x20AC;&#x2122;s best prices.

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

1136 High Street Armadale Victoria 3143 11

HIGH STREET ANTIQUES & ART IN VICTORIA

Vintage posters: framing and conservation

here collectors have amassed a large collection of vintage posters they may not have all the works up on display preferring to rotate the posters and keep those not on display stored in tubes or a plan chest. In Australia, vintage posters are more often than not being purchased for their decorative appeal rather than for their collectablility. Regardless of the reason for acquiring a poster the new owner has a number of issues to consider before the work can be put on display.

FRAME OR NO FRAME? One option is the simple Japanese style hang which is the lightest and least structured. The poster is clipped (a minimum of four crocodile clips is required) top and bottom to two thin baguettes of wood or rigid cardboard. This semi taut poster is then hung from a fixed screw or screws, suspended from the ceiling or wall via cord attached to the ends of the top baguette. The resulting hang can be elegant but the poster is unprotected. A splash of red wine, boisterous children or moths could all easily damage the exposed poster. Museums specialise in temporary exhibitions and sometimes have revolutionary solutions. In a recent Cassandre show at the BibliothĂ¨que nationale de France,they taped the large posters directly to the wall using linen backing and protecting the posters with large sheets of Perspex screwed directly onto the wall. One can imagine that in contemporary interiors this could be a strikingly effective solution.

The Pompidou Centre often displays its large Toulouse Lautrec posters in large pillows, filled with foam pieces with a transparent plastic front window. This way the poster lies unattached and unstressed in the transparent pillow which hangs on the wall. There is the classical frame, which though bulky, is protective. A standard large poster measures 120 x 160 cm so if framed the final work is quite large and heavy. There is the option of using Perspex in favour of glass though if thinking of glass because it is more resistant to scratches remember it is heavier and potentially dangerous. If by some chance the work drops the glass might shatter. Perspex, on the other hand, is lighter and offers higher UV protection although it does scratch more easily. Another consideration is cost â&#x20AC;&#x201C; Perspex is slightly more expensive. However, if framing a poster that is larger than two metres square, the recommendation is to use Perspex.

BOXED OR SANDWICHED? Temperature plays an important part when considering whether to back a poster. Cotton and paper backing expands and contracts with temperature changes, so the freer a poster is within a frame the better. Clients can make the mistake of wanting an over slick flat surface. This could create a serious problem because if adhered to a backing board and then covered with a sheet of glass it lacks the flexibility to adjust to external conditions. So, if there are significant variances in temperature a poster may distort, split and break away from its paper or cotton backing. We prefer the idea of boxing the poster like a document. Just lightly attach it to a backing surface and ensure there is adequate spacing between the work and the glass or Perspex window. It may not be perfectly flat, but the poster is able to adjust to the variations in temperature, to expand and contract. Moreover, we think the document frame is a classier look.

WHERE TO HANG By far the most important factor is light. Paper, even if protected with glass or Perspex, is sensitive to UV light. The best advice is to not place your poster on a sunlit wall. The further away from sunlight the better to prevent them from aging which would mean yellowing or fading. It also goes without saying that humidity is to be avoided so bathrooms are not the right spot, unless palatial and steam free. Brett Ross LETITIA MORRIS GALLERY 03 9509 1274 brett.ross@mac.com

MALVERN ANTIQUES & ART IN VICTORIA

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1. Royal Worcester vase, c. 1911, decorated by A Schuck, h: 51 cm. The gilt and floral rimmed flared neck above an amphora shaped body set with two scrolling arms decorated with a rose pattern standing on a pedestal with circular foot. Sold $4543.50 2. WMF cutlery service, 20th century, 800 silver, 147 pieces, total wt: 7306 grams, scroll edge pattern. Sold $6291 3. Art Deco mantel clock, c. 1930, signed Geo(rge) Maxim, marble surround, figure surmounted to each side, 37 x 67 x 18 cm (depth). Sold $2796 4. Superbly modelled pair of bookends on black marble bases signed L. Fontinelle, c. 1920, silvered bronze, 18 x18 cm. Sold $2097 5. China: Qing dynasty (1644-1911), Bowl, reign mark Yung Cheng period (1723-1735), 7 x 14 cm (diam). Sold $2330 6. Jaeger le Coultre Atmos clock, c. 1950s, brass and glass case h: 26 cm, original box with papers. Sold $3145.50

7. Chinese blue and white plaque on stand, c. 1890s, 73 x 51 cm, decorated with a painted scene. Set with a pierced frame the stand depicting bats, tied knots and incense burner all surrounded by scrolling vines and standing on elongated Fo dogs. Sold $5825 8. Elsa Perretti designed heart pendant from Open Heart series for Tiffany & Co, polished 18 ct gold, suspended on a Tiffany & Co. 18 ct yellow gold trace link chain. Sold $1980 9. Diamond bracelet, 18 ct white gold, 19 clusters of multiple stones: claw set four princess-cut diamonds, 12 brilliant-cut, slide clasp, double safety catches. ATDW: 13.50 carats, l: 18 cm. Sold $16,310 10. Italian tourmaline, citrine and pearl set necklace/bracelet set on 18 ct yellow gold, optionally connecting to create one longer necklace with a gold ball clasp. Chain l: 40 cm; bracelet l: 18 cm. Sold $3029 11. Bracelet, 18 ct yellow gold, l: 19.5 cm, wt: 72 grams of tightly spaced beaten and ribbed gold links, complete with a large clasp and safety catch. Sold $3262

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ANTIQUES & ART IN VICTORIA

The beginnings of time in Horology (1500-1700)

orologically speaking, not much changed during the 16th century. The escapement stayed the same, with the verge balance. A mechanical improvement was the arrival of the ‘stackfreed’ as a power equalisation system. During the 16th century, eventually smallersized timepieces were made, heralding the watch. Even though the clock mechanism was still not accurate, the smaller timepieces were mostly appreciated as novelties in the form of jewellery or as interesting decorative items. In 1572, Queen Elizabeth I had a complete section of her inventory devoted to watches. The inventory still categorised her timepieces as jewels, showing the value placed on these clocks in the 16th century and how they were kept and used. These were ‘form watches’ in the form of a pendant set with jewels, crystal crosses, flowers, memento mori and pomanders.

GERMAN INFLUENCES During the reign of Henry VIII, the great German painter Hans Holbein the Younger (1497-1543) came to London around 1526. Holbein painted and designed jewellery and even clock cases. His highly decorative design, with the clock as only a small section on the top, was completed after his death in 1543 and presented to King Henry VIII. The stackfreed was the other known mainspring power equaliser, invented in southern Germany. The stackfreed was invented for the same reason as the fusée, to solve isochronism, to equalise the power delivered by the spring. Stop-work means that the top and bottom of the wind is not used, and together with stackfreed or fusée, it created an effective mechanism. It is assumed that stopwork was invented first, as it is the easiest to manufacture and was incorporated in designs with either the fusée or the stackfreed. The stackfreed required less skill in the manufacturing process than the fusée. Perhaps it also allowed a thinner movement, as it usually required only a small gearing system using its offset cam with an extra power (spring lever) source coming in at the end of wind, to help deliver an equalisation power effect. The stackfreed was restricted in use to

early German carried clocks or watches, particularly in southern Germany. It was a poor cousin to the fusée in every way and eventually it ceased being used. During this renaissance, south German clockmakers managed to reduce the size of the chamber clock to a size that could be carried. Peter Henlein of Nuremberg (c. 14801542) is acknowledged as the first maker of the smaller portable timepiece, which is often referred to incorrectly as the ‘Nuremberg egg’, reflecting its size and shape. Its correct name is a pomander watch; it opens for viewing from a hinge and is hung from the neck or clothing. In Augsburg, as in most of Europe, early clock making was associated with lock making, but was considered inferior as locksmiths and gunsmiths were allowed to make clocks, but clockmakers were not allowed to make locks or guns! A clockmaker’s guild formed in Nuremberg in 1565. The town council set a test to join that included making a clock within a year. It had to be 15 cm high and able to be worn about the neck. It had to have an alarm, strike the hours and the quarters, with a dial showing the 24 hours in sunshine or moonshine on one side and show the quarters. The other side had to show a calendar and the planets with the length of day. Remember that these clocks were completely handmade from hammering the steel, dividing the teeth, filing the gears, making the springs to engraving the dial. Guild entry tests were made even more severe and probably were designed to eliminate locksmiths and gunsmiths from the guild. However, a locksmith could still make clocks under law as late as 1629 outside the guild membership. The Casper Werner watch shown is the earliest known dated watch and is displayed in the Wuppertal Clock Museum in Germany. It was signed and dated 1548 by the maker Casper Werner who was a contemporary of Peter Henlein. The movement with stackfreed power equalisation goes for 30 hours, but probably only kept time within 20 minutes’ accuracy per day. It is made entirely of iron, standard for German watches at this time, with a gilt brass case. The cover allowed reading the single hand in the day and touching it at night, to know the time. The clock by Erhard Liechti dated 1572 is in another museum in Winterthur, Uhrensammlung Kellenberger. The clock is a fine iron weight-driven chamber clock with polychrome dial. The frame locates and interlocks with the minimum use of pins; the clock strikes the hours and the quarters with an alarm to wake the house, and a turning moon above the numeral 12. Erhard Liechti was a member of the well-known Swiss clock-making dynasty of nearly three centuries from the Winterthur area in Germany. This type of clock was the forerunner of the lantern clock.

Casper Werner watch, 1548

Jacques de la Garde, ‘Pomander’ watch of 1551

Hans Holbein the Younger’s design for a clock

Melchoir Zinng of Augsburg, 1580, personal portable watch in the form of a decorated cross

one probably set in the hilt of a sword. In 100 years between 1515 and 1615, the number of workshops grew from five to 63. An early French centre of horology was Paris, where a guild was first formed in 1544, 53 years before Blois and 21 years before Nuremberg, showing the stronger element of protectiveness offered and sought by the Parisian clockmakers. A 16th century engraving of a clockmaker’s workshop in Flanders is attributed to Stradanus, a Flemish painter and printmaker (1523-1605), in whose engraving all the detailed steps of production are replicated. You will notice to the left bench dividers and files with vices to hold wheels, other completed wheels hanging on the wall, the forge in the background, verge and foliot propped against the bench with work taking place on small chamber clocks and a large standing (possibly turret) clock.

specialising in making particular components such as external case embellishments. Examples of brass work by the same makers have been found on clocks from Augsburg to Italy. The movement was still controlled by the balance wheel and verge, but the accuracy of these timepieces did not improve markedly. In 1600, clocks were still inaccurate and, as such, were mostly ornamental, normally devised with small dials indicating the time. At the dawn of the 17th century, clocks were regarded as curiosities. They were often embellished with multiple functions and sometimes they incorporated astronomical features. There was no indication of the great heights that would be achieved in the second half of the century, the beginning of the golden age of horology that, surprisingly, was centred on London.

GROWING DEMAND FOR CLOCKS

In the previous century, Leonardo da Vinci (1452-1519) was the first to study the pendulum, developing a gravity pendulum controlling a clockwork mechanism. He also designed a fusée cone for equalising the power of the mainspring, but he seems to have not extended his research.

In the second half of the 16th century, both nobility and a new middle class of artisans, doctors, lawyers and merchants increasingly purchased clocks. To satisfy this burgeoning market, more clocks were produced and the numbers of clockmakers expanded, some

SCIENTIFIC IMPROVEMENTS IN TIME KEEPING

FRENCH DEVELOPMENTS

Stackfreed to fusée diagram

The main competitor to Nuremberg for watches was Blois in France, 185 km southwest of Paris. The earliest watchmaker listed was Julien Coudrey (d. 1530), maker to King Louis XII for whom he made two orloges,

16th century engraving of a clockmaker’s workshop

Erhard Liechti chamber clock, 1572

MALVERN ANTIQUES & ART IN VICTORIA

Huygens’ 1658 illustration of his pendulum clock

Design adopted by Huygens for the Coster pendulum clock

Galileo Galilei (1564-1642) first investigated in detail all the properties of the pendulum, noting that the further a pendulum was set from a fixed point to the centre of the bob, the slower the rate of oscillation. He also observed that oscillation was equal, no matter the width of its swing. It is thought that he conceived the idea around 1641, but it appears that his investigations were principally theoretical. According to Vincenzo Viviani, Galileo’s son made a working model.

MOVING BY PENDULUM Christian Huygens (1629-1695) a Dutch scientist, astronomer and physicist is attributed with inventing the first practical

“

By 1700, accurate, land-based time keeping was achieved.

”

pendulum clock, probably completing his design in 1656. He assigned production rights to Salomon Coster (1620-1659) in an historic contract that granted a 21-year patent for the design on 15 June 1657. Of course, it is not the pendulum but the escapement that delivers the power to the timepiece, while the pendulum acts as a controller. The clock these collaborators invented and patented was driven by clockwork from a weight. Huygen’s invention improved timekeeping to an enormous extent, as now the escapement used was still crown wheel and verge with a crutch and the pendulum hung between. It was a short bob pendulum of about 25 centimetres hung by a double silk cord from the verge pallet cock.

Saloman Coster pendulum clock

Joseph Knibb table clock, c. 1675

Cycloidal cheeks – brass sheets used like stabilisers – were controllers of the pendulum swing and kept the pendulum moving in the same arc, while regulation was effected by adjusting the length of the pendulum. In the original diagrams, the escapement had an extra gearing at the top. We do not know why this feature was removed from the patent, other than because of the collaboration between Huygens and Coster. Christian Huygens also envisioned the use of a spiral spring to help control the balance wheel. The illustration of the Huygens drawing was made by agreement with the Parisian portable clockmaker Isaac Thuret with a patent date of 22 January 1675. This invention improved the time keeping of the balance verge dramatically.

English lantern clocks, c. 1653

commerce adopted these new scientific improvements without any legislated commands, thus requiring even better timekeepers! In only 50 years, time keeping developed from the equivalent of steam power to a rocket ship. The population at large welcomed this scientific achievement, even if only its top two percent could afford to own such wonders of regulation. By 1700, accurate, land-based time keeping was achieved.

Michael Colman Colman’s Antique Clocks 03 9824 8244 www.colmanantiqueclocks.com References Eric Bruton, The History of Clocks & Watches, Little, Brown & Company Kristen Lippincott, The Story of Time, Merrell Holberton

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

ENGLISH DEVELOPMENTS Ahaseurus Fromanteel, already a renowned London clockmaker, introduced the pendulum to London in 1658 from the Coster in the Netherlands. Pre-pendulum English clocks were mainly lantern clocks but English clocks from this time were better in time keeping, with their more prominent dials reflecting their improved accuracy and minute hands were added to demonstrate their improved time keeping. Thomas Tompion (1639-1713) was one of the most marvellous clockmakers of all time. Tompion’s significance lies not only in his application of earlier developments but also in his support of further inventions, notably those of Dr Robert Hooke (1635-1703), inventor, mathematician and philosopher and formulator of Hooke’s Law. Tompion supplied time measuring machines that were of international importance in the advancement of science and technology, for example making the regulators for the new Greenwich Royal Observatory in 1676. Above all, Tompion was a superb craftsman. His influence led England into the golden century of horology. Following the adoption of the pendulum into timepieces, the most amazing clocks were designed and made with good shapes, designs and classical styles. The last half of the 17th century saw a move away from temporal hours – a system based on 12 hours of variable length depending on the daylight hours between summer and winter – towards the use of clocks as dependable timekeepers, as accuracy of clocks started to improve. Both government and

French Louis Philippe carriage style mantel clock, c. 1840 in tortoise shell veneer with fine ivory Inlay by Barbot, 9” handle up.

French mantel clock c. 1880 in fire gilded ormolu on bronze finish with 3 hand painted Sèvres panels possibly depicting 16th century Prague with cartouche style dial

French Empire figured mantel clock, c. 1810. Bronze ormolu finish with simple automaton, signed to dial Le Cointe - Renard à Laon. Secretly signed Pons to the pendule de Paris silk thread movement striking on silvered bell Pons, Honoré Pons DePaul awarded 2 silver & 3 gold medals in French Industrial awards as ébauche maker

George II double fusee verge bracket clock, c.1760, England, signature maker’s case, mahogany, ormolu mounts by Ellicott (England: London), profusely engraved back plate with pull cord repeat, in fine original condition

French 18th century waisted Boulle bracket clock c. 1760, on original wall bracket. Original finish and fittings, brass inlay, tortoise shell veneered case. The dial made of cast and chased surround with 25 fired enamel cartouche numerals, superb hand chased blued steel hands. Thirty day movement and large proportions, 5 turned shaped pillars, shaped plates engraved with maker’s name to rear plate and fitted with recoil escapement, Sun King pendulum

English mahogany cased bracket clock, 19th century on original wall bracket made by Smith & Son’s, of Clerkenwell, London.

1421 Malvern Road Malvern, Victoria 3144 Australia 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

Ph: 03 9824 8244 Fax: 03 9824 4230 Email: michaelcolman@optusnet.net.au Website: www.colmanantiqueclocks.biz Member of the Watch and Clock Makers of Australia (formerly HGA) and the BHI

MALVERN ANTIQUES & ART IN VICTORIA

TYSON CHINA REPAIRS - Fully Guaranteed Quality restorations to fine china, glass, crystal, stoneware, plaster statues and metal wares

lmost every collector needs repairs on antique fine china, decorative art, family favourites and modern pieces – but only if the highest standard of work is accomplished. With attention to detail and quality of finish, Tyson China Repairs returns items to their original condition. Renowned among antique dealers and the decorative arts trades, many such professionals acknowledge and recommend Tyson China Repairs for specialist care of china. For nearly 40 years prominent dealers and collectors have turned to us for their repair needs. Manufacturers, retailers and

importers seek our expert advice and repair skills as well as recommend our services to their clients. Very basic tasks to the very demanding are all carried out with the same care and professional standards.

REPAIRS Old repairs can be reworked. By using solvents, old glues and paints can be removed, stained areas improved and fresh work undertaken. Old staples or rivets can be removed and the scarring left behind restored. Replacement pieces such as handles, sections of vases and even figurine hands and limbs can be rebuilt with original detail before

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ALL DECORATIVE ART Porcelain, metal & stone Silver plating, silver repairs

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repainting and glazing, thereby replacing missing pieces of decorative items that were once lost. Intricate detail is reproduced by hand using fine brushes and exact colour matching. Airbrushes are used when appropriate to reproduce original paintwork and style. Glass can be repaired such as chipped crystal goblets. We reshape art glass with a minimum of fuss – often without a trace of the original fault. Re-silvering of old mirrors and replacement of glass or mirror is available to complete restoration. Silver repairs and all types of plating have been carried out to the highest standard for many years. Unusual jobs and metal repairs are often essential to enhance old plateware to its original condition. Spelter statues can be repaired and the old patina retained. Repairs to antique silver are completed with attention to detail and consideration of authenticity and provenance. Extensive experience working with old pewter and brittania metal allows for sympathetic handling to ensure authentic finishes.

ENHANCE THE OLD Light fittings, old and new, can be redesigned or have their electrical pieces altered. By doing this you can retain old fittings and enhance old furnishings including chandeliers, wall fittings and lamps. Alternatively rewiring cleaning and modernisation of old fittings can be completed. We can convert vases, ginger jars and statues to lamps. A vast array of electrical fittings and leads are available to enhance the finished product and to match the existing décor of your home. Art restoration and conservation is also carried out with the utmost care and attention to detail. Oil paintings, water colours, ink and all other mediums can be cleaned and restored. Old frames can be rebuilt and presented in their original condition. Colour matching to exact requirements is carried out with a minimum of fuss. Customisation of colouring for interior designers results in harmonious and complementary tables, clocks, mirrors, frames and lamps. Insurance needs are a speciality of Tyson China Repairs. We are experienced in assisting with insurance needs and processing your claims. Detailed written quotations are provided for submission to insurance companies.

FORTY YEARS’ EXPERIENCE FULLY GUARANTEED Over the last 40 years I have constantly strived to improve and expand my services.

My experience and talented staff have the necessary training to cater for the requirements asked of them. I believe the experience and reputation achieved over this time is invaluable in offering these comprehensive services. All are fullyguaranteed and carried out in a professional manner with an honest consultation as to your expectations and with an up-front quotation.

NO APPOINTMENT NECESSARY Tyson China Repairs is easy to find at 375 Malvern Road in South Yarra and open six days for consultation: between 8:30 am and 6 pm, Monday to Friday, and 10 am to 2 pm on Saturdays. Please call 03 9826 9910 with any queries. TYSON CHINA REPAIRS 03 9826 9910

MALVERN ANTIQUES & ART IN VICTORIA

The Louis XV style

he word rococo comes from the French word rocaille or shell, and from the Italian word barocco comes baroque. Surplanting the heavier Baroque, the light, decorative Rococo style developed initially in France influenced by the innovations in design of the Régence style (c. 1710-c.1730). Louis XV was only a child when his grandfather, Louis XIV, died in 1715. As there was no direct heir to the throne, Philippe, the Duke of Orleans, was appointed Regent until Louis attained legal age in 1722. This transitional period – Régence – during these first two decades of the 18th century saw a move away from the opulent Baroque developing into the less formal Rococo era of Louis XV. During the Régence the French court became more informal, temporarily moving from Versailles to Paris. Courtiers lived in private residences rather than extravagant palaces and so intimate petit salons became fashionable. This meant there was a need for furniture on a less grand scale. The stately Louis XIV style which included heavy, straight lines changed to lighter, graceful curves; asymmetrical replaced symmetrical straight lines; symmetry was more fluid; plain wood veneer replaced boulle marquetry. Decoration followed mythological themes, oriental designs, flowers, shells and dragons. It was marked by symmetry of the Louis XIV style with new gracefulness that would become the hallmark of Louis XV style. Louis XV’s reign was peaceful and prosperous, with the Age of Enlightenment debated in salons while women acquired a little more power, their influence seen in court and furniture design. His mistress, the Marquise de Pompadour was very interested in the decorative arts, supporting artists and becoming a major patron of the porcelain factory of Sèvres and of the Aubusson or Savonnerie rug factories. The Rococo style developed first in the decorative arts and interior design and featured love, humour, music and nature-inspired motifs and themes, as well as farming motifs like corn and wheat. Everything was decorated to such a degree that its real purpose became a secondary consideration. The 1730s were perhaps the height of Rococo development in France. It influenced architecture, furniture, painting and sculpture, such as works by Antonine Watteau and François Boucher. It became fashionable from Italy to Russia with national idiosyncracies, but in England it was never widely fashionable. Extravagant wood veneers, marquetry,

carved metal ornament, gilt bronze and porcelain plaques from the Sèvres factory all were used in cabinetmaking. Wood was treated, painted, enamelled, laquered, gilded and elaborately carved and chinoiserie was popular. Furniture was comfortable as well as stylish, ornately decorated, daintier and more graceful, while rosewood and fruitwoods replaced darker woods. The asymmetry born in the Régence era continued into the Rococco period. In this period public reception rooms were still grand, but family apartments were less formal and strong colours were replaced with the pastels. Madame de Pompadour’s residences were decorated in the delicate, floral Rococo manner often called Pompadour style. Furniture was to be suitable for encouraging conversation, so Louis XV’s menuisier (chair maker), Jean-Baptiste Tilliard, made a low, curved armchair with an exposed wood frame, far lighter and less regal looking than previous styles. Carvings of say, a basket of flowers, or shells and scrolls on the back showed that the chairs were meant to be moved freely for conversational groupings, rather than the previous formal placement against the walls. Houses often had two or more complete sets of furniture, one for summer and one for winter, for each home. French chair makers created new dressings and pieces such as the fauteuil (armchair) and the bergère (easy chair), sometimes gilded or painted, with upholstered arms and tilted backs and with wider seats to avoid crushing fashionable crinolines, upholstered in rich damasks and velvets or with Gobelin, Aubusson and Beauvais tapestry. Other new pieces that became popular in every house were the sécretaire à abattant (fallfront writing desk), table à écrire (writing table), and the bureau à cylindre (cylinder-top desk). The cane chairs with loose seat cushions also became very popular. New furnishings included crystal chandeliers, marble mantels with large mirror panels or painted overmantels called trumeaux, along with large paintings on walls and ceilings and rich drapery. Rococo interiors were rather whimsical, decorated with heavily carved wood and covered in plaster walls and ceilings with designs like scrolls, acanthus leaves, caryatids, busts, and full figures with festoons of flowers and fruit, and painted in the Rococo palette of softer and paler hues rather than the rich primary colours and dark tonalities favoured in Baroque tastes. Metalwork statuary, candelabras and urns as well as porcelain figures filled the rest of the rooms while the wooden floors, heavily decorated with

marquetry or parquetry, were covered with richly decorated rugs. By 1785, Rococo had passed out of fashion in France towards the end of the Louis XV era, denounced by critics who condemned it as tasteless, frivolous, and symbolic of a corrupt society. It too would be supplanted by design and socieital changes into neoclassicism, within 20 years.

Reference Karen Tait, on http://headleyshumpers.com/arts/furniture

Mario Dominguez-Gorga L’IMPÉRIALE 03 9822 8153 E: limperiale1385@gmail.com

L’Impériale

HOP S W R NE U O O NG T I T A C E LO R A T WE GUS U A TE IN LA

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CANTERBURY ANTIQUES & ART IN VICTORIA

Spelter: a desirable alternative

ustomers know metals such as bronze, brass and copper but many ask, ‘What is spelter?’ It looks like bronze but the tag tells them otherwise – perhaps their inherited figure at home is not bronze after all! Spelter is an archaic name for the metal element zinc, or alloys of zinc with small amounts of other metals such as tin, lead or antimony. Spelter was used extensively in figures and figurines of the late 19th and early 20th centuries. It is silver-white in colour but was generally painted to look like bronze, or occasionally electroplated with brass. The painting is quite a specialised skill and is extremely durable, only now needing a touchup after repairs.

Originally artists created a sculpture from which a mould could be made (not an easy task with all the intricacies of these moulds), and then bronzes were cast. However, bronzes were expensive and difficult to make and solder together to leave a flawless finish. The ‘white’ and much lighter metal spelter was popular because it was cheaper and much easier to cast than bronze or brass. It was consequently widely promoted as a less expensive alternative to bronze. In the late 19th century, popular figures represented the sciences, arts, industry, explorers, heroic figures, and everyday activities such as hunting, fishing or harvesting. The four seasons were also depicted. These beautifully detailed figures

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well with some male figures. The urns from three-piece clock sets make great lamp bases with wiring and the addition of a support for the material shade. Beauty is combined with modern day practicality. Today zinc is used in a variety of industrial processes and alloys but is rarely used as an art medium. So purchase them while you can, for they are sure to be of interest to future generations. Trish & Guy Page PAGE ANTIQUES 03 9880 7433 guypage@bigpond.com www.pageantiques.com.au

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were often mounted on marble bases or occasionally on ebonised or marbled wood, or wood covered in velvet. Occasionally, spelter figures were coloured a dark charcoal. Others were given a bronzed finish (as was done to some plaster figures), and a few were even gilded. Many spelter figures retain the signatures of their original artists and some are sought after, e.g. Auguste Moreau and Emile Picault. Spelter figures also adorn many marble clocks and spelter was used for their matching candelabra, ewers and urns. In the early 20th century, spelter was popular for Art Nouveau and Art Deco figures. The Deco ladies had cleaner lines than their predecessors and had lighter clothing, with some being scantily dressed or even nude. They were often depicted with pheasants, deer or sleek dogs. Deco men were muscular and hard working, showing off their athletic bodies and strength. Both groups emphasised youth and beauty. Animals of this period were very lifelike, with the artists studying in detail the anatomies of lions, jaguar, deer and dogs. Alsatians, hunting dogs and borzois were heavily represented. At this time, the bronze look was highlighted with green and gold and some dogs show signs of silver plating. Spelter figures and figurines are still very common in international markets and often have high value for collectors. They are great decorative items in both heritage and modern homes. The beauty and intricacies of the earlier pieces add another dimension to sparsely furnished homes, and if you prefer to stick to cleaner lines, the Deco pieces are perfect. Either way, your décor gains a touch of class! Some spelter figures can be enhanced by turning them into lamps with the addition of a leafed branch and a delicate shade or shades; a pole and torch style shade can go

CAMBERWELL / RINGWOOD / EAST MELBOURNE / SURREY HILLS / MOONEE PONDS / CITY / UPWEY / MONT ALBERT ANTIQUES & ART IN VICTORIA

UNFORGETTABLE 7-19 SEPTEMBER

PAMELA PRETTY Cato Gallery Victorian Artists Society Galleries 430 Albert Street East Melbourne 3002

03 9662 1484 weekdays 10-4 weekends 1-4

Official Opening Thursday 8 September at 7 pm

Meet the artist Saturday 10 September 2-3 pm

Watchmakers and Jewellers Est. 1947 • Largest watch repair centre in Melbourne • We repair all brands of quartz automatic and mechanical watches and clocks

Camberwell

• We do pressure testing to all brands of watches • We have the biggest range of watch bands and batteries in Melbourne, custom fitted • Expert restoration to all vintage wrist and pocket watches

ANTIQUE CENTRE 25-29 Cookson Street Camberwell VIC 3124

Tel 03 9882 2028 or 03 9813 1260 OPEN 7 DAYS

• Valuations and deceased estates a speciality

RESTORING ANTIQUES OF TODAY

Trask

French polishing Upholstery

MACKLEY FINE ART ANTIQUES & DECORATIVE ITEMS

Phone/Fax 03 9372 0850 0418 458 420

Established 1966 PROPRIETORS: SIMON & EVAN MACKLEY 5 MAROONDAH HIGHWAY RINGWOOD VICTORIA 3134 OPEN SATURDAY, SUNDAY AND MONDAY 1 PM – 6 PM PHONE: 03 9870 0767 – 0427 821 233 www.mackleyfineart.com.au

SPECIALISING IN AFFORDABLE AUSTRALIAN ART, TO SUIT THE COLLECTOR & INVESTOR ALIKE

Antique Restorations

6 Hinkins Street Moonee Ponds 3039

• Will buy old watches and jewellery in any condition • We have the largest range of pocket watches in Melbourne • We stock vintage watches • Expert jewellery repairs • Seiko Repair Centre • Premier stockist of Thomas Sabo in Melbourne • Stockist of Swiss Military Hanowa watches

EXCLUSIVE FOR MELBOURNE

Luminox watches – Swiss made IN STOCK NOW

209 Elizabeth Street, Melbourne 3000 (Opposite GPO) Ph 03 9670 5353 Fax 03 9670 4236

Contemporary Artwork

ARTISTS INCLUDE

• PRO HART • DAVID BOYD BILL COLEMAN • ERNEST BUCKMASTER• WILLIAM BOISSEVAIN SIDNEY NOLAN • JOHN SANTRY • CHARLES BLACKMAN • LES REES JOHN OLSEN • HUGH SAWREY • JOHN BORRACK • BRAD BOYD DAVID BROMLEY • JOHN PERCEVAL • BILL BEAVAN RAY CROOKE • CLIFFORD POSSUM • ROBERT DICKERSON MAREK WILINSKI • JOHN COBURN • GREG IRVINE • GERARD LANTS JOHN VANDER • CELIA PERCEVAL • DERMOTT HELLIER A.T. BERNALDO • C.D. WOOD • CHARLES BILLICH • DOROTHY BRAUND ANDRIS JANSONS • LEON HANSON • JASON DENARO • CAROLE MILTON AMBROSE GRIFFIN • PIERS BATEMAN AND MANY MORE

Seanic Antiques

RESIDENT ARTIST: EVAN MACKLEY

has relocated to a new larger showroom

ANTIQUE & DECORATIVE ITEMS INCLUDE: DOULTON, WILLIAM RICKETTS, MURANO GLASS, SELECTED ANTIQUE FURNITURE & COLLECTABLES, ROYAL DUX, MOORCROFT, AMPHORA, CARLTON WARE, INDOOR AND OUTDOOR FIGURES & SCULPTURE

D E R ! OUR OTHER GALLERY IS AT REMIN THE OLDE HORSHAM VILLAGE WESTERN HIGHWAY HORSHAM VICTORIA 3400 OPEN EVERY AFTERNOON PHONE: 03 5382 1233 OR 5382 2306 VISITORS PLEASE PHONE BEFORE LONG TRAVEL

673 Whitehorse Road Mont Albert Vic 3127

Centre Spirit

Marisa Avano 03 9754 7058 www.marisaavano.com

P: 03 9899 7537 M: 0418 326 455 View all current stock online www.seanicantiques.com.au 19

ANTIQUES & ART IN VICTORIA

1813 Colonial dump – one of Australia’s first two silver coins

1852 Adelaide pound, Australia’s first gold coin

1920 Star pattern florin, Australia’s rarest florin

Money makes money Take a journey through time with Australian rare coins … and make money along the way

or decades, the rare coin industry was one of Australia’s best-kept secrets, composed, in the main, of a small band of passionate collectors. About the only thing anyone knew about them was that they were according to legend, crusty old gentlemen tucked away in obscure clubs, totally out of touch with the reality of the modern world. Oh, yes, and their hobby provided the world of trivia with one of those quaint little words that people just loved to trot out at dinner parties – numismatists – or coin collectors to the rest of us. In the 1980s and 1990s, national interest in our history including old coins began to flourish. Helping things along, government rules were relaxed and collectables could be included in superannuation funds. Suddenly, the numismatic world was swept by a flood of new blood, as a younger generation of collectors and investors discovered the delights – and profits – in old coins. By early 2000 the ‘gentleman’s club’ had been effectively disbanded.

HISTORY, OWNERSHIP AND PROFIT Now, while the profits may be self-evident even to a newcomer, perhaps the delights of coin collecting are a little harder to fathom. Buy wisely amongst our top coins and you can simultaneously relish the history, bask in the glory of ownership and make money – serious money – along the way. How many other forms of investment can offer so many tangible benefits? First in most investors’ minds, naturally enough, is financial gain. The solid prices of top Australian rare coins confirm the rising stocks of selected collectable coins as a secure form of investment, and indicate the changing role of the industry. The key to investment potential and the inherent stability of the market is the rarity of key pieces. Then there’s the buzz of exclusive ownership. The inherent scarcity of the rare coin market presents challenges for acquisition and ultimately provides prestige of

ownership. Many of Australia’s top rare coins are known by only a handful of specimens. Finally – almost a bonus – there’s the enjoyment of history. Coins tap into the current interest in Australia’s past, the forces that forged our modern nation and the colourful role of currency in that history. So, where to begin? Despite Australia’s relatively short post-settlement history, there’s a fair range of options for investors seeking an entrée to the rare coin market.

1813 The first silver coins suit those passionate about our colonial era, when in 1813, Australia’s first silver coins, the holey dollar and dump were struck.

1852 The discovery of gold in 1851 changed the nation’s economic and social landscape and was an important era in Australia’s history, drawing a strong collector base. Australia’s first gold coin – the Adelaide pound – was designed by a jeweller and engraver. Historic and widely regarded as the nation’s most beautiful coin, it was struck at the Adelaide Assay Office in 1852, from gold dug out of the Victorian gold fields. There are maybe 200 known specimens of this coin – a very small number considering the size of today’s collector market and the historical importance of the coin. This coin beautifully illustrates the benefits of coin investment. The number of available specimens narrows from 200 to about 20 for the buyer seeking one that has not circulated. Right at the top, of course, sits the very best example that is simply stunning. So there’s history and pride of ownership for you. Investment value? Well, in the 1990s top quality Adelaide pounds were worth $20,000, which may seem like a lot until you consider that today those same coins are worth more than $165,000 – as much as $300,000 for the finest known example! No arguments, then, about investment value. While that fabulous Adelaide pound may have been a star of this era, there’s plenty more to choose from.

1855 Three years after the Adelaide pound came the Sydney Mint’s first gold sovereign and half sovereign, launching an era that continued until 1931 when the last sovereign was struck.

FEDERATION Then there’s that other historic turning point in our history, the federation of the states at the turn of the 20th century, when silver and copper Commonwealth coins were introduced. Within that fascinating era came a very brief period between 1919 and 1921 when the Government toyed with the idea of square cupro-nickel coins. The idea wasn’t received well (you can imagine what coin vending machine makers would have thought of it), but the coins that remain today are a testament (and an appreciating one, at that) to the ingenuity of our forefathers. A choice quality florin (two shilling coin) can still be acquired for $4,000. However, if you wish to acquire one of the industry’s most important coins, the 1920 pattern star florin is one of the industry’s most revered pieces. It was a test piece struck by the Government trialling coinage with a reduced silver content. No florins were struck for circulation in 1920, with the result that the only coins to bear this date are a handful of test pieces, three of which are held in private hands. When a 1920 pattern star florin was offered to the market in July 1988, it fetched $18,800. Seventeen years later it sold for $200,000 in 2005, and today is valued at $500,000. The demand is ever-present – the appreciation is almost inevitable.

QUALITY INDICATES PRICE Of course, within each of the available fields, there’s a wide range of qualities to be found; naturally, the market recognises the investment advantages of aiming for the very best. If you’re like many of the investors who arrive at Coinworks considering your first tentative step into the rare coin market, your options will be prescribed naturally enough, by the dollar amount you’re willing to outlay,

but there’s no shortage of choice at all levels. For example, a well-worn example of the 1813 colonial dump can be found for $5,000. However, if you’d rather chase the finest known example, you could pay up to $350,000. That said, a reduction in the dollar outlay doesn’t necessarily mean compromising on quality. While the prices of the top specimens may be a bit gob smacking, there are a couple of very basic reasons why such coins command the prices they do. The importance of the coin is one; the other is that old inescapable – market pressure. The numismatic business is, like any other, a supply-and-demand market, characterised by an extreme rarity, particularly at the top end that insulates it from volatility, while underpinning steady and consistent growth. The pressures of increased demand become the catalyst for accelerated growth.

INTERNATIONAL DEMAND Oh, and lest anyone suspect that this is all about an insular, inward-looking market at the bottom of the world (there’s that Old Boys’ Club image again), rest assured, the international numismatic community – investors and collectors alike – are well aware that Australia has one of the strongest secondary coin markets in the world. That’s why, on each of the occasions when top quality Australian rarities have been offered overseas, enthusiastic buyers have pushed bids to record levels. Not necessarily Australian buyers, you’ll note. Even international investors know that history is fascinating, pride of ownership is satisfying – but at the end of the day, nothing adds up like a sound investment.

COINWORKS 03 9642 3133 info@coinworks.com.au www.coinworks.com.au

CAMBERWELL ANTIQUES & ART IN VICTORIA

Deep in the Forest

Kinwah

The Power of One

At his post

Emily Koenders at Guild House Van Gogh’s relative on show in October

mily Koenders will be exhibiting her works at the Australian Guild of Realist Artists Gallery in Camberwell during October. She traces her ancestry to one of the greatest artists of all time – Vincent van Gogh.

ARTIST’S BIOGRAPHY Emily is the daughter of renowned artists and even as a child was extremely aware of her destiny, once excitedly proclaiming to her mother ‘I was born on a palette!’ From the age of 12 she was deeply impressed by the works of the great Dutch masters and especially van Gogh, prompting her high school art teacher to express his amazement at the depth of knowledge she had acquired about Vincent. At 16, Emily travelled to Europe with her parents and stood in awe at Van Gogh’s artworks and visited various locations where he had lived and painted during his short but profoundly influential life. This trip served to further fuel her passion for the arts and provided the impetus for a successful career that has spanned nearly two decades. Little did she realise that 12 years later in 2006, an extraordinary revelation about her ancestor would come to light. Her incredulous father received a phone call from a relative in Holland who told him excitedly that a family connection to a world famous artist had been established. Emily was then informed that incredibly, she just happened to be the greatgreat-great-great-niece of the legendary Vincent van Gogh. This revelation has enhanced the prestige and value of Emily’s beautiful artworks and although her style is quite different to his it has proved yet again the old adage – history repeats itself! Another parallel with Vincent is her immense love and appreciation of nature. It is well documented that he made many field

trips to collect reference material for painting. Emily has spent countless hours in nature. In particular, she has studied the most meticulous details of the intriguing world of ornithology and is fascinated by every speckle, fleck and splash of colour which adorns birdlife. Emily’s professional career had its genesis at the tender age of 14 when she sold her first painting and won an award at a renowned Melbourne exhibition. In the 19 years since, the evidence of her credentials shows in her being invited to judge art shows and being the featured artist on numerous occasions. Emily has recently married her teenage sweetheart who has become her manager. Her wealth of awards includes the Royal Melbourne Art Exhibition and Rotary Clubs of Alexandra, Bendigo, Box Hill, Chirnside Park and Victor Harbour in South Australia. Being granted an art scholarship from the latter exhibition further enhanced her status. Emily’s art has been purchased by the former chairman of the National Gallery of Australia for his private collection and savvy European buyers have snapped up her paintings. Her works are reflective of a life dedicated to the study of the striking beauty of nature in all its glorious facets. She has marvelled at the intricate detail in the feathers of a superb fairy wren dancing amongst the grasses and has stood in awe whilst observing a pair of wedge-tailed eagles riding the thermals overhead at her South Gippsland hilltop property. She has also been deeply moved by personal encounters with some big cats, visiting a family of cheetahs and stroking and bottle-feeding an adolescent Sumatran tiger in captivity.

that lifts your spirit – to watch wedge-tailed eagles soar against a cerulean blue sky and be raised up with them – to stroke a tiger’s face, to touch him and feel truly altered, you have bridged the gap between man and beast – to view all the creatures from all the corners of this abundant planet and to be in awe of creation. Feeling blessed and transformed in knowing I live amongst it. This is me the wildlife artist – welcome to my world.’ Emily’s style showcases her wonderful capacity to utilise light and form to create unique effects with her works being executed in several mediums ranging from gouache and oils to pencil and pastel. She seeks to elicit an

emotional response from the viewer by the use of colour, atmosphere, behaviour, mood and the freshness of ideas. Emily invites you to come on a journey with her and participate in the drama of her beautifully realistic depictions of the wonders of the created world from the tiniest of birds to the largest of land animals. She will be demonstrating her talents and looking forward to meeting visitors at AGRA Galleries’ Guild House for the duration of her October exhibition. EMILY KOENDERS-BAKER 03 5662 5808 / 0421 339 575 koendersart@hotmail.com

EMILY KOENDERS presents ‘On a Wing & a Prayer’

Featuring her finest collection of work ever produced

12 – 23 October

OPENING NIGHT Wed 12 October From 7.30 pm

ARTIST’S STATEMENT ‘Loving nature is... to see luminous splashes of colour laced on the wing of a bird as light

Wine & hors d’oeuvres will be served on arrival

Thereafter open: Thur 13 – Fri 14, Wed 19 to Fri 21 10 am to 4 pm Sat 15 – Sun 16, Sat 22 – Sun 23 1 pm to 4.30 pm

FREE ADMISSION at the AUSTRALIAN GUILD of REALIST ARTISTS Cnr Inglesby & Camberwell Rds,CAMBERWELL 3124 An Afternoon Picnic

By the Cascades

Mel Ref 59 K2

ANTIQUES & ART IN VICTORIA

Unlocking the mystery

of Australia’s first coin F

amiliarity with Australia’s holey dollar is set to soar with the 200th anniversary of its striking in 2013. The holey dollar is a coin with a hole in it, confounding reason and logic, glaringly showing a date other than the year it was created. To the informed, the holey dollar is the nation’s first domestic coin. Rarity further enhances its standing, as only approximately 300 are known to exist. Nearly 100 are in institutions, with the balance of about 200 pieces available to collectors.

THE MACQUARIE HERITAGE – THE HOLEY DOLLAR Governor Lachlan Macquarie governed the penal colony of New South Wales from 1810 to 1822. The arrival late in 1812 of a shipment of 40,000 Spanish silver dollars presaged one of the most famous icons of Macquarie’s era, the holey dollar. Designed to resolve the colony’s chronic currency shortage, Macquarie had a small circle cut from the middle of each silver dollar with a machine. The resulting holey dollar rim – shaped like a donut – was re-stamped around the inner circular edge with a value of five shillings, the year 1813 and the issuing authority of New South Wales, becoming Australia’s first currency, the 1813 holey dollar. The 1813 dump was the circular inner disc punched out of the centre, re-stamped with a crown, the year 1813, the issuing authority

and the value of fifteen pence. This clever measure provided an immediate 25 per cent profit on the purchase of the coins, doubled the number of new coins and drastically reduced the likelihood of their being taken out of the colony. Withdrawn from circulation in 1829, the majority of holey dollars and dumps were shipped to London, melted and resold as bullion silver. There are now only 300 known surviving holey dollars and about 800 dumps.

RARITY OF HOLEY DOLLARS The 1813 holey dollar is a fascinating coin with an equally entrancing history. While most coins are struck from blank pieces of metal cut to the required shape, our holey dollar is the exception. It was created from another coin – a Spanish silver dollar – that had been struck and already released into circulation many years prior to 1813. The original Spanish silver dollar is the prime influence on the ultimate value of a holey dollar.

TYPES OF HOLEY DOLLARS There are eight distinctly different types of holey dollars, defined by the date of the original Spanish dollar and the design details depicted – the legend and the portrait. Rarer types are highly prized. The following summarises the known surviving holey dollars as classified today.

Type

Monarch

Portrait

Legend Dates Number Known

Ferdinand VI

no portrait

FERDND1757

Charles III

CAROLUS III

1773 to 1788

Charles IIII

Charles III

CAROLUS III

1789

Charles IIII

Charles III

CAROLUS IV

1789 to 1790

Charles IIII

CAROLUS IIII

1791 to 1808

202

Charles IIII

Continental

CAROLUS IIII

1793 to 1805

Charles IIII 7

Joseph Bonaparte Ferdinand VII

FERDIN VII

1808 to 1810

Joseph Bonaparte Imaginary

FERDIN VII

1810

QUALITY OF THE ORIGINAL COIN An important consideration in determining the value of any coin is its quality. Again, there is a twist with the holey dollar, as quality of the original Spanish dollar has to be considered in relation to the date it was struck. The earlier the date the greater chance of wide circulation and hence wear before it was holed in 1813. Therefore, a premium quality Type 3 holey dollar for example, dated 1789, will be a far more valuable piece than a Type 5 holey dollar dated 1807 in comparable quality. The reason is simple: the 1789 Spanish dollar had 24 years of potential circulation before it was holed in 1813, compared with the 1807 that had only six years of potential wear.

currency to sustain the early colonial economy and a treasured piece of Australiana. COINWORKS 03 9642 3133 info@coinworks.com.au www.coinworks.com.au

KNOW THE MINT The Spanish dollar was the world’s greatest trading coin in the late 18th and 19th centuries and was struck at the Spanish mints operating in Mexico, Lima Peru, Madrid and Seville in Spain, Potosi Bolivia, Guatemala, Santiago Chile and Santa Fe de Bogota in Colombia. The Mexico mint was a prolific producer of silver coinage, so holey dollars converted from Mexico mint silver dollars are reasonably readily available and are 76 per cent of known examples. Holey dollars with ties to rarer mints are highly prized, with the only piece tied to Guatemala now in a museum in Montreal, Canada. From Spain, four examples have ties to Madrid and two to Seville mints. Of the remaining mints, 12 per cent pertain to Lima and 9 per cent to Potosi Bolivia. None has been found minted in Chile or Colombia.

Type 3 holey dollar, struck from a Spanish dollar dated 1789

THE COUNTERMARKS Examine the details in the countermarks on holey dollars: New South Wales, the year 1813 and the denomination five shillings stamped around the inner circular edge. The quality of the countermarks and how are they stamped are important components of value, along with the extent of its circulation after it was created in 1813. Examining the countermarks of the known surviving holey dollars shows the haphazard way in which they were stamped. A handful of holey dollars have been found in which the countermarks are vertically aligned. Perhaps they were especially struck, adding to their value. Enjoy learning about the mysteries surrounding the holey dollar, an innovative

Type 5 holey dollar, struck from a Spanish dollar dated 1807

SOUTH YARRA ANTIQUES & ART IN VICTORIA

WANTED

NOW BUYING $$ CASH PAID $$ FOR YOUR UNWANTED GOLD JEWELLERY Chains, bracelets, rings, pendants, fob chains, cufflinks. Also buying gold coins, ingots, bullion, sovereigns

WATCHES WANTED PATEK - ROLEX - OMEGA - IWC Collections Fine Jewellery will consider any wrist or pocketwatch. Cash paid for Cartier, Breitling, Tudor, Jaeger LeCoultre, Vacheron Constanin, Tag Heuer, Chopard, Panerai, Audermars Piguet, Breguet, Chronoswiss, Girard-Perrigaux, Glashutte, A. Lange & Sohne, Longines, Piaget, Zenith, Rolex, to name a few

COLLECTIONS FINE JEWELLERY • Tel 03 9867 5858 148 Toorak Rd, South Yarra • www.collectionsfinejewellery.com Open Hours Monday-Friday 10am-5.30pm, Saturday 10am-4pm

Vintage collectable or new toy? F

Modern Prince

Modern Navitimer

or those who collect good quality wristwatches, the recent trend by some of the better watch manufacturers to reintroduce earlier popular models can only be seen as a good thing. Whether it is an admission that the models should never been discontinued in the first place, or the popularity of collecting vintage watches has spurred them on, are questions that will probably remain unanswered. The official line would probably be something like: ‘We would like to pay some sort of tribute to our earlier designers whose dedication to style and excellence helped put us in the position we are today.’ The driving force, in my opinion, is fashion. Today’s trends lean towards the styles of the 1930s and 1940s; the complications of the early chronographs and the styles and durability of the early military and sports models. The firm Breitling who have brought back the Navitimer is the first that comes to mind. The company has a history of watchmaking that dates back to 1884. In 1952 Breitling introduced a chronograph with three dials and a built-in slide rule fitted into the rotating bezel. Designed for pilots and aircrew, these wrist instruments remain operational today. Their value on the collectors’ market has increased steadily for a number of years. Prices range from $1,800 to $2,500. The new model, introduced as the ‘Old Navitimer’ in the early 1990s, has an upgraded automatic movement, is now water-resistant to 30 metres and on a leather strap retails for about $4,000. As with most reintroduced models this has increased the profile of the original watches

and pushed up their price. Another example is by Omega. The company has a long and distinguished history, and has in fact been manufacturing wristwatches for over 100 years. A large advertisement appeared in the Leipzig Watchmakers Journal in 1904, stating that a British artillery officer bought 12 Omega wristwatches and ‘many months of steady use in the Mounted Corps is surely a stringent test, with the heat, cold, wet and sandstorms.’ He concluded that the wristwatch is an ‘indispensable part of field equipment.’ In the 1950s and 1960s Omega produced a line of elegant-looking Seamasters and Constellations. Recently these models have been reproduced in the Classic Collection. The new watches, inspired by the earlier models, have the same dial treatments and functions. The only problem for collectors is the price of the new watches compared to the originals. One of the most successful re-introductions must be the Reverso by Jaeger-LeCoultre. This classic was first produced in 1931 as a sports watch. It was designed with the ability to pivot on itself and stay out of harm’s way during any activity (generally sport) that could damage the glass or dial. Combining the beauty and purity of line of that era with the simple elegance that is currently fashionable, the Reverso is unquestionably the most desirable of today’s ‘new old watches.’ Jaeger is also unique in that they have increased the range of models available based on the 1930s range. The current models include watches showing dual time; that is, a separate dial on each side of the watch. The

Reverso Chrono has a plain dial on one side and a highly complicated chronograph dial on see-through sapphire crystal on the reverse. Jaeger have taken a seventy-year old concept and improved upon it, including Tourbillon models and even minute repeaters. Longines have taken the original watch designed with Charles Lindbergh (the aviator) in 1927 and the chronometer designed by Lieutenant Commander PVH Weems, for aircraft navigation, and reintroduced them in limited editions. IWC’s Mark XII is a faithful reproduction (with some improvements) of their 1950 Royal Air Force model. Vacheron Constantin have resurrected old dies, retooled and reproduced a range they call Les Chronographes Historiques. The originals are worth in the vicinity of $20,000-$28,000, and the modern versions are as the saying goes: ‘if you have to ask…’ Ron Gregor COLLECTIONS FINE JEWELLERY 03 9867 5858 www.collectionsfinejewellery.com

Vintage Navitimer

ANTIQUES & ART IN VICTORIA

The art of packing consult the masters for a solution

xperts in custom packing and freight solutions, Pack & Send specialise in ensuring your precious items reach their destination – no matter how large, fragile, awkward or valuable the object may be. Whether you are a business or a collector, Pack & Send’s service is second to none, thanks to its emphasis on end-to-end customer packing solutions. This ensures that from packing to delivery, the item safely arrives at its final destination.

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There are no limits to what Pack & Send will do to ensure that your precious item arrives safely at its destination.

”

Understanding the value of art or antiques will often extend beyond simply financial aspects, Pack & Send provide the extra care and attention needed to pack and deliver items. So how does Pack & Send ensure your item is its number one priority? Well it is thanks to its ‘no limits’ philosophy of business. Over the years Pack & Send has transported an enormous number of challenging items and continue to use industry-leading packing technology to ensure it delivers on its brand promise. Over 100 Pack & Send franchisees have become masters in the art of packing, and will ensure your precious item reaches its final destination by tailoring the service to fit your requirements: Flexibility is key and Pack & Send can come to you to provide on-site inspections and quotes. Alternatively, drop in to a local Pack & Send retail store. To find your local store, visit www.packsend.com.au. Pack & Send offer an item pick-up service at a location nominated by you. A packing solution will be tailored for your specific item, and can include the creation of a bespoke carton or case for items that are far from traditional in shape and size. Pack & Send also use the unique Instapak Foam-in-Place technology. This system uses soft foam that expands to mould to the shape

of your item, its density aiding the prevention of damage from impact through vibration or being dropped. Foam-in-Place is a cost effective solution for delicate items. Pack & Send manage the whole process end-to-end which includes tracking and tracing an item, so you can concentrate on your day with an update only a phone call away. Pack & Send specialise in unusual freight solutions. There is complete assurance with Gold Service protection against loss and damage. You are personally notified when your item arrives at its destination and it is delivered to your choice of location. Pack & Send Maroochydore (Qld) demonstrated its commitment to theimportance of fine art, going above and beyond to ensure a customer’s consignment of paintings was displayed on time. The consignment was to be sent to Sydney on a tight deadline and hopefully sold. However due to a bus fire that caused delays on the highway, the consignment was running a day late. The team at Maroochydore sprang into action and called on Pack & Send Campbelltown in Sydney to collect the

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For a while it seemed the storeroom became an impromptu art gallery, all of our own, said Brian. ‘I even have a signed package from Rolf Harris in my store as a memento

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consignment from the carriers’ depot and deliver the item on the same morning to meet the deadline. The paintings were successfully delivered and hung 20 minutes before the public entered the Darling Harbour exhibition. Just a taste of how Pack & Send lives its no limits philosophy! PACK & SEND 1300 668 000 www.packsend.com.au

CITY / RESERVOIR / HAWTHORN EAST ANTIQUES & ART IN VICTORIA

JOSHUA McCLELLAND PRINT ROOM Early Australian Prints & Paintings, Natural History Prints, Etchings & Linocuts of the 1930s, Chinese Porcelain and other Oriental Works of Art. Kangxi period 1662-1722, large Chinese porcelain dish, bold aster design in underglaze blue, diam. 38.7

15 Collins Street, (2nd Floor) Melbourne 3000

03 9654 5835

ANTIQUES & ART IN VICTORIA

Visit SCHOTS HOME EMPORIUM for fine home furnishings in a three-storied showroom RUGS

reating a warm and inviting space or effortlessly defining an area with charm and character, Schots’ selection of rugs adds a homely natural texture to any environment. They provide inspiration to home and architectural spaces and complement furnishings in many styles. The collection ranges from traditional kilims, through an assortment of woven jutes to masterpieces of ornately adorned threetimes washed wool rugs. Each rug carries a definition and the story from its creation and creator, to provide a pronounced yet subtle ambiance. Kilim rugs take inspiration from traditional Middle Eastern designs. The handcrafted work provides characteristics unique to this traditional hand-weaving method. Jute rugs are one answer to the environmental call as a 100% renewable fibre. Each is woven using a meticulous hand technique to produce an amazingly rich flat-weave texture. Both hard-wearing and easily maintained, the natural tones and fibres create an honest statement in defining your home or office space.

Three-times washed wool rugs are the pinnacle of Schots’ inspired collection. Made from Australian and New Zealand wool, these rugs are handmade to exacting standards, then washed three times and hand clipped at each stage, resulting in an amazingly soft and luxurious rug providing comfort and traditional charm. With the natural tones and

inherent characteristics of organic fibres, each rug gives a homely touch of warmth, while reflecting attributes from your surroundings. Schots’ increasing array of unique rugs, atop an ever-changing line-up of beautiful home and architectural furnishings, define an extraordinarily inviting shopping experience full of stylish discoveries.

THREE-STORIED SHOWROOM To see a stunning array of the range of rugs along with a complete array of fine home and architectural furnishings, visit the expansive three storied emporium and unearth the uncommon. SCHOTS HOME EMPORIUM 1300 463 353 www.schots.com.au

“

Each rug carries a definition and the story from its creation and creator, to provide a pronounced yet subtle ambiance.

”

ANTIQUES & ART IN VICTORIA

Above left: Dull timber coffee table Above: Spraying Lemon Oil on to the table Right: Revived coffee table surface

The magic of lemon oil L

emon oil is a powerful essential oil which has great cleaning properties but won’t leave your precious furniture coated with silicone or dulled by chemical solvents. Lemon oil for furniture was introduced by Howard Products almost 40 years ago. However in those early days they found Orange Oil to be a gentler product for antique finishes. Howard Products has now developed a new lemon oil wood polish in which the ascorbic acid content is strictly controlled – and it is brilliant. Howard Lemon Oil is now on the same level as Howard Orange Oil for nourishing and protecting all quality furniture surfaces, but it has a few interesting points of difference. New Howard Lemon oil has slightly more body than Howard Orange Oil, and this combined with a slightly higher ascorbic acid level gives it a somewhat more powerful cleaning and polishing edge to dull or extra grimy surfaces. The thing that most people notice though is the smell. It has a uniquely gorgeous aroma. Howard Lemon Oil delivers a really lustrous shine and body to modern furniture surfaces as well as replacing lost natural oils in older wood furniture, which may be coated with shellac or varnish of one sort or another. Wood furniture, old or new, should be polished and nourished at the very least once or twice a year. Add a small amount of Lemon Oil to a soft cotton cloth and rub this lightly onto your furniture, then gently buff it dry. Here’s a trick for householders who are buying Howard Lemon Oil for their good furniture but who have an entire household to maintain as well. When it comes to heavily soiled surfaces such as Laminex type coatings, or shiny kitchen and bathroom surfaces, loosen up the grime with a light spray of Lemon Oil. Then when you do the final cleaning job with your standard cleaning product of choice you’ll find you’ll get a

much cleaner and brighter surface in a fraction of the time. A follow up rub over with a clean dry cloth with a dab of Lemon Oil on it will remove any surface streaks the cleaning product might have left. The secret always is to use very little Lemon Oil, because as with all Howard Products, a little goes a long way. In fact too much will make some surfaces slippery – so there’s no need to be heavy handed. When cleaning leather lounges and/or chairs, simply wipe the arms and tops of these items lightly with your Lemon Oil dampened cloth. This will remove dust and human skin detritus and leave just enough Lemon Oil to help prevent the leather from splitting or cracking as it invariably will without regular nourishing. A once yearly treatment with Howard Sofas-N-Saddles leather conditioning cream is then all you’ll need to give years of added life to your leather. Another wonderful trick is to use Lemon Oil on brass and silver pieces as this eliminates the tell-tale signs of the beginnings of tarnish developing. Stainless steel is another problematic surface in most households. Howard Products does have a dedicated stainless steel cleaner in its Naturals range of cleaning products, but if you don’t have that to hand, our Lemon Oil will work marvellously well on your stainless steel. Using just a little Lemon Oil on a cotton cloth will produce a spot free gleam and it’s equally wonderful on granite or polished stone surfaces. Lemon Oil is very handy if you have polished wood floors. Apply a minimal amount on a cloth and wipe away at those irritating scuff marks, which will simply blend away. However, too much spread too wide will make a floor slippery, so be careful to only use a little dab rubbed on your floor. After the marks have gone, lightly wash over the area with your usual floor cleaning solution and you’ll see a whole new look emerge. Lemon Oil – what was old is new again!

David Foster Director HOWARD PRODUCTS (AUST) 0419 403 627 www.howardproducts.com.au

EAST MELBOURNE ANTIQUES & ART IN VICTORIA

Leather & lace

Dragon & blossom

Over the rims

Thistles

An insight into Gregory R Smith FVAS Artist Profile

Manita pink & bather

AN ARTIST’S PERSPECTIVE

ABOUT GREGORY R SMITH

Smith has come a long way since his initial dream of becoming an established artist. Since 1990 he has been running a very successful art school for students of painting. Adding to that success is his election to the position of President of the prestigious Victorian Artists Society. Gregory feels highly honoured to have been chosen and states that he will never take his presidency for granted. He generously continues to give of his time and knowledge; inspiring, encouraging and supporting those artists looking to fulfil their artistic dreams. As a tonal realist painter working in oils, he is known for his direct from life approach continuing his plein-air painting trips with fellow artists. Gregory just wishes there was more time in the day – a wish that we can all relate to.

he spent at one’s easel s the most valuable time a painter can give themselves to create; and yet, while being creative time itself can become irrelevant. Sometimes we become lost in the project at hand. In fact, if it wasn’t for the clock, some of us may never stop. But like any great art, time is necessary to assess what you see. It is needed for one’s education; to explore and evoke while investigating the affects of light and tonal values that is the subject before you.

The maturity and depth developed over 30 years of working in his craft come together in this latest showing. The evidence of true observation within the time allowed to capture the image is clearly stated on canvas for all to see. Many of the landscapes will be recognisable as they feature locations within Victoria while his studio pieces clearly speak for themselves. For more information about the artist and the show contact GREGORY R SMITH 03 9379 4693

FORTHCOMING SOLO EXHIBITION In September, Gregory is holding his 27th solo exhibition appropriately titled Time is an afterthought. The exhibition of selected oil works are drawn from canvases executed over the last 12 months and cover a diverse range of subjects and themes. Gregory has explored still life, portraiture, landscapes and florals – all with a strong emphasis on light and illusion.

Sails & hulls

Over the Erskine River

Pier cafe, Lorne

What once mattered

First light

Hamilton’s Crossing, Baringhup, oil on canvas

GREGORY R SMITH FVAS invites you and your friends to the opening of his solo exhibition of paintings titled

TIME IS AN AFTERTHOUGHT On view from 12 noon Official opening: 7 pm Thursday 8 September 2011 Victorian Artists Society Galleries 430 Albert Street, East Melbourne Duration 2 weeks Exhibition closes 2 pm Wednesday 21 September 2011 Gallery Hours 10 am - 4 pm weekdays; 1.30 pm - 4.30 pm weekends

EAST MELBOURNE ANTIQUES & ART IN VICTORIA

Exhibition Building

Gregory R Smith

Flinders Street Station

The Victorian Artists Society the VIC’s... In the interests of art istory speaks when you mention the institution affectionately known as the VIC’s. Its association with the pioneers of Australian art is well documented. The Vics you would have to say is made of stern stuff, surviving two world wars, depressions, recessions, controversies, frivolities and a host of egos. Yet it continues... in the interests of Art. The early days began when O R Campbell, James Robertson and artists with the calibre of Buvelot, William Pitt and JA Panton formed the Victorian Academy of Arts. Later, it amalgamated with the Australian Artists’ Association forming the Victorian Artists Society. Artists such as Mather, von Guérard, Chevalier, Withers, McCubbin, Streeton and Longstaff all had close relationships with the Society. Today’s artists such as Robert Wade, David Taylor, Barbara McManus, Max Wilks, Gregory R Smith and Lee Machelak continue to inspire budding and future great artists. Many excellent artists have come and gone, others are still working and many are waiting in the wings to be discovered.

Christine Wrest Smith; traditional oil painting with Paul McDonald Smith and Ray Hewitt; and drawing and painting in your preferred medium with Julian Bruère.

TEACHING PROGRAM

SPRING EXHIBITIONS AT THE VIC’S

Students and developing artists have access to the best teaching staff available. The Society offers the following classes: portrait painting in pastels with Barbara McManus; watercolours with Nell Frysteen; drawing and oil painting with

Strong Light

Walhalla

PURPOSE BUILT GALLERY The Vic’s home was purpose built as an art gallery in 1892 and its studio is even earlier, making the Victorian Artists Society the perfect venue for exhibitions. With the intimate Cato gallery on the ground floor and the spacious Frater, Hammond and McCubbin galleries upstairs, artists hang their works in first class surroundings.

FIVE: Hunt, Hyde, Bruère, Hewitt & Dansey 12-25 October The FIVE, VAS Artists of the Year, return for 2011. The inaugural FIVE exhibition of works by Julian Bruère, Ted Dansey, Ray Hewitt, John Hunt and Mary Hyde, was in 2009 and they are maintaining the spirit in this cooperative show. All are keen plein air painters who paint with feeling and keen observations. AMA: Australian Medical Association Art Exhibition 26 October-2 November

VAS Artist of The Year 2011 29 November-12 December This stellar exhibition features works by artists voted by their peers as the Society’s best for 2011. In a world that does not seem to slow down even for the traffic lights, it does one good to take time out and admire the art at the Victorian Artists Society Galleries. The VICTORIAN ARTISTS SOCIETY 03 9662 1484 admin@victorianartistssociety.com.au www.victorianartistssociety.com.au

MEMBERSHIP INVITATION Member exhibitions with their entertaining opening nights always attract a lot of attention – and valuable purchases. Remember, membership is not restricted to the established artist. Anyone with an interest in art can enjoy the social activities of the Society’s exhibitions, join in paint-out picnics days, and try a hand at portraiture or life class and much more.

Gregory R Smith FVAS: Time Is an After Thought 8-21 September Gregory R Smith is a tonal realist painter who works direct from life and believes that time spent at the easel is most valuable. Since starting his art school in 1990, Gregory continues to inspire, encourage and support others with the skills to fulfil their artistic dreams. He also volunteers many hours as president of the Victorian Artists Society. Pamela Pretty: Unforgettable 8-19 September Pamela’s latest works form her first solo exhibition. Melbourne-based, she is currently an Artist in Residence at St Vincent’s Hospital. She is passionate about painting from life and has a love of landscape and portrait painting. Capturing the mood, light and colour are every artist’s challenge –and painting from life is the most compelling way to achieve unforgettable images. Pastel Society of Victoria 24th Annual Art Exhibition 29 September-10 October This annual quality exhibition invites PSV members to enter two or three paintings. This year’s judge is Chris White, an eminent prizewinning artist.

EAST MELBOURNE ANTIQUES & ART IN VICTORIA

The Pastel Society of Victoria 24th Annual Art Exhibition

28 September – 11 October

with substances that will fade crack or darken over time, pastel paintings produced hundreds of years ago still hold their intense colour and vitality. Pastel is the most permanent of all painting mediums. Degas’ paintings and the work of earlier artists are clear evidence.

WHAT IS PASTEL PAINTING?

Anne Taylor, Nellie Melba

Barbara McManus, Woman and donkey

his past May the celebration of the 150th anniversary of Dame Nellie Melba’s birth, Melbourne’s operatic diva, inspired a stunning exhibition of portraits of her and the areas of Melbourne and Lilydale with which she was associated. Held at the Victorian Artists’ Society, most of the artists exhibiting were members of the Pastel Society of Victoria. This exhibition was organised by Andrew Mackenzie, the Patron of the PSV. To again view works by these talented artists, many of whom are prize winning and professional, you are warmly invited to attend this year’s 24th Annual Art Exhibition of the

Linda Finch, Once Upon a Time

Pastel Society of Victoria, which will be held in the Victorian Artists’ Society building from 28 September until 11 October 2011. This annual quality exhibition invites PSV members to enter two or three paintings. This year’s judge is Chris White, an eminent prizewinning artist.

WHY ARE PASTELS DIFFERENT? Artists’ pastel is ground dry pure pigment as used in oils, watercolours and acrylic paints. Pastels are mainly a pure pigment with a minimum of binder added to make a paste that is either hand or machine-rolled into sticks and pots of different shapes, sizes and softness. Because pastels are not diluted nor mixed

It is a gloriously liberating art medium which allows the artist full rein to use the hand, eye and brain to execute paintings without the restrictions of mixing and drying. The wonderful array of colours of the pastels laid out below the vacant paper invites passion to apply those pastel sticks exuberantly and to create a picture with immediacy, fluency and freedom. There is full contact between the fingers, the pastels and the paper. One benefit is that a work can be left before completion without cleaning up and allows a spontaneous return to the painting when the mood takes the artist.

PASTEL ARTISTS With the incredible range of values of colour purity, each artist uses the pastels in a manner to suits the artist’s way of working. Some use hand, fingers or a paper stump to rub the pigment into the tooth of the paper, being able to glide over the surface as if icing a cake. Some recreate precise photographic realism. Others love the looseness and more expressive styles, using pastels with strokes over the paper, adding a sense of motion and liveliness to a subject. Leonardo da Vinci first mentioned the pastel medium in 1495. Artists such as Maurice Quentin de La Tour and Rosalba Carriera used pastels to create masterpieces in 1703. During the 18th century, the medium became fashionable for portrait painting. Mary Cassatt (1844-1926) popularised the medium in the USA while living much of her life in France, friendly with Degas and exhibiting with the Impressionists. Pastel can be subtle, understated, raw, startling or bold. The application can create moods with freedom and tightness fluidity and discipline impressionism and realism. It has no equal for freshness, spontaneity, fun and richness of colour. It is exciting to see how the light bounces radiates shines and reflects on the array of colours and patterns of everything within the painting.

members of the many techniques of pastel painting; the use of differing supports, papers and canvases; types and ranges of pastels; the fundamentals of design and composition; the use of colour; knowledge of the tones and values to produce vibrant or muted paintings; the importance of the light source in a painting; and how to preserve and present the finished paintings. With increasing membership, the Society warmly welcomes any artists who wish to incorporate pastel painting into their repertoire or just enjoy the experience of painting using this wonderful medium. BENEFITS of PSV Membership • Demonstrations and information evenings • An extensive art library of books, DVDs and videos • Monthly portrait/figure painting • Workshops, paint-outs and painting excursions with professional artists • Bi-monthly VicPastel News • Prizes and visiting artists‘ demonstrations and workshops sponsored • Discounts on art supplies from our sponsors.

PSV CONTACTS Linda Finch /Mardi Joplin PSV Membership Services PO Box 1274 Doncaster East 3109 03 9812 0603 / 03 9439 9474 / 0417 417 453 lindafinch@optusnet.com.au mardim@me.com Agata Lelek, President THE PASTEL SOCIETY OF VICTORIA 03 9662 1484 leleks@optusnet.com.au

Christine Broersen, Delft Blue

PASTEL SOCIETY OF VICTORIA, 25 YEARS OLD In May 1986, the Pastel Society of Victoria formed from the inspiration and enthusiasm of these luminaries: Margaret Lourey (dec.), Ming MacKay, the first Patron (dec. 2010), Arno Roger-Genersh, Helen Sharp, Janet Hayes, Richard Barker (dec.) and Coral (Carmody) Barker, Terrianne Murray, Roy Willis (dec. 2011) Norm Tagg and Heather Peberdy. In 1988, the quality of their paintings and Society members such as Barbara McManus and Ross Pickard instigated an invitation from the Société des Pastellistes de France to contribute to their International Exhibition of Pastels Only in Lille France in 1988. Ross Pickard especially framed many of the 17 paintings and made protective boxes for shipment. Their paintings were very well received and Arno Roger-Genersh won prizes with later exhibitions in Europe. Today the Pastel Society of Victoria is a dynamic organisation encouraging pastel artists from all over Victoria and Australia. It is a member of the International Association of Pastel Societies. The aims are: to inform

Fiona Anderson, Untitled

Sasha Brandt, We’ve Got Time

EAST MELBOURNE ANTIQUES & ART IN VICTORIA

A special showing of

Carole Milton artworks F

or five Sundays in October Carole Milton is inviting you to Artique, her studio in Kew. She will show you around her converted stable studio where this realist/impressionist artist paints her flower and still life subjects. This selling exhibition of Carole’s works includes framed and unframed canvases. Looking for botanical subjects? Then Carole’s flower paintings of camellias, roses, apple blossoms and daisies are sure to delight. On show are landscape paintings to transport art lovers to Victoria’s beauty spots such as Dunkeld in The Grampians, Point Campbell and Petersborough on the Great Ocean Road. Recall the market gardens of Bacchus March. A special canvas is a still life titled Melba’s life journey which is Carole’s tribute to Dame Nellie Melba’s 150th anniversary celebrations this year. A multi-award winning artist, Carole is also an experienced art judge, teacher and demonstrator of her craft. The National Gallery of Victoria and the Women’s Art Register both include Carole Milton on their registers. Galleries in London, Paris and New York have exhibited her work. A touring exhibition of Australian art to

Market gardens of Bacchus Marsh

China included Carole’s work. Her painting of camellias received favourable comments in that country. Artique will be open only on Sundays throughout the month of October. Gallery hours are 10 am to 5 pm. The gallery is located at the corner of Fitzwilliam Street and Selbourne Road, Kew. Entry is from Fitzwilliam Street off Glenferrie Road. Artique is opposite Ruyton Girl’s School and Methodist Ladies College. There is ample on-street parking. Alternately, take a tram – either 16 or 109 for a leisurely trip. For more information contact CAROLE MILTON 03 9818 5111 / 0403 859 204 miltoncarole@gmail.com

David Austin roses

Carole Milton

Daisies

Melba’s life journey, oil on canvas

STUDIO ARTIQUE Open every Sunday in October Cnr Fitzwilliam & Selbourne Rds Kew, Vic 3101 (Enter from Fitzwilliam St) Hours: 10 am - 5 pm Phone: 03 9818 5111 Mob: 0403 859 204 miltoncarole@gmail.com Pt Addis, Great Ocean Road

ANTIQUES & ART IN VICTORIA

You know you’re a collector! Y

ou don’t realise when it happened or how it happened, but all of a sudden you realise that you are a collector. A sure sign is that you find it difficult, even painful to throw anything away – and I mean anything! Before you know it, you have been collecting for years and in many cases, even decades. In addition, you have been conserving, recycling and reclaiming as well as reassigning and amassing. Your taste may stay the same or you may go off into different directions. You may even find yourself overpowered by your collection (more often it is a partner who is overwhelmed) and sell it all, but before you know it, there you go again – collecting.

HOW COLLECTING BEGINS Initially, for some, collecting begins as a trend, a pastime or by accident when as a tourist. No matter the beginnings, it may always have been ‘in the blood.’ There are no boundaries or limits in the pursuit of a passion, so collectors come in all shapes and sizes and budgets.

FAME AND SHAME Collectors are highly sentimental, incredibly curious and they become experts in their own right. There are some who are secretive about their interests and pursuits, but I say, be proud! Through your careful attention and occasionally compulsive behaviour, you have learned a great deal of history, have conserved, recycled and reinvented – these are all noble attributes.

Collecting is a positive and rewarding addiction, you haven’t poured money down a drain, you have enjoyed the chase, the possession and use of objects and art that you collect. Eventually, you will reap the financial rewards when it is time to sell.

MY CONFESSIONS I have been collecting now for 50 years. During this time I have explored numerous directions. The two things that I have stayed true to are ‘A thing of quality is forever’ and ‘Beauty is in the eye of the beholder.’ I will always remember my first purchase in 1961 as a ten year old bidding against adults at the now-defunct Munyards Auctions at Croydon market in the outer eastern Melbourne suburbs. My purchase was a late 19th century Ansonia cottage clock, for 2 shillings and 6 pence. My collecting passions from 1961 to 1969, the learning phase, I purchased anything that was well-priced. The next collecting phase between 1970 to 1979, was Australian pottery and carnival glass. I amassed over 200 items and then sold the entire collection to a dealer. From 1980 to about 1990, I went through a serious Doulton Lambeth studio pottery phase – Hannah and Florence Barlow, Mark Marshall, Frank Butler, George Tinworth and their friends all came home to my house. Due to a marriage break up I had to sell that collection at an urgent fire sale price. Inevitably, the art glass phase struck, from 1990 to about 1999, when I amassed a huge collection that I slowly sold; that entire collection now gone to new homes. Since about 1999 onwards, my passions have been art deco, 20th century design, art and Hagenauer African figures. I still enjoy finding a rare and exciting item to add to these collections.

TIPS AND ADVICE Friends and clients over the years have asked me to guide them into the next big thing, what to buy and how to avoid pitfalls. My answer is always the same: only collect what you like or what you are passionate about. You can’t go by other people’s likes or dislikes. There is no one answer to successful collecting. The variables are numerous because as you continue to collect you become an expert in your chosen field; with the growth in experience comes the growth of knowledge. The loses along the way will lead you to greater wins. Happy collecting! David Freeman AMANDA ADDAMS AUCTIONS 03 9850 1553 / 0419 578 184 www.aaauctions.com.au

BULLEEN / KILMORE ANTIQUES & ART IN VICTORIA

1st Kilmore Scout Group presents the 14th annual

Kilmore Antiques & Collectables Fair

Antique Valuations Established 1985

10am until 5pm, Sat 22 October 2011 10am until 4pm, Sun 23 October 2011

Memorial Hall 14 Sydney Street, Kilmore www.kilmoreantiquefair.com.au Collectables Cafe! Proudly sponsored by

Enquiries Karen 0409 120 692

Entry $5 Seniors $4

SUBSCRIBE SAVE &

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

SAVE 51% SAVE 59%

@ worldaa.com

collectables trader

SUBSCRIBE TO THE MAGAZINE AND SAVE OVER 22% – includes FREE delivery within Australia YES! I wish to (please tick one) ❏ subscribe ❏ extend an existing subscription ❏ send a gift subscription to Collectables Trader magazine starting with the next issue for only ❏ $49 for 6 issues ($8.15 per issue, 18% off) or ❏ $85 for 11 issues ($7.70 per issue, over 22% off) Overseas rates available on request I enclose my ❏ cheque/money order payable to JQ Pty Ltd ABN 39 945 398 132 OR charge my credit card: ❏ Visa ❏ Mastercard ❏ American Express ❏ Diners Club

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How much are these worth? $12,000, $15,000, $18,000

David Freeman knows... David Freeman Antique Valuations is Melbourne’s largest independently owned valuation service. Founded in 1985, we have vast experience with art, antiques, china, collectables and general household contents. David Freeman Antique Valuations delivers expert valuations, on time, every time, all at extremely competitive rates. Whether you require valuations for insurance, market, family law, company divisions, or deceased estates, David Freeman can help you with experience, total confidentiality and personal service. David Freeman can also advise you on purchasing, disposal, placement and restoration services. David Freeman is approved to value Australian paintings and prints after 1850 for the Australian Government's Cultural Gifts Program. We can supply you with excellent references from some of our many satisfied clients, if required. Call David for your next valuation. Phone: 03 9850 1553 Mobile: 0419 578 184 Fax: 03 9850 1534 194 Bulleen Rd, Bulleen Victoria 3105 PO Box 21, Balwyn North, Victoria 3104 Visit our website: www.aaauctions.com.au

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Approved to value Australian paintings and prints after 1850 for the Australian Government's Cultural Gifts Program

CLIFTON HILL ANTIQUES & ART IN VICTORIA

DIY Downton Abbey T

he Edwardian room, such as seen in the movies Downton Abbey or Gosford Park, embodies comfort and elegance in equal proportions. This happy combination affords the body relaxed comfort, while stimulating the eye with aesthetic pleasures. Fortunately the aristocratic Edwardian room is relatively easy (and can be cheap!) to replicate in a terrace house, California bungalow or new apartment. The aristocratic Edwardian rooms, unlike the habitations of those lower down the social scale, had relatively little Edwardian furniture in them. Just as well, as most Edwardian period furniture in this country is robust but grim: we were having a recession after all!

The basic components of the luxurious Edwardian room were: • textiles and soft furnishings • a few trophy or signature antiques, mostly 18th century style for a sense of permanence and continuity, and subtle multiple-source lighting. I reckon I could achieve a good imitation of an Edwardian room for under $2000, which might give competition to stores that sell new furniture. Grande Luxe appeals to me, so my own Edwardian drawing room represents a far greater investment. Its dividends in comfort and luxury are very considerable!

Wonderful things, all piled together Heirloom Furniture (mostly older than Melbourne) Hallmarked Silver Paintings, porcelains, objets de Luxe Steampunk Exclusive Vampyr Photographs

Georgian & Continental Furniture • Porcelain

Silver • Ikons • Paintings • Imperial Russian

www.Roys-Antiques.com.au

410 Queens Parade Clifton Hill Vic 61 3 9489 8467 34

SOFT FURNISHINGS Changes in fashion are often dependent on the arrival of a new technology, a new material or social or economic changes. The Edwardian room required the richness and softness of textiles. The mechanisation of the weaving industry in the 1840s meant that suddenly textiles were much cheaper, so one could afford sofas and easy chairs entirely covered in fabric, sometimes with the added opulence of diamond buttoning. This demonstrated you were really serious about showing off an abundance of fabric! The inspiration for these islands of lush comfort was the exotic East – Turkey. The Ottoman Empire was very topical in the early 19th century. Greece battled for independence from 400 years of Turkish rule, achieving this in 1826. This will explain furniture words such as divan, ottoman and sofa that are all Turkish. A student might use unbleached calico painter’s drop sheets (very cheap, big and hemmed) for the throws over a skip-sourced sofa and armchairs. Silk brocade would be sumptuous alternative. What is under the slipcovers is relatively unimportant. The squashy sofa and armchairs, ideally downfilled, serve as a backdrop for an assemblage of luxurious cushions. Curtains are excellent insulation, excluding cold in winter and heat in summer. Use vast amounts of fabric. If you cannot afford endless metres of silk and bullion fringe, use immense amounts of calico. Two metres of costly brocade stretched over a window will look mean, while plentiful calico curtains will look rich and abundant. If you lash out on extravagantly luxurious tasselled curtain ties, the effect will be truly opulent.

ANTIQUES The tone of the room reflects the elegance of the antiques therein. While a hand carved wooden Italian gilt mirror from the 1960s will work just fine, an ancient mirror would be much more splendid. Use original gilded bronze candle or electric wall lights if possible, while vintage brass pairs are not expensive. The rich texture of oil paintings is unable to be duplicated, so this is where parsimony has no place. It will show! Similarly, an essential part of the look is the gleam of rich woods. If you can only afford one polished mahogany, rosewood or cedar table, be lavish. The polished surfaces are going to be the most illuminated and most visible parts of the room. A scattering of bronzes and silver trinkets should eventually inhabit the tabletops as we rediscover ‘tablescapes’, but the rich beauty of uncluttered polished timber will suffice.

The chairs that give the flavour to your room should also be good. We sell good quality pairs of antique French armchairs for about $1000 upwards, and we are not alone. Fine 18th century chairs would be preferable. A Georgian open armchair costs about $800 unrestored or $1500 restored and glowing. You only need a few pieces, so make them as good as you can afford. Consider the effect twin sisters in identical bikinis have – if one has a 4-carat diamond and the other has a silver band. People will notice!

EFFECTIVE LIGHTING Use many lights but be green. Overhead light makes a baby look 40, just as supermarket lighting is not glamorous. When minimalist houses assailed guests with a barrage of halogen downlights last century, even teenagers looked tired and pasty. Fortunately, LED technology has progressed so that with eight lamps in a room with a two-watt globe in each, a terrifying power bill does not diminish the effect of luxury – check energy reduction websites. Two watts is a surprising amount of candlepower, so do not be tempted with four or six watts except for task lighting. No room should have fewer than three table or standard lamps. Use as many lamps as you can, as a subtle glow from many sources will be flattering and restful – and champagne conducive! Mr Ritz, founder of the hotel chain, discovered that using peach coloured lining for lampshades was most flattering to the human complexion. Each lamp should ideally illuminate richly figured and polished wood and a few exquisite treasures: bonzes, crystal spheres, porcelain or bowls of fresh flowers. Shades should have fringing, in glass beads or fabric. Fringing can be glued to the rim of an existing lampshade. When asked to describe what Roy’s Antiques Pty Ltd actually does, I find the easiest explanation is that we supply all the things you would find in a the library, dining and drawing rooms of a chateau or an English country house, such as fictional Downton Abbey (Highclere Castle in England) or a country Gosford Park. We sell mostly fine furniture made between 1690 and 1840, as well as the silver, lamps, porcelain, paintings etc that enrich and embellish domestic life. Like an artists’ supply shop that sells tubes of paint, we sell the components for luxury life and let our clients enjoy putting them all together to create their ideal home. Roy Williams ROYS ANTIQUES 03 9489 8467 www.roys-antiques.com.au

DONCASTER ANTIQUES & ART IN VICTORIA

Walter Magilton Celebrating 60 years of his art at Manningham Gallery 17 August–3 September

he well-known artist, Walter Magilton has a very special exhibition opening on Wednesday 17 August at the Manningham Gallery in Doncaster. Sixty years ago, he left his father’s dairy farm near Port Campbell in Victoria’s Western District, returned to school and began Teachers College while pursuing his love of painting. The earliest painting in this exhibition is a copy of a famous maritime painting which he painted in 1944 and was shown in a children’s art exhibition at the Melbourne Town Hall during World War II – so this exhibition really spans 65 years, from when Walter was eleven years old and attending a tiny bush school in the Heytesbury Forest. As a child Walter constantly made things, such as guns and boats modelled from clay and plasticine, and he also drew and painted. Usually his paints were cheap tin box sets until an enlightened teacher introduced Walter to artists’ watercolours, sable brushes and watercolour paper. This teacher, Lou Evans, became a friend and remained so until he died in 2006. Walter often claims that he would not be an artist today if it wasn’t for the early encouragement of Mr Evans.

EARLY ASPIRATIONS A primary education in bush schools, Carey Grammar and later at Geelong High School, combined with a year working on the family farm was not very encouraging for a young aspiring artist, as trained art teachers were in short supply. This changed dramatically when Walter was accepted into Melbourne Teacher’s College to train as an art and craft teacher. Walter also attended Caulfield Technical School where he studied painting, drawing, sculpture, metalwork, cabinet making, weaving, printing and art history. Extra studies were undertaken at RMIT and the National Gallery School. At this time Walter was very motivated and keen to teach but he had thought little about becoming a professional artist – this was to come much later.

TEACHING ART Walter spent 27 years teaching with the Victorian Education Department. During that time he completed a Diploma of Fine Art (Sculpture and Gold and Silversmithing) and spent two years in the United Kingdom teaching and exhibiting his artwork. During his teaching career Walter only occasionally painted or worked with other mediums, as his creative energies were exhausted by dedication to his students. In 1974 he decided to start oil painting seriously. He had already received several sculpture commissions from architects including Carey Grammar School, Whitley

College, Balwyn Baptist Church and HawkeSidley Brush in Fairfield. When Walter started to paint seriously he seemed desperate to make up for lost time.

BECOMING A PROFESSIONAL Encouraged by the well-known artist Don Cameron, and Cliff Green a Warrandyte writer, Walter resigned from fulltime teaching in 1982 but continued to teach adults in his Warrandyte studio. Walter’s first wife, Alison now deceased, was a well-known tapestry weaver and gave Walter much encouragement – as he did for her. Determined to be a better painter, Walter had brief lessons from Alan Martin, Bill Caldwell and Ken McFadyen. Ken in particular challenged Walter when he said, ‘Never waste a painting – make every painting count.’

STONY CREEK STUDIO ART SCHOOL Walter is an enthusiastic art teacher and takes a keen interest in his 400 current and former students. He encourages his students to develop individual styles and to learn the basics of drawing – composition and technique. While some former students have pursued higher studies others have developed into award-winning artists active in the various art societies in Victoria. Today Walter is highly regarded for his integrity, skills and versatility. He works well with a variety of media including watercolour, pastel and drawing, but more recently favours oil and gouache. Equally versatile are his subject matters – land and seascapes, portraits and still life. He has also produced some replica work, most recently for the Anglican Church in Kinglake which was destroyed in the 2009 bush fires and another of a von Guerard painting of the Purrumbete Homestead. Stretching his artistic skills beyond painting Walter has made, in conjunction with his wife and artist Denise Keele-bedford, a window and large mosaic design for a church hall. Walter is an invited guest who demonstrates for art societies and judges exhibitions including Camberwell, Victor Harbour and the Society of Wildlife Artists. Like many artists Walter has travelled abroad on painting trips and several of his paintings were included in an exhibition at Zheng Zho National Art Museum, China during 2011. Walter is now a fellow of the Victorian Artists Society and the Australian Guild of

Last rays, Lake Lonsdale, 2011, oil, 92 x 92 cm

Realist Artists and a past winner of AGRA’s Medallion Award. His paintings are included in many public and private collections. both in Australia and overseas. Artbank has acquired several of his works and he has over the years been the recipient of over 500 awards. His 60-year celebration exhibition includes examples of his recent paintings, sculpture, art

metalwork and early career paintings – some borrowed from private collections that are rarely seen. Walter’s exhibition is highly recommended. MANNINGHAM GALLERY 03 9840 9367 gallery@manningham.vic.gov.au www.manningham.vic.gov.au/gallery

Walter Magilton: celebrating 60 years of his art 17 August – 3 September 2011

Free Artist Floor Talk Saturday 20 August, 2.30pm

Free Painting Demonstration Walter Magilton demonstrates realist painting techniques at Manningham Gallery Wednesday 31 August, 2pm

Still Life

Jannie, portrait of a pony clubber, 1985, oil, 106 x 76 cm

699 Doncaster Road Doncaster VIC 3108 03 9840 9367 www.manningham.vic.gov.au/gallery

ANTIQUES & ART IN VICTORIA

Margaret Olley

Dorrit Black

ART GALLERY OF BALLARAT Spring Exhibition Program A GUIDING HAND: PRINTS AND DIRECTORS AT THE ART GALLERY OF BALLARAT 1967 – 2011 24 September – 27 November

he Art Gallery of Ballarat has a large and very significant print collection of over 3,000 works. This exhibition tells how that collection was shaped under the five professional directors who have led the Gallery since 1967: James Mollison, Margaret MacKean, Ron Radford, Margaret Rich and Gordon Morrison. Each has selected works for the collection, cumulatively, taking it in particular directions according to their individual tastes and approaches to collecting. The Gallery’s collecting history began in 1884 when it opened as the first regional gallery in Australia. Some prints were acquired in the early 20th century and then a

range of conditions came together in the 1960s to provide an exciting climate both for art galleries and for printmaking in Australia. The exhibition will feature colonial prints, relief prints of the 1920s and 30s, as well as posters. Print processes are examined using the Gallery’s collection of original printing blocks and other artefacts. Works by notable Australian artists include early prints by George French Angas (18221886) and Louis Buvelot (1814-1888), Dorrit Black (1891-1951) and Margaret Preston (1875-1963). Two print workshops included are Redback Graphix (est. 1979) and Melbourne’s 1980s Jill Posters Collective. Particular attention is given to George Baldessin (1939-1978), Bea Maddock AM (b. 1934), war artist Murray Griffin (1903-1992) and Alun Leach-Jones (b. 1937).

As the Ballarat gallery is currently in the middle of a complete stock take and review of its archival documents, an exhibition that looked at the Gallery’s history of print collecting and the ‘guiding hand’ of the five professional directors since 1967 seems a good fit. This exhibition, curated by Gallery Registrar Anne Rowland, is a fascinating study in connoisseurship, showing some rarely seen works from the Gallery’s collection. This exhibition is being held in association with the International Printmaking Conference in September.

AUSTRALIAN MODERN MASTERPIECES 5 October – 27 November A veritable who’s who of Australia’s 20th century art world is the focus of this exceptional spring exhibition at the Art

“

The Gallery’s collecting history began in 1884 when it opened as the first regional gallery in Australia.

”

Gallery of Ballarat. Prominent artists on show include Arthur Boyd, John Brack, Grace Cossington Smith, William Dobell, Donald Friend, Sidney Nolan and Margaret Preston, all sharing pride of place as Australian modern masterpiece painters. The 60 handpicked works come from the Art Gallery of Ballarat’s collection and others are loaned by the Art Gallery of New South Wales, while the Newcastle Regional Art Gallery contributes one very significant work – William Dobell’s famous The Strapper. Visitors are regularly amazed at the Gallery’s remarkable collection, so the range and quality of the paintings loaned for this exhibition will astonish repeat and new visitors. Art Gallery of Ballarat’s Director Gordon Morrison said ‘Australian Modern Masterpieces provides a unique insight into the history of Australian modern art from WWII onwards. The exhibition will bring together a most remarkable group of work by an important group of artists, particularly women artists. The works on show have been carefully chosen to enable visitors to explore the work of certain artists in depth, while presenting overall a survey of what was happening during a critical 75 year period of Australian art history. The earliest work in the show was painted in London by a 23 year old Australian art student in 1915, the year of the military disaster at Gallipoli, considered by many to be the true birth of this nation. The exhibition concludes with the work of men and women who were students during or just after World War II, nearly all of whom have passed away – most recently, Margaret Olley.’ Entry to the exhibition is $12 for adults with an $8 concession price. Children and students are free. Choose one of the accommodation, lunch and dinner packages to extend your visit to Australian Modern Masterpieces. The Art Gallery of Ballarat is open daily (closed Christmas Day).

Merric Boyd

ART GALLERY OF BALLARAT 03 5320 5858 www.artgalleryofballarat.com.au

BALLARAT ANTIQUES & ART IN VICTORIA

ANTIQUES & ART IN VICTORIA

Beach Family, 1990, mixed media, 33 x 52 cm

Otto, 1980, conté, 102 x 81 cm

Bather, 1964, conté, 63 x 50 cm

Head and Cow, 1972, acrylic on paper, 76 x 50 cm

Spear Throwers, 1986 (Farewell Ballet series), acrylic on paper, 84 x 60 cm

Eastgate & Holst Artist Profile: Richard Crichton R

ichard Crichton is a remarkable person – he is also a remarkable artist. His work quite clearly reflects the man himself and the influences to which he has been exposed over four or so decades. In 1960, a comparatively short time after completing his formal education at the Royal Melbourne Institute of Technology, Crichton held his first exhibition at Gallery A, Melbourne. The paintings and drawings shown in this exhibition were concerned with man‘s estate but the natural forms were already extended and distorted towards the freer pattern of abstraction. Crichton’s early vision was governed by a personal consciousness of the elemental factors of earth and sea and, a distinctive theme in Australian painting, of the isolated figure in the landscape. His work is distinguishably Australian, the earlier paintings showing influences of Dubuffet, Tapies, Klee, Nolan and Tucker, and Crichton acknowledges an early interest in the decorative totemic symbolism of Australian Aboriginal art – forms that are associated with aspects of life. He has also been much interested in the prehistoric cave drawings of France and Spain. Crichton has absorbed and used both natural forces and formal motives as dialectic components of his art. He has created evocative symbols and forms but there is a latent polarization, a sense of conflict and tension threading through the imagery in his work from the early years to the present: a duality of symbols and duality of approach. His handwriting has always been a searching out of a personal imagery, a running of elements into a picture which only sometimes achieves the ‘full meaningful thing.’1 The imagery evident in that first show has remained through twenty years of painting, subtly rediffused or harshly re-imposed. We find it in the paintings of the middle 1960s when he showed twice at the Bonython Art Gallery, Adelaide, in 1965 and 1967, a monumental series: sentinels, totems, birds, figures by the sea – imagery difficult to accept on a literal level but with an individual quality of art and maintaining an innate consciousness of primitive decoration. In these paintings he was not so much experimenting with the picture space, rather concentrating on his own recurring themes and repeating patterns. At times his painting became weird, cutting, hard and aggressive; his preferred subconscious images, his references from the past and ideas which ‘had to be worked out’2 have always caused Crichton considerable frustrations, and particularly so at this period. Nevertheless, fine work was produced and several important paintings were purchased for major collections.’3 In 1967 Crichton was awarded the Harkness scholarship and with it the chance to travel for two years and to move away from his selfimposed isolation in Melbourne into New York and the excitement of a great city. In New York he was immediately surprised and excited by

the volume of people in the streets. He was particularly stimulated by the parades with their marching girls and musical instruments, which seemed to him symbolic of the current political unrest. During this period he was a constant visitor to the Museum of Modem Art and the other great galleries where he became aware of Picasso and Pollock, Francis Bacon and the Surrealists. In so far as it is possible to distinguish between the form of a work of art and the spirit that informs it, these influences led him to the development of one of the essential elements of his current art – the use of hollow images and pipe forms, which followed his observation of the parades. This new creative ferment and the growth of a style as individual as his thinking led to a series of paintings based on the processions, a synthesis of all the new impressions combined with Crichton‘s own pictorial vocabulary. He produced an energetic series of works, the product of his imagination and an intense curiosity for the new forms. He pulled them apart and put them together again; they became strange images with trumpet heads, trombone heads and hollow pipe heads. Surrealist people losing contact with reality but still retaining the bands of totemic marking. Crichton seriously feels that this ‘marking’ of his figures is innate to his latent thoughts of the Aborigines and ancient civilizations. It would appear to be a linking theme between the new ideas, which continually supersede the past – but artists should not be asked for explanations. As Mark Boyle has said, ‘you are asked for purposes when you are learning that purpose is not going to emerge ever. And you are asked for a statement of intent when the head seethes with all your fluctuating statements of the past instantly and meticulously taken down and which you use constantly, with increasing derision, in evidence against yourself.’4 Crichton’s work is not always accepted, because people can be suspicious of change; but he likes probing, to gather in a presence in a picture, to put it into another format, and to improvise and experiment. The Summer Return pastels, exhibited at Macquarie Galleries in 1976, evolved from the unreal and mysterious parade figures.5 They were constructed in abstract shapes, reflecting the fantastic and the mystical, and they were

sensitively and feelingly drawn. It is Crichton‘s nature to introduce different subjects and, in some measure, his success is due to the fact that he has achieved their acceptance. Crichton’s experiments with form led him, on his return to Australia, to begin another important series of paintings and drawings based on his close observation of cows. In addition to firing his imagination, the cow provided him with a subject in which the elements of previous ideas were sustained – that is to say, the monumentality and the configuration of patterns, the subjective though often abstracted forms and the use of Surrealist imagery. True to his previous experiences in New York, he let the cow pictures dominate his thinking – no longer marching girls, but cows. Cows static, cows abstracted to fill a canvas, hollow cows, cubist cows, real cows. An original approach to a simple subject used to make witty observations about related forms in the manner of his attack on the marching girls of the New York parades, though not so acknowledged by Crichton. It is possible that when Crichton moves away from the intensity of his own thoughts his mastery of his art is more evident, for a while his band is not at variance with his mind. His prolonged study of the cow put him into a state of receptivity and he was able to absorb and exploit the principles of composition that are outstanding in the series. Obviously, he could give the cows a greater measure of observation than had been possible with parade oeuvres. To Crichton it was natural to move from the parade and cow images to the actual use of pipes for building a parade sculpture; he again acted intuitively and the jagged patterns and totemic emblems of the parade series were transferred to terracotta pipes. If these figures echoed Crichton’s New York experiences, his later terracotta sculptures show a return to his feeling for an older civilization,

this time with the vanished Tasmanian Aborigines. His head of Truganini, the last fullblood Tasmanian, reveals a deep compassion and involvement in the tragedy of her life, and his sculpture, the Farewell ballet, is a summingup of his artistic feeling in view of his revised awareness of the past. In her review of Crichton‘s retrospective exhibition at the Melbourne University Art Gallery in 1978, Memory Holloway remarks that ‘...in the Farewell ballet the imagery transcends Crichton‘s past work. It now intrudes into one‘s own personal space, borders on theatre in its dramatic configuration of raised spears and the bodies marked for war.’ Also, in this exhibition were drawings of Truganini‘s head, a series in which the gradual elimination of the sad face into the paper embodied his deep awareness of her personal tragedy. Crichton‘s kangaroo drawings of that period are presented as portraits, although the distinctive shape of the animal is not exaggerated to stress its character, which is built on the delicate modelling of the form. These drawings are subjective portraits of kangaroos; they are decorative and often amusing and are certainly among the most enjoyable of his recent works. Does Crichton really ‘prefer the subconscious things to come out?’6 He says that ‘often things from the past are triggered – you have no control over it, you must see it through.’ I believe that the duality of his work, the conscious subjectivity and the subconscious eruption of ideas, which need such a struggle to reach their final form, will continue to provide Richard Crichton with what might be called environmental bands. Already, the pure forms of the first kangaroo drawings are elaborated, they are not relaxed portraits of animals but anguished portraits of people. Crichton is not interested in the safe bet, he moves forward, fully aware of his difficulties and certain of the human significance of his images. This man has a future in Australian art. Favoured with an original mind and a technical ability of some weight, his work to come should be anticipated with much interest Betty Clarke EASTGATE & HOLST 03 9818 1656 www.eastgateholst.com.au This article originally published as Betty Clarke, ‘Richard Crichton,’ Art and Australia, Vol. 17 No. 3, March 1980, pp. 246-249. Notes

Cow at Evening, 1971, conté and charcoal, 63 x 108 cm

Quest, 1962, mixed media, 112 x 87 cm

1 Richard Crichton 1979 2 ibid 3 The Sentinel, acquired by the Mertz Collection, 1965; Study for the Sentinel, acquired by the University of Melbourne, Ormond College Collection, 1965 4 Art Anglesi Oggi 1960-76, British Council/Commune di Milano 1976 5 Two pastels from this series acquired by the National Gallery of Art, Canberra, 1976 6 Richard Crichton 1979

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Phone 03 9370 6765 Hardware 03 9326 0352 www.memlane.com.au 40

Pam & Stephen Chandler

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Corner Elizabeth & Johnstone St, Castlemaine Victoria 3450 Phone: 03 5470 5989 Web: www.xxxxantiques.com.au / www.xxxxantiques.net Email: sales@xxxxantiques.com.au

OPEN 7 DAYS 9.30 am to 5 pm

GEELONG ANTIQUES & ART IN VICTORIA

BENDIGO ANTIQUES & ART IN VICTORIA

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

Superb Italian bronze hunting scene 36cm wide c.1880s

Royal Worcester blush ivory jardinière 22cm high c.1902

Victorian mahogany 3 leaf dining table with turned legs h: 74, w: 353, d: 142 c.1870s plus superb set of 12 (5 & 7) late Victorian walnut dining chairs including 2 carvers c.1880s

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

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

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

QUEENSLAND ANTIQUES & ART IN VICTORIA

Late 19th century spinning wheel and a seated vintage articulated teddy bear

Indo Persian cast iron helmet with gold inlay & chain mail, British dress sword and battle axe

Selection of Australian art pottery including Harvey School

High quality hand finished vintage rococo style Italianate carver, vintage ornate tray with pair crystal champagne glasses featuring hand painted enamel decoration

Left to right: French glass vase featuring enamelled landscape vase by Le Gra & assorted art glass by Rene Lalique

A rare original Edison Red Gem phonograph with authentic matching horn Collection of old toys including 2 working steam powered rollers

An assembly of sterling silver objects including a rare Georgian milk jug in the shape of a cow

Late 19th century Australian cedar chaise longue

Collectable militaria including a novelty trench art machine gun lighter

Fine late 19th century Chinese sang de boeuf (ox blood flambé) glaze vase

A famous series of naturalistic Royal Copenhagen polar bears signed by the artist Carl Fredrick Liisburg

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

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

2076 Gold Coast Highway, Miami • Phone 07 5572 0522 • Mobile: 0414 338 363 www.goldcoastantcent.com.au OPEN 7 DAYS 10 - 5 Sun 10 - 4 46

BENDIGO ANTIQUES & ART IN VICTORIA

ANTIQUES & ART IN VICTORIA

WORLD PREMIER

The White Wedding Dress 200 years of wedding fashions Showing only at Bendigo Art Gallery until 6 November

he White Wedding Dress presents the most romantic, glamorous and extravagant wedding dresses from the Victoria & Albert Museum’s superb collection. Every woman wants to look beautiful for her wedding and today the traditional, western European white wedding dress is the garment of choice for brides across countries and cultures. This exhibition asks why and how this has happened. Wedding dresses also unlock memories and awaken emotions. Lovingly preserved, sometimes by several generations, their fabric and form conjure up the physical presence of the bride on one of the most momentous days of her life and form a tangible link between past and present. The show highlights the histories of the dresses, revealing fascinating details about the lives of the wearers and offering an insight into their circumstances and fashion choices.

Through exquisite gowns that have for many represented the single largest investment in clothing in a lifetime, the exhibition will consider why the white wedding dress became the garment of choice for fashionable brides in the early 1800s, how designers and couturiers have interpreted the tradition from the late 1800s through to the present day and the public’s enduring fascination with society and celebrity weddings. The exhibition encompasses historical bridal dresses, veils, corsetry, millinery, shoes and other accessories as well as gowns by couturiers and designers including Charles Frederick Worth, Norman Hartnell, Charles James, Zandra Rhodes, Vivienne Westwood, Vera Wang, Christian Lacroix, Lanvin, Philip Treacy and Stephen Jones. Also featured are sumptuous wedding dresses worn by celebrities Dita Von Teese and Gwen Stefani.

Maticevski Fashion House Melbourne (est. 1999), Wedding dress made 2010, silk modal paint splat tee shirt, tulle, jersey, printed organza. Courtesy of Toni Maticevski

The White Wedding Dress has been organised by the Victoria and Albert Museum, London.

THE AUSTRALIAN AESTHETIC: WEDDING DRESS 1822 - 2011 A Bendigo Art Gallery exhibition Until 6 November To coincide with The White Wedding Dress Bendigo Art Gallery has curated an Australian exhibition highlighting some of the country’s most significant wedding dresses. The exhibition explores wedding fashion in Australia from the early colonies in New

South Wales to today’s contemporary couturiers such as Toni Maticevski and Romance was Born. The White Wedding Dress is a time ticketed exhibition. Entry to The Australian aesthetic is included in the ticket price. Visitors are encouraged to pre-book tickets either by telephone or on line at

BENDIGO ART GALLERY 03 5434 6100 www.bendigoartgallery.com.au

Silk brocade shoes purchased from Peter Robinson, London, 1914. Worn by Phyllis Blaiberg for her marriage to Bertie Mayer Stone at the Bayswater Synagogue, London on 9 September 1914. Given by Mrs B Rackow ©Victoria and Albert Museum/V&A Images

Silk gauze wedding dress, British, 1874. Worn by Lucretia Crouch for her marriage to Benjamin Seebohm at the Friends’ Meeting House, Clevedon on 10 September 1874. Given by Felicity Ashbee ©Victoria and Albert Museum/V&A Images

ORMOND ANTIQUES & ART IN VICTORIA

French striking carriage clock, c. 1870s

French time piece carriage clock, early 20th century Left: French time piece carriage clock, c. 1901 Right: American carriage clock, late 19th century

Carriage Clocks B

efore the watch became an accurate timekeeper, miniature clocks intended for travelling were made. Through the 18th century travelling became less strenuous and this resulted in a small market for socalled coach watches. They were very similar to a giant watch and although portable were too large to be carried conveniently on the

person but small enough to be transported by coach or boat. Some of them were especially useful at night, since they were equipped with repeating mechanisms. The earliest travelling clocks were made in southern Germany, France and Italy and were hexagonal and rectangular table clocks, but it was in France that the major developments in

Antique and Modern Clocks and Watches Repairs and Sales

travelling clocks took place. These clocks were not manufactured for long and were soon replaced by the carriage clock. The first carriage clocks were made in the early 19th century by Abraham Louis Breguet, undoubtedly one of the greatest clock makers of all. His clocks were highly complex, superbly finished and beautifully cased. This of course made them very expensive and only a small number were produced. The first maker who produced carriage clocks in any quantity was Paul Garnier (1801-1869) and other makers such as Boliviller, Auguste, Berolla, Jules and Lepine followed. By 1850 carriage clock production was full steam ahead. Through much of the Victorian period McCabe, Frodsham, Dent, Vulliamy, Barwise, Smith and Jump made carriage clocks. Their clocks were usually larger, heavier and considerably more expensive than those made in France. There are also a limited number of Swiss and Austrian carriage clocks. However, France and especially Paris, became the production centre for carriage clocks. All types of carriage clocks were made: simple timepieces, striking clocks, alarm clocks and sometimes clocks with a calendar. The Industrial Revolution affected the lifestyle in the 19th century and the wealthy middle class demanded not only useful but decorative articles as well. By 1850 the plain gilt brass carriage clock had evolved into pieces of art with heavily engraved cases. There were

cases with columns on the sides, as well as enamelling and other forms of ornamentation. Some of these items were one of a kind, especially designed for exhibitions or according to the request of an individual customer. In the beginning the visibility of the movement through the glass was appealing to customers, but later clients preferred a multiplicity of decorations and this led to the production of clocks where no part of the case surface was without any decoration. They were all originally sold with a leather covered wooden case for transport. Important markets developed for carriage clocks, particularly with leading jewellery shops in England and America ordering custom-made clocks. One of the largest purchasers was the USA firm Tiffany & Co. The popularity of the carriage clocks in that country led to USA clock companies like the Waterbury Clock Company, Ansonia Clock Company, Seth Thomas, Chauncey Jerome, the Boston Clock Company and the Vermont Clock Company to mass produce those clocks, thereby manufacturing an inexpensive item. Today the beauty of carriage clocks and the fact that you can see the movement, make them a sought after and collectable item, as well as showing a steady appreciation in value. THE CLOCKWORKS 03 9578 6960

Friendly professional service Free quotes Guarantee on major repairs Clocks bought and sold Leigh Fist 493 North Road, Ormond VIC 3163 Open: Tues â&#x20AC;&#x201C; Fri 9 am - 5 pm & Sat 9 am - 1 pm Ph: 03 9578 6960 Left: Post World War II Swiss carriage clock and alarm Right: A modern English carriage clock

HEALESVILLE ANTIQUES & ART IN VICTORIA

A Family Affair, oil, 46 x 61 cm

Blue Mountains Splendour, oil, 76 x 102 cm

Cathedral Mountain, oil, 31 x 41 cm

Di King Gallery Prepares for the 2011 October exhibition Showing 15 - 23 October

ue to very strong demand, Di’s October 2010 exhibition was themed Horses and More, giving collectors of such works the opportunity to view and purchase their favourites. Even though this was successful, with collectors able to acquire equestrian themed works, we feel it would be in the interest of all of our viewers and collectors to exhibit on a variety of subjects this year. Di is currently working on a collection of fine art works especially for her October 2011 show. It will feature beautiful renditions of satin wrapped young women. There will be new renditions of her famous style of oil paintings of our wonderful coastlines and beaches, forests and landscapes. Allow yourself a treat by viewing her latest collection on some themes that everyone appreciates and that already grace many homes and boardrooms. Di’s new exhibition opens Saturday 15 October at 10 am and continues daily until Sunday 23 October, open 10 am to 4 pm. Call in and say hello. We open the gallery for viewing at any time – just ring the numbers listed below to check that we are home so you can visit when it suits your schedule.

John Thomas DI KING GALLERY 03 5962 2557 / 0414 404 798 mail@dikingartist.com www.diking.com.au

From top: Fallen, oil, 38 x 114 cm Seaside Pastime, oil, 46 x 61 cm Wistful, oil, 92 x 61 cm

03 5962 2557

32 Maroondah Hwy, Healesville 3777 mail@dikingartist.com

0414 404 798 - 0414 404 792 Corporate and private viewings can be arranged OPEN ANYTIME BY APPOINTMENT 51

BELGRAVE ANTIQUES & ART IN VICTORIA

Once spurned for political reasons, Chinese stamps are now the most sought-after. The first Chinese stamps, the ‘Large Dragons’, were issued between 1878 and 1883 and are now considered timeless classics Advertising covers provide a great look into the past. This cover was underpaid in Australia and required US stamps to allow for delivery

Stamp collecting – where do I begin? Collecting is an individualistic pursuit. What you collect should reflect your personal interests and temperament

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

SEEK KNOWLEDGE Philately is a knowledge-based discipline. A good way to get a ‘feel’ for the market is to attend stamp shows in the major centres. Ask questions of appropriately qualified people and there are a number of general reference works that can be accessed through public libraries. For Australian stamps there are a couple of useful general catalogues, and a fantastic multi-volume specialised work. The best guide to prices is results from public auctions, especially for non-traditional

areas such as postal history and postal stationery. In these areas there are often no up-to-date reference works and auction catalogues may be the best, perhaps the only useful guides to these subjects. Most auction firms will send you catalogues free of charge for a year or so.

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

COLLECTING SUGGESTIONS New clients often ask what they might consider collecting. The number of possibilities is limited only by your imagination, so here are a few ideas that may appeal. Australia 1901-1912. Even after federation, the six states issued their own stamps until 1913. These are properly Commonwealth issues but most collectors have treated them as the tail-end of the colonial period. Very few have made a serious assault on this area and it remains significantly undervalued.

Printing errors are often dramatic. This Tongan stamp was printed in two operations but the paper was accidentally turned around, resulting in the king’s head being printed upside down!

Destination mail. It is easy to obtain covers from Australia to Great Britain, New Zealand and Germany. Try finding covers from Australia to Colombia, Tunisia or Mongolia. A collection of such material would provide a significant challenge without putting a great strain on the budget. Postage dues. This is one stamp area where anyone has the chance to own items nobody else has ever seen. One routinely hears of the discovery of previously unrecorded watermark and perforation varieties. Many of these have literally been found in bundle ware or junky collections. Scenic letter cards. From 1911 until 1924, Australia issued postal stationery with views from around the nation on the reverse. A basic collection can be put together without much effort. Many of the views are rare, others are common but rarely seen on particular issues, and of some scenes, two or more versions exist. Blocks of 4. Most collectors want only single stamps, resulting in sheets and blocks having been destroyed to supply this demand. Multiples of many stamps are now very elusive. Despite this, many dealers sell such items without adding the significant premium that they deserve. Apart from being scarce, blocks are obviously more visual than single stamps. Illustrated envelopes. You may collect printed or hand-painted envelopes, humorous types, advertising or political subjects. This is an area where art and philately truly meet. Fine used stamps. Most used stamps are poorly cancelled or have faults, but fine used stamps are a different matter. Well-centred, neatly cancelled stamps are, to me, far more appealing than mint. Plus, they are usually available for a fraction of the prices of their unused counterparts. You will need to learn about non-contemporary cancels and other dodgy markings but that’s half the fun.

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

At the outbreak of World War I, Australian troops invaded German New Guinea. The local stamps were overprinted ‘G’R’I’ and a value in pennies or shillings to enable them to continue to be used

BELGRAVE ANTIQUES & ART IN VICTORIA

Valerie Lynch, Alexandria Egypt, winner 2010 Mavis Hill Award

Bill Braithwaite, Murray River Red Gum, winner 2010 Best Oil

Frances Lucas, Impressions – New Year’s Eve, winner 2010 Best Pastel

John Dunne, Old Pub Williamstown, winner 2010 Best Black & White

Sherbrooke Art Society for Gallery Exhibitions, Classes & Artists’ Studios

herbrooke Art Society is an institution amongst the traditional art world. It has long maintained a strong focus on teaching with three teaching studios and by providing classes conducted by professional artists across all mediums. Current classes include traditional painting in pastel, oil, watercolour and acrylics as well as children’s classes. New life and portrait classes are fresh teaching options at Sherbrooke.

GALLERY Sherbrooke Art Society has a spacious main gallery adjoining two smaller galleries and three working studios. Free options include browsing the exhibitions of members’ paintings or watching artists at work in the gallery. Newcomers are welcome to attend a demonstration or workshop in one of the studios by a professional artist (non-members pay $10).

AWARDS Sherbrooke Art Society has a full calendar with exciting shows and exhibitions for 2012. Amongst these in partnership with the Sir Henry Royce Foundation of Australia is the Sir Henry Royce Foundation of Australia Awards Exhibition. With prize money of $10,000, this award is the largest for this Society. The competition is open to all artists. To find out more about the event visit http://sherbrookeartsociety.blogspot.com or phone the gallery on 03 9754 4264 during regular gallery hours, 11 am to 4 pm. Entrants are invited to the Foundation’s 18 September display of Rolls Royce and Bentley cars to gather subject matter.

EVENTS Seascape demonstration 3 September at 1:30 pm John Orlando Birt, the renowned water colourist and tutor will demonstrate a seascape. Non-members pay $10.

Concours D’Elégance

November

MEMBERSHIP

18 September Sir Henry Royce Foundation of Australia Concours D’Elégance is the members’ display of Rolls Royce and Bentley cars. Artists are invited to attend this event to take photographs for subject matter to enter in next year’s Sir Henry Royce Foundation Awards Exhibition in March 2012.

A pastel demonstration by Maxwell Wilks, a member of the Twenty Melbourne Painters Society, is on Thursday 3 November at 7:30 pm.

New members are welcome to join Sherbrooke Art Society, either as an exhibiting member ($85 per year, concession $70) or as an ordinary member ($45 per year, concession $40).

EXHIBITIONS Barbara Beasley-Southgate: Retrospective Exhibition September Her dynamic yet restful paintings are full of freshness energy and movement inviting all to share her enthusiasm and insights into the nature of things. Barbara has travelled extensively exploring her inner vision and redefining anew her spiritual relationship with the Australian environment and more recently in the British, European and New Zealand environments and even more recently the USA. Barbara has held regular solo exhibitions and in 1998 and 2000 held two very successful solo exhibitions in England.

LEARN ART TECHNIQUES • Monday, Michael Goff from 10 am to 12:30 pm, 1 to 3:30 pm and 7:15 to 10:15 pm. • Tuesday and Wednesday, Jeff Murphy teaches traditional oil painting, 9:30 am to 12:30 pm, and 1 to 4 pm. • Wednesday, Stewart Benson, 1 to 4 pm. • Thursday, Jeff Murphy teaches portrait and life classes, 10 am to 1 pm. • Friday, Nick Costello, acrylics, mornings. • First Saturday of the month, Molly Roche, children’s class.

LOCATION The Sherbrooke Gallery is located at 62 Monbulk Road Belgrave and is less than 1 km from the Belgrave Township on the right.

For the latest information, please phone SHERBROOKE ART SOCIETY 03 9754 4264 www.sherbrookeartsociety.com

Sherbrooke Gallery

Sherbrooke Art Society Inc Established 1966

Springtime Exhibition 15-23 October The Springtime Exhibition officially opens on 15 October at 3 pm. This is Sherbrooke Art Society’s longest running show and the main exhibition for members. The five prizes awarded to artists are the Mavis Hill Award for Best in Show, Best Oil, Best Pastel, Best Watercolour and Best Black and White. New this year are additional section awards for the best painting in each category, including: In the Dandenongs, birds/ animals, flower study, landscape, seascape, portrait, still life and 9” x 5”. This year’s judge is a member of Twenty Melbourne Painters Society, Lee Machelak. The Bendigo Bank of Belgrave and Peter Jordon-Hill proudly support the Spring Show.

Image courtesy Peter Jordan-Hill

SIR HENRY ROYCE FOUNDATION OF AUSTRALIA AWARDS EXHIBITION of paintings of Rolls-Royce & Bentley Motor Cars

Exhibition 24 March to 15 April 2012 PRIZES TOTAL $10,000 Entries close 11 March 2012 Download entry form from http://sherbrookeartsociety.blogspot.com Or phone: 03 9754 4264

62 Monbulk Road, Belgrave 3160 Tel: 03 9754 4264 Gallery Hours: Wednesday - Sunday 11 am - 4 pm Peter Pankiewicz, Evandale Tasmania, winner 2010 Best Watercolour

www.sherbrookeartsociety.com Barbara Beasley-Southgate, Mamukala Wetlands Kakadu, pastel, 46 x 51 cm

Blog: http://sherbrookeartsociety.blogspot.com

To Monbulk Monbulk Rd Sherbrooke Gallery Puffing Billy Belgrave Station Burwood Hwy to Melb Melway Ref 75 F8

ANTIQUES & ART IN VICTORIA

Kerstin Jackson, Colour In

Michael Parker, Untitled

Fiona Presland, Be the water where I’m wading

Without Pier Gallery KIRSTEN JACKSON: Artist’s Statement ‘Painting is my key to the secret garden, my way down the rabbit hole, my looking glass. Colouring in at school started it. Transforming a blank piece of paper into amazing colours has always struck me as magical. Over the years painting has filled me with a sense of accomplishment, and it has proven a most amendable vehicle for translating inner vision to outer reality. I love the creative power which painting gives me. I paint from the inside out. Though I work as deliberately as I can, consciously employing traditional techniques, my unconscious is project manager. The concreteness of the activity frees my imagination and it “sees” each piece into existence.’

MICHAEL PARKER Born in Melbourne in 1968, Michael was surrounded by brushes as his mother is an extremely talented artist, and paints constantly. As he grew older, he found his natural flair for creating unique and diverse pieces. He has spent years perfecting his medium, painting various subjects from portraits to abstracts, all of which he has enjoyed immensely. With 22 years of painting experience Michael feels at ease painting many different styles, using the wonder of nature’s many unique colours as his inspiration and theme. Michael loves to explore all mediums, often using acrylics, oils, pencil and pastels, all with plenty of texture and often all included in the one painting. His works are in private collections throughout Australia and in over a dozen other countries.

Sarah Whitbread, Entanglement

FIONA PRESLAND: Pieces Of The People We Love Artist’s Statement ‘I have had a lifelong fascination with the human form and all its complexities. The challenges of representing emotion or the expression of movement is compelling. Rather than representing the figure in a traditional sense, I aim to capture movements, gestures and expressions in a more contemporary light. In this series of work, I reflect on the personal journey of those around me and look to express those emotions that one feels internally, but only fleetingly show. We are all made of the pieces of the people we love and the moments we share.’

SARAH WHITBREAD: Artist’s Statement ‘My work revolves around the everyday, the small aspects of life that make us who we are, visual journeys that illuminate the joyous, yet often painful dichotomy of life. Visual metaphors weave in and out as does the paint in a technique of layering, covering and exposing, echoing the emotional journey taken, the pathway, the choices – the whole box and dice. The business of living and loving, all come together in an uplifting, chaotic explosion on canvas.’

JACQUELINE FOWLER: Artist’s Statement ‘To learn to paint is to learn to see. Tonal paintings are drama. Still life is like setting a stage; backgrounds are as important as the main subject, warm and cool colours play against

Artist Profiles

each other, one object bounces the light onto another, shadows create illusions. With a spotlight, porcelain has a sheen, flowers are full of colour, the complete atmosphere is created. Each painting is the challenge of capturing the play of light and dark that first sparked the interest. Working in the landscape is not too different from painting in a studio, if flowers are involved. The light changes outside, but flowers move in the vase, towards the light. Both involve working rapidly to try to paint the subject. I direct the light source to give a strong interplay of tones, create the drama, sometimes placing the subject against dark or using it reversed, simplified with the background lighter and a main part of the focus. Working out a subject is half the enjoyment. This is where my collected wall hangings, screens and woodblock prints help unify the whole. I love colour. I love to paint. Still life is full of life.’

NICHOLAS TRUSCOTT Nicholas earned his Bachelor of Fine Art from La Trobe University in 1994, majoring in painting and drawing. His work began to attract acclaim when the university purchased one of his works for its permanent own collection. Artist’s Statement ‘For this exhibition, I have focused the subject matter on the architecture in cities of Europe and Australia. I have concentrated on specific aspects of the architecture, as I believe it allows the viewer to focus their attention on the buildings’ abstract design, textured finishes and composition, rather than the

Jacqueline Fowler, Poppies and the Imari Vase, oil on canvas, 76 x 76 cm

whole image. I thoroughly enjoy painting this subject matter, as the paintings are extremely technical and challenging. I like to push watercolour to its limits with both colour density and technique, using both a traditional approach and methods learnt over the past 25 years since working with watercolours.’

JOHN TOZER John is a Melbourne based professional photographer with commercial specialisations in portraiture, products and events. He has a Master of Photography with the Australian Institute of Professional Photography (AIPP). In the past eight years, as a full time photographer John has won 60 national and international level professional photography awards for his landscape, illustrative and portrait images. He is the current AIPP Victorian Landscape Photographer of the Year. His landscapes are noted for their distinctive painterly style. A body of work based on travels in China during 2006 titled China: Beyond the Icons has been exhibited four times including a showing at the Melbourne Chinese Museum.

John Tozer Ireland, Bridge Toll House

Nicholas Trusscot, San Sebastian - Spain

CHELTENHAM / HAMPTON ANTIQUES & ART IN VICTORIA

David Chen, Nude 2

Helen Cottle, Winter High Country

Richard Chamerski, Fossicking - Portsea

PETER MCGANN

DAVID CHEN

Peter McGann is an architect and has been exhibiting as an artist for some 40 years. The principal areas of interest include black and white, watercolours, etching and woodcuts. Artist’s Statement ‘This body of work continues my interest in the line, form and techniques unique to printmaking, especially that of woodcuts. Combined with the printed image is the introduction of watercolour – the line giving shape, the tone form and the colour emotion. The Bugatti and cyclecar subject matter of the automotive works reflect my extended interests in these marques and the philosophy of Ettore Bugatti that industrial design must embrace the concept of Pur Sang – a purity of form expressed in design. The graphic influences from the 1920s together with the strong colours reflect the period of the subject matter. This purity of form is extended further through the inclusion of watercolours of the woodcut images and life drawings subjects expressed in a style complementary to the printing technique.’

David Chen was born in China, and holds Bachelor and Master degrees in fine arts and a Graduate Diploma in Art Education. David taught fine arts at university for several years. In 1988 he was appointed an editor at the People’s Fine Art Publishing House in Beijing where he edited several art magazines. He was selected to participate in 100 Famous Chinese Artists, a worldwide travelling exhibition in 1991. In 1992 he won the Silver Hawk Award at the Fourth International Art Contest, France. David arrived in Melbourne in 1993. He was invited to be part of the HYDRA Art Group that was funded by the Australian Government and the Arts Council and works as a full-time artist. He has held several solo exhibitions, including at the National Gallery of Victoria and conducts painting workshops. His work is in private, corporate and municipal collections both in Australia and overseas.

Peter McGann, The Bugattis

RICHARD CHAMERSKI Richard was born in England in 1951. He derives his artistic lineage from the great artists of the Heidelberg School. His paintings are traditional impressionistic landscapes and seascapes which often feature young children and romantic figures from an era long since past. In recent years his impressionist style has earned him great praise and many art prizes. Richard has conducted painting workshops to coincide with major exhibitions, such as Charles Conder (2003) and the Impressionists (2004 and 2007). His work is represented in many collections throughout Australia. Overseas his work is held in many notable collections in Japan, England, Switzerland, Hong Kong, USA, Germany and France.

HELEN COTTLE Born in Williamstown in 1962, Helen is a selfeducated artist who works in all mediums, with a particular passion for watercolour. She paints in a realist/impressionist style and enjoys all subject matter. Helen is currently working as a professional artist and art educator in the Macedon ranges north-west of Melbourne. She is a popular and sought after tutor and teacher, running classes and workshops in her private studio in Gisborne and throughout Australia. Helen conducted watercolour workshops coinciding with major exhibitions on Albert Namatjira’s watercolours (2003), modern British works (2008) and Gustave Moreau (2011). Helen was an invited international guest artist in the 2010 Shanghai Biennial Watercolour exhibition in China. Artist’s Statement ‘I have a deep passion to create and to express my thoughts and feelings through my artwork. My main aim is to paint passionately and enthusiastically… with variation and diversity… always changing and evolving so as not to become staid.’

MELBOURNE GROUP SHOW Without Pier’s Cheltenham Gallery 24 November – 9 December Official opening will be by Jon Dwyer on Thursday 24 November From late November through to early December, Without Pier Gallery Cheltenham hosts an exclusive exhibition presenting images of vibrant Melbourne – its grand and historic streets, buildings and icons.

Ji Chen, Our Melbourne - Collins and Flinders

Celebrate wonderful Melbourne and its many moods through the art of 14 of Victoria’s and Australia’s most popular and collectable modern contemporary, impressionist and realist artists. See the works of David Chen, Ji Chen, Claude Ciccone, Betina Fauvel-Ogden, Steve Harris, Herman Pekel, Jackson Rowe, Andrew Sibley, Peter Smales, Tony Sowersby, Ross Wilsmore and other major artists in this show.

WITHOUT PIER GALLERY Cheltenham 03 9583 7577 Hamilton 03 9598 5006 enquiries@withoutpier.com.au www.withoutpier.com.au

Established 15 years, now in two prominent locations www.withoutpier.com.au

320 BAY ROAD CHELTENHAM 3192 VICTORIA p: 03 9583 7577 417 HAMPTON STREET HAMPTON 3188 VICTORIA p: 03 9598 5006 e: enquiries@withoutpier.com.au

JACKSON, PARKER, PRESLAND & WHITBREAD 7 – 20 September Cheltenham Gallery JACQUELINE FOWLER 6 – 19 October Cheltenham Gallery NICHOLAS TRUSCOTT & JOHN TOZER 7 – 22 October Hampton Gallery DAVID CHEN 6 – 20 November Cheltenham Gallery RICHARD CHAMERSKI & HELEN COTTLE 11 – 24 November Hampton Gallery OUR MELBOURNE MY VICTORIA 25 November -9 December Cheltenham Gallery PETER MCGANN 2 – 17 December Hampton Gallery 55

ANTIQUES & ART IN VICTORIA

Encaustic Tiles at

SCHOTS HOME EMPORIUM I

nspired by tradition and culture, captivating the senses and delivering a stunning look, Schots Home Emporiumâ&#x20AC;&#x2122;s new range of encaustic tiles mark the pinnacle of beautiful style. Our complete range of complementing designs allows you to mark your home with the grandeur of tradition. Crafted by monastic potters of the Cistercian order around the 12th century, these inlaid tiles, as they were known, were born as a labour of dedication, necessity and love of the craft. Since the Victorian era, the rise of the term encaustic has overshadowed the previous term. The long history of popularity spanned from the 13th through to the 16th centuries, and again in the 19th century Gothic revival. The traditional

making of an encaustic tile is todayâ&#x20AC;&#x2122;s sign of the resilience of master artisans and their trade. Schots is proud to offer these signature tiles. Where designs are often applied to a tile almost as an afterthought, the encaustic tile undergoes a very different journey in its creation. From the first stage the intricate design is established by the exacting hands of a craftsman pouring a mineral pigment into a metal mould before the cement base of the tile is poured. Then each tile is pressed under weight to permanently bond the mineral pigment to the cement base. Allowing the colour to be absorbed 2-3 mm into the base tile, the impregnated design is rested to cure for two days. This delivers a naturally matt colour fast finish.

Where traditionally these tiles were constructed for use in cathedrals and churches, these same stone tiles still present their unique and definitive designs and grandeur. Borders featuring tiles can be arranged in many ways â&#x20AC;&#x201C; Schots designers can assist in creating a decorative and lasting impression for your indoor and outdoor spaces. Historically proven as both durable and long lasting, these tiles can be easily cleaned with a simple soap solution. They can be left alone with their raw matt finish, or treated and sealed prior to laying for a gloss finish. With solid tiles starting at $3.95 and feature tiles from $2.80 each, Schots offers amazing options at low prices to invest in stunning design, quality craftsmanship and add to the value of your property.

THREE-STORIED SHOWROOM To see a stunning array of the range these new encaustic tiles, along with a complete array of fine home and architectural furnishings, visit the expansive three storied emporium and unearth the uncommon.

SCHOTS HOME EMPORIUM 1300 463 353 www.schots.com.au

MENTONE

ANTIQUE CENTRE

The French Fur niture Specialist Established 1984

‘ W h e re a t re a s u re i s w a i t i n g t o b e f o u n d ’

We have a good selection of French antique furniture at the best prices in Victoria

The best and most interesting selection of: • Antique furniture from France - England - Europe • French Clocks - Prints • Art Deco Figures and Clocks • Antique Ceiling Lights - Lamps • Mirrors - Paintings • English & Australian Silver & Silver Plate • Art Glass - Collectables • Estate and Costume Jewellery • Doulton - Beswick - Shelley • Wedgwood - Limoges Porcelain

• Murano Glass

• Royal Winton - Carlton Ware

• Men’s and Ladies’ accessories

• Provincial tables to seat 6 - 12 people • Louis XV salon suites - chairs • French bookcases • French Art Deco • Limoges porcelain • Provincial sideboards • Buffets • French beds • Mirrors • Antique lights • Art glass • Objets d’art • French clocks

FRENCH HERITAGE ANTIQUES 03 9583 3422

68 Beach Road, Mentone Vic 3194

NOW TRADING FROM Mentone Beach Antique Centre 68 Beach Road, Mentone Vic 3194 Email: frenchheritage@bigpond.com Open: Thurs-Fri-Sat-Sun-Mon 11 am - 5 pm

(opposite Mentone Life Saving Club)

03 9583 3422

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Email: mentonebeachantique@gmail.com

Open: Thur-Fri-Sat-Sun-Mon 11 am - 5 pm www.antiquecentrementone.com.au

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French Heritage Antiques

www.antiquecentrementone.com.au

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MENTONE BEACH

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ANTIQUES & ART IN VICTORIA

Murano glass famous since the Middle Ages M

urano is a small group of islands lying on the edge of the Adriatic Sea in the lagoon off Venice, about 3,000 metres north of the larger group of islands comprising Venice and today is known as the glass island. In the 100 years between 1860 and 1960 the glass producing firms located on Murano rose to world leadership in the production of decorative glass objects. One of the most remarkable aspects of this achievement is that it was the second time that Murano had attained that pinnacle and the two occasions were separated by 500 years. Since the 15th century, all over the world, the name of the island of Murano has been virtually synonymous with the creation of the finest and most elegant glass. The origins of glassmaking in the Venetian lagoon date back much further, their roots lying in the Roman manufacturing tradition on the nearby mainland. Documents in which glassmakers are mentioned occur from the late 10th century onwards. Due to its geographical position trading links to the East were maintained and the industry expanded considerably after the capture of Constantinople in 1204 with the migration of eastern glass workers and techniques to Venice. Venice was the centre for trade in luxury goods in the Mediterranean region. From an early date the Republic organised its glass

trade and industry in a conscious effort to achieve a worldwide monopoly. Venetian glass was unsurpassed anywhere in the world from the 15th to 17th centuries and was sought by royalty and wealthy patrons. It was only towards the end of the 17th century that this supremacy came to an end. European taste changed; there was increased popularity of cut and engraved glass which was produced very successfully by Bohemian and German craftsman, and this caused a sharp decline in glassmaking in Venice during the 18th century. In the second half of the 19th century a second period of resurgence began, with the revival of many Renaissance glass styles. The Murano glass museum, Museo Vetrario was established in 1861 and in 1862 Abbot Vincenzo Zanetti, who was instrumental in establishing the museum, started up a school which was annexed to the museum and attended by the glassworkers on their days off. They studied design as well as past examples of blown glass conserved there. Not only were accurate copies of old glass made during this period, but these artisans made highly original 19th century adaptations. A further innovation was the hiring of specialist chemists by the major glasshouses to develop an extended range of colours and it was during this second period that the

technical basis was laid that led to the most original and technically perfect products of 20th century Murano glass.

MENTONE BEACH ANTIQUE CENTRE 03 9583 3422 mentonebeachantiques@gmail.com www.antiquecentrementone.com.au

MORNINGTON PENINSULA ➞

ANTIQUES & ART IN VICTORIA

Antiques & art on the Mornington Peninsula

1. MENTONE MENTONE BEACH ANTIQUE CENTRE 68 Beach Road Mentone (opposite Mentone Beach Life Saving Club) 03 9583 3422 Open Thur, Fri, Sat, Sun, Mon, 11am - 5pm. Specialising in fine quality antique furniture, collectables and objets d’art. ‘Where a treasure is waiting to be found.’

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2. MORNINGTON MORNINGTON PENINSULA REGIONAL GALLERY Civic Reserve, Corner of Dunns and Tyabb Road, Mornington 03 5975 4395 Open 10 am - 5 pm, Tuesday - Sunday Closed Mondays and some public holidays The region’s premier art gallery offers a dynamic program of nationally significant exhibitions of contemporary and historical 5. RED HILL art by Australia’s leading artists, together with MONTALTO VINEYARD & acclaimed exhibitions focusing on the Mornington Peninsula’s rich cultural life. OLIVE GROVE Recent memorable exhibitions have reflected 33 Shoreham Road, Red Hill South Vic 3937 on the work of the Boyd family, Arthur Mel Ref: 256 B2 Streeton and Fred Williams. 03 5989 8412 info@montalto.com.au www.montalto.com.au Open 7 days 3. TYABB Montalto Vineyard & Olive Grove's 50 acre TYABB PACKING HOUSE amphitheatre property is the ideal setting for wine, food, nature and art. Awarded the Top ANTIQUES Winery Destination in Victoria 2006. The Mornington-Tyabb Road, Tyabb permanent outdoor sculpture collection can (opp Tyabb Railway Station) be enjoyed throughout the year with 03 5977 4414 additional exhibitions. Open 10 am - 5 pm, Thursday - Sunday An acclaimed restaurant overlooks the This unique complex is Australia’s largest collection of antiques and collectables. Spend property. Award-winning estate wine and olive oil for tasting at the cellar door. the day browsing, talk to the dealers, most have over 20 years experience. Visit the tearooms then take a ride to the working WHITEHILL GALLERY craft village, art gallery and kiosk. Whitehill Rd Redhill / Dromana. Wheelchair and pushers available. 03 5931 0146 Coaches welcome. rick@whitehillart.com.au www.whitehillart.com.au Open weekends and Thursday, Friday , Monday 4. MT MARTHA Summer: 7 days a week. MEADS ANTIQUES Peninsula Showcase & COLLECTABLES Regular exhibitions, featuring prominent artists in painting and sculpture. Carole Foster, The Clock Tower Arcade Fiona Bilbrough, Glenn Hoyle, Rosemary Shop 3, 34 Lochiel Avenue, Mt Martha Todman Parrant, Josephine Pititto, Do Noble, 03 5974 8577 Hans Werner and Malcolm Beattie. Open 10 am - 5 pm, Wednesday - Sunday We have an eclectic selection from the 1800s Sculpture Walk featuring Robert Ford, Caroline Graley, Matt Langlier. to the 1970s including unusual and Beautiful jewellery, ceramics, woodwork and interesting glass, china, toys, pictures, small wearable art. furniture and jewellery. We buy and sell.

MARLENE MILLER ANTIQUES

6. SORRENTO SORRENTO AND FLINDERS FINE ART GALLERY 3301 Point Nepean Rd Sorrento (Opposite Rotunda) 10/33 Cook St Flinders (Opposite Hotel) Winter Hours: Friday - Monday 10.30 am - 5.30 pm Summer Hours: Sorrento: Open daily Flinders: Open daily, closed Tuesday Other times by appointment. The finest selection of paintings by recognised Australian and international artists including David Chen, Robert Wade, Ivars Jansons, Charlie Tong, Lyn Mellady, John Bredl, Cathy Hamilton, Rodney Symmons, Ron Hancock, Craig Davy, Lyn Mellady, Robert Knight and more.

120 Ocean Beach Road, Sorrento 03 5984 1762 or 0438 537 757 Open 10 am - 5 pm, every day except Christmas Day and Good Friday Established in 1986, this unique antique shop is set in an historic limestone building and houses an amazing amount of beautiful furniture, china, bronzes, lamps, books and interesting bits and pieces. The shop is renowned for its jewellery as well as Georgian,Victorian and Art Deco antiques. We have top quality Melbourne jewellers Stephen Pascoe, Simon Prestige, Armon Donald O’Grady, Monique Bijoux and others. All items available at reasonable prices.

7. FLINDERS THE STUDIO@FLINDERS GALLERY 65 Cook Street Flinders, Vic 3929 03 5989 0077 art@studioflinders.com www.studioflinders.com Open 10 am - 5 pm. Closed Tuesdays Closed Mondays. Mid June – mid September An artist run gallery promoting quality Australian work. We have three major exhibitions a year where participating artists have the opportunity to be creative. Exhibitions run for approx three weeks over Easter, mid June and mid September.

SORRENTO ANTIQUES & ART IN VICTORIA

David Brayshaw, Ribbon Reef

David Brayshaw, Tropical waters, Great Barrier Reef

Craig Davy, Stormy shadows

Sorrento and Flinders Fine Art Galleries

Artists from the Mornington Peninsula, Melbourne and interstate

linders Fine Art Gallery and Sorrento Fine Art Gallery are sister galleries, owned and operated by local resident, Rebecca Barbour. Each gallery exhibits superb artwork and always welcomes visitors. Rebecca has sourced the artists, resulting in two galleries showing a wonderful combined collection of paintings in all mediums and on many subjects, all of the highest standard. The artists are full-time professionals with many painting for over 30 years – some self-taught and some trained. All artists have notable achievements including sell-out exhibitions, publications, overseas teaching and high profile awards. Both galleries display a mixture of traditional realism and modern artwork. Subjects vary from local Mornington Peninsula sea and landscapes, the outback, Murray River, city scenes, country lakes, international vistas, café scenes, still life, nudes, wildlife, portraits, and fun, brightcoloured filled canvas and other genres. These warm and inviting galleries offer a quite place to view and ponder the artworks. The experienced staff can advise about the artists, many of whom have been involved with the galleries for over ten years. Our staff arranges home viewings so you can see the artworks in your home or office space. Lay-bys are available on paintings jewellery and ceramics. If you have a painting or portrait in mind, commissions are organised between Rebecca, the client and the artist to ensure a final artwork exactly as the client envisages. Local and international delivery with our reputable courier is available.

CRAIG DAVY No Time Like The Present Opens 12 January 2012 This summer at Sorrento a new and exciting exhibition opens on 12 January 2012, when Peninsula local, Craig Davy holds his first solo exhibition. Craig has been painting for two years and has to date won 16 awards. Craig has always enjoyed painting as a hobby, later receiving guidance from John Bredl and Charlie Tong. Craig has developed his own style and technique and paints full-time. More recently, Craig has taken to plein air painting, going out to the back beach amongst the dunes where he captures the colour, light

and mood of the day. His exhibition will include large pieces created in his studio and a series of paintings from his plein air trips. For an invitation to the exhibition’s opening on Thursday 12 January 2012 please contact the gallery or the website www.peninsulagalleries.com.au.

Artists join Sorrento and Flinders Fine Art Galleries

Gallery is at 3301 Point Nepean Road opposite the Rotunda. SORRENTO AND FLINDERS FINE ART GALLERIES Sorrento: 03 5984 3880 Flinders: 03 5989 0889 www.peninsulagalleries.com.au

Chris Kandis

DAVID BRAYSHAW David is renowned for his coastal and Great Barrier Reef paintings. ‘I have spent the last 25 years of my life living by the ocean intimately observing the changing coastal landscape the cycle of the tides and moon and also the vulnerable beauty of our coral reefs. My artworks mostly focus on this fragile coastal environment rather than just an observation. I have introduced into my paintings the narrative of the challenges these pristine environments face. Across the spectrum of my paintings I draw upon a range of historical and contemporary art sources techniques and personal experiences bringing together my own individual array of imagery.’

CHRIS KANDIS ‘The connection to the land and environment is what interests me and to communicate this through paint is a very pleasing creative endeavour. For me its connection has allowed my personal style to evolve in a less traditional direction building the process that continues to inspire and challenge my passion in art.’ See our artists’ most recent works when you pop into either gallery, or view online. For those of you who have not visited us before, the Flinders Gallery is at 10/33 Cook Street Flinders, opposite the Flinders Hotel. Sorrento

Chris Kandis

MORNINGTON PENINSULA ANTIQUES & ART IN VICTORIA

Norma Evans with her painting, Dragonflies

Corinne Vernardos with her award winning watercolour, Waterlilies

Barbara O’Brien with her award winning pastel, Beach track

The Peninsula Arts Society Visit exhibitions in the Gallery, take a class in the Studio

N Tutor Colin Johnson conducting a watercolour class at the PAS Studio

ow in its 57th year, the Peninsula Arts Society continues to go from strength to strength. With over 650 members, it is one of Australia’s most active art societies. In its modern studio and gallery in Overport Road in Frankston South, the Society offers classes and activities to suit artists of all levels, under the guidance of highly qualified tutors. Peninsula Arts Society tutors are Malcolm Beattie, Catherine Hamilton, Glenn Hoyle, John Bredl, Cathy van Ee, Sandra Karick, Jacqueline Long, Colin Johnson, Marilyn Richards, Su Fishpool and Craig Penny. Intensive, hands-on workshops with professional artists are also offered with the next oil painting workshop with Hans van Vlodrop on 26 and 27 September. Start the New Year with one of Australia’s most distinguished watercolourists, Robert Wade on 23, 24 and 25 January 2012. Artists wishing to participate in classes or workshops should are invited to register with the PAS office by ringing between 10 am and 2 pm, Monday to Friday on 03 9775 2640 or email secretary.pas@ gmail.com. Demonstrations by recognised professional artists take place on the third Monday of each month, from 1 to 3 pm. These include demonstrations by Fiona Bilbrough on 19 September, portrait in pastel; Annee Kelly on 17 October, watercolour; and Robert Wade, 21 November, watercolour. Following this year’s successful full day of demonstrations, the Society will conduct a similar day in January 2012, featuring well-known artists Robert Knight (oil), Herman Pekel (acrylic), Agata Lelek (pastel) and Joseph Zbukvic.

Acrylic demonstration painting by Craig Penny

The Peninsula Arts Society also conducts an outdoor landscape painting group, portraiture and life drawing, social painting in the studio, botanical art, textiles and even creating writing. We provide a friendly social environment, with trips to exhibitions, the theatre and painting holidays. The Society also reaches out to the wider community, this year with much-needed flood relief and a carer’s respite program. Visitors are welcomed to the Society’s modern studio/gallery to see the artists at work on Friday mornings, or by arrangement with the office.

SPRING ART SHOW Annual exhibition by professional tutors, students and emerging artists – all works for sale 28 October to 1 November (Melbourne Cup weekend) Opening on Friday 28 October from 7 pm Tickets $15 including finger food and wine

We look forward to welcoming all at the Peninsula Arts Society’s Spring Art Show and to demonstrations by recognised professional artists on the third Monday of each month.

To book for the art shows and other events contact THE PENINSULA ARTS SOCIETY 03 9775 2640 secretary.pas@ gmail.com www.peninsulaartssociety.org.au

MORNINGTON PENINSULA ANTIQUES & ART IN VICTORIA

Mornington Peninsula Regional Gallery’s series of Special Exhibitions ROBIN BOYD ON THE MORNINGTON PENINSULA 17 August – 2 October Mornington Peninsula Regional Gallery is presenting a unique exhibition that pays homage to Robin Boyd and his award-winning houses designed and built at Frankston and on the Mornington Peninsula. Coinciding with the 40th anniversary of his death in 1971, the exhibition Robin Boyd on the Mornington Peninsula celebrates the work of one of Australia’s most highly regarded architects, writers and critics. In his influential post-war architectural projects, public talks and writing on architecture, such as Australia’s Home, Living in Australia and The Australian Ugliness, Boyd consistently advocated good design as a parallel to our modern way of life. His architecture and innovative ideas continue to both excite and inspire in the contemporary Australian architectural landscape.

Baker, Nura Rupert and Jimmy Baker. Other featured artists include Clifford Possum Tjapaltjarri, Daisy Leura Nakamarra, Rover Thomas, and Utopia artists Emily Kame Kngwarreye and Kathleen Petyarre.

STUDIO: AUSTRALIAN PAINTERS PHOTOGRAPHED BY R IAN LLOYD 12 October – 27 November R Ian Lloyd, renowned for his National Geographic work, examines through large photographic portraits the fascinating detail of the individual artist’s space, whether an inner city loft, a kitchen table or the sandy earth of the outback. It provides an exclusive behindthe-scenes tour of the art at which we marvel, providing a unique insight into the minds, moods and creative processes of some of the nation‘s most acclaimed painters. The exhibition features 61 Australian artists, including Marion Borgelt, Lucy Culliton, James Gleeson (1915-2008), the late Margaret Olley, John Olsen, Gloria Petyarre, Luke Sciberras, Tim Storrier, Imants Tillers and Judy Napangardi Watson. In 2007 Ian photographed and published STUDIO: Australian Painters on the Nature of Creativity and this exhibition is toured by Museums and Galleries NSW.

TOURS AND EVENTS Free guided tours of exhibitions at 3 pm every Wednesday, Saturday and Sunday. Desert Country talk by curator Nici Cumpston on Thursday 25 August, 5.30 pm for 6 pm. Cost of $15 includes a drink and canapés. Please book on 03 5975 4395. Weekend open studio event on 15 and 16 October. See local Mornington Peninsula artists at work in their studios. Details at www.virtualsorrento.com.au.

MORNINGTON PENINSULA REGIONAL GALLERY 03 5975 4395 mprg@mornpen.vic.gov.au http://mprg.mornpen.vic.gov.au

R Ian Lloyd, Lucy Culliton in her studio in Hartley, NSW, Australia at 3:07 pm on January 24th 2004, digital print. Photography by R Ian Lloyd

SEA OF DREAMS: THE LURE OF PORT PHILLIP BAY (1830–1914) Robin Boyd Marriott House, Flinders 1954 interior. Photographer unknown. Courtesy of the Robin Boyd Foundation

DESERT COUNTRY 17 August – 2 October MPRG hosts a travelling exhibition drawn from the extensive holdings of Aboriginal art from the Art Gallery of South Australia’s pioneering collection. This is the first exhibition to chart the 40-year evolution of the internationally acclaimed Australian desert painting movement and reveal the unstoppable reaches of this remarkable art phenomenon. It highlights the cultural fluidity between the principal Aboriginal art producing regions of the desert in the Northern Territory, South Australia and Western Australia. Rare examples of the first experimental paintings by its ground-breaking masters in 1971 are followed by powerful paintings from Anangu Pitjantjatjara Yankunytjatjara Lands of far northwest South Australia by some of Australia‘s most outstanding contemporary artists such as Maringka

7 December 2011 – 19 February 2012 This exclusive landmark display tells the fascinating story of Port Phillip Bay and the integral part it played in 19th and early 20th century survival, settlement, trade and commerce, defence and leisure. Shattered dreams, fresh beginnings, a buoyant and expansive economy, rising fears and the emergence of a bourgeois are detailed in a show that traces the journeys and growing prosperity of so many who were lured by the dream of a better life. More than 100 works are displayed with many of Australia’s best known and loved artists represented including Charles Conder, Fred McCubbin, Tom Roberts, Arthur Streeton and Louis Buvelot, along with rare drawings and prints by Emma Minnie Boyd, S T Gill, Georgiana McCrae, John Mather and Eugene von Guerard. Together, these masterpieces and lesser known works of Port Phillip Bay and its picturesque coastline and inland waterways reveal a very different side of early Australian life and underpin the continuing significance of the Bay to Victorians in the 21st century.

17 August Augu ust – 2 October 2011

Charles Conder (1868-1909), Ricketts Point Beaumaris, 1890, oil on wood panel, 12.0 x 21.5 cm. National Gallery of Australia, Canberra

An Art Gallery of South Austtralia travelling exhibition

Proudly presented at the Mornington P Peninsula Regional Gallery

Tjungkara KEN Australia, 1969 Pitjantjatjara people, South Australia Ngayuku ngura - My country 2010, Amata, South Australia synthetic polymer paint on linen 152.5 x 101.5 cm d’Auvergne Boxall Bequest Fund 2010 Art Gallery of South Australia, Adelaide © Tjungkara Ken, Courtesy of Tjala Arts

Civic Reserve, Dunns Rd, Mornington, Mornnington, VIC 3931 Open Tuesday Tuesday – Sunday 10am – 5pm Tel Tel 03 5975 4395

http://mprg.mornpen.vic.gov.au http://mprg.mornpen.vic.gov.au

PRINCIPAL SPONSOR:

MORNINGTON PENINSULA ANTIQUES & ART IN VICTORIA

Lisa Cox’s No Place Like Home kindly donated by the artist for the exhibition raffle

Pod jewellery made by feature jeweller Christine Battocchio has been kindly donated by the artist to be auctioned as a fundraiser

Singer James Reyne with children from Mount Eliza North Primary School

Visit the Mornington Peninsula’s 33rd Annual

Mount Eliza Art Exhibition M

ount Eliza’s annual art exhibition returns 21-23 October this year with an incredible collection of new talent. Make a note of the date for a perfect early summer day trip or weekend away on the beautiful Mornington Peninsula. Hosted by Mount Eliza North Primary School, the exhibition provides visitors with a unique opportunity to discover and purchase original and affordable art in a relaxed, communitybased setting.

Art aficionados can look forward to browsing an extensive selection of traditional and contemporary painting, jewellery, photography, textiles, sculpture and ceramics, while enjoying a glass of the region’s famous chardonnay or pinot noir. The exhibition fosters local talent whilst maintaining the high calibre of exhibits that has become synonymous with this annual art exhibition. Local and regional artists invited to exhibit this year include Kate Hudson,

21-23 October 2011

Deborah Amon-Cotter, Ern Trembath and Susan Romyn. Jewellers include Georgina Cunningham, Jennie Alderton, Mary Odorcic, Shabana Jacobson and Christine Battocchio.

LISA COX: FEATURE ARTIST 2011 Lisa’s ingenious use of mixed media and acclaimed figurative, naïve style is highly recognisable and is found in galleries around Melbourne and further afield. Lisa explains, ‘By noticing the beauty in simple things, concepts spring from almost anywhere. My paintings celebrate the joy found in everyday moments in life.’ Lisa has kindly donated one of her works, No Place Like Home, for the exhibition raffle. For a chance to win this painting, valued at $1850, purchase your tickets from Mount Eliza North Primary School prior to the event or during the exhibition.

BRINGING WORDS TO LIFE Continuing with its theme of celebrating local talent, the exhibition is pleased to be collaborating with one of Australia’s most loved singer/songwriters this year. James Reyne led the seminal Australian Crawl to the top of the Australian music scene in 1978 and followed this with a platinum lined solo career, which sees the release of his tenth solo album this year. Participating artists are invited to submit a small painting based on their interpretation of a stanza from Reyne’s song I’m a Bug. The results are then featured in an exhibition category titled ‘Bringing Words to Life’ and available for purchase. The winning entry, chosen by a selection committee, will be awarded at the 21 October opening evening, sponsored by Peninsula Animal Hospital.

GALA OPENING: 21 OCTOBER Limited to 500 guests, the gala opening is on Friday, 21 October. This evening is a muchanticipated social event on the Peninsula with live music, gourmet finger food and an exceptional selection of Peninsula wines produced and donated exclusively by Dromana Estate. As well as having the first opportunity to purchase works, guests are able to bid on unique items including paintings and jewellery in an auction hosted by hockingstuart Real Estate.

Numbers are limited so purchase tickets early from Mount Eliza North Primary School, phone 03 9787 6611. Gala night admission is $30 pre-paid or $35 on the night (if available) and entitles patrons to the first opportunity to view and purchase exhibits. Your ticket permits unlimited re-entry to the exhibition throughout the weekend.

EXPANDING THE SHOW The recently introduced Functional Design section continues to grow in popularity with an even larger range of sculpture, furniture, ceramics, textiles and artistic glassware, providing visitors with the perfect opportunity to purchase a unique gift, make a start on Christmas shopping or find the perfect race day hat. Popular exhibitors include Robert Ford, Julie Guinan, Deb Moroney and milliner Penelope D’Alton.

CHRISTINE BATTOCCHIO: FEATURE JEWELLER 2011 Christine is currently working on a beautiful range of hand-crafted silver and resin pieces for the event. Over 20 highly talented jewellers will exhibit this year.

VISITING THE EXHIBITION The 33rd Mount Eliza Art Exhibition opens Friday 21 October at 7.30 pm at Mount Eliza North Primary School, 1 Moseley Drive, Mount Eliza (Melway 105 H2/J2). Weekend times are Saturday 22 October from 10 am to 5 pm, and Sunday 23 October from 10 am to 4 pm. Adult entry is $5 and children are free when accompanied by a paying adult. Tickets are available from Mount Eliza North Primary School, phone 03 9787 6611 or www.mtelizaartshow.com. The popular Café d’Art will opens all day Saturday and Sunday, serving morning and afternoon teas and light lunches with regional wines by the glass. hockingstuart Real Estate, Barloworld Mercedes Benz, Vision Finance and Big Bang Media proudly sponsor this exhibition. For further information contact MOUNT ELIZA ART EXHIBITION 03 9787 6611 www.mtelizaartshow.com

MORNINGTON PENINSULA ANTIQUES & ART IN VICTORIA

Rosemary Todman Parrant, Crystal

Fiona Bilborough, Basket of eggs

Glenn Hoyle, Reflections of Venice

WHITE HILL GALLERY Spring Exhibition program

ustralian art and craft has its permanent residence in the White Hill Gallery on the Mornington Peninsula, near Dromana. We proudly and exclusively display works that have relevant provenance in the Peninsula. Visits will always surprise you with new works, as we are constantly adding new artists who exhibit their works at White Hill. Collectors of sculpture will love our outdoor space, and lovers of paintings like our intimate interior space. See the breathtaking ceramics, jewellery and wearable art, all produced locally to high standards. The gallery is situated at the start of the scenic drive to Red Hill, just 60 kilometres from downtown Melbourne. White Hill Gallery has a sculpture walk among its garden and trees, and a café for refreshments.

BODIES OF BEAUTY 3 September Rosemary Todman Parrant opens the spring program with a variety of works that show her mastery of many mediums. She is a highly acknowledged artist, the most significant of these honours being the Royal Over-Seas League open award. Among her many awards are the Alice Bale works on paper award and the best pastel award at the Camberwell Rotary Art Show, won twice.

CORNERS OF EUROPE 29 October Glenn Hoyle’s atmospheric realism across many mediums has brought him great success. His joy is investigating the play of light in unexpected ways. In this exhibition, Glenn shares his love of European landscapes, transporting viewers with the magic of many special spaces.

STILL-LIFE AND LIFE STUDIES

Easy to find (Mel Ref: 160 G9), White Hill Gallery is open Wednesday through Sunday from 11 am to 5 pm. Enjoy a coffee in our rural setting. Be sure to meet Midnight and Moonshine, our friendly alpacas. WHITE HILL GALLERY 03 5931 0146 rhayllar@bigpond.net.au www.whitehillart.com.au

Carole Foster, Valley

3 December Fiona Bilbrough continues to refine her stilllife paintings, and between her assured brushwork and with new brilliant lighting, a considerable development in her work has emerged. Portraiture is becoming an important part of Fiona’s portfolio. She is an accurate observer of more than people’s facial features, conveying character as she catches the sitter’s essence in subtle ways that brings a life -like presence to each painting. Jessie McLennan’s sculptures give a sense of ancient civilisations. The Tuscan-coloured clay and her boldness of execution empower these figures and make you want to embrace them.

SUNBURNT PLAINS Carole Foster helps us feel our Australianness in her art. Her abstracted expressionism portrays the wild bush, meandering river beds, the heat and the tiny shimmerings of light and colour that she captures so convincingly. Her work has both boldness and subtlety.

NEW DIRECTIONS Josephine Pititto is well known for her vibrant oil paintings of poppies and seascapes. Her recent work includes portraits and black ink studies of family gatherings.

TREASURES ABOUND The diversity of artworks at White Hill is guaranteed. Meditate on the fine timber figure sculptures by John Morris and statuesque landscape sculptures by Robert Ford, graceful enamelled ribbons of steel by Caroline Graley and rustic haunting figures by Matt Langliers. For fashion trendsetters, select exotic jewellery by Loraine Anderson and Japanese-inspired jackets by Monica Friedel. Jessie McLennan, Son

LANGWARREN ANTIQUES & ART IN VICTORIA

Adam LAERKESEN Something in the Way 2008 plaster, wood, cast foam 150 x 190 x 110 cm Private collection

A Gippsland Art Gallery & NETS Victoria touring exhibition

McClelland Gallery+Sculpture Park 390 McClelland Drive Langwarrin Victoria 3910 Open Tuesday – Sunday 10am – 5pm Tel: +61 3 9789 1671 www.mcclellandgallery.com

McClelland Gallery + Sculpture Park Spring exhibitions DREAMWEAVERS 21 August – 30 October reamweavers plots a strange and enchanting course through the world of dreams, nightmares and the imagination. It imagines a world with the lights turned off, where monsters come out to play and reality becomes a flickering memory. The exhibition explores the contemporary preoccupation for the fantastic through a range of national and international art practices that are united by an enduring fascination with darkness and dark places. It features the work of surrealist artist James Gleeson (1915-2008), along with contemporary Australian artists Aly Aitken, Adam Laerkesen and Joel Zika, and their British contemporaries Sam Spenser and Eloise Calandre. Dreamweavers is a multisensory experience that is more like entering another world than an art exhibition. It combines sculpture, digital media, photography and painting, in an intoxicating visual feast. A Gippsland Art Gallery and NETS Victoria touring exhibition.

THE SYNDICATE: A SCULPTURE INSTALLATION BY SIMON GILBY Sculpture installation 21 August – 30 October Simon Gilby is a Western Australian sculptor whose work centres on the figurative form. This exhibition of ten life-size figures explores the inner and outer worlds of the

human mind and body – its vulnerabilities, strengths and various adaptations. Gilby’s subjects are armoured with various surface patterning that speak to the emotive state of each figure. These figures take shape in characters drawn from classical mythology, religious iconography through to political protagonists who are encountered in various dramatic bodily poses. The title of this exhibition is derived from the support of seven sponsors who formed a syndicate allowing Gilby one year to develop ten different figurative works. The result is the touring exhibition The Syndicate made possible by Art On The Move.

John Farmer (Australian 18971989), Kananook Creek

JOHN FARMER: LANDSCAPES AND VIGNETTES Landscapes and vignettes 21 August – 30 October Victorian born John Farmer (1897-1989) was a significant benefactor and patron of the McClelland Gallery+Sculpture Park. This retrospective presents a selection of prints from the McClelland Collection, in association with the Print Council of Australia’s IMPACT7 conference and ‘The Month of Print’ exhibitions being held throughout Australia. Many of the works in this exhibition present a variety of detailed scenes and vignettes surrounding the Frankston area as well as subjects from his extensive international travels. A student at the Melbourne National

Gallery School, Farmer went on to study painting under Max Meldrum at the Hardware Chambers in Elizabeth Street, Melbourne. Encouraged by the Melbourne printmaker Victor E Cobb, Farmer began printmaking in 1944, working in etching, drypoint, softground etching and aquatint. Although he rarely exhibited these works, he produced over 100 different prints,

primarily in editions of six or twelve, until he ceased work in this medium in 1971. MCCLELLAND GALLERY + SCULPTURE PARK 03 9789 1671 www.mcclellandgallery.com

HAMILTON ANTIQUES & ART IN VICTORIA

Huang Yongyu (China b. 1924), 1989, Spring, ink and colour on paper. Gift of Jason Yeap OAM

WHAT’S ON AT HAMILTON ART GALLERY 50 YEARS OF COLLECTING 1961-2011 GALLERY HIGHLIGHTS 9 August - 16 October hroughout the gallery are highlights of the collection as we celebrate our 50th birthday. There is the inaugural exhibition of the John Wolseley tapestry, commissioned to mark the 50th anniversary of Hamilton Art Gallery and woven at the Australian Tapestry Workshop, Melbourne. All displays throughout the gallery are gifts or acquisitions made after the gallery’s opening in 1961. Make sure to see the most recent acquisitions of European and Asian decorative arts on show until 1 January 2012. The following gifts mark the 50th anniversary of the Hamilton Art Gallery.

PERMANENT DISPLAYS Australian art from the collection Paul Sandby 18th century landscapes Oriental ceramics and Asian artefacts Hamilton Art Gallery is open seven days a week, Monday to Friday from 10 am to 5 pm, Saturday from 10 am to noon and 2-5 pm, and Sunday from 2 to 5 pm.

For more details HAMILTON ART GALLERY 03 5573 0460 info@hamiltongallery.org www.hamiltongallery.org

RECENT GIFTS AND ACQUISITIONS 1 October 2011 – 1 January 2012 Be among the first to see the generous gifts received in the past year in this inaugural display.

HAMILTON TOPS 1 November – 27 November The creative output by VCE students features in this exhibition of artworks and graphic design from Southern Grampians Secondary Schools – Baimbridge College, Balmoral Community College, Good Shepherd College, Monivae College, and The Hamilton and Alexandra College. Li Lihong (Jingdezhen, China, b. 1974), McDonald’s M, 2007, porcelain with underglaze decoration, 36.5 x 45 x 12.5 cm. Hamilton Art Gallery. Gift of Allan Myers AO, QC Grotto vase made by Janet Beckhouse (Australian b. 1955), 2011, porcelain, cast, constructed and hand decorated. Gift of Dr Barbara van Ernst AM

Vase made by Kondo Yuzo (Japanese 19021985), c. 1978, porcelain, underglaze blue decoration, gilding. Gift of Allan Myers QC AO

ANTIQUES & ART IN VICTORIA

CERAMICS: The art of restoration The best restoration will make the piece complete and not be obviously restored

eramics are vulnerable objects and damage is inevitable. Rather than discarding a broken item, restoration is a solution which allows the piece to continue in use. In the Lorraine Rosenberg Reference Collection at Moorabool Antiques we have collected a number of pieces with restorations. Often the restoration itself is a work of great skill and each is a testament to the value someone once place on the item. The best restoration will make the piece complete and not be obviously restored. Restoration may consist of a rivet hidden beneath the piece such as on a rare piece of Copenhagen porcelain, c. 1780. This tray is from a cabaret set made for the Danish royalty and had some serious problems in the making. The elaborate leaf trails over the back cover firing flaws from the first firing and are factory repairs. Later these flaws have caused a crack which has been riveted to secure the tray for continued use. This piece is an absolute rarity as the Danish royal family mostly purchased the products of the small-scale 18th century Copenhagen porcelain factory. A series of huge palace fires destroyed the bulk of this early production making this unique tray a rare survivor. It has companion pieces in various collections such as the milk jug in the Victoria & Albert Museum London.

new as the pot was still very highly valued when silver spouts were fashioned to make them usable. Some examples have hallmarks and the resulting date conforms with the circa date of the porcelain.

DISGUISED WITH LEAD Lead was another possibility. Malleable yet strong, it was used in the 18th and 19th centuries for repairing delicate parts such as the fingers of figures. This Derby figure, c. 1780, has finely detailed replacement lead fingers which would have been painted over to disguise them.

Looking closer she is very crazed in the glaze. This is impossible with the hard-paste body of the Meissen but very common with English soft-paste and bone china. This reveals it as a very crafty porcelain restoration cast in at least four parts and an excellent facsimile of what the original should be. The restorer has had at least a picture of the original group and has matched the colours and details well. Clearly the piece was highly valued when the restoration was done, as indeed it is still today – if in perfect condition, it would be over the $10,000 mark.

ADDING DETAILS Within the rest of the collection I discovered more of the same high quality porcelain restorations. One Derby figure in particular is amazing. I was familiar with the group from a pair of Bird-nesters, c. 1760, but thought the head an unusual variation. Derby candlestick, c. 1780, with detail of restoration. Rosenberg Reference Collection Geelong

SOFT-PASTE CAMOUFLAGE

Danish tray, made in Copenhagen, 1785. Rosenberg Reference Collection Geelong

A collection of figures I recently purchased reveals another very skilful early restoration technique. The old paint of restorations was visible to some vulnerable parts, revealing restoration a long time in the past. At first I thought they were broken and re-stuck, but a closer examination reveals otherwise. This large Meissen figural group, JJ Kaendler’s Allegory of Marriage, c. 1760, was the first to make me suspicious: the figure at the rear is broken at the waist along with other small damages.

Derby, Figurine Bird-nester, c. 1760. Rosenberg Reference Collection Geelong

Close examination reveals a different porcelain covered in tight crazing lines. This is a complete contrast to the rest of the figure which shows a lack of crazing to the glaze and a starker white porcelain. Yet the figure looks complete: the frill collar to the neck is sometimes seen on 18th century figures but in this case is a cunning disguise to the rather obvious joint.

What if an actual chunk of the piece was missing? One early repair method was to use metal to fill in missing parts. In these Chinese teapots, c. 1700 and c. 1780, their spouts have been lost. This quite possibly happened when

PORCELAIN RECREATIONS

Meissen group modelled by JJ Kaendler, Allegory of Marriage, c. 1760. Rosenberg Reference Collection Geelong

support of the candle sconce, revealing them as porcelain re-creations. They were then reapplied as part of the current restoration. Rather than detracting, they add a layer of interest to the figures. So when and where were these high-class restorations done? The dates were before modern restoration developments such as resins and glues, so they were well over 100 years ago. Where they were restored is a little harder to assess, but it is reasonable to assume they were done in England and in one of the areas with artisans with the necessary skills, such as Stoke-on-Trent. The collection came from America and I can imagine a wealthy American travelling to London to buy antique porcelain. The quality of these restorations suggests that unfortunately, they were most probably sold as ‘perfect’ to the unsuspecting client. Modern day restorations are of supreme quality and almost impossible to pick by the naked eye.

SILVER FOR PORCELAIN

Chinese teapots, l: c. 1780, r: c. 1680. Rosenberg Reference Collection Geelong

Derby, Freedom, c. 1770, with detail of restoration. Moorabool Antique Galleries

In the same context, a pair of large Derby candlestick figures, c. 1770, was discovered to have porcelain repairs. That called Liberty, shown freeing a bird, was sent to the restorer to fix some obvious breaks. The restorer took this photo of the hand with the bird and the

This brings up an important point for the present day collector. Modern day restorations are of supreme quality and almost impossible to pick by the naked eye. The internet has made restoration-fraud prolific – who can tell anything from a digital photo? I suspect restored pieces mostly slip through into collections as ‘perfect,’ with the occasional discovered restoration being excused as a ‘mistake’ by the seller. All of these examples support the value of the Moorabool policy to describe all damages and restorations in great detail to potential buyers. Paul Rosenberg MOORABOOL ANTIQUE GALLERY 03 5229 2970 query@moorabool.com

GEELONG ANTIQUES & ART IN VICTORIA

Angela Cavalieri, Le città continue, 2009, linocut, acrylic and ink. Artist’s book bound by George Matoulas. Winner, 2009 Geelong Acquisitive Print Awards

Simon Benz, Belle ombre – headlights, 2011, oil on board. Courtesy of the artist Alysin Wynd, Childhood in sepia, 2011, photograph. Courtesy of the artist

Geelong Gallery’s EXHIBITION PROGRAM August – November REFLECTIONS OF THE SOUL Chinese contemporary ink wash painting Until 11 September n recognition of 2011 as the Year of Chinese Culture in Australia, this special exhibition from the National Art Museum of China in Beijing illustrates modern interpretations of the venerable Chinese tradition of ink and wash painting. Exclusively in Australia at the Geelong Gallery, this exhibition includes works by nine leading contemporary Chinese artists working in the genre who explore themes as widely ranging as city and suburban life, landscape and atmospheric impressions, the world of dreams, historical allusion and the relationship of Chinese opera and painting.

NICHOLAS CHEVALIER: AUSTRALIAN ODYSSEY

SHELL ARTS: GEELONG REGION ARTISTS PROGRAM

26 November – 12 February 2012 The first comprehensive survey of work by the Russian-born Swiss artist Nicholas Chevalier produced during his fourteen years in Australia from 1855 to 1869. The exhibition will assemble some of Chevalier’s most significant paintings along with sketches, studies and lithographs, an exhibition by the Gippsland Art Gallery in Sale.

Simon Benz 10 September – 16 October David Turner 22 October – 4 December For more details about exhibitions contact

GEELONG GALLERY 03 5229 3645 geelart@geelonggallery.org.au www.geelonggallery.org.au

PICTURE THIS 2011

Shao Fei, Golden shine and happiness, the classic of mountains and rivers XIII, 2001, ink. Courtesy of the artist and the National Art Museum of China, Beijing

Until 4 September Transport Accident Commission (TAC) clients exhibit their works in various media. Some were already artists before an accident; others have taken up art since an accident; while a number embraced art therapy as part of their rehabilitation.

ALISON WYND: ME PHOTO, UGANDA Until 4 September A collection of powerful images of the poverty-stricken Ugandan village of Mannya, as seen through the camera of Geelong Advertiser photographer Alison Wynd, supported by the Cotton On Foundation.

Geelong Gallery’s outstanding collection of paintings, sculpture and decorative arts spans the art of Australia from the colonial period to the present day. SPECIAL EXHIBITIONS PICTURE THIS 2011 Until 4 September ME PHOTO, UGANDA Until 4 September A PRINT GIFT 10 September – early 2012

A PRINT GIFT 10 September – early 2012 A selection of international and Australian prints from the 19th century to contemporary generously gifted to the permanent collection by Conrad O’Donohue and Rosemarie Kiss.

2011 GEELONG ACQUISITIVE PRINT AWARDS

Larissa MacFarlane, Moonrise on the highway, 2010, linocut. Courtesy of the artist

17 September – 20 November This nationally acclaimed acquisitive prize is now in its ninth year and features entries from around Australia by established and emerging printmakers representing the diversity of current practice through both traditional printmaking techniques as well as contemporary processes. The Gallery Grasshoppers and an anonymous donor sponsor this prize.

2011 GEELONG ACQUISITIVE PRINT AWARDS 17 September – 20 November NICHOLAS CHEVALIER: AUSTRALIAN ODYSSEY 26 November – 12 February 2012 SHELL ARTS: GEELONG REGION ARTISTS PROGRAM Simon Benz 10 September –16 October David Turner 22 October – 4 December Guided tours of the permanent collection Saturday from 2pm FREE ENTRY Open daily 10am to 5pm Closed – Christmas Day, Boxing Day, New Year’s Day and Good Friday

Little Malop Street Geelong VIC 3220 03 5229 3645

AIREYS INLET ANTIQUES & ART IN VICTORIA

Courtney Young

Mary Lou Pittard

Chris Pittard

Featured artists at

CHRIS AND MARY LOU PITTARD

Showing in October Artist’s Statement y creativity has taken many forms over the years including fine art, photography, body art and graphic design. My work has been described as organic, psychedelic as well as erotic. Evident is my passion for the mystical as well as nature’s curves and life in general. I am highly influenced by my surroundings and my imagination continues to thrive on my dreamscapes. Growing up in an environment where I was able to express myself freely has contributed greatly to my ever-growing style and sometimes controversial subject matter. At the moment, I have a keen interest in the curly form of seahorses. Creating whimsical and quirky creatures bring joy to my life and vibrant colours bring a smile to my face.’

Centre Piece: 29 October – 27 November Champagne opening: Saturday 29 October, 3 pm Chris Pittard’s interests in depicting landscape where the wilds of nature and the built environment collide are expressed in a series of works on paper, continuing in his sculptural ceramics. For Mary Lou Pittard food and tradition have always played a big part in her ceramic career. For this exhibition she chose to focus on the centrepiece as a theme.

LIARNE CORKE Showing in November Liarne’s work always speaks about current life experiences and the emotional content of her world. With a passion for art therapy, she

CONTEMPORARY AND TRADITIONAL PAINTINGS, GLASS, CERAMICS, SCULPTURE AND JEWELLERY

pours particularly difficult emotional experiences onto canvas as a cathartic and transformative process. Liarne uses a variety of mediums, paint, paper, charcoal, to create beautifully expressive pieces.

JOINT EXHIBITION: EMMA GARZA LOPEZ & KAREN PEGG Summer Days: 4 – 27 December Champagne opening: Saturday 4 December, 3 pm

EMMA GARZA LOPEZ: Artists Statement ‘While I paint, I open an interior door where my thoughts, memories and feelings flow with no constraints, working in tune with mind and body in the creation of a common goal. My art starts by contemplating simple and ordinary moments that awake our feelings, trying to observe them the same way as children do, in a naïve an enthusiastic way. By creating a composition where colours and brush strokes play together in a pleasant and graceful way, I let loose my imagination, in search of the revival of those events and feelings. The main objective is to bind these feelings with an observer. My work is dynamic and ever transforming. I’m always learning and evolving in a permanent search of discovering different ways to express myself.’

KAREN PEGG:

Exhibitions: 29 Oct – 27 Nov 4 – 27 Dec Featured Artists October November December

Karen Pegg

Eagles Nest Gallery

COURTNEY YOUNG:

“M

Liarne Corke

Centre Piece

Chris & Mary Lou Pittard

Champagne Opening:

Saturday 29th October, 3 pm

Summer Days

Emma Garza Lopez & Karen Pegg

Champagne Opening:

Saturday 4 December, 3 pm

Artists Statement ‘The love of art began early in my life and over the course of many years has evolved through exploration of many mediums and varied techniques. A course in basic welding set me on a journey of discovery. I found myself challenged by the ability to create sculptural forms, abstract and realistic, from the unforgiving and difficult medium of steel. I also incorporate other metals in some of my work and more recently have discovered the alluring warmth of copper. The use of metal has also extended to the paintings I create. I have found the metal enhances my work and gives another dimension adding to the viewer’s experience. Living in a rural environment in Victoria, I am never without inspiration for work. Nature is the constant from which draw my inspiration.’

RETROSPECTIVE: LEONARD RAYMOND CHRISTIE (1926 – 2010) A lifetime of fashion, design and patternmaking was the basis of Len Christie’s creative ability to paint in many mediums. He retired to the small coastal town of Anglesea 20 years ago leaving the city life far behind. He enjoyed the community spirit that Anglesea offered and became an integral part of the town’s structure and was heavily involved in the many of the volunteer organisations in the Bellarine Shire. After years of strenuous sport, he found that he needed a more peaceful hobby and turned to art where he joined his wife June in the eternal search to paint the perfect picture. He had an insatiable appetite to learn and attended various workshops hosted by local and international teachers, but always turned back to his wife June for his inspiration and guidance. Oils, watercolours and pastels were Len’s main mediums, but Len was never shy of experimenting with anything to do with art. He loved nothing more than visiting local galleries within Australia and New Zealand and shared his passion with those closest around him. His generosity with his paintings was always welcomed, donating many of his works to assist fundraising for local charities. The majority of Len’s work is set within the serenity of the Great Ocean Road and the surrounding region, an area where Len was at peace, as reflected in his art. EAGLES NEST GALLERY 03 5289 7366 nadia@eaglesnestgallery.com.au www.eaglesnestgallery.com.au

Courtney Young Liarne Corke Len Christie Retrospective

Open: 10 am – 5 pm Friday - Monday

P: +61 03 5289 7366 E: nadia@eaglesnestgallery.com.au 50 Great Ocean Road Aireys Inlet 3231 www.eaglesnestgallery.com.au

Emma Garza Lopez

Leonard Raymond Christie (1926-2010)

ANTIQUES & ART IN VICTORIA

Queen Victoria’s Queen Street Woollahra

Arts & Literature L

ewis Carroll did speak of many things in Alice’s Adventures in Wonderland where his romanticism, observations of power, crime and punishment became entwined in the fantasy world of Alice down the rabbit hole. Today it is a children’s classic, like many of the classic works of major Victorian writers – Charles Dickens, Rudyard Kipling, Louisa May Alcott, Mark Twain – who wove social justice within their books.

SPREADING OF THE EMPIRE The Victorian era (1837-1901) was a time of great literary and poetic works from writers such as George Eliot, Joseph Conrad, William Butler Yeats, Emily and Charlotte Bronte, Elizabeth Barrett Browning, Robert Browning, Thomas Hardy, Oscar Wilde. It was a time when artists explored classicism, neoclassicism, romanticism and impressionism with works by artists such as Rossetti, Holman Hunt, Burne-Jones, Leighton, Poynter, Watts and Waterhouse. The power and affluence of the Industrial Revolution, technological change and urbanisation, marked the dramatic rise of an increasingly powerful middle class, unleashing dynamic movements of social justice and search for knowledge – suffragist, anti-slavery, rights of children, challenges to class structure, women’s vote, the origins of life with Darwinism. During the Victorian era, British culture, science, philosophy and trade spread across the globe. More than 25 per cent of the population were under British rule during this time where ‘The sun never sets on the British Empire.’

PUBLIC FIGURES DRAWN TO WOOLLAHRA Woollahra, in the far-flung colony of New South Wales, was established in 1856 during Queen Victoria’s reign. Woollahra, an Aboriginal word meaning camp or meeting ground or a sitting down place, combined with Queen Street, named in honour of Queen Victoria in 1880. Today, Woollahra-Paddington has the largest expanse of Victoriana architecture in the Southern Hemisphere. Australian bush poet Banjo Patterson, opera singer Dame Joan Sutherland, former Prime Minister Paul Keating, media personality John Laws, Australia’s first philosopher Barzillai Quaife, Dr Frederick Harrison Quaife who brought the first x-ray to the colony and built The Hughenden, actors, artists, writers are part of the history of life in Queen Street Woollahra and surrounds. Patrick White, winner of the Nobel Prize for Literature lived in the area and had his ashes scattered in Centennial Parklands.

STATUE OF CHARLES DICKENS STANDS IN CENTENNIAL PARKLANDS Charles Dickens requested that there be no monument or memorial to him. However, there are two statues. One is in Philadelphia USA and the other in Centennial Parklands. The Charles Dickens statue was commissioned by Sir Henry Parkes in 1889 and installed in the Parklands in 1891. There will be great celebration on 12th February 2012 for the 200th birthday of Charles Dickens in Queen Street Woollahra. Queen Street has retained the heritage of the past while embracing the intellectual, creative, commercial pursuit of new ideas. Churchill’s Butcher established in 1876 is a visit into Victoriana. Climbing the Victorian staircase into quintessential Rex Irwin Art Dealer’s gallery is an experience. He has been in Queen Street for more than 30 years. Wander into the Queen Street art galleries and other galleries in streets nearby.

THE HUGHENDEN: A REPOSITORY FOR THE ARTS At the gateway to Queen Street is The Hughenden. Entering this Victorian mansion is a microcosm of the Victoriana past while capturing the spirit of today’s creative life. There is an eclectic mix of art in the Victorian Rooms including Archibald winner Wendy Sharpe’s small self-portrait, Laurent’s 1930s classic nouveau women, portrait of a young Victorian girl artist unknown circa 1850s, Barry Humphreys by portrait artist Jules Sevelson, watercolour artist Jenny Shaw capturing Queen Street. Stephen James’ imposing portraits of renowned Australian author Amanda Lohrey and Director of the Brandenburg Orchestra Paul Dwyer hang on the walls of the grand staircase. The exquisite kalaga dominates the foyer with its gold and silver thread, sequins and beading. A reminder of British exploration to South East Asia, it weaves Buddhism’s Jataka tales and the Hindu epic Ramaya into the tapestry. The fine materials came from trade with British merchants and were hand worked by the local people of Myanmar (Burma). The art exhibited in the Reading Room includes the works of Academic Award winning filmmaker and illustrator Shaun Tan, Pixie O’Harris’ illustrations, multi award

Jules Sevelson, Moose

winning illustrators Donna Rawlins, Sarah Davis, Nina Rycroft, Cathy Wilcox. Discover Dr Frederick Harrison Quaife’s silver platter awarded to him for services to the ambulance 1887.

TIME OUT INTO ANOTHER ERA In accordance with Victorian times, there is the baby grand piano in the sitting room. On Thursday, Friday, Saturday evenings there are musical entertainments including jazz singer Courtney Severini with her beautiful renditions of Piaf’s songs and Leonard Cohen’s Alleluia. Autographed books by authors and illustrators who stay at The Hughenden are available for sale, and the Café/Restaurant invites readers to enjoy an aperitif with their Book Menu. Susanne Gervay www.sgervay.com THE HUGHENDEN Freecall 1800 642 432 reservations@thehughenden.com.au www.thehughenden.com.au

Bushwalker

“

The time has come,’ the walrus said, ‘to talk of many things: of shoes and ships – and sealing wax – of cabbages and kings.

”

Lewis Carroll

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The Hughenden c. 1870, associated with Australia’s first philosopher Barzillai Quaife, is home to literature & the arts. Discover the works of Archibald artist Wendy Sharpe; 1930s Laurent works; c. 1850 painting of the Victorian girl, artist unknown. Jazz & musical evenings, art exhibitions and books are part of Hughenden life. *Not valid Friday and Saturday nights. Valid until 30 November 2011

HUGHENDEN BOUTIQUE HOTEL 14 Queen Street, Woollahra, Sydney

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CENTRAL VICTORIA ANTIQUES & ART IN VICTORIA

ANTIQUES AND ART in Central Victoria

1. BALLARAT ART GALLERY OF BALLARAT 40 Lydiard Street North, Ballarat 03 5320 5858 balgal@ballarat.vic.gov.au www.balgal.com Open daily 9am - 5pm The oldest and largest regional gallery in the coutry, the Ballarat gallery’s magnificent collection allows you to walk through the history of Australian art. Also exciting temporary exhibition program.

ANTIQUES AND COLLECTABLES CENTRE BALLARAT 9 Humffray Street North, Ballarat At Humffray Street School Corner Main Road & Humffray St 03 5331 7996 AH: Colin Stephens 03 5332 4417 Open 7 days 10am - 5pm Specialising in a wide range of antiques and collectables. Off-street parking. Off street parking and now also incorporating a heritage museum.

THE MILL MARKET IN BALLARAT 9367 Western Highway Ballarat 03 5334 7877 Open 7 days 10am - 5pm The Mill Market is now in lovely Ballarat at the Great Southern Woolshed on the Western Highway, Melbourne side. Come and fossick for that special piece, that funky item, the bit that’s missing, the groovy fashion and all things interesting. Antiques, vintage, retro, art & craft, bric-àbrac, collectables, clothes, jewellery, books, records and giftware. Over 70 stall holders under one roof all working to please you. Free entry and plenty of parking. Come and share the experience.

2. BENDIGO BENDIGO ART GALLERY 42 View Street, Bendigo 03 5443 4991 Fax: 03 5443 4486 bendigoartgallery@bendigo.vic.gov.au www.bendigoartgallery.com.au Entry by donation Open daily 10am - 5pm Except Christmas Day Gallery Café/Gallery Shop One of the oldest and largest regional galleries in Australia, Bendigo Art Gallery has outstanding permanent collections of 19th century European art, Australian art from the 19th century to the present and a diverse temporary exhibition program.

VALENTINE’S ANTIQUE GALLERY 369 Hargreaves Street, Bendigo 03 5443 7279 Mob: 0418 511 626 peter@valentinesantiques.com.au Open 9am - 5.30pm Monday to Friday 9am-1pm Saturday, closed Sunday Importers of fine quality antiques specialising in Georgian, Victorian and Edwardian furniture, ceramics and glassware.

AVOCA 6

MARYBOROUGH 5 3

3. CASTLEMAINE XXXX ANTIQUE COMPLEX (THE BOND STORE) 5-9 Elizabeth Street, Castlemaine Corner Midland & Pyrenees Highways, next to Carrier’s Arms Hotel 03 5470 5989 Open 7 days 9.30am - 5.30pm One of the largest independently owned selections of quality antiques and collectables. Thousands of items on display to suit either the collector or the connoisseur.

CASTLEMAINE COLLECTORS CENTRE Inc 71 Forest Street (Melbourne Road), Castlemaine 03 5470 6968 Open 7 days 10am - 5.30pm 12 stallholders present an interesting and varied selection of antiques, old wares, collectables, furniture, glassware, pottery, jewellery, lamps, artwork, handcrafted teddies, dolls, garagenalia etc, books, records and comics.

4. DAYLESFORD EX LIBRIS 89 Vincent Street, Daylesford 03 5348 1802 Open every day 10am - 5pm Great selection of antique European prints, mostly 18th and 19th century, focused on architectural, botanical, topographical and early Australian engravings. New and exciting prints by Australian artists also featured. Other decor lines include Italian cushions, photo frames, Victoria Spring jewellery and homewares.

MILL MARKETS ANTIQUES AND COLLECTABLES CENTRE 105 Central Springs Road, Daylesford 03 5348 4332 Open 7 Days 10am - 6pm Superb display of Victorian and Edwardian furniture, collectables, clocks, vintage clothing, porcelain and china. Over 100 stallholders, 2.5 acres, all under cover with a café serving homemade food and a variety of hot and cold drinks.

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5. MARYBOROUGH MARYBOROUGH STATION ANTIQUE EMPORIUM, LICENSED CAFE AND REGIONAL WINE CENTRE Railway Station 38c Victoria Street, Maryborough 03 5461 4683 stantiqu@iinet.net.au Open 10 am to 5 pm Sunday, Monday & Wednesday, Thursday & Friday 10 am to 11 pm, evening meals available until 9 pm. Saturday evenings by appointment (closed Tuesday) Group bookings and functions welcome. An 1890 National Trust classified building. Quality antiques, collectables, wine, food and art. The wine bar has selected regional wines at cellar door prices. Homestyle meals and cakes prepared and baked on premises

6. MALDON BEEHIVE OLD WARES & COLLECTABLES 72 Main St, Maldon 03 5475 1154 A/H: 03 5475 1300 bhive@bmail.com.au Open 6 days - 11am - 5pm (closed Tuesdays) We buy, swap and sell old wares, antiques and furniture. Various traders providing a good selection including furniture, china, collectables, books and records.

For advertising on this map please phone Harry Black on 0418 356 251

7. AVOCA – 15 minutes from Maryborough McMURRAY GALLERIES 103 High Street, Avoca 03 5465 3060 lauriemcmurray@mcmurraygalleries.com.au www.mcmurraygalleries.com.au www.lauriemcmurray.com.au Hours: Open most days from 10.30 am - 5 pm Please ring if travelling a long distance Collectable artworks from the late 1800s to the present day by local, national and international painters and sculptors. Nude and portrait artworks by resident classical realist artist Laurie McMurray.

WESTBURY ANTIQUES 119 High Street, Avoca 03 5465 3406 Fax: 03 5465 3455 www.westburyantiques.com.au English and Continental 17th and 18th century furniture and decorative arts, also valuation services.

8. TRENTHAM GOLD STREET STUDIOS WORKSHOPS AND GALLERY 700 James Lane Trentham East Vic 03 5424 1835 ellie@goldstreetstudios.com.au www.goldstreetstudios.com.au Director Ellie Young Representing photographers Bob Kersey, Karl Koenig, Hans Nohlberg, Chia N-Lofqvist Tim Rudman, John Studholme, Steve Tester, Mike Ware, Gordon Undy Ellie Young including albumen, carbon, gum bichromate, gum oil, lithograph, chrysotype, new cyanotype, photogravure, platinum/palladium, salt, silver gelatin and ziatypes photographs. Hours: by appointment. Check the website for workshops in these processes.

MARYBOROUGH ANTIQUES & ART IN VICTORIA

Royal Winton rooster jug $155

M A R Y B O R O U G H R A I L W AY S TAT I O N Fine regional wines, antiques, quality food, art & Market Affair

Market Affair Market runs from 8 am till 4 pm Over 50 stalls For dates and more details contact Glenda 03 5461 4683 www.stationantiques.com

Vintage Royal Winton teapot $425

Maryborough Railway Station Antique Emporium & Cafe Tourist Complex, Antique & Collectables & Licensed Restaurant

Royal Worcester ivory blush ewer 1869 $895

STATION ANTIQUE EMPORIUM LICENSED CAFE & WINE CENTRE Large Royal Doulton ‘Coaching Days’ jardinere, c. 1930s

Royal Worcester jar and cover $995

Old wares • Collectables • Regional wines Open 6 days • 9.30 am to 5 pm Sunday, Monday, Wednesday 9.30 am till 11 pm Thursday, Friday and Saturday,

For details of next Market Affair contact

Maryborough Railway Station in Central Victoria is a major tourist attraction. Restored to its original beauty by Victrack, the Grand Station built in 1892, is steeped in history. Marvel at the workmanship of 118 years ago. Station Antiques & Cafe – operating for the past 15 years – offers fine dining, relaxation, a extensive selection of local wines, quality antiques and art for your perusal. Enter via the main foyer into the large dining room, originally the first class silver service dining room. The ceiling is crafted of kauri pine and there is a centre lightwell. Experience the magnificent original fireplace with a roaring open fire in winter months whilst enjoying a great selection of fine foods and superb local wines. Wander through the large display of antiques and find a bargain. Further on is the formal dining/sitting room featuring antique furniture and gallery of Phillip Adam’s paintings. Come with friends or arrange a bus group. Live entertainment every Friday evening featuring local artists and on Sundays listen to the live harp music of Carolyn Brophy. Enjoy excellent food, coffee, teas and wines, a perfect place to relax. Weddings, large and small functions welcome.

Glenda James

The Railway Station Market is a terrific experience.

Ph: 03 5461 4683 • Fax: 03 5460 4988 RAILWAY STATION, 38C VICTORIA ST MARYBOROUGH VIC 3465

Enjoy the ambience of the grand Victorian station with warm friendly hospitality.

Email: stantiqu@iinet.net.au • Website: www.stationantiques.com

Noritake vase decorated with orchids $135

Sadler three piece teaset $310

Royal Doulton floral decorated vase $575

George IV Old Scotch Whisky guttapurcha (ruberoid) back bar figure $180

BALLARAT

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ANTIQUES & ART IN VICTORIA

A stay in Ballara Ballaratt offers you y a glimpse into a living histo history. ory. Born in the romantic and tur turbulent rbulent gold rush era, Ballara Ballarat’s at’s stor storyy is intermingled with the na tion’s oown wn hi story. TToo experience the legends s, tales and stories of Ballara at ggoo to visitballara t.com.au or call 1800 44 66 33 nation’s history. legends, Ballarat visitballarat.com.au

BALLARAT INTERNATIONAL FOTO BIENNALE 2011

Photography exhibited throughout Ballarat 20 August – 18 September

ver 170 events are planned for this year’s Ballarat International Foto Biennale. It features an exhibition by 23 invited artists from Australia and overseas and an additional 100 artists exhibiting as part of the open-entry fringe program. There are seminars, workshops, portfolio reviews and education programs. Anyone can enter one of the three competitions, taking six designated shots on Sunday 21 August to Capture Ballarat.

CORE PROGRAM We aim to bring the strongest and most invigorating array of Australian and international photography. Prestigious venues host core shows, all within a few minutes walking distance of each other and open daily with free admission.

JOHN GOLLINGS: FROM CONSTRUCTION TO DESTRUCTION Renowned Australian photographer John Gollings is best known for his architectural

photography, capturing sturdy, bold and contemporary structures. For this year’s 2011 Ballarat International Foto Biennale, Gollings’ exhibition will be the polar opposite, featuring images of feeble, raw and devastated objects – the trees and landscape following the 2009 bushfires in Victoria. The exhibition is part of the Biennale core program.

INVITED LOCAL AND INTERNATIONAL PHOTOGRAPHERS The 23 invited photographers from Australian and overseas include renowned Czech photographers Jan Saudek + Sara Saudkova, New Zealander Tony Whincup, Cynthia Karalla and James Nakagawa from the USA, Istvan Horkay of Hungary and Maleonn Ma of China.

FRINGE PROGRAM The 100 artists who exhibit as part of the fringe program will be scattered throughout diverse locations in Ballarat, from the Art Gallery and Mining Exchange to local cafés, hair salons and an old butcher shop. Complementing the exhibitions are seminars, workshops and portfolio reviews. The education program called Shutter Up encourages young photographers to submit works for selection for exhibition.

PHOTOGRAPHY COMPETITIONS

John Gollings

F Stop photography competition at Federation Square begins with two elements: 1) Each photograph must be taken within Fed

Square and 2) the four photographs must include the letters, or representations of B, I, F and B, with only one letter per photograph. R Chee Ball prize for self-portraiture is in memory of one of Australia’s unsung photographic heroes, Rupert ‘Chee’ Ball (1940-1982), a self-taught photographer whose Darwin studio was destroyed by Cyclone Tracy in 1973. Capture Ballarat consists of each participant taking a digital photo at each of six designated points on Sunday 21 August 2011. This photographic fun run starts at Sovereign Hill at 8 am sharp and once photos are all taken competitors head to the finishing line at the Ballarat Mining Exchange to print their best digital photos. It is not too late to enter this competition that might introduce your budding photographers to the fun and finesse of the art.

EVOLUTION OF THE FOTO BIENNALE The fourth Foto Biennale derives from the 2005 Daylesford Foto Biennale, stemming from an idea by festival founder and director, Jeff Moorfoot, a former advertising photographer and educator. Growing annually from the 50 events and three international artists in 2005, then the 2007 Foto Biennale spread to over 120 events and beyond Daylesford to Clunes, Creswick, Trentham and Smeaton. Following 2007, Ballarat City Council invited the Biennale to relocate 40 km down the Highway, a move that saw over 40,000 visitors in 2009.

Regardless of whether you dream about apertures or have just picked up a camera for the first time, the 2011 Ballarat International Foto Biennale has something for everyone among its 170 events.

2011 BALLARAT INTERNATIONAL FOTO BIENNALE 03 5331 4833 Skype: ballaratfoto info@ballaratfoto.org www.ballaratfoto.org

BENDIGO ANTIQUES & ART IN VICTORIA

BENDIGO ART GALLERY Exhibitions August to December THE LOST MODERNIST: MICHAEL O’CONNELL 26 November – 19 February 2012 This exhibition examines the work of British/Australian textile artist Michael O‘Connell. Born in Cumbria in 1898 O‘Connell moved to Australia in 1920. Over the following 17 years he became a critical member of the burgeoning modernist movement in Melbourne. A member of the Arts and Crafts Society of Melbourne, O’Connell made an enormous contribution to the development of Modernism in Australia through his innovative and dynamic textiles. On his return to the UK in 1937, O’Connell became a key figure in contemporary textile design, working with renowned textile manufacturer Heal‘s. O‘Connell was commissioned to produce the celebrated Festival of Britain wall hangings in 1951, which are now in the collection of the Museum of English Rural Life in Reading. Bendigo Art Gallery has a selection of O’Connell’s most significant textiles from key Australian public galleries to show alongside private loans from Australia and the UK. The curators are Professor Harriet Edquist who is Director of the Design Archives of RMIT University and Tansy Curtin, Curator at Bendigo Art Gallery. Published with the exhibition is Harriet Edquist’s Michael O’Connell: The Lost Modernist. The book illustrates and discusses over 100 works from Australian and British public and private collections within the context of 20th century design history and the framework of O’Connell’s life.

MADE IN HOLLYWOOD: PHOTOGRAPHS FROM THE JOHN KOBAL FOUNDATION 3 December – 12 February 2012 See the stars, sets and scenes created by the American film industry and captured by the most important photographers who worked in the Hollywood studios from 1920 to 1960. Drawn from the archive of the John Kobal Foundation, this exhibition is organised by the Santa Barbara Museum of Art California. From the silent era through to the end of the studio system in the late 1950s, these camera artists captured and created the magic that came to symbolise Hollywood and its myths. The almost 100 images include studio portraits of Greta Garbo, Marlene Dietrich, Gloria Swanson, Jean Harlow, Clark Gable, Humphrey Bogart and other film celebrities. See a glimpse into the world of fantasy, glamour and perfection that the image makers produced and which ensured that their names are etched into the pantheon of fine art photography. John Kobal was a pioneer Hollywood historian, author and collector, one of the first to examine seriously the photographs taken to promote the stars and their films. The exhibition has been drawn from the extraordinary archive of The John Kobal Foundation created in London in 1990 at the time of the collector’s death. Kobal’s international reputation is as the major force behind the revival of interest in the work of the great Hollywood portrait photographers – Hurrell, Willinger, Bull, Allan, Bachrach etc. Their work in turn

immortalised Hollywood for the starstruck public of several generations. Working closely with the photographers or their estates, Kobal mounted over twenty five exhibitions over a fifteen year period at leading museums worldwide, leading to their belated recognition, by critics and the public, as a major force in the history of portrait photography. Make your plans to visit Bendigo Art Gallery for this and other outstanding exhibitions. Visit the website for further information and ticket sales now. BENDIGO ART GALLERY 03 5434 6088 bendigoartgallery@bendigo.vic.gov.au www.bendigoartgallery.com.au

Michael O’Connell, Pan with pots, c. 1930, linocut on linen. National Gallery of Australia, Canberra. Reproduced courtesy of the Estate of Michael O’Connell

The White Wedding Dress: 200 years of wedding fashions 1 August to 6 November The lost modernist: Michael O’Connell 26 November to 19 February 2012 Made in Hollywood: Photographs from the John Kobal Foundation 3 December to 12 February 2012

George Hurrell (1904-1992), Jean Harlow MGM, 1933, gelatin silver print. Image courtesy of John Kobal Foundation, London

GIPPSLAND ANTIQUES & ART IN VICTORIA

From left: Late 19th century Balouch Pictorial rug, nomadic Balouch, c. 1920 Prayer rug, Balouch, c. 1950

LOCH VILLAGE ANTIQUE FAIR Sponsored by The Loch Art Council Saturday 24 and Sunday 25 September 2011 9am to 4pm

Loch Public Hall Contact Graham Hastie Ph: 03 5659 4215

CARRINGTONS OF LOCH VICTORIA ST LOCH VILLAGE Visit historic Loch Village and browse through Carringtons’ unique range of antiques, art, fine English bone china, old wares, lamps & reproduction mahogany furniture We are open from 10am to 5pm Thursday to Sunday and Public Holidays Ph: 03 5659 4215 Mob: 0412 459 260 Email: sales@carringtons.com.au

www.carringtons.com.au 74

The Majid Collection Woven works of art that are living history

he Balouch /Baluch people of Iran are renowned for their carpets, drawn from their ancient culture. Throughout early Persian literature there are references to Balouch tribes. In an engraved clay cylinder which is 3000 years old, there is mention of the Balouch clans and their migration to the northeastern part of Persia. Today, some Balouch still live as nomads as their forbearers did for millennia. Balouch people today mostly live in Sistan and Balouchistan in southeastern Iran, also the sources of the finest grade of camel hair for weaving. Other Balouch live further east, both north and south of Khorrassan, the ‘place where the sun rises’ that is considered the cradle of the Persian language and the civilisation of eastern Iran. There are Balouch nomads living in the southern Kerman Province near Varamin. Here the weaving industry was revived in the 1890s after the collapse of the French market following the Franco-Prussian war (1870-71) These people make and produce some of the finest, most beautiful and durable nomadic Persian rugs. Many Balouch women have a loom at home and spend their free time

weaving for domestic and economic necessity, while enjoying self-expression in designs. Rugs are made in the homes of villagers and the tents of the nomadic tribal people, using local wool and dyes. The artist designs and weaves the rugs without following any written pattern, the weaver guided by her imagination and traditional outlines, such as prayer designs. Most Balouchi rugs are small woven items, ranging from 90 x 60 cm up to 400 x 300 cm. They are very famous for producing saddlebags. All Majid’s tribal rugs are sourced from the mountainous regions of Iran. We have a vast selection of old and new Balouch rugs from Iran now for sale. To see woven works of art that are living history, visit our Canterbury Road store and online at www.majidcarpets.com. Majid Mirmohamadi THE MAJID COLLECTION 03 9830 7755 majidcarpets@optusnet.com.au www.majidcarpets.com

GIPPSLAND ANTIQUES & ART IN VICTORIA

The Pioneers – South Gippsland

Into the Light

Welcoming Spring

A touch of crimson

Welcoming Spring at MAYFIELD GALLERY An exhibition of the latest works by Di and John Koenders 27 August – 18 September

his exhibition titled Welcoming Spring is being held at the Koenders’ magnificent gallery/studio at Arawata South Gippsland. Daffodils and spring blossoms bursting into colour at this time of the year, making it truly a magic and inspirational time in the beautiful hills surrounding Mayfield Gallery. Di and John have had an extremely exciting year, having only recently returned from a hugely successful showing of their documentary covering the life and times of Vincent van Gogh, ‘Vincent – the untold story of our Uncle.’ This beautiful art film was received with overwhelming enthusiasm in Cannes, France and is set for release worldwide. It covers the amazing story of Vincent, and the family connection which John was told about only four years ago, which was a huge irony – as both Di and John have been professional artists for over 40 years! The revelation of Vincent being ‘on the family tree’ has naturally added a huge provenance to their work. Being related to such an icon of the art world is unique. Their gallery is fully air-conditioned for your comfort and only just over a one-hour drive from the eastern suburbs. The scenic trip takes you through the wonderful rolling hills surrounding the property and on your arrival – the atmosphere is tangible. The property itself is an historic farm graced by age-old oaks and

conifers planted by the pioneers. Peacocks, geese, ducks and chooks parade through the colourful cottage gardens. Winter is behind us – come and enjoy the beauty of spring at Mayfield. Di and John are passionate about art, and always happy to have a chat with visitors about art and their lives as professional artists. It is a rare opportunity to take a peek into a world which is both interesting and informative, and very far removed from modern ways and technology. Consider it almost a glimpse into the past to a time when the world moved at a slower pace. You are welcomed with true country-style hospitality. Enjoy a chilled glass of wine, or a cup of tea or coffee while soaking up the atmosphere and ambience of the gallery. Massive windows frame an incredible view across the Strzelecki Ranges and wild birds feed on the balcony. The walls are adorned with superb paintings. View glowing oils of huge gumtrees along typically Australian riverbanks, watercolours of old farmhouses with chooks in the garden, and many, many others to suit just about any taste in art. Life-like birds and wildlife – from tiny blue wrens to massive wedge-tailed eagles – all in minute detail, with feathers so real you can feel the wind ruffling them!

Should you wish to make one of these treasures yours – by buying direct from the artists you save costly commissions charged by private galleries. These multi-award winning artists have clients all over the world. Corporate and private collectors include HRH Princess Anne, the Royal Household of the Sultan of Brunei, Mr John Howard and Mrs Janette Howard, Jeff Kennett, the late Bud Tingwell, John Wood, Rob Gell and Andre Rieu. A short drive out from Leongatha or Korumburra through magnificent scenery brings you to Arawata. We promise – you won’t be sorry. John with self-portrait of his famous ancestor at Musee D’Orsay, Paris.

The Nightwatch

During the exhibition, the gallery will be open daily (10 am to 5 pm) until 18 September (including all public holidays).

Looking for lunch

For any enquiries or directions – please phone Di and John Koenders MAYFIELD GALLERY 03 5659 8262 info@mayfieldgallery.com.au www.mayfieldgallery.com.au

MAYFIELD GALLERY PRESENTS

a Major Exhibition of Landscape & Wildlife Art by DI & JOHN KOENDERS 27 August – 18 September 2011 Open Daily – 10 am to 5 pm Including all public holidays Di & John will be in attendance throughout

FORTHCOMING MAJOR EXHIBITIONS 22 October to 13 November (including Melbourne Cup long weekend) Open daily 10 a.m. to 5 p.m. Or phone for appointment 03 56598262

MAYFIELD GALLERY 585 FAIRBANK RD, ARAWATA 10 mins north of Leongatha Only one hour from the Eastern Suburbs Fully air-conditioned for year-round comfort www.mayfieldgallery.com.au info@mayfieldgallery.com.au 75

VICTORIAN ANTIQUE DEALERS GUILD ANTIQUES & ART IN VICTORIA

VICTORIAN ANTIQUE DEALERS GUILD INC. Six excellent reasons to buy with confidence from a member of the Victorian Antique Dealers Guild Incorporated, knowing your antique is genuine. ■ Guild members guarantee the description of the antiques and collectables they sell ■ Guild members must meet requirements of integrity, experience and knowledge of the goods and services they provide ■ Guild members must be professional in both their displays of goods and dealings with the public ■ Guild members are required to have been trading, in a professional manner, for a minimum of three years ■ Guild members must be registered second-hand dealers ■ The VADG Customer Protection Policy covers a purchase from a Guild member Guild Committee members you can contact for expert advice and where to buy antiques: PRESIDENT: TREASURER: SECRETARY/EDITOR: COMMITTEE:

Alan Duncan, Donvale Antique Clocks, Donvale Ph: 03 9874 4690 or Guy Page, Page Antiques, Canterbury Ph: 03 9880 7433 or Barbara Thomas, Mentone Beach Antique Centre Ph: 03 9583 3422 or Alastair Wilkie, Marquis Antiques, Daylesford Mob: 0402 888 439 Graham Pavey, Pavey Collectable Antiques Ph: 03 9596 1602 or Diana Brady, Circa Antiques, Kyneton Mob: 0438 048 260 Tanya Gale, Camberwell Antique Centre, CamberwellPh: 03 9882 2028 or

Mob: 0409 744 690 Mob: 0411 175 320 Mob: 0437 121 040 Mob: 0411 437 511 Mob: 0418 586 764

VICTORIAN ANTIQUE DEALERS GUILD INC. MEMBERS More than 26 Years Service to Antiques Collectors A.B. Furniture 630 Glenhuntly Road, South Caulfield, Vic. 3162 Phone: 03 9523 8050 Mobile: 0407 822 115 Antik@Billy’s Mailing Road Antique Centre, Canterbury, Vic. 3126 Mentone Beach Antiques Centre, Beach Road, Mentone, Vic. 3149 Maryborough Station Antiques Centre, Maryborough, Vic. 3465 Mobile: 0402 042 746 Armstrong Collection 42 Station Street, Sandringham, Vic. 3191 Phone: 03 9521 6442 Mobile: 0417 332 320 Dalbry Antiques & Collectables at Mentone Beach Antique Centre Beach Road, Mentone, Vic. 3149 Camberwell Antique Centre Cookson Street, Camberwell, Vic. 3124 Phone: 03 9836 2301 Mob: 0418 373 940 David Freeman Antique Valuations 194 Bulleen Road, Bulleen, Vic. 3105 Phone: 03 9850 1553 Mobile: 0419 578 184 Diana Brady at Circa Antiques Mollison St, Kyneton Vic. Stall 7, Dalysford Mill Market, Vic. Mobile: 0438 048 260 Donvale Antique Clocks 12 White Lodge Court Donvale, Vic. 3111 Phone: 03 98744 690 Mobile: 0409 744 690 Email: clocks@bigpond.net.au French Heritage at Mentone Beach Antique Centre 68-69 Beach Road, Mentone, Vic. 3194 Phone: 03 9583 3422 Mobile: 0437 121 040 Email: frenchheritage@bigpond.com www.antiquecentrementone.com.au Imogene 410 Queens Parade, Fitzroy North, Vic. 3068 Phone: 03 9569 5391 Mobile: 0412 195 964 Irene Chapman at Irene Chapman Antiques 126 Bay Street, Brighton, Vic. 3186 Phone: 03 9505 0032 Ivanhoe Collectibles Corner Tearoom 231 Upper Heidelberg Road, Ivanhoe, Vic. 3079 Phone: 03 9497 1935 Julian Phillips at Tyabb Packing House 14 Mornington-Tyabb Road Tyabb, Vic. 3913 Phone: 03 5977 4414 Mobile: 0438 086 708

Kilbarron Antiques & Collectables By appointment only: 1 Laurel Grove Blackburn, Vic. 3130 Phone: 03 9878 1321 Mobile: 0417 392 110 Marquis Antiques 105 Central Springs Road, Daylesford, Vic. 3460 Phone: 03 5348 4332 Ah: 03 5474 2124 Mobile: 0402 888 439 Email: marquisfurniture@hotmail.com Tanya Gale at Camberwell Antique Centre 25 Cookson Street Camberwell, Vic. 3124 Phone: 03 9882 2028 / 03 9882 2091 Mobile: 0418 586 764 doug.gale@bigpond.net.au Page Antiques Warehouse 323 Canterbury Road, Canterbury, Vic. 3126 Phone: 03 9880 7433 Mobile: 0411 175 320 Email: guypage@bigpond.com Pavey Collectables – Antiques at Camberwell Antique Centre 25 Cookson Street, Camberwell, Vic. 3124 Mobile: 0411 437 455 Seanic Antiques 419 Melbourne Road, Newport, Vic. 3015 Phone: 03 9391 6134 Mobile: 0418 326 455 www.seanicantiques.com.au

REGIONAL AND INTERSTATE MEMBERS Baimbridge Antiques 64 Thompson Street, Hamilton, Vic. 3300 Phone: 03 5572 2516 Email: ruth@baimbridgeantiques.com.au www.baimbridgeantiques.com.au Morrison Antiques 55 Carey Street, Tumut, NSW, 2720 Phone: 02 6947 1246 Mobile: 0408 965 336 Neville Beechey’s Antiques & Fine Furniture 208-210 Murray Street, Colac, Vic. 3250 Phone: 03 5231 5738 Mobile: 0418 523 538 Selkirk Antiques 29 Summerland Circuit, Kambah, ACT, 2902 Phone: 02 6231 5244 Mobile: 0418 631 445

Direct enquiries to any of the Guild Committee Members

ANTIQUES – ULTIMATE RECYCLING 76

THE VICTORIAN ANTIQUE DEALERS GUILD

Member profile Meet Ian ML Armstrong OAM Patron, Victorian Antique Dealers Guild Inc. Victorian of the Year, 1988 Starting out: when did it begin? I have always loved antiques since being given a 100 year old sovereign by my grandfather when I was five years old. Throughout my school days I collected small items of interest. Many customers often told us our 80 year old retail shoe shop resembled an antique shop. What sparked your interest? I love the link between antiques and history. I wonder what stories they can tell. What area of antiques do you most enjoy? I love small antiques, mystery items and the links they have with social history. What is your favourite piece in stock at the moment? As we have now do valuing for the antiques trade and museums we no longer have trading stock, but I love the items made from Tasmania’s Huon pine. What antique piece can’t you live without? I carry with me always a small quizzing glass or lorgnette, which is very handy in viewing hallmarks on silver or the grain in wood etc. What’s your antiques tip for the future. Antiques will always have a place as a counter to mass-produced, modern throwaway items. They are the ultimate in recycling and will always be in demand for decoration, utility and investment.

What’s the best piece of advice you’ve received over the years. Buy the best you can afford; a stitch in time saves nine; buy less and sell more; and keep it simple. What advice would you pass on to others. Don’t be frightened to ask questions and get involved in antiques. Buy and enjoy your collecting, buy what you like, not what you think will make money. Get a book on the subject you show a liking for. Any other comments you would like to add. Start a small collection of something to which you are attracted. Let others know so they can be your eyes and ears and help you. Share your knowledge. Try to mix and match antiques with other items and decorations you own – you may surprised with the results.

VICTORIAN ANTIQUE DEALERS GUILD Established in 1982, the Guild’s motto is ‘Service and Protection.’ As a member of the Victorian Antique Dealers Guild, Ian maintains a professional standard and code of ethics by which all members abide: To take pride in presentation and proper identification of antiques and collectables To foster interest in collecting antiques To display professional conduct at all times To generate the honesty and integrity of guild members towards clients.

NEW SOUTH WALES ANTIQUES & ART IN VICTORIA

Far left: Claudiopolis (in Transylvania, Romania), copper engraving in original colour by Braun & Hogenberg, published 1617. Engraved by Hogenberg from a manuscript drawing by Joris (Georg) Hoefnagel Left: Ortelius’ World Map from ‘Theatrum’, copper engraving by Hogenberg in original colour published 1570

City views and town plans

‘Diversi dithmarsorum et vicinarum gentium habitus’ (different regional costumes of European nationals). Copper engraving in original colour by Braun & Hogenberg, published between 1572-1618

by Braun & Hogenberg

he late 16th and early 17th centuries signify a period in European art that is difficult to classify. The deaths of Leonardo, Michelangelo, Raphael and other great masters of the High Renaissance brought to an end a pinnacle of unsurpassed perfection in art, architecture and philosophy in the known European world. Historians will fail to come to a consensus when referring to this period as embodying any distinct style, loosely calling it ‘Mannerist’. This meant that the artists of this era worked in a stylised fashion that lacked the finesse and profound humanism that surrounded the Renaissance. In Europe, the world of cartography was flourishing. Sixteenth-century scholars from the Dutch, Italian and German principalities were busying themselves with regional mapmaking. The standard of engraving and the quality of mapmaking were extremely high. As a result, the atlases produced rank as works of art in their own right. The joint efforts of two German born mapmakers Georg Braun (1541-1622) and Frans Hogenberg (1535-1590) culminated in a most impressive publication of city views and town plans. It was published in Cologne between the years 1572 and 1618. Civitates Orbis Terrarum or Nations of the World, consisted of six large folio volumes that were engraved mainly by Flemish and German nationals who had surpassed the rest of Europe in their engraving skills. Hogenberg was the compiler and primary engraver for the atlas. He had recently gained vast experience from engraving at least seventy maps for Abraham Ortelius’ famous atlas, Theatrum, including the world map. Known as the first modern atlas, all the maps were produced in a uniform format and bound into one book. Braun was responsible not only for the highly descriptive text in Civitates, but also for publishing the work, although he, like Hogenberg, is also known as a mapmaker. Braun produced an extremely decorative and large world map in 1574, of which there is only one known copy. More examples however survive of the mapmaking skills of Hogenberg. His map of the Americas of 1589 illustrates the close relationships between mapmakers of that time, who constantly borrowed images and shared information with each other.

It is thought that Ortelius must have based his famous map of the Pacific, Maris Pacifici on Hogenberg’s map as it is virtually identical, and pre-dates the Theatrum Atlas by one year. Braun and Hogenberg’s Civitates Orbis Terrarum was designed to be a companion to Ortelius’ atlas. It included over 500 views and plans primarily of European cities. These two publications along with Blaeu’s Atlas Maior are among the greatest achievements in the history of cartography. In compiling the vast number of views for Civitates, Hogenberg referred to a number of sources for his up-to-date information. One of the major contributors was Joris Hoefnagel, who had some 63 manuscript drawings made purely from personal observation. The plates of the Netherlands engraved by Hogenberg were made from hand-drawn plans by Jacob van Deventer, who was also in exile from Cologne. Correspondents from many other countries in Europe were urged to send ‘portraits’ of their native landscapes. It is to Hogenberg’s credit that he gained such uniformity in the atlas, considering the disparity of styles among the contributors. Unlike traditional mapmaking, the representation of each town in Civitates is picturesque rather than geometrical, and often quite romantic. Each city plan or town view shows the landscape from a high vantage point, a tradition that was immensely popular at that time. The views offer an accurate historical record of the time, as they document not only the topography of each town and the regional costume of its inhabitants, but the town’s principal buildings and coats of arms. Important buildings were numbered on the map itself and annotated in a script box at the bottom of the plate. The depiction of the townsfolk and nobility in traditional costume adds to the cultural value of the publication. Braun’s detailed descriptive text that accompanies the images makes this publication an even more valuable record of contemporary domestic life. The copper engravings are often found in magnificent original colour in the publication. Monique Jacobson GOWRIE GALLERIES 02 4365 6399 maps@sydney.net

References Phillip Allen, The Atlas of Atlases Jonathan Potter, The Map Catalogue, 1992 Charles Bricker, Landmarks of Mapmaking RA Skelton, Decorative Printed Maps Philip D Burden, The Mapping of North America

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

1486 Ptolemy Ulm world map in fine original colour

Latest catalogue

PRINTED WORLD V Beyond Settlement A catalogue of rare world, Australian, Southeast Asian and Pacific maps from 1493 to 1847 featuring a fine selection of 17th-century Dutch sea charts of Australia

For orders 02 9387 4581

OUR STOCK INCLUDES 15th – 18th century world maps Australian maps from the 17th century onwards Maps of South East Asia and the Pacific ❖ ❖ ❖ Expert advice on all aspects of map collecting Full research, evaluation, restoration and framing service Collections and individual items always considered for purchase Extensive range of decorative antique engravings

Please note new contact details for Gowrie Galleries from 2010 PO BOX 276 TERRIGAL NSW 2260 Matcham studio: Phone: 02 4365 6399 Mobile: 0417 040 902 Fax: 02 4365 6096

EMAIL: maps@sydney.net • WEBSITE: www.gowrie-galleries.com.au

ANTIQUES & ART IN VICTORIA

James WR Linton (1869-1947), Falls Road, late evening, 1926, watercolour, 54.6 x 75.4 cm. National Gallery of Australia, Canberra

Edmund Henderson (1821-96), Perth, Western Australia, 1862, watercolour, 35 x 50.6 cm. The Wordsworth Collection, National Gallery of Australia, Canberra

National Gallery of Australia Out of the West: Art of Western Australia from the National Collection showing until 1 April 2012

hen settlers arrived in Western Australia nearly two centuries ago, they were mesmerised by the light, heat, long horizons, and vast expanses. By the 20th century art societies had formed, and local traditions had developed. The exhibition, Out of the West presents a starting point for visitors to explore the art made from these responses to Western Australia, through a diverse range of media including painting, sculpture, watercolour, drawing, print-making, photography, video installation, jewellery, furniture, decorative arts and design. The story of colonial European art and artists in Western Australia is unique; it differs significantly from that elsewhere in Australia, and is a story that has largely been left out of the histories of Australian art. The early artists in WA were mostly amateur and worked in pencil or watercolour on paper, easily transportable materials, reasonably cheap and also readily accessible. Edmund Henderson arrived with the first convicts in the Scindian on 1 June 1850 as Comptroller General in charge of convicts in Western Australia, a position he held for 11 years. He was a kind and just man, and the

initial success of the convict system in WA was largely due to his wise administration. A talented amateur artist, Henderson painted a number of atmospheric drawings and watercolours; not for any official purpose but simply to express his response to place. Henderson’s splendid watercolour Perth, Western Australia, 1862, is an important image of the past, depicting Mounts Bay Road and the steam mills at the foot of Mount Eliza. But more significantly, Henderson transformed the vista into a magical scene, full of air and sparkling light, revealing how he had been captivated by his new world. With the large gold discoveries at Coolgardie in 1892 and at Kalgoorlie in 1893, there was rush to the west in search of gold. Not surprisingly, jewellers flourished on the goldfields, making items which were both attractive and recognisably Western Australian. It is said that at least 50 goldsmiths established business in the West before 1900.1 One of the earliest and most prominent of these jewellers was George Richard Addis who had previously worked in Melbourne and Launceston. Dorothy Erickson has observed

that his 18 carat Kalgoorlie brooch of about 1894-99 is strikingly similar to those made by Donovan & Overland, such as the Southern Cross and Marble Bar brooches. The brooch may have been purchased wholesale from Donovan & Overland and then marked and assembled by Addis.2 In all of these brooches the miner’s tools become decorative emblems, with fretted letters in an arch above. In 1896 the artist James W R Linton was sent to the goldfields by his successful artist father, Sir James Linton, who had invested in the Miner’s Dream Gold Mines at Broad Arrow, north-east of Kalgoorlie. Sir James was concerned that his venture might be worthless. He was right, and like many other London investors, he had been duped. His son stayed in Western Australia and became one of the foremost artists, teaching at the Perth Technical School from 1902 until 1931, inspiring a new a generation of artists and encouraging a serious, professional approach to art. Linton took up the applied arts because his duties at the Perth Technical School required him to teach woodwork and metalwork, and also because while living on a limited budget

From left: James WR Linton (1869-1947), Casket with ibis and flower motif, c. 1935, metalwork: patinated brass, polished brass mounts, cloisonné enamel, 10 x 14.6 x 9.9 cm. National Gallery of Australia, Canberra George Richard Addis (1864-1937), Kalgoorlie brooch, 1894-99, 18 carat gold 2.5 x 5.5 cm. National Gallery of Australia, Canberra

in a small isolated community he found it useful to be able to make furniture and fittings for his home. Linton’s jewellery and metalwork is characteristically practical, simple and spare in design. Typical of his work is a casket with ibis and flower motif, c. 1935, in which he featured a stylised cloisonné enamel ibis and incorporated elements of a modern, geometric art deco style. Out of the West is the first survey exhibition outside Western Australia to present a large sample of Western Australian art from presettlement until today. It includes known images together with new discoveries. The National Gallery has a responsibility to show the full gamut of Australian art – from all states, over all periods. Vital to the exhibition are important historical works from the National Gallery’s Wordsworth Collection which shows how Western Australia was perceived during its formation. It complements the rich public and private holdings of Western Australian art held in Perth Out of the West: The early years (from pre-settlement to the 1930s) is on display in the Project Gallery. Art by more recent artists such as Herbert McClintock, Harald Vike, Elise Blumann, Guy Grey-Smith, Robert Juniper, Howard Taylor, Brian Blanchflower, James Angus and Rodney Glick featured in Out of the West: Modern Times is showing at the Orde Poynton Gallery.

Anna Gray Head of Australian art NATIONAL GALLERY OF AUSTRALIA CANBERRA 02 6240 6411 www.nga.gov.au NOTES

1 Dorothy Erickson, Gold & Silversmithing in Western Australia: A History (Perth: University of Western Australia Press, 2010), p. 75. 2 Erickson, Gold & Silversmithing, p. 93.

CANBERRA ANTIQUES & ART IN VICTORIA

ANTIQUES & ART IN VICTORIA

2011 AAADA Melbourne Antique and Art show breaks records! MOTHER’S DAY TREATS On Sunday, as part of Mother’s Day, mothers were given free entry. Adding an extra flavour to the day, Wedgwood donated collector’s tins of special tea to the hundreds of mothers who attended. Quite a few were brought by their families for the special High Tea held in the show cafe.

SPECIAL FAIR DISPLAYS

t’s been years since Melbourne had an antique and art show worthy of this beautiful city so the inaugural AAADA Melbourne Antique and Art show was highly anticipated. Crowds flocked to the show held over the Mother’s Day weekend in the magnificent surroundings of the historic Royal Exhibition Building. It was a huge success with many saying that the Royal Exhibition Building in the Carlton Gardens was a fitting setting for the fine showing of the country’s best in antiques and art. From a half hour before opening, queues waited patiently to inspect the rare delights on offer from over 50 of the nation’s most respected dealers. Many dealers travelled from all over the country to display everything from exquisite jewellery to superb furniture, historic silver, paintings, carpets, antiquities and quirky collectables. Pieces had been especially sourced for the fair and not seen before. As with all AAADA events, every item on display had been vetted by experts for authenticity.

The special guest displays were also a hit. Decollo Interiors and their outstanding display showed the art of mixing old and new. Visitors to the stand were inspired to look afresh at the way their own homes were decorated. Dr Genevieve Cummins’ remarkable display of 18th and 19th century costumes on mannequins were accessorised with decorative chatelaines and original costume watches, which were worn as fashion accessories in the same periods. Dr Cummins was on hand to sign her new release How The Watch Was Worn – A Fashion for 500 years. One visitor was heard to say ‘It was very lovely to meet Dr Genevieve Cummins – a real pleasure. Her knowledge and passion is outstanding.’ Other interesting exhibits were those of the National Trust, Furniture History Society and the Silver Society, who also provided details of their activities. All were pleased to be invited and even more delighted to be signing up many new members to their respective organisations. By the show’s end, attendance figures were the highest recorded for any event organised by the Association in its long and successful history. Judging by the happy faces clutching carefully wrapped and precious items as they left, not everyone came simply to look and learn. Dealers subsequently reported that there were a number of sales after the fair’s close and follow up calls, adding to the lustre of this inaugural Melbourne event.

FUTURE EVENTS We are looking forward to next year’s antique and art show, and already have very interesting guest exhibitors lined up. Building on this year’s success, many more antique and art dealer members are wanting to take part next year, the dates being 3 – 6 May 2012, again at the Royal Exhibition Building. In the meantime, the next AAADA show will be held in Sydney in September and we

can assure antique and art lovers that they are in for another wonderful experience. AAADA Show Sydney 2011 The Pavilion, Royal Randwick Racecourse Alison Road, Randwick NSW 7 – 11 September 2011

BUY WELL! Look for the AAADA logo in galleries, antique shops and centres as your guarantee of quality, expertise and good service.

FREE NATIONWIDE LIST Contact the AAADA office for a free nationwide list of members, services and educational workshops or log on to our website www.aaada.org.au. The site offers a good selection of stock and new pieces are being added all the time. As well as offering information about the AAADA shows in Melbourne and Sydney, the site is an easy way to establish contact with our members if looking for specific items or wish to sell. Seize the opportunity of having a ‘hands-on’ experience and the interaction of conversation with your local or interstate AAADA dealer. AUSTRALIAN ANTIQUE & ART DEALERS ASSOCIATION 03 9576 2275 secaada@ozemail.com.au www.aaada.org.au

ANTIQUES & ART IN VICTORIA

Liu Qinghe, Wind and water, 2010, ink. Courtesy of the artist and the National Art Museum of China, Beijing

Tang Yongli, Dream of Dunhuang - Blissful land of old age, 1998, ink. Courtesy of the artist and the National Art Museum of China, Beijing

GEELONG GALLERY presents

Reflections of the Soul Chinese Contemporary Ink Wash Painting Showing until 11 September

special exhibition from the National Art Museum of China in Beijing celebrates 2011 as the Year of Chinese Culture in Australia (Experience China). Modern interpretations of the venerable Chinese tradition of ink wash painting by nine leading artists are on show at Geelong Gallery, the exclusive venue for these works in Australia. Ink wash painting has long been one of the most distinctive idioms in Chinese painting and is currently enjoying a great resurgence in popularity in China as well as abroad. Contemporary Chinese artists working in the genre explore themes as wide-ranging as city and suburban life, the world of dreams, historical allusion and the relationship between Chinese opera and painting. Many Chinese artists seek to make advances in this field of traditional motifs, drawing figures in an expressive and

imaginative manner to reflect the soul and the spirit of contemporary China. This selection of works reveals how Chinese artists combine Eastern impressionistic styles with Western expressive methods, creating create paintings with vivid colour and bold gestures and approaches. Their works demonstrate the character and calibre of recent explorations of this time-honoured tradition of ink wash figure painting. The exhibition features four themes: figures in the metropolis; links between the past and present; works inspired by the world of dreams; and the relationship between Chinese opera and visual art.

FIGURES IN THE METROPOLIS Since the 1990s, with China’s rapid urbanisation the topic of the metropolis has become an increasing focus for artists – to the extent that it is now one of the most

Australian audiences have this unique opportunity to see firsthand and to understand better trends in recent Chinese art, through this exhibition of ink wash painting.

Ma Shulin, Jing (Painted face), from Beijing Opera, 2011, ink. Courtesy of the artist and the National Art Museum of China, Beijing

compelling subjects in contemporary Chinese art. On one hand, just like other urban residents artists enjoy the prosperity and convenience of living in a metropolis. However, they also face the mayhem and fickleness of big city life. This dichotomy inspires contemporary ink figure painting and expresses its duality. Artists Tian Liming, Liu Qinghe and Zhang Peicheng are outstanding representatives of this trend. Each artist describes urban scenes with distinctive visual languages and expresses various emotions arising from their personal experience of city life. Tian Liming combines traditional unstructured painting techniques with a Western impressionistic treatment of light and shadow presenting characters in a clear and transparent manner. Liu Qinghe represents the feelings of anxiety of people in a metropolis. Figures in his paintings are either in the clouds or under water, representing the frequent sense of helplessness of people in busy cities. Zhang Peicheng emphasises the leisure aspect of a modern metropolis and the notion of the city as a place where one may find comfort and repose.

LINKS BETWEEN THE PAST AND PRESENT For much of the past century, Chinese art has revolved around the process of transition from past to present and the differences between China and the West. Artists who think deeply about history, tradition and modernity assimilate the essential character of both Chinese tradition and Western ethos. Tang Yongli’s understanding of and learning from traditional Chinese frescos, especially the Dunhuang frescos are characteristic of his work. He is adept at moving between histories by using mottled textures and fine lines and skilfully combining elements from the past and the present, while at the same time addressing faith and secularity. Liu Jin’an uses powerful brush treatments to raise questions about history and reality.

His works are notable for their philosophical and modernist intonation.

WORKS INSPIRED BY THE WORLD OF DREAMS Although art is often based in reality, it could be said that artistic expression just as often transcends reality. Many artists create a fantastic world that is far removed from the everyday – a dream world that has its own poetry and allure. Shao Fei paints her dreams in a fantastic manner. Inspired by an ancient text that describes the geography of China, The Classic of Mountains and Seas series are contemporary interpretations firmly rooted in the artistic imagination. Similarly, Chen Suping’s works are based on a young man’s dreams of his childhood and the garden that was his spiritual home.

CHINESE OPERA AND VISUAL ART Traditional Chinese opera and ink painting are closely connected: every gesture and motion of the performer, and every stroke and brush of the artist, all follow established methods or protocols. While closely following these formulae may be considered restrictive, a number of contemporary Chinese painters working in this field choose to highlight the physicality and beauty of operatic and painterly traditions. Zhu Zhengeng introduces emotion to the traditional idiom: his tightly grouped characters are dynamic and clearly expressive. Ma Shulin’s vibrant and gestural approach to traditional ink painting techniques represents a breakthrough in depicting various character roles in Chinese opera. Avalon Airport is the proud sponsor of this exhibition. For more details about future exhibitions contact GEELONG GALLERY 03 5229 3645 geelart@geelonggallery.org.au www.geelonggallery.org.au

Dealers in Fine Art

Metrolink, 2008, oil on linen, 153 x 244 cm

introducing

DEAN BOWEN A selection of oils, works on paper and sculpture

Driving Farmer, 2004-08, bronze, 17 x 14 x 31 cm

Lady with Flowers, 2001, bronze, 51 x 43 x 27 cm

Happy Dog, 2001, bronze, 24 x 37 x 24 cm

158 Burwood Road Hawthorn 3122 03 9818 1656 Monday to Friday 9 â&#x20AC;&#x201C; 5 Saturday 10 â&#x20AC;&#x201C; 4 Directors: Jillian Holst and Rod Eastgate eastgategallery@optushome.com.au www.eastgateholst.com.au