Antiques & Art in Victoria by World of Antiques & Art

antiques&art IN VICTORIA

DECEMBER 2011 - APRIL 2012

Simply the S th he best. c coinwork ks.com.au coinworks.com.au Collecting. Investing. C Investing. Buying. Selling. Get Ge et in touch with the best b in n the business. The Coinworks team. Our O website is a trove e of treasures n numismatic treasures and the kind of advice ad dvice and information informatio on that th hat keeps you ahead ahea ad of the game. Sign n up for our free email email or order the n newsletter th he print version on the the web. Or call for a consultation p personal consultation with the Coinworks Coinworkks team. 03 9642 3133 3133

HIGH STREET ANTIQUES & ART IN VICTORIA

PETER ARNOLD

ANTIQUARIAN BOOKSELLERS

RARE

BOO

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

Hurnall’s

I A NA

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

KS BOO

By appointment

SOLD & T H BOUG

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

Condition of all items guaranteed

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

SPECIAL EXHIBITIONS HELD REGULARLY Established 1976

Member AAADA & CINOA

antiques &art IN VICTORIA 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 andre@worldaa.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

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PRINTERS Rural Press Bells Line of Road, North Richmond NSW 2754 Caxton Web 45 Huntingwood Drive Huntingwood NSW 2148

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.

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 April 2012 Booking deadline 5 March 2012. Copy deadline 12 March 2012.

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

PHOTOGRAPHY RUSSELL WINNELL Specialising in antiques and artworks

0415 929 712 QUALITY WORK • COMPETITIVE RATES

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

03 9510 8522 Warehouse by appointment only 0412 560 371 3

ANTIQUES & ART IN VICTORIA

Leclerc Antiques brings French antiques to Australia

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

VISIT OUR WAREHOUSE In October 2009 we opened our large warehouse to the public. So come and view the competitively priced pieces and buy direct. Every single item on the floor is personally selected, packed, and shipped out of France by Leclerc Antiques. By eliminating the middle man we are able to offer items at a very competitive price. The stock arrives in as found condition, which gives prospective buyers the opportunity to undertake the restoration themselves, a trend we have noticed that is becoming increasingly popular. Otherwise, where necessary, we have the facility to restore items.

OUR RESTORATION POLICY

RULES TO FOLLOW

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

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.

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

Pascal Leclerc LECLERC ANTIQUES 03 9510 8522

HIGH STREET ANTIQUES & ART IN VICTORIA

Editorial Content FRONT COVER Grace Kelly 1954 © Sipa Press, Rex Features. Image courtesy of Philippe Halsman Magnum Photos/Snapper Media See p. 51 4 6 7 8 9 10 12 14 16 17 18 20 21 22 24 25 26 27 28 30 31 32 33 34 35 36 37 38 51 52 53 55 56 57 58 59 60 61 62 63 64 65 66 66 68 69 70 71 72 73 74 76 77 78 79 80 82 84 86

Leclerc Antiques brings French antiques to Australia – Pascal Leclerc The art of Star Wars and Superheroes – Colin Kaye Image de France Gallery and decorating à la Française Expressions Gallery Brian Hirst at Veronica George Gallery Vintage Posters – some frequently asked questions answered – Sam Johnson Can you imagine a more Dollightful Day? Measuring time: Horology (1650-1700) – Michael Colman The Genevieve Cummins collection of antiques boxes Tyson China Repairs – fully guaranteed Exploring French salon suites, sofas and chairs – Trish and Guy Page 1813 Holey Dollar and 1813 Dump: Australia’s first silver coins The which and what of wristwatches – Ron Gregor Les Kossatz (1943-2011) – Jillian Holst Schots Home Emporium for Suraya frames and mirrors The festive season: party time in your home – David Foster Treasures of the Melbourne Mint The Victorian Artists Society’s famous art bargain sale and auction You know you’re a collector! – David Freeman Glamorous New York – Roy Williams The tastes of Christmas in times gone by – Dawn Davis Behind the scenes: a quiet achiever and his life-affirming journey The English longcase clock Acme et al a treasure trove of fine art prints opens in Yarra Glen Di King Gallery presents a solo exhibition in oils by John Thomas Sherbrooke Art Society exhibitions Without Pier Gallery exhibition program 2012 An exhibition fit for a Queen Grace Kelly Style Icon Schots Home Emporium for the Asbury Tapware Range Antiques by the sea at Mentone Beach Antiques Centre Summer highlight at Sorrento Fine Art Gallery – Craig Davy solo exhibition What’s on at Beleura: entertainment at a Heritage House and Garden Two exclusive exhibitions at Mornington Peninsula Regional Gallery Japanese Satsuma pottery – Tom Kiernan Local talent, special exhibitions, showing at White Hill Gallery On show at McCelland Gallery + Sculpture Park Summer exhibition program at Hamilton Art Gallery Ancient illumination – Paul Rosenberg Geelong Gallery’s summer exhibition program Featured artists at Eagles Nest Gallery Susan Sutton at Qdos Arts in Lorne The Meccano Titanic at the Ballarat Antique Fair Bendigo 2012 Easter Antique Fair – Robert and Carol Dennis Pro Hart: Australia’s iconic ‘Outsider Artist’ Plan a visit to the Art Gallery of Ballarat’s exciting exhibition program Bendigo Pottery adds a new Antiques & Collectables Centre Bendigo Art Gallery hosts two significant exhibitions Illustrators and writers of children’s books at the Hughenden – Susan Gervay OAM Easter Art Show and sales at Bendigo Town Hall A day of celebration at the Shepparton Art Museum Persian carpets woven by the Afshar people – Majid Mirmohamadi Summer in South Gippsland: a major exhibition of the latest works by Di & John Koenders Victorian Antique Dealers Guild member profile The magic of maps – Simon Dewez and Monique Jacobson National Gallery of Australia collection The Silver Jubilee Rotary Antiques & Book Fair 2012 Australian Antique & Art Dealers Association Australian Odyssey: the first ever survey exhibition of Australian works by Nicholas Chevalier

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 2011/2012 Monday 5 December 2011 6.30 pm Viewing: Saturday 3 December 11 am – 2 pm Monday 5 December 10 am – 6 pm Monday 6 February 2012 6.30 pm Viewing: Saturday 4 February 11 am – 4 pm Monday 6 February 12 am – 6 pm Monday 5 March 2012 6.30 pm Viewing: Saturday 3 March 11 am – 4 pm Monday 5 March 12 am – 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 194 Bulleen Road, Bulleen, Victoria 3105 Tel: 03 9850 1553

www.aaauctions.com.au David Freeman 0419 578 184 Amanda Freeman 0419 361 753

Armadale Antique Centre Over 40 Licensed Independent Antique Dealers

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 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.

1147 High Street Armadale Victoria 3143 Tel: 9822 7788 Website: armadaleantiquecentre.com.au Open 7 Days 10.00 am – 5.00 pm 5

ANTIQUES & ART IN VICTORIA

Silver K Gallery presents

The art of Star Wars and Superheroes 26 November – 12 February

n Saturday 26 November Silver K Gallery will be opening the first ever exhibition of Star Wars art in Australia. This special exhibition titled The Art of Star Wars and Superheroes has taken over two years to put together and will have on display over 150 stunning pieces.

STAR WARS THE TRILOGY Star Wars is an American epic space opera film series created by George Lucas. The first Star Wars film in the series was originally released by 20th Century Fox on 25 May 1977. The movie became a worldwide pop culture phenomenon followed by two sequels released at three-year intervals. Sixteen years after the trilogy’s final film opened, the first in a new prequel trilogy of films was released. These three films were also timed at three year intervals; the final film opening at cinemas on 29 May 2005. In 2010, the overall box office revenue generated by the six Star Wars films totalled approximately $4.41 billion, making it the third highest grossing film series behind the Harry Potter series and the James Bond films. This extraordinary collection of art has taken Silver K Gallery over two yearsto put together and takes the visitor on a journey through the world of Star Wars. 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. Many of the works are signed by the artists and a special highlight is a collection of art from acclaimed designer and illustrator Ralph McQuarrie (b. 1929). Ralph McQuarrie Ralph is responsible for the designs in the original Star Wars trilogy, the original Battleship Galactia (2004-2009) television series, E.T. The Extra-Terrestrial (1982) and Cocoon (1985), for which he won an Academy Award. Ralph designed many of the Star Wars characters including Darth Vader and

Chewbacca, and drew many concepts for the film. His artwork is captivating and his recreation of Luke Skywalker on Hoth (illustrated) is one of the highlights of the collection. Making the art The art on display is first created by the artists as a one-off original and then reproduced as a limited edition giclee print on paper or canvas. The canvas renditions are stunning and the giclee process is so good that many works are mistaken for the originals. The canvases are all signed by the artists and are accompanied by a certificate of authenticity from Lucas Films. All the famed and favourite Star Wars characters are part of the display including Yoda, Luke Skywalker, Stormtrooper, Princess Leia, R2-D2, Darth Vader, C-3PO and many more. Illustrated are a few images that give a small glimpse into the range of art that make up this special exhibition.

SUPERHEROES The exhibition also features a beautiful collection of Superheroes artwork, with art from internationally acclaimed artists Alex Ross and Jim Lee. Batman, Superman, Wonder Woman, Spiderman, Hawkman and many more Superheroes are part of this unbelievable collection. Alex Ross Internationally renowned comic book artist Alex Ross does most of his work for the industry’s two largest and most important publishing houses DC Comics and Marvel. His work includes comic book covers and uncannily realistic portrayals of such characters as Spiderman, Batman, Captain America, Superman and Silver Surfer, among others. In 1996, Ross teamed up with writer Mark Waid for the DC Comics’ limited edition series Kingdom Come and he helped redesign several important superheroes such as Superman, Wonder Woman, Green Lantern, The Flash and Captain Marvel. Kingdom

Come helped cement Ross as a comic book industry superstar. Alex is so popular today that he is mobbed whenever he attends conventions and it is not uncommon to see lines hundreds of metres long waiting to see him. He is a giant in the comic art industry. Putting this collection together has been one of the largest projects Silver K Gallery has ever undertaken and this collection is one of the very best shows ever presented at the gallery. Do not miss this rare opportunity to explore the worlds of Star Wars and the Superheroes. If you require any further information please do not hesitate to contact out head office or view our website, contact details are Colin Kaye SILVER K FINE ART PTY LTD 03 9509 5577 www.silverkgallery.com.au Cost of admission and catalogue: adults $10, children $5

HIGH STREET ANTIQUES & ART IN VICTORIA

Image de France Gallery

and decorating à la Française ustralians have an enduring love for beautiful homes and quality design. In terms of furniture, French antiques are unparalleled in the world, so it’s not entirely surprising to find many Australians are decorating their homes in the exquisite French style. The quintessential French style is sometimes regarded as overly formal and its opulence and richness are considered too heavy in the modern world and the architecture of today. The last decade has seen a major shift in the way these French masterpieces are used in interior design.

MODERN TREATMENTS OF FRENCH ANTIQUES French antiques are increasingly mixed with the simplicity and clean lines of modern furniture, which serves to highlight the incredible workmanship involved. This renewed regard for French style began in the fashion capitals of London, New York and Milan and is filtering through to the rest of the design world. Modern fabrics and treatments are applied to traditional French designs, giving a modern feel while retaining the eloquence and proportional beauty of the designs. At Image de France we work closely with both interior designers and customers, applying your selection of custom finishes and fabrics to achieve the perfect look in our high quality handmade French-style reproduction furniture. Whether its traditional formal French you prefer, or this new style adopting modern treatments, we achieve what you want while always retaining the essence of the original design.

carved cabinets. Inspect the range of classical paintings lining the walls. Delight in the glitter of beautiful chandeliers festooning the ceiling and providing soft light throughout the gallery. Customers and visitors are invited to enjoy a hot or cold drink with the owners in this wonderful atmosphere. Browse through one of our library’s many authoritative furniture books while looking at similar furniture on display. Many items in the gallery have stories that stretch from one of the most artistic and opulent periods in French history, through to present-day Australia. The sense of occasion that this creates within the gallery is met with an appreciation for the commitment required in sourcing and bringing the collection together. Architect George Manoly started this business to fulfil his passion for high quality handmade French-style reproduction furniture. Meet George, Sarah or Marise at the gallery where they will take you on an educating journey through European and especially French history by viewing items on display. Please visit our gallery on Burwood Road in Hawthorn or online at www.imagedefrance.com.au. Enjoy the diverse range of French furniture, oil paintings, bronze statues, chandeliers, clocks, Sèvres vases and glassware. Image de France has something special to enliven every room of your house, decorating à la Française. IMAGE DE FRANCE 03 9529 5003 www.imagedefrance.com.au

VISIT IMAGE DE FRANCE GALLERY The atmosphere throughout Image De France is truly amazing. Take your time to view delicate porcelain Sèvres, antique clocks and bronze figurines resting upon intricately hand-

HIGH STREET ANTIQUES & ART IN VICTORIA

Expressions Gallery E

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 and Tim Storrier. Our high quality fine art limited editions are available at an affordable price. A pleasure to own, they will hold their value and brillance for many years to come. Expressions Gallery also offer high quality framing in their onsite studio workshop.

Jeffrey Smart, Truck & Trail Approaching a City

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.

Xianzhu Shi, Autumn Day

EXPRESSIONS GALLERY 03 9500 0667 xart668@yahoo.com.au

Expressions Gallery Howard Arkley, House with Native Tree

Margaret Olley, Basket of oranges lemons

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

John Olsen, Frogs & Banana Leaf

Jasper Knight, The Italian Job

HIGH STREET ANTIQUES & ART IN VICTORIA

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

Brian Hurst ‘Vermilion’ Unika Series

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

BRIAN HIRST

at Veronica George Gallery

eronica George Gallery is located in the heart of Melbourne‘s arts and antiques precinct in High Street Armadale. The site was purpose-constructed to showcase the Gallery‘s ever-changing art glass pieces, stunning handmade jewellery and new exhibitions. The Gallery celebrated its tenth anniversary in September 2011. Art glass and jewellery draw almost every passer-by into the Gallery, attracted to the collections of unique pieces crafted by wellknown Australian artists. From one-of-a-kind art glass to studio glass and collectables, there is something for every collector. The Gallery offers creative gift-giving options. Here you can find a special gift for significant events such as wedding, graduation, anniversary or company achievement awards.

FEATURED ARTIST Brian Hirst is a leading figure in the Australian studio glass movement through his distinctive hand-blown glass pieces of deceptively simple form but with extremely rich and graphic surfaces. His keen interest in the history of glass is often reflected in his work; however his imagery and vessel forms make for a very contemporary final product. Brian studied fine arts at the Gippsland Campus of Monash University in the late 70s and ended up building its glass blowing facilities before he moved to Sydney. There he established the Glebe Glass Studio and taught furnace work at Sydney College of the Arts in the early 1980s. In 1987/88 he was co-head of the Glass Workshop at Canberra School of Art with fellow artist Klaus Moje. He has taught and lectured widely in Australia and overseas.

Hirst was the Australia representative in the 1991 Novy Bor International Glass Symposium in the Czech Republic. He maintains a studio practice in Sydney doing his own designs, commissioned works such things as the Sydney Peace Prize, as well as maintaining his international exhibition profile. He was awarded Master of Crafts (Glass) by Crafts Australia in 1997 and Master of Australian Craft, 2008-2010. His art practice is an integration of his skill and knowledge of image making, printmaking and glass, forming into powerful bodies of work in both two and three dimensions. This is a rare repertoire for one artist and accomplished in an aesthetic that he can claim as distinctly his. ‘Hirst has always been interested in developing his skills and contributing to the growth of glass art in Australia,’ says Ivana Jirasek, Curator at National Art Glass Partnership. In Artists in Glass, Late Twentieth Century Masters in Glass (2001), Dan Klein writes ‘Brian Hirst ... has taken great pains to master all the different techniques he uses, and his work shows him to be a technical wizard. Using ancient forms he has created a modern

language in glass, very different from that of other Australian glass artists. Hirst has invented over two decades, an attractive and easily interpreted language that allows us clear insight into his thought processes and provides an interpretive link with the historical antecedents that have inspired him.’ Hirst’s work is represented in numerous national and international collections, including the National Gallery of Australia, National Gallery of Victoria, Hokkaido Museum of Modern Art in Japan and Ebeltoft Glasmuseum in Denmark.

UNIKA SERIES The use of 23 ct gold, silver and copper foils rolled into the layers of hot glass emphasise the surfaces and the dynamic shapes of these latest sculptural vessels, the Unika series., a combination of love of materials and interest in contemporary Asian design influences. Up to 12 layers of glass and foils are combined in the traditional blown glass method to make each piece, individually signed and numbered. The Unika series with its strong vermilion and orange internal colours further develop the recent successful Astral series first exhibited at

the Veronica George Gallery. The central motif has landscape references drawn onto the surface with foils and coloured glass canes.

ARTIST’S STATEMENT ‘I really enjoy making these new Unika pieces with the vermilion interior against the orange and black. They are a further development of the Unika series ... The new works are stronger and more visually graphic. I love the contrast of colours and surfaces!’ Veronica George Gallery is open seven days a week and for the convenience of clients, the gallery arranges safe delivery of purchases. If destined out of Australia, purchases are sent tax-free and insured – worldwide. VERONICA GEORGE GALLERY 03 9500 9930 veronica@ veronicageorge.com.au www.veronicageorge.com.au

ANTIQUES & ART IN VICTORIA

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

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

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

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

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

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

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

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

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

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

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

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

HIGH STREET ANTIQUES & ART IN VICTORIA

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

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

1136 High Street Armadale Victoria 3143 11

MALVERN ANTIQUES & ART IN VICTORIA

Peg doll, c. 1840, wooden body, painted face, maker unknown, one of the rarest dolls in Australia

Handmade teddy treasures, all so cute, will be available at our fair

This wonderful Noah’s Ark will be available for you to win at our fair – proceeds to very special children

Can you imagine a more DOLLIGHTFUL DAY? A wide variety of these oriental dolls will be available at our fair

Highland Mary, head and shoulder made of Parian, kid body, painted eyes moulded hair, h: 61 cm

Malvern Doll Fair

THE DOLL ASSOCIATION OF VICTORIA presents

The 2012

Malvern Doll Fair at Malvern Town Hall Saturday 21 April 10am - 4pm Sunday 22 April 10am - 3.30pm Here you will find a wide range of treasures discovered in the nursery cupboards of years ago, including many wonderful dolls – old and antique, celluloid, vinyl, and many others created in more recent times. Also featured will be wonderful golliwogs and other rag dolls, Mickey Mouse, a huge range of teddy bears and old toys such as trains and planes, plus accessories, doll books and much more!

VALUATIONS DONE May we suggest that this fair will be a wonderful opportunity to seek specialist advice as to your old doll’s present value

Malvern Town Hall, Cnr Glenferrie Rd & High St, Malvern Melways 59 D7 Catering by Country Women’s Association Stall bookings & enquiries welcome! Call Diane 03 9459 5379 or Wendy 03 9855 1043 PO Box 110 Kew Victoria 3101 12

pend time walking down memory lane amongst many treasures that remind you of your childhood. Come to the Malvern Doll Fair on Saturday 21 and Sunday 22 April at the Malvern Town Hall. Many dolls, teddies, toys and accessories are waiting just for you, priced to suit your pocket and ready to take home and love. More people are collecting dolls and at least one in ten of those are male. The types of dolls are as varied as the human race. Over the centuries, dolls have been made of wood, metal, composition, rag, celluloid, wax and china. The latter range from highly glazed china to the very popular unglazed dolls everyone calls bisque, many of which date from the 1870s to the mid 1930s. Highly sought after is Barbie, especially if it is in very good condition and wearing its original costume.

SPECIAL PIECES AT THE SHOW A Parian shoulder-head doll, known as Highland Mary, is being featured at the Malvern Doll Fair. She is 61 cm tall with a kid body, painted blue eyes, closed mouth and moulded blonde hair with bangs. Imagine – this lovely doll is twice as tall as this page is high. Amongst the treasures at the fair are items discovered in the nursery cupboards of years ago, including old golliwogs and other rag dolls, Mickey Mouse and teddy bears. There are many old toys such as trains and planes that are keenly collected by all ages. Other items are some of the finest French and German porcelain and china dolls, plus many other old and antique dolls. A wooden peg doll made circa 1840 is one of the rarest dolls in Australia. There are lovely ribbons and laces to complement dolls’ outfits, hats, shoes and wigs, and other accessories for sale.

April 21-22

SPECIALISTS Perhaps you have a doll, possibly from a grandparent, handed down to you to keep. May we suggest that this fair is a wonderful opportunity to seek specialist advice as to its present value? We have several experienced doll makers in attendance; all are interested in helping you learn how to re-create some lovely dolls. There are wonderful tiny pieces of furniture for sale, just right for your doll’s house. Spend time perusing an extensive selection of books and magazines to select the right ones to help you understand this passion, and to guide further collecting.

THE DOLL ASSOCIATION OF VICTORIA This club for collectors and makers of dolls and related items was established in 1979 as a non-profit organisation. Our annual Doll Fair at Malvern Town Hall has become one of the most respected events in the Australian doll collector’s calendar. Through this fair, we have raised over $150,000 during the past 30 years. All profits have been donated to charities such as The Very Special Kids, Royal Children Hospital, and other smaller groups in need of some extra funds to be used for special purposes. Call Diane on 03 9459 5379 to discuss booking a stall or for any other information. Be sure to mark your 2012 calendar on Saturday 21 and Sunday 22 April to attend The Malvern Doll Fair at Malvern Town Hall at the convenient intersection of Glenferrie Road and High Street. Each wonderful doll invites you to start planning for what promises to be a very special doll fair. THE DOLL ASSOCIATION OF VICTORIA 03 9459 5379

MALVERN ANTIQUES & ART IN VICTORIA

4. 3.

2. 1. 7.

5. 1. Nyurapayia Nampitjinpa (Mrs Bennett), Untitled, 2005, synthetic polymer paint on linen, 297x 181 cm. Sold $23,300 2. Jadeite pendant, 18 ct white gold, 6 brilliant cut diamonds, totalling 0.10 ct, l: 3.7 cm. Sold $6757 3. Art Nouveau sterling silver notebook pendant, h: 54 mm. Sold $128 4. Sapphire and diamond drop earrings, c. 1890s, set in 18 ct yellow and white gold; sapphire 1.50 ct. A.T.D.W. 2.65 ct. Sold $3728 5. Pair of 18th century Dutch Delft vases, h: 33 cm, of baluster form with moulded and painted cartouche panels, stamped with an underglaze blue leaf to the base. Sold $932

6. Clifford Possum Tjapaltjarri, Bushfire Dreaming, 2000, 152 x 244 cm. Sold $23,300 7. Vintage Omega Constellation ladies wristwatch, c. 1960s, 18 ct yellow gold, manual movement, case with claw set brilliant cut diamonds, cross hatched golden dial, woven bracelet, fold over clasp and concealed safety catch, l: 7 cm wt: 48.4 grams. Sold $1747 8. Victorian serpent collier, 18 ct yellow gold, cabochon garnets, pave set turquoise and seed pearls, concealed clasp. Sold $932 9. Victorian mourning jewellery photo locket bracelet, 9 ct yellow gold, fitted to reverse is a further glass insert for woven hair. Sold $1398

AUCTION SCHEDULE 2012

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 19 February Monday 20 February Thursday 27 January Wed 15 - Sat 18 February

Fine and Decorative Arts Modern and Antique Jewellery Closing for entries Viewing

Sunday 25 March Monday 26 March Thursday 2 March Wed 21 - Sat 24 March

Visit www.philipsauctions.com.au for details of all current lots

ANTIQUES & ART IN VICTORIA

Measuring time: Horology 1650-1700

Christopher Gould, Grande Sonnerie

Thomas Tompions Greenwich regulator, c. 1676

he pendulum, first used around 1657 by Salomon Coster and made after the drawings of the Dutch scientist Christian Huygens, had found its way to England via John son of Ahaseurus Fromanteel, a renowned London clockmaker. Clocks became more accurate; accurate enough for government, the law and trade to move away from temporal hours into structured 12 hour, 60 minute timeframes. The quest was established: it was to win accuracy in horology; the science of time. The wealth of talent chasing accuracy goes from Galileo of Italy, through Pascal of France, Hooke and Newton of England, Huygens of the Netherlands and Leibnitz of Germany, along with clockmakers Salomon Coster in the Hague, Isaac Thuret in Paris, to John Fromanteel and Thomas Tompion, among others, in London. Several things fell into place for London to lead the way into this golden age of horology. The establishment of the Worshipful Company of Clockmakers in London, which achieved a royal charter in 1631, led to the control all things horological in London. It was known officially as ‘The Master, Wardens and Fellowship of the Art or Mystery of Clockmaking of the City of London’. Nobody in the kingdom was allowed from then on to make or sell in watches or clocks without approval of this body. Horology became a protected industry; this allowed potential clock and watchmakers of good work, both English and alien, to establish a united craft of clock and watchmakers with their influence spreading outward into the provinces. This development prompted English horologists both to no longer follow continental work and designs and encouraged open dialogue within their own ranks and the refinement of a

national character within clockmaking, both in mechanism and design. They were ready and waiting for the next step in horological evolution. Ahaseurus Fromanteel (1607-1693) and his son John Fromanteel (1638-1680), who had studied under Salomon Coster just after their release of the pendulum, moved to London about 1658 – they advertised their first sale on 27 October 1658 – and, soon after, produced a case to hide the unsightly weights needed for the pendulum movement and so initiated the tradition of the English tall or long case clock. The description ‘grandfather clock’ is not correct and first appears around 1876. During this period cases were normally made or designed by the clockmakers themselves. This meant that the Clockmakers Company of London also influenced design and some believe that the clocks made during this period are the best designed and balanced clocks. Over the next century, as cabinetmakers began designing and manufacting cases, a marked degradation in style and quality of cases can be discerned. The first cases made by Fromanteel were architectural, tall and slender with pitched roofs, brass and silvered dials with ormolu spandrels and mounts with, in the fashion of the period, the best being made in ebony. The movements were verge with a short pendulum inside the hood. In provincial areas these cases were copied normally in oak of similar style, most likely after drawings by potential owners seeking to have made what they saw in London. Often these cases are slightly wider than the originals, but still more slender than later case styles. This modification was perhaps caused by the technology in movement design advancing faster than case design with the later long pendulum requiring a wider case as clocks became taller. These provincial oak

cases, again as with the furniture of the period, were ebonised and are mostly seen today as rich dark oak decorative furniture, produced 10 to 20 years after the fashionable London decorative styles. Around 1670 an important technical change appeared in London with the invention of the anchor escapement, the name being derived from its shape. There was no apparent single person responsible for this amazing advance although the names linked to this discovery are the scientist Dr Robert Hooke and the clockmakers William Clement and Joseph Knibb. John Smith recorded in 1694 that clockmakers were trying to solve the shortcomings of the short pendulum and that William Clement had the good fortune to give it the finishing stroke. Part of the pendulum can be attributed to Dr Hooke for, in 1666, he demonstrated the suspension – a thin short length of spring steel supporting the pendulum – to the Royal Society; this development dramatically increased the accuracy of the existing escapement. With this escapement and suspension, the arc required for tooth release from the escape wheel was reduced and it was possible to produce a ‘Royal’, a one-second pendulum with amazing accuracy. Cases became wider but mostly still in balance to allow the swing of the longer pendulum. Along with this escapement came the ability to produce a sub-dial, normally below the 12, indicating the seconds. Another critical development in the evolution of horology occurred in 1675 when Charles II established the Royal Observatory at Greenwich for ‘The finding out of longitude of places for perfecting navigation and astronomy’ three years after the French had completed their observatory in Paris. Earlier, Charles II

MALVERN ANTIQUES & ART IN VICTORIA

Joseph Knibb Bracket clock, c. 1675

had appointed a committee that included a member of the Royal Society, Dr Robert Hooke, to look into the French idea of using the heavenly bodies as an aid in navigation. John Flamsteed (1646-1719), a man of singularly exact and business-like habits, was appointed the first Astronomer Royal. Flamsteed appreciated the importance of the science of horology as an effective timer for the meridian transit of stars to determine precise location and engaged an outstanding London clockmaker, Thomas Tompion (16391713), to make a pair of observatory clocks. Unfortunately the royal purse was kept tight; the construction of the observatory and Flamsteed’s salary were dependent on the sale of spoilt gunpowder. Flamsteed’s astronomical almanac was not published until after his death. The astronomical figures determining location, as requested by Charles II, were eventually produced by the fifth Astronomer Royal, Nevil Maskelyn (1732-1811), and published around 1763. The next notable breakthrough in horology and specifically watchmaking was the invention of the balance spring in its spiral form. The spiral spring applied pressure to the balance wheel causing a powered return to a central position, improving timekeeping. The inventor is uncertain, but Hooke was working on a balance spring before 1660, lectured on it in 1664 and demonstrated an example in 1668. It seems that, soon after this demonstration, Hooke put his work on the spring aside leaving Huygens to bring this development to a successful conclusion with the help, in absolute secrecy, of Isaac Thuret. In 1675 Huygens wrote to Oldenburg in London offering him the English rights to his pirouette watch; this Huygens-Thuret watch was eventually presented to Charles II, who nonetheless preferred Hooke and Tompion’s hastily made up and presented watch. But there were obviously some problems and to the benefit of English horology, no patent was granted. Soon after, along with inventions designed by Hooke in tooth cutting, Thomas Tompion began producing watches capable of keeping time accurate to a minute or two a day that were unsurpassed in any country. These watches were not based on the Huygens pirouette designs but on a verge balance with spiral balance (hair-)spring incorporating a specially designed regulator, a mechanism that continued in use well into the 1800s. For a short period these watches did away with the fusée as it was thought that with the

The camera stellata at the Royal Observatory, Greenwich during Flamsteed’s time as Astronomer Royal; to the left of the central door are the two Tompion regulator dials.

isochronism advantages of the balance spring, it was not necessary. This notion was very soon dispelled and with this final advantage England and, more importantly, London led the way in horology. There were many great clockmakers in late 17th century London; much of their work is still around and still able to function after over three centuries. Besides Ahaseurus and John Fromanteel there was Edward East, Joseph Knibb, William Clement, Christopher Gould, Daniel Quare and others, along with possibly the most celebrated of them all, Thomas Tompion, often referred to as the father of English horology. Moreover, there were many gifted provincial makers of note such as John Williamson from Leeds, who made a year running long case clock with strike and quarter repeat in about 1690. From about 1330 a strike system called a locking plate or countwheel strike was available, where a wheel is moved with sequential cut outs to allow a stop lever to drop after the next series struck. This was an effective system with the simple advantage that the strike could be stopped while the time mechanism continued to run. Annoyingly, the strike could go out of sequence, that is, where the hands do not match the strike number. In about 1675, the Rev Edward Barlow invented rack striking, a mechanism that gradually superseded the countwheel system. Most rack strike systems were front plate mounted but, occasionally, internal racks are encountered despite the fact that they were more difficult to make. The rack invention was a great leap forward but there was more to this invention, for it allowed new and wonderful strike systems to be made. These included the repeat strike, the grande sonnerie (great strike) and the musical chime all available automatically or on command. The countwheel strike was still seen in the British provinces until after 1750. Continental and American horologers continued to use the countwheel system as the principal means of strike in the clock mechanism, probably from ease of manufacture in France, well into the 20th century with some exceptions: Austrian horologers began using the rack strike as their normal strike after 1800; the French in the mid 1870s; and the Germans in the 19th century for high quality productions. From being an exclusive curiosity in 1650, timekeeping had improved considerably to become an accurate necessity in government, the law and trade. By 1700, clocks were at the forefront of contemporary technology

Michael Colman COLMAN ANTIQUE CLOCKS 03 9824 8244 www.colmanantiqueclocks.biz References F J Britten, Britten’s old clocks and watches and their makers: a history of styles in clocks and watches and their mechanisms [9th ed.], (London, Methuen, 1982) Herbert Cescinsky, English domestic clocks. (Woodbridge, Suffolk Chancery House Publishing Co. for the Antique Collectors’ Club, 1976) R W Symonds, Thomas Tompion: his life and work, (Feltham, Spring Books, 1969)

Edward East architectural wall clock, c. 1665

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

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

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

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

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

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

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

1421 Malvern Road Malvern, Victoria 3144 Australia Au s t ra l i an An t i q u e a n d Art Deal e rs A s s oc iat i on

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

ANTIQUES & ART IN VICTORIA

A considered collection – inside and out – offered at Leonard Joel

The Genevieve Cummins collection of antique boxes T

he motivations behind the building a collection are many and varied – for some, investment is an important consideration, while for others, pure aesthetic attraction is the driving force behind their decision to acquire. For Sydney collector, Dr Genevieve Cummins, a collection begun in an effort to replace family heirlooms bequeathed to other relatives soon became a consuming interest in antique boxes, their specific purposes and reuniting them with their contents. To quote Dr Cummins, ‘so many times in antique shops I had seen the look of disappointment on people‘s faces as they eagerly opened antique boxes on display, only to find them stripped of their contents.’ She describes her first purchase, a motherof-pearl inlaid papier maché compendium, sadly lacking its contents but retaining the compartment for sewing tools. Gradually, replacement date-correct mother-of-pearl tools were purchased and the compendium was returned to its original purpose. Over a period of a decade, Dr Cummins’ passion for collecting culminated in the purchase of over 1000 objects and several specialist publications, co-authored with fellow collectors and written herself, including Antique Boxes: Inside and Out. An encyclopaedic survey of antique boxes with over 1,000 images of nearly 2000 items, many from her own collection, this publication is

considered an authoritative text on boxes, in a historical, social and artistic context. As part of Leonard Joel’s November Classic Objects, Furniture and Design over 130 boxes from the collection of Dr Genevieve Cummins were offered for sale, in the first of a series of auctions. This initial selection was made with a view to showcasing the variety of examples in the Cummins Collection, including sewing boxes, writing compendiums, snuff boxes, ballot boxes, tea caddies, vanity cases and knife boxes, to name just a few. As varied as their uses are the exotic materials from which many of the boxes are constructed, including tortoiseshell, ivory, papier maché, ormolu and ebony. Amongst this selection are a number of Dr Cummins favourite pieces, perhaps most notably a late 18th to early 19th century straw work miniature bureau. Replicating in miniature the proportions of a full sized writing desk, every surface of the box is applied with fine geometric panels in coloured straw, opening to an interior fitted with a multitude of miniature storage compartments. This is a late 18th century English quill work sewing box, with its surface of intricate filigree made from gilt edged rolled paper and fitted interior with period sewing accessories. Dr Cummins summarised its quality as ‘exceptionally beautiful, yet quiet – it’s the only one I’ve ever seen.’ This collection encapsulates the psychology

of the collector, for whom objects are as much works of art as features of everyday life – to quote Dr Cummins, ‘we live in them, work in them and we are buried in them.’ For collectors, Leonard Joel hosted a talk given by Dr Cummins on antique boxes. The focus of the talk was their use and contents that gave an insight into aspects on items from a selection of her personal collection of boxes which were offered for sale at the November auction.

Direct enquiries to Guy Cairnduff 03 8825 5611 / 0407 828 137 guy.cairnduff@leonardjoel.com.au.

LEONARD JOEL 03 9826 4333 info@leonardjoel.com.au www.leonardjoel.com.au

MALVERN ANTIQUES & ART IN VICTORIA

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

lmost every collector needs repairs on antique fine china, decorative art, family favourites and modern pieces – but only if the highest standard of work is accomplished. With attention to detail and quality of finish, Tyson China Repairs returns items to their original condition. Renowned among antique dealers and the decorative arts trades, many such professionals acknowledge and recommend Tyson China Repairs for specialist care of china. For nearly 40 years prominent dealers and collectors have turned to us for their repair needs. Manufacturers, retailers and importers seek our expert advice and repair skills as well as recommend our services to their clients. Very basic tasks to the very demanding are all carried out with the same care and professional standards.

REPAIRS Old repairs can be reworked. By using solvents, old glues and paints can be removed, stained areas improved and fresh work undertaken. Old staples or rivets can be removed and the scarring left behind restored. Replacement pieces such as handles, sections of vases and even figurine hands and limbs can be rebuilt with original detail before repainting and glazing, thereby replacing missing pieces of decorative items that were once lost. Intricate detail is reproduced by hand using fine brushes and exact colour matching. Airbrushes are used when appropriate to reproduce original paintwork and style. Glass can be repaired such as chipped crystal goblets. We reshape art glass with a minimum of fuss – often without a trace of the original fault. Re-silvering of old mirrors and replacement of glass or mirror is available to complete restoration. Silver repairs and all types of plating have been carried out to the highest standard for many years. Unusual jobs and metal repairs are often essential to enhance old plateware to its original condition. Spelter statues can be repaired and the old patina retained. Repairs to antique silver are completed with attention to detail and consideration of authenticity and provenance. Extensive experience working with old pewter and brittania metal allows for sympathetic handling to ensure authentic finishes.

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

in assisting with insurance needs and processing your claims. Detailed written quotations are provided for submission to insurance companies.

guaranteed and carried out in a professional manner with an honest consultation as to your expectations and with an up-front quotation.

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Over the last 40 years I have constantly strived to improve and expand my services. My experience and talented staff have the necessary training to cater for the requirements asked of them. I believe the experience and reputation achieved over this time is invaluable in offering these comprehensive services. All are fully-

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CANTERBURY ANTIQUES & ART IN VICTORIA

Right: French gilt and velvet upholstered Louis XV style armchairs Far right: French painted beech 4-piece salon suite, c. 1890, in Louis XV style

One of two French salon suites

18TH CENTURY

Page Antiques has French chairs in many styles and vintages

Exploring French salon suites, sofas and chairs

he 17th and 18th century salons of the French were elaborately decorated rooms where family and friends gathered after dinner to relax, play cards, listen to music, talk, discuss or debate. They were elegant rooms with one’s finery on display, but as comfort was also a major factor

in these well used rooms, the salon suite was of great importance. English sofas and settees were natural evolutions from the settle, and in the 17th century the French settees had much in common with their contemporaries in the rest of Europe.

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

In the Louis XV period (1710-1774) designs became emphatically French, with the gentle s curve predominant. There was an increased demand by the aristocracy and fashionable merchants for a wide variety of comfortable seated furniture. Various new types of seats were invented and appropriately named: the causeuse, marquise, canapé, bergère, chaise en cabriolet and duchesse (chaise longue). French suites comprised sofas (canapés), armchairs and chairs. Louis XV suites featured serpentine shaped frames, central floriate crests, upholstered backs and upholstered or open sides and cabriole legs. Scrolling arms and fluted legs were frequently used. Cane work on the back and seat also featured with the bergère armchair, its low deep seat quite often with a separate seat cushion. Coincidentally, upholsterers’ skills peaked as makers explored the possibilities of the new Rococo style. Many of the finest Gobelins tapestries date from this time. Louis XVI (1774-93) style was one of reaction to Rococo excesses with simplification from the 1750s onwards and was fully developed by the time of Louis XVI’s accession. Frames were wood, giltwood or painted, often accompanied by a floral wreath or decorative crest.

19TH – 20TH CENTURIES In the 19th century, Louis-Philippe (18301848) era furniture was a continuation of the Restoration style, heavier and gaudier with a return to mid-18th century fashions. Chairs and settees were comfortable and solid; they were large but rounded corners prevented them from seeming severe. Armchairs were numerous in LouisPhilippe salons. The backs were basically flat but slightly coved in the centre. The arms were square in section and terminated in volute (spiral scroll) console supports. Elsewhere in Europe, the Biedermeier style was a transition between neoclassic and romanticism in the 19th century, predominately in Germany, northern Italy, Austria and the Scandinavian countries. It softened the dominant French Empire style and had an extremely geometric appearance, such as a Beidermeier sofa with plain lines and use of light coloured wood.

The 20th century geometrical shapes of the Art Deco movement (1918-1939) were influenced by cubist and abstract painters. Most settees of this period were conceived along English lines, being padded and short, with thick arms and a markedly inclined back. Settees often used dark lacquered woods and remain a popular style with those who prefer a less adorned and more modern look, as with Beidermeier.

UPHOLSTERY TRENDS TODAY Richly embroidered upholstery is evident in early pieces, but today one can upholster in traditional fabric patterns or use modern fabrics, according to your taste. Striped fabrics are popular and it is also fashionable to use different upholstery on the backs than on the fronts, or even different patterns in each section such as for sides, cushions and backs. Do not be afraid of colour, or mixing patterns. Remember, the French often use stripes and florals together when decorating a room and did this to great effect. Feel free to explore modern interpretations of classic looks.

FRESH STOCK FROM FRANCE Page Antiques offer 19th century and early 20th century suites, sofas, and chairs that also include revivals of earlier styles. We buy in and import from France – 150 to 200 pieces have just arrived from France and Belgium. Please come by and have a look and chat about these fascinating styles and periods. Page Antiques are happy to organise any restoration and upholstery work that is needed, allowing you to have a finished product that matches both your needs and décor. Trish & Guy Page PAGE ANTIQUES 03 9880 7433 guypage@bigpond.com www.pageantiques.com.au Further reading Sylvie Chadenet (ed) French Furniture from Louis XIII to Art Deco, Bulfinch, 2001 John Fleming & Hugh Honour (eds) The Penguin Dictionary of Decorative Arts, Viking Penguin, London 1989 Judith & Martin Miller, The Antiques Directory, Angus & Robertson, North Ryde NSW, 1985

d Louis XV style walnut armchairs, c. 1880

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

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

RESTORING ANTIQUES OF TODAY

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off Midland Hwy in central Victoria 10 Tutors on offer, choose one Ron Muller; Terry Jarvis; Ross Paterson; John Wilson; Glenn Hoyle; Janet Matthews; Paul Margocsy; Helen Cottle; David Reynolds; Leigh Rust

ANTIQUES & DECORATIVE ITEMS

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ANTIQUES & ART IN VICTORIA

Left to right: 1813 NSW Dump, 1777 Spanish 8 Reales and 1789 NSW Holey Dollar

1788 NSW Holey Dollar

1813 Holey Dollar and 1813 Dump Australia’s first silver coins

his is the first in a series of articles written by Coinworks on the history of Australian coinage. Rather than mere tokens of commerce, rare coins are historical pieces that encapsulate the thoughts and ideals of Australia’s past. They are rarities that can never be produced again. The 1813 holey dollar and its partner, the 1813 colonial dump, were the first coins struck in Australia. Not only are they extremely rare, but their fascinating history has made them two of the world’s most famous coins.

Richard Read (c. 1765-1827), Governor Lachlan Macquarie, 1822. Courtesy Mitchell Library State Library NSW

1813 NSW dump Van Diemen’s Land 1823 commissariat note

In the early 1800s, Lachlan Macquarie (1762 – 1824), then governor of NSW, bought a house. He paid for it with 200 gallons of rum. Strange, you think? But no, this wasn’t at all unusual. Even though New South Wales had moved on from being a penal settlement and was fast developing into a well established and a vibrant society there was no bank – and no local currency. The laws of economics being what they are, something else had to take its place as a medium of exchange, and the most commonly used alternative was liquor. Rum was selling at more than 20 times its nominal value and its popularity as a negotiating medium was embraced by all sections of the community – including the governor. It was a clearly unsustainable situation, and in 1812, the Governor set in motion a plan to resolve the colony’s currency crisis by importing 40,000 Spanish silver dollars.

To stop the coins disappearing into traders’ pockets, he had them punched-out and restamped, making them useless outside Australia. In the process, each dollar became two coins: the large donut-like outer ring and the punched-out inner disc. The newly created ring was re-stamped with a value of five shillings, the year 1813, and had the issuing authority of New South Wales around the inner circumference. This became the 1813 holey dollar. The circular inner was re-stamped with a crown, the year 1813, the issuing authority and the value of 15 pence. This became the colonial dump. The coins provided a vital short-term solution to the colony’s currency crisis. They remained in official circulation for 16 years, before being withdrawn in 1829 when the sterling standard was re-imposed. Of the 40,000 Spanish dollars imported by Macquarie, 39,910 holey dollars and 39,910 colonial dumps were released into circulation. The balance assumed spoiled during the striking. Withdrawn from circulation in 1826, a total of 27,161 holey dollars and 10,103 dumps were shipped to London where they were melted down and sold off as bullion silver. Of those that didn’t go to the smelter, there are now only some 300 known surviving holey dollars (around 200 of them in private hands) and about 800 dumps. The combination of their rarity and their fascinating history makes them two of the world’s most famous and sought after coins. For further information go to www.coinworks.com.au

Two Spanish dollars, 1823

Ann Mash promissory note, c. 1812

SOUTH YARRA ANTIQUES & ART IN VICTORIA

WANTED

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

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

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

The which and what of wristwatches Early in 1930 the Rolex Watch Co introduced the Rolex Oyster Perpetual – the first waterproof and self-winding wristwatch. By 1940 wristwatches came in all shapes and sizes.

VALUING VINTAGE WATCHES

The idiotic fashion of carrying one’s clock on the most restless part of the body, exposed to the most extreme temperature variations, on a bracelet, will, one hopes, soon disappear. — Prof. H. Bock, Hamburg, 1917

n Elizabethan England, the Queen decorated her wrist with an ornamental watch, heavily encrusted with jewels and gold. While no one is sure who invented the wristwatch, David Rousseau made a watch that was 18 mm in diameter in the late 1600s, a marvel of miniaturisation. And while ornamental watches wandered in and out of fashion for a time, nothing serious became of the wristwatch for 300 years. In 1880 Girard-Perregaux, among other Swiss firms, provided wristwatches for the German navy. They were round watches made of gold and the cases were worn on a metal chain band. These were presumably the first wristwatches in series (and serious) production.

FROM MILITARY TO CIVILIAN The wristwatch first proved itself as a practical military device during the Boer War. This experience had a positive effect on the civilian market. Wristwatches gained worldwide use in World War I. Soldiers on both sides realised that modern warfare no longer allowed one the luxury of unbuttoning an overcoat and

uniform jacket to look at one’s watch. But the first significant success of the wristwatch was before 1910 among women who were both style conscious and employed. Women’s pocket watches were often converted to wristwatches but after 1910 the wristwatch, as opposed to these ornamental watches, became an important product for Swiss manufacturers.

POCKET WATCHES Many turned back to the pocket watch after the Armistice for it had become a symbol of the ‘good old days’. The younger generation, though, held on to the more practical wristwatch. Concepts such as modern, sporting and progressive were now linked to the wristwatch, while the pocket watch attracted the more conservative buyer.

MODELS FOR ADVENTURERS In 1904 Cartier made a special model wristwatch for Brazilian air pioneer Santos Dumont (the original ‘Cartier Santos’) while Charles Lindbergh relied on a wrist chronograph by Longines for his 1927 trans-Atlantic flight. When in 1927 Mercedes Gleitz swam the English Channel with a Rolex Oyster on her arm, the advertising success impressed many. In 1928 for the first time wristwatches outsold pocket watches, and by 1935 over 85% of watches produced were wristwatches.

After years of neglect and ignominy, including having movements cannibalised for spare parts and their cases melted down for gold and silver content, old wristwatches, particularly models from the early 1920s-40s, have come into their own. Vintage Rolex and collectable Cartier, etc are achieving record prices. It is eloquent testimony to the persistent high stylishness of premium wristwatches that jewellers in Rome and Paris will display a 1920s Patek Phillipe right next to a new model. Antique stores in London will sell a Reversible Jaeger LeCoultre, or a vintage Audemars Piguet as decorative jewellery. Australia continues to be the cheapest place in the world for quality vintage wristwatches. The number of shops building up a decent collection and providing a full restoration and repair service continues to grow. But this is not going unnoticed by overseas dealers and tourists. The number of good watches sold in this country but ending up on lucrative markets overseas is staggering.

WHAT APPEALS To today’s collector, these older watches have appeal. They are hand-made wonders of technical mastery that, while less accurate than quartz watches, satisfy a deeper need than perfection. Watches from the 1920s-40s are the most popular. They are attractive investments because they are portable wealth of intrinsic value. People buy and wear them because they have technical features of interest.

BUYING TIPS When choosing a vintage wristwatch, buy what you like to look at. But consider other

factors, especially condition. A good watch will have had a good caretaker in years gone by. The dial should be original, not repainted. Check the case for signs of repair or wear. Are the movement and bracelet (if permanently attached) the same make as the case? Brand names are important. The most sought after is Patek Phillipe; other top names include Audemars Piguet, Vacheron & Constantin, Cartier, Tiffany and Universal Geneve. With the top collectors specialising almost exclusively on these names (and a few others), there are thousands of watches of lesser known names out there. These watches are not necessarily lacking in style, charm or technical reliability. The increase in popularity of Art Deco wristwatches has made less trendy older watches better buys. It is not unusual to find a solid 9 ct gold lady’s 1920s wristwatch in some bric-à-brac shop or market for under $100. With a little restoration and care from a reputable restorer, these will become valuable antiques in the future. For the serious collector, the joy of finding say a 1930s Rolex Oyster or an original Patek Moonphase is unimaginable. The range and diversity of the early wristwatch is mind boggling: silver and gold half-hunter wristwatches, Longines cushion shaped or chronographs, Jaeger Reversos, Rolex Prince Doctor’s watch, Junior Prince or Sporto models, hooded bubble backs, military watches, aviators models, etc. Whatever you buy and wear will be a constantly ticking reminder of a time gone by. Ron Gregor COLLECTIONS FINE JEWELLERY 03 9867 5858 www.collectionsfinejewellery.com

ANTIQUES & ART IN VICTORIA

Freeing Stump, bronze, 19.5 x 24.5 x 14.5 cm. Fire Foot Print 2009

Ribbons and Ramps, 1983, cast stainless steel, 29.5 x 31 x 23 cm

Half burnt tree, 1972, mixed media on paper, 52 x 67 cm

Les Kossatz (1943 – 2011)

prominent Australian sculptor, Les Kossatz’s work is in the collections of the National Gallery of Australia, state and regional galleries and in private collections in Australia and overseas. His major commissions are in the public domain, from his first – the stained glass windows at the Monash University Chapel (1967-68); the ceremonial doors for the High Court of Australia (197980); Victorian Art Centre Trust (1979-83); the Eternal Flame at the Australian War Memorial (1986-87); the Korean War Memorial in Canberra (1997-2000); Coming & Going, sculpture at the National Gallery of Victoria; and his witty Curtain Call (1987-88) for Darling Harbour lawns in Sydney.

He worked and studied in Europe and America and taught sculpture at Monash University. In 2009, Heide Museum of Modern Art hosted an exhibition, Les Kossatz – The Art of Existence that was a critical success, with large crowds attending and the national media writing enthusiastic reviews. He experimented with many different mediums and art forms as a sculptor, painter, drawer and print maker. He believed he ‘should be an observer and recorder of life’ so he used and mastered many different mediums to portray his beliefs. In the 1960s, Les Kossatz was regarded as one of Melbourne’s most important ‘pop’ artists. Many of his works from this period

Aftermath Black Saturday 14 2009, 2009, mixed media on paper, 29.5 x 46.5 cm

reflected his deep feelings about the Vietnam War. The slickness of his palette, using the pop technique of abstracting sections of his paintings and drawings was a perfect foil to display his belief in the absurdity of war. His respect for the soldier was absolute, his hate was for the glorification of combat, symbolised by images of medals, colourful banners and flags. In the late 1960s and early 1970s Les Kossatz’s output reflected his growing anxiety for the land. Mankind was working against nature, hurting the natural environment. He painted beautiful verdant leafy green canvasses which showed scars, such as holes or cuts within its lushness. The land was beautiful but desecration was becoming commonplace. It was during this period that Les started introducing animals, rabbits then sheep to emphasise what was happening in and to our landscape. From the early 1970s his imagery was based on sheep. He again used a variety of mediums: painting, printing and sculpting. He also experimented with resin and when wanting to do life-size sheep, his model was a very docile cross-bred nicknamed Curly, tethered inside his studio and dental alignate (a form of plaster) was used to make a complete cast. The portrayed sheep are usually shown in bizarre manners – playing on seesaws, falling down slides and behaving as if they are squatters, sitting and lying on chairs and beds. Many times they are bandaged or skinned, leaping into voids or following pathways to nowhere.

WHAT DOES IT ALL MEAN?

Aftermath Black Saturday 8 2009, 2009, mixed media on paper, 31 x 49.5 cm

Les Kossatz said ‘I’m very interested in the whole concept of the animal in the landscape. I initially employed sheep to animate the landscape – the animal suggests life, in fact more so when it is contained. So I’ve used devices to contain the sheep, the cages, bindings, shrouds etc. In my normal work I’ve used these devices frequently, and it so happened that it was appropriate to use them in this context also. But I didn’t want to use a single sacrificial lamb, it would have been too

Untitled, aluminium, 19.5 x 27 x 6 cm. Fire Foot Print 2009

obvious – I wanted to use a flock or a herd of life. The form of the outer sheep was dictated by their architectural boundaries – I had to have the two seated which are bound, struggling and contorted in order to lock the sheep into the space.’ For 20 years through to the late 1980s pieces of sculpture, large and small (marquettes) were produced, gaining him his reputation. These were beautifully crafted in bronze, aluminium or found objects and are fascinating pieces of art. During the last 10 years of his life Les turned his attention to the landscape which again he depicted in all the different mediums he has mastered. Jillian Holst EASTGATE & HOLST DEALERS IN FINE ART 03 9818 1656 info@eastgateholst.com.au www.eastgateholst.com.au Further reading Les Kossatz – The Art of Existence, Macmillan Press and Heide Museum of Modern Art 1998. A hardback catalogue with scholarly contributions by art historians and curators

Aspect: Art and Literature, 1979, vol. 41, nos 1-2, p. 128

CITY / RESERVOIR / HAWTHORN EAST ANTIQUES & ART IN VICTORIA

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ANTIQUES & ART IN VICTORIA

Schots Home Emporium for Suraya frames and mirrors made from natural bone, horn and shell

chots Home Emporium’s commitment to timeless design is perfectly reflected in the signature Suraya range of photo frames and mirrors. Delivering both a timeless and character-rich texture, this range offers a design that captivates while not distracting from the subject in the frame or mirror. The natural construction of these unique designs includes an eclectic array of dyed and natural genuine horn, bone and seashells. The bone and horn are eco-friendly by-products of the buffalo trade.

Arrangements range from the decoinspired step designs through to a modern interpretation of the barcode. With geometric patterns of rich ivories, deep blacks and shell and mother-of-pearl, the Suraya range of frames exquisitely compliments both photos and furnishings. Quality is lovingly created through hand crafting in India by local artisans and detail finishing, and affords you lustre befitting the memories that the frames will host. These frames each carry a unique quality and inspired texture.

Whether you’re looking for an iconic gesture that stands out against a contemporary environment, or something that perfectly reflects classic decor, these Suraya frames and mirrors are perfectly suited to almost any setting. To see a complete range of these timeless Suraya frames, call into Schots Home Emporium’s impressive and recently expanded three floor showroom. Here is Melbourne’s most stunning array of home and architectural furnishings.

For more details contact SCHOTS HOME EMPORIUM 1300 463 353 www.schots.com.au

ANTIQUES & ART IN VICTORIA

The festive season: Party time in your home T

he festive season is almost upon us and this is the time when you will appreciate Howard Products and how they can really help with Christmas/New Year stress. We have a lot of customers who like to share their ‘before’ and ‘after’ stories about favorite items damaged during Christmas/New Year revelries and also during family/friends visits over the holidays. The shellacked early 20th century table (above) looked disastrous in the ‘before’ photo owing to a holiday period of get-togethers with people leaving wet glasses, damp napkins and hot plates on its surface. The owner emailed me about the situation and I recommended Restor-A-Finish in golden oak. I also suggested a thin application of Feed-N-Wax after the surface was restored to provide durable carnauba protection which would resist any further moisture damage. Here’s the customer’s response after she took my advice. Hello David, I have just become acquainted with Howard Products thanks to you, and I would like to tell you how absolutely fantastic my husband and I think they are. During the holidays, we noticed more than a few white rings and marks on a very precious table which was handed down to us by my in-laws. After taking your advice about Restor-AFinish we decided to try it – I could not believe how it brought our table back to the original finish. Thank you very much! Please keep your great products and your terrific advice coming. Best regards, Maggie Boothe The 1940s to 1950 retro sideboard (pictured above right) was in poor condition with scratches and deeply embedded marks. The customer in this case was keen to have the piece looking better before family and friends arrived. In the era that this piece was made it would have been coated in either thinly

applied shellac or possibly even a nitrocellulose material which was in fact the forerunner to modern polyurethane. I recommended Golden Oak Restor-A-Finish to be applied using our premium soft grade #0000 steel wool. Here’s what the customer had to say. Hi David, You sent me some pretty detailed information on how to tackle my old sideboard. I purchased your products and have used them with fantastic results. I’ve attached some before and after shots. I am really impressed with Howard products. As you can see the sideboard now looks so much better. It would probably have cost well over a thousand dollars to get the sideboard properly restored but your products have brought great dignity to a nice old piece of furniture. It worked just as the on-line video demonstration suggested it would – amazing miraculous stuff. Many thanks, Jennifer Santas One customer from Victoria had what she described as a disaster when a nail polish remover bottle was knocked over onto her treasured walnut blanket box. The nail polish remover of course dissolved the coated finish leaving a nasty big bare patch on this lovely item. I advised her not to panic and to go to a stockist and purchase a Walnut Restorer kit which would give her enough of everything to restore her precious blanket box back to reasonable if not perfect condition for less than $70. Here is some of her email to me after she’d taken my advice.

results. At first it actually looked 100% but if you look really hard you can still just see the smears where the acetone did its damage. Both a friend of mine and the salesperson where I bought your product, said to me ‘This stuff is great, you will be surprised with the results,’ and they were both right. I will be telling everyone I know how wonderful your products are! Many thanks and kind regards, Fiona Kennett So there you have it. If you are either preparing furniture for Christmas/New Year visitors or repairing surface damage to furniture or polished wood following the Christmas/New Year period, you now know what to do. You can always email advice@howardproducts.com.au with your particular furniture restoration issue and I’m sure I’ll be able to help. All the very best for Christmas and the New Year,

“

After taking your advice about RestorA-Finish we decided to try it – I could not believe how it brought our table back to the original finish

” David Foster Howard Products (Aust) advice@howardproducts.com.au 1800 672 646

Hello David, Thank you so much for responding so promptly after the disaster of the nail polish spill on my precious old blanket box. Following your advice I bought the Restore-a-Finish kit from one of your suppliers in Melbourne. Well I was amazed! Instead of 80% better as you suggested, the box looks 90% better! I am so happy with the

ANTIQUES & ART IN VICTORIA

Treasures of the

Melbourne Mint

1937 proof crown, the only limited edition proof coin released in 1937

1916 specimen proof set (florin, shilling, sixpence and threepence) presented to VIPs and dignitaries

Mint condition rarities from a private collection

Commonwealth silver coinage. Following the tradition of the Royal Mint London, the Melbourne Mint struck limited edition collector coins – always prized pieces within the numismatic investment market. This collection encompasses the period from 1916 to 1953. It is made up of nine elements, totalling 27 coins. Each piece was individually crafted by the Melbourne Mint as a high quality, limited edition collector’s item. The 1916 specimen proof set (florin, shilling, sixpence and threepence) is a presentation set that was especially minted in celebration of the Mint’s inaugural striking of Australia’s Commonwealth coins on home soil: mintage believed to be 25 in total. The 1927 proof Canberra florin was Australia’s first commemorative coin, minted in proof quality as a limited edition collector’s item in celebration of the opening of Parliament House in Canberra: mintage believed to be 400. The 1934 proof set (florin, shilling, sixpence, threepence, penny and halfpenny) was Australia’s first commercially produced six-coin proof set: mintage believed to be 40. The 1935 penny and halfpenny copper proofs are in their original state and are glorious: mintage believed to be 100. The 1937 proof crown was the only collector’s coin released during 1937. The December 1936 abdication of Edward VIII from the British throne interrupted the Mint’s 1937 plans: mintage recorded as 100. The 1938 proof set was the first commercial proof set struck depicting the new monarch, George VI who succeeded Edward VIII: mintage believed to be 70. The 1938 proof crown had a minuscule mintage, believed to be only 25. The 1939 proof halfpenny was released in a mintage of only 40, as the onset of WWII quelled the Mint’s plans to release 100 examples. The 1953 specimen proof set (florin,

‘T

reasures of the Melbourne Mint’ collection was officially launched at the Melbourne Mint on 29 November 2011. This superb collection was accumulated by Coinworks from 1993 to 2000 and subsequently sold to a Western Australian collector and investor for $174,750. Today these coins are again offered for private sale by Coinworks. The total collection is valued by the rare coin industry at $1.5 million. The coins are preserved in pristine condition and are exceptionally rare. They have the sheen and lustre, the sharpness of

design only found in the highest quality collector coins. These are elegant examples of the coin maker’s art that are sought after by collectors and investors alike. They were struck in the pre-decimal years before proof specimens were readily available and only small numbers were ever produced. As historic pieces and as finite assets, their rarity and investment potential is assured. As exquisite examples of the Melbourne Mint’s craftsmanship, they are numismatic gems.

MELBOURNE MINT The Melbourne Mint in Williams Street was opened in 1872 as a branch of the Royal Mint London, to strike Australia’s gold sovereigns and half sovereigns. In 1916 the Mint was commissioned to strike Australia’s

shilling, sixpence, threepence and penny) is the rarest in the collection. This set was struck for the Chase Manhattan Bank in New York to celebrate the coronation of Queen Elizabeth II: its tiny mintage is just twelve.

RARE COIN INVESTMENT Volatility in the stock market has encouraged many investors to rethink their portfolio and to look more closely at greater diversity. At Coinworks, we are regularly approached by people looking at rare coins to balance their investments either within their superannuation funds or as another means of preserving wealth. This collection demonstrates the potential for growth, having increased almost nine times in value, from $174,750 to $1.5 million over ten years. As with all investments, yield varies but there is always a pattern of growth in all rare coin categories. Coinworks can assist you in evaluating yield. Coinworks represents over 40 years’ experience in the rare coin industry and has dealt with the finest pieces. Our points of comparison come not just from books and catalogues but from our professional experience. Coinworks is one of the very few companies in Australia that researches both provenance and price background. Current market price guides are a starting point. Auction results, both recent and historic, help flesh out the picture. Current market conditions are a significant consideration, as is market trend analysis. Our experience in the market also enables us to asses a coin’s future potential. Contact Coinworks for an appointment to discuss the investment potential of coins, notably those within the magnificent Treasures of the Melbourne Mint collection. COINWORKS 03 9642 3133 info@coinworks.com.au www.coinworks.com.au

1938 proof crown, extremely rare and highly sought after

EAST MELBOURNE ANTIQUES & ART IN VICTORIA

Lots of bargains, happy punters, friendly faces and excitement at the VAS Art Bargain Sale & Auction

The Victorian Artists Society’s famous art bargain sale and auction

A Maxwell Wilks bargain from the 2011 sale

20 February – 6 March 2012

ou just get over the hustle and bustle of Christmas, from presents, relatives, plum pudding and the excitable kids, and soon there are noisy neighbours with loud music, cheers and car horns to bring in the New Year, 2012. A visit to the Victorian Artists Society’s Galleries at 430 Albert Street in East Melbourne on Monday February 20 could see you come away with a little treasure that will enrich your life for many years to come or maybe make a perfect gift for that special person you may have forgotten.

PERFECT TO PICK UP THAT BARGAIN Be a part of one of the most exciting opening nights of the exhibition calendar on 20 February 2012. Come along and bring a friend, and you’ll both grab a fine art work. This annual sale provides the eager hunters and collectors gatherings and the perfect opportunity to purchase an original artwork at a rock bottom price. Paintings by many of the Society’s and Australia’s best artists will walk out the door for a song making the perfect addition for the collector or that special gift someone who has everything. Last year’s sale offered works by well known artists such as Clive Sinclair, Amanda Hyatt, Julian Bruere, Mary Hyde, Peter Smales, Gregory R. Smith, Ray Hewitt and Maxwell Wilks. These were snapped up by those with a keen eye for a bargain.

The VAS Art Bargain Sale & Auction 20 February – 6 March If you miss the opening night on 20 February don’t worry. There will be lots of bargains missed on the opening night to choose from.

In a world that never seems to slow down take the time to admire the art – it doesn’t get much better!

Catholic Education Week Schools Exhibition March Visit to see how very talented our younger artists are. Viewing times are limited so contact the office.

THE VICTORIAN ARTISTS SOCIETY GALLERIES 03 9662 1484 admin@victorianartistssociety.com.au

Maritime show March This exhibition includes works of a nautical nature, and combines quality and enjoyment. The VAS Autumn Exhibition April This is the first of the major exhibitions for the Society’s membership for 2012. This exhibition incorporates the Undine Award for landscape painting. Previous winners include Clive Sinclair, Otto Boron, David Mellows and Ray Hewitt.

THINKING OF HAVING AN EXHIBITION? The Victorian Artists Society has excellent facilities and first class exhibition space in its purpose-built galleries. For all exhibition enquiries contact our Gallery Account Manager Julian Bruere, 0419 529 390 and studioartist@optusnet.com.au.

2012 VAS CALENDAR The VAS Summer Show 24 January Scheduled to open 24 January, the VAS Summer Show opens the doors for 2012. Members will display their best works and offer a little culture in your life.

THE FOLLOWING VAS ART CLASSES ARE OFFERED IN TERM ONE 2012

VAS SUMMER WORKSHOPS January and February 2012 The Society is running a number of one day and 4-5 day workshops over January and February. For details regarding these and other VAS art classes please call the office on 03 9662 1484 between 10 am and 4 pm, Monday to Friday.

TIME

TUTOR

SUBJECT

Monday 10:00 - 12.30

Barbara McManus

PORTRAIT

Tuesday 10:00 - 12:30

Christine Wrest-Smith

DRAWING/OIL

Tuesday 1.00 - 3.30

Julian Bruere

DRAWING/MIXED MEDIA

Tuesday 7:00 - 9:30 pm

Ray Hewitt

OIL

Wednesday 1:00 - 3:30

Paul McDonald Smith

OIL

Thursday 10:00 - 12:30

Nell Frysteen

WATERCOLOUR

ANTIQUES & ART IN VICTORIA

You know you’re a collector! Y

ou don’t realise when it happened or how it happened, but all of a sudden you realise that you are a collector. A sure sign is that you find it difficult, even painful to throw anything away – and I mean anything! Before you know it, you have been collecting for years and in many cases, even decades. In addition, you have been conserving, recycling and reclaiming as well as reassigning and amassing. Your taste may stay the same or you may go off into

different directions. You may even find yourself overpowered by your collection (more often it is a partner who is overwhelmed) and sell it all, but before you know it, there you go again – collecting.

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

FAME AND SHAME Collectors are highly sentimental, incredibly curious and they become experts in their own right. There are some who are secretive about their interests and pursuits, but I say, be proud! Through your careful attention and occasionally compulsive behaviour, you have learned a great deal of history, have conserved, recycled and reinvented – these are all noble attributes. Collecting is a positive and rewarding addiction, you haven’t poured money down a drain, you have enjoyed the chase, the possession and use of objects and art that you

collect. Eventually, you will reap the financial rewards when it is time to sell.

MY CONFESSIONS I have been collecting now for 50 years. During this time I have explored numerous directions. The two things that I have stayed true to are ‘A thing of quality is forever’ and ‘Beauty is in the eye of the beholder.’ I will always remember my first purchase in 1961 as a ten year old bidding against adults at the now-defunct Munyards Auctions at Croydon market in the outer eastern Melbourne suburbs. My purchase was a late 19th century Ansonia cottage clock, for 2 shillings and 6 pence. My collecting passions from 1961 to 1969, the learning phase, I purchased anything that was well-priced. The next collecting phase between 1970 to 1979, was Australian pottery and carnival glass. I amassed over 200 items and then sold the entire collection to a dealer. From 1980 to about 1990, I went through a serious Doulton Lambeth studio pottery phase – Hannah and Florence Barlow, Mark Marshall, Frank Butler, George Tinworth and their friends all came home to my house. Due to a marriage

break up I had to sell that collection at an urgent fire sale price. Inevitably, the art glass phase struck, from 1990 to about 1999, when I amassed a huge collection that I slowly sold; that entire collection now gone to new homes. Since about 1999 onwards, my passions have been art deco, 20th century design, art and Hagenauer African figures. I still enjoy finding a rare and exciting item to add to these collections.

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

BULLEEN ANTIQUES & ART IN VICTORIA

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How much is this worth? $12,000, $15,000, $18,000

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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.

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

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

CLIFTON HILL ANTIQUES & ART IN VICTORIA

Bed, Roman, 2nd century CE

A sculpture on show at Metropolitan Museum of Art New York

Glamorous

NEW YORK

ew York hates me! I had a perfectly cordial relationship with New York for many years. However, in September 2001 the escalator pushed me up from the warmth and light of Penn Station into the drizzling night where photos of missing people stared from every wall and at every turn there was a candle lit shrine with photos and flowers. That weekend a smattering of stunned stall holders and browsers was all that represented the normally bustling and fertile flea markets. We had been safely in ‘hats and gloves’

Savannah the morning of the 9/11 catastrophe and arrived in New York a couple of days later. After a decade of separation New York and I met up again this August. After the 32 hour journey door to door, my goals were the Metropolitan Museum, which is where antique dealers go when they die, and the Frick Collection. The latter is a fabulous Edwardian mansion replete with its millionaire owner’s collection of furniture, paintings, bronzes etc in the same locations as he left them. Toes curl with the thrill. The Museum of Natural History houses a

Imperial Russian Kuznetzov Cup and Saucer, c. 1890, Nicholas II period, $225

Georgian & Continental Furniture • Porcelain

Silver • Ikons • Paintings • Imperial Russian

www.Roys-Antiques.com.au

NYC Saturday flea market during Hurricane Irene

comprehensive exhibition of jewellery and gemstones, as well as pre-Colombian and world ethnic art, once you get past the huge dinosaur skeletons. The weekend flea markets were as deserted as they had been in after 9/11. This time Hurricane Irene was the cause. Two hours after we went to the Saturday markets the subway closed for the first time ever, lower Manhattan completed evacuation, and the island was closed down, cut off from the mainland, the bridges closed for the onslaught. I was able to secure a splendid pair of 1760s French drawings first, however. We also bought a tatty 200 year old brass candlestick for $10. Then the stallholders packed up and fled. We bought bottled water and bunkered down in our marble lined hotel room for nature’s fury. Fortunately, there were no pesky external windows. I habitually travel with muesli bars for emergencies. They came in handy. The serene Sunday afternoon following the midnight hurricane we toured the abandoned city: no traffic, no sirens, no open shops and just a smattering of shocked people. It was exactly as the many ‘end of the world’ movies, invariably set in Manhattan, look: trees toppled, glass plucked from the skyscrapers and shattered on the footpaths. I hope every Hollywood cameraman was there to film this remarkable and unprecedented sight.

My muesli bar fixation has proved useful in the past. Evacuating from New Orleans as Hurricane Gustave threatened the city in 2008 was difficult. Two gruelling hours on the phone was rewarded by a change in our booked flight time to a suitable pre-hurricane evacuation flight, at no extra cost for a change! We had 15 hours to spend overnight in a dimmed airport bereft of services to be able to catch our flight. The airport staff had already fled. Thank God for the muesli bars again! They fed us and two boys from North Carolina. Fortunately, the airport plumbing did not fail until a few hours before our flight departure. Most of the electronics had failed shortly after we arrived at the airport. The disorganised FEMA people clutching their machine guns reinforced my admiration for our Australian emergency response people. Ah! The glamour of travel! Marooned on Manhattan we were paying for both our New York and our Montreal hotel bills each night, and Amtrack could not tell us if the train would leave the following morning until after 10 pm each night, which might have gone on for weeks: a wasteful expense. Nor was continued room availability in New York guaranteed. Fortunately, we were only delayed one extra night in Manhattan. The flooding subsided faster than in Australia. Relieved, we tumbled onto the 8:15 am train and chugged our way through 381 miles of delightful scenery for 14 hours on the Amtrack train to Montreal. The graceful 44 kph gave us ample time to rest, read and explore the buffet car. I have been considering leading a tour group. Excitement guaranteed! Roy Williams ROYS ANTIQUES 03 9489 8467 www.roys-antiques.com.au

410 Queens Parade Clifton Hill Vic 61 3 9489 8467 Damage from Hurricane Irene in Manhattan

Roy Williams in front of Central Park with NYC skyline

PLENTY ANTIQUES & ART IN VICTORIA

The tastes of Christmas in times gone by

ow, as for many centuries, Christmas gives us an opportunity to taste and feast on many delights and treats. The Christmas meal has always been a pivotal part of celebrating and traditional fare – warm, spicy and fragrant. The recipes descended from the rich flavours of medieval – and wintry – Europe. When we sit down to Christmas meals, most of us will be including culinary traditions that stretch back hundreds of years when swans were roasted and multi-coloured tarts were served along with gilded pies. Early on, the Christmas feast started with soup followed by eggs, fish and meats. Next served were dishes designed to amuse and entertain. These were usually included a dish of royal swan or peacock splendidly arrayed in full plumage, complete with gilded beak and adorned with a silver or gold crown. Goose was regarded as the chief Christmas bird and along with other fowl was a popular Christmas gift. In those days, gifts were given throughout the 12 days of Christmas, rather than just on Christmas Day. Boar’s head was always served at Christmas, glazed with aspic jelly and garlanded with herbs and leaves. The tusks were gilded with gold leaf; certainly making an impressive centrepiece. Each type of fish, meat and poultry was accompanied by its own particular sauce and it was the duty of the servers to ensure the correct sauces were provided in the small sauce dishes or boats placed along the length of the table. A spicy sauce for fish, mustard sauce accompanied boar’s head, goose was served

with ‘sauce madame’ and pheasant or partridge with a pungent ginger sauce. Prominent among the festive foods was blancmange, a thick white pottage of shredded chicken, sugar, almond milk and boiled rice, often served with one half white, the other coloured red or yellow. Variations were cremma in Italy and menjar blanc (almond cream) in Catalan. Jellies were an established feast day dish and were vividly coloured and decorated with gold leaf. It seems strange to modern tastes that sugar was used in almost every dish, with no distinction made between sweet and savoury foods. For example, fish pies were frequently iced or sprinkled with sugar. In fact, sugar was considered a spice and was kept under lock and key and was used in much the same way as ginger or cinnamon. At noble tables, the host and important guests were seated at the top table. The ornately decorated salt cellar was placed next to the host and was usually of immense value, made of silver or gold. Other guests were seated at tables in descending order of importance or rank. Napkins were provided and were intricately folded for important guests, such as the bishop, whose napkin would be folded in the shape of mitre. Similar entertaining customs are still in use today. The grand finale of the feast comprised of a selection of sweetmeats, fruits and wafers accompanied by a strongly spiced wine called Hippocras. This drink was considered a relaxant and called after the bag through which it was strained, due to its supposed resemblance to the sleeve of the Greek physician Hippocrates.

Gingerbread was hugely popular at Christmas feasts, simply made by mixing stale breadcrumbs with honey and spices, pressing the mixture into moulds and cooking in a cool oven. After all this, the feast was finally over. Although the splendid foods of yuletide medieval feasts in Europe no longer endure, they set the pattern for many future Christmas feasts around the world. Dawn Davis EAGLEMONT ANTIQUES 0408 530 259 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. We offer: ❀ Complete restoration service ❀ Valuation service ❀ Consignment sale service ❀ Home decorating service ❀ Cash for all goods purchased A rare Essex crystal reverse cabochon intaglio cat dress ring – 9 ct gold. A clear crystal is cut as a cabochon and a carving is made on the flat side, like an intaglio, then painted with a thin layer of mother of pearl to produce a three-dimensional effect

49 Happy Hollow Dr, Plenty 3090 Open 2nd weekend of each month or by appointment at your convenience

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

ANTIQUES & ART IN VICTORIA

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

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

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

any people involved in a horror car crash might say that the accident was ‘life changing.’ Unfortunately for many it is a change for the worse. For numismatic dealer and author, Greg McDonald, the aftermath had a happy ending that led to a career path in its 33rd year, with 25 books published on coins and banknotes, a bi-monthly subscription newsletter and regular pricelists. Over the years he has attended over 400 coin fairs, including every Australian capital as well and bourses in Los Angeles, Chicago, New York, London, York, Basel, Singapore and Hong Kong. He was also the original co-owner and editor of the Australasian Coin and Banknote Magazine and a founding delegate for the National Numismatic Association that was formed in the early 1990s. He is also a founding member of the Australian Numismatics Dealers Association (ANDA) – member number 20 and a life member of the Australian Numismatic Society that was founded in 1913. From 1984 to 1989 he also had his own monthly column in the Australian Coin Review. In 1979 McDonald was a journalist with the Northern Daily Leader in Tamworth (see the advertising logo on what’s left of the car), asleep in a passenger seat when the car went through a barrier and flipped end-to-end five or six times. ‘To cut a long story short,’ McDonald said, ‘I spent about six months off work recovering from fairly serious neck and back injuries.’ An avid coin collector since a kid, while recovering Greg re-read a book received for his eighth birthday written by numismatic doyen Tom Hanley, and this book rekindled Greg’s interest. During rehabilitation he started writing his Coin Corner column for the paper while not being able to go out to interview people. The success of the column was a complete surprise. ‘I then stated to write to papers all over the country which was harder than you might think as this was before emails – or even computers. Before long I had around 30 papers taking the column every week in centres from Port Hedland, Mount Isa, Manly and Port Lincoln.’ A year later Greg was offered an A Grade journalist position with the Sydney-based Cumberland group. He visited Sydney’s coin shops and soon becoming a fulltime coin dealer. Now married, together with his wife Jennifer they hosted weekend coin shows and at the end of the year had driven over 100,000 km organising and attending over 60 shows. Adelaide based Rigby Books, on the recommendation of a Sydney dealer, invited Greg to write a coin book in 1981. In 1983 Rigby printed 6000 copies, illustrated with coins and banknotes mostly from Greg’s collection, and needed a reprint after six weeks. By 1985 dealers and collectors were asking for another book, and Greg decided to self-publisher, the first called How to Buy and Sell Australian Coins and Banknotes. Now, 27 years later this original book that cost $12.95 when it first came out sells for over $80 second hand when available. This was followed in 1987 with Australian Coin and Banknote Market Guide. Greg continues, ‘In October 1990 we published the most successful book we had produced to date. Collecting and Investing in Australian Coins and Banknotes was our first hardbound book we had written and at $40 it was an “up-there” price. Luckily the first edition sold out and an extra 100 or so pages were

added to the second edition produced about a year later.’ An early adopter of IT ($22,000 for his first computer and laser printer), he used new technology to produce the first pocketbook in 1993, which until this time had been coffee table size. ‘I had a table at a coin fair in Melbourne when a collector looking over my stock took a wad of folded sheets of paper from his pocket (photocopies of ) all the pricing section of my last book to tick off all the coins he had in his collection and to decide what price he should pay.’ This proved to be the trigger for Greg’s revolutionary and practical annual pocketbook. ‘Accuracy is very important to us – to the point that we have contacted a number of internet coin and banknote forums and encouraged them to let us know of any errors, omissions or suggestions on how to improve the book. You don’t want to be a shrinking violet when you put out that kind of challenge, as some people can be fairly blunt with their criticism. However it has been a fantastic outlet and many collectors and dealers have been very generous in offering illustrations and suggestions. Two years ago we took the step of going full colour – over 3500 coloured photos.’ Greg summarises life as a coin and banknote Dealer and as a publisher, ‘I’m looking forward to challenges the next 20 years will offer.’ For more information about POCKET GUIDE TO AUSTRALIAN COINS AND BANKNOTES Contact Greg McDonald at greg.mcdonald@optusnet.com.au

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

ORMOND ANTIQUES & ART IN VICTORIA

The English longcase clock T

he development of the pendulum clock meant that the clockmaker designed a long wooden case to protect the pendulum and conceal the unsightly weights, pulleys and lines (ropes). Since the pendulum was still short, swinging behind the clock movement, the case was not very tall, usually about 1.9 m high with a small dial and a narrow trunk.

ANCHOR ESCAPEMENT The search for more exact timekeeping led to the development of the anchor escapement and a longer pendulum. This new escape wheel with a longer pendulum meant that the pendulum moved from one side to the other in one second intervals. From that time on clockmakers were not only able to manufacture a clock that kept very good time (as close as a minute per week) but also could fit a second hand to the clock. The long pendulum was ideal for the long case clocks that at once became the most accurate clock of its time and the first clock with a hand showing the seconds. Because of the wider swing of the pendulum, the case had to be wider. To maintain an aesthetic proportion the case became taller, averaging between 2.1 and 2.26 m. The dial, also increased in size from 25.4 cm (10 inches) to finally reach 30.5 cm (12 inches), which was to become by far the most popular size. One feature of earlier longcases was an oval-shaped glass in the door and a glass window on each side of the hood that allowed the movement to be seen.

DIALS In the first quarter of the 18th century, the dials were square and a common size

of twelve inches (30.5 cm) was established. In the second half of the century, it became increasingly common to produce the clock with a break-arch dial, adding a half circle to the top of the dial. This break-arch usually accommodates a moon dial, a calendar, or other features such as a nameplate or a strike silent control. Later the top of the case also was made in break-arch style. While about 95 percent of the clocks made in London feature the break-arch, the square dial never went completely out of fashion, especially in the country where it was still made well into the 19th century.

STYLES The longcase clock was not just a clock but also a fine piece of furniture made by cabinetmakers and following furniture styles in wood. The early ‘plain style’ was followed by a Jacobean pattern with twisted wooden pillars on each side of the hood and a flat top with carved crest instead of the triangular top used in the earlier pieces. In keeping with the Puritan influence the early clocks were black and made of ebony veneers or ebonised wood. Around 1690 ebony was no longer fashionable and walnut became the most popular wood for veneering clock cases. Sometimes olivewood, veneered to make it look like oyster shells, was used. At the same time, a form of parquetry was introduced and veneers of different woods and colours were laid in the corners of the cases, forming geometrical patterns of fans and stars. Later patterns of foliage, flowers and birds appeared on the panels and base thus becoming more elaborate and sometimes covering most of the case. This all-over covering pattern, called marquetry, quickly went out of fashion

and plain veneering returned to vogue. As well as using marquetry, the clockmakers decorated their cases with Chinese scenes painted in lacquer on gesso, so that the patterns were raised. Primary colours were used for the scenes on either a black, red or blue background.

MAHOGANY Around 1720, due to the decreasing supply of walnut wood and England’s growing trade with the West Indies and America, mahogany became the most popular wood for furniture. The advantage of mahogany was that it was not subject to attack by worms, that it was available in long wide boards, and had natural patterning ideal for veneers making it very attractive to the clockmakers. By 1760, virtually all other wood and finishes were disregarded for the production of clock cases except for oak, which was used to produce simple low cost clocks.

TIPS A valuable guide to the age and authenticity of a longcase clock are the dials and hands. The dials were usually made of brass with a silver chapter ring. Engraved in the chapter ring are Roman hour numerals and Arabic minute numerals. Clocks made after 1750 were usually without quarter-hour divisions on the inner side of the chapter ring. At first, the ornaments in the corners of the dials were very simple; showing winged cherubs’ heads but became more floral later on. A general rule to follow is, the smaller the dial, the narrower the chapter ring, and the smaller the minute numerals, the older the clock. The hands were made of blued steel, the minute hand being a pointer and the hour hand-carved and pierced. With time, they changed and different styles were favoured by different clockmakers. In the 18th century they were more or less standardised and supplied by craftsmen who specialised in making hands for clocks. By the last quarter of the century, painted

English Longcase Clock, Benjamin Bold, London, c. 1770

A clock by William Holloway of London, c. 1710

dials on an iron sheet replaced the engraved brass dial. Simpler matching hands, one bigger than the other was used. THE CLOCKWORKS 03 9578 6960

Antique and Modern Clocks and Watches Repairs and Sales

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 The dial of a George III musical clock by Samuel Smith of London

YARRA GLEN ANTIQUES & ART IN VICTORIA

David Frazer, Lost, wood engraving

Tess Edwards, Indicia, giclée print

Silvi Glattauer, Etching Liquids, photogravure

Acme et al

a treasure trove of fine art prints opens in Yarra Glen

ased in the heart of the Yarra

Valley’s magnificent wine region, Acme et al features an extensive print gallery alongside a revolving series of exhibitions and events. Acme et al’s print gallery offers an outstanding and diverse collection of original fine art and limited edition prints by some of

Australia’s most exciting and accomplished artists. Acme’s collection of prints is continually refreshed with new works throughout the year with the gallery offering extended viewing that stretches over two floors. Over this summer, in excess of 30 artists’ works will be shown in the print gallery. The Kenneth Jack, Inland Town, linocut (six blocks)

ACME ET AL

Print Gallery 5 November 2011 - 31 January 2012 Andrew Sibley Leigh Hobbs

summer exhibition’s catalogue of over 200 etchings, monoprints, aquatints, wood engravings, lithographs, photogravure and girlie prints is a valuable addition to any art reference collection. Acme’s gallery stretches over two floors and features a revolving series of exhibitions, events and workshops as well as a feature design store and arts related bookshop.

Paddy Fordham David Frazer Pro Hart

SUMMER EXHIBITIONS

Richard Spare

February Pen + Ink illustration collaborative

Kenneth Jack John Brack Geoffery Ricardo Tess Edwards Elenor Healy-Wills Silvi Glattauer Stephen Jennings Josh Robenstone Louise Foletta Christine Mullen Celia Rosser Terry Napier

March Mixed media

Geoffrey Ricardo, Loudspeaker (detail), aquatint

April Young Arts group showcase, our inaugural scholarship exhibition with Elise Brand. Visit our Gallery + Store at 17 Bell Street Yarra Glen to see all this in person, enjoy the space, view artists’ works and meet our staff. Acme is open Wednesday to Monday 10–5 pm and on Tuesdays by appointment.

Malcolm Calder Marta Solomon

17 BELL STREET, YARRA GLEN VIC. WEDNESDAY-MONDAY 10AM-5PM ACME-ETAL.COM 03 9730 1552

ACME ET AL 03 9730 1552 www.acme-etal.com

Dean Bowen, Starry Night (detail), etching, aquatint, drypoint

HEALESVILLE ANTIQUES & ART IN VICTORIA

John Thomas, The Home Run, oil

John Thomas, Cloud Shadows, oil

Di King Gallery presents a solo exhibition in oils by John Thomas

Bits and Pieces, J

ohn Thomas’ solo exhibition, Bits and Pieces, commences on Saturday 12 May and is open daily from 10 am until 4 pm through to Sunday 20 May. John’s solo show is a new series of works in response to his travels throughout the country. For the last two years John

John Thomas, Ruins at Wagga Wagga, oil

showing 12–20 May

has visited Queensland, New South Wales, Victoria, South Australia and Northern Territory. This collection includes a variety of subjects. He depicts the rugged terrain of Arnhem Land; scenic rainforests of Queensland; broken and forgotten early

John Thomas, Bough Down, oil

settlers establishments of outback New South Wales; beautiful boats, beaches and countryside generally throughout Victoria; and the eroding desolation of South Australia. While it has been some years since John’s last exhibition, a new enthusiasm and energy has emerged and is evident in his new works.

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

John Thomas, Arnhem Land, oil

03 5962 2557

32 Maroondah Hwy, Healesville 3777 mail@dikingartist.com

0414 404 798 - 0414 404 792 Corporate and private viewings can be arranged OPEN ANYTIME BY APPOINTMENT 35

BELGRAVE ANTIQUES & ART IN VICTORIA

Dawn Pankiewicz, Pink Japonica, 2011 Best Oil

Glenn Hoyle, Venice, 2011 Best Watercolour

Molly Roche, Mischief, 2011 Best 9 x 5

Elizabeth East, Belgrave Beauty, 2011 Best ‘In the Dandenongs’

Barbara McManus, On the Kitchen Table, 2011 Janet Matthews, Big Sister Leads the Way, 2011 Best Best Pastel Black and White

Jennifer Feller, Jeffrey, 2011 Best Portrait

John Good, St Paul’s Beach Rye, 2011 Maiden Prize

John Dunne, Where did that bird go?, 2011 Best Animal Study

Jeff Murphy, Tulips Fiesta, 2011 Best Floral

Sherbrooke Art Society exhibitions S

herbrooke Art Society has a 45-year tradition of fostering appreciation for traditional and contemporary representational art. It is situated at 62 Monbulk Road just outside Belgrave, the gateway to the beautiful Sherbrooke Forest in the Dandenong Ranges, just 50 km from Melbourne.

Established in 1966, our home is a circa 1940 building with historic significance. At any one time, there are over 200 paintings displayed in the three galleries. Whether you are a first time buyer or dedicated art collector, the friendly volunteer staff can help you to select art work.

Sherbrooke Gallery

Sherbrooke Art Society Inc Established 1966

SPRING TIME SHOW Sherbrooke Art Society Spring Time Show is the major annual awards exhibition for society members. Curators Glad Warming and Eve Clements, assisted by Jane Warming decided on a bold new approach. Adding nine extra awards and hanging the works together by category created great visual impact and increased the total of exhibited paintings to over 250. Judge Lee Machelak, member of the Twenty Melbourne Painters awarded the prizes to works shown on this page.

ANNUAL BARGAIN SALE 30 November – 30 January The Annual Bargain Sale commences on 30 November, with framed and unframed works by renowned and emerging artists at good prices on offer until 30 January. This is one of Sherbrooke’s busiest sales, so visit promptly for widest choice.

SIR HENRY ROYCE FOUNDATION OF AUSTRALIA ARTS AWARDS 24 March – 15 April The Sir Henry Royce Foundation of Australia Arts Awards is the most prestigious art event in 2012, offering $10,000 in acquisitive prizes. The exhibition opens at 3 pm on Saturday 24 March and runs to 15 April (closed Tuesdays). The three winning paintings will be hung in the new premises of the Rolls Royce Club at Rowville.

2011 Mavis Hill Award: Christine Caferella-Pearce, Yarra Waters

BARGAIN SALE Sale starts Wednesday 30 November Paintings from professional and emerging artists at bargain prices

FREE ENTRY 62 Monbulk Road, Belgrave 3160 Tel: 03 9754 4264 Gallery Hours: Wednesday - Sunday 11 am - 4 pm www.sherbrookeartsociety.com Blog: http://sherbrookeartsociety.blogspot.com

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

who has won numerous awards, most recently Best Floral at Sherbrooke’s Spring Show. Jeff’s classes cover still life, floral, landscape and portraiture. Stewart Benson is an experienced painter and tutor in both oils and water colour, teaching traditional landscape painting, strongly emphasising establishing good drawing and composition. Stewart has won numerous awards for his rural landscapes. Janette Garburio teaches drawing and painting techniques using non solvent based mediums. Janette also runs annual painting tours to the countryside of Italy. Molly Roche conducts our children’s class on the first Saturday of each month. Molly teaches a variety of painting techniques using safe, nontoxic acrylic paints. Molly Roche won the 2011 Best 9 x 5 award.

MEMBERSHIP Sherbrooke Art Society welcomes new members, offering many social events and monthly demonstrations from renowned artists, as well as discounts. For the latest information, please phone SHERBROOKE ART SOCIETY 03 9754 4264 www.sherbrookeartsociety.com

Artists note that entries close on Sunday 11 March 2012. Entry forms can be obtained by phoning the gallery on 03 9754 4264 or from www.sherbrookeartsociety.com.

CLASSES Sherbrooke Art Society has three teaching studios and offers classes to suit beginners through to more experienced artists. All our tutors are experienced professional artists, with the following classes on offer. Michael Goff is a traditional landscape painter who has won numerous awards for his work including Best Pastel at Camberwell Show. Michael teaches traditional painting covering all mediums. Jeff Murphy is a traditional oil painter specialising in floral, still life and portraiture

Helen Farthing, Tomato & Basil, 2011 Best Still Life

Lois Bannister, The Wave, 2011 Best Seascape

CHELTENHAM/HAMPTON ANTIQUES & ART IN VICTORIA

Chris Bellamy, Purple haze

Guy Troughton, Deep sea, watercolour

Steve Harris, Fast delivery

WITHOUT PIER GALLERY EXHIBITION

PROGRAM 2012 MELBOURNE WATERCOLOUR SHOW 8 – 19 February

ithout Pier Gallery of Cheltenham and Hampton hosts the Melbourne Watercolour Show at the Glen Eira City Council Gallery in February 2012. Solely dedicated to the art of watercolour painting, up to 28 outstanding watercolour artists from Victoria and interstate will be invited to exhibit works making this a most prestigious group watercolour show. There will be over 100 paintings on sale with an eclectic range of subjects. The success of last year’s show was overwhelming, so come to this show at Glen Eira City Council Gallery on the corner of Glen Eira Road and Hawthorn Road Caulfield, between 10 am and 5 pm.

EASTERN, CENTRAL & WESTERN DESERT ABORIGINAL ART 1 – 15 March In conjunction with Utopia and Tingari Art we will be exhibiting indigenous work from the Eastern, Central and Western Deserts. Utopia Art is run by Sonja Chalmers on the neighbouring property. The Chalmers relationship with the Aboriginal people extends back three generations. Tingari Art is run by Linx McPherson who has worked

Polly Ngala, Bush Dreaming

directly with artists from the Central and Western Deserts since 2002. They have developed close relationships with many independent artists, many of whom are represented in major Australian and international galleries and museums.

GROUP SHOW – MUSIC 9 – 24 March Gallery artists create a group exhibition at Hampton, exploring the subject of music and related themes.

CHRIS BELLAMY, ROBERT HOLCOMBE & MIODRAG JANKOVIC 18 March – 1 April Chris Bellamy’s work has a uniquely Australian feel, with a blurring technique to evoke time, light, memory and mystery. Trees look like dark soldiers guarding a secret meeting, lit in the midst of the bush. The use of light in a dimly illuminated scenario keeps the viewer guessing as to what is around the next solemn tree. Is the light illuminating good or bad happenings? A story waits to be imagined. Robert Holcombe is a self-taught artist who has achieved international acclaim in over 100 exhibitions. In 1999, Robert won the prestigious Winsor & Newton Worldwide Millennium Painting Competition both the Australian award and the international award

Miodrag Jankovic, Desire

out of 22,000 entries. Influenced by the natural lines of the landscapes, Robert’s large contemporary works are held in private and corporate collections worldwide. Miodrag Jankovic is clearly at one with the natural landscape. He captures all the drama and atmosphere it has to offer. There is a sense of meditation and contemplation in his work along with the intensity of the breathtaking beauty the environment.

MANSFIELD EASTER SHOW 5 – 9 April For something special to do this Easter, visit the Mansfield Easter Show, held for the 15th consecutive year at the Mansfield Masonic Hall, 2 1/2 hours’ drive north of Melbourne. One of the largest and most popular of Victoria’s regional art shows, Without Pier Gallery brings over 150 paintings by some of Victoria’s and Australia’s most collectable and emerging artists to Mansfield for this outstanding show. All paintings are for sale. Opening night is Thursday 5 April, and it is open over the Easter break: 9 to 6 on Good Friday, Easter Saturday and Easter Sunday, and 9 to 4 on Easter Monday. This is a great selling exhibition for art lovers and collectors. Please call Richard Watson with any enquiries on 03 9598 5006 or 0418 579 633.

Robin Rankin, ‘And She Shall Make Music Wherever She Goes’

Robert Holcombe, Grass trees

ANDREW SIBLEY 15 – 29 April Andrew Sibley is a painter and teacher who arrived in Australia in 1948, having studied at the Gravesend School of Art. From 1966 to 1990 he was lecturer in Fine Arts at RMIT and he has recently been Head of Painting in the Monash University Faculty of Art and Design. Sibley’s slick application and bold separation of colour, combined with his precise and economic use of line, culminate in uncompromising images of contemporary life. He paints with courageous simplicity. A disturbing eeriness emanates with the precision of his final compositions. Sibley’s work is represented in most major Australian galleries.

GROUP SHOW - ALL CREATURES GREAT & SMALL 27 April – 12 May The entire family will enjoy these works by Gallery artists who specialise in animals. Pieces are in many mediums, including painting and sculpture.

WITHOUT PIER GALLERIES 03 9583 7577 enquiries@withoutpier.com.au

Chris Seater, Rowdy

Established 1994 - Galleries in Cheltenham and Hampton City of Bayside www.withoutpier.com.au

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

COOLART WETLANDS & HOMESTEAD – INDIGENOUS & CONTEMPORARY WORKS Lord Somers Road - Somers 11 – 29 January MELBOURNE WATERCOLOUR SHOW – 28 ARTISTS Glen Eira Town Hall 8 – 19 February EASTERN & WESTERN DESERT ABORIGINAL ART Cheltenham Gallery 1 – 15 March GROUP SHOW – MUSIC Hampton Gallery 9 – 24 March CHRIS BELLAMY, ROBERT HOLCOMBE, MIODRAG JANKOVIC Cheltenham Gallery 18 March – 1 April MANSFIELD EASTER SHOW – 30 ARTISTS Mansfield Masonic Hall 5 – 9 April ANDREW SIBLEY Cheltenham Gallery 15 – 29 April GROUP SHOW - ALL CREATURES GREAT & SMALL Hampton Gallery 27 April – 12 May

ANTIQUES & ART IN VICTORIA

An exhibition fit for a Queen Queen Elizabeth II by Cecil Beaton: A Diamond Jubilee celebration 25 February – 15 April

Cecil Beaton, Princess Elizabeth, 1945. Courtesy Victoria & Albert Museum

ueen Elizabeth II has captivated millions of people during her 60 years on the British throne since 1952. Fans of this longstanding British monarch are invited to continue the celebrations with a trip to the Art Gallery of Ballarat for an exclusive photography exhibition featuring portraits of HM Queen Elizabeth II by Cecil Beaton, to celebrate her Diamond Jubilee. Open from Saturday 25 February until Sunday 15 April 2012, the exhibition comprises a series of portraits taken by Sir Cecil Beaton (1904-1980), the famous royal and fashion photographer. The only Australian viewing is at the Art Gallery of Ballarat, as part of this touring Victoria & Albert Museum exhibition direct from London. Gallery Director Gordon Morrison said that the portraits revealed the changing way the monarchy was seen by the world over time. ‘These portraits are high end glamour, meticulously crafted by Britain’s leading portrait photographer… They are interesting, not just as portraits of Elizabeth, but because each in its own way reveals the ways the monarchy was constructed and presented to the world. It’s a fascinating journey to see the evolution from the fairytale princess, through the crowned head of the empire to the informal mother of a young family. These stunning portraits provide an opportunity for people to reflect on both the personality of the monarch, but also the way Australians, along with the rest of the world, have viewed her role over time.’

“

Fans of this longstanding British monarch are invited to continue the celebrations with a trip to the Art Gallery of Ballarat for an exclusive photography exhibition Cecil Beaton, Queen Elizabeth, Prince Andrew, 1960. Courtesy Victoria & Albert Museum

”

ART GALLERY OF BALLARAT Founded in 1884, the Art Gallery of Ballarat is the oldest regional art gallery in Australia and the first to be built outside an overseas capital city in the 19th century former empire. It has a connection to another royal jubilee, as the foundation stone of the building was laid in 1887, celebrating the Golden Jubilee of Queen Victoria (r. 1837-1901) who would be the great-great-grandmother of the present Queen. The heritage-listed building is one of the oldest purpose-built galleries in Australia. It houses the finest and largest regional collection of Australian art, spanning early colonial through to contemporary art. Visit the permanent collection to see works by Australian Impressionists Roberts, Streeton and McCubbin as well as Dobell, Nolan, Drysdale, Boyd and Whiteley.

V&A London’s Victoria and Albert Museum is the world’s leading museum of art and design. Its collections are unrivalled in their scope and diversity. It was established to make works of art available to all and to inspire British designers and manufacturers. V&A’s collections span over 2000 years of human creativity in virtually every medium and from many parts of the world. These continue to intrigue, inspire and inform. The V&A has the oldest museum photography collection in the world and holds the UK’s national collection of photography. The Cecil Beaton collection of royal portraits was bequeathed to the V&A in 1987. It includes 18,000 original prints, transparencies and negatives and 45 volumes of press cuttings. For more information call ART GALLERY OF BALLARAT 03 5320 5858 www.artgalleryofballarat.com.au

BALLARAT ANTIQUES & ART IN VICTORIA

CAMBERWELL / CATERBURY ANTIQUES & ART IN VICTORIA

HUGE RANGE OF QUALITY FRENCH BEDS

Persian and Oriental Carpets

Guy Page

PAGE ANTIQUES Formerly of High Street Armadale

“The best selection of queen-size beds”

Antique Dorokhsh-Khorrassan, early 20th century, vegetable dyes, 205 x 132 cm

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

e Hug

ded a o unl t s ju t n me p i h s

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

NOW NO OW CONSIGNING CON NSIG GNIING SPORTING MEMORABILIA

DECORATIVE ARTS & MODERN DESIGN

PRE-OWNED LUXURY

A FINE LATE 19TH CENTURY AUSTRALIAN SILVER EQUESTRIAN TROPHY ATTRIBUTED TO EDWARD FISCHER LATER INSCRIBED FOR THE COROWA CUP, 1952

JAPANESE NAMIKAWA YASUYUKI CLOISONNE VASE AND COVER, MEIJI PERIOD (1868-1912), SIGNED KYOTO NAMIKAWA SOLD JUNE 2011 $39,000

A BIRKIN HANDBAG BY HERMES SOLD OCTOBER 2011 $16,700

ESTIMATE: $8,000-$12,000

obligation free For an obligatio on fr ee appraisal contact: Giles Moon Head of Collec Collectables Memorabilia tables & Sporting Memorab bilia (03) 8825 5635 giles.moon@leonardjoel.com.au giles.moon@leo onardjoel.com.au

Cairnduff Guy Cair ndufff Decorative Head of Decorati ive Arts & Modern Design (03) 8825 5611 guy.cairnduff@leonardjoel.com.au guy .cairnduffff@leo onardjoel.com.au

LEONARD JO JOEL EL Road, Yarra, Victoria 3141 333 Malvern Ro oad, South Y arra, V ictoria 314 41 Australia www.leonardjoel.com.au www w..leonardjo oel.com.au

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

ENCAUSTIC TILES

SOLID BRASS TAPWARE

MARBLE FIREPLACES

BRONZE HARDWARE

PENDANT LIGHTING

MARBLE TOPPED VANITIES

COPPER BATHS

CEILING ROSES

STONE MOSAICS

there’s more to

SCHOTS HOME EMPORIUM 400 HODDLE STREET CLIFTON HILL, VICTORIA

1300 463 353

www.schots.com.au

VINTAGE OAK DOORS

WROUGHT IRON ENTRY DOORS

TOP-GRAIN LEATHER

DINING TABLES AND CHAIRS

HAND KNOTTED RUGS

SOLID OAK PARQUETRY

‘unearth the uncommon’

NEW ONLINE SHOP JUST OPENED CAN BE VIEWED ON OUR WEBSITES www.xxxxantiques.com.au www.xxxxantiques.net

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

OPEN 7 DAYS 9.30 am to 5 pm

HAMPTON / GEELONG / BALLARAT / BENDIGO ANTIQUES & ART IN VICTORIA

EUROPEAN CHRISTMAS & GIFT EXTRAVAGANZA

Seeing is believing

OPEN 7 DAYS Over the Xmas Sale period!

Magnificent Raffle Prize

Credit cards welcome OPEN 7 DAYS TIL XMAS

Free tickets with each purchase

I N T E R I O R S & U N I Q U E G I F T WA R E Bask in the glory of Christmas at Fleur de Lys – a visit is a must. Such enchantment, step into fairyland – true magnificence – absolute opulence. Fleur de Lys again upstages all other shops with extravagant Xmas gift splendour. Add personalised service with exquisite gift wrapping and indeed, there is no other gift and decorator boutique to equal. The extensive variety is breathtaking – small token gifts from a few dollars to ‘one-off’ pieces of furniture.

COMMENCING NOVEMBER – 24 DECEMBER Mon - Fri 10 am - 6 pm, Sat 10 am - 4.30 pm, Sun 11 am - 4 pm 517 Hampton St Hampton Vic 3188 Ph/Fax: 03 9521 9055 www.fleurdelysinteriors.com.au

7 April 2012

EASTER SATURDAY 10 am – 6 pm 8 April 2012

EASTER SUNDAY LONGEST-T ’S IA L A R S AUST 42nd Annual 2012 ND LARGE A G IN N N RU FAIR ANTIQUE Ballarat Antique Fair Saturday, 10 March • 10am - 6pm Sunday, 11 March • 10am - 5pm Monday, 12 March • 10am - 4pm

Ballarat Badminton Centre Dowling Street, Wendouree Location map - refer to website Antique Fair Inquiries

• More than 95 Exhibitors from all over Australia • Huge variety of Antiques and Collectables for sale • Daily door prizes • Refreshments available • Evaporative cooling during event • Information 1300 303 800 0428 384 133 • 0408 264 960 www.ballaratantiquefair.com.au

ALL S ITEM R FO SALE

10 am – 6 pm 9 April 2012

EASTER MONDAY 12 pm – 5 pm

Kangaroo Flat Leisure Centre Browning Street, Kangaroo Flat (off Calder Highway) Enquiries: Robert Dennis Mobile: 0414 248 120

GEELONG ANTIQUES & ART IN VICTORIA

SEE

OUR ONLINE STORE

WWW.PEGASUSANTIQUES.COM.AU Hundreds of quality pieces of antique furniture, restored and unrestored bookcases, beds, pairs of bedside cabinets, tables, chests of drawers, sideboards, desks, large sets of chairs, hallstands, clocks, mirrors, wardrobes, display cases and armoires.

View our website and be ready for the wow! factor

WWW.PEGASUSANTIQUES.COM.AU 47

ANTIQUES & ART IN VICTORIA

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

Cartier Gold on sterling silver quartz c. 1990 $1500

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

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

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

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

One of a set of five framed photographs selected by Max Dupain from amongst his favourites, for sets of limited edition prints published for the Royal Blind Society in the late 1980s. Set of five framed $2,500. Individual $600 each.

Moonflower, 1982

Sunbaker, 1937

Interior Elizabeth Bay House, 1978

Of the three nine piece sterling silver tea sets made by Garrard & Co London in honour of the coronation of Queen Elizabeth II, this is the only known surviving example. Hallmarked Garrard & Co London 1953/54, weight approximately 11 kilos Gold diamond and jade stick pin $3750

GOLD COAST ANTIQUE CENTRE 2076 GOLD COAST HIGHWAY, MIAMI QUEENSLAND P: 61 7 5572 0522 M: 0412 229 117

CAMPERDOWN MEWS 212-220 PARRAMATTA ROAD CAMPERDOWN NSW P: 61 2 9550 5554 M: 0412 229 117

BOTH OPEN 7 DAYS 48

Omega Seamaster 14 ct c. 1960s $1895

At Toowoon Bay, 1985

Blue Gum Forest, c. 1940

BENDIGO ANTIQUES & ART IN VICTORIA

Valentineâ&#x20AC;&#x2122;s Antique Gallery IMPORTERS OF FINE QUALITY ANTIQUES ESTABLISHED 1947

Georgian walnut 3 drawer lowboy

Georgian mahogany tilt top breakfast table

Georgian mahogany slope front fitted sewing cabinet

Fine quality late Victorian mahogany breakfront robe, c. 1890, featuring central drawers and cupboards with beautifully carved panels, flanked by 2 mirrored doors

Late Georgian mahogany twin pedestal sideboard, c. 1810, sunken centre section with tapered and fitted pedestals

Regency mahogany twin pedestal sideboard, c. 1830, with twist columns flanking doors, 3 central drawers

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

Valentineâ&#x20AC;&#x2122;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

BENDIGO ANTIQUES & ART IN VICTORIA

ANTIQUES & ART IN VICTORIA

Grace Kelly Style Icon only at Bendigo Art Gallery 11 March – 17 June

hen people think of Grace Kelly (1929–82), one of the most photographed women of the 20th century, what they usually recall is her beauty and elegance. From an early modelling career, she rose to fame as an actress in the 1950s, starring in films by Alfred Hitchcock and others. Her image was cultivated by the movie industry, which fed cinema-goers’ growing appetite for pictures of glamorous stars through magazines and newspapers. Kelly’s images varied from voluptuous siren and sweater girl to the girl-next-door. Young Grace Kelly seemed to combine two qualities: wholesome but distinctly glamorous at the same time. She came to symbolise the classic, understated look she wore both on and off screen and as a princess, and became known for her impeccable dress sense.

EXCLUSIVE TO BENDIGO ART GALLERY Organised by the Victoria & Albert Museum, London, and the Grimaldi Forum, Monaco, Australia’s only showing of Grace Kelly: Style Icon is at Bendigo Art Gallery from March 2012. This international exhibition displays her dresses and accessories to trace her evolving style from Grace Kelly, actress through to her life as Princess Grace after her marriage to Prince Rainier III of Monaco. The Hollywood period features spectacular film costumes from her films including The Swan (1956, with Alec Guinness) and the gown she wore to accept her Oscar in 1955, outstanding 50s New Look dresses with tiny waists and full skirts.

Erwin Blumenfeld (1897–1969), Grace Kelly leaning against a gold frame from the 1955 photo shoot for Cosmopolitan magazine © The Estate of Erwin Blumenfeld

Explore the evolution of the Princess Grace style, from the outfits from her wedding trousseau to her haute couture gowns of the 1960s and 1970s by her favourite couturiers Dior, Balenciaga, Givenchy and Yves St Laurent, as well as her meticulously-tailored suits and American casual wear.

TICKETS ON SALE NOW Your tickets will have a specific entry time at one hour intervals throughout the day – but you can stay for as long as you like. All tickets are available for purchase and collection from The Capital – Bendigo’s Performing Arts Centre at 50 View Street Bendigo (phone 03 5434 6100) next door to Bendigo Art Gallery. Tickets can be purchased online, by phone or in person – you just pick your entry time and date. Remember, tickets are NOT available directly from Bendigo Art Gallery – we are pleased to collaborate with The Capital for exclusive ticket sales and convenient collection. This once-only exhibition will be extremely popular so purchase tickets as soon as possible to ensure avoid disappointment. Buy your tickets and find more information at www.gracekellybendigo.com.

Grace Kelly, 1953 © Evverett Collection / Rex Features

BENDIGO ART GALLERY 03 5434 6088 bendigoartgallery@bendigo.vic.gov.au www.bendigoartgallery.com.au

ANTIQUES & ART IN VICTORIA

Astor arched basin set

Astor basin set

Chatham basin set

Vintage lever Astor wall stops

Vintage wall stops

Chatham wall stops

Schots Home Emporium for the Asbury Tapware Range Five styles, three finishes – all 5-star!

chots Home Emporium’s continued commitment to excellence shows in its new range of quality Asbury taps. Asbury Tapware is constructed from finegrade, non-corrosive, drop forged DZR brass. Each tap in Asbury’s new range has been meticulously constructed to exacting standards and shines with a classic exuberance of its design. Physical Vapor Deposition (PVD) creates a thin highly adhered pure metal or alloy coating on every tap that is a hard coloured coating with exceptional wear and corrosion resistance. You have the choice of five styles: Chatham, Astor, Astor Arched, Vintage and Vintage Lever. Next, you can select from three PVD finishes: gold, chrome and satin chrome. The tarnish and corrosion resistance in whichever finish you choose will afford you a lifetime of beauty and value.

5-STAR RATING Built and inspected to meet the WELS and Watermark approval systems, every piece of this stunning range has been awarded a 5-star rating. Coupling this with a ceramic valve system and of course the solid brass construction, the Asbury range is an investment in quality and design. Matching these taps with any of Schots’ perfectly matched range of accessories, delivers an uncommon and classically inspired setting of appointed luxury.

Examine the Asbury Tapware range online and get inspiration from the many design suggestions on www.schots.com.au – always regularly updated so each visit is fresh. SCHOTS HOME EMPORIUM 1300 463 353 www.schots.com.au

BE INSPIRED To see the Asbury range and the increasing and ever-changing range of home and architectural furnishings, visit our recently renovated and expanded showroom, conveniently located at 400 Hoddle Street in Clifton Hill.

Astor bath spout Classic bath spout

Vintage lever basin set

Gooseneck shower arm and rose

Vintage basin set

MENTONE ANTIQUES & ART IN VICTORIA

MENTONE BEACH ANTIQUE CENTRE

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

WE ARE HAVING A 20% OFF SUMMER SALE ON ALL FURNITURE INCLUDING SOME LARGE DECORATIVE ITEMS (Tapestries / Mirrors / Lighting) A chance to buy good quality antique furniture at greatly reduced prices THE STARTING DATE WILL BE THE 7/1/2012 IN THE NEW YEAR AND WILL RUN TILL THE END OF FEBRUARY 29/2/2012 68 Beach Road, Mentone Vic 3194 • 03 9583 3422 Email: mentonebeachantique@gmail.com www.antiquecentrementone.com.au

Antiques by the sea at Mentone Beach Antiques Centre seaside over summer and we are only a 15 minute walk from the Mentone train station on the Frankston line.

MORE DEALERS AT MENTONE BEACH ANTIQUES

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

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 lover 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.

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, 11 am to 5 pm. Michel and Barbara will be only too willing to help you find the specific item that you seek to collect.

MENTONE BEACH ANTIQUES CENTRE 03 9583 3422 query@antiquecentrementone.com.au www.antiquecentrementone.com.au

LAZY DAYS OF SUMMER 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

MORNINGTON PENINSULA ➞

ANTIQUES & ART IN VICTORIA

Antiques & art on the Mornington Peninsula

3 4

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

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

MARLENE MILLER ANTIQUES

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

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

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

SORRENTO ANTIQUES & ART IN VICTORIA

Endless summer days Sorrento

Towards Coppins, Sorrento, 110 x 90 cm

Summer highlight at Sorrento Fine Art Gallery

Craig Davy painting on location

Craig Davy solo exhibition 12 â&#x20AC;&#x201C; 22 January 2012

raigâ&#x20AC;&#x2122;s success at Flinders and Sorrento Fine Art Galleries has resulted in a waiting list for his new works. A local artist, Craig has been painting full time for only a couple of years, but he is certainly developing a good reputation in the art world. He has already won over 25 awards from acclaimed judges and critics. This exhibition is sure to be a hit and one that should not be missed. His work has been picked up interstate and interest has been shown from knowledgeable collectors overseas. Craig has been preparing all year for this exhibition; subjects include local Peninsula scenes, Fraser Island and the Hawkesbury River. The exhibition opens on Thursday 12 January at 6 pm and continues daily until 22 January.

Sorrento Beach

The gallery is opposite the ferry and beach at Sorrento. To receive an invitation to this exhibition please contact the gallery on 03 5984 3880 or www.peninsulagalleries.com.au. Both Flinders Fine Art and Sorrento Fine Art Galleries have a busy calendar for the year ahead including the tenth year anniversary for Flinders Fine Art. Rebecca would like to thank all her clients for supporting Australian artists over the last ten years at Flinders Fine Art Gallery and she looks forward to seeing clients again and soon. For more information on all events at FLINDERS FINE ART AND SORRENTO FINE ART GALLERIES Flinders 03 5989 0889 Sorrento 03 5984 3880 www.peninsulagalleries.com.au

Point King

MORNINGTON PENINSULA ANTIQUES & ART IN VICTORIA

Beleura. Photo Chris Groenhout

The Centenary Temple in Beleura’s garden. Photo Sue Wearne

What’s on at Beleura Entertainment at a Heritage House and Garden

eleura is a wonderful time capsule, a theatre of the past, yet unlike a theatre, Beleura and its contents are real history. The magic of Beleura is the depth of its provenanced collection of household things – some grand or ephemeral, trivial or even amusing. This Italianate marine villa overlooking Port Phillip Bay was built in 1863 for Scottish-born James Butchart who arrived in Melbourne in 1842. Along with the land came a shepherd’s cottage that became part of the new house. James Butchart died there in 1869. There have been many owners. Charles Edward Bright (1829-1915), founder of Bright Bros and Co, Steamship and General Agents, purchased Beleura in 1870, becoming the unofficial Governor’s summer retreat for his

father-in-law, Sir John Manners-Sutton. Caleb Joshua Jenner, a Member of the Legislative Council of Victoria enlarged and held Beleura until 1899. The next owner was Robert Smith Esq followed by grazier William Ernest Albert Edwick in 1911. However, Mornington was becoming a popular summer resort and an entrepreneurial syndicate led by Mrs Mary Williams purchased and subdivided the land, offering 183 villa allotments.

THE JOHN TALLIS BEQUEST ‘A place of historic and educational interest’ Mr and Mrs George Tallis purchased most of the villa sites in 1916 and continued acquiring farming land around Mornington. They had four children. Irish-born Sir George (1869-1948) was a theatrical entrepreneur, Chair of JC Williamson Ltd (and major shareholder) – that glamorous era

B ELEURA A MUST VISIT!

p Guided House & Garden tours and so much more

p Opera in The Garden p Musical Theatre productions

p School Holidays ‘Children’s days’

p Concerts and Recitals p Winter Fireside readings Bookings are easy to make, please telephone: (03) 5975-2027 info@beleura.org.au www.beleura.org.au PO Box 1198 Mornington Victoria 3931

of Dame Nellie Melba, Anna Pavlova and Gladys Moncrieff performing in Melbourne. Lady Tallis, formerly a singer in Tallis’s comic operas, dedicated her time to society’s charitable causes. Following the death of Sir George in 1948, Beleura was acquired by his youngest son, Jack Morton Tallis (1911-1996). Known as John, he had his parents’ creative talents as a composer of music, such as ‘The Sentimental Bloke’ and was a keen historian and gardener. He bequeathed Beleura, its contents and endowed the Tallis Foundation to the people of Victoria ‘to be a place of historic and educational interest.’ Collectors note: it houses an amazing collection of all types of items. Beleura is open to the public in the way John wished, by appointment and with visitors being welcomed as guests. Guided tours are offered for both individuals and groups on most weekdays throughout the year, but closed this 23 December 2011 to 9 January 2012. Beleura ticket includes: Bus transfers from Mornington Morning tea, Lunch House and garden tour Free entry to Mornington Peninsula Regional Gallery (unless stated otherwise)

DECEMBER 2011 A Play - An Afternoon with Dorothy Parker Thursday 8 December We invite you to delight in a theatrical presentation in the Tallis tradition. A Play – An Afternoon with Dorothy Parker adapted and performed by Dorothy Peden, is narrated by Ron Paddon with Norman Camm on the piano. Parker is a world renowned writer whose predominant creative period was during the American prohibition era. She was one of the wittiest people in the world and perhaps one of the saddest, with her motto, ‘anything goes!’ Tickets to the play include a glass of champagne and Christmas pudding, lunch and house and garden tour and bus transfers, $35/$33. The Nativity and the History of Nativity Scenes Tuesday 6 and Friday 16 December Patricia Begg is a gifted speaker who is talking on traditions of the Christmas nativity and the significance of nativity scenes. Tickets to the talk include a glass of champagne and Christmas pudding, lunch and house and garden tour and bus transfers, $35 / $33.

tea that is only offered on 10, 11, 12 and 13 January, as well as tours and bus transfers, all tickets $20 (no lunch). The Potter’s Wheel: Klytie Pate Collection 2 February–26 April See works by one of Australia’s foremost studio potters, Klytie Pate. This exhibition focuses on the ground breaking work of Pate and her incredible skill with glazes. A guest speaker will talk on Pate on 26 April, so book early for this event marking the closing of a stellar exhibition and its creator, tickets $33 / $30. Garden Anniversary Monday 5 March This very special day pays tribute to a great gardener, Dame Elisabeth Murdoch, who opened Beleura’s garden on 5 March 2005. Take this opportunity to savour a developing yet old garden, your tour led by Richard Smith, head gardener, tickets $33 / $30. Some Enchanted Evening Friday 16 & Saturday 17 March, 6 pm Welcome to the OzCHILD evening extravaganza, a musical soirée showcasing Mornington Peninsula’s opera singers: Lucy Nicolson, Pete Smitheren, Monique le Bas and Michael Laity. Be swept away by the loved melodies from the musical South Pacific and light opera. All proceeds go towards the OzCHILD Performing Arts Program for young people with a disability. Book tickets directly with OzCHILD on 03 5975 7644, $70 / $65 including a light supper and the bus transfer between Mornington and Beleura picks up from 5 pm for the 6 pm show. Sorry, there is neither house nor garden tour on these evenings. James Butchart Saturday 21 April Architectural historian and Beleura archivist, Pru J Evans leads a tour and talk on recent discoveries about Beleura builder and its famed mid-19th century architect James Butchart. She explains an extraordinary series of convergences that led to its creation, tickets $33 / $30.

VISITING BELEURA You must ring in advance to purchase your ticket and take a bus transfer which will be explained at the time of booking, as you cannot drive directly to Beleura. Individuals can join tours on the day – but book first! Beleura is open Monday to Friday and third Saturday each month, excluding public holidays (closed 23 December–9 January). Open year-round, you are welcome to book your visit to Beleura to coincide with your schedule in Mornington.

SUMMER 2012

A property associated

with the National Trust

Devonshire Tea in January 10–13 January Tea is served! Enjoy a scrumptious Devonshire Tea as part of a special in January house and garden tour. Book for this exclusive

BELEURA HOUSE & GARDEN MORNINGTON 03 5975 2027 info@beleura.org.au www.beleura.org.au

MORNINGTON PENINSULA ANTIQUES & ART IN VICTORIA

Two exclusive exhibitions at Mornington Peninsula Regional Gallery

AT FIRST SIGHT: PENINSULA AND BAY PHOTOGRAPHS OF JW TWYCROSS 29 February – 9 April 2012 Harold Septimus Power, Ozone, approaching the wharf, Dromana, 1899, oil on canvas. Private collection

The pictorialist photography of John William Twycross shows his intimate and insightful tale of life in Melbourne and Port Phillip Bay following WWI. John W Twycross (18711939) was an accomplished artist who passionately believed in the aesthetic as well as the documentary potential of photography. He was a frequent visitor to his mother’s family farm at McCrae on Port Phillip Bay, capturing in his work the ambience of the local creeks, wetlands and vistas, and photographing his family at work and play. Using the artist’s

SEA OF DREAMS: THE LURE OF PORT PHILLIP BAY 1830-1914 7 December 2011 – 19 February 2012

hattered dreams, fresh beginnings, an expansive economy, rising fears and the emergence of a middle class are detailed in this rich display that traces the journeys of so many who were lured by the dream of a better life in Australia. There are several important works that have rarely, if ever, been publicly displayed. The stories of these people will begin to be told through the eyes of artists who viewed and recorded a colourful and dynamic period from the 1830s to 1914. The exhibition showcases over 100 rare, important and exceptional works. These create a stirring pictorial narrative of peoples’ hopes and dreams; dramas of passage and arrival; the disappointments and successes of the inhabitants, travellers and settlers along Port Phillip Bay shores.

It reconceptualises our understanding of the Bay and our relationship to it.

ARTISTS AS DOCUMENTERS

FIVE THEMES

The exhibition begins with rarely seen works from the 1830s of the earliest engagements between the Australian indigenous inhabitants and the newly arrived Europeans by artists such as Robert Russell. Later works trace the waves of emigration, settlement and the nuances of a changing and developing society. Highlighting the crucial role of artists as documenters and players in historical discourse, the exhibition traces the naïve paintings of artists such as WFE Liardet (1799-1878) and George Gordon McCrae (1833-1927); through to the sketches of nature and everyday life around the Bay by the naturalist, George French Angas (1822-1886), the administrator of the Australian Museum in Sydney; works by the highly accomplished ST Gill (1818-1880); and tantalising artworks by artist Ruby Lindsay (1887-1919), sister of Percy, Lionel and Norman. There is a marked contrast between the former with the masterful works by Thomas Robertson, Eugene von Guérard, Louis Buvelot, Frederick McCubbin, Ugo Catani, Charles Conder, Tom Roberts and Arthur Streeton. These accomplished artists used their trained techniques to evoke the poetry of reflected light, the movement of people, subtle colour, warmth and the passing of day into night. There are several important discovered works that have rarely, if ever been publicly displayed. Through this substantial body of material many stories of the Bay, its inhabitants, settlers and traders, opportunists and protectors, interpreters and respondents are told or retold.

The stories are told in five overlapping and interconnected themes. The first focuses on emigration and the hundreds of thousands who made this long and risky journey seeking fortune, opportunity, adventure and freedom. As some of the images record, even with the entrance to Port Phillip Bay in sight, there was no guarantee of safe arrival, as hundreds lost their lives at the Heads and today wrecks still litter the coasts and the Bay. European settlement is the second theme. This would paradoxically trigger an unsettling of the land around Port Phillip Bay as it was largely cut, grubbed, girdled and burned to create a liveable environment by and for the new settlers. The defence of the new colony from disease and unwelcome visitors is the third theme. Trade and commerce underpin the fourth theme. Fittingly, leisure on and around the Bay is the fifth and most substantial theme. Comprising more than 40 pictures by many of Australia’s colonial and early 20th century artists, the lure of the Bay was as palpable for the artist as it was for the day-tripper or holiday-maker. The works, although over 100 years old, show recognisable landmarks, rituals and a relationship with the Bay that are still familiar today. Sea of Dreams provides an exceptional account of our forebears’ lives on the Bay with the interlinking, overlapping ebbs and flows of humanity and change.

J W Twycross, Two children and a boat, Mornington, 1922, digital image from original glass plate negative. Twycross Collection. Reproduced with permission from The Twycross Estate

original prints and carefully preserved glass plates to print large scale images especially for this exhibition, the display pays tribute to a man whose early experimentation and ingenuity left an inspired legacy. Open Tuesday to Sunday (closed Monday), the Gallery is a one hour drive from Melbourne CBD and by bus from Frankston. There are free guided tours every Wednesday, Saturday and Sunday at 3 pm during this exhibition. MORNINGTON PENINSULA REGIONAL GALLERY 03 5975 4395 mprg@mornpen.vic.gov.au www.mrpg.mornpen.vic.gov.au

Artist unknown, The emigrant, c. 1850, lithograph, hand-coloured on paper. Pictures Collection, National Library of Australia, Canberra

Charles Conder Ricketts Point, Beaumaris 1890 oil on wood panel National Gallery of Australia, Canberra Purchased 1973

ANTIQUES & ART IN VICTORIA

THE BEST BOOK ON SATSUMA By Thomas S. Kiernan Over 300 Satsuma marks and signatures This book is truly the best book on Satsuma, with over 300 Satsuma marks and signatures translated to help both the collector and dealer. There are also more than 400 full colour illustrations, making this book a must have for anyone interested in Japanese Satsuma. The author Tom Kiernan is a recognised authority on Japanese antiques and has been dealing in antiques for the last forty-five years! He hopes that this book will help everyone to be able to understand and enjoy the wonderful world of Japanese Satsuma collecting. The book is offered for sale for only $180 which includes postage and packing. It will be signed by the author if requested.

TO ORDER THIS WONDERFUL BOOK Please contact Tom or Linda Kiernan by phone 03 5449 3070 or email: kiernangalleries@iinet.net.au We accept Mastercard and Visa, or send money order or cheque for $180 payable to: Tom Kiernan PO Box 521, Junortoun, Victoria 3551

Japanese Satsuma pottery

SATSUMA pottery origins The production of Satsuma pottery started around 1590 in Satsuma Province on the island of Kyushu in Japan, hence its name. Lord Shiraz Yoshihiro was a local warlord and Prince of Satsuma Province who returned from an attempted invasion of Korea. He brought back valued Korean paintings, lacquer

PRODUCTION centres Satsuma was produced in Kagoshima, Kyoto, Tokyo, Osaka, Kobe, and Kanazawa by hundreds of known artists, in many styles and by literally thousands of unknown decorators. Workshops reportedly hired thousands of workers producing large quantities of Satsuma for export to England, Europe and the USA. As the quality dropped, so did the orders and most large Satsuma workshops closed. A handful of smaller studios continued to produce Satsuma into the 1930s.

ifty-seven years have passed since I purchased my first Japanese antique. I was just a lad of eleven and attending the East Sydney Art School. My teacher had introduced the class to woodblock printing, showing us several genuine antique Japanese prints to study. I was completely hooked, so I explored the antique shops of Sydney and I actually found a few good examples. I purchased my first two prints for the princely sum of two shillings (40 cents), later discovering at the Sydney museum that they were over 150 years old. The low prices back then were a full set of Samurai armour dating from the 18th century for just $60, a genuine samurai sword was under $10 and netsuke were priced from a couple of dollars up to about $4. Negative sentiments about Japan after WWII kept prices down in Australia. Although Satsuma was plentiful in England and Europe, the main importers of Satsuma around 1900, there was little in Australia. So in 1975 I started to travel to the UK twice a year and found good quality Satsuma to bring to Australia. My shop in Willoughby was the first to specialise in Japanese swords and antiques in Australia.

century the quality of much of the work signed Kinkozan was of inferior quality.

Hododa lidded koro with signature

Tomo Nobu shi shi vase, Gosu blue with signature

ware, carvings and prisoners of war, the latter seized for their skills such as carpenters, artists and potters. Yoshihiro had a personal interest in pottery and had become fascinated with the Korean style. He intended to set up kilns on his property in Satsuma and have the Korean potters teach his own craftsmen to produce fine pottery. The island of Kyushu had plenty of clay deposits so the kilns were built and the potter prisoners put to work. The local clay was a white/brown colour and combined with the skills of the Korean potters, resulted in a creamy coloured pottery with a fine crackle glaze when fired. This type of pottery had never been seen before and news soon spread. This pottery grew quickly in popularity among the high ranking families in Japan, seemingly all wishing to own a piece of Satsuma. It was too expensive to be used every day, so most early Satsuma pieces were acquired or given as gifts. This early style of Satsuma was collected for its

Unzan vase, The Deities with signature

Shozan miniature jug with signature

texture and simplicity, with minimal decoration such as a light gold decorated border or a simple flower design.

KINKOZAN style Today’s collectable Satsuma has gold detail and busy designs which usually covers most of the surface. Totally different to the original, this style started around the early 19th century by Kinkozan who came from a famous family of potters and opened his studio to produce many wonderful masterpieces. It is reported that he was the first artist to use the famous Gosu deep blue colour, which was applied heavily and then decorated with a delicate gold floral and scroll design over the blue. Various artists copied his style and it is generically referred to as Kinkozan. His name was well known throughout Japan and the western world but there were hundreds of fine Satsuma artists. Unfortunately after Kinkozan passed away his name was still used for this style and towards the latter part of the 19th

IDENTIFYING fine Satsuma The best Japanese Satsuma shows the fine attention to detail by artists as it was all hand painted – even the smallest pieces could take months to achieve high quality. My book, The Best Book on Satsuma passes on some of the knowledge I have acquired over the many years of study of Japanese antiques.

WARNING ON FAKE SATSUMA It is always a surprise to find that there are many people who think Satsuma is a product of China. I suppose one of the reasons could be that many pieces of Satsuma offered online are copies and fakes made in China and shipped by the thousand to every part of the world. These modern copies are usually sold as ‘Royal Satsuma’ and are totally unrelated to the genuine antique Japanese hand painted works of art. Tom Kiernan KIERNAN GALLERIES 03 5449 3070 kiernangalleries@iinet.net.au

MORNINGTON PENINSULA ANTIQUES & ART IN VICTORIA

Clive Ducker

Carole Foster

Local talent, special exhibitions, showing at

White Hill Gallery hite Hill Gallery is in the heart of the Peninsula’s visual arts hub in Dromana. This gallery in the Mornington hinterland always has fresh and delightful creative items. We are proud to show local painters of brilliance, sculptors of amazement, jewellers, ceramic artist and wearable art. Popular artists at White Hill Gallery are Helen Badcock, Malcolm Beattie, Fiona Bilbrough, Bea Edwards, Robert Ford, Glenn Hoyle, Annee Kelly, Josephine Pititto, Hans Werner and sculptor David Minton whose bronze is pictured.

attempts to show a sensual atmosphere and mood of place, and an invitation to share the moment.’

CLIVE DUCKER

ANGELO QUABBA

From 1 January New Year’s Day is the opening of Clive Ducker’s exhibition. His intense Australian palette makes his oil paintings light up the space and draws the viewer on a wandering journey. The seaside and hills of the Peninsula evoke a sense of place and invite the viewer into often hidden spots known only to a local. Artist’s statement ‘Inspiration from the locality provides continual artistic opportunity for reinterpreting the moment. Every painting

From 7 April Already a successful artist in Italy before becoming known as a painter of great renown in Australia, Angelo Quabba will bring his expressionist paintings to Whitehill Gallery. The exuberance and joie de vivre of his paintings add almost a comic touch, which makes them even more endearing to those who view them. He paints a rich diversity of subjects, from huge landscapes and dramatic still-life to intimate scenes, portraits and figure studies.

Angelo Quabba

CAROLE FOSTER From 11 February Popular artist Carole Foster, loved for her impressionist landscapes will exhibit her canvasses of Peninsula and Australian outback scenes. Some of her scenes can be explored on foot and are mixed with others only reached by four-wheel vehicles and small planes. Carole was a finalist in the Louis Buvelot acquisition prize to celebrate Dromana’s 150th anniversary.

Artist’s statement ‘The interplay of light and colour and shape open up a world showing a vigour and spontaneity to let the viewer enjoy the thrill of the moment.’ White Hill Gallery is open Thursdays to Mondays, 11 to 5, and open every day during

school holidays. We look forward to welcoming you during the summer holidays. WHITE HILL GALLERY 03 5931 0146 / 0409 940 033 rhayllar@bigpond.net.au www.whitehillart.com.au

David Minton

LANGWARREN ANTIQUES & ART IN VICTORIA

On show at McClelland Gallery + Sculpture Park THE MARY AND LOU SENINI ART AWARD 2011 FOR CERAMICS Until 15 January 2012 his award was established in 1998 with the intention to provide support to Victorian art students at a tertiary level. The award is presented by McClelland to an applicant who fulfils the required conditions and who, in the opinion of the selection panel, is of outstanding ability and promise. Finalists are included in an exhibition at McClelland Gallery+Sculpture Park showing to January 2012. The finalists are: Peter Austin, Michael Barrett, Claus Bredow, Jia Jia Ji Chen, Alex Goad, Janetta Kerr-Grant, Sophie Moorhouse Morris, Marlize Myburgh, Kerry Peterson, Anna Rowbury and Ashleigh Sims.

image and sculpture. Key works from McClelland’s permanent collection are exhibited along with loans from private and public collection. Artists represented include Stephen Birch, Lyndell Brown & Charles Green, Juan Ford, Petrina Hicks, Cherry Hood, Sam Jinks, Justine Khamara, Rosemary Laing, Ron Mueck, Jan Nelson, Evan Penny, Patricia Piccinini, Julie Rrap, Alexander Seton, Ricky Swallow, Colin Suggett, Christian Thompson and Ronnie van Hout.

MCCLELLAND GALLERY + SCULPTURE PARK 03 9789 1671 www.mcclellandgallery.com

DOUBLE VISION Until 5 February 2012 This exhibition exuberantly explores contemporary art with ideas of portraiture and the body as the focus. Representing in a myriad of mediums what it is to be human, the exhibition charts its ways through encounters of the unexpected, psychological and humorous. Also included is a look at the captivating art of Realism and the intriguing exchanges that occur between painting, photography, digital

Christian Thompson, Black gum-2 (Australian Graffiti series), 2008, type-C print, 100 x 100 cm. Private collection. Image © Christian Thompson. Courtesy of the artist and Gallery Gabrielle Pizzi Melbourne

HAMILTON ANTIQUES & ART IN VICTORIA

Paul Moss, This Single Feather of Auspicious Light: Old Chinese Painting and Calligraphy (London, Sydney: L Moss. 2010). Gift to The Hamilton Art Gallery Collection

Summer exhibition program

at Hamilton Art Gallery DECEMBER 2011 – APRIL 2012 FRESH CONTEMPORARY AUSTRALIAN ART 28 November – 29 April Contemporary Australian paintings, prints and videos from the collection are on display. It features works by David Keeling, Danny McDonald and Daniel Crooks. This opens the 2011-2012 summer exhibition program with a fresh look at the Gallery’s contemporary collection.

COLONIAL AUSTRALIAN PAINTING 5 December – 28 October 2012 Western Victoria was the subject of many Australian colonial paintings and prints. This exhibition draws such works and historical documents together. The picture trail features work by some of Australia’s most celebrated colonial artists such as Thomas Clark and Louis Buvelot.

(London: Sydney: L Moss. 2010) in seven beautifully illustrated volumes. This extraordinary publication took six years to illustrate every small and medium-sized work of old Chinese painting and calligraphy, life size. Most hand scrolls, albums and fans are reproduced to actual scale. Moss achieved a coherent survey of nearly all types of Ming and Ch’ing dynasty painting and calligraphy. This is the first display of this gift to the Hamilton Art Gallery collection.

SILVER WINE LABELS FROM THE CASSIDY COLLECTION

THIS SINGLE FEATHER OF AUSPICIOUS LIGHT

28 March – 3 June Anne Cassidy generously donated her collection of silver wine labels to the Gallery in 2011. Mostly of English origin and ranging from the early 1700 onwards, many of these small works were made by women silversmiths. The size of this collection gives a clear image of the evolution of wine and sauce labels in an era when we no longer use or make this staple of the silversmith’s production.

14 March – 18 July One of the great publications of the 21st century is Paul Moss’ publication on Chinese painting, This Single Feather of Auspicious Light: Old Chinese Painting and Calligraphy

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

Kim Westcott (b. 1968), Buffalo 1, 2004

ON PERMANENT DISPLAY Australian art from the collection

Taylor gallery

18th century landscapes by Paul Sandby RA (1731-1809) ‘the father of English watercolour’

Gaussen gallery

Oriental ceramics and Asian artefacts

Barber gallery

Wine label, sterling silver. The Cassidy Collection

Louis Buvelot (1814-1888), The Wannon Falls, 1867, oil

ANTIQUES & ART IN VICTORIA

Oil containers, left: Greek pottery, right: Roman glass, foreground: Islamic bronze pourer

The Lascaux lamp, 17,000 years old. Courtesy Wiki Commons Replica lamp burning olive oil

Ancient illumination L

ights are taken for granted with a flick of a modern switch. Backtracking, a few millennia ago if you needed light after the sun set, you had to plan and organise it yourself. Only now are we recognising the value of renewable energy – something ancient cultures had already worked out. The most desirable light fuel was whale oil that burned true and almost odourless, yet this was a scarce resource and thus expensive. Fish oil would smell a little more. Very primitive lamps burned animal fat, a very smelly option. The most common fuel in the Roman Empire was vegetable oil, such as olive oil that is still readily available today. So one evening, I burned olive oil in a reproduction lamp. The light from the flame was sufficient to read by at close quarters. The faint odour was similar to cooking with olive oil. The small lamp was comparable with small Roman terracotta lamps and it burned for around four hours on a single fill. Essential to oil lamps were the pottery vessels holding and transporting oils. They ranged in size from large amphora in the Roman period to small flasks for purchasing a few days’ supply. Another antiquity associated with oil lamps was a filler that held oil in a reserve with a long spout to fill a lamp.

ANCIENT LAMPS One of the earliest known oil lamps was found in the Lascaux caves in France. It is a large round bowl in which a wick could be floated with a long handle. It was most probably left by an artist responsible for the remarkable wall paintings, over 17,000 years ago.

Other Neolithic lamps were simple dished rocks that probably burned animal fat. In ancient Mesopotamia, clam shells were valued and their natural form provided multiple mouths to support wicks. Sumerian 4,500 years old luxury lamps were carved from alabaster to resemble shells. An innovation during the Bronze Age in the Middle East was the potter’s wheel. One of the earliest results of this new technology was the lamp – simple bowls thrown on the wheel, with a pinched spout to take a wick. This clever design provided a flat base for stability – essential when using fire in a flammable hut! An Indus culture lamp, 5,000 years old, has four spouts pinched into the sides, quadrupling the amount of light from one vessel. Gradually the bowl became deeper to hold more fuel, with the spout more enclosed to protect the longer-burning wick. By the Iron Age, 3,000- 2,500 years ago, the lamp became more enclosed and the spout for the wick protruded. Greek potters perfected the lamp form around 2,600 years ago, superbly shaped with fine burnished or glazed surfaces and elegant forms.

INTRODUCTION OF THE MOULD The Greek innovation around 2,400 years ago of the mould changed lamp production dramatically, as a vessel could be pressed into a two-piece mould very quickly and cheaply. Potters then looked to decorating these wares. The Romans for example decorated their lamps’ spout and the flat top surface – known as the discus – with patterns, often geometric or incorporated natural forms such as leaves. The discus could support a scene of popular subjects included hunters attacking animals, gladiators, wine pots, actors and animals.

Early lamps, left: Iron Age Middle East 1,000 BCE, right: Indus culture 3,000 BCE

Rare examples from this period are modelled rather than moulded, such as the boot lamp, the wick coming out of the big toe, held in the Rosenberg Collection. The excavation of Pompeii in the 18th century revealed some amazing lamps in their original context. Large floor stands held multiple vessels, such as a table stand in the form of a tree, from which hung two bronze lamps with double spouts. The Rosenberg Collection has a 200 year old copy of the original 2,000 year old light stand. Another lamp is shaped like an elephant, a driver and a castellation on its back, and the wick hole is in the tip of the trunk! This probably represented Hannibal (247-183 BCE), the Carthaginian commander who brought armoured elephants to battle the Romans. This example was made around the first century CE.

RITUAL & RELIGIOUS USE Lamps were of great ritual importance to a range of religions, and religious symbols are often found on lamps. Of early Christian origins is the Chi Rho symbol, representing the Greek word for Christ. Early Christians hid it beneath the lamp as a secret sign while later, as Christianity becomes accepted, it makes its appearance on the top. Other lamps of the same period were made for the Jewish market, and are moulded with the seven branch candlestick, while another rare example has seven spouts representing the Menorah.

Roman boot lamp, 1st century CE

During the so-called Dark Ages in Europe, lamps were once again simple pottery vessels. In contrast, Middle Eastern lamps of the time had beautiful glazes and forms. There were tall animal-like forms and long spouted forms. Simple unglazed lamps from the 10th to 14th centuries had distinctive geometric patterns in bands around the vessels. Candles became the preferred illumination in Europe. The discovery of kerosene (from coal) in the 1850s brought in the kero lamp revolution in the Victorian era. Lamps are a wonderful item to collect with a direct link to ancient times. Made by the millions, they begin selling at less than $100 for a piece of history you can hold in your palm. Paul Rosenberg MOORABOOL ANTIQUE GALLERY 03 5229 2970 query@moorabool.com

19th century replica of a mid-1st century CE Pompeian lamp tree

Roman moulded lamps, 2nd-5th centuries

Jewish Menorah, 3rd-4th centuries

Christian Roman lamps, right: hidden Chi Rho, centre: displayed, left: a visible cross, 4th-6th centuries

Islamic lamps and glass, 7th-13th centuries

Roman elephant oil lamp, c. 1st2nd centuries

GEELONG ANTIQUES & ART IN VICTORIA

Dennis Nona, Naath (Dugong hunting platform), 1993, handcoloured linocut. Reproduced courtesy of the artist and Australian Art Print Network

Nancy Gaymala Yunupingu, Baru (Crocodile), 2005, screen print. Reproduced courtesy of the artist and Buku-Larrnggay Mulka Centre

Nicholas Chevalier, Looking toward Mount Kosciuszko from Doolins Plain at Tom Groggin, 1866, oil on canvas. Private collection

Geelong Gallery’s Summer exhibition program NICHOLAS CHEVALIER – AUSTRALIAN ODYSSEY until 12 February

he first comprehensive survey of work by the Russian-born Swiss artist Nicholas Chevalier produced during his 14 years in Australia from 1855 to 1869. Some of Chevalier’s most significant paintings are shown along with his sketches, studies and lithographs – many never before publically exhibited. A Gippsland Art Gallery travelling exhibition.

THE COLIN AND ELIZABETH LAVERTY COLLECTION 18 February – 15 April From the extraordinary collection of Colin and Elizabeth Laverty comes this selection of works showcasing the best of their contemporary collection of Indigenous and non-Indigenous Australian art. Artists on show

include Sally Gabori, Rosalie Gascoigne, Louise Hearman, Emily Kam Kngwarreye, Ildiko Kovacs, Richard Larter, Noel McKenna, William Robinson, Aida Tomescu and Ken Whisson. A Newcastle Region Art Gallery travelling exhibition.

stories and different forms of marine life are often used as family or clan totems. Artists in the exhibition have used printmaking as a medium for strengthening their cultural identity and their connection back to ‘country.’ Their works commemorate the rich living relationship between Indigenous people and water in Australia. An Australian National Maritime Museum travelling exhibition. Free entry GEELONG GALLERY 03 5229 3645 www.geelonggallery.org.au

FRESHWATER SALTWATER – ABORIGINAL AND TORRES STRAIT ISLANDER PRINTS 18 February – 15 April Little Malop Street Geelong VIC 3220 03 5229 3645 www.geelonggallery.org.au

This exhibition features works by Indigenous artists who have used printmaking techniques to record their traditional stories, designs and clan totems. Water holds deep spiritual and cultural significance for Aboriginal and Torres Strait Islanders. The vast network of rivers, creeks, billabongs, lakes and coastal regions found across the country represent a rich source of food and culture for Indigenous Australians. For this reason, water is central to Dreaming

Geelong Gallery’s outstanding collection of paintings, sculpture and decorative arts spans the art of Australia from the colonial period to the present day and includes such masterpieces as Eugène von Guérard’s View of Geelong (1856), Frederick McCubbin’s A bush burial (1890), and the newly acquired Arthur Streeton’s Ocean blue, Lorne (1921).

SPECIAL EXHIBITIONS Nicholas Chevalier – Australian odyssey until 12 February The Colin and Elizabeth Laverty collection – a selection of Indigenous and non-Indigenous works 18 February to 15 April Freshwater saltwater – Aboriginal and Torres Strait Islander prints 18 February to 15 April Ruins in art 21 April to 24 June FREE ENTRY Open daily 10am to 5pm Closed Christmas Day, Boxing Day, New Year’s Day and Good Friday Russell Drysdale, Hill end, 1948, oil on composition board. Geelong Gallery. JH McPhillimy and HP Douglass Bequest Funds 1952. Courtesy estate of Russell Drysdale

Guided tours of the permanent collection Saturdays from 2.00pm

AIREYS INLET ANTIQUES & ART IN VICTORIA

Nathan Moshinski

Aborigeno

Keith Smith

Jane Kempe

Featured artists at

Eagles Nest Gallery VIVI PALEGEORGE

he sea and its natural beauty inspired Vivi to reconsider her primary passion and that was to paint. She enrolled in various watercolour, acrylic and oil classes and has painted with continued passion for the last 15 years. Vivi has enjoyed and continues to enjoy painting the seaside, city streetscapes, rural landscapes, people, flowers, in fact anything that will capture the light and her inspiration at the time. Vivi has been a member at Brighton, Beaumaris and Mentone-Mordialloc art groups for many years and teaches both acrylic and watercolour at Blanc Canvas Studios in Hampton, mixed media at Mentone Mordialloc Art Group and oil at Brighton Art Society. Her work can be seen at Without Pier Gallery in Bay Road Cheltenham. In 2006,

Vivi was accepted as a full member of the Australian Guild of Realist Artists where she continues to exhibit her work. Also a member of the Australian Watercolour Society, Vivi has received many awards and continues to participate in many art shows and complete commissions for her local, interstate and international clients.

MICHAEL PARKER ARTIST’S STATEMENT 7 January – 29 January ‘One of the true joys for me being a professional artist is the many different mediums I get to explore and incorporate into my paintings. While living on the coast in Mordialloc, I was inspired to work on a series of boat paintings on wooden panels with patina copper on the bottom to represent the side of a boat. I love the tranquillity of these paintings

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

Exhibitions: 3 – 27 Dec 2011 7 – 29 Jan 2012 17 Feb – 1 March 31 March – 28 April Featured Artists December January February March April

Summer Days

Emma Garza Lopez & Karen Pegg

Champagne Opening:

Saturday 3 December, 3 pm

New Works

Michael Parker

Champagne Opening:

Saturday 7 January 3 pm

Qualitaly Shelter

Various Artists from Italy Susan Romyn

Quaranta

Michael Parker

and the texture of the wood and copper – for me they are calming paintings to paint. I have been painting in the medium of resin for several years now and I love the true energy that comes out of me when I’m painting these works. The vibrancy of colour and the movement are what I find most appealing.’

QUALITALY 17 February – 1 March Qualitaly is a corridor of cultural exchange between the regions of Geelong, Australia and Piedmont, Italy based on goodwill and friendship. Initiated in 1997 through the art and cultural endeavours of Geo and Jan Francis of Moongate Studios, it has developed over the years with vibrant exchange projects based on the four identified links of art, food, wine and wool. In early 2012 art from Piedmont Italy will be shown throughout Pako Festa and then travel to Eagles Nest Gallery on the surf coast in March.

KEITH SMITH Keith owned a graphic design business in Melbourne until 1981, when a move to north east Victoria enabled him to pursue his interest in watercolour painting. Inspired by the beauty surrounding him, he soon became well known for his landscapes of the alpine areas of Victoria and NSW. After a sea change to Point Lonsdale in 1997, Keith’s subject matter broadened to include scenery along Victoria’s magnificent coastline. It has expanded even further in recent years following several overseas trips and visits to Central Australia and the Kimberley region. Beautiful locations continue to inspire Keith and he feels fortunate that by painting he is able to record and thus relive and share his memories with others. Self-taught, Keith deliberately remains uninfluenced by other artists. Because of his realist style, people relate easily to his work. With his strong use of colour, treatment of light and attention to detail, his paintings have been widely acclaimed. Keith has won numerous prizes and awards and has held twelve successful solo exhibitions.

NATHAN MOSHINSKY ARTIST’S STATEMENT ‘I enjoy the tactile feeling of painting and love to experiment with colour relationships, brush marks and the composition of the depicted objects within the confines of the canvas. I enjoy painting ordinary objects such as flowers, food and ordinary household utensils because they provide a tangible reality which can provide me with an opportunity to engage in the process of painting. Also I enjoy painting landscape and seascape often in a gestural and expressive manner. I believe that an artist can use the natural world to express an imagined or felt reality. The paintings which I have attached express my feelings about the joy, sadness and drama of life.’

JANE KEMPE ARTIST’S STATEMENT ‘The mixed media presentation of my paintings is the result of careful and thorough experimentation using the highest quality materials. Results are always surprising and stimulating. Variations in texture are intentional as images shimmer with layered depth. Colours are saturated, soft and rich. And most importantly of all – it‘s fun!’

SUSAN ROMYN 31 March – 28 April The April exhibition by Susan Romyn – Shelter – provides further insight into the quiet way in which Susan observes the world. Colourful and pensive with a hint of whimsy, exploring themes of community, love and the shelter we seek and give – sometimes at the same time. Eagles Nest Gallery is open Friday through to Monday each week, 10 am to 5 pm, easy to find on the Great Ocean Road in Aireys Inlet. EAGLES NEST GALLERY 03 5289 7366 nadia@eaglesnestgallery.com.au www.eaglesnestgallery.com.au

Len Christie Retrospective Vivi Palegeorge Ken Smith Nathan Moshinsky Jane Kempe

Open: 10 am – 5 pm Friday - Monday

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

Susan Romyn

Vivi Palegeorge

LORNE ANTIQUES & ART IN VICTORIA

Open air theatre, oil on linen, 70 x 135 cm

Surf boats at rest, oil on linen, 70 x 164 cm

Susan Sutton at Qdos Arts in Lorne 8-21 January 2012

he sensory pleasures experienced in visiting our beaches can be interpreted as if being entertained by and involved in theatrical productions. So it seems to artist Susan Sutton. Beach Theatre is her twelfth solo exhibition, in which Sutton draws on her extensive experiences of Victoria’s southern beaches, particularly the surf coast west of Geelong, to create this diverse panorama of theatrical interpretations in oils on linen.

ARTIST’S STATEMENT ‘Stepping onto a beach, we tend to leave the concerns of the everyday world behind us as we become absorbed in the mood and atmosphere of this particular form of theatre. Through our experiences we are overwhelmingly embraced by the sounds, the lighting and the colours of the stage. The action, the narratives and the dramas, both natural and human, unfold around us and we become either the players or the audience – or both!’ Sutton’s work with its understanding of beach culture and the southern coastline’s natural environment, now is a recognised oeuvre. There are many enthusiastic and appreciative collectors of the atmospheric oils by one of this region’s best known artists. Authenticity of appearance and detail is important to those who follow the surfing and surf life saving culture along the coast. The artist does not relent in her research, but at the same time she is able to create artistic interpretations that satisfy those who have appreciation for works of art. There are some departures from previous depictions of surfing culture however the continued careful study of subjects enables the same high standards to be set while each body of new work such as Beach Theatre reaches further and deeper into artistry and technical levels. Apart from more generalised works, in this major exhibition there are specific paintings of Lorne’s famous Pier to Pub ocean water swimming event now in its 32nd year where 4300 swimmers hit the water. It is high

theatrical drama – open-air theatre of the greatest proportions! Gentle, relaxed human stories are the others that play out wherever beach gatherings take place. Then there are the high season summer narratives common to the Australian scene that take place around surf club activities: everything from daily surf rescue patrols to the weekly little nipper programs, through to the theatrics of annual surf carnivals with their colourfully costumed participants.

COMMISSIONS This exhibited body of work was partly inspired by a request from the Lorne Surf Life Saving Club to create a painting that embraced the Club’s current era activities. Sutton’s artwork forms the wrap-around cover of its substantial Beach branches, newly published history book. oil on linen, 86 x 135 cm The research for the commission led Sutton more and more deeply into the visual wealth of regional beach culture and the realisation of the human dramas and stories that unfold as theatre on our beaches. While exploring new directions, Susan Sutton continues to paint in her recognisable style taking great joy and pleasure in the effects of light and atmosphere. Along with reflections which are often used to create patterns, light is a significant tool in the draughting of almost every one of her works. At its most extreme, light is used for dramatic effect in creative interpretations of natural matter or phenomena, such as along the water’s edge in the bold Tidal tangle group of paintings. Alternately the intricate, highly detailed Beach branches works are a new departure in subject matter for the artist.

OPENING EVENT Beach Theatre by Susan Sutton opens on Sunday 8 January in the afternoon. Complete the online registration and request an invitation to the opening on www.qdosarts.com/contact or ring 03 5289 1989. This will be an exciting visual experience for all followers of Sutton’s work and for all the many viewers visiting the acclaimed Qdos Arts in Lorne over the summer. We are open seven days a week in January, from 8:30 am to 6:00 pm and from February we are open Thursday to Monday, 9 am to 5 pm.

QDOS ARTS 03 5289 1989 www.qdosarts.com

Tidal tangle, 2011, oil on linen, 120 x 180 cm

ANTIQUES & ART IN VICTORIA

The Meccano Titanic at the Ballarat Antique Fair 10–12 March

he 100th anniversary of the maiden voyage and the tragic sinking of the famous ocean liner, the Titanic, are in 2012. Capturing the imagination of people around the world, it was the largest and fastest ship of its time and the pride of the White Star Fleet. Considered unsinkable by its builders and speeding to break the record for an ocean crossing, it hit an iceberg and sank with a huge loss of life. The subject of innumerable

books and several movies, it is still one of the most famous ships of all time. To commemorate this 100th year of this event, the Ballarat Antique Fair features a return exhibition of the spectacular Meccano Titanic. This incredible model has been built entirely from pieces of Meccano. Taking several years to construct and slightly over three metres long, it is believed to be the largest nautical model ever built entirely from Meccano. Shown together with early examples of vintage Meccano kits, this special display will be memorable and informative.

42ND BALLARAT ANTIQUE FAIR More than 95 antique and collectables dealers are bringing unusual and unique items to the Ballarat Antique Fair, much stock offered for the first time. Plan which of the three big days you will attend on the Victorian Labour Day Long weekend. It opens Saturday 10 March and remains open until late on the afternoon of Monday 12 March. A fabulous array of antiques and collectable of every description await antique lovers and collectors at the Ballarat Badminton Stadium, venue. This is the largest and longest-running antique fair in Australia, attesting to its quality and integrity. Enjoy the air-conditioned comfort while searching the vast array of collectables and

antiques. Daily door prizes and refreshments on site ensure that this is a fun fair. Every year is a treasure trove of exciting finds at this amazing event. From a simple cup and saucer to a houseful of furniture, jewellery, glass, silver and ceramics are on sale, alongside paintings, maps and militaria. BALLARAT ANTIQUE FAIR 1300 303 800 / 0428 384 133 www.ballaratantiquefair.com.au

Bendigo 2012 Easter Antique Fair 7–9 April

reparations are nearing completion for the 2012 Bendigo Easter Antique Fair. Dealer numbers are limited to 32 as in 2011, with all sites already booked long ago. A few fresh dealers are present as we always replace retired dealers or any lastminute absences due to illness, from the waiting list of dealers keen to be seen and to sell at the Bendigo fair. For those interested in furs, the front foyer will be taken over by Sydney-based Admirables, featuring a high quality collection of furs dating as far back as the 1920s and onwards. Graham Davidson from Woolshed and Kevin Dahya from Grange have decided to move into the main hall to take over the site formerly used by Grannies Attic. With the help of the local Bendigo Council we have secured the Kangaroo Flat Leisure Centre for the 2012 and 2013 Bendigo Easter Antique Fairs, and perhaps in following years. It is reassuring that the Council has offered assistance

with venues to keep the fair in Bendigo. It is heartfelt that this Easter event is well received by the local community and its elected Council. For our part as organisers, Carol and I have taken part in some 14 antique fairs. In addition to being dealers, we are organisers of both the Bendigo and the new Warrnambool Antique Fair which is being held on Saturday 7 and Sunday 8 January 2012. Dealers would value your attendance at the annual Easter Antique Fair in Bendigo. The

catering is excellent and the hospitality is second to none – and the antiques and collectables are frequently fresh stock saved for this show, making it a must-go to fair over the April long weekend. Robert and Carol Dennis BENDIGO EASTER ANTIQUE FAIR 0414 248 120

CENTRAL VICTORIA ANTIQUES & ART IN VICTORIA

ANTIQUES AND ART in Central Victoria

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

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

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

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

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

AVOCA 6

MARYBOROUGH 5 3

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

CASTLEMAINE COLLECTORS CENTRE Inc

4 8

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

7. AVOCA – 15 minutes from Maryborough McMURRAY GALLERIES

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

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

5. MARYBOROUGH STATION ANTIQUES & CAFÉ 29 Station Street, Maryborough 03 5461 4683 stantiqu@bigpond.com www.stationantiques.com Open 10 am to 5 pm 7 days a week Functions for 30 or more catered for day or evening. An 1890 National Trust classified building. Quality antiques, collectables, wine, food and art. The wine bar has selected regional wines at cellar door prices. Homestyle meals and cakes prepared and baked on premises

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

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

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

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

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

BALLARAT ANTIQUES & ART IN VICTORIA

Pro Hart P

ro Hart rejected the Academy well before they even knew of his existence. ‘You cannot teach art,’ Pro would say, meaning that artistic creativity is innate. It is not acquired. Pro’s rejection of the Academy is a subtle indication of his status as an ‘Outsider Artist.’ Art academics, curators and critics most often dismiss the art of Pro Hart because of ignorance, art snobbery and their desire to kowtow to their ‘clubbish’ or shared values, attitudes and self-appointed guardianship of

Australia’s iconic ‘Outsider Artist’ the ‘canon’ of Australian art. For instance, Alan McCulloch’s determination that Pro Hart was ‘prolific’ and a ‘self promoter’ was the kiss of death, and said nothing of Hart’s genuine and original aesthetic. Pro Hart was acutely aware of rejection from the beginnings of his career: ‘The art critics, they don’t like anything that sells and my first few exhibitions were sell-outs. Straight away I had art critics running me down. You know, running me down to the lowest... The art critics don’t like you if you’re

a good seller and people liked my paintings because they were Australiana and of course that turned the critics against me and none of the national galleries ever buy my work.’ Outsider Art is a theory developed in the early 1970s by art historian Roger Cardinal. It is intended to help us understand the product of the aesthetic energy of individual artists who work beyond the formal art world. Outsider Art is not an art movement, nor is it an art style. It is more appropriate to describe the social environment and the personal attributes of people who typically are Outsider Artists. The phenomenon of the authentic Outsider Artist is not time specific and it seems reasonable to imagine such creative autodidacts emerge in every generation. Outsider Art thrives on its own resources and references, and can, in the extreme case, be highly idiosyncratic and obscure. Outsider Artists are usually ignorant of artistic traditions, lack professional training, and have little or no interest in becoming part of the professional art world. They create from an inner need rather than wanting to please an audience. Their art stems from personal visions rather than family or cultural traditions. They often work in isolation and live outside mainstream society and are often recluses and eccentrics. Most often, the Outsider Artist has either rejected or has been rejected by the formal art world. Within all of this, the Outsider Artist is driven beyond reason in a compulsive manner to create what is often a massive body of work. By their very nature Outsider Artists are isolated and fiercely independent individuals to the point where their logical thought processes appear to be significantly different from the rest of the community and to that of many other artists. They place their driven desire for self actualisation above all else. Pro Hart is a classic and authentic Outsider Artist. Iconic in the public sense, equally as much as Grandma Moses is within the American cultural landscape. Popularity and poor management led Pro Hart to naively ‘paint to order’ while at the same time working on his masterpieces, which his audience either didn’t know about or didn’t want. It is only since his death in 2006 that the range of his artwork has reached a broader audience. Hart’s final creative burst occurred between 2001 and 2004 when he embraced printmaking with tremendous energy and enthusiasm. He had been introduced to line etching in the mid 1970s when he had regular contract with art historian and private press publisher Robert C. Littlewood. Together they

visited Louis Kahan and at Littlewood’s request, Kahan brought out of storage his copperplate for a Parisian night scene he had etched years earlier. Throughout the 1970s and early 1980s Pro experimented with line etching and monotypes but rarely exhibited such work. From 2001, Robert Littlewood spent three years working with Pro, helping him to develop his graphic prints in pursuit of a major publishing venture, both of graphic prints and artist’s books. Littlewood established a fully fitted printmaking workshop adjacent to Pro’s studio in Broken Hill. The publisher then recruited young Melbourne-based artists to travel with him to Broken Hill to provide technical assistance to Pro Hart. Littlewood commissioned academics to research and write about Pro Hart as little formal attention had been paid to the artist’s work. Photographer James Calder was commissioned to document Hart in more than 200 colour and black and white film, and digital photographs. Littlewood also commissioned a cinematographer to shoot some 35 hours of digital video over an 18 month period and conducted three in-depth interviews with the artist. The outcome of all of this work has been the publication of 120 graphic prints and production of five artist’s books, a portfolio of photographs and a 90 minute video documentary. No such attention has been given to any other Australian artist by any one publisher. Given Pro Hart’s terminal illness and premature death, Robert C. Littlewood’s work with Australia’s most popular artist could not have been timelier. GALLERY ON STURT 03 5331 7011 www.galleryonsturt.com.au

BALLARAT ANTIQUES & ART IN VICTORIA

From left to right: Marion Manifold, L’ile des Epis, Strasborg, 2010, linocut and beads Michael Shannon (Australian, 1927-1996) The shot tower, 1957, oil on composition board. Private collection © The estate of the artist

Plan a visit to the Art Gallery exciting exhibition program

isit Australia’s premier regional art gallery in Ballarat to see its extraordinary collection of Australian art spanning early colonial through to contemporary art. See works by Australian Impressionists Roberts, Streeton and McCubbin as well as Dobell, Nolan, Drysdale, Boyd and Whiteley and enjoy the varying exhibitions.

SPECIAL COLLECTIONS Among its special collections is a display of work relating to the Lindsay family of artists, including a recreation of the parlour of their home in nearby Creswick. This was given to the Gallery in an arrangement masterminded by Sir Daryl Lindsay when he was Director of the National Gallery of Victoria. The Gallery is also home to the South Cross Flag, flown at the Eureka Stockade in 1854. The flag has been conserved this year and is back on show.

MICHAEL SHANNON Australian Romantic Realist 10 December–12 February Michael Shannon (1927-1996) is one of the unsung heroes of Australia’s art world. In his heyday in the 1950s and 60s, Shannon’s distinctive paintings were as avidly collected and frequently displayed as those of his near contemporaries John Brack and Fred Williams. However since his death from Parkinson’s disease at the age of 65 in 1993, his work has been largely overlooked by critics and the public. Shannon was one of the first artists in the post-war period to explore the urban landscape, depicting the suburban sprawl. Later lyrical landscapes of central Victoria seem to ignore all the aesthetic debates of the 1970s and 1980s as he returned to a celebration of the rural hinterlands, as was first undertaken by Australian impressionists of the late 19th century. Nearly 20 years after his death the Art Gallery of Ballarat presents a retrospective of the work of this major artist; the exhibition shows works that merit comparison with those of his better known contemporaries.

PETER ALDRICH: DOG 10 December–22 January This exhibition’s title refers to the Australian colloquial use of the word describing a man

who is untrustworthy and unlikeable. These works are informed by the growing influence of inappropriate and harmful masculine behaviour which is heavily promoted through irresponsible media sources.

NEXTGEN 28 January–18 March This is one of the most exciting exhibitions each year, comprising a diverse range of artworks by young artists from Ballarat and Grampians region secondary colleges. The Art Gallery of Ballarat is proud to offer this opportunity to the young artists of its region.

of Ballarat’s

Artist’s statement ‘For us, the landscape that is etched into our collective memories – the rolling hills and fields – is under challenge by the march of wind turbines which tower like huge columns, their texture and shape so incongruous with the land, claiming the land as their own. We have to share the land with manmade structures whether we like it or not, the traditional pumping windmill, concrete silos,

transmission lines, and the structures associated with mining and drilling. We have come to accept these objects in the landscape as no doubt future generations will with the wind turbines.’ For more information about the exhibitions contact ART GALLERY OF BALLARAT 03 5320 5858 www.artgalleryofballarat.com.au

MARION MANIFOLD Through the notebook – Marie Antoinette 24 March–29 April Victorian artist Marion Manifold has strong family connections to the western Victorian region which she has explored in her artwork. She draws on Marie Antoinette’s Notebook of Ladies’ Attire in the Archives Nationales in Paris, an extraordinary book of fabric samples presented to Marie Antoinette, who pricked the pages with a pin to choose her attire. Manifold started by using a facsimile of the book and researching places and images of Marie Antoinette’s life and era (1755-1793) including the French Revolution period. She has created works that are variously richly beaded, embroidered or painted, some with silk appliqué, in keeping with Marie Antoinette’s pursuit of the arts, fashion and extravagance. Marie Antoinette’s fashion revolution was the beginning of her end on the guillotine. Her fate is omnipresent in the work – the attempted destruction of her identity through satire, as Prisoner No 280 and through to the complete loss of identity by beheading and then burial in an unmarked grave.

KERRIE LEISHMAN The New Beauty 31 March–13 April Kerrie Leishman, born in Creswick has developed a national profile from her work as an artist at the Sydney Morning Herald since 1987. Leishman is inspired by wind turbines in the landscape, addressing the question of how an artist might create landscapes which incorporate these relatively new additions to the Australian countryside.

BENDIGO ANTIQUES & ART IN VICTORIA

Catherine Brennan of Salt & Pepper Gallery

Yvonne George sculpture in Artizen Gallery

Tulip vases, c. 1940s, made by Bendigo Pottery

Bendigo Pottery

adds a new Antiques & Collectables Centre

n Antiques and Collectables Centre is opening at the iconic Bendigo Pottery. With over 30 individual stall holders, there is depth in the range available including ceramics, Australian paintings, glassware, jewellery and books. The Centre is open daily from 9 am to 5 pm, the same hours as the Bendigo Pottery.

Collectors have many choices among the fresh stock, much of it not seen on the market until this new centre opened. This exciting venture complements the historic ceramic manufacturing and retail outlet, museum, artists’ galleries and café on this historic site. After you have made your purchases, explore this nationally important complex and its galleries.

Contemporary tableware decorated with Red Japonica pattern

AUSTRALIA’S OLDEST WORKING POTTERY First registered in 1858 this is Australia’s oldest working pottery and has been operating continuously on the current site since 1863, and now on the Victorian Heritage Register. The Scottish potter, George Duncan Guthrie began supplying the goldfields with ginger beer bottles, then the lovely majolica ware of the late 1800s including the famous bread plates, cheese dishes and decorative jardinières. The potters have adapted to social, economic and technological changes to survive for over 150 years. The large collection of bottle shaped, circular and rectangular, wood fired, down draught kilns and their associated chimneys is internationally significant. The extensive brick floors, paths and stables form a richly textured back drop as you meander around Bendigo Pottery.

BENDIGO POTTERY GALLERY

BENDIGO

POTTERY

NEW – Antiques & Collectables Centre Now open and featuring over 30 individual sites

Known for its high quality, Bendigo Pottery is still made on site and includes table ware, cookware and decorative vases. See experienced potters hand-throwing pieces on their wheels while other craftspeople prepare the clays and create the rest of the range in the extensive pottery. Many pieces are skilfully hand decorated.

INTERPRETIVE MUSEUM The museum explores 150 years of history through soundscapes, displays, ceramic collection and a unique theatre inside an historic kiln. Views into the factory areas give an insight into current production methods.

Heritage kilns

SALT & PEPPER GALLERY Experience the working gallery run by Catherine Brennan. Her work includes textiles, paintings, drawings, ceramic sculpture, photography and jewellery. Art classes are offered in this gallery.

COTTAGE GALLERY This incorporates several studios. These are new artist’s spaces for painters, sculptors and lamp work glassmakers.

PAYNTER GALLERY The Gallery is hosting the Bendigo Art Society exhibition, open until 16 February 2012. This space is ideal for short-term exhibitions and enquiries are welcome.

OPEN SEVEN DAYS Antiques, collectables, pottery and art are all at the Bendigo Pottery at 146 Midland Highway, Epsom which is 6.5 km north of the centre of Bendigo, and an easy 1 1/2 hour drive from Melbourne. The pottery is open daily from 9 am to 5 pm. A relaxing café offers a break when exploring the new Antique & Collectables Centre and the various galleries at Bendigo Pottery.

HANDS-ON EXPERIENCES Under the guidance of a skilled potter you can learn new skills on the wheel. Lessons run daily. Come to paint your own plate during school holidays. Details are kept up to date on the website www.bendigopottery.com.au.

BENDIGO POTTERY 03 5448 4404 bpottery@bendigo.net.au www.bendigopottery.com.au

POTICHE GALLERY

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 70

This gallery, named after the French term for a large porcelain jar or vase, features the works of regional Victorian potters. Currently on show are Sue James, Graham Masters, Tony Barnes and Kaye Poulton. In addition, artists Terry Jarvis, Ellen Osterfield, Robyn Clarke and Gail Tavener are exhibiting.

YVONNE GEORGE SCULPTURE STUDIO AND ARTIZEN GALLERY Specialising in metal design, see Yvonne George creating her well-known works. Here in this metal working studio are her water features, garden sculptures and large scale projects suitable for public and private spaces. The gallery also shows works of other sculptors working in many mediums.

Throwing on the potter’s wheel – just watch or learn the technique

BENDIGO ANTIQUES & ART IN VICTORIA

Clarence Sinclair Bull (American 1895-1979), Hedy Lamarr, MGM, c. 1940, gelatin silver print. Courtesy John Kobal Foundation, London

Michael O’Connell, Pandemonium (detail), c. 1930, linocut on linen

Bendigo Art Gallery MICHAEL O’CONNELL: THE LOST MODERNIST Until 19 February 2012

Australian printed textile design’ in World of Antiques & Art (August 2011-February 2012, 81st edition, pp. 94-97).

MADE IN HOLLYWOOD: PHOTOGRAPHS FROM THE JOHN KOBAL FOUNDATION 3 December 2011 – 12 February 2012

ritish/Australian textile artist Michael O’Connell was born in England in 1898 and after serving in WWI moved to Australia in 1920. Over the following 17 years, he became an important member of the burgeoning modernist movement in Melbourne and this exhibition examines his work. O’Connell became a member of the Arts and Crafts Society of Melbourne and made an enormous contribution to the development of modernism in Australia through his innovative and dynamic textiles. Beginning experimentation with linocuts in 1929, in 1930 O’Connell exhibited Pandemonium, composed of 12 large individual panels printed on linen to form a continuous frieze, the launch of his life’s work as a textile designer for the next 45 years. On return to the UK in 1937, O’Connell became a key figure in contemporary textile design, working with renowned textile manufacturer Heal’s. He was commissioned to produce the celebrated Festival of Britain wall hangings in 1951, which are now in the collection of the Museum of English Rural Life, Reading. He designed textiles until his death in 1976. Co-curators are Professor Harriet Edquist, Director, Design Archives RMIT University (whose book is published to coincide with the exhibition) and Tansy Curtin, Senior Curator, Bendigo Art Gallery. Read more about O’Connell in Professor Edquist’s article, ‘Michael O’Connell (1898-1976) Pioneer of

Organised by the Santa Barbara Museum of Art, California, this exhibition considers the critical influence of photography in manufacturing the myth of Hollywood as a magical place, inhabited by glamorous stars, where dreams came true. Featuring photographs taken from 1925 to the early 1960s, this exhibition considers the carefully constructed images and celebrity of many actors. Subjects include Elizabeth Taylor, Rock Hudson, Audrey Hepburn, Grace Kelly, James Dean, Marilyn Munroe, Charlie Chaplin, Buster Keaton, Laurel and Hardy, Carole Lombard, Jean Harlow, Mary Pickford, the Marx Brothers, Katherine Hepburn, James Stewart, Rita Hayworth, Vivien Leigh, Humphrey Bogart, Alfred Hitchcock, Ronald Reagan, Fred Astaire and Ginger Rogers. Drawn from the unrivalled archives of the late author, editor and collector John Kobal (1940-1991), the exhibition features the work of more than 50 photographers. John Kobal was the first collector who sought to understand the vital role that photographers played in the creation of stars, and one of the earliest historians to shift focus away from the stars to the Hollywood photographers. Kobal succeeded in building an archive of original vintage photographs by key

hosts two significant exhibitions photographers such as George Hurrell (1904-1992) and Clarence Sinclair Bull (1895-1979), the legendary head of the MGM stills department for over 40 years who took over 4000 photographs of Garbo alone from 1929 onwards. Another featured photographer is Ruth Harriet Louise (1903-1940), unusual in being a woman photographer at that time and exceptional in being the official photographer at MGM Studios from 1925 to 1930 when its stars were the biggest in Hollywood. All images clearly demonstrate the influence of photographers as they created iconic imagery for a world-wide audience. Kobal also collected

original 8 x 10 inch negatives (20.3 x 25.4 cm), a selection of which have been printed for this exhibition using traditional processes.

GALLERY PROGRAMS The Gallery offers an exciting range of programs and events associated with these two exhibitions and during summer holidays.

For more information contact BENDIGO ART GALLERY 03 5434 6088 bendigoartgallery@bendigo.vic.gov.au www.bendigoartgallery.com.au

The Lost Modernist: Michael O’Connell 26 November 2011 – 19 February 2012 A Bendigo Art Gallery exhibition Made in Hollywood: Photographs from the John Kobal Foundation Organised by the Santa Barbara Museum of Art, California 3 December 2011 – 12 February 2012 Grace Kelly: Style Icon Exhibition organised by the Victorian & Albert Museum, London and the Grimaldi Forum, Monarco 11 March – 17 June 2012

George Hurrell (American 1904-1992), Clark Gable and Joan Crawford for Dancing Lady, (detail) MGM, 1933, gelatin silver print. Courtesy John Kobal Foundation, London

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

ANTIQUES & ART IN VICTORIA

Graeme Base, From the Shadows for the Hope Card

Kris Aro McLeod, Northern California for the Hope Card

May Gibbs Children’s Literature Trust

Frané Lessac, The Garden

Storyteller Anna Conomos

Illustrators and writers of children’s books

at the Hughenden O Governor Marie Bashir AC, CVO with Maurice Saxby AM

riginal Australian children’s book illustrations by renowned Australian artists were exhibited in The Hughenden Reading Room. Academy Award short film winner for The Lost Thing, Shan Tan is represented with his stylised illustration of the monkey alienated in the modern world. Multi award winning illustrators Donna Rawlings, Nina Rycroft, Coral Tulloch, Frane Lessac, Cathy Wilcox and Steven Woolman are included. A rare

etching by Pixie O’Harris (1903-1991) reminds viewers of this much loved artist and her illustrations of fairies and Australian bushland flora and fauna. The Governor of New South Wales, Professor Marie Bashir AC, CVO was welcomed by authors, illustrators and those involved in children’s literature as Patron of the Children’s Book Council NSW. Speaking at its dinner hosted at The Hughenden, she advocated for children’s literature. Among the literati acknowledged for their contribution to children’s literature were the writer and critic Maurice Saxby AM, Margaret Hamilton AM, former children’s publisher and President of the Children’s Book Council Australia (CBCA) and Susanne Gervay OAM.

THE Hughenden c. 1870s

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

HUGHENDEN BOUTIQUE HOTEL 14 Queen Street, Woollahra, Sydney

www.thehughenden.com.au 02 9363 4863 72

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The 19th century Hughenden, is a natural home for children’s literature and illustration as it was the 19th century which saw the emergence of children’s novels and poetry. Major authors include E Nesbitt, Banjo Paterson, Ethel Turner, Rudyard Kipling, Robert Louis Stevenson, Lewis Carroll and Charles Dickens. In fact in Centennial Parklands, 1888, on Dickens Drive there is one of only two statues in the world of Charles Dickens, opposite The Hughenden. Associated with Australia’s first philosopher, Barzillai Quaife, it was built by Dr Frederick Quaife who had six children. The home later became the Riviere College for girls, whose students included Dame Constance Elizabeth D’Arcy (1879-1950) obstetrician and gynaecologist who fought to reduce maternal deaths and Lillian Daphne de Lissa (1885-1967) an educator of young children who directed the first Adelaide free kindergarten, Franklin Street, in a cottage in the city’s slums. The motto of the Riviere College, ‘The Rewards of Work and Diligence’, is etched in the glass above the entrance of the Riviere wing of The Hughenden alongside memorabilia and original artwork by Australian children’s illustrators Patricia Oktober and Sarah Davis. Jean Chapman donated her collection of children’s books, such as special Hans Christian Anderson editions, to The Hughenden, on display in the heritage gallery. One of Australia’s best-loved writers for children, Jean lived in Sydney and studied at the National Art School, starting writing stories for pre-school children for the ABC Kindergarten of the Air. In addition to 25

years as a scriptwriter for ABC children’s radio and television programs, such as Play School, she is widely known for her retelling of traditional stories and collections of stories, poems and songs, including Velvet Paws and Whiskers, Pancakes and Painted Eggs.

EXHIBITIONS and events The Hughenden is home to the Society of Children’s Book Writers and Illustrators (Australia and New Zealand). We host children’s literature and literary events, book launches, international and national literary dinners, publishing, literature and arts conferences, and storytellers’ afternoons. Another specialty is hosting indigenous Dreamtime days with traditional oral story, drawings and paintings. Dr Garry Darby, a specialist in indigenous art has regular exhibitions of paintings from leading Central and Western Australia Aboriginal artists. Committed to children’s literature, the Book Menu offers modern titles with all proceeds from sales donated to Room to Read, a charity introducing literacy children in the developing world (www.roomtoread.org), with over five million reached to date. Children’s authors and illustrators from northern California – Linda Boyden, Angela Dominguez, Kathie Strother-Scholl, Danna Smith, Zu Vincent and Kris Aro McLeod – sent their words and illustrations in the beautiful Hope Card book to the children of Australia and the Victorian fires. This is sold in the Book Menu along with autographed children’s books. Books in homes for indigenous and disadvantaged children, The Cancer Council, Relay for Life, Children’s Book Council Australia, The Alannah & Madeline Foundation, MonkeyBaa Theatre for Young People, Starlight, networks of children’s writers and illustrators are part of the fabric of the life of children’s literature at The Hughenden. Visitors are welcome to wander through the Victorian lounge and find the portrait of the Victorian girl, discover the Reading Room illustrations, select a book from the Book Menu, purchase autographed children’s books and discover an authentic literary and arts life. Susanne Gervay OAM THE HUGHENDEN Free call 1800 642 432 02 9363 4863 reservations@thehughenden.com.au www.thehughenden.com.au

BENDIGO ANTIQUES & ART IN VICTORIA

Easter Art Show and Sales at Bendigo Town Hall 6 – 9 April A

top annual destination for lovers of art is the Rotary Club of Bendigo’s annual Easter Art Show and Sales. Now in its 44th year, the 2012 show is from Friday 6 April to Monday 9 April in the Bendigo Town Hall over the Easter long weekend. Over 700 paintings are at this selling exhibition, where art enthusiasts buy direct from the artists. All proceeds from art show entry tickets, art sales and the preview evening will benefit local and overseas charitable programs The awards are non-acquisitive. The two main awards are for contemporary and traditionalist/realist art ($2,500 each); there is a special category on Anzac/military themed art ($1,000); and a fourth award for a work in pastels. One encouragement award and five highly commended awards ensure recognition of excellence and creativity in the works accepted for the Easter Art Show and Sales. High quality works include entries by Gwen Eichler, the 1985 Portia Geach Memorial award winner. Gwen’s work Wally was hung in the 2010 Archibald Prize and it subsequently won our 42nd Annual Easter Art Show’s traditionalist/ realist award. Members of the Rotary Club of Bendigo are seeing a rise in the quality of works being presented. So there was a greater level of sales – which is great for the artists and for collectors.

VISIT WITH ARTISTS Many exhibiting artists attend the art show and love to talk about their inspiration, methods and passions. This professional exhibition attracts over 5,000 visitors.

The Easter Art Show and Sales opens throughout the long weekend with a $5 admission charge (young children are free). On Good Friday, Easter Saturday and Sunday the open hours are between 10 am and 5 pm. Opening hours on Easter Monday are from 10 am to 4 pm. There is ample street parking for the convenience of patrons. The Rotary Easter Art Show and Sales holds an important role in the art community, allowing artists of differing levels of skills to show and sell their works. Artists exhibit from interstate and metropolitan Melbourne and regional Victoria. The artists who were awarded the non-acquisitive prizes had most works purchased in 2011. Artists commented that it gave them a very strong message to present their highest quality works and they will be well-rewarded.

ART SHOW PREVIEW EVENING – PRESENTATION OF AWARDS Join other art lovers, Bendigo leaders and the paparazzi at the Preview Evening on Thursday 5 April, starting at 6:30 pm. Your $25 ticket entitles you to drinks and hors d’oeuvres, being a guest at the award presentations and first pick of the artworks. Formalities commence at 8 pm, opened by Jonathan Ridnell a popular local radio announcer, followed by the President of the Rotary Club of Bendigo, Wayne Smith. Awards will be announced and presented, only after which are all paintings on sale.

INVITATION TO PARTICIPATE Artists are invited to enter the Rotary Club of Bendigo’s 44th Annual Easter Art Show and Sales. The entry fee is just $5 with the low sales commission of 20% – all of which goes to charity. Deliver works by our courier service from Melbourne and Geelong. Entries close in March 2012. All proceeds from entry tickets, art sales and the preview evening will benefit local and overseas charitable programs.

For further information contact Graeme Clarke ROTARY CLUB OF BENDIGO 0409 164 600 sales@lightswitch.com.au www.clubrunner.ca/bendigo

Rotary Club of Bendigo

Easter Art Show & Sales Preview Evening Thursday 5 April General Exhibition Friday 6 April - Monday 9 April

BENDIGO TOWN HALL Outstanding Contemporary Composition any medium Cash prize $2,500 Outstanding Traditionalist/Realist Composition Cash prize $2,500 Outstanding Composition with a Military Focus Cash prize $1,000 (All prizes non-acquisitive)

ENTRY FORM CAN BE DOWNLOADED FROM www.clubrunner.ca/bendigo Enquiries: Graeme Clarke 0409 164 600 Email: sales@lightswitch.com.au 73

ANTIQUES & ART IN VICTORIA

A DAY OF CELEBRATION AT THE

SHEPPARTON ART MUSEUM re-opening on 18 February 2012

ight months’ redevelopment will be on show when the Shepparton Art Museum (SAM) reopens on 18 February. The new Museum will feature state of the art lighting, climate control and six new galleries to house its renowned collection. Come and enjoy a day of celebrations of free museum tours, live music, children’s activities and much more.

SIR JOHN LONGSTAFF, PORTRAIT OF A LADY 18 February – 22 April 2012 also marks the 75th anniversary of the art museum and to celebrate that milestone, it reopens with an exhibition of Shepparton’s most celebrated painter, Sir John Longstaff (1861-1941). Portrait of a Lady brings together a stunning selection of paintings of women by one of Australia’s most regarded portrait painters. Curated by Longstaff expert Susan Gilberg, Portrait of a Lady surveys the artist’s extensive depictions of colonial women at the end of the 19th century and in the early decades of the 20th century. Longstaff has a special place in the history of the Museum as he secured its original funding and was subsequently an early adviser on the painting collection.

SAM provides an array of free public programs for the community

INDIGENOUS CERAMIC ART AWARD 18 February – 22 April Also scheduled for the reopening is the 2012 Indigenous Ceramic Art Award. This is the third edition of the biannual $20,000 acquisitive award that showcases works by leading contemporary Indigenous ceramic artists from across Australia. The exhibition will be accompanied by a fully illustrated catalogue and an extensive public program including artist talks, floor talks and workshops.

FROM THE PERMANENT COLLECTION In addition to these temporary exhibitions, SAM will also house a new display of its permanent collection, ranging from early Australian landscape painting through to its significant collection of contemporary art, including Sam Jinks’ much loved sculpture Woman and Child, 2010.

For the first time SAM’s internationally renowned ceramics collection will be integrated within the context of the broader collection, allowing for a more comprehensive display of the history of Australian art in all media.

SHEPPARTON ART MUSEUM 03 5832 9861 art.museum@shepparton.vic.gov.au www.sheppartonartmuseum.com.au

John Perceval, Angel with Arms Upraised, 1961, earthenware and glaze. Shepparton Art Museum

Kids enjoy creating their own work of art in the 2010 Sidney Myer Fund Australian Ceramic Art Award Clay Play room

Rona Rubuntja, Aranda Palm Valley Muster, 2008, hand built terracotta with ceramic underglaze decoration. Shepparton Art Museum

SHEPPARTON ANTIQUES & ART IN VICTORIA

SIR JOHN LONGSTAFF: PORTRAIT OF A LADY

SIX NEW COLLECTION GALLERIES

2011 INDIGENOUS CERAMIC ART AWARD

SIDNEY MYER FUND AUSTRALIAN CERAMIC AWARD

Exhibition dates 18 February to 22 April 2012

SAM Permanent Collection

Exhibition dates 18 February to 22 April 2012

Six new galleries with state of the art lighting showcase SAM’s renowned ceramics collection along with Australian art in all media from the 19th century to the present day.

Thisis the 3rd incarnation of this special event which brings together the work of Aboriginal Artists from all over Australia.

Applications now open Australian Artist Prize $25,000 International Artist Prize $25,000 Emerging Australian Artist $5,000

Portrait of a Lady brings together a stunning selection of paintings of women by one of Australia’s most regarded portrait painters, Sir John Longstaff. Sir John Longstaff Polly Apperly, 1899 SAM Permanent Collection

Sam Jinks Woman and Child, 2010 SAM Permanent Collection

See sheppartonartmuseum.com.au for details of the Cultural & Public Programs and the 2012 Emerge Festival

Applications now open online Applications close Wednesday 1 February 2012 Stephen Benwell 2010 SMFACA Australian Artist recipient Fragments 2010, ceramics, perspex case Photography Christian Capurro

Danie Mellor 2009 ICAA 1st prize winner Materially Cultured (an allegorical scene of a bastard history). Photography Terence Bogue

LAUNCH PARTY

Saturday 18 February 2012 Free arts activities, live music & tours of SAM: 10.00am to 5.00pm For more information please visit sheppartonartmuseum.com.au

Shepparton Art Museum, 70 Welsford St, Shepparton, 3630 VIC p 03 5832 9861 f 03 58318480 e art.museum@shepparton.vic.gov.au

GIPPSLAND ANTIQUES & ART IN VICTORIA

Rug hand woven in Shahr Babak, wool and cotton, 1125 x 190 cm

Rug hand woven in Sirjan, wool and cotton, 191 x 151 cm

Persian carpets woven by the Afshar people

arpets woven by the Afshar tribe are highly distinguished and collectable as they are the only rugs in the Kerman region of southern Persia woven by nomads. Today, the majority of the Afshar population are settled in the city of Sirjan. Almost every house in the city has one or two

looms where family members are actively making bold and strongly coloured rugs, renowned for their thick woollen weft and thus a stiffer body.

THE AFSHAR NOMADS Afshar nomads are related to the Kurdish nomads. The latter used to live near the border between the two provinces of Kurdistan and

eastern Azerbaijan, in the north-western region of Persia. During the war between the Ottoman and Safavi empires (Turks and Persians) in the 15th century, many clans were forced to flee their homelands, with many moving into safety in provinces of Persia. Nomadic Afshar people were one such tribe. They made a mass migration far into the south, to the Kerman province in southeastern Persia. They settled around the towns of Shahr-Babak, Sirjan and the village of Pardsir, long a carpet weaving area.

DESIGNS AND MOTIFS

LOCH VILLAGE BARGAIN HUNT

Rugs have been produced by this tribe for centuries. Geometric designs are a hallmark of the carpets woven by Afshar nomads in this region. Some of the Afshar rug designs are similar to their Qashqai nomadic counterparts. Over the past five centuries, the influences of the neighbouring Fars province’s way of life and culture have transformed the designs of their rugs. Afshar nomads have preserved some of their own Kurdish/Turkish culture which is noticeable in the way they weave and design motifs in their rugs.

Persian rugs woven in the villages of Marj and Paghaleh have pine tree designs, sometimes in a mirror effect. Animal figures also feature such as stylised peacocks, dogs and goats. Most animals are coloured in red, blue, green and black. However when a weaver puts a black goat in the design, it is usually in memory of a lost person in the family. Some of the finer Afshar carpets from Shahr Babak have repeated hexagonal panels, with stylised trees in the middle of panels and in between. Any peacocks or bird symbols woven onto the trees represent the Tree of Life design. Note that there is no workshop production from Sirjan nor any other village or town in which Afshar people live and weave. With one or two looms in most homes, the colourful rugs have highly individualised designs based on traditions. Therefore the range of designs is vast and always interesting. Afshar rugs are highly recommended by dealers around the world as potential collectors’ items. Majid Mirmohamadi THE MAJID COLLECTION 03 9830 7755 majidcarpets@optusnet.com.au www.majidcarpets.com

Saturday 28 April 2012 Stallholders Required Contact Graham Hastie for details Ph: 03 5659 4215 Mob: 0433 969 835

CARRINGTONS OF LOCH VICTORIA ST LOCH VILLAGE Visit historic Loch Village and browse through Carringtons’ unique range of antiques, art, fine English bone china, old wares, lamps & reproduction mahogany furniture

We are open from 10 am to 5 pm, 7 days Ph: 03 5659 4215 Mob: 0433 969 835 Email: sales@carringtons.com.au

www.carringtons.com.au 76

Rug hand woven in Sirjan, wool and cotton, 160 x 137 cm

GIPPSLAND ANTIQUES & ART IN VICTORIA

Summer in South Gippsland

John Koenders at the Palais de Festivale, Cannes, France with Sir Peter Rhodes

A major exhibition of the latest works by Di & John Koenders 31 December 2011 – 31 January, 2012

ummer in South Gippsland will be held at the Koenders’ magnificent gallery/studio at Arawata, in the beautiful rolling green hills of the Strzelecki Ranges in South Gippsland. Visitors to the gallery are always guaranteed air-conditioned comfort year round, ensuring that each gallery experience is a delight. The property is an historic farm graced by age-old oaks and conifers planted by its early owners. Today, peacocks, geese, ducks and chooks parade through the colourful cottage gardens; truly a ‘little piece of paradise!’ Time has stood still at Mayfield, and a visit to this remarkable place is a welcome respite from the pace of the modern world. In this idyllic location grow roses, foxgloves and all manner of old-fashioned cottage plants that leap out at you from every corner, and the views are unsurpassed. Adding to the charm of Mayfield are John and Di Koenders, talented artists and descendants of the great Dutch master – Vincent van Gogh. Having painted professionally for 40 years, their relationship to Vincent was only discovered four years ago. This revelation has naturally added provenance and value to their beautiful artworks. John and Di are realist artists, so although art is in their genes, their painting style is different to their famous ancestor.

A JOURNEY: A DOCUMENTARY They are extremely proud and passionate about their heritage, which lead them on a journey of discovery to find out more about Vincent. Their quest saw them visit England, Holland, Belgium and France, walking in his footsteps and visiting places significant in their famous ancestor’s life. John also painted where Vincent painted, and a documentary was filmed that captured this special journey. Earlier this year John and Di travelled to Cannes, France, where their documentary was screened. It was a very important event and proudly, an international distributor is now handling the film. Several deals have been secured with international broadcasters. The documentary is due for release within the next few months.

Excitingly, their documentary explores many amazing and controversial facts concerning Vincent van Gogh’s life and early death. Both John and Di are convinced that Vincent did not commit suicide, which has been commonly believed until now. A book will also be released covering their fascinating story. Should you wish to procure a copy of the DVD or the book, pre-sale orders are being taken at Mayfield Gallery.

AT MAYFIELD GALLERY At this fascinating gallery/ studio, you are welcomed with true country-style hospitality. Enjoy a chilled glass of wine or cup of tea or coffee while soaking up the atmosphere and ambience of this picturesque gallery. Massive windows frame the breathtaking view across the Strzelecki Ranges that the wild birds feeding on the balcony also enjoy. Take the time to chat with John and Di, their world of art is both intriguing and informative. The walls are adorned with superb paintings. Glowing oils of graceful old gum trees along meandering riverbanks; watercolours of old farmhouses with chooks in the garden; plus many other canvases on a myriad of subjects to suit just about any taste in art. Delight in the finely detailed birds and wildlife – from tiny blue wrens to massive wedge-tailed eagles and black cockatoos meticulously rendered, the feathers so real you can sense the wind ruffling them. Should you wish to make one of these treasures yours, by dealing direct with the artists there is the additional benefit of saving on costly commissions charged by private galleries. These multi-award winning artists have clients all over the world. Corporate and private collectors include HRH Princess Anne, the Royal Household of the Sultan of Brunei, Mr John Howard and Mrs Janette Howard, Jeff Kennett, the late Bud Tingwell, John Wood, Rob Gell and Andre Rieu.

THE ROUTE TO ARAWATA A short drive out from Leongatha or Korumburra through magnificent rolling hills and idyllic scenery brings you to Arawata. We’re sure you won’t be sorry! During the exhibition, the gallery will be open daily from 10 am to 5 pm including all public holidays.

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

MAYFIELD GALLERY PRESENTS a Major Exhibition of Landscape & Wildlife Art by

DI & JOHN KOENDERS 31 December 2011 – 31 January 2012 Open Daily – 10 am to 5 pm including all public holidays Di & John will be in attendance throughout

FORTHCOMING MAJOR EXHIBITIONS Saturday 31 March – Sunday 22 April INCLUDING ALL EASTER DAYS Open daily 10 am to 5 pm Or phone for an appointment – 03 5659 8262 MAYFIELD GALLERY FAIRBANK RD, ARAWATA 10 mins north of Leongatha Only one hour from the Eastern Suburbs Fully air-conditioned for year-round comfort www.mayfieldgallery.com.au info@mayfieldgallery.com.au 77

VICTORIAN ANTIQUE DEALERS GUILD ANTIQUES & ART IN VICTORIA

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

Alan Duncan, Donvale Antique Clocks Guy Page, Page Antiques Barbara Thomas, Mentone Beach Antique Centre Alastair Wilkie, Marquis Antiques Graham Pavey, Pavey Collectable Antiques Diana Brady, Circa Antiques, Tanya Gale, Camberwell Antique Centre

Ph: 03 9874 4690 or Ph: 03 9880 7433 or Ph: 03 9583 3422 or Mob: 0402 888 439 Ph: 03 9596 1602 or Mob: 0438 048 260 Ph: 03 9882 2028 or

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

VICTORIAN ANTIQUE DEALERS GUILD INC. MEMBERS More than 26 Years Service to Antiques Collectors A.B. Furniture 630 Glenhuntly Road, South Caulfield, Vic. 3162 Phone: 03 9523 8050 Mobile: 0407 822 115 Antik@Billy’s Mailing Road Antique Centre, Canterbury, Vic. 3126 Mentone Beach Antiques Centre, Beach Road, Mentone, Vic. 3149 Maryborough Station Antiques Centre, Maryborough, Vic. 3465 Mobile: 0402 042 746 Billygarry@bigpond.net.au Armstrong Collection 42 Station Street, Sandringham, Vic. 3191 Phone: 03 9521 6442 Mobile: 0417 332 320 Camberwell Antique Centre 25 Cookson Street, Camberwell, Vic. 3124 Phone: 03 9836 2301 Mob: 0418 373 940 Circa Antiques & Collectables Dianna Brady 126 Mollison Street Kyneton, Vic. 3444 Mob: 0404 650 667 Email: circaantiques@myacn.com.au www.circaantiques.com.au Dalbry Antiques & Collectables at Mentone Beach Antique Centre 68 Beach Road, Mentone, Vic. 3149 Phone: 03 9583 3422 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 Diana Brady at Circa Antiques Mollison St, Kyneton Vic. Stall 7, Dalysford Mill Market, Vic. Mobile: 0438 048 260 Donvale Antique Clocks 12 White Lodge Court Donvale, Vic. 3111 Phone: 03 98744 690 Mobile: 0409 744 690 Email: clocks@bigpond.net.au Ern Opie Valuer 3/1 47 Roslyn Road, Belmont, Geelong, Vic. 3216 Phone: 03 5244 4521 Mobile: 0417 575 484 French Heritage at Mentone Beach Antique Centre 68-69 Beach Road, Mentone, Vic. 3194 Phone: 03 9583 3422 Mobile: 0437 121 040 Email: frenchheritage@bigpond.com www.antiquecentrementone.com.au Imogene 410 Queens Parade, Fitzroy North, Vic. 3068 Phone: 03 9569 5391 Mobile: 0412 195 964 Irene Chapman Antiques at Camberwell Antique Centre 25 Cookson Street Camberwell, Vic. 3124 Mobile: 0421 270 835 Ivanhoe Collectibles Corner Tearoom 231 Upper Heidelberg Road, Ivanhoe, Vic. 3079 Phone: 03 9497 1935

Julian Phillips at Tyabb Packing House 14 Mornington-Tyabb Road Tyabb, Vic. 3913 Phone: 03 5977 4414 Mobile: 0438 086 708 Kilbarron Antiques & Collectables By appointment only: 1 Laurel Grove Blackburn, Vic. 3130 Phone: 03 9878 1321 Mobile: 0417 392 110 Marquis Antiques 105 Central Springs Road, Daylesford, Vic. 3460 Phone: 03 5348 4332 Ah: 03 5474 2124 Mobile: 0402 888 439 Email: marquisfurniture@hotmail.com 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 doug.gale@bigpond.net.au Page Antiques Warehouse 323 Canterbury Road, Canterbury, Vic. 3126 Phone: 03 9880 7433 Mobile: 0411 175 320 Email: guypage@bigpond.com Pavey Collectables – Antiques at Camberwell Antique Centre 25 Cookson Street, Camberwell, Vic. 3124 Mobile: 0411 437 455 Seanic Antiques 419 Melbourne Road, Newport, Vic. 3015 Phone: 03 9391 6134 Mobile: 0418 326 455 www.seanicantiques.com.au

REGIONAL AND INTERSTATE MEMBERS Baimbridge Antiques 64 Thompson Street, Hamilton, Vic. 3300 Phone: 03 5572 2516 Email: ruth@baimbridgeantiques.com.au www.baimbridgeantiques.com.au Glenross Antiques Lese and Richard Worboys 147 Hume Highway, Holbrook, NSW 2644 Phone: 02 6036 3122 Morrison Antiques 55 Carey Street, Tumut, NSW 2720 Phone: 02 6947 1246 Mobile: 0408 965 336 Neville Beechey’s Antiques & Fine Furniture 208-210 Murray Street, Colac, Vic. 3250 Phone: 03 5231 5738 Mobile: 0418 523 538 Selkirk Antiques 29 Summerland Circuit, Kambah, ACT, 2902 Phone: 02 6231 5244 Mobile: 0418 631 445 The Time Gallery John Allott 129 View Street Bendigo, Vic. 3550 Phone: 03 5441 1998 Mobile: 0405 210 020 Email: johnrallott@live.com.au

Direct enquiries to any of the Guild Committee Members

ANTIQUES – ULTIMATE RECYCLING 78

VICTORIAN ANTIQUE DEALERS GUILD

Member profile MEET IRENE CHAPMAN Starting out: when did it begin? Irene started her business in 1956 nearly 65 years ago. She only recently joined the Victorian Antique Dealers Guild. Having a shop in Bay Street Brighton for many years where she was buying, selling or selling on consignment, Irene has had many enjoyable years in the profession. Having recently sold her shop Irene is now based in Camberwell Antique Centre. What sparked your interest? The antique shop in Albert Park I used to visit when I was nine years old. I used to enjoy looking at all the interesting and beautiful things in the shop. What area of antiques do you most enjoy? Like most women I have a great interest in jewellery. I find quirky or the more unusual antiques to be of most interest.

What’s your antiques tip for the future? Artefacts and good quality furniture from the 1950s and 1970s. What’s the best piece of advice you’ve received over the years? Do not follow the pack. This way you are sure to collect some very interesting antiques. What advice would you pass on to others? As above, do not follow the pack! You will build a collection that will be of great interest to others. Any other comments you would like to add? To be truthful and sincere in the product you sell. Do not buy an antique unless you really love it or it has historical significance.

VICTORIAN ANTIQUE DEALERS GUILD

What’s your favourite piece in stock at the moment? A pair of 18th century putti that would have been attached to a church music piece.

Established in 1982, the Guild’s motto is ‘Service and Protection.’ As a member of the Victorian Antique Dealers Guild, Irene maintains a professional standard and code of ethics by which all members abide:

What antique piece can’t you live without? I have a Japanese inlaid cabinet that has pride of place in my private collection. It gives me great pleasure to pause and admire the cabinet from time to time.

To take pride in presentation and proper identification of antiques and collectables To foster interest in collecting antiques To display professional conduct at all times To generate the honesty and integrity of Guild members towards clients.

NEW SOUTH WALES ANTIQUES & ART IN VICTORIA

The magic of maps A

s early as ancient classical times Greek and Roman scholars were hypothesising about the existence of a globally shaped world with a large land mass in the southern hemisphere. This was concluded by reason of balancing the known land masses in the northern section of the globe with this large southern continent. This concept of terra australis incognita (unknown southern land) was given such precedence that it was eventually taken as factual. Ptolemy, Eratosthenes and others represented it on their maps, some as early as the first century BC. Claudius Ptolemy, the most influential cartographer of the ancient world, had Africa linked to the unknown southern landmass in his maps. The belief in a great southern land was given more credence when Marco Polo reported the existence of three locations – Beach, Lucach and Maletur – just south of the lands now known as South East Asia. One of these locations falls directly on the current position of Western Australia. From the late 13th century, after Marco Polo had discovered the Orient and had brought back to Europe colourful stories and treasures of the East, Europeans lusted for more accurate reports and contact with the other side of the world. Land trade routes with Asia over the silk road, and Arab coastal trade routes brought back to Europe newly discovered and sought after products. However these routes proved to be slow, dangerous with pirates, and hazardous with war and local taxes thus hampering the free flow of trade. With the Turkish empire’s dominance of Constantinople in 1453 and further trade restrictions imposed by the Turks, the discovery of an alternative sea route became of paramount importance. With this push for growth of trade coupled with the exploration and discovery of suitable sea routes, came growth of wealth and power. The knowledge of local coastlines, currents, tides and trade winds became of absolute importance to traders and governments alike, and maps displaying this information were closely guarded as were any new discoveries made by seafaring captains. The nations and traders that possessed cartographical knowledge of new sea routes therefore had a major advantage over other competing countries. Two other factors emerged that further fuelled the lust for exploration of the East; the desire of the Christian world to convert newly exposed heathen populations and the basic curiosity that a ‘civilised’ people had for discovery and hope of finding unfamiliar populations, cultures, strange flora and fauna and unusual landscape. The invention of movable type by Gutenberg in the mid 1450s led to the development of woodcut print that allowed for maps and illustrations to be easily reproduced and distributed throughout the world, allowing easy access to newfound knowledge and discovery. As traders rapidly added to knowledge of the unknown world, cartographers were able to disseminate this information to the eager eyes of the Europeans more easily. With Dutch discoveries of lands south of Java and New Guinea in the early 17th century, the drive to once and for all prove the existence – or otherwise – of a southern continent, gained huge momentum. In 1630 the well-known Dutch cartographer Hendrick Hondius produced his famous world map showing the early Dutch discoveries of Cape York Peninsular. Willem Blaeu, official cartographer to the Dutch East Indies Trading Company, also produced a map of the East Indies showing for the first time on a regional map the Dutch discoveries on the west coast of Australia. With this knowledge came further desire to once and for all establish the existence of a Great Southern Land. The Dutch East Indies Company wished to further expand its commercial control and increase its profits, as did the Dutch government who wished to expand its power and establish other sea routes, allowing uninterrupted shipping throughout the year. So finally in 1642-43

J Blaeu, Nova ... orbis tabula, 1662

and later in 1644, Abel Tasman was commissioned to undertake two voyages of discovery in the ships Heemskerck and Zeehaen to categorically find the evidence of a southern continent. His first voyage covered an area from Mauritius, from where Tasman sailed south, then east to Tasmania. After discovering the island which now bears his name, he went on to chart the west coast of New Zealand. Finally, Tasman and his crew sailed north returning to Batavia in Java, the headquarters of the Dutch East Indies Company. Tasman had at last established the limits of Terra Australis. All but the east coast of Australia remained unmapped and, except for a few hypothetical attempts by the French in the mid-18th century to link New Guinea to Tasmania in one continuous coastline, no serious development in the mapping of Australia occurred until 1770 with James Cook. The careful recording of these discoveries has produced a wealth of cartographical documentation. Mapmakers from every nation compiled this information not only in manuscript charts, but also in numerous Bibles and atlases. From the first printed world map in 1472 right through to 1700 no fewer than 630 individual world maps were published, often in multiple editions. This form of charting of discoveries was prolifically documented, none more so than with the discovery of Australia. It in fact remains one of the best-printed records of any country. This wealth of cartographical history has provided us with a treasure chest of maps: scientific maps, glorious, richly decorated world maps (displaying all the talents of true artists), inaccurate and quaint hypothetical maps, celestial maps and many more. Over the last decade the interest in collecting all kinds of maps has grown tenfold. The European, American and Australian markets and to some extent the Japanese market, are becoming increasingly interested and informed about buying world and regional maps. Because of the huge scope in the various areas of map-making, collectors can choose many different criteria to base their collection on. World maps probably display the most versatility from the collector’s point of view, however the sheer beauty of some world maps makes them a desirable item for art lovers wishing to have an informative and unique piece. The world map by Dutch mapmaker J Blaeu is not only a highly decorative and typically 17th century allegorical double hemisphere map, but is also historically important. It is one of the very first world maps to show the discoveries made by Tasman in New Zealand and Tasmania in 1642-43 as well as those in Cape York Peninsular in 1644. The literature and reference material available on world maps means that even the novice collector can be well informed about the history and availability of material. The relative commonness of some world maps has meant that attractive pieces, even those published as early as the 17th century, can be obtained without too much difficulty and with relatively little expense. As well, it is still possible to purchase maps published as early as the late 15th century, and from time to time extremely rare and important pieces come up for sale. One such rarity is the early Ptolemaic map of the world by Horstmann Schedel published in the 1493 Nuremburg chronicle The map is bordered on the

H Schedel, Untitled, 1493

left-hand side by quasi-human creatures who were supposedly inhabiting the earth in lands yet to be explored. The map itself shows a rather crude view of the world but was the best-known geographical work of its time published just six months after Columbus’ discoveries of the Americas. A quaint and naïve world map by Bunting of 1581 is another map of great interest. The intriguing feature of this map is the inclusion of a land mass, on the bottom right hand side that resembles remarkably the shape of the western Australian coastline and is in the correct position. However being published in 1581, it pre-dates the known Dutch discoveries of that region by Hartog and others after 1616. Many people consider that this map adds great weight to the belief of the Portuguese discovery preceding that of the Dutch. The interest in the field of map collecting seems to have retained its appeal and fervour over the centuries. Collectors have the choice of specialising in those weird and delightfully inaccurate hypothetical maps, to the intricate and artistic allegorical creations of the Dutch cartographers through to historically important maps of discovery such as those made by Blaeu and Hondius. Although there is now a penchant for

reproducing these wonderful mementos of history en masse, the original item has an intrinsic and precious quality. Given the age of some of the maps that are available for sale, they are surprisingly affordable, and more importantly give us all a gateway to the thoughts and visions of the peoples who longed to know more about the world they lived in. Simon Dewez and Monique Jacobson Gowrie Galleries 02 4365 6399 www.gowrie-galleries.com.au References Rodney Shirley, The mapping of the world; early printed maps 1472-1700 (London: Holland Press, 1984) Günter Schilder, Australia unveiled: the share of the Dutch navigators in the discovery of Australia (Amsterdam: Theatrum Orbis Terrarum, 1976) Robert Clancy, So came they south (Sydney: Shakespeare Head, 1988) Thomas Perry, The discovery of Australia: the charts and maps of the navigators and explorers (Melbourne: Nelson, 1982) Ronald Tooley, The mapping of Australia and Antarctica (London: Holland Press, 1985)

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

1486 Ptolemy Ulm world map in fine original colour

Latest catalogue

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

For orders 02 9387 4581

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

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

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

ANTIQUES & ART IN VICTORIA

National Gallery of Australia collection

Lucian Freud (1922-2011), After Cézanne, 1999-2000 T

his year marks the passing of one of the greatest British painters of the 20th century, Lucian Michael Freud OM CH (1922-2011). As a central member of the School of London, Freud was an artist who challenged the dominance of abstraction and painted exclusively in a figurative style. The National Gallery of Australia has one of his most significant late paintings, After Cézanne, 1999-2000, an intriguing and impressive example of the artist’s mature style. Freud, the grandson of the famous psychoanalyst Sigmund Freud, was born in Berlin. His family moved to Britain in 1933 and later he became a citizen. Freud completed his formal art studies in 1943 and held his first solo exhibition the following year. For most of his life he painted portraits, characterised by their

psychological depth and unflinching emotional honesty. After Cézanne is an impressive and large painting that took Freud nearly nine months to complete. It stands out as one of the artist’s few deliberately ‘theatrical’ works, where the subjects act out an implied narrative. This story derives in part from the French master Paul Cézanne (1839-906), from whom Freud takes his theme, but is also expressed in the human drama at the centre of the work. In the 1870s, Cézanne completed a series of small paintings entitled Afternoon in Naples based around a boudoir scene. Freud bought one of these works at auction in 1999 and another is in the National Gallery collection. Both works show two lovers resting on a bed while a maid enters carrying a tray. These pictures are light,

sensual scenes that demonstrate Cézanne’s interest in the classical subject of the nude, and his engagement with masters such as Titian and Manet. Freud’s After Cézanne translates the French artist’s work on a monumental scale. While his painting retains the two lovers and a maid, the mood is completely different. At the heart of the painting is a tense moment between the man and woman, who sit on a pile of crumpled sheets. Although the scene implies an intimate moment, the body language between the two appears strained. She touches him with a look of concern; he turns away, leaning on a block of stairs which seems to lead out of the work – but doesn’t. Freud applies paint in a thick impasto style. He distinguishes between the male and female bodies in his choice of colours and

technique. The women are softly modelled in a peachy pink palette, while the man is depicted in darker colours accentuated with reds and browns. The rest of the painting is marked by muted tones, with an emphasis on brown and yellow hues. This scene, like most of Freud’s paintings, is set in his studio. More than a mere backdrop, the studio is a character in the drama. The grungy interior, with its peeling walls and dirty floor boards, adds to the tense atmosphere. The overturned green chair in the foreground mirrors the disorder in the painting, while the cabinet against the back wall suggests enigmatic secrets. Like the figures themselves, Freud makes no effort to ‘romanticise’ the room. He retains the rising damp lines on the back wall, which in this case appears like the silhouette of distant mountains. One of the most striking aspects of After Cézanne is the unusual shaped canvas. Freud often added sections to his paintings if he felt that it was necessary to complete the work. In this case, a small canvas was joined when he decided to show the maid’s entire body. Interestingly, Freud did not make the addition the full length across the top. The final work echoes the shape of the block of stairs. Another significant change was to the maid. She was originally dressed in a gown but was later repainted in the nude. This reworking can be traced in the layers of paint streaks visible around her back. By portraying her in the same manner as the two lovers, the maid is no longer a secondary figure as she was in Cézanne‘s work; instead, she becomes a key player in the drama. Her presence raises additional questions about the complex relationships in the painting. Is she interrupting the scene, or is she entering it? The relationship between the three figures is never articulated. Lucian Freud’s After Cézanne is a compelling painting with an ambiguous meaning. More than an appropriation, it is a visual re-imagining of Cézanne‘s Afternoon in Naples that also intensifies the human drama. Freud’s interest in the character of his subjects is emphasised by his unflinching and honest depiction. Although the painting contains few elements, every object reflects the larger sense of disorder. In this work, one of Freud’s most ambitious and intriguing, numerous questions are posed but never answered. NATIONAL GALLERY OF AUSTRALIA CANBERRA 02 6240 6411 www.nga.gov.au

Lucian Freud (1922-2011), After Cézanne, 1999-2000, oil on canvas, 214 x 215 cm (irregular). Purchased with the assistance of members of the NGA Foundation, including David Coe, Harold Mitchell AO, Bevelly Mitchell, John Schaeffer and Kerry Stokes AO 2001. National Gallery of Australia, Canberra

CANBERRA ANTIQUES & ART IN VICTORIA

QUEENSLAND ANTIQUES & ART IN VICTORIA

The Silver Jubilee ROTARY ANTIQUES & BOOK FAIR 2012 Celebrating 25 years! 5 – 8 January 2012 hat an incredible achievement for the Rotary Club of Palm Beach as the organisation plans that the Silver Jubilee Fair is a celebration event. Since its inception, the fair is always held in the Convention Centre of Jupiters Casino on the beautiful Gold Coast. Here, in this perfect setting browsers and collectors are treated to stunning displays from over 80 dealers. Such is the reputation of the fair that dealers travel from across the country to be part of this exciting event. The additional benefit of being in the Gold Coast’s landmark venue is that visitors can extend their visit to a fine dining experience or perhaps take advantage of the entertainment options showing in the Casino’s theatres. The Rotary Antiques and Book Fair has a special ambience. The elegant surroundings, together with the diverse range of items on offer and the helpful and cheery assistance from the organising Rotarians, all contribute to the enjoyment, guaranteeing a memorable experience for all who attend the fair.

excess of one million dollars, which has been distributed to assisting disadvantaged youth, disaster relief, building schools, housing in needier countries. The Rotary Club contributes to many areas of health and community wellbeing locally, nationally and internationally. The fair is the major fundraiser of the Rotary Club of Palm Beach, so please make a point of visiting.

THE MAJOR FUND RAISING EVENT

RAFFLE FOR CHARITY

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

AND

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

Celebrating Our 25th year

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

Broadbeach, Gold Coast, Queensland

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

6 pm 10 am 10 am 10 am

– – – –

Admission 9 pm 6 pm 6 pm 3 pm

Adults Concessions Under 17

$12 $10 Free

Over 70 dealers present all types of antiques including estate jewellery, rare books, prints, posters, works of art, furniture and much, much more Don’t forget our Mid-Year Fair: 20 - 22 July 2012 at Albert Waterways Centre Sunshine Boulevard, Broadbeach Queensland PROCEEDS TO CHARITY Enquiries: 0410 887 537 / 0414 321 186 www.rotaryantiquesfair.com

Enjoy the buzz of browsing among a stunning array of collectables and antiques presented by dealers from all around Australia. As usual, the elegant Jupiters Ballroom will be overflowing with an alluring range of porcelain, silver, linen, furniture, jewellery, lithographs, prints, maps, historical documents and much more to tempt the discerning buyer.

ANTIQUARIAN BOOKS Books of every kind ranging from early editions to fiction and reference as well as sought-after out of print editions will cater for those collectors with a taste for the written word. We are fortunate to have the support of the antiques industry, and again this year dealers are kindly donating spectacular prizes for the raffle. Twenty five years of ‘doing it right’ has earned the Palm Beach Rotary Antiques and Book Fair the reputation of being one of the most varied and professionally presented fairs in the country. Club members look forward to welcoming one and all in January 2012, and wish to thank all dealers, sponsors and the public for their continuing support. For more information contact Denis Hawksley SILVER JUBILEE ROTARY ANTIQUES & BOOK FAIR 0410 887 537 / 0414 321 186 www.rotaryantiquesfair.com

Convention Centre of Jupiters Casino January 2012 Fair Dates

FOR COLLECTORS

QUEENSLAND ANTIQUES & ART IN VICTORIA

Our Annual ‘BLOKEY’

AUCTION (Toowoomba Car Swap Weekend) Sunday 5th February 2012

FEATURING: The Ray & Eileen Park Collection (Perth WA)

Garagenalia, Enamel Signs, Tins Cow Bells, Railway Memorabilia Cast Iron, Kitchenalia, Pedal Cars Toys and much more

QUALITY ENTRIES STILL INVITED

Graham Lancaster Auctions 3 Railway Street TOOWOOMBA QLD 4350

Ph: 0418 730 904 Fax: 07 4613 1111

E: info@gdlauctions.com Colour catalogues $10 each (Cheques payable to G. Lancaster)

View our online catalogue from early January 2012 www.gdlauctions.com.au

ANTIQUES & ART IN VICTORIA

Australian Antique & Art Dealers Association A

ntique and art dealers are a heterogeneous mix of individuals, with significantly different backgrounds, tastes and modus operandi. Career paths and motivations for becoming a dealer vary, but we are united by a passion for art and antiques. We make a living by coordinating supply and demand in a chosen field. Many antique dealers feel antique dealing is a set of skills that can’t be formally taught, believing it is an acquired knowledge. However, we now know that a high level of scholarship and academia has become more important and is highly regarded. The Australian Antique and Art Dealers Association is the leading industry body representing antique and fine art dealers in Australia. Our members operate well established businesses, are respected for their knowledge and expertise in their chosen fields, and continually seek to expand that knowledge.

AAADA AIMS To promote the appreciation and preservation of antiques and fine arts • Ensure a professional standard that protects the value of items purchased • Fully describe our products and stand behind our sales descriptions • Adhere to the AAADA Code of Practice which clearly outlines our responsibilities to customers • Maintain high ethical standards and comply with all Government and statutory requirements

2011 AAADA SYDNEY SHOW Those who attended the AAADA Sydney Show enjoyed the ambience of Royal Randwick, one of the most prestigious racecourses in Australia, and appreciated the combinations of fine antiques, works of art and fabulous decorative objects that were displayed. Everyone really imbibed the atmosphere of this wonderful setting and hopefully those who purchased went home with a wonderful treasure that might inspire for a bit of home decorating.

2012 AAADA MELBOURNE SHOW 3–6 May 2012 Royal Exhibition Buildings Building on our success in 2011, many more members want to take part so you can be assured there will be a wonderful display and a selection of fine quality items for sale. For updates on exhibitors, special displays and features visit http://www.aaada.org.au/melbourneshow.

THE BENEFITS OF USING AN AAADA SERVICE PROVIDER AAADA service providers have chosen fields of expertise that represent the highest Australian and often international standards. These skills complement the objects held by the AAADA, and as such we encourage you to seek their services when the need to restore, repair or evaluate an antique item becomes necessary. A list of service providers is available on the website www.aaada.org.au

or for a copy of the nationwide list of members and services and detailed information about the Australian Antique and Art Dealers Association, contact The Executive Secretary, details below. Visit the Association on www.aaada.org.au to peruse our site and search for charming items.

COLLECTING AND CARING FOR IVORY A Louis XVI silver mounted ivory carnet-debal with a hand painted miniature was made in Paris in 1790 with the maker’s mark but the maker’s name unknown. Louis XVI silver This slightly tapering rectangular ivory étui-à- mounted ivory carnetde-bal with a hand tablettes with an arched painted miniature, top, has the obverse and made in Paris, 1790, reverse of the cover maker unknown applied with a pierced gold inscription, Souvenir D’amitie, chased with pattern. The obverse of the base is centred by a monochromatic oval portrait miniature of a lady, powdered hair en queue, one ivory leaf and pencil fitted inside. This example combines two collecting elements and could possibly have been given as a mark of friendship to a dear friend or person. As the miniature is in monochromatic tones possibly it is in memory of the lady portrayed in the portrait.

Caring for your ivory is quite particular, as the material consists of two basic properties, dentin and pulp. The dentin is the outer section that is actually carved or worked, as generally the pulp is too soft or porous for working. Usually there are several layers of enamel; the only exception to the rule is elephant ivory which is complete dentin and generally no enamel due to it being worn away. Keep ivory away from direct sunlight and in a stable environment with minimal changes in humidity and temperature, as these factors shorten its life span greatly and eventually cause it to dry out, split and crack. If stored in a cabinet, by putting a small container filled with water in the bottom the air inside remains moist and therefore the ivory is less likely to crack. Remember to handle your ivory regularly as the oil in your skin can help protect the material. Although you can clean ivory, an aged look is part of the character; however, you can use warm soapy water and a cloth or brush to safely clean your item. AUSTRALIAN ANTIQUES AND ART DEALERS ASSOCIATION 03 9576 2275 secaada@ozemail.com.au www.aaada.org.au

AUTUMN/WINTER SEMINAR SERIES 2012 Hands up for hands on! Book now for workshops that let you get a grip on your subject of choice. Each session is limited to 10 to 20 people, so everyone can increase expertise. The first lecture, given by a specialist in Chinese art will take place during the Melbourne AAADA Show. More information is available at www.aaada.org.au or telephone the Executive Secretary on 03 9576 2275. The six subsequent lectures are every Thursday during May and June, when a member of the Victorian Chapter of the Australian Antique and Art Dealers Association hosts a seminar on a specialist subject at their premises. To be sure of your place in this year’s workshops, complete and return this booking form with payment promptly. Sessions run from 6 until 7:30 pm, tickets cost $25 for each lecture, GST inclusive. Better still, book four sessions and get the fifth for free (five for $100).

AUTUMN/WINTER SEMINAR SERIES 2012 BOOKING I/we Postal address Telephone Daytime

Wish to attend the following seminars: (1) (2) (3) (4) (5) (6) (7) Quantity tickets = __________ Total $ ___________ Payment attached (1) 3 May Chinese art

At Melbourne AAADA Show, Royal Exhibition Buildings

(2) 10 May Kathryn Wyatt

The secrets and allure of heirloom jewellery

(3) 17 May Jamie Allpress

Understanding styles and construction of 18th century furniture

(4) 24 May Chris Snook

Antique clocks & barometers – making them tick and putting them under pressure

(5) 31 May Paul Rosenberg

An introduction to antique ceramics covering the development of ceramic technology and looking at the different kinds of pottery and porcelain

(6) 7 June Roy Williams

The marks on silver: their secret language

(7) 14 June Doug Stewart

The printed page – rare books and ephemera

ANTIQUES & ART IN VICTORIA

The e Second Australian A Aus t li tralian A Antique ti & Art A t Dealers Dea alers Asso Association ociation

Melbourne M elbourne Show S how w 3–6 Mayy 2012 Royal Ro oyal E Exhibition xhibition Building Carlton Car lton n Gardens Gardens Melbourne, Melbou urne, Victoria Victoria

Melbourne’s Melbou rne’ ne s only only international internatio onal quality, qualitty ty, fully ful ly vvetted eettted ant antiques iques & ﬁne arts a ts show. ar show.

All ite items ems for sale www.aaada.org.au/melbourneshow www w.a .aaada.org.au/ /melbournesh how

GEELONG ANTIQUES & ART IN VICTORIA

Nicholas Chevalier, Cape Schanck, Victoria, 1872, oil on canvas. Private collection

Nicholas Chevalier, Mount Sturgeon (early morning), 1862, oil on board. Private collection

Australian Odyssey the first ever survey exhibition of Australian works by Nicholas Chevalier showing at Geelong Gallery until 12 February 2012

icholas Chevalier (1828-1902) was one of Australia’s foremost colonial artists. Born in Russia to a Swiss family, he studied in Switzerland and Germany, and travelled through England and Italy before arriving in Melbourne on Christmas Day, 1854. Unlike many of his contemporaries who had been drawn to Victoria by the lure of gold, Chevalier was sent at his father’s behest to revive the family’s investment in a Beechworth sawmill. After declaring that his father’s money could not be recovered, Chevalier settled in Melbourne and quickly established a reputation as one of the colony’s leading artists. A gifted musician as well as artist, he made friends easily, no doubt aided by his fluency in six languages. Travelling extensively throughout Victoria, Chevalier captured in oils many subjects not previously seen by European artists. His expeditions, often made in the company of scientists or explorers, spanned the full state of Victoria from the Grampians in the west to the far east corners of Gippsland. He was particularly attracted to remote regions, and shared in the pioneer spirit of the day. His predilection for adventure nearly led to his undoing on numerous occasions; he twice nearly lost his life while exploring Wilson’s Promontory in 1864. Today Chevalier’s works are equally important for their historical value as for their artistic value. They tell us much about the way early European immigrants saw Australia – a land of primal and mysterious energy, but also of wondrous and spectacular beauty. Chevalier helped establish a market for Australian subjects; prior to the 1860s, homesick Europeans longed only for pictures of their motherlands on their walls. In 1861 Chevalier achieved some fame with two large paintings depicting the Yarra River near Studley Park – a popular picnic location then as it is today. With these works he

elevated local subjects to the level of grand landscape painting. Chevalier travelled regularly with fellow European émigré artist Eugene von Guérard. The two developed a long-lasting friendship for their entire lives. While the two often painted the same subjects side by side, their styles were quite different. Von Guérard, the introvert, adopted a sombre and serious approach to painting, while Chevalier’s works were characterised by a vigorous and lively style, full of colour and sharp tonal contrasts. Chevalier played a key role in promoting the arts in Victoria. He helped establish the Victorian Society for Fine Arts in 1857 which, among other achievements, campaigned successfully for the founding of the National Gallery of Victoria. Fittingly, Chevalier became the first artist resident in Australia to have his work acquired by the Gallery, with The Buffalo Ranges selected from a competition exhibition in 1864. Chevalier’s most celebrated work, The Buffalo Ranges, is both his largest of an Australian subject and is now considered his signature piece. It is permeated by a fine, clear light, which serves to heighten the innocent charm of the picture’s narrative. The depiction of the water mill at the bottom right is finely observed, and was no doubt enhanced by Chevalier’s first-hand experience working his father’s waterpowered sawmill in Beechworth. Chevalier was best known as a landscape painter but his accomplishments were wide and varied. He pioneered the use of lithography in Australia, in particular ‘chromo’ or coloured lithography. In 1865 he published an album of 12 chromo-lithographs of Victorian scenery, which enabled fine art to be widely accessible for the first time. Each print was based on an earlier oil painting. Chevalier’s album was a huge success and preceded the publication of von Guérard’s Australian Landscapes the following year. Remaining in Australia until March 1869, Chevalier joined Prince Alfred, the Duke of

Edinburgh, on his Royal Tour through the Pacific region. Arguably Victoria’s most successful and popular artist of the 1860s, Chevalier eventually became a court painter to Queen Victoria on his return to London. Through the 1870s he was commissioned to produce commemorative paintings of important events in the lives of the Royal Family, including the marriage of Prince Alfred to the Grand Duchess Marie Alexandrovna of Russia in 1874. He achieved further successes in England by having his works regularly selected for exhibition with the Royal Academy. In New Zealand, Chevalier also enjoys a high profile where, as in Switzerland, England and Australia, he is regarded as one of their own. He conducted four expeditions into New Zealand’s interior over two separate trips and visited again with Prince Alfred in 1869. Over 100 of Chevalier’s paintings, sketches and lithographs, including many works never before publicly exhibited, are in this Gippsland Art Gallery travelling exhibition.

Nicholas Chevalier, Self Portrait, 1857, oil on canvas

See in full detail the extraordinary life and art of Nicholas Chevalier at the Geelong Gallery until 12 February 2012. Simon Gregg Curator, Gippsland Art Gallery GEELONG GALLERY 03 5229 3645 geelart@geelonggallery.org.au www.geelonggallery.org.au

Nicholas Chevalier, Grassdale, near Casterton, 1863, oil on canvas. ANZ Bank Collection

Dealers in Fine Art A small selection of sculpture and works on paper will be available for sale

158 Burwood Road Hawthorn 3122 03 9818 1656 Monday to Friday 9 – 5 Saturday 10 – 4 Directors: Jillian Holst and Rod Eastgate info@eastgateholst.com.au www.eastgateholst.com.au

10.1.1943 – 15.2.2011

Temple, 2005 aluminium 36.5 x 16 x 11 cm

PAINTER | PRINTMAKER | SCULPTOR

LES KOSSATZ