antiques IN VICTORIA
art and
AUGUST – DECEMBER 2013
HIGH STREET
Armadale Antique Centre Over 40 Licensed Independent Antique Dealers
1147 High Street Armadale Victoria 3143 Tel: 03 9822 7788 www.armadaleantiquecentre.com.au Open 7 days 10.00 am – 5.00 pm
antiques
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PUBLISHER ABN 39 945 398 132 JQ Pty Ltd Suite 1b, 10 Spring Street, Bondi Junction NSW 2022 PO Box 324, Bondi Junction NSW 1355
ADVERTISING SALES André Jaku 02 9389 2919 / 0412 229 117 Fax 02 9387 7487 andrejq1@gmail.com Harry Black 03 9813 8585 / 0418 356 251 harry-black@bigpond.com
MANAGING EDITOR Eva Jaku 02 9389 2919 editor@worldaa.com www.worldaa.com
COPY EDITOR Paula Towers editor@worldaa.com
DESIGN AND PRODUCTION Brian Cass, Kylie Kennedy, Brigitta Campbell & Kathy O’Grady production@worldaa.com
PRINTERS Webstar 1/83 Derby Street Silverwater NSW 2128 Rural Press Bells Line of Road, North Richmond NSW 2754
CONDITIONS OF ACCEPTANCE No responsibility can be taken for the quality and accuracy of the reproductions, as this depends on the quality of the material supplied. No responsibility is taken for typographical errors. The publishers reserve the right to refuse and edit material. All prices and specifications are subject to change without notice.
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IN VICTORIA
NOTICE TO DEALERS Please send us any articles for publication in Antiques & Art in Victoria. Length up to 1,000 words, preferably typed on disk, or email with accompanying captions. Mail pictures as prints, transparencies or digital images on CD. Article is conditional on advertisement being taken. Next issue will be distributed in December 2013 Booking deadline 21 October 2013 Copy deadline 28 October 2013
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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 • www.pascalleclerc.com.au
03 9510 8522 Warehouse by appointment only 0412 560 371 Antiques and
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LECLERC ANTIQUES brings French antiques to Australia L 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 22 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
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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.
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.
A SPECIAL OPPORTUNITY
RULES TO FOLLOW
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
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
Editorial CONTENT FRONT COVER Vivienne Westwood Ready-to-Wear Collection Fall/ Winter 1993. Photograph by Michel Arnaud. Courtesy of the FIDM Museum at the Fashion Institute of Design & Merchandising, Los Angeles. Gift of Arnaud Associates (SC2000.1095.1 AS030102) See page 45
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Leclerc Antiques brings French antiques to Australia – Pascal Leclerc The Internet or the High Street – your choice Kevin Gordon’s glass showcased at Veronica George Gallery – Veronica Kukawski Travel posters: insight into tourism from the 1930s to 1970s The art of Star Wars, superheroes and Star Trek – Colin Kaye Expressions Gallery New website for those with a collecting bug – Philip Moorhouse The beginnings of time in horology – Michael Colman Audemars Piguet – Ron Gregor Nouveau-Bisgrove Furnishing’s new showroom – Denny Toffoletti The Pastel Society of Victoria’s annual exhibition – a celebration of 26 years Charles Schneider: Art Deco glass maker Resurrection – a labour of love – Mike Gleeson All about spelter and its connection with bronze – Guy & Trish Page Model trains, a moving collectable – Jason Bridge Amanda Addams Auctions & David Freeman Antique Valuations – Amanda Addams From Top to Tone: an exhibition of work by Gregory R Smith FVAS The Victorian Artists Society’s upcoming highlights Schots Home Emporium showcases stylish mid-century inspired furniture and lighting For sale – The Caledonian – a prized heritage home – Graham Coulton War and the impact on 20th century design – from furniture to cars – Roy Williams Victorian chairs – visions of modernity – Dawn Davis The 2013 Annual Kenneth Jack Memorial Watercolour Award to be held at Montsalvat The American clock Using Howard Products a Victorian lady gets a 60 minute makeover – David Foster Di King’s fourth annual show Art Gallery of Ballarat: Capital and country: the Federation years 1900-1914 – Miriam Kelly Modern Love @ Bendigo Art Gallery Sherbrooke Art Society supports local artists Antiques by the sea at Mentone Beach Antiques Centre Mount Eliza’s 35th Annual Art Exhibition South Eastern Arts Festival’s Great Art Show Exhibitions to view at McClelland Sculpture Park + Gallery Brialyn Boathouse Gallery: featured artists at Frankston’s centre for fine art Turning a vision into reality – Tyabb Packing House Antiques Surprises in porcelain – John Rosenberg Welcome to the workshop at Pegasus Antiques – Joel Duggan Metropolis Gallery, Geelong presents Kenneth Jack: Classic and rare works – Robert Avitabile Metropolis Gallery, Geelong presents Ludmilla Meilerts (1908-1997) Flowers – Robert Avitabile The Majid collection continues the series on Persian carpets – Majid Mirmohamadi Hamilton Art Gallery, Thomas Clark: a great colonial artist Program of special exhibitions at the Art Gallery of Ballarat Castlemaine Art Gallery and Historical Museum: Dora Meeson and the Thames Bendigo Art Gallery, Arthur Guy Memorial Painting Prize 2013 Post Office Gallery, Art for the People: Bendigo Art Gallery 1887-2013 – Simone Bloomfield Bendigo Pottery the next generation – Sally Thomson VADG: Ask the Expert Cross country launches of a significant Indigenous art collection publication Finding fresh collecting options at the Gippsland Antique & Collectables Fair Conserving Australia’s heritage, the Thompsons of Paddington, Sydney – Susanne Gervay The mysterious Monsieur Descubes – a botanical thriller Australia: Land and Landscape, a major survey at the Royal Academy of Arts, London – Anne Gray The luxury of Italian leather at Schots Antiques recording discoveries – Kathryn & Derek Nicholls The Australian Antique and Art Dealers Association Universal Coin Co – a leading numismatics firm
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
Auctioneers and Valuers
AMANDA ADDAMS AUCTIONS
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
SALE DATES 2013 Monday 2 September 2013 6.30 pm Viewing: Saturday 31 August 11 am – 4 pm Monday 2 September 12 noon – 6 pm
QUALITY SINGLE ENTRIES OR LARGE COLLECTIONS (ANTIQUES, ART, COLLECTABLES, DECORATIVE ARTS AND DECEASED ESTATES) ARE ALWAYS INVITED FOR SPECIAL AUCTIONS
AMANDA ADDAMS AUCTIONS
Monday 7 October 2013 6.30 pm Viewing: Saturday 5 October 11 am – 4 pm Monday 7 October 12 noon – 6 pm
344 High Street, Kew Victoria 3101 Tel: 03 9855 2255; Fax: 03 9855 2244
Monday 4 November 2013 6.30 pm Viewing: Saturday 2 November 11 am – 4 pm Monday 4 November 12 noon – 6 pm
David Freeman 0419 578 184 Amanda Freeman 0419 361 753
www.aaauctions.com.au
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.
The publishers reserve the right to refuse and edit material. The opinions expressed in this publication are not necessarily those of the publisher. No responsibility will be taken for any decision made by the reader as a result of such opinions. Antiques and
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THE INTERNET OR THE HIGH STREET your choice T
he Fabrile website is now online and we are on our cyberspace journey. Google Fabrile or go to www.fabrile.com.au and you will find us. The journey is nothing like the trip to High Street, taking in the sights and looking for 1143, three doors down from Mercer Road. We have tried this Internet caper once before and it is quite a tedious business. We would much rather speak with you, share a smile or joke and catch up with your news. Perhaps it will end with us having to Skype you on the iPad while you search our site on the computer! You might ask why we would go online if we dislike it so much? The answer is simply that so many people have asked us to be online. It is also worth mentioning that recent data suggests traditional retail sales have stalled while Internet sales have doubled. Some of the dire predictions of the impact of Internet selling on bricks and mortar retail in Australia are frightening. We must inform our landlord before the next rent review. Like all retailers we sometimes wonder where all of these trends will leave Fabrile. Just in case they leave us in a bad place we have fired up the Tardis with a steely resolve to ‘keyboard on’!
FEEDBACK INVITED We are not sure where the site will take us and we are relying on your good feedback once more. Firstly, we would like to know if you like our site. However, if you are going to be critical, please be gentle, as the designer is a really good friend. Secondly, we would welcome any suggested improvements you might recommend for the website. Please tell us how we can improve things, better still, do not be afraid to like things. We want to stay relevant and make our mark on the Internet. You can tell us your opinion through the website. Even better, come in and say hi. Do you know how lonely
Art Deco chest, with sculptures by Fred Press (American 1919-2012), ceramic vase designed by Simone Larrieu (French 1912-1996) and candlesticks made by Meridian International Plate Company (USA)
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Selection of beaded purses with Bakelite bangles and 1920s French cloche
Bronze bust of Phryne, cast from a model by Emmanuel Villanis (French 1858-1914)
our shop would be if you all stayed at home and only viewed us online? Antiques and Art magazine deserves a special mention as we love participating with the team and the readers are very generous in their feedback. We distribute an increasing number of copies of Antiques and Art in Victoria in the shop and we are reminded every time a copy leaves that old fashioned retail and written publications are alive and well. If you come to High Street you can still enjoy some fresh air, walking to Fabrile from Graham Geddes, up past Virtanen, Capocchi and the Malvern Antique Market. View the Egyptian artefacts at B.C. Galleries on your way to the Armadale Antique Centre, Vintage
Johann Wolfgang Elischer (Austrian 1891-1996), Bronze figure group - study of boy with ibis
Decorative art deco alabaster crouching figurine set in a clam shell
Various figurines in bronze by Pierre La Faguays, Hans Muller, Geo Clerc and Dellannoy
Posters, Galerie Moderne and Letitia Morris. There are treasures to find, decorating ideas, art and jewellery for every taste and collector. There are also books at Berkelouw on all of your favourite topics and great coffee on the way at Zoro Espresso, Woodstock or 8 Days Cafe to mention but a few. However, there are some empty shops along High Street and you may be witness to contemporary history if you believe those businesses were victims of the Internet. You will be the judge of that and we will try to judge the relevance of the Internet by your response to our humble website. Your choice! FABRILE 03 9824 8826 / 0438 248 826 www.fabrile.com.au
Bookcase made by Maison Krieger (Paris, est. 1826) with bronze art deco figures
French rosewood 1930s cabinet with bronze elephants sculpted by Irenee Rochard (1906-1984)
Art Deco vitrine with Amelia De La Tour spelter group on top
HIGH STREET
The Veronica George Gallery represents a large number of leading Australian glass artists and showcases many of their complex glass techniques. 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
KEVIN GORDON’S GLASS showcased at Veronica George Gallery B orn in Norway, Kevin Gordon comes from a family of glass engravers who immigrated to Australia in 1980, and from whom he learnt traditional techniques. His parents are both glass engravers/artists and his sister is a glass blower and, having worked with glass for 20 years, Gordon’s techniques have continued to develop.
Gordon at first worked with architectural glass until 1995 when he decided to practice as a glass artist/designer. Initially with glass blowers in Victoria, he now has a studio-based practice in Western Australia. The development of his techniques and processes has moved Gordon’s work into an individual and much sought-after contemporary approach to glass. He creates dazzlingly complex glass vessels that exemplify a technical
command of traditional glass-making processes. Over-laid colour blown glass is decorated by engraving, sand-blasting and lathe cutting through layers of colour and bringing it back to a high polish through hand and fire polishing. This approach exploits colour and the light transmitting properties of glass to great effect. Some parts are translucent while others capture the light and the faceted sides refract light – creating a montage of visual impressions through the play of light and colour.
ARTIST’S STATEMENT ‘In the design process of my work I look for how nature evolves. I look for the underlying logic and formulas that create nature’s designs, not so much to imitate but to look how it is formed. I use this by breaking down the design to the basic elements or fractals, which repeat in a form of mathematical formula, which build up to make the whole design. Taking this into the challenge of working with glass to exhibit and expose the many qualities of the glass, to push the boundaries of what skills I have developed in cold (glass) working in conjunction with the skills of others which I work with in the hot glass in its many applied process to finally achieve my work.’
ABOUT THE GALLERY The Veronica George Gallery showcases a wonderful and diverse collection of art glass by well-known Australian artists. This ranges from one-of-a-kind art glass to studio glass and collectables as well as jewellery and bronzes. Located in the heart of Melbourne’s arts and antiques precinct, at 1082 High Street
Armadale, the gallery is open seven days a week for your shopping pleasure, and can deliver items worldwide. For more information contact Veronica Kukawski VERONICA GEORGE GALLERY 03 9500 9930 veronica@veronicageorge.com.au www.veronicageorge.com.au Antiques and
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TRAVEL POSTERS insight into tourism from the 1930s to 1970s he beauty of the travel poster lies in its capacity to document a specific moment in time. Travel posters present us with visual tour of the most desired tourist destinations from an era where travel was for privileged high flyers. As such, it’s not surprising that most of these posters portray images of elegance and sophistication. Travel conjured up images of women in white gloves, straw hats and matching leather suitcases, a very different picture to how travel is viewed these days. The tourism industry has seen many an innovative marketing campaigns and top-end artists and publishing companies have long been employed to entice the public. These posters, like all posters, capture distinctive moments in time. In this case, we’re thrust back to an era when travel was exotic, elegant and extravagant. We’re able to understand how a certain destination, country and culture were viewed by society at that time. Travel today might have lost the elegance that was once at its very core, but these beautiful posters have not. We’re celebrating this beauty at Vintage Posters Only and we’d love for you to join us.
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MEET SAM JOHNSON Vintage Posters Only owner Sam Johnson, a.k.a. the Poster King, began his interest in vintage posters when living in Paris during the early 1990s. On seeing the vintage posters that adorned the walls of cafes, restaurants and shops the P.K. (as he’s known to many) started his own collection which soon grew into a gallery of works that can be viewed at his Melbourne shop front.
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WHY OUR POSTERS ARE SPECIAL We are just obsessed with these stunning artworks. Every poster has a story to tell, from the artist who created it, to the product it is selling. So what is it that makes our posters special? Firstly, they are all original vintage posters. This means that they are prints existing from the original print runs ranging from the 1930s to 1970s. Quite often they have a history behind them. Many were hung in subways, buildings or kiosks, basically anywhere that had a large enough surface for the public to take notice. Secondly, some of the most important poster artists of all time are represented in the collection. Villemot, Savignac and Cappiello were all masters of their art and to have their work accessible to everyone is rare in the art world.
POSTERS FOR ALL COLLECTING INTERESTS We have an extensive collection and an array of categories. We’ve got posters relating to cars and bikes, fashion, food and beverage, art exhibitions, events and entertainment – everything you can think of. Vintage posters are great for decorating any space and are a guaranteed talking point in any home or business. Given that there is such a wide range of images and themes available, it is possible to find the perfect vintage poster for anyone. You can view our posters in store or on our beautiful new website at www.vintagepostersonly.com.
Feel free to contact us with any questions regarding posters, we are more than happy to help. We love what we do, working with posters all day everyday and sharing these stories and this experience with anyone who is interested. If you can’t afford the holiday to Hawaii or the Bally heels, come in and grab the poster! VINTAGE POSTERS ONLY 03 9500 2505 sam@vintagepostersonly.com www.vintagepostersonly.com
HIGH STREET
Wanting to buy original lithographic posters from the turn-of-the-century to 1970. Condition not important! Paying Australia’s best prices.
Contact: Sam Johnson 03 9500 2505 Email: sam@vintagepostersonly.com www.vintagepostersonly.com
1136 High Street Armadale Victoria 3143 Antiques and
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Centre of the Storm
Storm Trooper
Superman – For Tomorrow
Gotham’s Crusaders
Silver K Gallery is delighted to present one of the most stunning exhibitions ever seen at our gallery
THE ART OF STAR WARS, SUPERHEROES AND STAR TREK 24 August–24 November ith over 160 pieces on display, this show takes visitors on a magical journey through the world of all the favourite Star Wars, superheroes and Star Trek characters and is a display not to be missed. The collection has taken over two years to collate and many of the pieces have been specially released out of archives for this truly unique exhibition.
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STAR WARS Created by George Lucas, Star Wars is an American epic space opera film series. The first film in the series was originally released by 20th Century Fox on 25 May 1977, under the title Star Wars, and became a worldwide culture phenomenon, followed by two sequels released at three year intervals. Sixteen years after the release of the trilogy’s final film, the first in a new prequel trilogy of films was released. These three films were also released at three year intervals, with the final opening on 19 May 2005. As of 2010, the overall box office revenue generated by the six Star Wars films has totalled approximately $4.41 billion, making it the third highest grossing film series in history, behind only Harry Potter and the James Bond films. The extraordinary collection of art in this display literally takes visitors on a journey through the life and times of all the characters and stories that made the Star Wars films come to life. Lucas films have commissioned some of the finest artists and illustrators to recapture those classic scenes and moments that made Star Wars such an internationally acclaimed success.
A wonderful selection of Star Wars art on canvas and paper presents all your favourite characters including Darth Vader, Yoda, Artoo, Storm Troopers and Boba Fett. A significant number of works are hand signed by the artists and one of many highlights is a wonderful collection of art from acclaimed designer and illustrator Ralph McQuarrie (1929-2011). Ralph designed many of the Star Wars characters, including Darth Vader and Chewbacca and drew numerous concepts for the films’ sets. He was also responsible for designs on the original Battleship Galactia (2004-2009) television series, ET The ExtraTerrestrial (1982) and Cocoon (1985). His artwork is stunning and sought by collectors around the world. Scourge of the galaxy is just one example of his beautiful work. Another artist whose works are featured in the Star Wars display is Christian Waggoner who was specially commissioned to produce a painting series commemorating the 30th anniversary of Star Wars. Hand-picked by Lucas Film Ltd, he recreated unforgettable moments in the classic film series with his unique exploration of light and reflections. His uniquely enhanced photo realistic style makes viewers wonder how he achieves such skilful detail with a mere brush and canvas. The show also presents the first ever Star Wars pieces produced by legendary artist Alex Ross. These artists and many more make this collection one of the finest Star Wars displays ever seen in Australia.
SUPERHEROES DC Comics Included in the exhibition is a beautiful collection of superheroes artwork from internationally acclaimed artists Jim Lee and
Size matters Not
Alex Ross. Batman, Superman, Wonderwoman, Green Lantern, The Flash and many more superheroes are part of this unbelievable collection. The display from Jim Lee is one of the special highlights of the show. Lee first broke into the industry in 1987 as an artist for Marvel and since that time has become a superstar for comic book and art collectors. In 2003 he collaborated on a 12 issue run on Batman with writer Jeph Loeb. The resulting publication Hush became a runaway success. He followed this up in 2004 by illustrating For Tomorrow, a 12 issue story on Superman. Lee is so popular today he is mobbed whenever he attends conventions and it is not uncommon to see lines hundreds of meters long waiting to see him. Jim Lee has won numerous artistic awards and today is both a co-publisher and artist for DC Comics – a true giant in the industry. The DC Comics part of the show includes a rare collection of original hand painted production cels used to create the animated cartoon series. Cartoon production went digital some 20 years ago , so these cels are now very rare and much sought after by collectors.
MARVEL No superheroes display would be complete without work from the famous Marvel Studios. Stan Lee is known as the man whose characters propelled Marvel Comics to its pre-eminent position in the comic book industry. His singular co-creations include Spiderman, The Incredible Hulk, X-Men, The Fantastic Four, Iron man and Silver Surfer. Today Lee has his own company, POW Entertainment, where he publishers and licenses art for the entertainment industry. A significant collection of Marvel artworks, many hand signed by both the artist who created the artwork and the characters’ original creator Stan Lee are on display.
Scourge of the Galaxy
Silver K Gallery has been given the exclusive world distribution rights for this artwork. This is the first time an Alex Ross artwork has had its official release outside the United States making this a rare and unique opportunity for Australian fans and collectors.
MAKING THE ART The art on display is first created by the artists as a one-off original and then reproduced as a limited giclee print on paper or canvas. The canvas editions are stunning and the giclee process is so good that many works are mistaken for originals. The canvas editions are all signed by the artists and are accompanied by a certificate of authenticity from the relevant studio. Putting this collection together has been one of the largest projects Silver K Gallery has ever undertaken and this display is one of the very best exhibitions ever presented at the gallery. Do not miss this rare opportunity to explore the worlds of Star Wars, superheroes and Star Trek. If you require any further information please do not hesitate to contact our head office or view our website. Admission and catalogue: adults $10 children $5. Contact details are as follows Colin Kaye SILVER K FINE ART PTY LTD 03 9509 5577 www.silverkgallery.com.au
STAR TREK
The Original Seven
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EXCUSIVE WORLD PREMIER RELEASE – THE FINAL FRONTIER BY ALEX ROSS This stunning, limited edition giclee print on canvas features the USS Enterprise with a backdrop of Star Trek heroes Captain Kirk, Spock and Dr Leonard ‘Bones’ McCoy. The artwork has been pulled from a beautiful original gouache painting created by Alex Ross and is limited to only 95 pieces. A small number are also signed by William Shatner.
Final Frontier
HIGH STREET
Jeffrey Smart (1921-2013), Container train in landscape
John Olsen AO OBE (b. 1928), Spoonbill and Egret
EXPRESSIONS GALLERY 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, Jasper Knight, Margaret Olley, Helen Norton, Tim Storrier and Brett Whiteley. 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.
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ARTIST PROFILE: XIANZHU SHI 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.
Jeffrey Smart (1921–2013), Surfers, Bondi
Expressions Gallery
EXPRESSIONS GALLERY 03 9500 0667 xart668@yahoo.com.au
John Olson, Sydney Sun, 1965
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
Xianzhu Shi
Xianzhu Shi
FINE ART LIMITED EDITIONS VINTAGE POSTER LINEN BACKING CUSTOMER FRAMING Antiques and
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NEW WEBSITE FOR THOSE WITH A COLLECTING BUG
Display and search screen shots from The Collectiong Bug
Invitation to a new website for collectors specialist website for collectors is now in beta release, and seeking keen collectors to help with final testing. The Collecting Bug is uniquely designed to allow all collectors to organise and display their collection on their own personal website using a simple customised template. Philip Moorhouse, a Melbourne collector of letterpress printing equipment and historical wood type, started The Collecting Bug
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almost by accident. ‘Over the last 20 years, my collection had grown to the extent that I really needed to manage it better. Also, many of my collecting friends were overseas, yet I had no way of sharing,’ Philip explained. ‘I thought a website was the ideal solution but being a nontechnical person, I asked some collector friends for advice. It turned out quite a few wanted something similar themselves! I looked and looked, but couldn’t find anything suitable.’
A NEW WAY TO SHOWCASE COLLECTIONS Keen collectors have tried previously to get their collections online, but with limited success. Blogs don’t help you organise your collection. Collector forums are great for sharing knowledge but you can’t showcase your collection. Collectors can document their collection in an Excel spreadsheet, but it can’t handle pictures. Philip says it was very frustrating, like going around in a circle! Everything was a compromise. The final straw came when he attended an overseas collectors’ convention (yes, they even have them for letterpress collectors!), made lots of new contacts and friends but couldn’t show them anything in his collection.
A SITE DESIGNED TO BE UNDERSTOOD He resolved to design the best possible website he could – for himself, and other keen collectors. Not knowing how to do this, he started looking at the finest museum and art gallery websites he could find, then individual online collections, forums and clubs, and finally speaking with collectors. When he approached website developers, they told him most websites start the other way – very basic, with features added as required! But this backwards design approach turned out to be a blessing in disguise, as the end result is a well-integrated, easy-to-use, website. Even his lack of technical expertise had a benefit – if he couldn’t intuitively understand it, he worked with the developers to simplify it.
TAILOR-MADE FEATURES FOR COLLECTORS The concept is straightforward – in a nutshell, every item in your collection is listed with its customised fields (e.g. size, maker, condition, country of origin, date), a general description, and up to 12 photographs. Load up your collection, either item by item or alternatively by bulk import, and then organise it into optional folders. Lastly, set your privacy levels and think up a name for your website. For those who want more, hidden under the bonnet is a powerful database content
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management system. Other features include links to other websites, sending and receiving messages, listing duplicates and wanted items, searching your entire collection in an instant for a single word or by customised fields, and storing documents. You can easily display up to 20,000 items in a single collection. As Philip worked with fellow collectors, several other themes came up frequently. It must look good, as most collectors have developed a fine eye for design! Privacy was critical, so collectors are only identified by a username and, with private field, item and collection settings, you only show as much, or as little, as you wish.
AN INVITATION TO FREE ROAD TESTING The Collecting Bug is now in its final development phase before general release, and seeking collectors to assist in beta testing. For anyone interested in having their own collection website, this is a remarkable opportunity. The team will personally guide you step by step as you create your own, fully customised website – entirely free. Whether you are interested in your own website, or just enjoy looking at others, you can now visit The Collecting Bug website and see a variety of collections. Even though it is in limited beta release, the response has already been very favourable. For more information contact Philip Moorhouse THE COLLECTING BUG 0417 544 588 philip@thecollectingbug.com www.thecollectingbug.com
MALVERN
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11. 12. 13. 1. Rolex Datejust Wristwatch, 2012, stainless steel and 18 ct white gold, Oyster Perpetual Datejust automatic movement, ref no 116234 V479582, silver dial with luminous baton markers, original Jubilee bracelet with fold over clasp, with papers. Sold $5428 2. Tanzanite and diamond pendant on chain set in 18 ct white gold; tanzanite, wt: 21.80 ct (approx). 10 brilliant cut diamonds, belcher link style chain, secured with a parrot clasp. ATDW 0.20 ct. Sold: $14,160 3. Pair of sapphire and diamond earrings, c. 1950s, 18 ct white gold, emerald cut sapphires 5.65 ct, 5.85 ct, claw set, 8 grain set brilliant cut diamonds total 0.16 ct, baguette cut diamonds: 0.04 ct, carre cut sapphires, clip on fittings. Sold $8260 4. Piaget 18 ct gold wristwatch, c. 1980s, manual movement, golden dial with baton numerals, herringbone linked gold integrated bracelet with original fold over clasp, total weight: 72.1 grams. Sold: $3658 5. Sterling silver bowl, c. 1950s, ovoid bowl of reclining swan-like form marked Mexican silver 925 underside, h: 19 x l: 40 x depth: 27 cm, wt: 1399 grams. Sold $2124 6. Bracelet c. 1960s, 18 ct gold arabesque shaped links featuring claw set 24 pink/red rubies in a double cluster, fitted with the concealed clasp and safety catch, length: 19 cm, weight: 64.7 grams. Sold: $3068
7. Large Chinese export porcelain bowl, 18.5 x 47 cm (diam), over-glaze coloured enamels decorated with a scene of Canton (Guangzhou) waterfront and the 'Thirteen Factories', inside rim featuring floral and foliate border in red and gold. Sold $9440 8. Set of six Italian rococo style lacquered dining chairs, late 19th century, h: 116 x w: 59 x depth: 58 cm, leather-covered drop-in seat, foliate and rocaille decoration, cabriole front legs with a low H-form stretcher, the carved details with traces of gilding. Sold $2478 (set) 9. Rare antique walrus head humidor, early 20th century, h: 36 x w: 42 x depth: 51 cm, set on an oval platform base with four brass lion’s paw feet, silverplate and brass fitted four various sized removable containers. Sold: $4012 10. Spode part tea service, c. 1815, Imari style pattern no. 1956, New Oval shape teapot (h: 15 cm), six Bute shape cups and saucers, a pair of saucer dishes (diam: 18 cm) and a waste bowl, decorated with a scene of a building amidst flowering trees and other designs within various panels, painted marks and pattern numbers underside. Sold: $1298 11. Chinese 19th century soapstone figure of a horse, set on a low carved and stained wood base, 15.5 x 22 cm (stone figure only). Sold: $3304 12. Chinese Late Qing dynasty (1644-1912), blue and white porcelain double-gourd vase h: 30.5 cm, decorated with writhing dragons. Sold $1770 13. Easy Chair No 4 designed 1959 by Illum Wikkelsø ( Danish 1919-1999), oak and wool, h: 77 x w: 68 x depth: 78 cm. Sold $590
AUCTION SCHEDULE 2013 Accepting items for consignment:
FINE & DECORATIVE ARTS, ANTIQUES & JEWELLERY HEAD OFFICE: 47 GLENFERRIE ROAD, MALVERN 3144 T: +61 3 9509 6788 F: +61 3 9509 3455 email: philips@philipsauctions.com.au www.philipsauctions.com.au
Fine and Decorative Arts Modern and Antique Jewellery Closing for Entries Viewing
Sunday 8 September Monday 9 September Thursday 15 August Wed 4 - Sat 7 Sept
Fine and Decorative Arts Modern and Antique Jewellery Closing for Entries Viewing
Sunday 20 October Monday 21 October Thursday 26 September Wed 16 - Sat 19 Oct
Fine and Decorative Arts Modern and Antique Jewellery Closing for Entries Viewing
Sunday 1 December Monday 2 December Thursday 7 November Wed 27 - Sat 30 Nov
Visit www.philipsauctions.com.au for details of all current lots
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Roman Scaphe shadow clock of truncated form (hemicyclium). The gnomon was placed in its hole at the top parallel to earth, the hour read off indicated scale, c. 100 CE
Byzantine portable sundial calendar in brass, c. 520 CE
Byzantine portable sundial calendar in brass c. 520 AD
The Beginnings of Time IN HOROLOGY he term ‘horology’ stems from two Greek words, hora, which means time, and logos, which means word or telling. The modern dictionary defines horology as being the ‘science of time.’ Where does one start on understanding time? A good starting point would be when man began to record time. Two famous Greek philosophers in the 6th century BC defined time as follows. Pythagoras (c.582-c.507 BCE) stated that ‘time is the procreation element of the universe’ whereas Parmenides argued, ‘Time does not pertain to anything that is truly real.’ So our time base is the result of a Greek modification of an Egyptian practice combined with Babylonian numerical procedures. Sound confusing? Let us start at the beginning. Many thousands of years ago time was recorded as one day at a time. Time was ‘day to night’, ‘hungry or full’. Then, as man developed and understood the environment better, time started to be recorded by more accurate means. Days would have been added together to the time frame of the moon, then the moon to the seasons and so a general structure started to develop. Clearly, time became less haphazard as man began to develop the ability to predict the seasons. Suddenly, they knew when it was time to plant crops or harvest the grains and they had a better knowledge of how long they could store their food.
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Dawn was chosen by the Egyptians to represent the start of a new day, whereas the Babylonians, Hebrews and later Muslims chose sunset. The Romans chose sunrise to mark the start of a new day but later midnight was chosen because of the variable length of the day. Most of Western Europe adopted sunrise as the start of the new day until the arrival of the mechanical clock in the 14th century. Astronomers like Ptolemy (c. 90-170 CE) chose midday as the start of the day and this stayed as the beginning of the astronomical new day until 1 January 1925 when, by international agreement, the astronomical day was made to coincide with the civil day. The first man-made solar, sun or shadow clock was from Egypt and dates from around 1500 BC. It was shaped like a T-square with marks on each side therefore giving no shadow at noon. This type of instrument, however, did not allow for changes in the seasons such as the longer and shorter days of summer to winter. The oldest surviving shadow clock (14791425 BCE) is missing the top of the T and without it is now similar in layout to the letter L. But it is an improved model as it takes into account the changing seasons. It has irregular marked intervals on its length, to compensate for a faster moving shadow, the further the sun moves from its zenith. The shadow clock was faced east before noon and west after.
Chinese great steelyard arm clepsydra of Keng Husn and Yuwn K’ai
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Star clocks were used as a night timing instrument. This incorporated a ‘merkhet’ which was basically a plumb line hung from an L shaped and marked holder. Through the merkhet astronomers could observe selected stars moving across the meridian (zenith) of the night sky. While doing this they discovered that certain stars crossed this meridian at a roughly even nature and at a certain point. In conjunction with this they used another instrument called a palm leaf (palm rib of the observer of the hours) which was basically a stick with markings that were roughly Y shaped with a slot at the top for sighting and setting the point for observations with the merkhet. The Egyptians were the first to set 365 days to the year, broken into three seasons of four months and then 12 months of 30 days and five additional days at the end of each year. They created a very good calendar and the Egyptians matched the day to the night by dividing the day into 12 intervals – 10 intervals for daylight and two extra for twilight. The Egyptians were also the first to use a water clock to measure the duration of night hours. Later, the Greeks called this device a‘clepsydra’. This basically required a tapered container to be marked into set parts to match the leakage of water that gave a time frame of water loss. The Egyptians also created the 24-hour pattern from the night stars. These were 12 ‘decans’ (each of the three divisions of a
Waterclock by Ctesibius of Alexandria (fl. 285-222BC)
zodiacal sign) or diagonal star-clock calendars. These periods were carefully monitored by the priests who chose a new star every 10 days, creating 36 decans a year, three decans per month plus five days for the full year. The Babylonians left us with the first astronomical computations which were in a sexadecimal (60) system instead of our decimal system. These were taken up by Greek astronomers creating equal hours, breaking them into 60 firsts or minutes and each of these also into 60, creating seconds. The first sundial appeared in Greece in the 4th century BC. Scholars studied these instruments mathematically creating much greater accuracy for future generations. Their sundials were very robust and simplistic in their construction and were eventually adopted by the later early Christian communities and spread to Central and Western Europe. The Greeks were great philosophers and storytellers and by the 5th century BC were the first to record history in a chronological manner. For the first time in history the passage of time became more relevant, not only in the written form but in laws, contracts and expectations of the community. Rome’s first sundial clock apparently was brought from Sicily in 263 BCE. It was very inaccurate, as it was set from where it was made and, for example, 4 degrees latitude south gave incorrect time readings because of the angle of the sun. It was almost 100 years later before one was made appropriate to Rome’s latitude in 164 BC and within only six years Scipio Nasica set up a public clepsydra in Rome. Following this, clepsydras were installed in Roman law courts to formalise a time in law. It is reported that many wealthy members of the Roman population would pay the ‘clock’ watcher to slow down the clock so they would not be late for their day in court! By the time of Caesar, water clocks were used in the military camps to time the four night watches; evening, midnight, cock crow and morning. Around this time wealthy members of the upper class obtained private water clocks and special slaves were appointed to look after, read and announce the hours to their masters. This is the first time clocks became a significant status symbol. Even with improvements in these clocks, they still could not agree or keep equal rate of loss. This led the Roman writer Seneca to complain ‘that it was impossible to tell the exact hour, since it is easier for philosophers to agree than for clocks!’ When the Romans started using the Greek
Alabaster cast of an outflow clepsydra, Karnak Temple, 1415-1308 BC
MALVERN calendar, the months were equal of 30 days with 5 days of celebration. But the Romans were never as mathematically precise as the Greeks and after political manipulation and corruption the Roman calendar was always out by almost three months from the true solstice. This was the position when Julius Caesar introduced his calendar on 1st January 45 BCE. By the advice of the Greek astronomer Sosigenes, Caesar extended the previous year 46 BCE to 445 days to correct the anomaly of political power games where months had been shortened or lengthened at whim to prolong or shorten terms of office. Julius Caesar fixed the civil year at 365 and introduced the leap year of 366 every 4 years to compensate for the extra quarter day. He ordered January, March, May, July, September and November to have 31 days and all other months to have 30. The exception was February with 29 days except in leap years when it would have 30. Augustus interfered in 7 BCE and renamed Sextilus after himself and assigned the same number of days as the months before and after. He stole (or perhaps bought) the day off February (probably a poorer rich family represented the smallest month). To avoid having three months of 31 days, September and November were reduced to 30 and October increased to 31. Hence the calendar once again reverted to an illogical number of days in the months and has been copied throughout most of the world. Christianity originated from the world of the Roman Empire, so it was natural to start the Christian calendar on the Imperial Roman model that has continued more or less to this day. The Islamic world became the true successor of the former intellectual capital of the Hellenistic world – Alexandria. Alexandria had been a city of the Eastern Roman Empire, which outlived the Western Empire. Fortunately it was not over-run by barbarians and managed to keep intact much of the writings of the ancient worlds. Most Greek works were translated into Arabic by the end of the 9th century. The Muslim religion required mathematically educated people who could determine the astronomically defined times of prayer and the direction of Mecca. It is not surprising that many portable instruments for determining time were required, the chief instrument being the astrolabe. This instrument can be traced back to Ptolemy in the 2nd century CE and was the forerunner of the sextant. Some of these became elaborate double-sided instruments and later mechanical devices. Still the principal clock mechanism was the water clock, with added features giving sunrise, sunset indicators, month, moon and a celestial layout.
Many of the ancient water clocks were instruments of incredible complexity as many were constructed to indicate the hour which varied from the sunrise starting point during the year. This required a complex in-built means of changing the starting and setting points. Although there were no mechanical clocks in antiquity mechanical advances were made for devices to reproduce the movement of the heavenly bodies. One remarkable Hellenistic geared mechanism that has survived was discovered in 1900, in the wreck of a Greek ship near Antikythera, off the south coast of Greece. In 1974 D.J. de Solla Price reported on the results of x-rays and gamma rays of the corroded remains of this bronze mechanism. He concluded that it was a calendrical computing device, determining the positions of the sun and moon in the zodiac and involved a series of wheels and fixed gear ratios for working out the metonic cycle in which 19 years correspond to 235 Lunar months. This was possibly the closest to a mechanical clock found in antiquity. But in 1983 four fragments of a geared instrument of early Byzantine origin possibly made around the reign of Justinian I (483565) were acquired by the British Museum. It has been possible to reconstruct the complete instrument, which was a brass sundial with a geared calendar that showed the approximate shape of the moon and its age in days and may also have shown its position and that of the sun in the zodiac. Two of the fragments have gears of 59 and 19 teeth and of ten and seven teeth. This instrument appears to be similar to an instrument described by the Persian scientist al-Bruin (973-1048). This would appear to be a direct practical link between the Greek and early Islamic times. In ancient China, time keeping was recorded using water clocks and sundials. The great steel yard arm clepsydra of Keng Husn and Yuan Kau (CE 610) seems to be the missing link between the normal in-flow or out-flow clepsydra and the one following. The steel yard arm or beam balance weighed water, along the beam was a container suspended by the controlling weight allowing the container to be lowered or raised acting as an in-flow and out-flow into a reservoir. The container was lowered into the water holder causing in-flow, filled to a certain point, then the clock observer would move the counter weight backwards raising the container, causing out-flow. This in effect was the first escapement, whereby the counter weight was moved as the escapement with the help of a human, in effect the weight could be changed in many positions allowing for the change in seasons.
In China many astronomical devices had been made. Some of these had copied European lines, particularly with Greek science making its way from Alexandria, down through to India and then into China. An example is at this time there were three clans of Indian astronomers working in the capital. They manufactured a variety of astronomical instruments and clocks along these principles and also invented new ways of keeping the heavens synchronised for observations. Chang Sui (682-727), a Tantric Buddhist monk, known as I-Hsing with the help of a scholar named Liang Ling-Tsan explored the concept of self-running escapements. Liang Ling-Tsan is credited with developing a solution to the problem of elliptically mounted sighting tubes over the more common equatorial sighting system. Using these two systems together gave the astronomers the ability to make better observations and IHsing was able to develop a better calendar able to accurately predict eclipses, for example. The emperor Hsuan Tsung in 723 gave permission for the bronze casting of new astronomical instruments to be used by I-Hsung, Liang Ling-Tsan and other capable men. This was a water wheeled system and apparently is the first time in history that an escapement used scoops filled with water. As the water flowed in a trip system it advanced the scoops. The Chinese also used incense burners as a form of time keeping. These apparently burnt uniformly making them suitable. Some were single incense sticks and others were placed in a track system like a maze burning at certain intervals. I am not sure when they started using this form of time keeping but these were far more accurate than the candle clock being developed in Europe during this period.
The candle clock was the next major invention in keeping time and is attributed to the Anglo-Saxon King Alfred (848?-899). According to his biography, Alfred the Great devoted eight hours to public duties, eight hours to studying, eating and sleeping with eight hours for worship. To apportion his time, he took 72 pennyweights of wax and made 12 candles each a foot long. Each burned for four hours or, an inch in 20 minutes. One of his chaplains, charged with the keeping of the candle, reported that they burned quicker in a draft. So the king devised a lantern (lanthorn) with frames of wood and sides of horn scraped thin enough to be translucent.
Michael Colman COLMAN ANTIQUE CLOCKS 03 9824 8244 www.colmanantiqueclocks.com
Reconstruction of the Antikythera mechanism
Colman Antique Clocks WAT C H & C L O C K R E S T O R E R S
The case is complete with green silk backed fine filigree timber fretwork panels (total 8 panels) to front, sides and rear door
The movement is beautifully made with early generous acanthus styled hand engraved back plate, original verge escapement and pendulum, with 5 pillars striking the hour on the larger of the bells, and quarter hour pull cord repeat on the nest of six bells
The break arch case has full size opening doors, glazed, to front and rear
Fine early Georgian bracket clock by London maker John Taylor, c. 1730, housed in an ebonised break arch case with inverted bell top surmounted by a carrying handle, resting on bracket feet. John Taylor was a listed clockmaker and a member of the Clockmaker’s Company of London. The dial with gilt spandrels to corners and arch, with silvered finishes to strike/silent regulation in the arch, main chapter ring, engraved name plate bearing Taylor’s signature, a date aperture above 6 o’clock and further aperture for verge mock dial window with lovely handcrafted blued steel hands
The strike mechanism has a pull cord repeat. The repeat occurs in the quarter you are in 2:32 = 2 peels of six bells and 2 of the hour 4:20 = 1 peel of six bells and 4 of the hour 7:50 = 3 peels of six bells and 7 of the hour
1421 Malvern Road Malvern, Victoria 3144 Australia Ph: 03 9824 8244 Fax: 03 9824 4230 Email: michaelcolman@optusnet.com.au Website: www.colmanantiqueclocks.com Cleopatra’s Needle once stood at the Temple at Heliopolis where its shadow kept the hour
A drawn example of a Roman hemicycle and examples of Hemicyclium or Scaphe shadow clocks
Member of the Watch and Clock Makers of Australia (formerly HGA) and the BHI
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SOUTH YARRA
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
AUDEMARS PIGUET he third of the ‘Big 3’ watch manufacturers in terms of prestige and excellence, Audemars Piguet, has probably received the least attention from dedicated collectors and enthusiasts. The biggest advantage for collectors is that of the three ‘best’ watches available, secondhand Audemars Piguet is by far the least expensive. Its very existence at the top of the tree, as far as technical excellence is concerned, should cement its place as a desirable in terms of collectability. Patek and Vacheron have been extensively discussed and debated throughout the collecting world, and this has been reflected in the prices realised for these brands at major sales throughout the world, but perhaps Audemars should be given more thought when considering the purchase of that next watch for the collection. Ever since Jules Audemars and Edward Piguet combined their talents in 1875, and eventually formalised their association with a contract in 1881, their influence on the history of watchmaking has been astounding. Their clearly defined philosophy of innovation and their desire to manufacture top quality ‘complicated’ watches with the most modern available methods of production, was an ideal that was established at their incorporation, and has not wavered since. Audemars Piguet was and still is a unique company in that their dedication to complications meant that many of their early masterpieces were, in fact, pocket watches. Their ‘Grand Complication’ of 1889 combined functions such as minute repeater, perpetual calendar, moonphase and chronograph all together in the one watch. This however did not stop the company from developing innovations for the wristwatch market. In 1924 Audemars developed the first wristwatch with a jump hour register. The founders’ original
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desires have obviously been continued by their descendants within the company, as shown by such advances in technical innovations such as the manufacture of the thinnest movement in the world (1.64 mm) in 1946. The thinnest ladies wristwatch (2.36 mm) was manufactured in 1960 and the world’s thinnest movement, with an automatic gold rotor (2.45 mm), in 1967. The smallest automatic wristwatch with a perpetual calendar was manufactured in 1989. In more recent years, the company released the first commercially available ‘Grande Sonnerie’ wristwatch grande sonnerie means grand strike, that is, striking the hours and quarters automatically, and repeating the hours and quarters when operated by a lever. The only problem about owning such a timepiece is the $280,000 asking price for a new watch. In 1972 Audemars released the world’s first prestige stainless steel sports watch with a fully integrated steel bracelet. Some cruelly say this watch was prestigious only because of the price, but its success pre-empted the release of Patek Phillipe’s ‘Nautilus’. Even the history of this particular watch’s name, ‘Royal Oak,’ is quite interesting. In 1651 after the Battle of Worcester, King Charles II hid from his pursuers in the hollow of an ancient oak tree, the original ‘Royal Oak’. The navy adopted the name and made a series of vessels of the line (partly from oak of course) at the height of Imperial glory when Britain ruled the waves. It is this royal and naval heritage that inspired Audemars Piguet in at least the design of their sports watch. That universal symbol of the high seas – the porthole – was the starting point and octagonal bezel and hexagonal screws securing it to the watch followed as a natural development. Audemars’ success with this particular model has seen the range increase to models in 18 ct yellow
Audemars Piguet Tourbilloon
Audemars Piguet T3 Terminator
gold, in a combination of steel and gold, and even in rose gold and tantalum. Movements also vary with many complications having been released over the years – and even to the extent of the availability of a quartz model. With a price of CHF 3,300 when released in 1972 in stainless steel, these watches today are worth more than that second hand and indeed one can approximately double that amount for a nice quality automatic model. It has to be said that Audemars suffers very little in comparison to the other two ‘big guns’ with a total annual production of only 14,000 pieces. This means the quality control of the company is not overburdened, thereby ensuring that the watches leaving the workshop are all worthy of bearing the logo of one of the finest watches in the world. Ron Gregeor COLLECTIONS FINE JEWELLERY 03 9867 5858 www.collectionsfinejewellery.com
Audemars Piguet Platinum Dress
HAWTHORN EAST
NOUVEAU-BISGROVE FURNISHING’S NEW SHOWROOM
to continue tradition of upholstery & furniture restoration
pholstery is an art form, using traditional techniques and tools to recreate a piece of furniture. Restoring a piece of furniture to its original condition is a satisfying accomplishment. At NouveauBisgrove Furnishing we offer a one-stop shop service; we have skilled craftsmen to guide you through all aspects of restoration and friendly staff to assist with textile selection in our showroom. As expert craftsmen, we can custom make furniture, carry out repairs and restore unique pieces. As specialists we know and use the best of old and new upholstering techniques to remake your furniture to your specifications.
COMPREHENSIVE RANGE OF EXPERTISE
ENDURING ESTABLISHED BUSINESS
As our upholstery team and polisher work side by side, furniture can be fully restored by Nouveau-Bisgrove Furnishing from start to finish. Our highly skilled craftsmen strip the chair down then re-build its insides, polish and repair the wooden areas, then upholster the piece, eliminating the stress of transporting furniture to different tradesman. Upholstery and recovering a piece of furniture begins with restoration of the framework and insides of the piece, then upholstering with fabric or leather and finishing with piping, studs or braid. Detailed upholstery includes the art of precision diamond buttoning, detailed pattern matching, making loose covers and re-creating furniture, duplicating its original state. The elegance and couture of antique furniture is revived in upholstery. Furniture restoration is the art of repairing and restoring a piece back to its intended form, allowing the natural grain of the timber to shine through. Our work includes removing scuff marks, scratches, burns, repairing broken timber legs and re-polishing whole table
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As one of the oldest upholstery businesses in Melbourne, Nouveau-Bisgrove Furnishing was established in Hawthorn East in the early 1900s. Denny Toffoletti took control of the business in the mid 1990s, after it was handed down from his father Guido Toffoletti. Keeping up the family ties, Denny has employed his brother Eddy Toffoletti who is a fully qualified French Polisher. Together they produce amongst the finest quality restoration and upholstery work in the industry.
NEW BURWOOD SHOWROOM OPENING IN OCTOBER We are very excited to announce we will soon be opening a new showroom – in October – at 58 Highbury Road, Burwood. Our one-stop reputation will continue by uniting our showroom with the craftsmen. While the transition is made into the new premises, our showroom at Hawthorn East will be trading as per usual.
As furniture restorers we have worked on many antique pieces including Victorian chaise longues and lady’s chairs as well as contemporary pieces such as ottomans, day beds and outdoor furniture. Other items we have restored and French polished include Victorian and modern tables and credenzas, side tables, leather in-lays and gold tooling. We custom make pieces, strategically designing them with our clients to suit their requirements such as scatter cushions, bench seats, bed-heads, sofas and chairs.
surfaces and leather inlays. As timber furniture is produced from a natural product it requires care and attention to detail during restoration. Our dedicated staff can assist with any queries so visit our boutique showroom for assistance in selecting fabric, leather, vinyl and outdoor fabrics, view our past and current workmanship and browse through our furniture and accessories for sale.
Denny Toffoletti NOUVEAU-BISGROVE FURNISHING 03 9882 5824 showroom@nouveaubisgrove.com.au www.nouveaubisgrove.com.au
ONE-STOP SERVICE SHOP
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CAMBERWELL
Brenda Colautti, Backlit trees
Anne Taylor, Leah
Linda D. Finch, Young Couple Jenny Griffiths, The Breakwater at Apollo Bay
Caroline Lewallen, Memories of Bakery
THE PASTEL SOCIETY OF VICTORIA’S annual exhibition – a celebration of 26 years 14 – 24 August he Pastel Society of Victoria, Australia (PSVA), is celebrating its 26th annual exhibition at AGRA Galleries at Guild House, from Wednesday 14 to Saturday 24 August. Opening night starts at 7 pm and all are welcome to come along and see some of the best pastel painting in Australia today.
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ALL ABOUT THE PSVA The PSVA was formed in 1986, by a small group of dedicated pastellists to provide contact, information and encouragement for artists interested in the use of pastel, as well as creating a greater awareness of the pastel medium in the community. Encouraging art shows to create separate categories for pastel, instead of works on paper, has been a major achievement over the years.
A member of the International Association of Pastel Societies means members are kept abreast of all the latest news relating to pastel painting worldwide. Peter Groom (PSVA President) has recently returned from the USA where he and his wife Marion (PSVA Treasurer) attended the 2013 IAPS convention. With the contacts he has made with several internationally well-known artists, hopefully there will be many visits from some of these ‘master’ pastellists over the next few years, to conduct workshops and demonstrations in Victoria and around Australia. The society holds monthly meetings and demonstrations, appraisals and practical workshops with local and overseas artists with the aim of educating and advising members in all aspects of art. Our excellent bi-monthly highly informative magazine, The VicPastel Newsletter, has become a pacesetter for other art societies around Australia.
You will be made very welcome if you are interested in using the medium of pastel.’ Please contact Honorary Secretary Anne Taylor on annetay1@msn.com or PSVA Vice President Libby Wirt on libwirt@gmail.com
SOME ARTISTS OF THE PSVA ANNE TAYLOR Anne is a hobby artist, when she stops gardening for long enough to paint. She is correspondence secretary and editor of the newsletter of the PSVA, a member of Sherbrooke Art Society and Emerald Art Society. Anne has been taught for many years by prize-winning, prestigious pastel artist Barbara McManus. She has also attended many workshops and demonstrations given by various Australian and international artists such as Regina Hona, Rosemary TodmanParrant, Maxwell Wilks, Herman Pekel, John Dudley, Ross Paterson, Lee Machelak and Margaret Evans from the UK. After rearing her family and a teaching career she decided to take up art again and discovered the delight of pastel painting. She paints in oils too, but pastels are her preferred medium. She has exhibited in many art shows and has received many highly commended and commended awards. Many of her works are now in collections in the USA, Germany and Australia. With other artists, Anne was asked to contribute a painting for Melba’s Marvellous Melbourne, an exhibition honouring Dame Nellie Melba’s 150th birthday celebration in May 2011. In 2010 Anne was awarded an honorary life membership of the Pastel Society of Victoria, Australia, for her extraordinary services to the society. Contact: 03 5968 5181; annetay1@msn.com BRENDA COLAUTTI Brenda has tried many different art forms commencing with pottery. She enrolled in tonal oil painting classes about 12 years ago and also has attended workshops since then with various artists. Under their tuteladge she found her own personal style and her love of painting increased. It has become almost an obsession, with the added benefit of it heightening her visual awareness and forcing her to notice more around her with a fresh eye each time she paints. When she was introduced to soft pastels in a workshop about five years ago, Brenda found this medium and the instant colour and vibrancy very exciting. From there she joined the PSVA and looks forward to its monthly meetings with the continuing benefit of education of medium, method and technique. Brenda’s main interest is portraiture and figurative work and, when on holidays, she loves to join friends plein air painting in her local area. Contact: 03 9435 4645; colauttibrenda@hotmail.com
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CAROLINE LEWALLEN Although Caroline has spent time indulging in watercolour and oil painting, the recent discovery of pastels has begun a new chapter in her artistic life. The immediacy, intensity of colour and luminosity of the pastel medium, she finds irresistible. Caroline is passionate about light, shadow, colour and experimenting with mixed media. Photographs and life provide inspiration, her subject matter varying from still life, gardens and animals to seascapes. ‘It is all about tone and light!’ she explains. Recently Caroline joined PSVA and is enjoying the role of committee member. In 2012 Caroline entered work in several exhibitions including the PSVA Annual Exhibition where she won an award for emerging artists. In 2013 she held her first solo exhibition. Contact: 0425 854 549; bizybee@iinet.net.au LINDA D. FINCH After studying graphic art in the early 1980s, Linda worked in graphic design for many years before starting her family. She pursued her love of art by taking up painting, with pastel being her preferred medium. Over the years she has entered many art shows, participated in group exhibitions and won various awards. She now teaches pastel painting at the Manningham Art Centre and has paintings regularly displayed at Aumann Family Orchard, Warrandyte and Ruby Tuesday Jewellery, also in Warrandyte. Linda is a member of the Warrandyte Arts Group, The Pastel Society of Victoria, Australia, the Australian Guild of Realist Artists and the Pastel Palette Group. Contact: 0403 878 419; lindafinch@optusnet.com.au or Linda Finch Artwork on Facebook JENNY GRIFFITHS Jenny always enjoyed being creative and its pursuit took her in many directions. In the early 1970s she trained as a teacher specialising in needlework and textiles and worked in primary schools in the UK. In 1990 she emigrated to Australia. Jenny spent two years studying under artist Janet Matthews who introduced her to pastel painting and she has continued to enjoy this medium ever since. She continued classes with Barbara McManus, Heather Peberdy and Joseph Attard and has attended many workshops. She focuses mainly on landscape. Her work has been exhibited at Rotary Shows, the Australian Guild of Realist Artists and the Pastel Society of Victoria, Australia’s annual exhibitions where in 2009 she won best in show with her painting Into the Sun. She is a member of Ringwood Art Society and the PSVA where she is an active committee member. Contact: 03 9720 1529; jenny@mannin.com.au PASTEL SOCIETY OF VICTORIA 03 9509 3690 www.vicpastel.com.au
CAMBERWELL
produced from 1913 to 1933 while the Le Verre Francais and Charder were produced from 1920 to 1933. The word Charder was a composite of Charles and Schneider. During its heyday around 1925, the Schneider firm at Epinay-sur-Seine was the largest glass making company in France, and Charles was elected to the prestigious Exposition that year while the following year he was awarded the Legion of Honor for his contribution to the arts. The firm continued in business, producing tinted glass, then clear crystal tableware from 1945. In 1948 Charles’ son Robert took over the artistic direction of the business which was moved in 1962 to Lorris.
SPECTACULAR DESIGNS BY A SUPERB TECHNICIAN
CHARLES SCHNEIDER
Art Deco glass master C harles Schneider (1881-1962) was recognised as a leading force in art glass during the Art Deco movement and his creations were much sought after. The current high demand for his work indicates that today’s collectors are equally captivated by his genius. Unfortunately, Schneider art glass is fairly scarce and pieces in pristine condition are very difficult to find. This shortage of supply and increase in demand is reflected in the value of his glass. Charles Schneider and Art Deco go hand in hand. A French glassmaker who trained under Emile Gallé and was a leading designer at the Daum Brothers of Nancy, his avant-garde approach to colour and design of art glass not only revolutionised the traditional French art glass industry but embodied the vibrancy of the Art Deco era. He was an imaginative, innovative designer and glass artist and was also acutely aware of the artistic, social, and commercial circumstances that shaped his era. The social aspects of life during the 1920s provided the perfect backdrop for artistic and commercial stimuli. Post World War I, the French economy was recovering and the growing middle class was gaining more leisure
time and the means to afford some luxuries, allowing them to pursue artistic interests. This provided commercial opportunities for the Schneider Glass Works as the new higher standard of living made the growing middle class a viable market for art glass. Schneider’s passion for Art Deco is reflected in his creations. He produced spectacular art glass with bold colours and sophisticated designs that have stood the test of time. His pieces graced homes in the 1920s and 1930s but also enhance today’s modern lifestyle and décor. That is the real testament to his ability as an artist.
Although his art glass was produced for a relatively short time, Charles created an immense variety of spectacular models. His glass designs cross the entire range of creative possibilities. He produced a vast, and varied, hand-blown body of work demonstrating a cross section of glassmaking and decorating skills. A superb technician, he used every known decorative glass technique: ‘hot’ work techniques such as internal decorations, applied glass, imbedded glass, overlaid glass; and ‘cold’
work techniques including enamelling, acid treatments, wheel-carving, etching, and engraving. There are several broad categories of Charles Schneider’s designs, within which exist hundreds of variations. Termed the quintessential Art Deco glass, Schneider’s breathtaking creations added zest to life in the 1920s, and they continue to be relevant in our time through their suave simplicity, angular motifs and strong contrasting colours. The extensive variety of created during such a brief time is evidence of his talent as a glass artist, who not only demonstrated mastery of all elements of his art, but who also understood clearly the economic factors shaping life in his time. His imaginative and elegant works of art not only epitomised the Art Deco era but leave a legacy that we can all enjoy. CAMBERWELL ANTIQUE CENTRE 03 9813 1260 / 0418 586 764
Further reading Marie-Christine Joulin & Gerold Maier, Charles Schneider, Wissner, Augsburg, 2004 Alain Fournier, ‘The many facets of art glass during the Art Deco era’ 2001, www.decoesque.com Thomas C Karman, ‘A symphony in glass: The legacy of Schneider’, Echoes, 1999, vol. 8, no. 1 www.artfulmilieu.com/legacy.html
INNOVATION IN GLASS ART Charles was both an artist and a businessman. As an artist he bought innovative changes in glass art of his time by experimenting with and introducing bold colours. This, along with the harmonious simplicity of his compositions and the elegance of his design, was to distinguish Charles Schneider from his competitors. As a businessman he was the mastermind behind two lines of art glass, the Schneider Line and the La Verre Francais Line which co-existed throughout a short production period. Charles realised that the intricate glass line signed Schneider might be too sophisticated and not easily affordable for some people. The items produced under the name of Le Verre Francais and/or Charder were made in larger quantities, designed to popularise art glass and make it more accessible to the public. The Le Verre Francais line was a great success. The general public loved its bright vases with the stylised flowers in stunning colours, including bright oranges and yellows. As the majority of this glass was only etched one time, the production costs were low. Schneider-signed pieces were reserved for the carriage trade and elegant shops along the Champs Elysees and New York City’s Fifth Avenue. All Schneider glassware was made traditionally and bears the individual touch of the glass blower and his team, making each piece unique. The Schneider variety was
Camberwell ANTIQUE CENTRE
OVER 50 DEALERS IN ANTIQUES, COLLECTABLES, SPORTING MEMORABILIA AND EPHEMERA Large selection of Wedgwood, Moorcroft, Carlton Ware, Doulton, Australian and Oriental pottery, silver, jewellery, perfume bottles, paintings, toys, dolls and teddy bears. Plus a fabulous collection of art glass including Schneider, Lalique and Sabino.
25-29 Cookson Street Camberwell VIC 3124 (opposite Camberwell Station)
03 9882 2028 or 0418 586 764 OPEN 7 DAYS 10AM - 5PM Antiques and
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RESURRECTION A labour of love hen we moved shop last November to 410 Burke Road Camberwell, it became all too obvious that not everything was going to fit into the new place. Having sold off quite a bit of stock prior to moving there were a few hard decisions to be made as to what we would keep and what would have to go. In the process I came across a fantastic 150-year-old carved Italian gilt wood mirror frame that had been buried out the back of the old place. In its previous life I’m sure that it started out as a picture frame for some magnificent old master. It has the quality and all the hallmarks of a great frame but had been grossly neglected and was in a state of major disrepair. It was one of those jobs which had been put off forever. I had in fact had this frame buried out the back for nearly 25 years as we rarely buy stock in bad repair.
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RESTORING A FADED BEAUTY Most of my working life has been involved in restoring items for others and producing reproductions for sale or restoring sold items from the shop front. The decision was made to keep and restore this beauty as a showpiece for the new store and finally bring to life this magnificent enormous frame. We knew we had the majority of the pieces so it was simply a case of making the time to do the hard yards. Chief restorer Jason Seaborn has been restoring these sorts of things for over 25 years at Giltwood and he took on the task with gusto; firstly finding and sorting out the bits we had and which piece went where, then working out what we needed to fabricate to complete the task.
THE RESTORATION PROCESS: PROPER GILDING Many boxes of parts have arrived at Giltwood – often previously a beautiful mirror or picture frame hung on the wall by a well meaning husband. It would be prudent to mention at this time that these things do not fall down gracefully and need to be installed professionally. After the frame is re-glued and strengthened and all the pieces had been replaced and into their original order, and all of the cracks and joins have been re-glued, filled and sanded, the frame is then hand passed to me for gilding. As with lots of these things, this frame had been smothered in gold paint again by well meaning amateurs in the
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belief that it replicated proper gilding, which now has to be removed. So with a lot of elbow grease the frame is sanded back to a solid base of the original gesso and then coated with a new coating of Armenian bole. This is a red coloured clay base and has been used under gilding for thousands of years, since ancient Egypt, and at least since the 18th Dynasty (1352-1344 BCE), as seen in the tomb of Tutankhamun. Once this has dried for a day or so, it is sanded then recoated again. After this hardens, it is again fine sanded and polished. This coating basically fills the grain and acts as the key to bind the surface for the next stages. At this point one can moisten the clay and proceed to gild the frame in 22 carat gold leaf, known as water gilding, or shellac the frame for oil gilding. On this frame I have chosen the oil gilding process and may do some burnished highlights. This process has been done since the early 1900s. After three coats of shellac to seal the surface it is then coated with a coat of gold size varnish. After the required drying time which, due to temperature and humidity, varies with the seasons, it is then laid with the gold leaf in a roof tile type pattern. Again, a day or so drying time is required before the gold leaf can be cleaned up, then any surplus or overlapping leaf is removed, resulting in a smooth seamless coating of gold. This is now coated in a final coat of shellac to protect and seal the surface and offer some protection from dust and handling.
FRAME RESTORED I have finished it by simply applying a final coating of a gold translucent wax which offers a smooth transition from highlight to hollow and can be polished or removed as required. Now this frame has a rather bright look as I believe it was never intended to be a wallflower. However, if somebody wishes to buy it for a painting then I would be only too pleased to tone it down to suit the artwork – it is a matter of taste. For price and measurements etc, please visit our store at 410 Burke Road Camberwell Victoria or visit us online. Mike Gleeson GILTWOOD.COM 03 9889 6543 giltwood@hotmail.com www.giltwood.com
CANTERBURY
ALL ABOUT SPELTER & its connection with bronze S pelter is the name given to zinc alloys but also generally appears to cover other grey metal combinations, such as lead, pewter and antimony. Antimony is white, almost more shiny than silver but very brittle; combined with other metals antimony makes the alloy harder but more brittle. As it has the unusual characteristic of expanding when it cools, antimony helps alloys retain the finer details of moulds. These combined metals were used sometimes for trinkets, planters and tiny figures depicting people or animals. This lead/pewter/antimony spelter is oxidised and being soft and brittle, can be worked only by casting. Its thickness must be sufficient to ensure a secure connection. It has a very fine grain and its appearance is a bit dull. Spelter as a zinc alloy appeared in the later part of the 19th century when the price of zinc metal fell, owing to new smelting processes. Another advantage was that it could be cast at a lower temperature than bronze, making the moulds was cheaper. Lighter than lead and brighter, zinc was also easier to cast and was regularly used in artistic applications between 1880 and 1940. This is the type of spelter that is of most interest to us, as it was used extensively in figures of this period. The casting thickness is generally quite thin, with hollow volumes (internal cavities). The existence of such cavities is often revealed by the presence of holes about 4 mm in diameter. These holes are usually plugged with putty. As mentioned previously, spelter was the material of choice for many of the statues of the late 19th and early 20th centuries and was used as a decorative element in many clocks
of that period. By not having to use the more expensive bronze metal, which is made from copper and tin, forms cast in spelter meant that affordable ornamental items were accessible to more people.
SPELTER BY ANY OTHER NAME… Spelter has many names, the least flattering being ‘muck metal’ or ‘slag’. In addition the Americans call it ‘white metal’ while the French refer to it as régule (composition). It is also referred to as imitation bronze, art bronze or even French bronze. These latter names only assist in adding to the confusion between bronze and spelter figures. One technique was to plate the surface with copper and then patinate the form to a dark bronze colour, making it hard to distinguish it from bronze at first glance. Spelter was also painted to look like bronze. The painting of the finish is a specialised skill and is extremely durable, often only needing a touch-up after repairs. Early 20th century figures have more colour with green and gold tones. It is also important to note that a painted bronzed finish was also applied to some figurines made from plaster and terracotta. Another method was to cover spelter with a coloured wax or lacquer. Spelter was also plated in silver or gold.
IDENTIFYING SPELTER & BRONZE Following is an outline on how to differentiate spelter from bronze. 1. Weight: bronze is heavy while spelter figures often have a heavy base or are weighted for balance. Turn the object upside down to determine if it feels top heavy. 2. Temperature: bronze is colder to the touch.
3. Base metal colour: examine for patches where patina is worn through revealing the base metal. A brassy yellow colour indicates bronze; while a grey colour reveals spelter. A red or brown colour points to a resin (a red/orange can be terracotta while white indicates plaster). Check underneath the object and scratch lightly to reveal the material under the patina. It’s worthwhile double-checking as it may have been bronzed. 4. Damage: if there are chips, cracks or lost fingers, the material is more likely to be spelter as it is more brittle than bronze 5. Holes: internal cavities present in spelter. 6. Bases: bronzes are unlikely to have marbleised bases, they usually have a bronze or marble base. 7. Price: the price can also be a guide; bronze of course is usually much higher. N.B. Poor quality spelters and new bronzes lack detail in facial features, fingers etc or have a general lack of definition. From 1860 a number of sculptors cast some of their
work in bronze and some in zinc (spelter). The latter being lighter and less costly.
LATER SPELTER The American firm of J.B. Hirsch produces Collection Francaise, spelter items cast from moulds sourced from French foundries easily identified with fleur-de-lis motifs. Apart from these works we are not aware of any reproduction spelters being produced today, while bronze copies seem readily available. So if age is important to you then spelter is probably a safer alternative. Zinc has proven its worth even in today’s society, even though its role has changed. It had, however, a period where it was able to shine in objects of pure artistic beauty before it was delegated to the more practical. As spelter, it was made to be admired and its durability will allow it to be a treasured antique for many years to come. Guy & Trish Page PAGE ANTIQUES 03 9880 7433 / 0411 175 320 guypage@bigpond.com www.pageantiques.com.au
HUGE RANGE OF QUALITY FRENCH BEDS
Guy Page
PAGE ANTIQUES Formerly of High Street Armadale
“The best selection of queen-size beds”
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PAGE ANTIQUES WAREHOUSE 323 CANTERBURY RD, CANTERBURY VICTORIA 3126 PH 03 9880 7433 10 AM – 5 PM 7 DAYS (SUN 11 AM - 4 PM) Email: guypage@bigpond.com 0411 175 320 www.pageantiques.com.au Antiques and
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www.privateartsales.com CREATED BY A LEADING SYDNEY GALLERIST with 30 years in the arts industry, Private Art Sales is a unique art and collectables online trading forum designed to benefit the art vendor. Unlike any other site, Private Art Sales facilitates sales from vendor to buyer direct, with no commissions, premiums, or any costs associated with online, gallery and auction house trading. The vendor receives 100% of the sale price and has absolute control over the listing and selling process. The selling process is akin to a gallery over an auction sale with no time limits on the sale of works. The site is guaranteed to attract top national and international art buyers as it features an assemblage of high quality artworks and collectables from artists such as Sidney Nolan, Pro Hart, Bertram Mackennal, Robert Dickerson, Sir Jacob Epstein and Lucien Freud. Currently, all listings incur no fees making it an even more attractive forum for vendors to market their collections.
This user friendly site can be accessed at www.privateartsales.com where upon the creation of a personal account, one can start the selling process immediately.
List now and enjoy the benefits of no commission selling www.privateartsales.com
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CITY / MALVERN / SURREY HILLS / MOONE PONDS
In 1925 Hornby introduced the company’s first electric train which operated from mains 100-250 volts. By 1929 Hornby had a much safer six volt DC source in place. Hornby continued up to the 1960s when it was acquired by the Tri-ang group, which brought out various models for many years still using the Hornby name.
MODEL TRAINS
a moving collectable ail transport dates back as early as ancient Greece with wheeled vehicles pulled by men and animals which ran on tracks or guides made of stone or wood. From about 1500-1800 CE, ‘wagonways’ or tramways were quite common in Europe, typically found in mining sites where primitive wooden rails were used. Mechanised rail transport started to be developed in the late 18th century in Britain. In 1769 the first patent of Scottish inventor and mechanical engineer James Watt (1736-1819) saw an important improvement for the steam engine, enabling it to power a wheel thus making it possible for wagons to be moved along the rails by steam traction. However, it was English mechanical engineer and inventor Richard Trevithick (1771-1833) who built the first steam engine locomotive. On 22 February 1804, the locomotive hauled a load of 10 tons of iron, 70 men and five extra wagons nine miles (14.5 km), taking about two hours. It was not until 1825 though that famous English engineer and inventor George Stephenson (1781-1848) designed a steam locomotive that was used on the first public railway system. The world’s first steam railway was opened between Stockton and Darlington in north-east England that year. Four years later Stephenson joined in the Rainhill Trials, a competition to find the best locomotive to transport passengers over long distances, winning with his ‘Rocket’, which reached the then incredible speed of 24 mph (39 km/h) while transporting 30 passengers. During the remainder of the century, the railway was extended throughout Britain and also in continental Europe. Mechanical innovation saw engines updated to four cylinders, geared wheels for industrial use, and between 1930s and 1950s trains slowly transitioned to the new kinds of power sources – diesel and electric engines. The steam locomotive played a critical part in the Industrial Revolution and in the development of export economies across the world. Today, significantly, trains remain the primary form of land transport for most of the world.
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FROM FULL SIZE TO MINIATURE Soon after the first railways were opened in continental Europe they became the subject of artistic output. The train was regarded as something of a wonder in its early years and various artists saw commercial possibilities in this. Tinsmiths also saw an opportunity and soon brought out three dimensional and flat pewter representations of the train. Soon afterwards toy makers started to produce the first toy trains. At first they were made of wood with rails considered unnecessary. The train and wagons made excellent toys for children to
pull around. The wooden toy train was the equivalent of today’s model railway. The toy industry became more deeply involved with trains and began to make trains of tinplate that ran along the floor. They were powered by steam or a flywheel, with clockwork motors being added later. By 1870 there were manufacturers making complete train sets. Some of these featured rails that were pressed from a single piece of tinplate, but most quickly made separate rails soldered to tinplate sleepers.
and number and toy trains were introduced in 1920. They were powered by a clockwork motor made of metal pressings and were held together with Meccano nuts and bolts. During the 1920s and 1930s Meccano Ltd was the biggest toy manufacturer in Britain.
A great hobby for all ages, model locomotives are extremely desirable collectors’ objects and will always be a sought-after toy to own. Jason Bridge COLONIAL COLLECTABLES 0431 403 897 colonialcollectables@msn.com
TRACKS TO MATCH The first model railways had a track width of 48 mm which was named 1 gauge. When people began to make wind-up and steam locomotives with a narrower track width it was called 0 gauge. However the 0 gauge proved to still be too wide and led the way to the creation of half 0 or HO in the 20th century (00 in Britain and the Commonwealth). The German firm of Märklin (founded in 1859 in Göppingen), offered trains, rails and crossovers and points in various track widths at the 1891 Leipzig fair. Other leading names include Bassett-Lowke (founded 1898/99 in Northampton, England), Bing (founded in 1863 in Nuremberg), Karl Bub (founded in 1851 in Nuremberg), Schoener (1875), Cerette (1866) and Kibri (founded in 1895 in Boblingen near Stuttgart), specialising in plastic moulds of model railway accessories.
INTEREST IN ACCESSORISING Besides making locomotives and rails, firms quickly started to make all manner of accessories related to railways such as stations, level crossings, lamps, signals and model people. British model railways were quite close to scale from the beginning of the hobby while the concept of scale seemed quite unheard of in continental Europe. After the start of the 20th century, the two most important makers of model train railways were the German firms of Märklin and Bing. The competition between them caused both companies to produce a number of different systems. Bing developed what became the Nuremberg style which was mass produced and kept prices low. Märklin chose a different route with hand-crafted pieces becoming very important to the company which made their prices quite high.
MECCANO MOTORS Another well-known maker to jump onto the scene in the early 1900s was Frank Hornby (1863-1936). Hornby patented an invention in 1901 which he started production under the name of ‘Mechanics Made Easy’. The name Meccano Ltd was established in 1907. The industry could not have imagined how Hornby’s designs would influence the model railway hobby we know today. Meccano factories very quickly grew in size
24 NOVEMBER 2013 – 9 AM TO 4 PM Malvern Town Hall (Banquet Hall), Glenferrie Road, Malvern For sale – vintage pens and pencils, fountain pens, leather goods, hand-made paper, vintage writing equipment and ephemera, ink, calligraphy, stationery and market tables where one or two or a few items can be sold. Pen and pencil collectors, special interest groups, pen retailers and manufacturers will be present. Inquiries to melbourne.pen.show@westnet.com.au www.melbpenshow.com.au
RESTORING ANTIQUES OF TODAY
Trask
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Antique Restorations French polishing Upholstery
Phone/Fax 03 9372 0850 0418 458 420 6 Hinkins Street Moonee Ponds 3039
Watchmakers and Jewellers Est. 1947 • Largest watch repair centre in Melbourne • We repair all brands of quartz automatic and mechanical watches and clocks • 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 • Valuations and deceased estates a speciality • 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 Antiques and
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AMANDA ADDAMS AUCTIONS & DAVID FREEMAN ANTIQUE VALUATIONS at Kew – a strategic move to new and better digs A fter 11 years working and operating in Bulleen we moved to 344 High Street, Kew. Here we continue our signature and regular auctions as well as our equally indemand valuation services.
MONTHLY AUCTIONS Meeting different kinds of people from all walks of life and from all over the world through the auction business makes it extremely rewarding for us on a personal basis. And there is always something new and interesting – and often exciting – that wanders in for sale and the history related is fascinating. Auctions are held the first Monday night of each month so come in and have a look during viewing times. It does not matter if you have never been to an auction before or have nothing to sell or are not interested in buying – it’s always very interesting to view and our experienced staff are always willing to help and explain. The items on offer vary greatly from auction to auction as items are from private individuals and collections or deceased estates. The auctions will contain a vast range such as the following: art works; silver – both antique and modern; gold; jewellery; ceramics and pottery; Japanese ivory; boxes; miniature portraits; antiques; Art Deco; retro and vintage furnishings; inkwells; decorative wares; bronze sculptures; chargers; vases; clocks; boxes and tea caddies; lamps; snuff bottles and perfume bottles; glass and crystal; designer wares by the likes of Christian Dior, Gucci and Yves St Laurent; collectable wines, stamps and coins.
FREE APPRAISALS INSTORE & ONSITE
An appraisal is a brief verbal description of the item and an estimated auction selling range. It is often the case that what someone thinks is valuable is in fact ordinary and what they think is ordinary turns out to be valuable. For free market appraisals, come in any Thursday between 3 pm and 7 pm with items (or images of furniture and larger items on your phone or camera). However if an onsite valuation is more convenient, please phone to set up an appointment in your home for all types of valuations – we travel throughout Victoria.
HIGHLY QUALIFIED TEAM We are a family business and, between the two of us, we have over 50 years of experience in numerous aspects of valuing and selling prized possessions. Amanda Freeman is a qualified auctioneer and auction room manager while David Freeman is a qualified valuer as well as auctioneer. Amanda’s ability to organise, promote, and conduct auctions at times of extreme difficulty – whether this arises from contents, location, or private vendor circumstances – continues to earn her the high regard of colleagues and clients alike. Her ongoing ‘hands on approach’ and empathy with people in times of distress and bereavement has gained her respect with vendors who continue to benefit from her dedication and personal input. She has also taken great care in procuring the services of those who are
reliable and excel in their area of expertise including bookkeeping, data input, furniture handlers, sales assistants, auction room staff and security, which complement the range of services offered by the business. David covers the range of valuation areas: all contents, art, collectables and decorative wares; insurance, deceased estates, family law division; as well as investment and market realisation. He is an approved Australian Commonwealth Government Valuer for the Cultural Gifts and Cultural Bequests Programs (Australian paintings, drawings and prints after 1850), and is a member of the Auctioneers & Valuers Association of Australia (AVAA), Victorian Antique Dealers Guild, Victorian Artists Society, Watercolour Society of Australia, Gallery Society of Victoria, Museum of Modern Art (Heide), Australiana Society, National Trust of Victoria, Society Art Deco Victoria, and the Antique Collectors Club of Victoria. Often writing valuation columns for collecting magazines and related publications, David is also in demand as a guest speaker. His best tip for those interested in investing in art is: ‘Do your research as well as enjoy the works. Make sure it fits your lifestyle – after all, you are not buying shares to leave in a drawer – art is an investment for enjoyment by you, your family and friends.’
Our move into Kew has been exciting and we look forward to expanding our relationship with our new neighbours and community while continuing our strong ties with long-established customers and clients. Amanda Addams AMANDA ADAMS AUCTIONS & DAVID FREEMAN ANTIQUE VALUATIONS 03 9855 2255 or 0419 578 184 / 0419 361 753 www.aaauctions.com.au
Julian, David, Amanda and Juliana Freeman
Entrance to the new rooms of Amanda Addams Auctions and David Freeman Antique Valuations
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Terence John Santry (Australian 1910-1990), Children at Point Street, Pyrmont c. 1965, oil on board, 61 x 81 cm, signed lower right; Santry inscribed on frame verso. Private collection, Melbourne. Provenance: acquired Lawson~Menzies Sydney, 25 March 2009 sale, lot no. 189, Colonial to Contemporary including Aboriginal art
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CITY tell what contribution an artist will have to society. Gregory believes that art has a lot to offer the individual who has a need to learn.
MAJOR SOLO EXHIBITION
Pin cushion hakea
Lighthouse, Aireys Inlet
Dome, Melbourne Exhibition Building
From Top to Tone an exhibition of work by
GREGORY R SMITH FVAS 5-19 September
than 140 awards since he commenced exhibiting in the 1980s.
regory Smith observes that the many years of observational training and completing study notes in the form of oil paintings has led to a deep understanding of light and craftsmanship. These skills do not happen by chance, they develop over time. Smith has followed this simple philosophy from an early age, and is today highly regarded for his tonal realism, his work an expression of his direct from life approach. An artist of great talent, Gregory has been the recipient of more
PROGRESSING FROM STUDENT TO ARTIST TO MENTOR
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Gregory initially studied under very good teachers including Graham Moore, Shirley Bourne and Maxwell Wilks. He reflects that for the last 24 years he has been running his own school for painters. Following in the footsteps of his early mentors, he generously shares his knowledge by tutoring, lecturing, demonstrating and running outdoor painting trips. As well as teaching and painting Gregory
has served on the Council of the Victorian Artists Society (VAS) since 1989 and has been president of the VAS since 2010. During this time he has been doing all that he can to encourage, mentor and support others who have also chosen to take on art as part of their life’s journey. It is his belief that only time will
Rupertswood gatehouse
Tools of the Painter, oil on canvas
GREGORY R SMITH FVAS invites you and your friends to the opening of his solo exhibition of paintings entitled
FROM TOP TO TONE On view from 12 noon Official opening: 7 pm Thursday 5 September 2013
Victorian Artists’ Society Galleries 430 Albert Street, East Melbourne Duration 2 weeks Exhibition closes 2 pm Thursday 19 September 2013 Gallery Hours 10 am - 4 pm weekdays; 1.30 pm - 4.30 pm weekends Violin, lamp & bust
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Gregory has completed a significant body of work for his upcoming exhibition titled From Top to Tone, his 29th solo exhibition. There will be more than 110 oil paintings not previously shown and the exhibition promises to include paintings that Gregory believes are among his best to date. Seeing his canvases as study notes, Gregory selects the works he wishes to exhibit by following strict criteria. He is a stern self critic, asking the question: Is the work a true representation of his achievements so far? He explores many genres including portraits, still lifes, landscapes, florals and life work. To see these oils is to appreciate Gregory’s refinement in craftsmanship and his demonstration of a clear knowledge of tonal order based on visual awareness. Whether an art aficionado or a collector of Gregory’s work, this is a wonderful opportunity to view paintings that present a fresh look at recent en plein air experiences as well as many studio sessions at the easel during the past 12 months. The exhibition, running from 5 – 19 September, is proudly hosted at the Victorian Artists Society Galleries located at 430 Albert Street East Melbourne. For more information contact GREGORY R SMITH 03 9379 4693
CITY
Robyn Pridham, Landscape, 2013
Mother/daughter exhibition Tang Ying & Tang Li
Claire Virgona, Small Edible Perspective I
Portrait by Ray Hewitt. VAS teacher Don James, Winged Victory
THE VICTORIAN ARTISTS SOCIETY’S
upcoming highlights T he Victorian Artists Society is a society for art practitioners and lovers and its home is recognised as one of Victoria’s heritage highlights. Come and visit this purposebuilt art gallery constructed in 1870, the same year that VAS was established, and walk in the footsteps of Dame Nellie Melba and Fredrick McCubbin – to name just a few. Regular exhibitions from local and international artists always ensure an inspiring visit. Here art, history and contemporary passion are all in action!
ART CLASSES & WORKSHOPS Learn to paint like the old masters. Students and developing artists have access to the best teaching staff available and can learn all about watercolour, oils, pastels and acrylics with all levels welcome. VAS art classes run during the day and weeknights with members’ untutored life and portrait groups held on Wednesdays and Saturdays. Join a one day workshop being held by noted American artist and teacher Mike Kowalski, in watercolours or oils, on Sunday, 22 September. For those interested in Chinese brush painting, a one day workshop with renowned Chinese painting artist Thanh Duong will be held on Sunday, 29 September. Call the office to book now.
THINKING OF EXHIBITING? The Victorian Artists Society has excellent facilities and first-class exhibition space in its purpose-built galleries. For all exhibition enquiries, please contact our office.
PROGRAM OF EVENTS: MAJOR EXHIBITIONS There are a number of exciting exhibitions being shown during the latter half of 2013. Following are details of some of the major events.
VAS SPRING EXHIBITION 19 August – 1 September The Victorian Artists Society’s Spring Exhibition features the Deputy Lord Mayor’s Award for the painting judged best in show, proudly sponsored by Mr Gordon Moffatt. At each seasonal exhibition – Autumn, Winter, Spring – members vote for their favourite works and at the end of the year the votes are tallied to decide who will be the Artist of the Year. The exhibition will officially be opened on Thursday, 22 August at 7 pm.
SENSATIONS OF ART-MAKING: TRIUMPHS, TORMENTS AND RISK-TAKING 4 – 15 October The Victorian Artists Society Galleries with the Melbourne Graduate School of Education, University of Melbourne are proud to present Sensations of Art-making: Triumphs, Torments and Risk-taking. This exhibition showcases over 75 works of art by 36 professional secondary school artist-teachers, who are exploring the characteristics associated with the creative artmaking process across diverse mediums. The artist-teachers perceive the making and teaching of art as equal and essential to quality teaching and personal wellbeing. Through their works of art and commentaries, the artists creatively and critically examine how their own creative and exhibition outputs increase their
ability to mentor, lead, stimulate and understand their students. They expose the shared sensations that drive their own art production and that of their students’, including enthused moments of inspiration, battles, frustrations, joys, exploration, risk-taking, experimentation, play and construction of meaning. Curator Purnima Ruanglertbutr illuminates how art-making and the artists’ freedom of practice contrast with educational priorities of curriculum, content-delivery and assessment – qualities typical of a teacher’s regulated profession. The result is an eclectic amalgam of a collection of works that emphasise process as well as the end-product. The artist-teachers are graduates of Melbourne University’s Master of Teaching (Secondary Art) program and a fullcolour exhibition catalogue will be available. The opening night is 4 October, from 6 pm to 8 pm.
THE VICTORIAN ARTISTS SOCIETY’S ARTIST OF THE YEAR EXHIBITION 25 November – 10 December Featuring works by artists voted the Society’s best for 2013, this is VAS’s showcase exhibition. The award is given based on members’ choices from all seasonal exhibitions in 2013. As this exhibition will determine the Society’s Artist of the Year, displayed works are by invitation only. This year is the 40th VAS Artist of the Year Award, and there is an acquisition prize of $5,000 for the winner. Additional awards will be announced at the exhibition. The official opening night will be held on Thursday, 28 November at 6.30 pm.
2012 Artist of the Year opening night
VAS Country Members Exhibition 11 - 24 September Peter Hui Casa Exhibition 20 - 26 September
OCTOBER Wildlife Art Society Australia Exhibition 3 - 15 October Don James and Marie James: Images & Icons 5 - 13 October, opens Sunday 6 October, 2pm FIVE 16 - 29 October Australian Medical Association Exhibition 23 - 29 October Chinese Painting Exhibition 30 October - 4 November
NOVEMBER M Teow 6 - 12 November Miffy Maklary & Friends 6 - 19 November
L - r: John Hunt, Jane Jones, Mary Hyde (Artist of the Year 2012) and Julian Bruere at AOTY opening night 2012
VAS Teachers Exhibition 6 - 19 November VAS Students Exhibition 13 - 19 November
ABOUT VAS VAS is located at 430 Albert Street East Melbourne (opposite St Patrick’s Cathedral). Open weekdays from 10 am to 4 pm and weekends from 1 pm to 4 pm, entry is free. For further details regarding the above shows, enquiries about exhibition space or VAS art classes, please call the office between 10 am and 4 pm, Monday to Friday. THE VICTORIAN ARTISTS SOCIETY 03 9662 1484 admin@victorianartistssociety.com.au www.victorianartistssociety.com.au
FALSE IDENTITY 13 27 November – 10 December Coinciding with the VAS Award Exhibition, Joseph Luczynski and Robyn Pridham will hold an exhibition of paintings in the Cato Gallery. False Identity 13 will comprise works in oil on canvas, mixed media on paper; and will feature artists in the studio, nature and the landscape as well as portraits. Joseph and Robyn are regular exhibitors at the VAS selected exhibitions and have held a number of exhibitions over the last 20 years. In addition Joseph was selected as a finalist for the 2012 VAS Artist of the Year.
MONTHLY PROGRAM Further program highlights are outlined below.
AUGUST Melbourne Society of Women Painters and Sculptors (MSWPS) exhibition: Changing Perspectives 2-12 August Mother and Daughter, an exhibition by Tang Ying and Tang Li 14 - 20 August An exhibition function will be held in the Cato Gallery on Saturday 17 August from 2 - 4 pm VAS Fellows Exhibition 22 August - 1 September
SEPTEMBER From Top to Tone: 29th Solo Show of VAS President Gregory R. Smith 5 - 19 September Joyce McGrath Collection Exhibition 4 - 10 September Antiques and
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Modane cabinet, birch white tan
Delaware pendant light, beige (available in various colours)
Tulsa pendant light, blue (available in various colours)
Contour armchair & footstool, red fabric, beech frame, also available in Snow (grey) fabric Fresno pendant light, black (available in various colours)
SCHOTS HOME EMPORIUM showcases stylish mid-centuryinspired furniture & lighting
FIXTURES, FITTINGS & FURNITURE FOR EVERY ROOM
huge showrooms with an extremely broad range of items, from unique homewares to renovation treasures to fine furniture, and everything in between. Schots source and stock only the finest quality products from around the world. Their reproduction pieces are all precision made to the exact proportions of antique originals and with meticulous attention to fine detail, making them virtually impossible to distinguish from the genuine article. Schots Home Emporium stocks a large range of stylish mid century furniture, in two convenient locations, in Clifton Hill at 400 Hoddle Street and in North Geelong at 299 Melbourne Road.
First established as a renovator supplier in 1978, Schots is today recognised as Australia’s leading importer and manufacturer of mood enhancing fixtures, fittings and furniture. Both Melbourne and Geelong stores have
SCHOTS HOME EMPORIUM 1300 774 774 – Clifton Hill 1300 693 693 – Geelong www.schots.com.au
chots Home Emporium has an exciting new range of mid-century style furniture and lighting. Replicating some of the famous Scandinavian designers of the ’50s and ’60s, these pieces celebrate their sleek finishes and smooth curves for a fresh, contemporary look to meet an increasing demand. These designs perfectly encapsulate the hallmark chic of modern retro-styled design. Constructed using walnut ash timber, chosen for the beauty of its grain, these pieces have a smooth, sculptured finish and timeless appeal.
S Morden armchair & ottoman, walnut ash
Ashbury bookcase, burnish brown
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Hartford pine cabinet
Hugo lounge setting and Tesla coffee table
SOUTH MELBOURNE
For sale THE CALEDONIAN
A PRIZED HERITAGE HOME eritage properties provide an insight into our past and how our society has developed overtime. Significant buildings which survive intact such as The Caledonian at 361 Coventry Street, South Melbourne, preserve this history and cultural heritage and offer a valuable asset for their owners as well as the general public who admire them.
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IMPRESSIVE VICTORIAN FEATURES The Caledonian is made of solid brick, comprises 8 rooms and its Victorian design is unusual. Unlike most hotels in the area, which have corner front entry doors, it has a pedimental front entrance placed at the centre of its facade. Featuring an abundance of Victorian features, including a grand arched entrance with high ceilings, stained glass windows, deep plaster cornices, beautiful timber staircase and wide hallways, the home still retains a walk-down cellar. In addition, at the front of the upstairs hallway, the façade’s central tower features a high void ceiling.
DESIGNED FOR MODERN LIVING Although resplendent with period features, the building’s design also allows for modern family living. Providing four or five bedrooms – one being an optional study/library – the
master bedroom has an ensuite, all the bedrooms have built-in-robes, and there’s a family sized bathroom upstairs. Adjoining the modern kitchen is a dining room while a separate living room has French doors which open to the courtyard. A downstairs powder room is adjacent to a side exit door – no doubt an escape route for the SP bookies in its day! Car parking, an important amenity for the area, is provided for two vehicles with a single lock up garage and a separate car space behind the building.
For more information contact Graham Coulton COULTONS MELBOURNE 03 9497 2111 / 0411 198 452 www.coultonsmelbourne.com.au/heritage
HISTORICAL SIGNIFICANCE Formerly the Freemason’s Four Hotel, the premises was first licensed around 1857 by John Litchfield. In 1861 it was renamed The Caledonian by Mary Marsden. The current building was constructed in 1889, six years after Emerald Hill was proclaimed a city and changed its name to South Melbourne. It was then sold to Agnes Fowler and licensed to David Wilson. Although it was one of many hotels closed by the Licenses Reduction Board on 31 December 1920, its facade is intact and, although it became a residential building, it retained the name ‘The Caledonian’. Properties with heritage significance such as The Caledonian are rare and over time become more valuable.The Caledonian is being offered for sale through heritage specialist agency Coultons Melbourne.
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CLIFTON HILL
1948 Citroen
War and the impact on 20th century design
FROM FURNITURE TO CARS ost people would be very surprised to learn how much the appearance of their homes has been influenced by war. Both world wars have had a profound influence on our homes in the 20th century, a period including art deco, modern and retro – all currently enjoying spectacular prestige and extensive imitation. These three styles are bound together by what I call ‘bicycle and aeroplane furniture’, and this is also what dramatically distances them from all the styles prior to the Great War.
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BICYCLE AND AEROPLANE FURNITURE The bicycle initially was a great 19th century social and genetic stimulus. For the first time in centuries, ordinary people could meet and marry folk from villages several miles away. This increased the choice of breeding partner from a few within energetic walking distance, to a giddying smorgasbord of, perhaps, dozens! On a less romantic note, World War I (19141918) employed divisions of military cyclists.
These were in addition to the traditional horse cavalry and the new fangled air force. While the bicycle is a forgotten but important war machine, the aeroplane has continued to colour our collective memories of the war: dogfights of biplanes, the Red Baron, etc. Wartime factories were set up to produce both. Bicycles needed endless nickel or chrome plated tubular steel. Aeroplanes needed cladding in fine sheets of laminated wood: plywood. This would have a profound effect on the appearance of late 20th century habitations. Popular furniture before WWI was universally antiques or reproductions of antiques. Much dark brown ersatz Georgian, Queen Anne or Jacobean furniture was produced with backs, panels and drawer bottoms of plywood, an ancient Egyptian invention, but perfected for mass production in the late 19th century.
DISTINCTLY 20TH CENTURY Many furniture and woodworking firms were called into the war effort since their ability to use
LATE 18TH CENTURY HEPPLEWHITE MAHOGANY OPEN ARMCHAIR c.1780 $2650 A particularly fine Hepplewhite open armchair in mahogany, now fully reglued, restored and upholstered in red, with the finish characteristic of the period: upholstery studs punctuating braid. This excellent chair, at home at the dining table, desk or next to the sofa, is one of about 30 Georgian (1714-1830) armchairs in stock. This example shows the rounded camelback form with a carved and pierced splat based on a wheat sheaf
Georgian & Continental Furniture • Porcelain
Silver • Ikons • Paintings • Imperial Russian
www.Roys-Antiques.com.au
410 Queens Parade Clifton Hill Vic 61 3 9489 8467 30
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plywood was essential to aeroplane production. Parnall and Sons of Bristol was one such company. Parnall abandoned aircraft manufacture after the war since clearly the demand for aeroplanes in peacetime would be negligible! Therefore when the war was over, new uses had to be found for the extant factories. New housing and furniture was desperately needed. Not surprisingly, designers worked with the available materials and a distinctly 20th century form of furniture was developed using tubular steel and plywood. By the mid1920s several memorable designs had charmed the elite; certainly the 1926 Wassily chair and the 1927 MR chair do not resemble much pre-war furniture.
world of the Bright Young Things attending Great Gatsby parties extended to a few thousand people at most. America in the ’20s was economically buoyant. England was poor, and the Australians had been having a continual recession since the land crash in the 1880s. After the stock market crash of 1929, almost everyone was poor. Most people’s experience of art deco and early modern was in magazine illustrations, book covers, and similar 2D ephemera. Suddenly choices of fashion and décor were the reserve of wealthy magnates.
RETROSPECTIVE INDUSTRIAL DESIGNS: THE MOTORCAR After WWII, economic exhaustion prevented factories from re-machining to produce new models, as the car industry normally does annually. Consequently, the 1948, post-war Citroen looked like almost identical to the 1934 model. The automotive industry was no orphan in this. The jewellery industry, furniture manufacturers, builders, all constrained by shortages of labour and materials, often with Government imposed rationing, simply could not afford the expense of producing models that were different from those they had the machines to produce in pre-war shapes. Hence many newly made products looked retrospectively to the designs of decades before. This is where our retro comes from. It is the continuation of art deco and early modern styles after the end of WWII.
THE AUSTRALIAN VIEW Sadly, they also do not resemble much furniture in the majority of the homes in either Australia or England. Shocked by the horrors of the war and the enormous death rate, most people were content to spend the 1920s and 1930s in denial, and chose as an ideal a thatched cottage with a white picket fence and English country flowers. If they did not live in one, they usually had Royal Doulton or other china with this image proudly emblazoned. The interiors were protected by leadlight windows and chintz curtains, and the furnishings were very much ye olde English cottage, fake Jacobean gateleg tables, and autumnal moquette covered Jacobean lounge suites. Racy new metal furniture was generally for the tiny minority of daring wealthy people. However, accents like chromed lamps tamed by heavily fringed shades occasionally snuck in to urban flats and suburban cottages.
IDENTIFYING ART DECO & EARLY MODERN For convenience, most Australians lump art deco and early modern in together. This is understandable as the differences between them are not nearly as striking as the differences between them and all that preceded them. Nevertheless, there are appreciable differences. Our everyday use of the word ‘modern’, meaning new, brings confusion when modern also refers to a period finished half a century ago, allowing 1980s postmodernism. Even the term Art Deco, now used so very loosely, is not an old one. No one would have understood it before the phrase was coined in 1966, although the intelligentsia may have seen a connection between this new term and the 1925 Paris exhibition, Exposition Internationale des Arts Décoratifs et Industriels Modernes, of which the 1960s term is a merciful contraction. Film records provide a clear illustration of the contrast between the Jazz Age and early modern. While deco was stridently coloured, angular and patterned, modern emulated the streamlined glacial silver-and-black of Hollywood. However, for our present purposes, I, too, shall bracket them together. Art deco was mostly the preserve of the wealthy elite. The giddy
‘SHINY & NEW’ ENTERS MAINSTREAM Serge Chermayeff’s The Week End House was cutting edge design in 1933 England, when it was exhibited. With the intervention of the Great Depression and WWII, what was high style in 1933 finally percolated through to the general population in the 1950s. Tubular cantilevered steel with vinyl covering and contrasting piping represented a bright new future to Australians who had been restricted by poverty to hand-me-down furniture. Even those who could afford new furnishings pre-war were offered only fake Queen Anne in Blackwood, or Jacobean pastiches. Little wonder worn out Victorian furniture was jubilantly burned in favour of shiny lino floors and chromed steel and vinyl furniture. This triumph of the ‘shiny and new’ was to remain mainstream until the early 1970s when the oil crisis, among other influences, brought the return to traditional living and the 1980s antiques boom. Roy Williams ROYS ANTIQUES 03 9489 8467 www.roys-antiques.com.au
Mies van der Rohe, MR armchair, 1927
PLENTY
VICTORIAN CHAIRS visions of modernity A ntique chairs often seem to belong in the category of ‘not to sit on’ decorative items whose rickety legs and creaky backs sadly make them impractical for everyday use. Whilst this may be true of some 18th and 19th century chairs, there are still many examples on the market which have a charm and quality hard to find in modern reproductions.
LOOKS PLUS VALUE Victorian chairs are often underrated by dealers and collectors alike, but represent remarkably good value for a buyer who wants a seat to sit on as well as to admire. They make ideal furnishings for a family home – robust yet with their sprung upholstery many fit the modern concept of comfort. The Victorians were pioneers of mass production and about half of all antique furniture was made during the 64 years of Queen Victoria’s reign. As a result, prices today are still at appealing levels for the budget conscious shopper.
MYRIAD INFLUENCES During the 19th century, decorating styles reflected the way English society adapted to the rapid changes that the Victorian era brought. There seemed to be no boundaries when it came to design for Victorian cabinet makers. They were equally inspired by the
glories of the past and the discoveries of their own time. Excavations at Pompeii and in Egypt prompted a revival of neoclassical styles whilst the international exhibitions of 1862 and 1867 stimulated a new AngloJapanese influence. Designers also looked back – first to the rococo style and its cabriole leg and later, influenced by architect-designers such as Pugin, even further back to gothic taste. They also created their own Victorian styles, such as the balloon back chairs and the typically spoon back gentleman’s and lady’s chairs, as well as the rush seated rustic look of the Arts and Crafts movement. No one Victorian style is very much better than another in today’s market. The most sensible advice is to choose whichever is the most suited to your taste then buy the best of the type that you can afford. The neoclassical designs revived in the later 19th century seem marginally more popular today than more ornate baroque reproductions of the 1840s, but prices for both are comparable. The ebonised and gilt chairs of the 1860s are still very good value.
ELEGANCE & COMFORT If you are looking for a matching pair of chairs, it will usually be a little more costly, but they are not hard to find as drawing room furniture was often designed in groups of four or five pieces. Some people prefer to purchase an unmatched pair of chairs and upholster them in similar fabric. The resale value is obviously a little more limited, but if the upholstery is well done and they are sold as a ‘matched pair’ they do gain some financial recognition for the work done. The joy of buying Victorian furniture though,
is not in its investment value. It is in the enormous variety of pieces that are easy to find, still in good condition and able to be readily used, and still reasonably affordable. Victorian furniture remains a robust family friendly choice, adding antique elegance to any sitting room and the promise of comfort for years to come. Dawn Davis EAGLEMONT ANTIQUES 0408 530 259 dawn@eaglemontantiques.com.au www.eaglemontantiques.com.au
Eaglemont Antiques A Unique Shop in a Heritage Area Come and browse through our showroom filled with quality antique furniture: dining tables, bookcases, small occasional furniture; a wide variety of English and European porcelain and glassware; and all sorts of interesting objets d’art.
CLUES TO QUALITY
We offer:
A named piece of furniture does make a difference to price, but bear in mind not all pieces by famous makers are signed, so when choosing a chair you should be guided by overall quality, not just the presence of a label. Another gauge of quality is the amount of carving and the extent of detailing such as marquetry or inlay. My advice is to look (on a pre-1890s seat) for a turned back leg, not simply a swept (square) leg. On a traditional gentleman’s and lady’s pair of chairs, for example, look for carving at the ends of the arms, on the seat rail, or trailing down the legs. No amount of carving will help, however, if the chair is not structurally intact. It is the single most important factor to consider if you want a chair you can use. A rickety frame is not good news, and you would need a restorer to tighten the frame by replacing the dowels when it is re-upholstered. A break at a joint is repairable if the wood around it has not splintered, but this can be costly.
❀ Complete restoration service ❀ Valuation service ❀ Consignment sale service ❀ Home decorating service ❀ Cash for all goods purchased
An elegant French silver “tussi-mussi” or posy holder. Embellished with pierced decoration featuring entwined Edelweiss flowers and scrolling leaves. Complete with circular handle with original pin and attached finger ring. Unmarked, c. 1890
www.eaglemontantiques.com.au dawn@eaglemontantiques.com.au
0408 530 259 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
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ELTHAM
Ken Jack, Towards Mutujulu Waterhole, Uluru
Ev Hales, Winner, Dare To Be Different Award 2012
Amanda Hyatt, Winner 2012 Kenneth Jack Award
THE 2013 ANNUAL KENNETH JACK MEMORIAL WATERCOLOUR AWARD
to be held at Montsalvat 19 September – 22 October s we see worldwide resurgence in the popularity of the art of watercolour painting interestingly there is a parallel with Australia’s association with China in the business world. In the art world, Melbourne seems to be playing a vital part in this amazing emerging connection to China’s watercolour artists over the last few years, strengthening links are occurring through to the best of China’s watercolour societies and their artists. In 2008 the inaugural Kenneth Jack Memorial Award and Watercolour Exhibition was opened by the State Governor, Professor David de Kretser and judged by Robert Wade OAM. The award and exhibition attracted close to 200 works hung at the Victorian Artists Society
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Gallery. Since then such prominent artists as David Taylor, Ross Paterson, Julien Bruere and Amanda Hyatt have won the prestigious award. In 2010 the newly formed Watercolour Society of Australia partnered the Jack family and took up the watercolour banner and held the third Annual Kenneth Jack Memorial Award and Watercolour Exhibition at historic Montsalvat the artist’s Mecca of the 1950s and 60s. Two hundred and fifty works were hung and judged by Ballarat Fine Art Gallery Director, Gordon Morrison. Glyn Clark Lewis, President of the Watercolour Society, together with the Jack family, congratulated the artists on the high standard of their works. Glyn stressed the need for watercolourists to look beyond realism and impressionism towards contemporary painting if watercolour painting is to achieve
its rightful status in the world of art. As the award is now hosted by the Australian Watercolour Society there is a growing connection amongst the interstate watercolour societies encouraging their members as well as the Melbourne artists and a truly Australian face to watercolour is forming. In 2012 the Watercolour Society of Australia introduced additional awards for categories including, Landscape, Maritime, Abstract, Still life, Urban Space and Flower/Gardens. DARE TO BE DIFFERENT: GRAEME CLARK FOUNDATION AWARD The Graeme Clark Foundation commenced the Graeme Clark Foundation Award in 2010 in partnership with the Watercolour Society of Australia and chose the theme ‘Dare to be Different’ as the criteria to select a work that demonstrated a thinking outside the box or laterally. Professor Graeme Clark, a friend of Kenneth Jack, believes that is what he had to do in thinking on the amazing beginnings of creating the Bionic Ear implant. Since the award’s inception, the Jack family very kindly donates four of Ken’s works to be sold during the exhibition by silent auction, to raise money for the Graeme Clark Foundation. The first winner of this prestigious Award was Kathlyn Ballard OAM, much to her surprise and delight.
KENNETH JACK THE ARTIST Kenneth Jack’s career as an artist really commenced during his military service when he created more than 500 drawings and watercolours in the islands north of Australia from1944 to 1945. Most of these works are now part of the collection at the Australian War Memorial in Canberra. Trained as an art teacher after the war he became involved in setting up printmaking and painting departments at Caulfield Institute. Ken left teaching in 1968 to become a full-time artist. Drawing and draughtsmanship, were the hallmark of Ken’s art and he expounded the importance of these elements as the proper grounding and equipping for artists. He excelled in calligraphy, sign writing, pen and ink, pastel, gouache, oil painting, acrylic painting and watercolour a medium he is widely recognised as a master. He mainly concentrated on his watercolours over the last 15 years of his career;
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Ken Jack sketching, Echuca
many of his works were large with the pinnacle of his watercolour art being achieved in his triptychs which measured some 4 metres across. Ken was represented by galleries across Australia, is now represented in all Australian state gallery collections and widely overseas including the British royal collections. Ken was president of the Watercolour Society of Victoria 1979-81, patron from 1981 and honorary life member of Australian Guild of Realist Artists. In 1983 he became the only Australian-born artist to be a full member of the Royal Watercolour Society in London. Ken was an elected member of Australian Watercolour Institute 1955-2006. His significant contribution to Australian art was recognised and he was awarded an MBE in 1982 and an AM in 1987.
RECENT KENNETH JACK EXHIBITIONS The Kenneth Jack View Touring Exhibition is a major survey of Ken’s work over his career as an artist. The exhibition is accompanied by a 60 page catalogue with text by Cathie Stocky and all 100 plus works illustrated. First held at Bundoora (March 2010-June 2010) the exhibition was opened by his Honour the Administrator of the Northern territory Tom Pauling AO QC. This exhibition brings together rarely seen works by Kenneth Jack (1924-2006) from the Jack family collection including drawings, tempera and oil paintings; printmaking of the 1940s, 50s, 60s; acrylics and watercolours from the 1970s to 2000s. In 2011 the exhibition travelled to the Castlemaine Art Gallery. The final venue for the show was Bayside Council Gallery in Brighton where the exhibition was shown from mid January to 3 March this year. In August there is a Kenneth Jack selling exhibition at the Metropolis Gallery in Geelong featuring works mainly of the western half of Victoria. In November there will be an exhibition in Echuca focussing on works around the Murray River region. For more information about the Kenneth Jack Memorial Award and Watercolour Exhibition please contact: WATERCOLOUR SOCIETY OF AUSTRALIA www.watercoloursocietyofaustralia.com.au MONTSALVAT 03 9439 7712 www.montsalvat.com.au KJ Award 2012 L to R: Peter Perry gave the keynote address Glyn Clark Lewis, Amanda Hyatt, Betty Jack and Geoffrey Edwards (Award judge 2012 and Director Geelong Gallery)
ORMOND
THE AMERICAN CLOCK he American clock industry was founded by immigrant clockmakers, mainly from England, who established extensive clock-making regions in Boston and Philadelphia. The earlier clocks were usually weight-driven longcase clocks. The makers depended largely on imported metals, and the signing of the Declaration of Independence cut off supply, forcing makers to turn to wood. Around the same time there was a growing demand for cheaper and smaller clocks than the longcase timepiece.
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EARLY CLOCKMAKER ELI TERRY (1772-1853) Several clockmakers devised methods that attempted to satisfy this demand. Possibly the most famous of them was Eli Terry (17721853) of Connecticut who accepted an order to deliver 4,000 wooden longcase movements within three years. He exploited the French watchmaker Frederic Japy’s idea of making all the parts of the clock interchangeable. Instead of having to finish one clock before starting the next one, he was able to put any number together from identical parts on an assembly line. His first factory was operated by a water mill. It took him one year to invent the machinery and set up the factory. Eli Terry was the first maker to mass produce a complete clock. Terry’s first clocks in 1803 were wooden, not unlike the German Black
Forest clock movements. Later they were made from brass and steel, sometimes driven by wagon springs from 1825 to 1855. Weight-driven clocks were also common until the mid 1840s when the problem of producing steel springs commercially and cheaply was overcome. The factory was later sold to Seth Thomas who was largely instrumental in developing and popularising for the mass market what is now regarded as the typical American shelf clock. A shelf clock is two to three feet high, is contained in a rectangular wooden case and is weight driven.
half-hourly strikes, or can be timepieces only. They are of 30-hour or eight-day duration. Often a distinctive feature of the American clock is the decorated glass in the door which covers the dial and pendulum and is painted in either gold, silver or various colours with a scene, flowers or patterns. Today, there are still a great number of American clocks available. Some of the earlier models are very collectable, but they are hard to find. For someone starting out as a collector, buying an American clock is one of the most affordable beginnings.
WELL KNOWN MAKERS The best-known American clocks are Ansonia, Sessions, Seth Thomas, E N Welch, Waterbury, Ingrams, Gilbert and Jerome. You should be able to buy a restored American clock of about 100 years old from about $400 upwards, but you could spend three to four times as much or more for the rare or earlier models.
THE CLOCKWORKS 03 9578 6960
AFFORDABLE AMERICAN CLOCKS Soon cheap American clocks flooded the European market and put many local clockmakers out of business. In Germany, in the Black Forest, the era of the wooden clock came to an end when American brass clocks were made available at prices well below local clocks. For nearly 200 years out-workers, who had specialised in different parts of the clock at workbenches in their homes, were now out of work. Erhard Junghans responded by setting up a clock factory on the American system, which was followed by a number of others.
Antique and Modern Clocks and Watches Repairs and Sales
TORSION CLOCKS Another type of clock first developed in America was the torsion clock. Invented by Aaron Crane, it needed to be wound up only once a year. This invention gave rise to the mass production of the 400-day clock in Germany at the end of the 19th century.
MAIN FEATURES American clocks are known for their strong and vigorous ticking sound. They have a variety of different hourly, and sometimes
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For someone starting out as a collector, buying an American clock is one of the most affordable beginnings.
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Friendly professional service Free quotes Guarantee on major repairs Clocks bought and sold Leigh Fist 493 North Road, Ormond VIC 3163 Open: Tues – Fri 9 am - 5 pm & Sat 9 am - 1 pm Ph: 03 9578 6960
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USING HOWARD PRODUCTS
a Victorian lady gets a 60 minute makeover O n one of our rare attempts at having a holiday just recently, we were invited by old friends to stay in their beautiful house perched on a hill in the Noosa hinterland with beautiful views from every angle, beaches nearby and a great swimming pool in the forecourt. What a dream! I’ve known these people a long time and they have always collected all kinds of antique bits and pieces. This most recent house of theirs was no different. A large containment area underneath the house was found to be chock full of old chairs, tables and cupboards waiting to be re-finished one day. That came later. The first thing I saw when we opened the door into the entrance foyer was an imposing Victorian sideboard of huge proportions featuring ornate carvings all coated in very
From this
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dark and very battered shellac which was in desperate need of urgent attention. Here I was dreaming about the pool and the beach but I just knew that I would not be able to relax until that grand old sideboard was given a bit of attention. Just as well I always travel with my Howard Products demo box. The photos you see in this story were taken by Sally on her iPhone while I worked. They are not the greatest quality but they illustrate what I was faced with and how I went about quickly giving that dear old sideboard some nourishment and repair. Some of the surfaces were so worn that I really didn’t know whether my trusty Restor-AFinish would be able to handle it but as you will see it did, well maybe not perfectly, however that’s the point really – Restor-A-Finish was
designed to retain patination and deliver a ‘cared for over many years’ look to battered antiques. This sideboard was just one of many items we restored while having what really was a great break at Noosa. The thing is you can work so quickly with Restor-A-Finish that the sideboard only took an hour or so. On that day we were so keen to get to the beach and see the sights that it wasn't until we got home from our holiday some time later and were checking the photos we'd taken, when we realised that although there were
plenty of action shots, we hadn't taken a before and after photo of that lovely sideboard. It's a pity because the difference after the Restor-AFinish treatment was amazing. We'll leave you to imagine just how elegant that old Victorian lady looked when we waved her goodbye. David Foster – Director HOWARD PRODUCTS (AUST) 1800 672 646 advice@howardproducts.com.au www.howardproducts.com.au
HEALESVILLE
DI KING’S FOURTH ANNUAL SHOW 12 – 20 October A t the time of Antiques & Art in Victoria going to print, Di had no idea what she was going to paint for her up and coming exhibition. With only a few landscapes on hand for printing, she was, at the time, not sure which way her creative juices would run. So instead of locking herself into a given theme, she decided to just go with whatever inspiration came along until the time of hanging. With that said, expect this exhibition to be full of surprises. Not only for you, the viewer – but Di herself! Di has been painting for 30 years and in that time has won many awards and had many solo and group exhibitions. She is well known for her paintings of High Country horsemen, along with her very appealing figurative paintings as well as a variety of many other subjects. Having her own gallery is such an advantage, as a wide range of subject matter can be featured for the many visitors to the gallery.
Open – 10 am to 4 pm daily
Found in many private collections here and overseas, Di’s work captures the light and beauty of whatever she paints, in a lovely impressionistic style. With fresh ideas and fresh new work this, her latest exhibition, should prove to be very exciting. One certainty is that Di will have a variety of her ever popular High Country cattlemen and river crossings. This variety will give anyone the opportunity to be able to choose something to suit most pockets. If you’ve been before, it will be like your first visit all over again, as no one knows what to expect. If you’ve never been before, now is a good time to come and see why our many loyal clients continue to return to the gallery. Why not join them?
GENERAL EXHIBITION General works by both John and Di are always featured, so there will always be something of interest to see at the Di King Gallery.
SELECT DI KING GICLEES
ABOUT THE GALLERY
For those who would like to have a Di King painting but feel it may be out of reach, a selection of her works from previous collections have been reproduced and are available as part of the gallery's permanent display. With great consideration, Di has reproduced some of her most sought-after images which are available on archival watercolour paper or the highest quality linen. Di is most excited about being able to offer these images at affordable prices.
The Di King Gallery will always open its doors to visitors whenever anyone calls. So many times Di and John are working away in their studios when the phone rings and are asked by the caller if they can visit the gallery, and so many times the caller is sitting in the driveway! It may be that the caller is just visiting the Yarra Valley for many of the activities in the area and stumbles upon the gallery sign. Whatever the reason, John and Di are always happy to open up.
FRIENDLY LAY-BY SYSTEM
For more information, contact by phone or email DI KING GALLERY 03 5962 2557 / 0414 404 798 mail@dikingartist.com www.diking.com.au
These days, lay-bys seem to be in the past, well not so at the Di King Gallery. John and Di have a very friendly lay-by system. Any arrangement can be made to suit your budget, so there is no reason to miss out on treating yourself.
03 5962 2557 0414 404 798 - 0414 404 792
Corporate and private viewings can be arranged
OPEN ANYTIME BY APPOINTMENT 32 Maroondah Hwy, Healesville 3777 mail@dikingartist.com
Always available at the Gallery… Original works by Di King and John Thomas And Digital Reproductions by Di King Antiques and
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Arthur Streeton, La Salute, from Riva Schiavoni, c. 1908, oil on canvas, 28.2 x 38.4 cm. National Gallery of Australia, Canberra. Purchased 1959
E. Phillips Fox, Promenade, c. 1909, oil on wood panel, 26.6 x 35 cm. National Gallery of Australia, Canberra. Purchased 1974
George W. Lambert, The sonnet, c. 1907, oil on canvas, 113.3 x 177.4 cm. National Gallery of Australia, Canberra. Bequest of John B. Pye 1963
ART GALLERY OF BALLARAT: Capital and country: the Federation years 1900 – 1914 26 OCTOBER – 19 JANUARY 2014 FIRST FEDERATION FOCUS BY NGA Capital and country: the Federation years 1900 – 1914 is the National Gallery of Australia’s first major exhibition to focus on Australian painting from the Federation era. The exhibition considers the parallel stories of Federation landscape painting in Australia and the art produced by Australians who lived in Europe during this period, which takes in Edwardian England and the last years of the Belle Epoque in France before the outbreak of the First World War in 1914. The 46 works brought together in Capital and country reveal the richness and diversity of non-Indigenous Australian painting during the Federation years. They range from sunlit images that convey the nation’s patriotic embrace of their own landscape, to those that emphasise the popularity of portraiture and figure painting in Europe. Well-known and loved works in the national collection by Frederick McCubbin, George W. Lambert and Hans Heysen are brought to light in new ways alongside lesser-known images by Florence Fuller, Godfrey Rivers and Richard Hayley-Lever that will both surprise and delight.
NATION MAKING INSPIRED ARTISTS On 17 September 1900, following almost two decades of heated debate, Queen Victoria proclaimed that on 1 January 1901 a federation of the six British colonies would come into being to form the Commonwealth of Australia. On New Year’s Eve 1900,
Federation was welcomed with enthusiasm and merrymaking around the country. Tom Roberts and Frederick McCubbin were two of many Australian artists moved to respond to the significance of this time, and they produced lively sketches inspired by the opening of Australia’s first Federal Parliament on 9 May 1901. One of numerous nation building acts that took place following Federation was the development of Australia’s diplomatic mission in central London. The embassy, known as ‘Australia House’, was constructed between 1913 and 1918, and was the first official building designed to represent Australia after Federation. It was symbolic as Australia’s first international presence, yet also represented a continuation of British–Australian ties. The search for a permanent site for the Federal Capital also played out over this same period of time. After almost eight years of often-controversial discussions, in 1908 the Federal Parliament agreed upon a site in farmland near Yass, in New South Wales. A competition to paint the Federal Capital site on a grand scale was announced in 1912. The large panoramic vistas by Penleigh Boyd and W. Lister Lister show the view towards what is now the centre of the capital, where the foundation stones for the city of Canberra were laid on 12 March 1913.
POETIC VISIONS OF FEDERATION LANDSCAPES During the Federation years the Australian landscape played an important role in the excited imagining of a national identity. From the late 19th century Australians had begun to seek out imagery,
Richard Hayley-Lever, A haven beneath the hill, St Ives, c. 1908, 140.5 x 164.5 cm. National Gallery of Australia, Canberra. Purchased 1968
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Rupert Bunny, Qui vient? [Who comes?], c. 1908, oil on canvas, 81 x 54.2 cm. National Gallery of Australia, Canberra. Bequest of John B. Pye 1963
ideas and ideals that seemed characteristic of their surroundings, and with Federation this quest took on greater purpose and meaning. Key artists of the era, such as W.C. Piguenit, Hans Heysen and Frederick McCubbin, drew on the traditions of European landscape painting to offer Australians poetic visions of their surroundings. They helped Australians to fall in love with the distinctive qualities of the bush, from a ‘typically Australian’ colour palette to the effects of sunlight and representations of native flora, particularly the gum tree. Similarly, the popularity of images of drovers, shearers and the trials and triumphs of life on the land appealed to the egalitarian ideals of city-dwelling Australians, who then made up almost two-thirds of the population. As Australians sought out images of their nation, Federation landscapes began to replace 19th-century British pictures as public favourites. Spaces dedicated to the display of public collections and exhibitions of Australian art were expanded, and large national exhibitions provided artists all over the country with the opportunity to paint major works. The increase in scale of many works by Federation landscape painters reflects both a sense of national pride and the growing interest in Australian art, generating a veritable boom in the market by 1907.
AUSTRALIAN ARTISTS IN EUROPE Despite the excited nationalism of this time, Europe still beckoned Australian artists as the centre of Western art. A pilgrimage to Europe was considered a rite of passage for many Australians. London and Paris were two of the most fashionable destinations, attracting artists from all over the world. Young artists were encouraged by teachers, patrons and colleagues to further their study in Paris, and senior artists also left Australia to establish themselves within a much larger market. Figure compositions and portraiture dominated the art scene within which most Australians sought acceptance. Mastering the human form was the major focus of the Academies, and from the turn of the century, portraiture and aesthetic figure studies had replaced history painting as the prominent genre accepted into the large prestigious annual exhibitions of the Old and New Paris Salons and the Royal Academy in London. Expatriate Australians were predominately influenced by the society portraits and sophisticated figure paintings of artists such as London based American painter James Abbott McNeill Whistler. Expatriate painters
also looked to the art of the past, stimulated by the rich collections of European art museums. The works of 17th-century Spanish painter Diego Velázquez, in particular, had achieved a cult-like following, inspiring numerous homages and quotations.
EXPATRIATE VIEWS While studying in Paris, most students painted continually and energetically. A number of works in this exhibition are student pictures, completed with whatever visual material these eager young painters had at hand, from their dimly lit, poorly heated live-in studios to views of the river Seine. Most expatriate artists also travelled around Europe while abroad. Arthur Streeton, for example, embarked on artistic pilgrimages through Italy and rural Britain. Richard Hayley-Lever was one of a number Australians who worked in the popular Impressionist artists’ colony at St Ives, on Britain’s Cornish coast. From a base in Paris, Hilda Rix Nicholas, like E. Phillips Fox and his British-born wife Ethel Carrick, travelled extensively, capturing lively, high-key impressions of modern life and leisure from Paris to Morocco. Fox and Carrick also visited Australia briefly, in part inspired by reports of the booming art market. Carrick’s works such as The quay, Milsons Point reveal her delight in the clear bright sunlight of this Australian coastal urban centre, in the manner of her European impressions. Until the founding of the Federal Capital in Canberra, all major urban centres (home to almost two-thirds of the Australian population) were located on the coast. While the beach subsequently became a key symbol of an Australian identity, during the Federation years representations of the city and the beach reflected more modern, less ‘characteristically Australian’ ideas of life and landscape. Capital and country is a travelling exhibition of paintings from the national collection, developed as the National Gallery of Australia’s gift to the nation in celebration of Federation and the centenary of the Federal Capital in 2013. It is showing at Ballarat Art Gallery from 26 October 2013 until 19 January 2014.
Miriam Kelly, exhibition curator ART GALLERY OF BALLARAT 03 5320 5858 www.artgalleryofballarat.com.au
The National Gallery of Australia is an Australian Government Agency
BALLARAT
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CANTERBURY / CITY / GEELONG
HUGE RANGE OF QUALITY FRENCH BEDS
Guy Page
Persian and Oriental Carpets
PAGE ANTIQUES Formerly of High Street Armadale
“The best selection of queen-size beds”
NE The
Collection
219 Canterbury Road Canterbury Vic 3126 Phone 03 9830 7755 www.majidcarpets.com Open Mon – Sat 10 am – 5 pm, Sundays by appointment
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PAGE ANTIQUES WAREHOUSE 323 CANTERBURY RD, CANTERBURY VICTORIA 3126 PH 03 9880 7433 10 AM – 5 PM 7 DAYS (SUN 11 AM – 4 PM) Email: guypage@bigpond.com 0411 175 320 www.pageantiques.com.au
CHELTENHAM
THE EMILY MUSEUM THE FIRST MUSEUM DEDICATED TO A SINGLE ABORIGINAL ARTIST
Photo by Tara Ebes, 1994
EMILY KAME KNGWARREYE 1910 – 1996
NOW OPEN BY APPOINTMENT ONLY TUESDAY – SATURDAY adults $20, children $10
11 – 15 Christensen St, Cheltenham Phone 0457 005 000 or 0419 329 886
Sponsored by The Aboriginal Gallery of Dreamings www.agod.com.au
www.emilymuseum.com.au Antiques and
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CHECK OUT OUR ONLINE SHOP FOR EASY SHOPPING CAN BE VIEWED ON OUR WEBSITES www.xxxxantiques.com.au www.xxxxantiques.net ONE OF THE LARGEST SUPPLIERS OF MOTORING ACCESSORIES IN AUSTRALIA For sale & in stock
Corner Elizabeth & Johnstone St, Castlemaine VIC 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
CLIFTON HILL / GEELONG
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BENDIGO
Valentine’s Antique Gallery IMPORTERS OF FINE QUALITY ANTIQUES ESTABLISHED 1947
Rare Louis Vuitton trunk, with all original linings and fittings, initialled BB, c.1910
Currently in stock selection of fine quality gold watches, 9 ct gold bracelets, lockets, wax seals and diamond rings, displayed in an early Regency rosewood travelling case
Impressive George II walnut 8 day long case clock by Richard Peckover, London, c.1750
19th century mahogany cylinder top 6 drawer fitted desk, with pull out slide, finely turned & reeded. c.1870
Fine quality William IV flame mahogany 8 day long case clock with hand painted dial, rolling moon, c.1830
NOW ONLINE
Grand William IV mahogany 2 section secretaire bookcase, tooled leather interior to fitted secretaire, flanked by 2 drawers over 3 cupboards, c.1840
For weekly updates of new stock “LIKE” us on facebook
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
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Above: Miuccia Prada, Shoes Spring/Summer 2008. Photograph by Brian Sanderson. Courtesy of FIDM Museum, LA
Modern Love
Right: Issey Miyake Ready-to-Wear Collection Spring/ Summer 1995. Photograph by Michel Arnaud. Courtesy of FIDM Museum, LA. Gift of Arnaud Associates
@ BENDIGO ART GALLERY 26 October 2013 – 2 February 2014 ome of the world’s most influential designers from the past 40 years are being featured in Modern Love: fashion visionaries from the FIDM Museum, LA which opens on 26 October. Drawn from the extensive archives of the FIDM (Fashion Institute of Design & Merchandising) Museum, this exhibition is exclusive to Bendigo Art Gallery and continues until 2 February 2014. With more than 60 works from the 1980s to the present day, Modern Love reflects upon key moments in fashion design over four decades and considers the influence of designers such as Vivienne Westwood, Issey Miyake, Carolina Herrera, Dior, YSL, Chanel, Versace, Alexander McQueen, Thierry Mugler, Prada, Christian Louboutin, Valentino, Thom Browne, Patrick Kelly, Christian Francis Roth, Jean-Charles de Castelbajac, Ralph Rucci, Moschino, Dolce and Gabbana, Fendi, Monique Lhuillier, Helmut Lang, Jean Paul Gaultier, Zac Posen, Arjan K for Body Worship, Yohji Yamamoto, Rei Kawakubo, founder of Comme des Garçons, and Hiroacki Ohya.
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Modern Love provides a tantalising overview of the international fashion world that followed the riotous and often antisocial moments we attribute to the Punk era. Within this we capture the tail end of the 20th century, when the fashion medium experienced its greatest transformation alongside mass production, radical social change and the onset of new technologies. A view of the beginning of the 21st century conveys the extraordinary leap of imagination that designers have taken. With works ranging from haute couture designs such as a museum commissioned Alexander McQueen gown through to T-shirts, Adidas high top runners to shoes worn by Samantha Jones in Sex in the City, the content in Modern Love reflects fashion in our contemporary lives. Tickets are on sale from 1 August 2013. For further details and ticket information go to www.modernlovebendigo.com. For more information about forthcoming exhibitions, public programs and special events please consult the gallery website. BENDIGO ART GALLERY 03 5434 6088 www.bendigoartgallery.com.au Antiques and
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BELGRAVE
Cherry Manders, Wonthaggi
Maxwell Wilks, Moody afternoon
Jeff Murphy, Persimmons in copper
SHERBROOKE ART SOCIETY supports local artists S herbrooke Art Society, a non-profit organisation run by volunteers, is set up to encourage and support local artists. It was founded on a tradition of realist painting and seeks to encourage both traditional and contemporary interpretation of representative subjects. On display are a diverse variety of works in various mediums from this large collective of artists. The society provides studio space, classes, paint-outs, demonstrations, exhibitions and competitions to encourage art in the local community.
VISITOR EXPERIENCE Sherbrooke Art Society Gallery sits beside Clematis Creek at the edge of majestic Sherbrooke Forest just a few hundred metres
from the historic town of Belgrave. Make a trip to the hills and immerse yourself in the art culture of the Dandenong Ranges.
WORKSHOP: WATER & REFLECTIONS
24 & 25 August Very talented and popular Victorian artist, demonstrator and tutor, Regina Hona’s artistic passions are painting water and reflections which are very realistic. She also specialises in painting portraiture and the human form. She paints in pastel and oils and has led tours to the Greek Islands over the last three years, along with holding workshops within Australia. She is a member of the Pastel Society of Victoria and has an article
Sherbrooke Gallery
Ruth Chamberlain, Blue bowl
SPRING SHOW EXHIBITION The Spring Show is Sherbrooke Art Society’s longest-running awards exhibition showcasing works from award-winning artists and members. Offering something for everybody, the Spring Show will exhibit a wide range of original recent works in a variety of styles and mediums. From traditional fine art to contemporary realist you are sure to find that perfect painting to suit you and your budget. Ask about our lay-by arrangements. Framed and unframed works are available at bargain prices from December through to 31 January 2014.
Sally Thompson, Long day at the show
LEARN TO PAINT
Painting by Brad Trembath. Winner Best Oil/Acrylic 2012 Spring Show
Sherbrooke Art Society Inc Established 1966
regularly published in the PSVA’s bi-monthly magazine, as well as producing her own newsletter. To find out more about Regina, visit her website http://reginahona.com. Come and join us on a wonderful two-day painting experience with this brilliant teacher and learn the art of movement and drama with water and reflections. Visit our website www.sherbrookeartsociety.com for more details.
2013 SPRING EXHIBITION An exhibition of our award winning artists and members OPEN FOR VEIWING AND SALES
Sherbrooke Art Society has three studios and caters for a range of different mediums and styles for students of all levels. Our experienced tutors are all professional, awardwinning artists. These include landscape artist, Michael Goff; still life and portrait artist Jeffrey Murphy; drawing and conceptual artist, Wendy Jane Sheppard, and children’s tutor, Molly Roche. We are also delighted to welcome watercolourist Antoinette Blythe to our group of talented tutors.
Christine Cafarella Pearce, Juxtaposition
MEMBERSHIP ADVANTAGES Become a member of Sherbrooke Art Society and be part of our community of artists. As a member you can participate in group paint-ins and field painting trips, discounted entry to demonstrations and workshops, and exhibition of your paintings in one of our three gallery rooms.
Ted Rowbottom, Strathbogie Ranges
For more details contact SHERBROOKE ART SOCIETY GALLERY 03 9754 4264 www.sherbrookeartsociety.com
Saturday 12 October 3pm to 3 November
FREE ENTRY To Monbulk
62 Monbulk Road, Belgrave 3160 Tel: 03 9754 4264 Gallery Hours: 11 am – 4 pm (closed Tuesdays) www.sherbrookeartsociety.com
Monbulk Rd Sherbrooke Gallery Puffing Billy Belgrave Station Burwood Hwy to Melb Melway Ref 75 F8
Claude Ciccone, Wendouree boat shed
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Jenni Macauley, Mt Arapiles
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MENTONE BEACH
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MENTONE
French Heritage Antiques
ANTIQUE CENTRE
The French Fur niture Specialist Established 1984
We have a good selection of French antique furniture at the best prices in Victoria
‘ 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 ’ The best and most interesting selection of: • Antique furniture from France - England - Europe
• 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 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 • Murano Glass
• Royal Winton - Carlton Ware
• Men’s and Ladies’ accessories
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 10.30 am - 4 pm
(opposite Mentone Life Saving Club)
03 9583 3422 Open: Thur-Fri-Sat-Sun-Mon 10.30 am - 4 pm www.mentonebeachantiquecentre.com
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Email: mentonebeachantique@gmail.com
www.mentonebeachantiquecentre.com
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• Wedgwood - Limoges Porcelain
ANTIQUES BY THE SEA AT Mentone Beach Antiques Centre ur business run by Barbara and Michel has grown to become Mentone Beach Antiques, which now incorporates French Heritage Antiques, the French furniture specialists. Michel comes from Toulouse in the south of France and has been around French antiques for all his life. Michel and Barbara go to France each year to buy fresh stock. If you are a regular customer with a piece in mind, Michel will keep an eye open just for you. Barbara is a committee member of the Victorian Antique Dealers Guild Inc and regularly writes articles on aspects of antiques for trade publications. The double fronted shop is gloriously located directly opposite Mentone beachside, a bay side suburb 20 km south-east of Melbourne city with easy access by the Nepean highway in a car. Train travel is relaxing for a day collecting trip taking in the seaside over summer and we are only a 15 minute walk from the Mentone train station on the Frankston line.
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MORE DEALERS AT MENTONE BEACH ANTIQUES Mentone Beach Antiques houses several rooms of antiques and collectables. In addition to French antiques, several other dealers are now in the centre bringing in a wide range of antiques and collectables for collectors. Current furniture includes dining tables, sideboards, chest of drawers, beds, desks, and small occasional tables perfect for apartments. The styles and periods range from 18th, 19th and early 20th century, art nouveau and art deco, and come from French, English, European, oriental and Australian sources. Suggestions for small items for travelling collectors to select are clocks, porcelain, silver and silver plate, jewellery and old ivory pieces. For the home, there is a wide selection
of styles and sizes of mirrors and lighting. Art lovers will be drawn to the array of paintings, prints, art glass and objets d’art. Select gifts from the wide range of jewellery, bags, compacts, perfume bottles and textiles such as fine old shawls that are now back in fashion. If you are downsizing, consignment goods are taken at very reasonable rates. We pride ourselves on giving the best price and service.
MENTONE BEACH ANTIQUES CENTRE 03 9583 3422 query@antiquecentrementone.com.au www.antiquecentrementone.com.au
ESCAPE THE CITY An ideal way to spend a sunny afternoon is driving along Beach Road, stopping for lunch or afternoon coffee and cake at one of the excellent bayside restaurants, gazing at the deep blue sea and inspecting the fascinating wares at Mentone Beach Antiques Centre. This is a gem of a shop and well worth an excursion. Open five days, from Thursday to Monday, 10.30 am to 4 pm, Michel and Barbara will be only too willing to help you find the specific item that you seek to collect.
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THE ABORIGINAL GALLERY OF DREAMINGS the largest collection of aboriginal fine art
u e a l . a s m o r c . o um f ow muse n ” y
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11 - 15 Christensen St, Cheltenham VIC 3192 Phone Hank Ebes on 0419 329 886 48
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CHELTENHAM
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IN-HOUSE STOCK SALES The SALE WEEKENDS are 31 August - 1 September 28 - 29 September
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• NO BUYER’S PREMIUM • HAMMER PRICE IS GST INCLUSIVE • UNIQUE POST AUCTION EXCHANGE POLICY • ALL MAJOR ARTISTS REPRESENTED • MUSEUM STRETCHERS • GALLERY PROVENANCE • RANGING FROM $250 TO $250,000
our times a year, over two decades, Aboriginal Gallery of Dreamings, Melbourne featured Aboriginal masterpieces in their full-page advertisements, followed by a related article for clarification and education. Some of the masterpieces reproduced in the posters forming the border are now in local and international museum collections. Most notable is Clifford Possum’s Warlugulong, which continues to hold the record price at auction when it was sold to the National Gallery of Australia, Canberra for $2.4 million in 2007. Not all our paintings were sold however when we closed the city gallery in Bourke Street in 2008 and moved to Cheltenham. With more than 3500 handpicked and commissioned paintings in storage at our factory/warehouse/museum complex in Cheltenham, retirement was not an option. All Aboriginal Gallery of Dreamings stock is listed at www.aboriginalgalleryofdreamings.com. Our major project, the Emily Museum, is unique. This is the first museum ever, dedicated to a single Aboriginal artist. The official opening of the museum, dedicated to the brightest star in the art cosmos, Emily Kame Kngwarreye, was on 8 May 2013. Details can be found at www.emilymuseum.com.au. To be kept up to date, email us for inclusion in the guest book at museum@emilymuseum.com.au. Auctions are planned to help fund the Emily Museum. Twice a year, over the next five years, works in the Nangara exhibition from the Ebes Collection will be offered for sale at auction. To view these paintings visit www.nangara.com. In the past 12 months we have held four in-house auctions from the Cheltenham warehouse with great results; prices ranged from $100 to $1million. Details of the works and results of all four sales can be found at www.agodauctions.com.au. If you missed the first four auctions, there is another one planned for mid November. We offer huge savings on stunning works of art as there are no additional fees: buyer’s premium of up to 25% is not charged and GST is included in the hammer price. Even our unique exchange policy applies to auction purchases (conditions apply). So don’t miss the next auction! Starting late August we will open our stock rooms to the public for special weekend sales from 10am – 4pm on Saturday and Sunday 31 August – 1 September, 28 – 29 September, 26 – 27 October, 30 November – 1 December.
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Visit us at the Royal Exhibition Buildings during the Australian Art Show (Friday night 23 August, Saturday 24 and Sunday 25 August). The Emily Museum is exhibiting iconic paintings by Emily Kngwarreye and The Aboriginal Gallery of Dreamings has a selection of rare early works from the Central and Western Desert FOR SALE.
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THE ABORIGINAL GALLERY OF DREAMINGS 11-15 Christensen Street Cheltenham Vic 3192 • P: 0419 329 886
www.agod.com.au
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MT ELIZA
MOUNT ELIZA’S 35TH ANNUAL ART EXHIBITION 25 — 27 October ount Eliza’s annual art exhibition returns 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, community based 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. A wide variety of well established as well as emerging artists have been invited to exhibit at this year’s show.
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VERONICA HOLLAND: FEATURE ARTIST 2013 Veronica lives and works in Christmas Hills, a bush haven on the edge of the Yarra Valley.
Her large and colourful paintings can be dynamic or gently whimsical, but generally bring a smile to the observer. Describing her work as ‘art to live with’, Veronica’s cheerful paintings are often based on things that are a source of personal amusement. ‘I mainly paint people being people, [and] love painting voluptuous “Wonder Women” who are happy in their own being and in control of their lives.’ Holland has also been working on a series inspired by music. ‘I like the energy and passion in music, and the stories behind the performance. I try to make you see the music,’ she explains. ‘Many of the titles are a play on words ... A glimpse into a parallel universe!’
GALA OPENING: FRIDAY 25 OCTOBER Limited to 500 guests, the gala opening commencing at 7.30 pm is a much anticipated social event on the Peninsula with live music, gourmet finger food and an exceptional selection of Peninsula wines. 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 or www.trybooking.com. Gala night admission is $25 and entitles patrons to the first opportunity to view and purchase exhibits. Your ticket permits unlimited re-entry to the exhibition throughout the weekend.
VISITING THE EXHIBITION The 35th Mount Eliza Art Exhibition is hosted by Mount Eliza North Primary School, Moseley Drive, Mount Eliza (Melway 105 H2/J2). The popular Café d’Art will open all day Saturday and Sunday, serving morning and
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afternoon teas and light lunches with regional wines by the glass. Weekend times are Saturday, 26 October 10 am to 5 pm, and Sunday, 27 October 10 am to 4 pm. Adult entry on Saturday and Sunday is $5 and children are free when accompanied by a paying adult. Tickets are available from Mount Eliza North Primary School or www.trybooking.com. Hockingstuart Real Estate, Vision Finance and Big Bang Media proudly sponsor this exhibition. For further information contact MOUNT ELIZA ART EXHIBITION 03 9787 6611 www.mtelizaart.com
BERWICK
Craig Davy, Mornington Clouds
Nora Howard, Geoffrey
Annette Spinks, Into the blue, close to home
South Eastern Arts Festival’s
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TOP ART AT LOW PRICES Fine art, décor and contemporary art will be available at very affordable prices for all connoisseurs of art – whether new home owners looking for their first original painting, with paintings priced from $55 and $100, right through to the best art in Victoria. On top of this, the organisers are offering readers of Antiques & Art a special VIP 10% discount – preferably bring along the advertisement or just tell the organisers.
LEADING VICTORIAN ARTISTS The judges are two of Victoria’s leading and respected artists –watercolourist Julie Goldspink from Rye and modern Impressionist Claire McCall from Box Hill who will also be featured artists with their own special display. Also showcasing magnificent art in special dedicated displays will be other popular and leading Victorian artists including: Di King – from Healesville; Pete Marshall – Whittlesea ; Stephen McCall – Bright; Craig Davy – Rosebud; Lyn Mellady –Frankston; John Thomas – Healesville; Annette Spinks – Inverloch; Do Noble – Doveton; and Ern Trembath – Cranbourne. Complementing these, the exhibition will also include works by such renowned artists as Gary Laird; Grace Paleg; Robert Knight; Brad Trembath; Jan Long; Ron Brown; Elena Kolotusha; Glenn Hoyle; Fiona Bilbrough; Nora Howard; Barbara Pain; Calvin Bell; Kerrie Warren; Kevin Weeks; Kathy Berry and Julie Ricketts.
SIR GUSTAV NOSSAL FINE ART AWARDS The Great Art Show was held in Dandenong for many years however four years ago it came under the umbrella of the South Eastern Arts Festival and it is now held in Berwick. This year the art show is being held in the allnew, ultra modern, select entry Nossal High School in the Monash University Campus in Berwick. Sir Gustav Nossal is Australia’s distinguished research biologist who has been knighted for his ground breaking immunology work. One of Australia’s living treasures, the various high level positions he’s held include chairman of the Strategic Advisory Council of the Bill & Melinda Gates Foundation Children’s Vaccine Program and chairman of the World Health Organisation’s Vaccines & Biologicals Program. In his honour, the premium awards at the Great Art Show of the South Eastern Arts Festival will be called the Sir Gustav Nossal Fine Art Awards and Sir Gustav will present the awards. This year the show is also introducing digital art and petit art as well as featuring scratchboard art and cultural art where paintings depict the culture or landscapes of the artist’s country of origin. In addition, as well as best painting (open subject/medium), other categories in which premium awards for best paintings will be awarded include categories of portrait, cultural, digital art by junior students (8 – 12 years) and seniors (13 – 18 years). Categories for emerging artists (hobby artists who have not won an art prize of $300 or more and/or who do not sell their paintings on a regular basis), also extend to categories covering oil/acrylic; watercolour/ pastel/ pencil and contemporary/abstract.
Annette Spinks, Keep Dreaming
Stephen McCall, Evening Light, Leros
GREAT ART SHOW GREAT ART – GREAT PRICES
20 – 22 SEPTEMBER
Di King Yarra Valley Landscape
laimed to be the greatest comprehensive art show of the south eastern region, this exhibition will showcase paintings by leading Victorian and local artists plus a special section for the new generation of talented junior artists. Over 200 artists and 700 impressive works are expected.
20 -22 SEPTEMBER
For further information contact: PROVENANCE ARTISTS INC 03 9704 7773 provenance@tpg.com.au
Simply the greatest art show of the region Featuring Sir Gustav Nossal Fine Art Awards, Fine Art, Decor Art
Fri & Sat 10 am – 6 pm Sun 10 am – 3 pm Nossal High School, Monash Uni Campus 100 CLYDE RD, BERWICK
10% discou nt with th is advert
Organised by Provenance Artists Inc for South Eastern Arts Festival Inc Calvin Bell, Simply Red
Claire McCall, Sandcastles
Jackie de Silva, Summer Breeze
03 9704 7773 provenance@tpg.com.au Antiques and
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MORNINGTON PENINSULA
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ANTIQUES AND ART on the Mornington Peninsula
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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, 11 am - 5 pm. Specialising in fine quality antique furniture, collectables and objets d’art. ‘Where a treasure is waiting to be found.’
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 art by Australia’s leading artists, together with acclaimed exhibitions focusing on the Mornington Peninsula’s rich cultural life. Recent memorable exhibitions have reflected on the work of the Boyd family, Arthur Streeton and Fred Williams.
3. TYABB TYABB PACKING HOUSE ANTIQUES Mornington-Tyabb Road, Tyabb (opp Tyabb Railway Station) 03 5977 4414 Open 10 am - 5 pm, Thursday - Sunday This unique complex is Australia’s largest collection of antiques and collectables. Spend the day browsing, talk to the dealers, most have over 20 years experience. Visit the tea rooms then take a ride to the working craft village, art gallery and kiosk. Wheelchair and pushers available. Coaches welcome.
4. MT MARTHA MEADS ANTIQUES & COLLECTABLES The Clock Tower Arcade Shop 3, 34 Lochiel Avenue, Mt Martha 03 5974 8577 Open 10 am - 5 pm, Wednesday - Sunday We have an eclectic selection from the 1800s to the 1970s including unusual and interesting glass, china, toys, pictures, small furniture and jewellery. We buy and sell.
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5. RED HILL MONTALTO VINEYARD & OLIVE GROVE
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33 Shoreham Road, Red Hill Mel Ref: 256 B2 03 5989 8412 info@montalto.com.au www.montalto.com.au Open 7 days Montalto Vineyard & Olive Grove's 50 acre amphitheatre property is the ideal setting for wine, food, nature and art. Awarded the Top Winery Destination in Victoria 2006. The permanent outdoor sculpture collection can be enjoyed throughout the year with additional exhibitions. An acclaimed restaurant overlooks the property. Award-winning estate wine and olive oil for tasting at the cellar door.
SORRENTO FINE ART GALLERY 3301 Point Nepean Rd, Sorrento (Opposite Rotunda) Winter Hours: Friday - Monday 10.30 am - 5.30 pm Summer Hours: Sorrento: Open daily 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.
WHITEHILL GALLERY
MARLENE MILLER ANTIQUES
Whitehill Road Red Hill / Dromana 03 5931 0146 rick@whitehillart.com.au www.whitehillart.com.au Open daily 11 am - 5 pm Peninsula Showcase Regular exhibitions featuring prominent artists in painting and sculpture, Angelo Quabba, Fiona Bilbrough, Carole Foster, Glen Hoyle, Annee Kelly, Rosemary Todman Parrant, Josephine Pititto, Malcolm Beattie, David Minton, Jessie Mclennan, Robert Ford, Caroline Graley, Rodney Symmons, Geoff Harrison, Susan Fisher. Sculpture Walk and Coffee Shop
Gwen Bridges-Mulder bronze sculpture with a vintage post box at the end of Main Street on the corner of the Esplanade in Mornington
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.
LANGWARRIN chaffinches to parrots, from hummingbirds to African weavers. Sourced from the collections of Museum Victoria and from the private collection of Gay Bilson, these exquisite constructions reveal the lives and habits of our closest wild neighbours. They tell the story of birds’ survival and adaptation to our ecologically fragile planet. Nest displays the architectural skill of birds, their consummate ability to make work that is both delicate and durable, as well as the astonishing array of materials they use. This exhibition invites audiences to connect with nature in a new way and observe nests in all their resourcefulness, diversity and elegance.
SHAUN GLADWELL: AFGHANISTAN 20 October – 2 February 2014 An Australian War Memorial Travelling Exhibition Shaun Gladwell’s war art focuses on ordinary soldiers in harsh landscapes, on their physique, their inner world, and the training and rituals that shape them. The subjects depicted here, whether on military bases in Afghanistan, the Middle East or Australia, lie at the centre of the artist’s meditations on the role of technology in modern war and the nature of sacrifice and death. Gladwell’s work is a significant contribution to a tradition of official war art that began during World War I. His use of the video medium is the first in the history of the Australian War Memorial’s official war art scheme.
MADE TO LAST: THE CONSERVATION OF ART 20 October – 2 February 2014 A NETS Victoria exhibition in partnership with the Centre for Cultural Materials Conservation at the University of Melbourne and supported by Latrobe Regional Gallery.
The conservation of art is commonly associated with the restoration of 17th century paintings or marble sculptures from antiquity. The use of materials in contemporary art has challenged this perception and enabled a shift in the way conservators interact with artists. The artists in Made to last pose questions to future conservators; they have been interviewed by curator Sherryn Vardy about their intent, materials, processes and views on conservation. The exhibition also provides a behind-the-scenes look at conservation with demonstrations of how materials can behave over time and under different environments. Works include neon and master woodblock prints by Brook Andrew, altered ceramics by Penny Byrne, paintings and anamorphic works by Juan Ford, ink on paper and unique objects such as plants on shelves by Ghostpatrol, and video work and installation using unconventional materials including strawberries and cream and raspberry lollies by Claire Anna Watson.
THE MARY & LOU SENINI STUDENT ART AWARD 2013 FOR SCULPTURE Call for entries Established in 1998, the Mary and Lou Senini annual $3000 Award is open to all Victorian tertiary students and alternates between the disciplines of painting / printmaking, ceramics and sculpture. This year students are invited to enter works in the field of sculpture. Selected finalists will be included in an exhibition opening in December 2013 at McClelland Sculpture Park + Gallery. For more information contact MCCLELLAND SCULPTURE PARK + GALLERY 03 9789 1671 www.mcclellandgallery.com
Maria Fernanda Cardoso
Exhibitions to view
AT MCCLELLAND SCULPTURE PARK + GALLERY AIR BORN Until 6 October ir born brings together a vibrant collection of 19 contemporary artists’ work who, through their varying artistic disciplines, are inspired by birds, either as a subject or who emulate through their work aspects of avian habitats and rituals. Birds have played a vivid role in the conceptual and spiritual life of many cultures. Air born inspires an exploration of these cultural traditions and symbology by unravelling varying ideas surrounding birds and our interaction with them. The themes presented in these works traverse art and cultural history as well as ideas of adornment, volatility, migration, environment, place and identity. This exhibition accompanies Nest: The Art of Birds to celebrate the importance of birds
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and revere the often overlooked marvels of their intricate and beautiful existence. The artists featured are: Maria Fernanda Cardoso and Ross Rudesh Harely, Marian Drew, Anne Ferran, Ricardo Idagi, Rahel Kngwarriya Ungwanaka, Martin King, Noel McKenna, Jan Nelson, Lindy Panangka Rontji, Judith Pungarta Inkamala, Ben Quilty, Nusra Latif Qureshi, Kate Rohde, Kylie Stillman, Louise Weaver, Christine Wrest-Smith, John Wolseley, Gali Yalkarriwuy Gurruwiwi.
NEST: THE ART OF BIRDS Until 6 October What are nests if not art created by nature? Guest curator Dr Janine Burke has devised an exhibition which explores the beauty, ingenuity and originality of birds’ nests from magpies to honeyeaters, from Antiques and
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FRANKSTON
Lyn Mellady, Dune Shadows, pastel
Lesley Barrett, The Protector, scratchboard
BRIALYN BOATHOUSE GALLERY: featured artists at Frankston’s centre for fine art pring brings out the best in many of us as we emerge from the colder weather to find what is new in the world around us. The Brialyn Boathouse gallery has a permanent display by over 40 artists which grows and shrinks with the size of our changing display by featured artists in exhibition. Check out the website to learn more. If you see something on line or in the gallery and want to view it in your own home it is part of our normal service so just ask.
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EXHIBITING ARTIST PROFILES The very collectable super realism of Elena Kolotusha’s artworks is the wow factor but she leaves us with much more than perfect technique. There is often a touch of wonder as we search for the message implied or story behind the connectivity of the objects. What is the secret behind the crumpled note and the stone heart, or the feathers and the key? There has been much interest in Elena’s work over the last year. Both art judges and buyers are responding to her very individual artworks. This exhibition will contain new and selected
works from this latest winner of the Australian Art Excellence Medallion. Grace Paleg sees the romance of light as it illuminates natural and treasured objects, often casting luminous, long shadows. Grace uses the translucency and colour of pastel like no other. Her pastel and oil paintings have been both awarded and collected Australia wide. This selection is painted in response to the celebration of her Terry Collins Medallion Award this year. Renowned in New South Wales for her versatile use of most mediums but more so for watercolour landscapes and natural flowerscapes, Julie Goldspink has not only notched up countless awards for her work but ran the Everglades Fine Art Gallery in Port Macquarie and is sought after by workshop organisers across Australia. Now settled in the Mornington Peninsula, Julie will show her recent work inspired from her exploration of the Great Ocean Road and other travels as she explores her new home. An artist’s first response to subject matter can often be the most interesting. We know her quality – we are looking forward to the initial impressions of her Victorian journeys. Recently Lesley Barrett was selected as a master member of the International Society of Scratchboard Artists. Although Lesley has been involved in art for many years, when Lesley discovered scratchboard, the world discovered Lesley. Scratchboard is a technique where drawings are created using sharp knives and tools for etching into a thin layer of white China clay that is coated with black India ink. Scratchboard can be used to yield highly detailed, precise and even textured artwork. Lesley selectively adds delicate colouring with special inks. Brialyn Boathouse Gallery is the first display point for Lesley Barrett’s new works. Lyn Mellady has long been known and awarded for her pastel and oil coastal studies from Fraser Island to Port Fairy in South Australia. The sheer pleasure that she enjoys sitting on the sand and soaking in the vision of waves, light, sand or shoreline is called her artist’s indulgence as she revisits part of it in her paintings. Her travels ensure that she is always finding inspiration. Although she has received many awards for depictions of waves, high country boulders, riverscapes, fields of hay bales and fishing ports, her works frequently gravitate back to her first love – beach and waves.
ABOUT THE GALLERY Brialyn Boathouse is a features gallery where the visitor is treated to an in-depth look at
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Grace Paleg, Morning gulls, pastel
Elena Kolotusha, Dream Locker, pastel & pencil
Julie Goldspink finalising a demonstration painting
artists’ latest works or can view the different responses that artists have on a similar topic. Situated at 368 Nepean Highway, Frankston, the gallery is opposite Officeworks and in front of the Boathouse Restaurant on Kananook Creek. Enjoy the experience. Any purchaser receives a free coffee voucher with our compliments. So plan a visit to the gallery and discuss the art over a meal or coffee. We are happy to help. Contact Brian or Lyn at BRIALYN BOATHOUSE GALLERY 03 9770 6119 / 0405 654 110 www.boathousegallery.com.au
TYABB
TURNING A VISION INTO REALITY TYABB PACKING HOUSE ANTIQUES
a centre of antique & collectable treasures B eginning with a modest but hard won success converting a smaller antique complex, Sheila and Gerard Martland went on to complete their journey near Mornington, creating what would become one of Australia’s most eclectic and broad-based antique and collectable centres as well as a tourist drawcard. With extraordinary vision and despite hardship, Sheila and Gerard gradually transformed a desolate tract of land next to the Tyabb railway station and a dusty rabbit warren of old cool rooms and storage areas into one of the biggest attractions on the Mornington Peninsula for everyone. It is now a centre attracting curious travellers, tourists and serious collectors. Discerning buyers come to seek out everything, from high end genuine Georgian, Victorian and Edwardian furniture and objects to old tools and a huge selection of
antiquarian and used books, to cutting edge mid 20th century design and furniture.
FROM APPLES TO ANTIQUES
Beginning as a dusty and forbidding place with a vast run down and ramshackle building that was once the packing house for the many apple orchardists on the Peninsula, ‘The House’ now offers two acres of undercover, centrally heated shopping with over 40 dealers. In keeping with the community retail atmosphere of the complex, the main building caters for discerning shoppers and visitors and offers a fully licensed cafe with al fresco dining. In addition, adjacent to the main building is a fully functioning craft village with art gallery, milliner, glass and pottery artisans and two more freestanding areas selling antiques and collectables, offering even more items of interest. In the village
grounds at Rattling Reds train carriage kiosk, visitors can relax and enjoy delicious Devonshire teas, fresh coffee and snacks.
RARE FINDS WITHOUT HIGH-END PRICES: SOMETHING FOR EVERYONE Find rare 19th century oil lamps and Asian artefacts, browse amongst a selection of antique bedding and haberdashery, or a first class offering of antique, estate and collectable jewellery. One of the great things about Tyabb Packing House Antiques is the fresh and constant changing of stock and up-to-date trends that come online including Melbourne based Industria. Dealers specialising in 20th century pieces proudly present unique furniture from iconic mid-century Australian and Scandinavian designers. Increasing numbers of international and Australian shoppers, accustomed to the high
end retail environments along the iconic tram routes of inner Melbourne, now find they can shop at the Tyabb Packing House without the high end prices. Tyabb Packing House is also the place to find quality Australian and European art, and is home to some of the finest examples of Art Deco, silverware, metropolitan industrial objects and popular kitchenalia, garagenalia, old toys and traditional clutter as well as everpopular blokey stuff of all types.
ABOUT TYABB PACKING HOUSE ANTIQUES Located at 14 Mornington-Tyabb Road, Tyabb, it is 50 minutes from Melbourne via CityLink, EastLink and Peninsula Link, Melways reference 148 H10. The drive is 10 minutes from Peninsula Link exit 18 and is next to Tyabb station. Opening hours are 10 am to 5 pm, Thursdays to Sundays and public holidays (except Christmas Day and Good Friday); Anzac Day: 12 pm to 5 pm. There is ample free parking and entry is free. TYABB PACKING HOUSE ANTIQUES 03 5977 4414 info@tyabbpackinghouseantiques.com.au www.tyabbpackinghouseantiques.com.au
TYABB PACKING HOUSE ANTIQUES
40 DEA LERS FRESH STOCK DAILY
14 Mornington Tyabb Road, Tyabb Victoria 3913 Just 10 minutes from Peninsula Link exit 18 Open Thursday to Sunday & Public Holidays 10am – 5pm (except Good Friday & Christmas Day)
Phone 03 5977 4414 email: info@tyabbpackinghouseantiques.com.au
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Staffordshire figures, c. 1840-60
Affordable rarity – a damaged 1740s Meissen tureen. Valued at $450, if perfect, the price would be $4500
SURPRISES IN PORCELAIN he antique porcelain collector has a hobby with surprises around every corner and always something to learn. Rare ceramics will always command high prices but others are available to suit every taste and budget. Quality of decoration affects value; a simply decorated piece will familiarise one with the ware and give confidence for a more expensive purchase. Simply decorated Derby plates of 1782–1800 can cost under $100, exotic ones over $500.
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FLYING UNDER THE RADAR Some factories are not as highly esteemed as they should be. New Hall, now climbing rapidly, is still reasonable at $140 for tea bowls and saucers, and $340 for teapots. Caughley is also becoming popular. Other good investments include Staffordshire groups from $120; Majolica from $95; transferprinted ware, especially stone china; and tea and dinner services. Collections of similar articles such as jugs, tea bowls, teapots, cottages, candlesticks, have exciting possibilities as a focal point in the decor of a room, and give a purpose to collecting. Paris Porcelain spill vases of the 1850s (very commonly miscalled Rockingham) are both functional and decorative whether in use or not. Unmarked cups and saucers from 19th century factories such as Minton, Spode, Coalport, Davenport, etc. costing from $45 make a delightfully different ‘crazy’ tea set which can always be enlarged. Imagine trying to buy modern hand-decorated wares for that price!
MARKED AND UNMARKED PORCELAIN
TRAPS TO BE AWARE OF
Many fine pieces of porcelain are unmarked and can only be identified by skilful comparison with pattern books and marked examples. The London retailers would not allow manufacturers to mark their wares, fearing that buyers would go direct to the factories. However, Thomas Good and W. Mortlake often had their own names marked on wares, and this can lead to confusion. We had an interesting bird group bearing Good’s mark conspicuously, but hidden was an impressed Moore Bros. mark that could easily be missed.
There are traps for the porcelain collector and foremost are the fakes. Samson of Paris began copying earlier pieces over a hundred years ago, but a careful comparison of paste, pigments and style of decoration will lead to detection. Restorations should always be shown to the purchaser as they will affect the value. Apparent bargains should also be carefully inspected for such things as re-decoration, spray-painting over cracks, filling-in of chips and replacements (particularly on figures). Some are extremely difficult to detect but the UV lamp will reveal all.
ROCKINGHAM PORCELAIN WHAT YOU SHOULD KNOW
OVERLOOKING SLIGHT FLAWS
Little marked Rockingham porcelain is found and unmarked pieces attributed to Rockingham should be viewed carefully. The author Geoffrey Godden states that if all the porcelain attributed to Rockingham had in fact been made there it would have been the largest factory in Europe! It was not a large factory, and produced wares for about 16 years only. Pattern numbers over 2000 cannot be Rockingham. Many such attributions are actually Davenport, Ridgways, Spode, Minton, Coalport, and other smaller factories. Recent (i.e. 1973) discoveries have also led to the re-labelling of much Caughley and Worcester; Minton, Coalbrookdale, and Rockingham; and Newhall. Intriguing excavations are being made on the sites of other factories and no doubt new discoveries will continue to be made.
But why deny yourself something beautiful if you can’t afford it in perfect condition? Among my prize pieces is a 1770 Worcester
pierced basket, riveted, and worth $350; if perfect it would be over $2000. Having a good knowledge of your particular field, and being guided by a knowledgeable and well-established dealer, you can build up an attractive collection which will be a sound investment also. In summing up, antique porcelain collecting is fun, intriguing, and challenging. Good luck! John Rosenberg MOORABOOL ANTIQUE GALLERIES 03 5229 2970 www.moorabool.com The article was written in 1973 and is still valid today. Prices were all increased to reflect present-day values and shows the other reward of collecting – investment!
Sometimes misidentified as Rockingham, the two plates are in fact Coalport, c. 1830. Although the cup and saucer are unmarked, they are unmistakably Rockingham, c. 1835
Above: Celtic China mark for the short-lived Baxter factory, Staffordshire, 1823-27 Left: L to r – Often misidentified as New Hall, research has revealed the origin of these oriental style pieces as being Hilditch & Son, Longton, c. 1830; a ‘Celtic China’ plate by John Denton Baxter of Hanley in the Staffordshire, 1823-27; tea bowl and saucer by New Hall, Staffordshire, c. 1795
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Table 2
Table 1
WELCOME TO THE WORKSHOP at Pegasus Antiques E stablished by my father Ken Duggan in 1983, Pegasus Antiques is a family owned and operated business with 30 years in the antique furniture trade. Following in my father’s footsteps, I started my apprenticeship at the age of 16, winning apprentice of the year and going on to win furniture polishing awards, which has become an area of passion. In this edition, I would like to show Antiques and Art readers three types of finishing techniques demonstrated on three different French tables.
TABLE 1 FRENCH POLISH: EXTENSION DINING TABLE The first table is a French walnut four leaf extension dining table, circa 1880. This table is suited for a formal dining room and, as such, requires a full French polish finish. To start with, it needed to be fully stripped and sanded, and the runners fully repaired to be in working order. The table’s base was in fantastic condition and only required a quick wipe with turpentine, followed by a light polish using shellac. The table has had around 120 coats of shellac, methodically applied by hand, which takes about 80 hours of labour to create a depth to the walnut that no other finish can compare with. After receiving the
polish, this table was then waxed using a dark, traditional English furniture wax, cutting the gloss out and bringing a glow to the finish.
TABLE 2 MATTE OIL FINISH: PARQUETRY DRAWER LEAF TABLE Table two is a French oak parquetry drawer leaf table, circa 1910. We bought this table in France. It had a terrible, badly applied black stain all over it. After stripping the finish off, I lightly sanded the table, as I wanted to keep most of the patina. Then using Danish oil, I simply applied one coat with a rag. I was very happy with the finish and decided to leave only the one coat on the table top. The more coats of oil, the more glossy the finish – however for this table, I was seeking a matte finish.
these splits were repaired so that I didn’t have to sand anywhere else on the table. A light scuff all over the table and I decided to use a blonde shellac (there are three types of shellac: orange, brown – most popular – and clear or blonde). For this table I wanted to retain a light natural colour, so it was given one light coat of shellac and then was heavily waxed with a clear beeswax, resulting in the soft glow I was looking for.
Please come down and chat to us in the shop in Geelong to see these fine examples of the different styles of polishing available as well as other items which may be of interest for your collecting pleasure in our amazing showrooms. For more information please contact Joel Duggan PEGASUS ANTIQUES 03 5221 8290 pegasusantiques@bigpond.com www.pegasusantiques.com.au
PegasusAntiques French twelve door faux oak bookcase
TABLE 3 NATURAL-LOOKING SHELLAC FINISH: FRENCH PROVINCIAL KITCHEN TABLE The third example is a rustic French provincial walnut kitchen table with barley sugar twist legs, circa 1870. I wanted to keep this table quite natural. We found it in France in quite good condition, with only a few splits in the top. Firstly,
ANNOUNCING THE ARRIVAL OF OUR FRENCH AND ENGLISH CONTAINERS FEATURING A QUALITY RANGE OF FURNITURE INCLUDING FRENCH PROVINCIAL PIECES
WWW.PEGASUSANTIQUES.COM.AU 550 LATROBE BLVD, NEWTOWN 3220
Table 3
P 03 5221 8290
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GEELONG
Kenneth Jack, Port Fairy Waterfront , 1955, pen & ink, watercolour, 35 x 55 cm
Kenneth Jack, Clunes, Ghost Towns of Australia, 1971, lithograph, 43 x 68 cm
Kenneth Jack, Darraweit, Seven Bridges over the Maribynong No.1, 1959, linocut, 27 x 37 cm
METROPOLIS GALLERY, GEELONG
presents Kenneth Jack: Classic And Rare Works PAINTINGS, DRAWINGS AND PRINTS FROM THE JACK FAMILY COLLECTION UNTIL 28 AUGUST etropolis Gallery, Geelong in association with the Jack family is excited to make available a large collection of significant works by Kenneth Jack (1924-2006) from the 1940s to 1990s, including many works that are being exhibited for the first time or that have not been seen for many years. Classic and Rare Works features important historic oil paintings from the 1950s, including a classic image of the old road leading into Aireys Inlet, as well as watercolours of the Flinders Ranges in South Australia and the opal fields of White Cliffs in NSW. There are 30 very fine outdoor
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sketches of towns and locations across the western district: Mt Noorat, Mt Eccles and other crater lakes, Talbot, Inglewood, Clunes, Cressy, Creswick, Gnarpurt, the Glenelg River at Nelson, Warrock Homestead and even Hanging Rock! This show reflects the legendary status of Kenneth Jack’s graphics, with linocuts of gold towns and billabongs; lithographs of volcanoes, Portland and Ballarat and etchings of Geelong College and Geelong Grammar. The Road to Bridgewater Bay from the 1940s is represented in three related works in oil, watercolour as well as etching. Kenneth Jack’s passion for Australia was as large as the country itself. He was fascinated by the history of Australia, particularly the
outback explorers and the gold towns. He travelled to practically every corner of the country, seeking subjects that inspired a creative visual response, and then he returned to the urban art scene with trademark interpretations of the stark beauty and moods of the outback. The young Kenneth was encouraged by his parents to pursue his love of art, however it was his wartime experience that truly formed his approach and productivity. In addition to his daily tasks with the RAAF on the islands north of Australia, he made full use of his time producing some 500 drawings, watercolours and oils. Many of the drawings and paintings are illustrated in his war drawing book (Kenneth Jack World War II Paintings and Drawings) and most of this archive is now in the Australian War Memorial, Canberra. His early influences were pen and ink masters of the day like John Piper, but it was meeting official war artist, Donald Friend, during his war service in the tropics and watching this artist at work that proved inspirational.
MASTER DRAUGHTSMAN Ken was a very fine draughtsman and worked in a staggering range of art mediums: pen (or quill or stick!) and ink, pastel, gouache, both oil and acrylic painting and watercolour for which he is widely recognised as a master. He was also prolific as a printmaker in etching, drypoint, screen printing, engraving, linocut, lithography, woodcut, Perspex engraving and stencil. He sometimes used a variety of these methods in the one print, creating an exciting layering and varied surface qualities. He was a knowledgeable print educator and taught at the Caulfield Institute of Technology (CIT) from 1958-68. While working ‘in-studio’ Kenneth’s work was tempered by a richly textured musical depth inspired by composers like Mozart, Beethoven, Bach, Brahms or Hayden and he would consciously shape an exhibition as a suite of works that somehow resembled a musical composition.
CONTRIBUTION TO VISUAL ARTS EDUCATION Kenneth established the printmaking and painting departments at CIT and by 1968 he was appointed Deputy Head of the Art School. But rather than this being the start of a new phase of his academic career he actually left teaching that year to pursue his art full time. This was a bold move for a man with a young family to support. From 1969 to 1976 he was a member of the Council of CIT and soon after he became a foundation member of the Federal Government’s Artbank Board (1980-83).
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Kenneth Jack, Billabong, 1963, (detail) linocut, 33 x 52 cm
He was a member of Australian Watercolour Institute from 1955. His admission to the Royal Watercolour Society in London in 1977 was a rare achievement for an Australian painter, and from 1979 to 1981 he was President of the Victorian Watercolour Society (VWS) and its patron from 1981. In 2007 the VWS established the annual Kenneth Jack Memorial Watercolour Award in honour of Ken’s contribution to the society and to watercolour painting. He was foundation Vice President of the Australian Guild of Realist Artists (AGRA) 1974-81 and made Honorary Life Member in 1989. AGRA has since established the Kenneth Jack Drawing Award to honour his contribution to the Guild. In 1982 Kenneth was awarded an MBE and in 1987 he was honoured with an AM for his services to art. Although Kenneth Jack had family links to Geelong that went back generations, he never had a major exhibition there. Metropolis Gallery is proud to bring this exhibition Kenneth Jack: Classic And Rare Works – paintings, drawings and prints from the Jack Family Collection, to the centre of a region of which he was very fond. In a career spanning six decades, Kenneth Jack (AM MBE RWS AWI) exhibited widely in Australia and internationally and he is represented extensively in public and private collections throughout Australia and overseas. Robert Avitabile (Director) METROPOLIS GALLERY 03 5221 6505 info@metropolisgallery.com.au www.metropolisgallery.com.au www.facebook.com/metropolisgallerygeelong
GEELONG From left: Ludmilla Meilerts, Spring Flowers, 1978, oil on board, 61 x 51 cm Ludmilla Meilerts, Blue Vase, 1980, oil on board, 61 x 51 cm Ludmilla Meilerts, Irises and Roses, 1977, oil on board, 61 x 51 cm Ludmilla Meilerts, Daffodils, c. 1975, oil on board, 61 x 51 cm Below: Ludmilla Meilerts at her exhibition at VAS in 1987
METROPOLIS GALLERY PRESENTS
Ludmilla Meilerts (1908–1997) Flowers he life and artistic journey of Ludmilla Meilerts (1908-1997) is reflected in the originality and strength of her paintings. Her intense personal struggle after fleeing her home in post-war Latvia to becoming a notable Australian artist is a larger than life story of resilience and determination. Metropolis Gallery is proud to present Ludmilla Meilerts: Flowers, an exhibition focusing on the artist’s paintings of flowers from the 1960s to the 1980s. Meilerts’ long and successful artistic career included most genres of art, but she returned again and again to the simple, honest statement of a vessel holding flowers. Arrays of Christmas lilies, chrysanthemums, roses, tulips, poppies or whatever flowers were in season at the time were collected and painted. Her mastery of colour and the glowing sensation of light passing through translucent petals resulted in the creation of many wonderful floral works. She completed most paintings in a single sitting of about two hours and avoided any reworking of the immediate sensation.
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‘I would watch her lightly sketch her outlines with thinned out crimson lake, and quickly block in the areas of colour. The sound of her brushes scratching on the board and the smell of linseed oil and turps were a heady combination…’ (Guna Green, artist) Friends of Ludmilla have recalled that whenever she was at family gatherings or exhibition openings she was either giving or receiving flowers, making this exhibition of flower paintings a fitting tribute to the artist.
EUROPEAN SENSIBILITY REINTERPRETED Ludmilla Meilerts graduated from the Latvian Academy of Fine Arts, Riga in 1940, where she made her first experimentations with colour. She was deeply influenced by the head of school Professor Wilhelm Purvitis, a follower of the French Impressionists and regarded as the country’s foremost landscape painter. After the turmoil left by World War II, Ludmilla and husband Otto decided to migrate and build a better life in Australia, arriving in February 1948. She brought a European art sensibility that set her apart from other Australian artists of the time and instilled in her paintings a personal expression of her new homeland. Within six months Meilerts was invited to show three works at the Annual Exhibition of the Society of Artists in Sydney, introducing Meilerts and her work to the Australian art world on the same level as many of the country’s major artists including Russell Drysdale, Lloyd Rees,
William Dobell, Margaret Preston, Grace Cossington Smith, Sali Herman, Elaine Haxton, George Bell, Margaret Olley and Thea Proctor. She held her first Australian solo exhibition at Georges Gallery in Melbourne in April 1949, with The Age art critic noting that ‘Her style is distinctive; the colour harmonies are sensitively rendered. Furthermore the artist has shown that a fresh vision may find material in the local scene capable of being rendered to a higher chromatic range than was hitherto suspected. Both her flower pieces and landscapes go beyond a visual record and express the quintessence of her subject.’ In the inaugural 1950 Dunlop Art Prize (at the time the richest national art award in Australia) Meilerts shared fifth prize with Fred Williams. First prize was won by Sidney Nolan, second by William Frater, with Arthur Boyd third and Charles Bush and Len Annois sharing fourth. She was a Dunlop Prize finalist again in 1951, 1952, 1953 and 1954, continuing to be selected alongside important Australian artists of the time.
7 – 21 SEPTEMBER
to which this exhibition Flowers is dedicated. Ludmilla Meilerts is represented in many Australian private and public collections including the National Gallery of Victoria, Art Gallery of NSW, Tasmanian Museum and Art Gallery, Art Gallery of Western Australia and regional Victorian galleries at La Trobe Valley, Bendigo and Portland and Gosford in New South Wales. For more information about the life and art of Ludmilla Meilerts and to preview works from this exhibition please visit the website. Robert Avitabile (Director) METROPOLIS GALLERY 03 5221 6505 info@metropolisgallery.com.au www.metropolisgallery.com.au www.facebook.com/metropolisgallerygeelong
RECOGNISED AS AN IMPORTANT ARTIST Ludmilla participated in important Victorian Artists Society (VAS) group shows in the 1950s and early 1960s, won the prestigious Gosford Art Prize in 1971 and the coveted VAS Pirstitz Gold Medal in 1982, which honoured her contribution to the Society and to Australian art. Since Meilerts made her first appearance on the Australian art scene in 1948, art writers have sought to categorise the influences on her work, suggesting French Impressionism, Pointillism, Post-Impressionism, Fauvism and Neo-Impressionism. In her book More Than Just Gumtrees (1993) art historian Dr Juliet Peers discussed Meilerts role in the Melbourne Society of Women Painters and Sculptors: ‘One of the most important migrant artists in the MSWPS was Ludmilla Meilerts... her art is saturated with the vibrating colours of the earliest hedonistic period of expressionism, when German artists were building upon the lead of the Impressionists and Fauves in France; abstracting and intensifying the colours and making the brush strokes expressive participants in the effect of the painting, more than a means of transcription.’ And ‘... she painted landscapes, still lifes and flowers in an extroverted manner and recorded the Melbourne scene of the 1950s with animation and vivacity.’ In a career spanning five decades, Meilerts created a significant and extensive body of work that included the abundance of flowers Antiques and
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THE MAJID COLLECTION CONTINUES THE SERIES ON PERSIAN CARPETS Kurdistan’s stylish Bijar rugs: traditional & modern B ijar or Bidjar rugs are made in the Kurdish region of north-western Iran, and they are known for their style and also for their weight and durability, which makes them almost unique among Persian carpets. Bijar rugs have been woven by Kurdish tribeswomen for hundreds of years and many Western collectors are fond of this style of rug, both in the traditional forms and the more modern styles which have been developed in the last century or two.
LOCATING BIJAR RUGS As well as being made in the city of Bijar itself, Bijar rugs are also created in many small villages in the surrounding countryside. Bijar is a town in the mountainous region of Kurdistan in north-western Iran, neighbouring Iraq on one side and Turkey on the other. While there are many Kurdish people living outside of this area, Kurdish designs and quality of weave are most closely associated with this particular district, and all the rugs produced are called Bijar rugs. The city of Bijar is at the heart of the former Persian Empire, and lies close to the historical rug-making centre, Tabriz. The city is still at the centre of traditional Kurdish influence, and over time has seen many different people settle in the area, from Turks and Azerbaijanis to Kurds migrating from Iraq and from other parts of Iran. This has all gone
to create a unique area which has a very diverse culture, and this is represented in the unique styles of the region’s rugs.
particular motif, with some floral patterns, although both of these were highly stylised and did not affect the overall geometric feel of the rug.
TRADITIONAL COLOURS The Bijar rug can feature a variety of different colours, but the traditional weavers tend to have a very limited palette with colours such as blues, browns, reds, whites and yellows being the main colours, both in traditional and modern rugs. The older styles of Bijar have patterns concentrated in bold red, yellow, white and blue, while newer styles tend to focus upon softer colours, with motifs such as pink roses being seen.
GEOMETRIC & CURVED DESIGNS The Bijar rug is known for its geometric and curved designs, with many curvilinear features being common. The traditional Kurdish designs feature many different styles of patterns, including floral and animal features, as well as geometric designs. The rugs are particularly noted for their Persian curvilinear designs, although they can also feature medallion-styled motifs which resemble the Afshar rugs. A particular feature of the Bijar rug is a six-sided lozenge, repeated inside itself three or four times, each one in a different colour. The traditional antique rugs have tended to feature lions as a
IDENTIFYING DESIGN FEATURES The Bijar rug has long been a popular with Western collectors because some of the best quality Persian carpets are considered to originate from Kurdish weavers. While their nomadic lifestyle has sometimes had an isolating effect, it has also allowed them to experience a range of different cultures, which can easily be seen when looking at antique rugs. The wide range of designs demonstrates how the weavers of Bijar have come to learn from their neighbours, but this can sometimes make them difficult to distinguish from closeby carpet weavers, if based purely on style alone. The designs of the rug reveal the long Kurdish heritage, with the use of European heraldic images, Persian abstracts and bare backgrounds reminiscent of Middle-Eastern carpet designs. The historical features of the Bijar rug include the fact that they tended to be small, rather than large, and were often made using goat hair and Persian knot styles, which added to the stiffness of the knots. This has meant that some of the oldest types of Bijar rugs are very coarse to the touch, and cannot be folded over as you might expect from a carpet or rug.
Pieces produced in the 19th and 20th centuries, and those made in nearby regions, tend to be lighter. Collectors often look for rugs which have the signature of Taghavi or Tajhavi, master weaver of the Bijar region, which are noted for their fine designs and details.
BIJAR RUGS: IRAN’S ‘IRON RUG’ The Bijar rug is famously known as the ‘iron rug’ of Iran, due to its toughness. The backing material against which the rug is woven tends to be very dense and hard-wearing. In addition, the knots made by the weavers are beaten or thrashed during the process in order to create a dense, heavy fabric as the wool fibres are puffed up due to the beating and weaving motions. Like many of the traditional tribe weavers of Iran, the rug makers of Bijar have no large-scale industrial weaving, and instead most of the rugs are home-produced. This means that each rug is completely unique, and that there will not be any copies of each rug.
UNIQUE WEAVING PROCESS The particular weft of the Bijar rug is also unique, with the antique wool weft being made by wetting the material and then pulling out the different stands, so that parts of the single weft could be at 90 degree angles to each other. This gave the wool a unique twist which helped to coarsen the wool. Some people have argued that these older rugs have three wefts, but this is an optical illusion caused by the angling of the wool. The modern weft tends to concentrate upon holding the strands in place, which sometimes means that the rug is finer and less traditional. In addition, the newer rugs tend to be larger than the older pieces and often have a cotton foundation. Sought after for their strong construction, decorative impact and uniqueness, Bijar rugs are compatible with contemporary as well as traditional décor. Majid Mirmohamadi THE MAJID COLLECTION 03 9830 7755 majidcarpets@optusnet.com.au www.majidcarpets.com
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HAMILTON
View of Muntham Station, c. 1850s, oil on canvas. Hamilton Art Gallery
The Mahogany Ship, c. 1860, oil on canvas, Warrnambool Art Gallery
Hamilton Art Gallery
THOMAS CLARK: A GREAT COLONIAL ARTIST 21 September – 17 November
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xposing Thomas Clark is the first comprehensive exhibition showcasing one of Australia’s great colonial artists. In the survey of this accomplished, yet mysterious, artist, be enchanted by the beauty of the 19th century pastoral landscape, unspoiled natural formations and dramatic content of the rugged costal scenes.
TEACHER OF MCCUBBIN & ROBERTS Something of a legendary figure in late colonial art, Clark is typically remembered as the highly respected teacher of Tom Roberts and Frederick McCubbin. Despite this high acclaim his own artistic accomplishments have largely been cast aside in the shadow of his celebrated contemporaries including Eugene von Guérard and Nicholas Chevalier... until now. This exhibition looks to expand on the limited knowledge of Clark, the colonial painter, and afford him the recognition his achievements deserve. More than 30 works borrowed from 13 galleries, libraries and collecting institutions around Australia have been included. Additional works have been generously loaned from private collections around the country allowing audiences the rare opportunity to view many of them on public display for the first time. The works selected focus largely on his
tours of the western district of Victoria, depicting both the pastoral beauty and natural features of the landscape as it appeared in the mid 19th century.
FROM STUDENT TO DRAWING MASTER Born in 1812, the son of an English merchant, Clark was a student at the Royal Academy, London and teacher of importance at both the Birmingham and Nottingham Schools of Design. Clark arrived in Australia in late 1852 where he spent his remaining years as both artist and Drawing Master at the newly established National Gallery School of Design. Clark died in 1883 leaving behind a relatively small body of work detailing his own interpretation of the new colony with its relative emptiness, unfamiliar vegetation and traditional indigenous cultures.
of the new world and as a purely romantic subject capable of invoking sublime awe at seeing the terror of nature. Clark completed at least six variations of the Wannon Falls and two other known paintings of other waterfalls portraying the dryness of the Australian countryside in contrast to his native England.
Exposing Thomas Clark is the first exhibition to be dedicated solely to the work of this accomplished colonial artist. Its sole venue is Hamilton Art Gallery. Entry to the exhibition is free.
For further information contact HAMILTON ART GALLERY 03 5573 0460 info@hamiltongallery.org www.hamiltongallery.org
SIGNIFICANT HISTORICAL DOCUMENTS Clark’s meticulous landscapes double as significant historical documents at the time of white settlement, revealing the featurelessness of the Australian landscape along with the casual inclusion of traditional indigenous culture and their habitation in the landscape. He also excelled in his depictions of the Western District waterfalls with his skill in portraying rocky surfaces and providing faithful representations of their appearance. The drama of this subject had obvious appeal to the artists of the time as both a familiar entity amidst a strange and different landscape The Wannon Falls (Proscenium View), c. 1860, oil on canvas. Private collection
Koonongwootong Landscape, 1865, oil on canvas. Private collection Antiques and
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CENTRAL VICTORIA
ANTIQUES AND ART in Central Victoria
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AVOCA MARYBOROUGH 3
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, Ballarat 03 5331 7996 Colin Stephens: 03 5332 4417 Open 7 days 10am - 5pm Specialising in a wide range of antiques and collectables. Off street parking and now also incorporating a heritage museum.
GALLERY ON STURT 421 Sturt Street, Ballarat 03 5331 7011 info@galleryonsturt.com.au www.galleryonsturt.com.au www.accentframing.com.au Open Mon-Fri 9am - 5.30pm, Sat 10am - 2pm Director: Leigh Tweedie Spacious art gallery located in Ballarat CBD. We exhibit a selection of notable and award winning Australian artists and emerging artists. On show are original works and limited edition fine art prints and you will be pleasantly surprised at our realistic prices. Accent Framing at Gallery on Sturt offers custom framing and wide format giclee printing onsite. We extend a warm invitation to come and enjoy our gallery and our friendly professional service.
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.
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BENDIGO POTTERY ANTIQUES & COLLECTABLES CENTRE 146 Midland Hwy, Epsom 0478 435 885 info@bendigopottery.com.au www.bendigopottery.com.au Open 7 days 9am - 5pm With over 40 sites including glass, ceramics, furniture, vintage clothing, jewellery & all manner of interesting collectables, the new centre complements Bendigo Pottery’s retail gallery, individual artists’ studios & cafe on this historic site.
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.
THE AMAZING MILL MARKETS 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.
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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.
THE AMAZING MILL MARKETS IN DAYLESFORD
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.
5. AVOCA – 15 minutes from Maryborough 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.
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 stall holders, 2.5 acres, all under cover with a café serving homemade food and a variety of hot and cold drinks.
For advertising on this map please phone Harry Black on 0418 356 251
BALLARAT
Program of special exhibitions
AT THE ART GALLERY OF BALLARAT of the Art Gallery of Ballarat. Together with its accompanying catalogue and trail, the show tells the story of Australian art as seen by the guides, who regularly travel in time through the collection. It reflects the passion of the guides for art, for the Gallery and for their role as interpreters, emphasising the strong community within the guiding group.
VICTORIAN INDIGENOUS ART AWARDS 2013
Ed Dunens
ED DUNENS AND MARK FOX:
Mark Fox, Trunk panel 30 x 46 cm
CHRIS NICHOLLS:
FROM THE LAKE TO THE MOUNTAIN LANDSCAPES OF THE MIND 14 September – 13 October 28 September – 27 October wo Ballarat-based artists using very Artist Chris Nicholls had an intimate different media both celebrate the acquaintance with his environment, the diversity and changing moods of the country around the Grampians and Stawell in local landscape. western Victoria – a landscape of ancient Ed Dunens eucalypts and flat, cropped fields intersected Photography inspires Ed Dunens to delve deeper by the Wimmera River, which he celebrated in into his love of the outdoors by taking time to his drawings and paintings. notice the details of the local environment. His landscapes, which often contain This series of photographs offers a glimpse autobiographical elements, are imbued with a of the spectacular diversity of Lake sense of melancholy. They reveal the artist's Wendouree its wildlife, seasons and light. In strong connection with the natural world and particular, they document the transition from concern for the havoc which human drought, when the lake bed was dry for two occupation has wreaked on the environment. years and he had access to an incredible, His intense images are often almost deserted wetland right in the middle of monochrome or earth-toned, dark and Ballarat, to its revival as an ephemeral swamp, brooding with bold, expressive gestures and and final refilling. rich textures. He enjoys gaining a sense of place by This exhibition will focus on work dating visiting the lake regularly at all times of the from the 1980s to 2009, and will include day and year. ‘I aim to capture the feeling of some of the artist's diaries and sketchbooks. the moments that I photograph, whether it be His drawings, whether realistic, abstracted or the beat of a bird’s wings or the glow of a playful, show a mastery of the medium. sunrise reflected on the water.’ Chris Nicholls was born in east Melbourne When Lake Wendouree dried up during the in 1947 and grew up in rural Victoria. He recent 10-year drought, he had access to a trained as an artist at Caulfield Institute of deserted wilderness which was able to document Technology before qualifying as a teacher, and its evolution and rebirth over a two year period. taught art and photography for 10 years in Mark Fox Shepparton and Horsham before resigning to For Mark Fox, the landscapes he paints are a become a full-time artist. simple response to his joy of being in the A major exhibition of his work at a natural world and to certain places that he Melbourne gallery planned for 2011 had to be knows, loves and explores. He is fascinated by cancelled when the artist died of an aggressive the austere and rugged rural landscape of the brain tumour in 2010. It is hoped that this Victorian goldfields, including the country retrospective exhibition will help to raise around Mount Beckworth. In these elegiac awareness of the work of this important works, he combines impeccable regional artist. craftsmanship, technical brilliance, and integrity of artistic vision. His encounters with landscapes have a profound effect on him, which he describes as ‘moments of awakening’, which combine a feeling both of recognition, of the place becoming a part of his own ‘inner landscape’, and of strangeness, as if his world suddenly opens up into unknown and wondrous territory. In the work of both artists, moments in time have been captured, allowing us to see Ballarat’s environment with Chris Nicholls, Wimmera Crossing, 2001, pastel and ink on paper, 70 x 100 cm new eyes.
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FOR THE LOVE OF ART: Celebrating 25 years of voluntary guiding at the Art Gallery of Ballarat 28 September – 10 November This exhibition celebrates 25 years of guiding at the Art Gallery of Ballarat. It brings together a selection of works from the Gallery collection which have particular associations for the gallery guides. The exhibition includes a trail of other works to be found in the different rooms within the gallery all part of the rich tapestry of the art collection
2 November 8 December The Victorian Indigenous Art Awards (VIAA) is the annual Indigenous art award program developed by the Victorian Government through Arts Victoria. From the time of their inception in 2005, the awards have been held at various art galleries in Melbourne. In 2013 they will be delivered in regional Victoria and will be hosted in Wathaurung country, in partnership with the Art Gallery of Ballarat. The Awards are designed to showcase and raise the profile of Victoria’s Aboriginal and Torres Strait artists and art from south-eastern Australia. They celebrate the quality and diversity of current indigenous art practice in Victoria and the uniqueness of south-east Australian Aboriginal art. Another aspect of the project is to develop partnerships within the sector, and facilitate economic opportunities for Aboriginal and Torres Strait Islander artists. ART GALLERY OF BALLARAT 03 5320 5858 www.artgalleryofballarat.com.au
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CASTLEMAINE
CASTLEMAINE ART GALLERY AND HISTORICAL MUSEUM Shimmering Light: Dora Meeson and the Thames 21 September – 10 November he major exhibition Shimmering Light: Dora Meeson and the Thames forms part of the year-long centenary celebrations for the Castlemaine Art Gallery and Historical Museum (CAGHM). It is fitting that just on 100 years ago Melbourneborn Dora Meeson (1869-1955), first started painting images of the River Thames.
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Meeson lived a bohemian lifestyle in a studio residence of Chelsea, London, with her husband, Australian portrait artist, George Coates (1869-1930). Frequently she would escape the dark lighting her husband preferred for his tonal paintings and set up her easel on the banks of the nearby Thames ‘to study the river and the multitudinous forms of water,
and to try and give its weight and movement and glorious, ever-changing colour.’ Early works such as London Bridge (1912) reflect Meeson’s active social awareness during this time by recording the harsh working conditions along the London Docks. The labouring men were often presented as small vulnerable figures against a vast industrial scene. Many of her later works such as Sunset at Chelsea (1913) had a French Impressionist style, inspired by works Meeson and Coates had viewed as young students in London and Paris, in particular Monet and Pissarro. The couple had met at the National Gallery School in Melbourne where both excelled in portraiture work. Coates secured the triennial travelling scholarship and Meeson travelled independently with her family to Europe. They rekindled their relationship in Paris and were secretly engaged. After their marriage they settled in England and Meeson abandoned most of her portraiture work and supported the couple with readily saleable sentimental and anecdotal works. Depicting the River Thames was to become her passion. Meeson and her husband increasingly moved in international art circles exhibiting at the Paris Salon and Royal Academy. During World War I she helped to form the Women’s Police Service, obtaining the position of Chief Inspector and in
Above: Dora Meeson and George Coates, c. 1926. CAGHM Left: Dora Meeson, London Bridge, 1912, oil on canvas. CAGHM
1919 was the first Australian female artist to be invited to join the Royal Institute of Oil Painters. Her social work and talents were followed by a large audience back home in Australia. Curated by the gallery’s senior curator, Kirsten McKay, the exhibition at CAGHM is part of the institution’s centenary celebration. It includes works from private and public collections from all over Australia and is accompanied by an illustrated catalogue. CASTLEMAINE ART GALLERY AND HISTORICAL MUSEUM 03 5472 2292 www.castlemainegallery.com
Dora Meeson, Sunset at Chelsea, 1913, oil on canvas on board. CAGHM
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BENDIGO
BENDIGO ART GALLERY Arthur Guy Memorial Painting Prize 2013 3 August – 6 October rom a field of more than 380 applicants, 35 finalists have been selected for the Arthur Guy Memorial Painting Prize 2013, now in its tenth year. The Bendigo Art Gallery is grateful to the panel of judges for their time and expertise in supporting this national prize: Natasha Bullock, curator, Contemporary Art, Art
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Gallery of New South Wales, Michael Buxton, director/founder of MAB Corporation Pty Ltd and owner of The Michael Buxton Contemporary Australian Art Collection, Alexie Glass-Kantor, director/senior curator, Gertrude Contemporary, Dinah Whitaker, representative of the Guy family, and Karen Quinlan, director, Bendigo Art Gallery. The Guy Prize presents an incredible opportunity for the gallery to showcase
contemporary painting, with the winning work to be acquired for the permanent collection thanks to the support of the Guy family. Every two years the gallery invites artists to submit entries with the winning artist receiving a cash prize of $50,000. Karen Quinlan commented: ‘This prize provides us with the opportunity to survey contemporary painting by attracting many high calibre and emerging artists from around Australia. When the inaugural prize was held in 2003, it was the first of its kind. Bendigo
Art Gallery is very proud of the five paintings it has acquired over the past decade and looks forward to the continuation of this prestigious and highly regarded acquisitive award.’ The exhibition of the finalists’ works will be on display at Bendigo Art Gallery from 3 August – 6 October. Entry is by donation. BENDIGO ART GALLERY 03 5434 6088 www.bendigoartgallery.com.au
Bendigo Art Gallery 1890s, photographer unknown. Bendigo Art Gallery archives
POST OFFICE GALLERY
Art for the People: Bendigo Art Gallery 1887 – 2013 16 August 2013 – 27 January 2014 riginally called Sandhurst Fine Art Gallery, Bendigo Art Gallery was established in 1887 and since that time it has played a pivotal role in the Bendigo community. The desire for a gallery was first expressed by Mayor P Hayes in a letter to the principal citizens to ‘prove of great service to the young people growing up around us’. In more recent years Bendigo Art Gallery has positioned itself as the most profiled and significant cultural venue in regional Australia. International exhibitions have been the drawcard for thousands in current times which has seen Bendigo Art Gallery evolve as the forerunner of regional galleries. From 1887 to 1890 the gallery was housed in a large hall at the School of Mines on Pall Mall (now Bendigo Regional Institute of TAFE), until building repairs and the controversy caused by the scandalous exhibition of a nude painting, The Spanish Maiden by José Gutiérrez de la Vega (18001865), caused the gallery committee to seek alternative accommodation. The gallery eventually moved to its present site on View Street, into the former Bendigo Volunteer Rifle Brigade Orderly Room, built in 1867. This early Victorian building was altered to suit the gallery by renowned local architect William Charles Vahland (1828-1915) after detailed gallery specifications were sought from then Director of the National Gallery of Victoria, George Frederick Folingsby (1828-1891). Bendigo Art Gallery has undergone numerous transformations and continues to evolve today. The gallery has pushed beyond the boundaries of a regional gallery and, with the growing attendance and continually developing collection; major works were warranted and
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commenced in July 2012, scheduled for completion at the end of 2013. The works include increased and updated storage and technical facilities as well as new gallery spaces. The gallery and its collection were created by the generosity of numerous benefactors providing assistance in many forms. The standard of the collection would not have been achieved except for the donations, gifts and bequests by public and community minded persons. It is because of these founders, donors and supporters that the gallery can boast its outstanding collection and continue to see it develop. This year, 2013, marks 126 years of the existence of Bendigo Art Gallery as an institution. Brought about by a need for a cultural establishment in Sandhurst, Bendigo Art Gallery continues to collect, preserve and display works of art for the pleasure and education of the public. Art for the people: Bendigo Art Gallery 1887 – 2013 discusses the inception of Bendigo Art Gallery, the people involved and the challenges experienced. By delving into the annals of Bendigo Art Gallery, it is possible to display the historical objects and archival material that make the stories come to life surrounding the building and its evolution, the founders and their generous gifts. It talks about the collection and what lies ahead for the gallery. This exhibition brings to light some of the unique and rarely seen items and stories from the archives of the gallery’s past and reminds people of the story so far for the treasured ‘people’s gallery’.
Tom Alberts, Bedland. Arthur Guy Memorial Painting Prize 2013 finalist
Arthur Guy Memorial Painting Prize 2013 3 August – 6 October 2013
Shaun Tan: The real and the imaginary 9 August – 1 September 2013
Experimenta: Speak to Me 7 September – 13 October 2013
Art for the People: Bendigo Art Gallery 1887 - 2013 Post Office Gallery 16 August 2013 – 27 January 2014
Modern Love Fashion visionaries from the FIDM Museum, LA 26 October 2013 – 2 February 2014
Simone Bloomfield Curatorial Assistant BENDIGO ART GALLERY 03 5434 6089 postofficegallery@bendigo.vic.gov.au Antiques and
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BENDIGO / EPSOM
BENDIGO POTTERY the next generation ith 155 years of history behind this iconic ceramic manufacturing business, each step forward is part of the Pottery’s future history. Preserving that history and creating new stories is the ongoing and exciting challenge.
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Pottery was the largest of its type on a single site in the world. The integrity of the kilns and chimneys has been preserved and an Interpretive Museum articulates the history with the collection, sound scapes, theatre in a kiln and factory views.
has brought a new latte cup, with City of Greater Bendigo and local restaurants we have Life’s a Dish hand-painted plates, while a customer inquiry brought a Wool Bowl & Fermenting Crock. In addition, internally we now offer five new ranges of hand-painted dinnerware.
CONSERVATION & PRESERVATION
NEW PRODUCTS
NEW DESIGNS
Development comes about through internal ideas, individual customer and commercial inquiries. Collaboration with a coffee roaster
New shapes and designs are created by skilled potters, particularly Graham Masters, from Sweenies Creek Pottery, and Sue James, an established ceramic artist in the region. As the manufacturing processes also include slip casting, jolleying and pressing, Bendigo Pottery has the capability as well as capacity for both small and large scale production.
A Conservation Analysis determined the collection of wood fired kilns at Bendigo
BENDIGO
POTTERY
Antiques & Collectables Centre Now open and featuring over 40 individual sites
THE TEAM In addition to the five potters creating the hand thrown range, there is a skilled team of clay mixers, mould makers, casters, fettlers, glazers, decallers, and kiln specialists. Four of the team each have 30 years experience in ceramic manufacturing. For shopper convenience, there is an online shopping facility that operates alongside the Retail Gallery.
AN ARTISTS’ HAVEN The Pottery’s dynamic and vibrant site now features six individual galleries with Yvonne George metal sculptor, Catherine Brennan’s textiles and paintings, Raelene Schmidt’s handmade glass beads and jewellery, Sharon Donaldson’s jewellery, Robyn Ryan photographer, Cherryl Fyffe’s print gallery and Glenwillow Wines.
ANTIQUES & COLLECTABLES Forty sites hold the varied collections of 35 individual dealers with textiles, Australian and international ceramics, glassware, furniture and interior design features, books and jewellery. This exciting new venture complements the historic site, Bendigo Pottery manufacturing and retail, and the artists’ working studios.
ABOUT THE POTTERY
Bendigo Pottery also includes a retail gallery, museum and café plus individual galleries of artists and sculptors
Open daily from 9am to 5pm Ph 03 5448 4404 146 Midland Hwy, Epsom, Victoria www.bendigopottery.com.au 66
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Bendigo Pottery’s retail gallery, cafe and Antiques & Collectables Centre are open 7 days, 9 am to 5 pm, closed only on Christmas Day. The retail area and museum are wheelchair accessible and there is a wheelchair available for use at the site. Sally Thomson BENDIGO POTTERY 03 5448 4404 www.bendigopottery.com.au
ASK THE EXPERT
VICTORIAN ANTIQUE DEALERS GUILD
DEAR EXPERT, I was given this interesting chair and would appreciate some information about its history and possibly its value. Beverley G.
DEAR BEVERLEY, This is one of a set of four chairs that would have been placed around a table used to play games on. Judging by the style I believe it was made in the 1930s-1940s period and has a market value of approximately $350. The chair would be worth more if you had the complete set. VADG
DEAR EXPERT, Enclosed is a photo of a tea trolley that belongs to my aunt. She bought it when it was new and no longer uses it. I would like to buy it off her but have no idea as to its worth. Can you give me an indication as to what would be a fair price? Donna W.
DEAR DONNA, Your aunt has a good eye for value. The trolley is a quality piece and this would have been reflected in the cost when bought in the 1930s. Today, the tea trolley is worth approximately $400. If you are in the good books she may make you a present of it – otherwise good luck with your negotiations. VADG
DEAR EXPERT, I bought this pretty piece of porcelain which has a cupid sitting on what seems to a branch from an acorn tree. I didn’t pay very much for it as it is slightly damaged. Do you think it is worth the cost of having it repaired? There is no identifying manufacturer’s stamp on the base. Susana D.
DEAR SUSANA, It is a shame there isn’t a maker’s mark as this would be more of an incentive to have it repaired. If you are going to use it to hold flowers don’t bother, as no one will see the damage. If you want to display it then perhaps you might be able to strategically position it so the flaw won’t be noticed. Looking at the photo, I think it was made in Austria in the early 20th century. These decorative pieces were very popular and continue be made today. Repaired, the piece would fetch about $25. VADG
DEAR EXPERT, I have been given this clock and would like to know its value. The clock is black with gold floral decorations. The dial has impressed on it the legend SWIZA and SWISS Made. Also on the front is written 7 jewels and 8 days. The clock works and I quite like the shape. What is your opinion? Sidney R.
DEAR SIDNEY, Swiza is one of Switzerland’s largest manufacturers of table clocks and alarm clocks and is known for its high quality products. The firm was founded in 1904 by Louis Schab who began by making alarm clocks with a one-day movement in a factory he built in Moutier, in the Swiss Jura region. When he died in 1935 his son Pierre took over the family business with his brothers. In 1959 they launched their eight-day mechanical movement, which was instrumental in giving the firm an international reputation. The high regard for Swiza eight-day clocks continued up until the introduction of quartz in the late 1970s. In 2006 Swiza was taken over by the Bedonia holding company. The market value for this fine clock is around $600. VADG
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 Guy Page, Page Antiques Warehouse Barbara Thomas, French Heritage Antiques Tanya Gale, Pretty Old Collectables Graham Pavey, Pavey Collectables & Antiques Alastair Wilkie, Marquis Antiques & Collectables
Ph: 03 9874 4690 or Mob: 0409 744 690 Ph: 03 9880 7433 or Mob: 0411 175 320 Ph: 03 9583 3422 or Mob: 0437 121 040 Ph: 03 9882 2028 Mob: 0411 437 511 Mob: 0402 888 439
VICTORIAN ANTIQUE DEALERS GUILD MEMBERS 2013 Established in 1982 A.B. Furniture Alex Buth 630 Glenhuntly Road, South Caulfield, Vic 3162 Phone: 03 9523 8050 Mobile: 0407 822 115 Antik@Billy’s Garry Mathewson Mobile: 0402 042 746 Eric Pardede Mobile: 0422 762 975 Mailing Road Antique Centre, Canterbury, Mentone Beach Email: gus18@bigpond.com.au Armstrong Collection Ian & Mary Armstrong 42 Station Street, Sandringham, Vic 3191 Phone: 03 9521 6442 Mobile: 0417 332 320 Dalbry Antiques & Collectables Brian Dalglish at Camberwell Antique Centre 25 Cookson Street Camberwell, Vic 3124 Phone: 03 9882 2028 David Freeman Antique Valuations 194 Bulleen Road, Bulleen, Vic 3105 Phone: 03 9850 1553 Mobile: 0419 578 184 Donvale Antique Clocks Alan Duncan 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 Michel & Barbara Camboulive 68-69 Beach Road, Mentone, Vic 3194 Phone: 03 9583 3422 Mobile: 0437 121 040 Email: frenchheritage@bigpond.com Web: www.mentonebeachantiquecentre.com Imogene Antique & Contemporary Jewellery Kathryn Wyatt 410 Queens Parade, Fitzroy North, Vic 3068 Phone: 03 9569 5391 Mobile: 0412 195 964 Irene Chapman Antiques at Camberwell Antique Centre Irene Chapman 25 Cookson Street Camberwell, Vic 3124 Mobile: 0421 270 835 Julian Phillips at Tyabb Packing House 14 Mornington-Tyabb Road Tyabb, Vic 3913 Phone: 03 5977 4414 Mobile: 0438 086 708 Kilbarron Antiques & Collectables David & Elaine Atkinson By appointment in Blackburn Phone: 03 9878 1321 Mobile: 0417 392 110 Email: kilbarro@bigpond.net.au Web: www.kilbarron.com.au Page Antiques Warehouse Guy & Trish Page 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 Graham Pavey 25 Cookson Street, Camberwell, Vic 3124 Mobile: 0411 437 511 Pretty Old Collectables at Camberwell Antique Centre Tanya and Doug Gale 25 Cookson Street Camberwell, Vic 3124 Phone: 03 9882 2028 / 03 9882 2091 Mobile: 0418 586 764 Email: doug.gale@bigpond.net.au Seanic Antiques Mark Seaton & Maxine Nichol 673 Whitehorse Road, Mont Albert, Vic 3127 Phone: 03 9899 7537 Mobile: 0418 326 455 Web: www.seanicantiques.com.au Vintageonline at Camberwell Antique Centre Norma Hawley 26 Cookson Street, Camberwell, Vic 3124 Mobile: 0414 768 758 Web: www.vintagonline.com.au REGIONAL AND INTERSTATE MEMBERS Baimbridge Antiques Ruth & Rhys Colliton 64 Thompson Street, Hamilton, Vic 3300 Phone: 03 5572 2516 Email: ruth@baimbridgeantiques.com.au Web: www.baimbridgeantiques.com.au Frivolities Coralie Davidson NSW Antiques Fairs St. Leonards NSW 2065 Mobile: 0414 607 136 Marquis Antiques Alastair Wilkie Antiques & Collectable Centre at Bendigo Pottery 146 Midland Highway, Epsom, Vic 3551 Phone: 03 5348 4332 Ah phone: 03 5474 2124 Mobile: 0402 888 439 Email: alastair.wilkie@bigpond.com Morrison Antiques Ron & Pat Morrison 55 Carey Street, Tumut, NSW 2720 Phone: 02 6947 1246 Mobile: 0408 965 336 Neville Beechey’s Antiques & Fine Furniture Neville Beechey 208-210 Murray Street, Colac, Vic 3250 Phone: 03 5231 5738 Mobile: 0418 523 538 Selkirk Antiques Les Selkirk 29 Summerland Circuit, Kambah, ACT 2902 Phone: 02 6231 5244 Mobile: 0418 631 445 The Time Gallery John Allott 129 View Street Bendigo, Vic 3550 Phone: 03 5441 1998 Mobile: 0405 210 020 Email: johnrallott@live.com.au Web: www.timegallery.com.au
www.vadg.com Direct enquiries to any of the Guild Committee Members
ANTIQUES – ULTIMATE RECYCLING Antiques and
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CROSS COUNTRY LAUNCHES OF A SIGNIFICANT INDIGENOUS ART COLLECTION PUBLICATION QLD Before his reinstatement as Prime minister, Kevin Rudd formally launched Power + Colour, the second book on Pat Corrigan’s Indigenous art collection, to a crowd at Brisbane’s Queensland Art Gallery of Modern Art on 9 February. Previews were also held at Bond University, where Corrigan is a patron, the National Gallery of Victoria and SBS Television in Sydney. The book features 129 artworks by 76 artists painted predominantly post 2005.
Kevin Rudd launches Power+Colour
Jane Raffan, Adam Knight and Pat Corrigan at Bond University launch
Kevin Rudd and Pat Corrigan
Pat Corrigan and Jane Raffan
NSW The Sydney launches of Power + Colour were held at SBS, which hosts loans from the collection, and Corrigan’s bookstore Better Read Than Dead. Law Professor Larissa Behrendt spoke of the book’s ‘must read’ essay on art and Indigenous identity, as well as the generosity of collectors like Pat, who have influenced positive outcomes in remote communities.
Pat Corrigan, Peter Beiers and Suzanne O’Connell Pat Corrigan and Avril Quail Better Read Than Dead launch
Michael Lavarch and Larissa Behrendt at SBS launch
VIC The Melbourne art crowd turned out in droves to attend the launch of Power + Colour. Tony Ellwood, Director of National Gallery of Victoria, noted the beauty of the artworks reflected Pat’s keen eye. Commenting on the book’s critical relevance, he highlighted the in-depth reference material on the 76 represented artists.
L to r: Roger McIlroy, D’lan Davidson (Sotheby’s), Chris Deutscher (Deutscher & Hackett), Tom Lowenstein, front
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Pat Corrigan and Bill Nuttal (Niagara Galleries)
Pat Corrigan, Jane Raffan (Artifacts), NGV Director Tony Ellwood
GIPPSLAND
Below: Early bits and pieces collected from around Melbourne and some country tips
L to r: Marble stoppered Codd bottle; cobalt whirled salad oil bottle;rare stoneware ginger beer bottle; ultra-violet light from the sun has changed the colour from clear to mauve on this rare cordial bottle; ornate c.1850s tapered salad oil bottle; rare medicine bottle for Warner’s Safe Medicine, Melbourne
Above: Collection of piano insulators
FINDING FRESH COLLECTING OPTIONS
at the Gippsland Antique & Collectables Fair et’s be clear – there is a distinct difference between collecting and hoarding. With collecting there is the excitement of the pursuit and the elation of the find. As collectors we are into preserving the past into the future, some of us enjoy recycling and reclaiming, keeping things just in case we may need it one day. People collect all kinds of interesting things and most of us will part with some things to enable us to add to another part of what we are collecting. We are never sure when it started as most of us have been collecting for years. The items may change, but there are no boundaries to the passion of collecting and anyone can do it. The budgets vary with income and over time, along with what is available in the market place. Once you are a collector you don’t give up, all that changes is what you are collecting in the moment. There is such a wide variety of articles to choose from depending on what you collect.
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GIPPSLAND ANTIQUE & COLLECTABLES FAIR If you are always on the lookout for that special something to add to your collection, where do you go? There are lots of choices: a good place to start is with antique stores and galleries though some prefer opportunity shops and garage sales or you can visit auctions, markets, or swap and sells. A popular way to add to collections is to attend antique and collectable fairs. This is why our club, Gippsland Antique Bottles & Collectables Club Inc, holds the Gippsland Antique & Collectables Fair each year, on the last weekend in November. This fair affords all members and the public the opportunity to add to their collections and at the same time the chance to sell what they no longer want. It’s the largest fair of its kind in the Gippsland region and offers more collectables and things of historical interest each year as we grow: we are now in our 18th year. The variety of collectables on sale is vast – ranging from carnival glass, beautiful Australian pottery, antique bottles, vintage radios, music memorabilia, ephemera, coins, collectable fishing gear, comics, gemstones, vintage kitchenalia, old prints, clocks, old tools, small furniture, and much more. We also offer free appraisals on anything you have that you would like to find out more about.
Collectors also like to gather together and talk about their collections and most become specialists in their own fields. This gives everyone the opportunity to meet together for the weekend doing what they like best talking about and adding to their collections. As the Gippsland Antique Bottles & Collectables Club plays a big part in organising the fair, not surprisingly, popular objects understandably, are antique bottles
ANTIQUE BOTTLE COLLECTING IN AUSTRALIA Bottle collecting is one of the world’s most popular hobbies. Forty years ago, the hobby in Australia was in its infancy. It rapidly developed from just a scattered number of collectors who had very little knowledge about the treasures that they were collecting, with almost no literature – apart from a few American and British publications. Since then, considerable research has resulted in discovery and publication of fascinating stories of companies and individual proprietors who used distinctive bottles. Trademarks and patents have been researched and a national antique bottles and collectables magazine – as well as an on-line bottle forum – are now well established. There are now numerous antique bottle and collectables clubs throughout the country plus several Australian dealers and auctions that specialise in antique bottles. Values for rare and desirable bottles have risen consistently over the years. The highest known price achieved for an Australian antique bottle, to date, is about $40,000, with $30,000 being regularly achieved for choice items. Although some collectors consider prices to be high, most are still very affordable and even the most valuable pale into insignificance when compared with other collectables. As their significance becomes better appreciated, prices will undoubtedly continue to rise.
only surviving reminders of enterprises that helped to shape Australia as we know it today. Most collectors specialise, as there are so many different types of bottles available. Popular categories include beers, cordials, ginger beers, bitters, chemists, poisons, gins, whiskies and aerated waters. There are also patents such as marble stoppered ‘Codd’ bottles named after Hiram Codd, in England, who invented this complicated means of stoppering aerated water
GIPPSLAND ANTIQUE BOTTLES & COLLECTABLES CLUB INC 03 5122 2590
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COLLECTING: AN INTEREST, HOBBY OR AN ADDICTION?
bottles in the 1870s. A marble, inserted in the neck, kept the bottle shut by pressure of the gas until it was pressed inwards and from which is theorised that the derogatory term of ‘Codd’s wallop’/ ‘codswallop’ – ‘wallop’ being slang for beer, emerged. Many collectors also specialise in bottles from their own district or state. Thematic collections depicting animals, birds, coats of arms, etc., are also popular. An exciting aspect of bottle collecting is that, even after more than 40 years of intense searching, previously unknown bottles are still regularly being found. Happy collecting!
18th ANNUAL
Gippsland Antiques & Collectables Fair The biggest display of antiques, collectables, old wares and things of historical significance in our region Free Antique Appraisals, Refreshments Available
SATURDAY 30 NOVEMBER 9.30am - 5pm SUNDAY 1 DECEMBER 9.30am - 3pm Kernot Hall, Princes Drive Morwell Victoria For inquires call 03 5122 2590
COMMERCIAL, INDUSTRIAL & SOCIAL HISTORY CLUES Antique bottles are often the only physical remains of important chapters in Australia’s commercial, industrial and social history. Many families are discovering that their forebears were brewers, aerated water and cordial manufacturers, chemists or plied other trades that used distinctively embossed glass or branded stoneware bottles. They are now searching for these relics that are often the Antiques and
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Conserving Australia’s heritage THE THOMPSONS OF PADDINGTON, SYDNEY Picture and Television Engineers (SMPTE) Lifetime Achievement Award for services to Australian Film and Television. Jack was adopted by the Thompsons as a young boy. He remembers being at a boarding crèche with his brother and his mother visiting on weekends while his father was at war. After his mother died from an illness, Jack and his brother David were taken to a school at Narrabeen, called Lake House. It was here that he met a boy called Peter Thompson and ended up being adopted by the Thompson family. In recognition of his adoptive background, Jack Thompson became an Ambassador for National Adoption Awareness Week connecting with another Woollahra personality DeborraLee Furness who is the founder and patron of National Adoption Awareness Week in Australia. She is an internationally acclaimed actress, a World Vision Ambassador, patron of International Adoption Families of Queensland and of The Fight Cancer Foundation.
ARTISTIC LEGACY poet, feature writer and ABC producer, John Thompson (1907-1968) was the first president of the Paddington Society in 1965. A historian, writer and heritage activist, his wife Patricia (Pat) Thompson (1912-1987) would lead a campaign to save the heritage of Paddington and West Woollahra. Their home at 66 Goodhope Street, Paddington, which they moved into in 1951, became the ‘salon’ of
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Paddington-West Woollahra with writers, artists and thinkers debating the great issues of the time. Their son Peter Thompson, film critic, film producer, script writer, author, and their adopted son Jack Thompson OA, the iconic Australian actor and producer, grew up in this dynamic, creative activist community. Their campaign to conserve the heritage of Paddington and West Woollahra would spearhead the conservation of historic areas in Sydney.
PROTESTING & PRESERVING PADDINGTON Pat Thompson’s campaigns of political lobbying and activism lasted decades, ultimately leading to Paddington and West Woollahra being declared a conservation area under the National Trust (NSW). Her celebrated campaign with local identity, writer and festival director Leo Schofield OAM, attracted thousands of protestors to Paddington-West Woollahra. Pat Thompson and Leo Schofield distributed hundreds of rolls of black crepe paper for people to encase their houses, symbolising mourning, to preserve Jersey Road, Woollahra. The Paddington Society is regarded as the first resident action group in Australia. This was augmented by the Queen Street and West Woollahra Association in 1972 which was established to preserve the character of Queen Street and its surrounding district. After the death of John Thompson, Pat continued her work in advocacy for the preservation of Paddington-West Woollahra and the arts. She became the president of the Paddington Society in 1972. She wrote The Story of Paddington in 1968, Paddington an area of special architectural interest in 1969, Paddington sketchbook in 1971 and Paddington sketchbook in 1975. They are the first publications devoted to the history of the suburb. Pat Thompson’s love of the arts was reflected in her book Twelve Australian Craftsmen which she produced in 1973. She served on the editorial board of Craft Australia; and as president of the Society of Women Writers.
Paddington-West Woollahra is the natural home of writers with poet Banjo Paterson, Australia’s first philosopher Barzillai Quaife, and opera singer Dame Joan Sutherland all having lived there. More recently film makers have joined the creative life of the area with the Australian Film and Television School (AFTS) located at the Entertainment Quarter. Jack Thompson is a frequent visitor to the area and recently welcomed Professor Harry Ufland, renowned producer and film agent for many well-known movies including Blade Runner, and other filmmakers from Chapman University California to The Hughenden on Queen Street. Jack Thompson has been involved in the development of ‘I Am Jack’ too. Like Jack Thompson, Deborra-Lee Furness is a frequent patron of the area and more so recently. She will be an actor in the feature film in development, I Am Jack (written by Susanne Gervay). The original illustration by Cathy Wilcox of the cover of the book, I Am Jack, is exhibited in the illustrators’ gallery in the Reading Room of The Hughenden. The Thompsons are integral to the heritage and arts of Paddington-West Woollahra, one of Australia’s significant urban conservation areas. Susanne Gervay THE HUGHENDEN 02 9363 4863 reservations@thehughenden.com.au www.thehughenden.com.au Jack Thompson actor
TRADITION OF CREATIVITY The Pat Thompson Park in Holdsworth Street was dedicated to her on 17 November 2007 supported by her sons Peter and Jack Thompson who have both continued in their parents’ tradition as creators and activists. Jack Thompson was honoured with a Member of the Order of Australia in 1986 for his service to the film industry. An environmental and indigenous advocate, he has also been Australia’s Goodwill Ambassador to the United Nations High Commission for Refugees. In 1994, Jack Thompson was awarded the Raymond Longford award by the Australian Film Institute for his outstanding contribution to Australian cinema, and in 2009 was awarded the Society of Motion
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L to r: Stephan Wellink (Producer, I Am Jack), Susanne Gervay, Jack Thompson, Gabrielle Upton MP (NSW), David Whealy (Executive Producer, I Am Jack)
NEW SOUTH WALES
The mysterious Monsieur Descubes A BOTANICAL THRILLER From left: Alexandre Descubes, Acacia harpophylla, pencil and watercolour, 43 x 26 cm Alexandre Descubes, Eucalyptus saligna, pencil and watercolour, 43 x 26 cm Alexandre Descubes, Mauritius, plan of the districts of Moka and Port-Louis, 1879, cartographic material, compiled from the government triangulation estate plans & from many other sources. Courtesy of the National Library of Australia
owrie Galleries have in stock a set of ten large original botanical studies, in pencil and watercolour, of acacias – Australian wattle – and eucalypts. They are meticulous in their detail, showing each part of the different plants, drawn with loving expertise, painted in accurate and soft tones, and with extensive information hand written in pencil on each page. These notes include not only the botanical information, but also publications referred to, and the various vernacular names of the plants, when known, whether English, Australian and in some cases, Australian Aboriginal. The elegant signature in ink on each page reads À. Descubes. Two maps of Mauritius by Descubes are held in the map collection of the National Library of Australia. The library of the Lewis Ginter Botanical Garden in Virginia, USA, has 2,500 botanical watercolours of plants of the Indian subcontinent in its special collections. There is a mystery attached to the life of the author of these works, botanist and cartographer, Alexandre Descubes, who lived and worked in Mauritius and India in the late 19th and early 20th centuries. No one knows for sure the exact place or year of his birth, nor is there any record whatsoever of how, where and when he died. After his prodigious compiling over twenty years of what is surely one of the world’s most extensive botanical studies by one man, our hero vanished. There is a discrepancy in the official records of his birth date: the records in Mauritius1 tell us that Descubes was born there in July 1850. However, they also point out that those of the Indian Surveyor General’s Office record his birth date as 17 July 1854. To help the plot thicken, if not be solved, when the watercolours were offered to Gowrie Galleries, it was through a FrenchCanadian contact who believed the artist to be from Canada, although without concrete evidence. The Librarian at the Lora M. Robins Library at the Lewis Ginter Botanical Garden, Maggie Southwick, has been researching the life of Descubes for eight years and has provided much of the information that we now have. Yet even she finds missing pieces after eight years on this puzzle and that certain crucial aspects of the life and death of the artist remain enigmas. In her address2 on Descubes her conclusion consisted of questions yet to be answered. How did Descubes reach Mauritius? Was he a descendant of French colonists? After suggesting that there may have been up to 5,000 botanical drawings, she asks where are the rest? Oddly, there is no discussion regarding the donor of the Descubes collection, Lora M. Robins after whom the Library at the Lewis Ginter Botanical Garden
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was named. Even Descubes’ meagre entry in Tooley’s Dictionary of Mapmakers casts no further light. The one line entry simply reads ‘Descubes, A. Map of the Island of Mauritius, 1880.’ We know that from 1872 to 1877 Descubes worked as a surveyor in Mauritius and was appointed draughtsman in the Public Works Department in 1874. He began his cartographic career in 1877, publishing the maps of Moka and Port-Louis (1879) and of Mauritius (1880), the same as those maps held in the collection of the National Library of Australia.3 In 1885 he resigned from the post with Public Works. From 1887 he worked in the Forestry department of the Indian Surveyor-General’s Department, becoming Superintendent in 1904 and in 1905 publishing a map of government controlled forests of India. There are two plans dated in pencil 1912 and 1913, and the latest work is dated 1919. Those botanical watercolours in the Lewis Ginter collection, which are dated, have a range from 1875 to 1919, and nine are stamped on the verso ‘Imperial Institute Library’. The Lewis Ginter Library notes4 give no indication as to who commissioned Descubes to fulfill this enormous undertaking. The following is the description of their items: ‘Along with the individual painting, each sheet also has extensive botanical information including family, genus, species name; full botanical description of the plant; a list of countries and/or habitats in which the plant is found; a list of plant names in the vernaculars of each of these areas or countries; and a list of literature references to the plant. The plants depicted are mostly natives of, or cultivated on, the Indian subcontinent. Each of these sheets has a unique identifying number.’ The watercolours held at Gowrie Galleries match this description exactly – with an extraordinary exception: they are of Australian flora. Who commissioned these studies? Why are the Australian plants included in the brief? Is it possible that it is true that, according to the French-Canadian connection, Descubes was commissioned by the Indian Government? Yet, after the vast task was completed, Descubes was not paid, so did he proceed to sue? Was he destitute and unable to pay the legal fees, so he handed the collection over to his lawyers? The final sentence in the biographical notes from the Dictionary of Mauritian Biography is chilling in its pathos, telling us no more than mere guesswork about the ending of the story of this man, Alexandre Descubes. ‘The date and place of Descubes’ death remain unknown but it may be surmised that he disappeared during the influenza epidemic that struck India in 1919-1920.’
The terrible irony of our lack of exact knowledge about him surely would not be lost upon this artist whose fastidious and loving attention to detail, to both botanical and cartographic fact, was remarkable. Perhaps he will remain forever, the marvellous, mysterious Monsieur Descubes.
GOWRIE GALLERIES Pty Ltd 02 4365 6399 maps@sydney.net www.gowrie-galleries.com.au
Notes 1. Dictionary of Mauritian Biography from The Lewis Ginter Special Collection 2. ‘Demystifying A. Descubes: Researching a little known botanical artist of the 19th century, or, CBHL Meets CSI and the Power of Serendipity.’ Presented by Maggie Southwick, Librarian, Lora M. Robins Library Lewis Ginter Botanical Garden, Richmond Virginia USA to the Council on Botanical and Horticultural Libraries, Annual Meeting, June 2007. 3. National Library of Australia, Alexandre Descubes, Map of the island of Mauritius [cartographic material] compiled from the Government triangulation estate plans, title deeds, and from many other sources by A. Descubes, Public Works Department, Mauritius, 1880 (NLA Ref RM540). National Library of Australia, Alexandre Descubes, Mauritius, plan of the districts of Moka and Port-Louis [cartographic material]. Compiled from the government triangulation estate plans, etc, etc. by A. Descubes, draughtman, Surveyor General Dept., N. Connal, Surveyor General, T. Dardenne lith., William Crook, lith., 1879 (NLA Ref RM1902). 4. The Lewis Ginter Botanical Garden Library Special Collection notes on the Descubes collection www.lewisginter.org/library/Descubes.
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
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Arthur Streeton, Golden summer, Eaglemont, 1889, oil on canvas . National Gallery of Australia, Canberra. Purchased 1995
Sidney Nolan, Ned Kelly, 1946, enamel paint on composition board. National Gallery of Australia, Canberra. Gift of Sunday Reed 1977
AUSTRALIA: LAND AND LANDSCAPE A major survey at the Royal Academy of Arts, London 21 SEPTEMBER – 8 DECEMBER 2013
ustralia: land and landscape is to be displayed at the Royal Academy of Art, London’s premium temporary exhibition venue, and will be the largest historical survey exhibition ever staged outside Australia, covering Australian art from 1880 to the present day. It is restricted to landscapes because the Australian landscape – the land, sea, cities and sunshine is what pre-eminently defines our country for many people, and because land or country is central to Australian Indigenous art. It is an exhibition of around 200 works, some of the finest in Australian art, selected from public collections around the country and a few in Britain. Half the works are from the National Gallery of Australia, the largest and most balanced collection of Australian art. It will demonstrate the creativeness of our artists as well as provide an image of Australian history and way of life and will present our country’s land and landscape as it has been variously depicted over time. There will be observations of highly urbanised early colonial lives; works that reflect the way in which settler artists began to consider the distinctive forms of individual gum trees; of bush country and tropical or temperate rainforests, as well as the vast deserts that fill most of Australia, a land geologically far more ancient than Britain. By the 1820s, landscape painting, headed by J.M.W. Turner and John Constable, had become the dominant tradition in Britain. And, given the compelling natural scenery and distinctive light of Australia, landscape painting also soon became the central concern of Australian artists, and remained so for much of the 20th century. The light-filled pastoral scenes of British-born John Glover, who settled in Tasmania in 1831, shifted from what was often formulaic work in Britain to more natural and unusually high-keyed Australian landscapes. Moreover, when he incorporated Aboriginal figures into his work, his paintings and, later, those by the Austrian-born Eugene von Guérard also occasionally expressed guilt for taking the land from the previous Indigenous owners. In the later 19th century, the artists began to dramatise the intense light, burning heat and dryness of many an Australian summer, using a characteristic blue-and-gold palette as well as the gently, subdued tones of early morning and evening. It was a time when some of Australia’s best-known and most loved artists, Tom Roberts, Frederick McCubbin, Arthur Streeton and Charles Conder, came into prominence and when
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artists began to talk about an Australian tradition and a specifically Australian art. By this time, Australia had a number of Australian-born artists. They created a new vision of urban Australia as well as landscapes in which men, women and children lived comfortable with their environment. After Federation in 1901, artists used strong emblems in their landscapes, particularly the sturdy monumental eucalypt, redolent of masculine power. They also depicted the city, suggestive of progress; and, after 1910, the beach again became indicative of Australian egalitarianism and a healthy lifestyle. The 1920s and 1930s were a time when women artists came to the forefront, developing distinctive modernist approaches to their local environment. The construction of the massive Sydney Harbour Bridge from the mid 1920s became a symbol of hope for many as well as a sign of Sydney’s progress and modernity. It was a favourite subject of artists such as Grace Cossington Smith and Jessie Traill, who were attracted by the bridge’s modernist forms. The 1940s were a dynamic and creative decade for Australian art. World War II, isolation and the threat of invasion, galvanised younger artists to express themselves with a new force, and their art took on a more personal, haunting expressiveness. Sidney Nolan became one of the most imaginative and compelling painters of the Australian landscape. In a 1948 edition of The Australian Artist, he said of his 1946 iconic Ned Kelly series that ‘the desire to paint the landscape involves a wish to hear more of the stories that take place in the landscape’. Russell Drysdale turned to the less productive inland country and told stories of stoic women firmly located in the landscape. He showed Australia as a place loaded with strangeness, and in some works he depicted the dried up earth where only flightless emus remain. During the past 50 years, landscape has remained a recurring theme for painters, printmakers and photographers. The outstanding Australian landscape painter Fred Williams created a highly original way of viewing the Australian countryside. He made a virtue of flatness, sparseness and super-subtle tints in his delicate but weighty landscapes. He explored different formats for viewing the land, to convey the unbounded, timeless country in which a European perspective becomes irrelevant. The Australian sun, its blazing force and its seductiveness, has been an important motive in Australian art. In his Sydney sun, John Olsen painted a joyous celebration of the sun cradling
the surrounding landscape, ‘like a benevolent bath, bubbling and effervescent’ (as Olsen said in a letter to the Gallery in 2000). Howard Taylor observed in a 1984 interview with Gary Dufour that in Australia ‘… the sun is straight above you, it tends to flatten things out. You miss that half-covered sky or the diffused light that you get in Europe’. Brian Robertson, director of the Whitechapel Art Gallery, when he presented Recent Australian painting in London in 1961, observed in an article in The London Magazine that Australian painters ‘know the geology of the land and the names of plants and trees and the histories of particular regions in a way that European artists do not’. Some present-day artists have refreshed old botanical observations. Fiona Hall has done so in Paradisusterrestris (1989–90), a suite of 23 miniature aluminium sculptures of plants, both Australian and exotic, paired with human sexual organs. Much Aboriginal art is about the land, made of materials gathered from the land, etched into its surfaces as rock engravings or ceremonial ground designs and painted onto bodies. The people’s relationship to the land, depicted in a visually rich language that varies considerably across the continent, is often embodied in the iconography of ‘The Dreaming’ or Creation narratives. The imagery can be traced back some 50,000 years and constitutes the world’s oldest unbroken art tradition. The great revolution in modern Aboriginal art had its origins in the Western Desert, in the Government settlement of Papunya. The catalyst for change came in the form of nonAboriginal outsider Geoffrey Bardon, who invited the senior men of the community to paint a series of murals on the school walls in the Western Desert style. The men went on to produce paintings on portable supports in acrylic as well as natural ochres, creating works that are appreciated for their mystery and their beauty. Aboriginal desert painting is today a significant component of Australian national pride, each community with its own inflections of an ancient iconography. In the mid 1900s, the first generation of urban-based Indigenous artists emerged, whose art is often provocative and political in nature, as well as witty, and uses many different media. These are just some of the many aspects of the rich Australian landscape tradition that will be displayed at the Royal Academy. It will
demonstrate that Australia’s artists are at least as inspired as our actors, filmmakers and writers and that Australia is as much a cultural nation as a sporting nation. It will also show that our visual arts tradition has a longer and more venerable history than our sporting tradition. Anne Gray Head of Australian Art NATIONAL GALLERY OF AUSTRALIA 02 6240 6411 www.nga.gov.au Note Extract of article published in Artonview, National Gallery of Australia 2013
Margaret Preston, Flying over the Shoalhaven River, 1942, oil on canvas. National Gallery of Australia, Canberra. Purchased 1973 © Margaret Rose Preston Estate
Rover Thomas [Joolama] , Kukatja/Wangkajunga peoples, Cyclone Tracy, 1991, natural earth pigments on canvas. National Gallery of Australia, Canberra. Purchased 1991 © The artist's estate, courtesy Warmun Art Centre
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Top row: Lombardo dining chair, 61 x 50 x 93 cm Denmark three seater sofa, 215 x 93 x 60 cm Nils armchair, 68 x 65 x 84 cm Bottom row: Denmark armchair, 90 x 903 x 60 cm Duke armchair, 59 x 54 x 71 cm
THE LUXURY OF ITALIAN LEATHER AT SCHOTS chots’ buyer Don Savage observes that ‘over the past year we have noticed a furniture trend that is moving away from heavily polished and coloured timbers and highly processed leathers that lack character. At Schots we are forever in search of the best quality materials, when it comes to leather we look for hide that is soft to the touch and visually appealing, ensuring that it will set your living area apart, as well as being very comfortable. After much experimentation
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and searching for the right leather supplier, we turned our sights to Europe. More specifically Italy, renowned for their innovation and passion for leather, the Italians have retained long standing traditional tanning techniques while ensuring that the finished product is suited for this day and age. It gives us great pleasure after much experimentation to now launch our new range of Italian Buffalo leather, the hand tanned full grain hide is the most supple leather in our range.’
Schots Italian buffalo leather has an instant appeal when you see it, and a timeless quality about it. The leather comes from the highest quality Italian buffalo hide, it has not been heavily coloured or processed, leaving all the natural character of the full grain leather showing through. Each piece is unique and different and this leather retains the scars accrued over time and the natural pores of the hide. This Italian buffalo leather is also soft and supple and incredibly comfortable.
This natural approach to tanning also means that the top grain remains intact allowing more fibre strength and durability. It is a piece of furniture that will wear in and its character and patina will improve with age. You can view the range in one of the expansive Schots stores and see for yourself how luxurious this range is. SCHOTS HOME EMPORIUM 1300 774 774 – Clifton Hill 1300 693 693 – Geelong info@schots.com.au www.schots.com.au
From Left: Jimmy armchair, 55 x 58 x 85 cm Steve armchair, 57 x 56 x 82 cm
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QUEENSLAND
P. Bessa, Australian Hibbertia, c. 1828
‘Glider - Flying Opossum’, Philip’s Voyages, c. 1789
hand-coloured engravings of immigrant vessels, but perhaps wonderful early yachts on the harbour may have more appeal. Captain Cook will always be revered for his discovery of the east coast of Australia, and probably the best-known early Australian view is the 18th century engraving from a sketch done near Cooktown in 1770 for the journal of his exploration: A View of the Endeavour river, on the coast of New Holland, where the ship was laid on shore, in order to repair the damage which she received on the rock. The Endeavour is shown at the riverbank after having been nursed a few hours north to a safe area for repair of the damage to the hull when it struck coral on one of the Hope Islands on the Great Barrier Reef.
Endeavour aground for repairs, Moore’s Voyages, London, c. 1790
FRAMING FOR DISPLAY
ANTIQUES RECORDING DISCOVERIES efore the invention of the camera and photography in the early 19th century, images had to be drawn by hand – with varying degrees of accuracy according to skill and artistic interpretation. To be able to produce more than one image a sketch had to be made on a base for printing: the surface surrounding an image was carved away from a drawing on a woodblock; an image was carved (in reverse from a mirror image) into a wood or metal plate; or (with greater fluidity) an image was drawn on a very smooth stone. This base plate was inked to produce a number of prints on paper. Prints recording geographical exploration are known simply as maps.
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PRINTS & MAPS AS ARTWORK While many prints were created as individual artwork, even more were printed for publication in grand books and magazines, journals and newspapers. This artwork has always been appreciated, and as stitches and glue of the spines of books became brittle from years of poor handling, the engravings often came adrift. It is amazing that they have survived at all as pieces of paper, but there has been a long tradition of decorating with antique prints. Down through the centuries, as well as framing the finest prints and maps, grand houses had a print room where coveted engravings were displayed – sometimes not even framed, closely arranged and pinned to cover the walls. Decorating with prints was not only enjoyed by the wealthy. Engraved pictures in newspapers were cut out, handcoloured and pinned to the walls of even modest homes. Perhaps the creative skill of this early artwork was not recognised, but limitless choice of subjects provided enjoyment for everyone.
ANTIQUE PRINT COLLECTING A framed group of a certain flower or bird that has been drawn, and engraved or lithographed by different artists at different periods, makes an entertaining presentation. An antique map surrounded by prints of different subjects published at the same date,
or from the same region, provides an interesting group. Each antique print or map tells a story – whether they are conventional or strange, and whether they are really old or surprisingly modern-looking despite being over 100 years old and perhaps even 400 years old. The majority of antique maps and prints are selected for their decorativeness and are framed and hung on the wall, but antique prints and maps are sometimes collected and kept in drawers for private viewing.
AUSTRALIANA EXHIBITION Antique Print Club has a huge selection of antique maps and prints that are available online at www.antiqueprintclub.com. They are also available from the Antique Print Clubhouse in Neranwood in the hills behind the Gold Coast, and from the Brisbane Antique Centre at M1, exit 30, on Brisbane’s southside. In addition to this, in September and October they are available from the Brisbane Antique Emporium in Clayfield, with an exhibition of Australiana themed works available for sale from Sunday, 1 September. It’s a great opportunity to acquire your own piece of Australian history! Antique maps of all regions from circa 1600 include various European theories of Australia. French hand-coloured stipple-engravings dating circa 1800 are among the most beautiful head studies ever done of Aborigines of New Holland (as Australia was then known). Scientific recordings were done by naturalists on early expeditions, and engravings were made from these and from specimens returned to Europe during those voyages and the early years of Australian settlement. Particularly colourful are the exquisitely engraved aquatint, copperplate engravings and lithographs of Australia’s native plants and flowers. Australian fauna are shown as unusual shapes from the time of the first fleet, and in beautiful large hand-coloured lithographs of John Gould birds and mammals.
Early views of Australia fascinate people of all ages. Views of capital cities not only show us the grandness of early architecture, but also remind us of the difficulties faced before development, and before the adoption of clothing more suitable to the Australian climate! A collection of Sydney CBD architectural engravings of colonial buildings include street layouts with names of early proprietors. As well as a great set of 12 framed S.T. Gill character studies, c. 1850 from the Victorian goldfields, there are antique prints from all around Australia, with towns and country scenes graphically showing life following 18th century settlement including the rare pair of Baxter oil-printed scenes. A Fred Elliott watercolour of a clipper ship off Australia’s east coast reminds us of the grand period of sailing ships – as do more humble
Selection of antique maps and prints is of most importance, but how they are displayed determines whether they provide ongoing appreciation. The skilful and meticulous work in the creation of antique prints should be preserved by conservation-standard framing. Paper-based antique prints should be framed by supporting front and back with materials that are free of damaging chemicals. These matt-boards are often referred to as acid-free. To protect your artwork from fading in excessive light, ultraviolet-protection U/V glass should be used. Conservation framing may be a little more expensive but it will preserve your precious artwork. If you have any questions, please feel free to contact us. Kathryn & Derek Nicholls ANTIQUE PRINT CLUB 07 5525 1363 / 0412 442 283. sales@antiqueprintclub.com www.antiqueprintclub.com
Antique Print & Map Company Antique Maps and Antique Prints from c.1600 ... Rare original antique maps & prints - all periods & styles
Heritage Editions Later reproductions of early maps & prints
Antique Print Club ( previously at Milton ) Now at the newest
Brisbane Antique Centre OPEN DAILY (Ph. 07 3806 0118) Brisbane south-side M1 at exit 30
on Beenleigh-Redland Bay Rd Also by appointment at the Antique Print Club-house in Neranwood (above Springbrook Rd)
sales@antiqueprintclub.com 07 5525 1363 – 0412 442 283 Above left: ‘Female, Nouvelle-Hollande’, Baudin’s Voyage, Paris, c. 1804 Jacques Bellin, Terra Australis, c. 1753
Above right: ‘Male, Nouvelle-Holland’, Baudin’s Voyage, Paris, c. 1804
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THE AUSTRALIAN ANTIQUE AND ART DEALERS ASSOCIATION The premier organisation for antique dealers and commercial art galleries in Australia hink of the uniqueness antiques will bring to your home and to your future gift giving. A simple gift can become a treasured heirloom because of the value an older piece has. Imagine the recipient of a new book that you ordered online and had delivered. Now imagine instead that you browse the shelves of an antique book dealer for an older copy of poetry, history or some other book of interest. These pages have been read, loved and maybe even cried over but now they are being entrusted to the person you choose. I guarantee the recipient will feel totally different when they receive this gift. Likewise, how many of the things you have bought for your home are worth handing down to your children? It’s ironic that households today possess fewer objects worth handing down than their depression-era parents and grandparents did. Instead of a few great things, we have tons of junk. If you are thinking about purchasing antiques or vintage items for yourself or as a gift, but are unsure how to find the best values for your money, please contact a member of the AAADA. We are always willing to assist you in finding just the right items that will have lasting value. If using a decorator service, ensure they also adopt the ‘going green’ philosophy. Truly gifted interior decorators can see quality, scale and good form in antiques. They can find creative ways to use vintage and antique pieces for display, storage, accents and attention-getting decors. With antiques and vintage items you have the opportunity to own something durable and truly unique that can be a conversation piece and possibly an heirloom for another future generation.
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ANTIQUE VERSUS COLLECTABLE Some people say age and others use the kitsch factor to separate antiques from collectables. If you use the Australian Customs Service definition, an antique is 100 years old or more. By my definition, however, items made prior to the early 1920s when styles distinctly changed from flowing and frilly to more modern and angular are antiques and objects made after that time can be termed ‘collectables’.
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So, items made from the Edwardian era on are antiques in my book and pieces made from the Art Deco period forward are considered collectables. Some examples of older collectables include Depression glass, 1930s shoes, and Gone with the Wind memorabilia.
11 am to 7 pm on Thursday 22 August, 11 am to 6 pm Friday 23 to Saturday 24 August and from 11 am to 5 pm on Sunday 25 August. Tickets will be available at the door. General admission: $20; concession $15; children under 16 free.
FIND US ON THE INTERNET ABOUT LIMITED EDITION COLLECTABLES Limited edition collectables are newly marketed items made in limited quantities. Sometimes they trade on the secondary market fairly quickly, and can even rise in value rapidly after they are issued. In the long run, however, they don’t generally demand the same high prices as time passes. Once initial demand has died down, the value often plummets. Buy these pieces because you like them, but don’t count on them holding their value over time. In the same vein, most new items made in mass quantities and marketed as collectables will generally go down in value over time. This is especially true with fads. For example, remember Beanie Babies? While there are some exceptions, most of these cute little beanbags are worth far less now than what crazed collectors paid for them in the mid-1990s. What makes an older collectable valuable is rarity, condition and, of course, the demand for that particular item. The fact that toys, kitchen items and paper goods were mainly used and discarded by our ancestors makes them harder to come by and in many instances worth more money as well.
WHAT IS VINTAGE Generally, while antiques need to be a certain number of years old to be thought of as antique, vintage has more to do with the relative age of an item, in terms of the class of things to which it belongs. The word ‘vintage’ comes to us from wineries and includes in its definition ‘characterised by excellence, maturity and enduring appeal’, so while an antique could be anything that was particularly old (and, one would assume, saleable), items that were vintage would be presumed to be of high quality.
MELBOURNE AAADA FAIR 2013 … OVER FOR ANOTHER YEAR! Another year over and what a wonderful fair it was! If you joined us this year you would have enjoyed the ambience of the Royal Exhibition Buildings and marvelled at the beautiful pieces that dealers from all over Australia brought to exhibit and sell. A feature of this year’s fair was a stand decorated by well-known Melbourne interior decorator Stuart Rattle, showing just how fabulous antiques can be in a modern interior when cleverly mixed in with contemporary design. Tiffany also came on board with a new initiative this year, the inaugural Tiffany & Co. Object of the Fair Award announced on the opening night. The winner was Derek Greengrass with an articulated carved oak skeleton from Nuremberg, circa 1680, believed to have been used by academics and/or apothecaries in the medical profession, or perhaps a ship’s surgeon, to illustrate the various bones of the human skeleton. It is considered extremely rare and of museum quality.
SYDNEY AAADA FAIR 2013 BACK AT ROYAL RANDWICK 21-25 August Following the redevelopment of Royal Randwick, the Sydney event promises to be bigger and better than ever in the rejuvenated venue. The AAADA fair offers for sale the finest and most diverse range of fine art and antiques in one place, at one time, in Sydney. A gala preview will be held on Wednesday, 21 August from 6 pm – 9 pm; tickets are $30 per person and can be purchased from the AAADA office. The fair will be open from
The Association is accessible on the Internet. Peruse the AAADA website – the user friendly search tool for antiques and art makes the hunt for that special piece so much easier. Another useful feature on the site is the online version of The Essential Buyers’ Guide, a valuable resource for collectors seeking special pieces for their collections. If you would like to receive information about future events, join the mailing list at www.aaada.org.au.
THE ESSENTIAL BUYERS GUIDE This booklet is the definitive guide to buying, collecting, selling, valuing and restoring antiques and art with confidence, from Australia’s leading antique and fine art dealers and their approved service providers. Obtain a copy by emailing, writing or phoning the Executive Secretary, PO Box 24, Malvern 3144 Vic, 03 9576 2275; secaada@ozemail.com.au
FACEBOOK Join AAADA Facebook page today for a chance to win a free subscription to World of Antiques and Art magazine.
Dawn Davis AUSTRALIAN ANTIQUES AND ART DEALERS ASSOCIATION 03 9576 2275 secaada@ozemail.com.au www.aaada.org.au
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