Antiques & Art in Victoria by World of Antiques & Art

antiques

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IN VICTORIA

DEC 2012 - APRIL 2013

HIGH STREET

PETER ARNOLD

ANTIQUARIAN BOOKSELLERS

BOO RARE

IN & PR S P MA A

ALI USTR A RT

BOU

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BOO

SOLD & T GH

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

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PUBLISHER ABN 39 945 398 132 JQ Pty Ltd Suite 1b, 10 Spring Street, Bondi Junction NSW 2022 PO Box 324, Bondi Junction NSW 1355

ADVERTISING SALES André Jaku 02 9389 2919 / 0412 229 117 Fax 02 9387 7487 andre@worldaa.com Harry Black 03 9813 8585 / 0418 356 251 harry-black@bigpond.com

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

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IN VICTORIA

NOTICE TO DEALERS Please send us any articles for publication in Antiques & Art in Victoria. Length up to 1,000 words, preferably typed on disk, or email with accompanying captions. Mail pictures as prints, transparencies or digital images on CD. Article is conditional on advertisement being taken. Next issue will be distributed in April 2013 Booking deadline 4 March 20123 Copy deadline 11 March 20123

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PHOTOGRAPHY

Specialising in French antiques and Art Deco Please contact us for more information

RUSSELL WINNELL

491 High St Prahran Vic 3181

Specialising in antiques and artworks

0415 929 712

03 9510 8522 Warehouse by appointment only 0412 560 371

QUALITY WORK • COMPETITIVE RATES Antiques and

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THE ART OF FRENCH CLOCKS at Leclerc Antiques F or over 20 years, Leclerc Antiques has imported fine quality timepieces from France and Belgium. French-born Pascal Leclerc, a dedicated clock collector, has long been fascinated by the beauty and intricate mechanisms of French clocks, and this passion inspires his search for beautiful items to bring to Australia. The best European horologists were revered artists. Their creations required the skill of many master craftsmen such as sculptors, casters, chasers, engravers, gilders and porcelain dial makers and painters. France has produced some of the greatest horologists. Among the most famous are Jean-Andre Lepaute (1709-1789), Swissborn Abraham-Louis Breguet (or Bréguet) (1747-1823), Basile-Charles Leroy (1765-1828), Isaac II Thuret (1630-1706) and his son Jacques III Thuret (1669-1738), and Jean Antoine Lépine (1720-1814).

FRENCH CLOCKS Ormolu clocks were produced as early as 1750 under the reign of Louis XV. Romantic, oriental or mythological subjects appealed to the court’s fascination with refined taste and exotic tales, and often inspired their adornment. Beautifully executed porcelain clocks were also produced in the 18th century, with some French makers importing cases from renowned German artisans in centres like Dresden and Meissen. Decoration of clocks using models of animals such as dogs and horses was popular. Decorating with more exotic animals, for example, lions, elephants, rhinoceros and camels, became fashionable in the mid-18th century. These pieces are very sought after by serious collectors. A typical French movement runs for eight days, striking the hour and half hour on a bell. Some more complex mechanisms also strike the quarter hour. The early pieces employed silk suspension before steel suspension was invented.

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The late 19th century saw the introduction of more affordable decorative clocks, often constructed in marble and white metal that was a metal alloy containing silver and pewter, commonly called spelter. These clocks were frequently designed as a decorative set, comprising a timepiece and matching candelabra.

BUY QUALITY Leclerc Antiques imports a broad collection of clocks to Australia, along with objets d’art, lights and furniture, in a range of styles and materials that appeal to our diverse and discerning clientele. In the case of clocks, we aim to acquire the highest standard examples from late 1700s to 1940s. Quality antiques offer privileged investment, as you use and enjoy the beauty of the object every day. It is not only in the field of clocks that buying the very best has proven most sensible. Fine quality 19th century furniture has significant interest and growth in value, notably as increasing global wealth introduces new buyers into the market for rare pieces from countries such as China and Russia. Quality antiques are an international currency and can be traded anywhere in the world. Anyone considering acquiring antiques would be well advised to buy the best they can afford, as they will never regret purchasing a top-quality piece. Aside from the pleasure of living with the item and admiring it each day, its beauty and value are enduring. In contrast to contemporary purchases that have short-term fashion appeal and falling worth, antiques are appreciated and treasured for the long term and increase in value. Caution should be taken when considering unrestored or non-functioning clocks, as restoration of an antique clock (assuming it is restorable) can be an expensive exercise. When you purchase from a reputable antiques dealer, a clock’s authenticity and working order is guaranteed.

At a time when discussion in the media constantly reminds us of the planet’s dwindling resources, contrasted with ready availability of dull mass-produced objects, we realise the preciousness of unique handcrafted pieces that bring beauty and value to our lives. Not only is the acquisition of antiques potentially lucrative, but also a responsible choice for our environment and the benefit of future generations. If you are interested in exploring options for acquiring a fine European clock or other antique, visit Leclerc Antiques at their Prahran showroom or Williamstown warehouse where you have a superb range of items and expert advice to draw upon. Pascal Leclerc looks forward to assisting you with all your enquiries. PASCAL LECLERC ART DECO & ANTIQUES 03 9510 8522 / 0412 560 371

Editorial CONTENT FRONT COVER

August Ahlborn (German 1796-1857) Küst bei Amalfi (Coast near Amalfi), 1833 oil on canvas Art Gallery of Ballarat Purchased with funds from the Ferry Foundation, 2008 See page 73 004 006 007 008 009 010 012 013 014 016 018 019 020 021 022 023 024 025 026 028 030 031 032 033 034 035 036 037 038 039 040 053 054 056 057 059 060 061 062 063 064 065 066 067 068 069 070 070 072 073 074 075 075 076 077 078 079 080 081 082 084 086 088 090

The art of French clocks Fabrile celebrates 20 years of 20th century trading Classic workmanship and French styling Expressions Gallery Philip Stokes at Veronica George Gallery Travel posters: insight into tourism from the 1930s to 1970s Coinworks reports on record-breaking ‘model’ penny Lucite purses – a 1950s fashion statement – Dianne Pickett Enchantment: the art of Walt Disney The beginnings of time in horology 1500-1700 – Michael Colman Panoply Gallery opens – Kate McLeod Tyson China Repairs – fully guaranteed Antique – a clear definition yet mislabelled and misused – Guy & Trish Page Duncan and Fraser launch new Melbourne gallery Giltwood: history repeats – Mike Gleeson Vintage collectable or new toy? – Ron Gregor In pursuit of the master, Turner from the Tate The Victorian Artists Society upcoming highlights At Schots Home Emporium retro furnishings add stylish charm David Freeman addresses the subject of underrated and under-valued Australian artists There’s more to the French Riviera than the beach and sun – Roy Williams The classic Georgian drawing room – Dawn Davis Collector proof coins 1955 - 1963 Carriage clocks Vintage HMV family radio – David Foster Edrington Park’s grand art exhibition, a premium art event in Victoria – Calvin Bell Pochoir: the French art of fine fashion – Kathryn and Derek Nicholls Gifts with a difference, for miniatures & giclees visit Di King Gallery Sherbrooke Art Society’s summer to autumn exhibitions Without Pier Galleries Exhibition program 2013 The Art Gallery of Ballarat celebrates summer From the Bendigo Art Gallery collection: Japanese visions The Emily Museum, the first dedicated to an Aboriginal artist – Hank Ebes Inspired lighting new industrial pendants at Schots Home Emporium Mentone Antiques by the beach Summer at Sorrento Fine Art starts with A Patch of Blue The Majid collection continues the series on Persian carpets – Majid Mirmohamadi Exhibitions to visit at Mornington Peninsula Regional Gallery An exciting program of events planned from January to May at Beleura House & Garden McClelland Gallery + Sculpture Park summer exhibitions program Rockingham glaze – copied shamelessly – Paul Rosenberg A question of scale at Geelong Gallery Welcome to the workshop of Pegasus Antiques – Joel Duggan Featured artists at Eagles Nest Gallery Exhibition program at Hamilton Art Gallery Discover something special at Baimbridge Antiques Ballarat’s Annual Antique Fair is the longest running event of its kind Bendigo 2013 Easter Antique Fair – Robert and Carol Dennis Meet a VADG member, Alastair Wilkie of Marquis Antiques The provenance of European art treasures in the Art Gallery of Ballarat Escape to Bendigo in autumn Post Office Gallery, Childhood: growing up in Bendigo – Clare Needham Bendigo Art Gallery: contemporary Australian silver & metalwork award Bendigo Rotary Club’s Easter Art Show – Graeme Clarke Fine porcelain and ceramics at Bendigo Pottery Antiques & Collectables Centre Dookie Art Attack Shepparton Art Museum for The Golden Age of Colour Prints: Ukiyo-e A Victorian Christmas – Susanne Gervay Australia, with reindeer and elephant A piece of Australian aviation history: the Fairy 111D – Bianca Fazzalaro Toulouse-Lautrec: Paris and the Moulin Rouge – Simeran Maxwell The 26th Rotary Antiques & Collectables Fair incorporating the Gold Coast Book Fair – Peter Campbell The Australian Antique and Art Dealers Association Bruce Postle: the image maker at Monash Gallery of Art

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SALE DATES 2013 Monday 7 January 2013 6.30 pm Viewing: Saturday 5 January 11 am – 4 pm Monday 7 January 12 noon – 6 pm Monday 4 February 2013 6.30 pm Viewing: Saturday 2 February 11 am – 4 pm Monday 4 February 12 noon – 6 pm Monday 4 March 2013 6.30 pm Viewing: Saturday 2 March 11 am – 4 pm Monday 4 March 12 noon – 6 pm

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

VALUE ADDED

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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

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NOTICE

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The publishers reserve the right to refuse and edit material. The opinions expressed in this publication are not necessarily those of the publisher. No responsibility will be taken for any decision made by the reader as a result of such opinions. Antiques and

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Raymond de Meester de Betzenbroeck patinated bronze figurine

Selection of French porcelain vases: Pinon Heuze; Saint Clément; Sèvres; Limoges, porcelain marks of Camille Tharaud

Daum Nancy vase on bedside table made by De Coene with French boudoir chair

Fabrile celebrates 20 YEARS OF 20TH CENTURY TRADING n December Fabrile celebrates 20 years in High Street Armadale retailing decorative arts from the art deco period. Often we are asked about the fortunes of the antique trade, the future of the industry and the impact of the Internet. People are curious because they observe the declining number of antique shops in High Street, changing fashions and decorating trends, and they believe that everybody uses the Internet to purchase items.

SATISFACTION IN TRADITIONAL RETAIL The retail trade in antiques has changed. People’s attitudes to collecting have changed, fashions constantly change and the economic climate is one of uncertainty. Shop rents have increased dramatically and many dealers have retreated to the Internet. But despite the increasing rate of change there is still a great deal of satisfaction to be derived from traditional retail and many reasons and advantages to preserve it. At Fabrile we assess change from the point of view of people’s attitudes towards Art Deco, as that is the specialty of our business. Over the past 20 years we have observed a growing and ever evolving fascination with the 1920s and 1930s. The era has captured the imaginations of people – young and old – throughout Australia, and the legacy of the early 20th century which we refer to as Art Deco, has grown in popularity.

A LEGACY OF CREATIVITY The art deco period was a time of exceptional creativity and change which impacted every aspect of life through architecture, industrial design, art, fashion and music to social values and attitudes. Art Deco is synonymous with timeless design, quality workmanship and fine materials. A wonderful legacy of the period is the great artisans of the 1920s and 1930s who have always been revered and highly valued by collectors of fine objects. Great artisans including René Lalique, Demetre Chiparus and Clarice Cliff have become household names. Even more interesting however has been the curiosity of people in Australia to learn more about artisans and makers who previously were not well known. It is a pleasure, as retailers, to introduce and share with customers the great works of artisans relatively unknown in Australia. Where the focus of ceramic collectors was

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once Doulton, Clarice Cliff and Carlton Ware, now there are the European makers, Mayodon, Saint Clément and Tharaud.

APPRECIATION OF BRONZE The art of bronze sculpting has always been synonymous with the grace and beauty of figures of the art deco period. Where once the names Chiparus, Priess and Lorenzl were the desire of most aspiring collectors, we now include Morante, Bouval and Gallo. Bronze sculptures are appreciated now more than ever before and the range of subjects requested by clients is far broader now than it has been in the past. Another area attracting passionate collectors is that of fine glass. Where once collectors were familiar and confident with makers including Daum, Gallé and Schneider, we now include Quinivet, Etling and Marcel Goupy. Appreciation and confidence appear to grow with exposure and familiarity. As retailers we are able to source and display makers of fine glass who previously have not been well known.

DECORATING WITH DECO Art Deco is also a popular decorating option where a stylish piece of furniture or ornamentation from the period is used as the focal point of an interior design. While quality in design and manufacture is not limited to furniture, there is truth in the proposition that some of the most stunning furniture comes from this time. This proposition is supported by the number of reproductions and attempts through recent periods of modern furniture design to emulate the art deco style. Few succeed as the time and cost of crafting such pieces falls well outside the budget constraints of post-war furniture production.

move more quickly through every phase of their life, including the shopping experience.

PERILS OF ONLINE PURCHASES As for the Internet we observe it as a twoedged sword. People use the Internet as a reference to source objects and make comparisons. However, all is not always as it seems according to many customers who frequently express their dissatisfaction with these purchases. They realise examining and holding their prospective purchase prior to making a financial commitment is desirable but not achievable. It is much more difficult to ascertain the condition, age or quality of a period piece on the Internet. This does not apply to purchases of new items where the brand, size or model number is identified.

A rewarding aspect of specialist retailing is the opportunity to source and introduce clients to new and exciting artists. The pleasure our customers derive from Fabrile is also our pleasure. FABRILE 03 9824 8826 / 0438 248 826 www.fabrile.com.au

GUIDELINES The last 20 years seem to reinforce some ageold maxims; such as the importance of purchasing an item because you love it and because it will give you pleasure. Trends, fashions and the economy may dictate the value of an antique at a given point in time. Our experience is that, over time, quality items retain their value but this should not be the basis of your decision to purchase. As retailers we are constantly gratified that people still value the personalised service and surety of dealing with a specialist retailer.

Lucite purse placed on French boudoir table

Amboyna chest of drawers with J.P. Morante bronze figure

Vintage cheongsam accessorised with a French Bakelite necklace

FORAY INTO FASHION As retailers it is very satisfying to introduce ladies to fashion and jewellery they may never have previously considered. Many Spring Racing Carnival outfits are based around an original garment, hat or piece of jewellery from the art deco period. Twenty years ago the passion for collecting was common place and avid collectors would be well versed in all details pertaining to their passion. Collecting is currently less common and purchases are more often made on impulse and with less regard to provenance or antiquity. Today’s fast life style and information overload simply mean that people

HIGH STREET

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

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

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

are highly regarded with their particularly advanced techniques. They are skilled woodworkers and their ability to work with precious metals and especially in French furniture reproductions demonstrates a high skill level which would be difficult to match anywhere in the world. IMAGE DE FRANCE 03 9529 5003 www.imagedefrance.com

FRENCH INFLUENCES ON EGYPTIAN FURNITURE MAKING One of the lasting effects of Napoleonâ&#x20AC;&#x2122;s invasion of Egypt in 1798 was that the French designers who had travelled with him left a legacy that remains in the old European parts of Cairo. Egyptian carpenters have always been excellent craftsmen, learning from various influences including invaders and traders. Their marquetry is renowned for its extraordinary smoothness and finish. Mounts of gilded bronze, the leading characteristic of most of the century, were finished with minute delicacy. Egyptian carpenters became and remain proficient in gilding furniture in many colours, including rose, silvery green and grey-blues. They adhered to the strict symmetry and ornamentation styles characteristic of French furniture periods. Furniture making was and still is a respected craft in Egypt and skilled artisans

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HIGH STREET

John Olson

EXPRESSIONS GALLERY xpressions Gallery offer a wide range of fine art limited editions from leading Australian artists including John Olsen, Jeffrey Smart, Howard Arkley, Lin Onus, Sidney Nolan, Arthur Boyd, Charles Blackman, Fred Cress, Garry Shead, Frank Hodgkinson, David Boyd, Jason Benjamin, Melissa Egan, Clifton Pugh, Jasper Knight, Margaret Olley, Helen Norton 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.

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.

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

“

His cross-cultural experiences have found expression in his work

Expressions Gallery ”

Xianzhu Shi

John Olson, Spoonbill and Egret

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

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Jeffrey Smart

Xianzhu Shi

HIGH STREET

The Veronica George Gallery represents a large number of leading Australian glass artists and showcases many of their complex glass techniques. In addition to the wide selection of tasteful gifts and special pieces for the interior, we have unique works of art for the collector. As well as the magnificent variety of original hand-blown glass, there is a fine collection of contemporary jewellery by well-known Australian artists.

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

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

George Gallery

FEATURED ARTIST

ARTIST’S STATEMENT

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

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

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

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TRAVEL POSTERS insight into tourism from the 1930s to 1970s he beauty of the travel poster lies in its capacity to document a specific moment in time. Travel posters present us with visual tour of the most desired tourist destinations from an era where travel was for privileged high flyers. As such, it’s not surprising that most of these posters portray images of elegance and sophistication. Travel conjured up images of women in white gloves, straw hats and matching leather suitcases, a very different picture to how travel is viewed these days. The tourism industry has seen many an innovative marketing campaigns and top-end artists and publishing companies have long been employed to entice the public. These posters, like all posters, capture distinctive moments in time. In this case, we’re thrust back to an era when travel was exotic, elegant and extravagant. We’re able to understand how a certain destination, country and culture were viewed by society at that time. Travel today might have lost the elegance that was once at its very core, but these beautiful posters have not. We’re celebrating this beauty at Vintage Posters Only and we’d love for you to join us.

early 1990s. On seeing the vintage posters that adorned the walls of cafes, restaurants and shops the P.K. (as he’s known to many) started his own collection which soon grew into a gallery of works that can be viewed at his Melbourne shop front.

MEET SAM JOHNSON

POSTERS FOR ALL COLLECTING INTERESTS

Vintage Posters Only owner Sam Johnson, a.k.a. the Poster King, began his interest in vintage posters when living in Paris during the

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WHY OUR POSTERS ARE SPECIAL We are just obsessed with these stunning artworks. Every poster has a story to tell, from the artist who created it, to the product it is selling. So what is it that makes our posters special? Firstly, they are all original vintage posters. This means that they are prints existing from the original print runs ranging from the 1930s to 1970s. Quite often they have a history behind them. Many were hung in subways, buildings or kiosks, basically anywhere that had a large enough surface for the public to take notice. Secondly, some of the most important poster artists of all time are represented in the collection. Villemot, Savignac and Cappiello were all masters of their art and to have their work accessible to everyone is rare in the art world.

We have an extensive collection and an array of categories. We’ve got posters relating to

cars and bikes, fashion, food and beverage, art exhibitions, events and entertainment – everything you can think of. Vintage posters are great for decorating any space and are a guaranteed talking point in any home or business. Given that there is such a wide range of images and themes available, it is possible to find the perfect vintage poster for anyone. You can view our posters in store or on our beautiful new website at www.vintagepostersonly.com. Feel free to contact us with any questions

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

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

HIGH STREET

Wanting to buy original lithographic posters from the turn-of-the-century to 1970. Condition not important! Paying 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 Antiques and

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Coinworks reports on

RECORD-BREAKING ‘MODEL’ PENNY ggressive bidding took a 1937 model penny from its opening price of $50,000 to a final record result of $270,000 at a Sydney auction in October 2012. In 1982 the same coin changed hands at auction for $7500. As well as being profoundly important, the coin is exceedingly rare with only six examples believed privately held. The 1937 model penny boasts an enviable track record of growth. Over the last decade, examples of the model penny have changed hands for $52,000 (Melbourne Auction 2002), $106,000 (Perth Auction 2004) capped off by last month’s record breaking result of $270,000.

NUMISMATIC GRAND SLAM Coinworks can now confirm that the 1937 model penny has been sold. By acquiring the 1937 model penny, the buyer has completed the 'grand slam' of numismatics – becoming the first person to own an example of every rare Australian penny that has been minted. The 1937 model penny joins five other rare pennies in the collector’s possession – a set whose nominal worth individually totals more than $3,500,000 however as a complete set, it may well be valued much higher. The set includes the following: 1925 proof penny ($450,000); 1930 proof penny ($1,500,000); 1931 proof penny ($200,000);

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1937 pattern penny ($600,000); 1937 model penny ($310,000); and 1945 pattern penny ($450,000).

ROYAL LINEAGE The Australian 1937 pattern coins are the only legacy in the Australian coin series of the short reign of King Edward VIII. King Edward VIII had just ascended to the thrown after the death of his father, King George V. It soon became clear that he wanted Mrs Wallis Simpson as his wife and queen, but there was a problem – she was a divorcee. While wheels were turning in British parliamentary and royal circles, the Australian Commonwealth was busy planning a new coin issue in anticipation of Edward’s coronation. The Royal Mint London prepared test pieces for the Australian Government of the florin, shilling, threepence and penny – the designs all radically new and with a strong focus on national identity. The penny introduced one of our most loved coin designs, the bounding kangaroo. The florin featured a revised Australian Coat of Arms. The threepence was adorned with three ears of wheat. The shilling had a merino ram’s head. Then history intervened. On 11 December 1936, Edward abdicated the throne so that he could marry Mrs Simpson. So the four new coins never made it beyond the test stage.

RARE MODELS In each case, the obverse design depicting Edward VIII was removed. In the case of the penny only, the word ‘model’ was struck onto the blank face. Model coins were usually given to the Treasurer and a handful of other officials before a design was finalised. These test coins are very rare. The number of specimens available to collectors can be counted on the fingers of one hand. With obverse designs featuring George VI, Edward’s brother and successor, being prepared in 1937, the Royal Mint London issued a further small number of 1937 patterns, but only of the penny. This featured the bounding kangaroo design on the reverse side and the portrait of the new monarch on the obverse side. It is estimated that only six examples of this coin are held in private hands. In the end, the only coin issued in 1937 was the crown, worth five shillings. The exciting new designs did, however, appear on all Australian coins from 1938, right up until the introduction of decimal currency in 1966. For more information contact COINWORKS 03 9642 3133 www.coinworks.com.au

HIGH STREET Another rare Wilardy handpainted double-decker purse with internal mirror can be used as a jewellery box. The flowers are all hand painted. At the time this would have been a high-end purse and a limited number would have been sold through large department stores in New York

LUCITE PURSES – a 1950s fashion statement T A MATERIAL CREATED FOR THE WAR EFFORT Lucite was invented by the Dupont factory in 1931 and was employed in industrial uses during World War II, mainly in aircraft. Following the war, the 1950s being a new age and with post-war technology, Lucite was used to make the most fabulous purses. Today these purses are very desirable and range in price from $100 to the most sought-after ones fetching up to $3000.

SOUGHT-AFTER DESIGNERS When they were first introduced in the USA they were all the rage. They were carried by the most sophisticated women and were expensive to purchase as they were still handmade, some costing up to $50, a significant amount of money in 1950. The best designers then are still the ones most sought-after today, such as Wilardy of New York, Rialto, Llewellyn, Gilli Originals, Charles Kahn and Patricia of Miami. Purses made by these manufacturers can mostly be identified today as their names were stamped into the hinge, however some had applied labels which have since vanished. Other companies opened up in America to meet consumer demand and began to manufacture less expensive versions, many of these are still found today.

MYRIAD STYLES, SHAPES & COLOURS There was a huge range of styles produced. The most common was the rectangular or oval purse with coloured Lucite base and clear carved lid. Examples of this type were made by many different manufacturers. Sometimes the bases were coloured, sometimes clear and more rarely they contained items like gilt

This beautiful purse produced by Majestic with woven metal and a Lucite handle is delightful

This rare transparent amber purse which is heavily carved and features an unusual solid handle cannot be attributed to a specific maker but it is very well made and may have been a sample

A collection of four purses has 'Oodles of Poodles', a black Lucite with gilt filigree clasp, the 'I Do' bag from Wilardy – made to carry at your wedding, and a clear crystal-cut Lucite purse

he custom of women carrying purses or handbags dates back to the Middle Ages and purses were carried as a fashion statement from the middle of the 19th century. Each period has seen an evolution in the handbags and purses of the time, the Lucite handbag being one of those items that is symbolic of the era in which it was created.

An unusual purse by an unknown maker is of solid black Lucite with brilliant hand-painted flowers overlaid with clear Lucite

threads, shells and from one particular manufacturer, Majestic – embedded lace. Then there were the shapes – triangular, double-decker, Kelly style, beehive, hatbox and more. So many different ones were produced that the variety is endless. Many were made in either clear or transparent colours. To disguise what they were carrying, women would wrap the contents of their purse in a chiffon scarf to match their dress which made the purse very versatile. Today the most sought-after and expensive are the brilliant colours such as red, pink and blue.

DAY OR EVENING USE Now many women use their Lucite bags as elegant evening purses or may use them as day bags. There are collectors who see their bags as works of art and proudly display them. Regardless of intent, these are wonderful reminders of an era when fashion accessories and glamour went hand in hand. Dianne Pickett ONLINE ANTIQUES www.onlineantiques.com.au

Unusual triangular shaped, marbleised white Wilardy purse which is surprisingly useable

HOW TO IDENTIFY GENUINE LUCITE BAGS If you decide to purchase beautiful Lucite purses, whether to collect or to use, there are several things to look out for. There are several manufacturers now producing reproduction purses. You can usually easily spot these as they are normally made in the most desirable colours such as red and hot pink. If they were not reproduction, these purses would cost upwards of $800 so a low price is a good indicator of a fake. Wear to the feet is also a good indicator as to whether they are real. Finally, nothing can substitute for the experience of handling the purses; once you handle vintage purses it is easy to see the differences.

BEWARE THE PLASTIC VIRUS The main problem which exists with Lucite is a plastic degeneration disease. This disease initially shows as clouding and mainly occurs in the pearlised bags. It can then progress to a wet feeling inside the bag and a smell which is similar to vinegar that becomes stronger with deterioration. In the final stages the plastic can break down completely and the purse dissolves into a sticky mess. The disease can spread from plastic to plastic so it is important to remove any affected purse from your collection. The other issue is to make sure that you check purses for cracks, particularly near the hinges where they have had wear. These issues affect only a very small amount of purses though and in general they are very durable to use.

Online Antiques will be exhibiting at the Ballarat Antique Fair 9-11 March (Labour Day Weekend) and the AAADA Show Royal Exhibition Building Carlton Gardens 24-28 April

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SIVER K GALLERY PRESENTS

ENCHANTMENT: THE ART OF WALT DISNEY 3 November – 24 February

The largest exhibition of Disney animation art ever presented in Australia wo years in the making, Silver K Gallery’s show of more than 200 pieces of art has been sourced from all over the world. The exhibition literally takes visitors on a magical and mystical journey through the life and times of the famed Walt Disney studios and is a must for any Disney lover.

HISTORY IN THE MAKING Through the artistry of Walt Disney’s imagination, animation has found a special place in our hearts. Each remarkable piece of artwork in this exhibition represents a precious moment of film fantasy, humour or adventure. Walt Disney’s vision for what animation could become began to take shape in the 1920s when Mickey Mouse was born. ‘Steamboat Willie’, the first cartoon to synchronise screen action with sound, was an instant success. Mickey Mouse, the little guy that started it all is still the world’s most popular animated character and has brought laughter and joy to millions of people around the world. In 1932 Walt Disney received an honorary Academy Award for the creation of Mickey Mouse. As the Disney studios grew, the best trained artists and animators brought Walt’s characters to life. They created reality from their imaginations with pen, ink and colour enabling Walt to tell the stories that would touch people’s hearts and lives. The technical achievements of Disney’s cartoons also flourished. Flowers and Trees (1932) pioneered the use of Technicolor and was the first cartoon to win an Academy Award. In 1934, Walt dreamed of creating a feature length animated film and in 1937, Snow White and the Seven Dwarfs became a reality. Snow White involved the work of nearly 600 artists who produced an estimated two million drawings As Disney revolutionised the industry, animation became widely accepted. The public was captivated with a world of adventure, fantasy and fun. After the breakthrough production of Snow White many other classics followed including Pinocchio (1940), Fantasia (1940), Dumbo (1941), and Bambi (1942), a period often referred to as the Golden Age of Animation. The teams working on these masterpieces made significant contributions to the technological advancements in the motion

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picture industry. For example, Fantasia introduced stereophonic sound to the motion picture industry. After World War II, another period of great creativity resulted in such masterpieces as Cinderella (1950), Alice in Wonderland (1951), Peter Pan (1953), Lady and the Tramp (1955), Sleeping Beauty (1959), 101 Dalmatians (1961), Mary Poppins (1964) and The Jungle Book (1967). Revolutionising the industry was the invention of the xerographic camera, developed during the production of 101 Dalmatians. The xerographic camera mechanically transfers the outline of the original drawing to the cel, eliminating the traditional and slow hand inking process. This technique was critical for a film which featured 101 spotted dogs – all appearing on the screen at the same time. The respect for the original animation process and exemplary skill of its artists has kept Disney at the forefront of the animation world. The modern productions of The Lion King, Little Mermaid, Beauty and the Beast, Aladdin and other features have enthralled audiences much as the classics of the past. There has been no richer heritage in the history of animation than the legacy began by Walt and continued to this day by scores of gifted and inspired artists.

ABOUT THE ART ON DISPLAY Animation art includes a significant number of media: original drawings, model sheets, backgrounds, original production cels, handpainted limited edition cels, sericels and fine art giclee prints. Original drawings are a pencil drawing on animation paper created by the animator and used as the basis for an image on a cel. Many thousands of drawings were required to create the great Disney classics as every movement required a separate drawing. In the 1930s, ’40s and ’50s, an original drawing was placed under the animation acetate cel and the outline was then hand inked (traced) directly onto the cel. Model sheets are drawings of a single character or grouping of characters in a variety of attitudes and expressions, created as a reference guide for animators. Original production cels: At 24 frames per second, each Disney film required thousands of individual images. After the outline of the

cel is transferred from the drawing to the cel, the image is then hand painted on the backside of the acetate sheet (cel). It’s not uncommon for a single character in a cel to have 30 colours. Cels are mostly created in two standard sizes: 12-field, about 25.4 x 30.48 cm (10 x 12 inches), or 16-field, approx. 30.48 x 40.64 cm (12 x 16 inches). Backgrounds are the opaque painting that creates the scenery behind the animation cel. Thousands of cels may be photographed over a single background to create one scene in a full animated feature film. The term ‘production background’ refers to one actually used in a film. Hand painted limited editions are created in exactly the same way as an original cel, but are not used in the production of cartoons. Once completed, they are placed on a lithographic reproduction of the original animation background. They are designed for sale to the cartoon art collector and lover of such works. Limited edition sericels are designed for sale to cartoon collectors. The process involves having the colour screened onto the cel which differs to original cels and handpainted limited editions that have colour applied by hand. An artist cuts a separate stencil for every colour in the image, each of which will be printed separately on the cel. Beginning with the line drawing, as many as 23 colours are then layered on, one at a time. When complete, it is a limited edition art work. Giclee fine art prints are made by artists

creating hand-painted original artworks. These images are then printed directly onto paper or canvas in a limited edition format. Edition sizes are between 50 to 200 for world publication. Most limited editions are signed by the artists and are individually numbered. The Walt Disney studios animation art collection presents the opportunity to bring the magic of Disney into your home. Whether you desire to collect unrivalled animation artistry, or wish to recapture a vivid memory to cherish and share with generations, Disney animation is a timeless treasure. Do not miss this rare opportunity to see one of the finest collections of Disney animation ever presented in Australia at Silver K Gallery 1092 High Street, Armadale. SILVER K GALLERY 03 9509 5577 silverkgallery.com.au

MALVERN

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1. Rolex Sea-Dweller stainless steel wristwatch, c. 2003, automatic movement, ref no: 16600T, serial no: F862063, with fold over clasp. Sold $6490 2. Victorian enamel and 15 ct yellow and rose gold bangle set with four rose-cut diamonds, red paste and seed pearls. Sold $1770 3. ‘Cave de Liqueur’ in the Boulle manner, c. 1880s, ebonised, brass and tortoiseshell, lift-out tray fitted with four square decanters and eight wine glasses, all with conforming etched foliate decoration, 26 x 32.5 x 24 cm. Sold $2242 4. Mourning jewellery, rose gold panel pendant, 6.5 x 5.3 cm, inscribed ‘Will Smith, 4th Oct 1800, 52’ to reverse, under glass a small woven hair panel with deceased’s initials in seed pearls, fitted with bail. Sold $590 5. Baluster-shaped pair of Chinese Export polychrome-decorated porcelain vases, 19th century, h: 34.5 cm. Sold $1180 6. Art Nouveau silverplate table centrepiece made by Würtemburgische Machin Fabrik, Geislingen (WMF), c.1900, marked no 452 to underside, 72 x 61 cm. Sold $2124 7. Pair of emerald and diamond claw set cluster earrings set in 18 ct white gold, emerald 0.80 ct, ten brilliant-cut diamonds, total 1.20 ct, pierced posts and sprung clips. ATDW: 2.4 ct. Sold $5428

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8. Royal Worcester reticulated double-walled vase, 1902 gilt decoration on ivory ground, printed mark and painted gilder’s initials HH, h: 10.5 cm. Sold $1416 9. Radiant cut 1.23 ct claw set diamond ring set in platinum, flanked by four brilliant-cut claw set diamonds, total 0.60 ct. Sold $8732 10. Goldscheider figure of Pierrot, c. 1910, impressed 3133/202/11, no XII/D4, h: 28 cm. Sold $1829 11. Mahogany library drum table, c. 1840s, gilt-tooled leather, four drawers divided by blank sections and acanthus-carved tablets, on a turned and lappet-carved pedestal set on concave-sided quadripartite platform base with paw feet, 75 x 106 cm (diam). Sold $2950 12. Regency mahogany bow-front sideboard, c. 1810, with original fitted cellarette drawer, raised on turned supports, the front banded and string-inlaid throughout, 93 x 168 x 69 cm. Sold $2360 13. Continental walnut secrétaire à abattant, c. 1880, enclosed writing surface with fitted and inlaid small drawers and pigeon holes, turned front feet, 175 x 99 x 49 cm. Sold $2242

AUCTION SCHEDULE 2013 Accepting items for consignment: 4 December – 18 December 2012 16 January – 31 January 2013

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 – 20th Century Design Modern and Antique Jewellery Closing for Entries Viewing Fine and Decorative Arts Modern and Antique Jewellery Closing for Entries Viewing Fine and Decorative Arts Modern and Antique Jewellery Closing for Entries Viewing

Sunday 17 February Monday 18 February Thursday 31 January Wed 13 - Sat 17 February Sunday 24 March Monday 25 March Thursday 2 March Wed 20 - Sat 24 March Sunday 5 May Monday 6 May Thursday 12 April Wed 1 - Sat 5 May

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THE BEGINNINGS OF TIME in Horology (1500-1700) H orologically speaking, not much changed during the 16th century. The escapement stayed the same, with the verge balance. A mechanical improvement was the arrival of the ‘stackfreed’ as a power equalisation system. During the 16th century, eventually smallersized timepieces were made, heralding the watch. Even though the clock mechanism was still not accurate, the smaller timepieces were mostly appreciated as novelties in the form of jewellery or as interesting decorative items. In 1572, Queen Elizabeth I had a complete section of her inventory devoted to watches. The inventory still categorised her timepieces as jewels, showing the value placed on these clocks in the 16th century and how they were kept and used. These were ‘form watches’ in the form of a pendant set with jewels, crystal crosses, flowers, memento mori and pomanders.

usually required only a small gearing system using its offset cam with an extra power (spring lever) source coming in at the end of wind, to help deliver an equalisation power effect. The stackfreed was restricted in use to early German carried clocks or watches, particularly in southern Germany. It was a poor cousin to the fusée in every way and eventually it ceased being used. During this renaissance, south German clockmakers managed to reduce the size of the chamber clock to a size that could be carried. Peter Henlein of Nuremberg (c. 14801542) is acknowledged as the first maker of the smaller portable timepiece, which is often referred to incorrectly as the ‘Nuremberg egg’, reflecting its size and shape. Its correct name is a pomander watch; it opens for viewing from a hinge and is hung from the neck or clothing. In Augsburg, as in most of Europe, early clock making was associated with lock making, but was considered inferior as locksmiths and gunsmiths were allowed to make clocks, but clockmakers were not allowed to make locks or guns! A clockmaker’s guild formed in Nuremberg in 1565. The town council set a test to join that included making a clock within a year. It had to be 15 cm high and able to be worn about the neck. It had to have an alarm, strike the hours and the quarters, with a dial showing the 24 hours in sunshine or moonshine on one side and show the quarters.

The other side had to show a calendar and the planets with the length of day. Remember that these clocks were completely handmade from hammering the steel, dividing the teeth, filing the gears, making the springs to engraving the dial. Guild entry tests were made even more severe and probably were designed to eliminate locksmiths and gunsmiths from the guild. However, a locksmith could still make clocks under law as late as 1629 outside the guild membership.

Casper Werner watch, 1548

The Casper Werner watch shown is the earliest known dated watch and is displayed in the Wuppertal Clock Museum in Germany. It was signed and dated 1548 by the maker Casper Werner who was a contemporary of Peter Henlein. The movement with stackfreed power equalisation goes for 30 hours, but probably only kept time within 20 minutes’ accuracy per day. It is made entirely of iron, standard for German watches at this time, with a gilt brass case. The cover allowed reading the single hand in the day and touching it at night, to know the time. The clock by Erhard Liechti dated 1572 is in another museum in Winterthur, Uhrensammlung Kellenberger. The clock is a fine iron weight-driven chamber clock with polychrome dial. The frame locates and interlocks with the minimum use of pins; the clock strikes the hours and the quarters with an alarm to wake the house, and a turning moon above the numeral 12. Erhard Liechti

GERMAN INFLUENCES

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FRENCH DEVELOPMENTS The main competitor to Nuremberg for watches was Blois in France, 185 km southwest of Paris. The earliest watchmaker listed was Julien Coudray (d. 1530), maker to King Louis XII for whom he made two orloges, one probably set in the hilt of a sword. In 100 years between 1515 and 1615, the number of workshops grew from five to 63. An early French centre of horology was Paris, where a guild was first formed in 1544, 53 years before Blois and 21 years before Nuremberg, showing the stronger element of protectiveness offered and sought by the Parisian clockmakers. A 16th century engraving of a clockmaker’s workshop in Flanders is attributed to Stradanus, a Flemish painter and printmaker (1523-1605), in whose engraving all the detailed steps of production are replicated. You will notice to the left bench dividers and files with vices to hold wheels, other completed wheels hanging on the wall, the forge in the background, verge and foliot propped against the bench with work taking place on small chamber clocks and a large standing (possibly turret) clock.

GROWING DEMAND FOR CLOCKS In the second half of the 16th century, both nobility and a new middle class of artisans, doctors, lawyers and merchants increasingly purchased clocks. To satisfy this burgeoning market, more clocks were produced and the numbers of clockmakers expanded, some specialising in making particular components such as external case embellishments. Examples of brass work by the same makers have been found on clocks from Augsburg to Italy. The movement was still controlled by the balance wheel and verge, but the accuracy of these timepieces did not improve markedly. In 1600, clocks were still inaccurate and, as such, were mostly ornamental, normally devised with small dials indicating the time. At the dawn of the 17th century, clocks were regarded as curiosities. They were often embellished with multiple functions and sometimes they incorporated astronomical features. There was no indication of the great heights that would be achieved in the second half of the century, the beginning of the golden age of horology that, surprisingly, was centred on London.

SCIENTIFIC IMPROVEMENTS IN TIME KEEPING

Hans Holbein the Younger’s design for a clock

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

was a member of the well-known Swiss clockmaking dynasty of nearly three centuries from the Winterthur area in Germany. This type of clock was the forerunner of the lantern clock.

16th century engraving of a clockmaker’s workshop

Stackfreed to fusée diagram

Erhard Liechti chamber clock, 1572

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

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

Jacques de la Garde, ‘Pomander’ watch of 1551

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

MOVING BY PENDULUM Christian Huygens (1629-1695) a Dutch scientist, astronomer and physicist is attributed with inventing the first practical pendulum clock, probably completing his design in 1656. He assigned production rights to Salomon Coster (1620-1659) in an historic contract that granted a 21-year patent for the design on 15 June 1657. Of course, it is not the pendulum but the escapement that delivers the power to the timepiece, while the pendulum acts as a controller. The clock these collaborators invented and patented was driven by clockwork from a weight. Huygen’s invention improved timekeeping to an enormous extent, as now the escapement used was still crown wheel and verge with a crutch and the pendulum hung between. It was a short bob pendulum of about 25 centimetres hung by a double silk cord from the verge pallet cock. Cycloidal cheeks – brass sheets used like stabilisers – were controllers of the pendulum swing and kept the pendulum moving in the same arc, while regulation was effected by adjusting the length of the pendulum. In the original diagrams, the escapement had an extra gearing at the top. We do not know why this feature was removed from the patent, other than because of the collaboration between Huygens and Coster. Christian Huygens also envisioned the use of a spiral spring to help control the balance wheel. The illustration of the Huygens drawing was made by agreement with the

English lantern clocks, c. 1653

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

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Parisian portable clockmaker Isaac Thuret with a patent date of 22 January 1675. This invention improved the time keeping of the balance verge dramatically.

Joseph Knibb table clock, c. 1675

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

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

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

ENGLISH DEVELOPMENTS

Saloman Coster pendulum clock

Huygens’ 1658 illustration of his pendulum clock

Design adopted by Huygens for the Coster pendulum clock

Ahasuerus Fromanteel (c. 1607-1693), already a renowned London clockmaker, introduced the pendulum to London in 1658 from the Coster in the Netherlands. Pre-pendulum English clocks were mainly lantern clocks but English clocks from this time were better in time keeping, with their more prominent dials reflecting their improved accuracy and minute hands were added to demonstrate their improved time keeping. Thomas Tompion (1639-1713) was one of the most marvellous clockmakers of all time. Tompion’s significance lies not only in his application of earlier developments but also in his support of further inventions, notably those of Dr Robert Hooke (1635-1703), inventor, mathematician and philosopher and formulator of Hooke’s Law. Tompion supplied time measuring machines that were of international importance in the advancement of science and technology, for example making the regulators for the new Greenwich Royal Observatory in 1676. Above all, Tompion was a superb craftsman. His influence led England into the golden century of horology. Following the adoption of the pendulum into timepieces, the most amazing clocks were designed and made with good shapes, designs and classical styles. The last half of the 17th century saw a move away from temporal hours – a system based on 12 hours of variable length depending on the daylight hours between summer and winter – towards the use of clocks as dependable timekeepers, as accuracy of clocks started to improve. Both government and commerce adopted these new scientific

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.com Member of the Watch and Clock Makers of Australia (formerly HGA) and the BHI

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GLEN IRIS Far left: Kerry Doran Left: Elena Kolotusha

place but a feeling sensed from memory. They aim to evoke emotions based on each viewer’s individual experience through the skilful technique of palette knife and brushwork. Colour is an essential element and Mogensen utilises this in the absence of specific structures within each painting. ‘Colour impacts your perception and experience of life in so many ways. I hope that through my paintings I can connect with each individual, so that they can enjoy the experience unique to themselves,’ she says. Mogensen’s paintings are held in numerous private collections throughout Australia.

PANOPLY GALLERY OPENS he recent opening of Panoply Gallery has been a long-held dream of director Kate McLeod who comes from an extensive career in interior decorating and design. Kate’s love of visual art in all its various forms as well as a variety of experience in colour and design, has led her to this point. Her vision is to present affordable and quality art, particularly to those who may never have experienced the joy of owning an original work. As well as supporting established artists, Kate aims to encourage new and emerging artists through the gallery. Presenting an eclectic mix, all the works are of a fine quality and will have universal appeal. With her experience and expertise, Kate can assist you in choosing the right work for your decor that will bring you joy for many years to come.

FEATURED ARTISTS The variety of artworks offered by Panoply include pieces by the following: Anna Blatman, Annie Simons, Dylan Brooks, Alexander Brown, Jane Burbridge, Susan Czermak, Ted Dansey, Kerry Doran, Ev Hales, Joel Hirsch, Kim Kennedy, Dimity Kidston, Brent King, Mandi King, Rose Knight, Elena Kolotusha, Robyn McAleer, Wayne Mcara, Renée Marie McDonald, Jane Mogensen, Olga Pasechnikova, Rosemary Williams and Barbara Wenzel. More information on some of these featured artists follows.

ELENA KOLOTUSHA Born in Russia, award-winning Elena Kolotusha started her career as a visual arts

teacher in Alma-Ata, Kazakhstan (in the former Soviet Union), after graduating from the Kazakh National Pedagogical University (Art Department). Upon migrating to Australia in 1998, Kolotusha settled in Melbourne and continued her work there as an artist. Her artworks mirror an interest in the natural world. Favourite themes are still life and close-up animal portraits. Working in a very precise and detailed style, mostly in acrylics, oils and colour pencils, her meticulous, exquisite paintings feature natural objects such as shells, dry plants, driftwood, pebbles, sea glass and feathers. Through her work Kolotusha reveals inherent beauty and characteristics, enabling the viewer to revisit common place objects with a new awareness.

BRENT KING Also working in Melbourne is emerging artist Brent King who has recently completed his Master of Fine Art degree at Monash University. King’s works are cast crystal sculptures exploring notions of masculinity, identity and corporeality. His current body of work explores the nature of representation, the ways in which we are viewed by others, the ways we view ourselves, and the interplay and anomalies that exist between external and internal states of being. King’s work is both exhibited and collected locally and internationally.

JANE MOGENSEN Following a professional career in fashion design, Mogensen chose to pursue her love of painting under the guidance of renowned contemporary artist Terrence J. Hadler who said in 2011, ‘I have been mentoring artist Jane Mogensen for some years now and feel that Jane is the most talented emerging professional artist that I have had the pleasure to teach in my 30 years as a professional artist.’ Mogensen’s paintings are greatly influenced by her surroundings, having lived on the Mornington Peninsula for the past eight years. Her paintings are not a depiction of a specific

Antiques and

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KERRY DORAN Producing works using the realist technique, Kerry Doran’s paintings feature a perfect harmony of space, light and atmosphere. His subjects include European villa interiors, still life, landscapes and flower studies, all showing the interplay of light and shade. A self-taught artist who was mentored by Kenneth Jack, Doran’s paintings were soon in demand and it didn’t take long for him to become a full-time professional artist. Travelling and living overseas, particularly in the USA and Europe, Doran attracted a strong following and has exhibited at the New York Art Fair, Los Angeles Art Fair as well as galleries in San Francisco. He has also won many awards and his works have been snapped up by famous private collectors including Clint Eastwood, the late Dinah Shore, the late Academy Award director George Sidney, Jeffery Tinsley (MyLife CEO) and the Chemical Bank, New York.

ABOUT THE GALLERY Panoply Gallery will have an ever changing exhibition of Australian artists, with a broad range of painting styles and medium, along with beautiful glass pieces, ceramics, sculpture, photography, jewellery by local and international artisans, and art books. This wide range of artworks is available at affordable prices, starting from as little as $30 and can make a well-appreciated, unique and original gift. Please visit the gallery to view the works in person and talk to Kate about her plans for regular solo artist exhibitions in the coming year. So that you can be informed of upcoming events, join our mailing list on the website. Situated at 1418 Malvern Rd., Glen Iris (just east of Tooronga Road), the gallery is open Tuesday to Friday, 10 am – 4 pm and Saturday 10 am – 2 pm, or by appointment. Kate McLeod PANOPLY GALLERY 0410 546 658 info@panoplygallery.com.au www.panoplygallery.com.au Below left: Brent King Below: Jane Mogensen

SOUTH YARRA

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

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

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

NO APPOINTMENT NECESSARY

Tyson China Repairs is easy to find at 375 Malvern Road in South Yarra and open six days for consultation: between 8:30 am and 6 pm, Monday to Friday, and 10 am to 2 pm on Saturdays. Please call 03 9826 9910 with any queries. TYSON CHINA REPAIRS 03 9826 9910

ABLE TYSON

CHINA REPAIRS Highest quality restorations to

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

ANTIQUE & CONTEMPORARY Glassware reshaped & repolished Chandeliers & lamp bases rewired 03 9826 9910 375 Malvern Rd South Yarra 3141 OPEN Mon-Fri 8.30am-6pm, Sat 10am-2pm Antiques and

art

CANTERBURY From far left: French commode c. 1900, Louis XV style featuring marble top, ormolu mounts, floral inlay English oak buffet signed Edwards and Roberts, c. 1890, in 17th century style French provincial oak cabinet, c. 1920

TRUE ANTIQUE

ANTIQUE a clear definition yet mislabelled and misused A bugbear of mine is the misuse and abuse of the word ‘antique’. My understanding was that to be classified as an antique, an item had to be 100 years old or more. I thought this cut-off originated with the difference between hand-made and manufactured products but, of course, this has changed with time. Also, duty charges were applicable to imported items identified as aged less than 100 years – therefore not an antique. The Concise Dictionary of Antique Collecting (Carter & Kannard, 2006) has this definition of antique: ‘general term for an item over 100 years old.’ Consequently, this 100 year distinction would seem pretty definite, but for a variety of reasons this line has become blurred and, even for the present, extended. Firstly, I feel that because of the popularity of the Art Deco style over recent years, the

term ‘antique’ has stretched to cover these 1920-1930s items. Secondly, probably due to the large exhibitions in Europe in the late 1800s that showcased many earlier styles, there was a consequent revival of these earlier looks, especially between 1880 and 1920. So this extended cut-off also suits these pieces. Finally, due to World War II not much happened in decor until the 1950s, so some references today list items as pre- or post-1950. Some antique fairs also use 1950 as a cut-off – perhaps in 2050 we can return to the original definition!

RETRO RATHER THAN ANTIQUE I can understand this stretching of the dates but what really annoys me is that the term ‘antique’ is often used nowadays for anything that has an old look.

HUGE RANGE OF QUALITY FRENCH BEDS

Guy Page

PAGE ANTIQUES Formerly of High Street Armadale

Several ‘antique’ stores in the city and country areas are very disappointing when you enter them and find that most of the items are second-hand (retro rather than antique) or new reproductions. There is nothing wrong with selling these items, but they need to be properly labelled, and if the bulk of the store is not antique (even allowing for the extended period) then it should be renamed. In some antique markets you would be hard pressed to find even a few authentic antiques. There are some businesses that mix old and new and re-label their stores with titles such as Antiques & Collectables (with collectables being of any age and quality), others use Antiques & Decor (with decor covering modern reproductions and accessories), while Antiques Plus is another combination. This combining of old and new (or retro) can be very effective but distinctions need to be made. The Australian Antique and Art Dealers Association (AAADA) checks prospective members’ outlets to ensure that the businesses are selling antiques and that they are labelled correctly. Furthermore, at AAADA fairs, pieces are vetted to make sure that they have the correct descriptions and dates. The Antique Dealers Guild, which is Victorian based, is also concerned about this problem of mislabelling and has, along with the AAADA, brought it to the attention of the relevant government department. Obviously, antiques are second hand, but second hand does not necessarily mean antique!

VINTAGE AND RETRO: THE NEW UMBRELLA TERMS

“The best selection of queen-size beds”

W E N

T SI

PAGE ANTIQUES WAREHOUSE 323 CANTERBURY RD, CANTERBURY VICTORIA 3126 PH 03 9880 7433 10 AM – 5 PM 7 DAYS (SUN 11 AM - 4 PM) Email: guypage@bigpond.com 0411 175 320 www.pageantiques.com.au

Antiques and

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The second-hand label, however, seems to be disappearing and vintage and retro are creeping onto the scene. These terms imply some age without being necessarily antique. Another term – memorabilia – sounds like it should have age but really is just defined as souvenirs or mementos associated with a person, place or event. At present describing items as ‘vintage’ seems to be the popular choice. One definition of vintage is ‘high quality of a past time’, though I am not sure that it has to be of high quality to classify. Apart from vintage referring to grape harvests, it has often been associated with cars, clothing and port but now, as I have stated, it seems to be growing in usage. Retro seems to refer to styles, trends and fashions of the post-modern past, that is, fashionably nostalgic and old fashioned. In my opinion it best suits the post 1950 period. As well as the general misuse of the word ‘antique’, there is the mislabelling of individual items. Many department stores and decor outlets label items ‘Victorian’, ‘Louis XV’, etc when they are clearly brand new. They think that just because it has the look, that it makes it so.

The French have insisted that only true champagne, produced from the grapes of the Champagne region, can be called champagne and now we have renamed ours sparkling wine. Branding and labelling is important! One fellow came into our store offering to make furniture for me to sell, so I patiently explained that we only sold antiques not reproduction. ‘That is okay,’ he responded. ‘I can make antiques.’ I don’t think I want to wait that long to sell them! These new pieces should include the word ‘style’ as in ‘Louis XV style’. Even for antiques we use this word when referring to revival pieces, for example: ‘Edwardian bookcase in the Georgian style.’ Another problem is when some advertisements or renovating shows talk about a so-called antique item that is clearly not an antique, and sometimes in a derogatory manner.

QUALITY DESERVES STATUS Antiques are beautiful pieces. Regardless of medium, the quality of the craftsmanship and the skills needed to create them make them pieces to be admired, appreciated and valued. We should respect them and appreciate the pleasure they have given to people in the past as well as the pleasure they continue to give now, and into the future. The term ‘antique’ should imply greater prestige, rising above items labelled ‘vintage’, ‘retro’, ‘second-hand’, etc. For example, a vintage dress may also be an antique. Perhaps with better usage of the term ‘antique’, the general public will once again learn to respect and admire these pieces that are for many, a real passion.

NEW, IMPROVED SITE We have rebuilt our website to make it more user friendly. However, although we will endeavour to keep it updated, due to the size of our stock it is not possible to show all of our items. Please feel free to contact us by email, phone or in person for more information. Trish & Guy Page PAGE ANTIQUES 03 9880 7433 / 0411 175 320 guypage@bigpond.com http://pageantiques.com.au

French mahogany bookcase c. 1930, Louis XVI style with marble top, brass moulding

CAMBERWELL / CITY / SURREY HILLS / MOONEE PONDS

RESTORING ANTIQUES OF TODAY

Trask

Antique Restorations French polishing Upholstery

Phone/Fax 03 9372 0850 0418 458 420 6 Hinkins Street Moonee Ponds 3039

Watchmakers and Jewellers Est. 1947 • Largest watch repair centre in Melbourne • We repair all brands of quartz automatic and mechanical watches and clocks • We do pressure testing to all brands of watches • We have the biggest range of watch bands and batteries in Melbourne, custom fitted • Expert restoration to all vintage wrist and pocket watches • Valuations and deceased estates a speciality • Will buy old watches and jewellery in any condition • We have the largest range of pocket watches in Melbourne • We stock vintage watches • Expert jewellery repairs • Seiko Repair Centre • Premier stockist of Thomas Sabo in Melbourne • Stockist of Swiss Military Hanowa watches

EXCLUSIVE FOR MELBOURNE

Camberwell

Luminox watches – Swiss made IN STOCK NOW

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

ANTIQUE CENTRE 25-29 Cookson Street

Why not visit the

Camberwell VIC 3124

Art Gallery of Ballarat

Tel 03 9882 2028 or 03 9813 1260 OPEN 7 DAYS

Steve Fraser, Rainbow Sunset, Qld

artgalleryofballarat.com.au

Ken Duncan, The Power of One, Africa

Artistic partnership brings new dimension DUNCAN AND FRASER LAUNCH NEW MELBOURNE GALLERY conic Australian image maker, Ken Duncan, has added a new dimension to the spectacular art available in his Australian Galleries thanks to his partnership with Western Australian photographer Steve Fraser. With their first collaborative book about to be released, Duncan and Fraser are launching a new gallery at 500 Collins Street – in the heart of Melbourne’s CBD.

LIFTING THE PROFILE OF FINE ART PHOTOGRAPHY Duncan is excited about this new venture. ‘Many photographers are frightened of competition,’ he said, ‘but a large part of my career has been dedicated to lifting the profile of fine art photography in this country and I’m glad others can benefit from my experience.

‘Steve and I share a passion for photographing the beauty of creation and a passion for excellence, so it’s a great fit for us to be exhibiting together. Having Steve’s work available alongside mine adds a new dimension that our clients are really excited about.’

WILD FRONTIERS INAUGURAL JOINT EXHIBITION Melburnians are well known for their love of art and both photographers have many staunch fans there. Duncan and Fraser were thrilled to have been offered such a prestigious Melbourne address and believe their clients are going to enjoy the new city location. The gallery is launching with a joint exhibition entitled Wild Frontiers – a diverse selection of outstanding images from Duncan

and Fraser’s most recent Australian and international travels. From the craggy peaks and glacial lakes of Patagonia, to Bengal tiger Ken Duncan, Tree of Life, Kimberley, WA cubs in the lush forests of India; from the rich red hues of the Pilbara region and aerial views of a Kimberley flood plain, to the azure waters of the southern Australian coastline – these latest images glow with light and colour. This showcase of Duncan and Fraser’s vibrant photography in its new gallery will perfectly complement the art of next door’s indigenous gallery Art Yarramunua. KEN DUNCAN AND STEVE FRASER GALLERY 03 9629 6900 melmgr@duncanandfraser.com.au www.duncanandfraser.com.au

Ken Duncan, Glacial Fire, Patagoia

Antiques and

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Second shop c.1985

First shop 1978

GILTWOOD

History repeats

BUYING OUT AND BUYING IN This arrangement continued until the early '90s when I was in a position to buy out Gary’s share of this stock and continue to purchase container loads of stock in France in my own right. I also had an opportunity to purchase the building just as the ‘recession we had to have’ started to take hold. Consequently sales plummeted – along with property values in a perfect storm – resulting in my losing the $175,000 deposit on the building. Luckily we still had a lease and plenty of stock, although we had to work even harder to survive in business.

MEMORABLE EXPERIENCES

Publicity c. 1983

t was 1978 and I was 24 when I opened The Gilt Edge Antique Gallery at 404 Burke Road, Camberwell. Although it meant a nervous time for me in taking on such overheads, I realised that having a street presence would allow me to attract more business and give me a little more credibility. Within a couple of years I was in a position to purchase the building. While contemplating this next step, I was approached by the owner of 394 Burke Road who asked if I would like to buy or lease his store which was at least twice the size. He then decided that he didn’t want to sell, so I took a lease – and ended up staying there for thirty-two years! In the mid '80s, together with Gary Kay of Antique Décor, I started travelling to France to purchase antique items. After a few years we formed a working arrangement whereby we bought joint stock which I would restore and he and I would sell through our respective companies and split the profits.

Antiques and

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gone. For me it is full of so many memories: good and bad.

NOT GOING JUST CHANGING The great news is that we are now moving on to the next part of the story with a new store opening just six doors away. Although the new store is a little smaller it has a really great feel about it. Additionally, the fantastic natural light adds another dimension to the stock, giving clients a better sense of how the pieces will fit in with contemporary living spaces. I do hope that you will come and visit us at 410 Burke Rd, just a few doors away from where I started retailing in 1978. Mike Gleeson GILTWOOD 03 9889 6543 giltwood@hotmail.com www.giltwood.com

NEXT GENERATIONS OF CLIENTS After so many years in business we are seeing the next generation coming through the doors. These younger, well-heeled clients who have grown up with the finer things in life, are seeking to emulate the good taste of their parents. Interestingly, as we begin the next chapter in our business with the closing the store at 394 Burke Road, Camberwell, we have had many people express concern and I have even been told that this place is iconic. One young lady said that she had walked past my store for all of her life and could not imagine it

Publicity c. 1988

Publicity c. 1985

Over the years we have met and dealt with some amazing people and been invited into some of the best and most important properties in the land. What has been really wonderful has been the ability to purchase an item in the back streets of Paris or Lyon and import it, restore it, sell it and deliver it to its new home. So many times I have been told that when my clients first bought an item from me, it was the most expensive thing they had ever purchased. Now, when they return to see the values of these items and exclaim how their one is so much better, they realise what fantastic value that purchase really was at the time.

Second shop refurbishment 2012

Buying in France c. 1990

SOUTH YARRA

WANTED

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

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

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

VINTAGE COLLECTABLE or new toy? or those who collect good quality wristwatches, the recent trend by some of the better watch manufacturers to reintroduce earlier popular models can only be seen as a good thing. Whether it is an admission that the models should never have been discontinued in the first place, or the popularity of collecting vintage watches has spurred them on, are questions that will probably remain unanswered. The official line would probably be something like: ‘We would like to pay some sort of tribute to our earlier designers whose dedication to style and excellence helped put us in the position we are today.’ The driving force, in my opinion, is fashion. Today’s trends lean towards the styles of the 1930s and 1940s; the complications of the early chronographs and the styles and durability of the early military and sports models.

OMEGA

BREITLING

JAEGER-LECOULTRE

Modern Prince

Modern Navitimer

The firm Breitling, which has brought back the Navitimer, is the first that comes to mind. The company has a history of watchmaking that dates back to 1884. In 1952 Breitling introduced a chronograph with three dials and a built-in slide rule fitted into the rotating bezel. Designed for pilots and aircrew, these wrist instruments remain operational today. Their value on the collectors’ market has increased steadily for a number of years. Prices range from $1,800 to $2,500. The new model, introduced as the ‘Old Navitimer’ in the early 1990s, has an upgraded automatic movement, is now water-resistant to 30 metres and on a leather strap retails for about $4,000. As with most reintroduced models this has increased the profile of the original watches and pushed up their price.

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

see-through sapphire crystal on the reverse. Jaeger have taken a seventy-year-old concept and improved upon it, including Tourbillon models and even minute repeaters.

LONGINES Longines have taken the original watch designed with Charles Lindbergh (the aviator) in 1927 and the chronometer designed by Lieutenant Commander PVH Weems, for aircraft navigation, and reintroduced them in limited editions.

IWC IWC’s Mark XII is a faithful reproduction (with some improvements) of its 1950 Royal Air Force model.

VACHERON CONSTANTIN Vacheron Constantin has resurrected old dies, retooled and reproduced a range they call Les Chronographes Historiques. The originals are worth in the vicinity of $20,000-$28,000, and the modern versions are, as the saying goes, ‘If you have to ask…’ Ron Gregor COLLECTIONS FINE JEWELLERY 03 9867 5858 www.collectionsfinejewellery.com

Vintage Navitimer Antiques and

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J.M.W. Turner, Rome, from the Vatican. Raffaelle, Accompanied by La Fornarina, Preparing his Pictures for the Decoration of the Loggia, exhibited 1820. Photo © Tate 2013

IN PURSUIT OF THE MASTER Turner from the Tate he major exhibition Turner from the Tate: The Making of a Master takes us on a wondrous journey through the ambitions, critical triumphs and controversies of one of Europe’s greatest painters – J.M.W. Turner. Emerging from a modest background, by 1820 Turner had long succeeded in becoming a painter – as foretold by his father when he was a child – and had since gained fame and fortune. His romantic vision of nature captured the spirit of his age, where dramatic changes to socio-economic and global political structures prompted a shift in the way painters and poets described man’s place in the world.

8 February - 19 May

His practice was also tempered by the language of the European masters whose paintings were coveted and widely available (at considerable expense) in the London art market.1 Turner’s position as the most celebrated contemporary artist in Britain, when combined with his talent, was secure. Yet he longed for more. Turner wanted to realise a status equal to history’s noblest – to have his artistic achievements endure throughout time, beyond the transience of his lifetime’s rewards. Painted within Rome from the Vatican, Raffaelle, Accompanied by La Fornarina, Preparing His Pictures for the Decoration of the Loggia, exhibited 1820, he

declared his aspiration to join the canon of European masters. Rome from the Vatican depicts the celebrated Renaissance master Raphael, surrounded by a selection of paintings representing the breadth and universality of his practice, contemplating the frescoed decorative scheme of his design in the vaulted Vatican loggia. Behind him stands his mistress La Fornarina, diverted by the delights of jewellery, roses and fruit and seemingly oblivious to the achievements of her lover. But in detailing a contemporary view of Rome, as he first stood in the loggia and sketched it in 1819, Turner assumes the position of Raphael reflecting upon his own fate and legacy to

J.M.W. Turner, A Disaster at Sea, c. 1835. Photo © Tate 2013

J.M.W. Turner, The Fall of an Avalanche in the Grisons, exhibited 1810. Photo © Tate 2013

Antiques and

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J.M.W. Turner, Venice, the Bridge of Sighs, exhibited 1840. Photo © Tate 2013

humanity.2 He considers how the reputations of the masters prevail through the ages because the magnificence of their artistic practice elevates the mind and soul of man, in contrast to the transient gratification provided by material possessions and carnal desires. Framed by the ideals of the past, the dazzling blue sky with morning light emanating from the horizon in Rome from the Vatican, held the key to Turner realising his ambition. These facets were not in themselves new to his paintings or his conscious development as an artist. The colour and light of nature and the interrelationship between the past and the present had governed his engagement with the landscape from the beginning of his career. But now Turner embarked on a period of experimentation, reassessing how he could capture the ephemeral qualities of light and colour in a landscape resonate with humanist thought. Returning to London from Italy in 1820, he pursued the atmospheric energies of nature with an originality of mind that redefined the expressive possibilities of landscape painting and has since established his place amongst the great European masters. Showing at the Art Gallery of South Australia in Adelaide from 8 February, Turner from the Tate: The Making of a Master will be the first major exhibition of Turner in Australia for nearly 20 years.

ACCOMMODATION PACKAGES Travel to Adelaide to see the exhibition and take advantage of the InterContinental’s exhibition accommodation packages. Positioned exclusively along the banks of the River Torrens, InterContinental Adelaide effortlessly blends luxury with comfort. Just a stroll from the cultural boulevard of North Terrace, home to the Art Gallery of South Australia, the hotel boasts stunning guest rooms with uninterrupted views across the historic and cultural city of Adelaide. For more information contact ART GALLERY OF SOUTH AUSTRALIA 08 8207 7000 agsainformation@artgallery.sa.gov.au www.artgallery.sa.gov.au/turner Notes 1. David Solkin (ed.), Turner and the Masters, Tate Publishing, London, 2009, p 20 2. John Gage, Colour in Turner: Poetry and Truth, Studio Vista, 1969, p. 95

CITY

Paul Laspagis

The Victorian Artists Society

UPCOMING HIGHLIGHTS VAS ARTIST OF THE YEAR AWARD 2013 n addition to developing artists in their practice through sales, workshops, studio sessions and networking, the Society also runs a series of award exhibitions in Autumn, Winter and Spring. Celebrating the 40th anniversary in 2013, the Victorian Artists’ Society Artist of the Year Award comprises prize money of $5,000 plus gallery space for a solo exhibition. The award is unique as it is not awarded by a committee or judge, and demands sustained elite performance. The Society welcomes all Victorian artists to submit. The pre-eminent Artist of the Year Award Exhibition is held in November. The main award is presented to the artist who achieves the highest number of votes by their peers over four exhibitions throughout the year. ‘Many of our finalists are established artists or go on to establish very successful art practices,’ explains VAS president Gregory Smith. ‘With a large and growing membership, exhibiting members represent a wide variety of styles, mediums and opinions.’

EMERGING ART! BARGAIN SALE & AUCTION 18 February – 3 March Start the year afresh with a new artwork to brighten your home and life. A visit to the Victorian Artists Society’s Galleries on Monday, 18 February from 6.30 pm 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. The event attracts hunters and collectors from across the country for a chance to purchase a bargain price artwork by some of Victoria’s finest artists. 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 saw 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 snapped up by those with a keen eye for a bargain. The VAS Art Bargain Sale & Auction provides the perfect opportunity to purchase an original artwork at a rock bottom price. So

come along with a friend and grab a bargain and enjoy one of the most exciting nights of the exhibition calendar.

2013 CALENDAR AT A GLANCE JANUARY Summer workshops Workshops begin 21 January; office re-opens 24 January

4-5 day workshops Lee Machelak, Oil Portraiture: 5 days commencing 21 January David Taylor, Watercolour: 4 days commencing 29 January Clive Sinclair, Acrylics: 4 days commencing 29 January

1 – 3 day workshops Tom Alberts, Figure Painting: 26 January TBC Gregory R Smith, Oil: 3 days from 30 January – 1 February Ted Dansey, Watercolour: 3 days from 30 January – 1 February Manwel Cassar, Contemporary: 31 January Lewis Miller, Life Drawing: 2 February Gray Nicol, Sculpture: 3 February FEBRUARY James Morgan Photography Exhibition At the Frater, McCubbin and Hammond Galleries VAS Art Bargain Sale & Auction 18 February – 3 March Opening night: Monday 18 February at 6.30 pm. MARCH How Modern are You? 6 – 19 March VAS members’ exhibition: A chance for members to show their spots in the first VAS modern themed exhibition. Paul Laspagis 13 – 19 March Cato Gallery APRIL The VAS Autumn Show The Autumn exhibition is the first of the major exhibitions for the Society’s members for 2013. This exhibition incorporates the Undine award for landscape painting. Previous winners include Clive Sinclair, Otto Boron, David Mellows and Ray Hewitt.

VAS ART CLASSES 2013 Term 1 starts Monday 4 February. Classes in the following are scheduled.

Barbara McManus: Portrait, Mondays 10 am – 12.30 pm Ted Dansey: Watercolour, Mondays 7.30 pm – 9 pm Christine Wrest-Smith: Drawing / Oil, Tuesdays and Wednesdays 10 am – 12.30 pm Julian Bruere: Drawing / Mixed Media, Tuesdays 1 pm – 3.30 pm Ray Hewitt: Oil, Tuesdays 7 pm – 9.30 pm Paul McDonald Smith: Oil, Wednesdays 1 pm – 3.30 pm Annie Finkelde: Works on Paper, Thursdays 10 am – 12.30 pm Stephen Doyle: Oils, Thursdays 7 pm – 9.30 pm

For details regarding these and other VAS art classes, please call the office between 10 am and 4 pm, Monday to Friday.

THINKING OF EXHIBITING? The Victorian Artists Society has excellent facilities and first-class exhibition space in its purpose-built galleries at 430 Albert Street in East Melbourne. For all exhibition enquiries, please contact our office. THE VICTORIAN ARTISTS SOCIETY 03 9662 1484 admin@victorianartistssociety.com.au www.victorianartistssociety.com.au

FEBRUARY 18 - MARCH 3

ART BARGAIN SALE & AUCTION 2013 OPENS 6.30PM MONDAY FEBRUARY 18

UNFRAMED ARTWORKS BY EMERGING & ESTABLISHED ARTISTS FROM

$100-$500 The Victorian Artists Society Galleries 430 Albert Street, East Melbourne 3002 P> 9662 1484 E> admin@victorianartistssociety.com.au

Antiques and

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Agra ottoman, 45 x 45 cm

Soren armchair

AT SCHOTS HOME EMPORIUM retro furnishings add stylish charm hen Heather and Neville Schot began trading in antiques over 35 years ago, they readily developed an appreciation for fine furniture and quality workmanship. Schots Home Emporium then progressed into reproduction furniture, during which they never lost their appreciation for such craftsmanship and attention to detail. A tribute to their antiques background, Neville and Heather insist on only featuring furniture and fittings for the home that display ageless craftsmanship and functionality. Each piece is imbued with its own distinct personality, patina and character. At Schots Clifton Hills, having three expansive levels means you can combine an eclectic mix of fine furnishings to make a truly individual statement.

SITTING PRETTY â&#x20AC;&#x201C; TRADITIONAL FURNITURE LINES WITH MODERN TOUCHES Colourful armchairs and ottomans are more recent arrivals to the Schots furnishing range, and are perfect for summer and bright palette stories. Constructed around a sturdy hardwood frame, the colourful multi-patchwork upholstery sets these furnishings apart and is sure to brighten any space.

SCHOTS HAS EXPANDED TO GEELONG Schots Home Emporium has expanded its presence to regional Victoria with a large showroom in Geelong. Whether looking to renovate or add a signature piece to a room, visit the 3200 square metre outlet at 299 Melbourne Road in North Geelong, off Mackey Street. For more information contact SCHOTS HOME EMPORIUM 1300 693 693 - Geelong 1300 774 774 - Clifton Hill info@schots.com.au www.schots.com.au

Astrid rocking chair

Kochi oval back chair

Olmo footstool, square

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CITY

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David Freeman addresses the subject of underrated and under-valued Australian artists – AN AREA THAT INVESTORS FIND TOPICAL AND CHALLENGING fter a quarter of a century as a valuer and over a decade of auctioning art and antiques, I am still amazed at the vast number of clients who ask me these eternal questions: Which Australian artists are sound investments – and – which Australian artists are underrated in value? My personal and professional opinion has been formed over many years of valuing, selling and collecting and it is apparent that over the last few decades fashion and trends have influenced many people in their purchase of artworks. Some choose works for their decorative appeal; others for the reputation of the artist; while various collectors are influenced primarily by the galleries and showings that they attend. Recent auctions have seen new buyers attending. I wonder if they only show interest because of media hype on current outstanding prices achieved on artworks selling for 300% above estimates, for example.

ART AS AN INVESTMENT This may well work in the short term or even in the long term, but beware that art investment for profit’s sake is a risk. The bigger the price the bigger the risk; especially if a novice, much like betting on a horse. The criteria for collecting art that I have devised for myself is what I give as a professional opinion: • It is vital that you firmly decide what and who you like: are you a traditionalist, abstract, social realist or do you have preferences for other genres. • To learn about artists, prices and trends

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attend public and private galleries and shows. Preview auction sales and follow the auction. • Learn about the medium preferred by the artist whom you choose. • Understand the style of the artist, whether an established style or in flux. • Research your preferred artist. Does this artist command high prices at exhibitions and auctions?

UNDERRATED AUSTRALIAN ARTISTS Another key to my collecting is looking at artists who seem to be ‘steady as they go.’ Listed below is my choice of six top underrated Australian artists. Remember, these are just a handful of many talented yet undervalued and underrepresented artists in Australia. Horace Asher Brodzky (1885-1969) studied at the NGV School, City and Guilds School London and was a founding member of the London Group. Brodsky’s tonal and naïve grouped figural paintings also have a social realist style. His works are held at the NGV, British Museum, Victoria and Albert Museum, Aberdeen Art Gallery among many. Brodzky works sold in England command prices up to four to five times higher than in Australia. My tip is that Brodzky’s works are undervalued and should be a great long-term investment. Judy Cassab (b. 1920) is one of Australia’s best-known portrait painters and the winner of many prestigious art awards including the

coveted Archibald Prize. She studied in Prague and Budapest Academy prior to settling in Australia in 1951. Her expressionist style works are exhibited and acclaimed worldwide. Her paintings are represented in most Australian state and regional galleries and are held in collections internationally. My tip is that Cassab’s works are currently undervalued. Robert Henderson Grieve (1924-2006) is a highly regarded artist among his pears and well established in the collecting circle. Grieve studied at the Regent Polytechnic London in the 1950s. Earlier works were of the social realist style, while his later works are a fusion of Japanese and modernist European influences. My tip is to collect his earlier works.

My tip is to collect his works from between 1960 and about 1980, as these pieces are well under-priced. James Vandeleur (Jim) Wigley (1917/19181999) is another under-priced Australian social realist artist. Wigley’s works of the 1950s to 1960s of Aborigines and their outback life are outstanding. His understanding of their culture enabled him to paint them as no one else can as he spent years living in Aboriginal communities. While his career had highs and lows, today prices of his early works are steadily increasing. My tip is to look for Wigley works from the late 1950s to the mid 1970s.

ENJOY YOUR ART

My tip is that Griffin’s works will have a very favourable revival in the near future.

The most important criterion, after doing your research, is that you enjoy your art as well as its investment prospects. Make sure it fits your lifestyle – after all, you are not buying shares to leave in a drawer – art is an investment for enjoyment by you, your family and friends. I hope that you will show your well-chosen art on your walls for a long time. Perhaps you may even grow so attached that any potential financial gains will not outweigh your personal connection with your chosen artist and work.

Vic O’Connor (b. 1918) undertook early studies at the George Bell School and from 1939 he exhibited with the Melbourne Social Realist group. His works were included in Angry Penguin and realist painting in Melbourne in the 1940s show held in London. O’Connor’s early social realist works of the 1940s are outstanding examples of social realism.

David Freeman AMANDA ADDAMS AUCTIONS AND DAVID FREEMAN ANTIQUE VALUATIONS 03 9850 1553/ 0419 578 184 www.aaauctions.com.au

Vaughan Murray Griffin (1903-1992) trained at the NGV School 1919-23. His desirable linocuts achieve the expected high prices, yet his impressionist style oil paintings remain undervalued (c. 1930-80). A major retrospective exhibition of his works was held at the Castlemaine Gallery approximately ten years ago.

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John Rogers, Off Little Bourke Street, 1948, oil on canvas, 50 x 66 cm

How much is this worth? $6,000, $8,000, $10,000

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

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CLIFTON HILL

THERE’S MORE TO THE French Riviera than the beach and sun S hopping for antiques on the French Riviera is about as energetic a project as one can manage on balmy days under the seaside sun. Swimming in the surprisingly clear waters, or lounging on a deck chair on the beach of smooth pebbles does not appeal to me. I assume that the water may be so wonderfully clear because there is no sand. Shopping, on the other hand, is just fine! My usual September study trip was much more opulent than usual. I was invited to stay with friends in a riverside penthouse in London, and at the Hotel Daniel in Paris (Omar Sharif usually sat at the next table). With Lilian it was the grande luxe: a giddy round of breakfasting at the Ritz, watching the sun set over Paris from the Tour d’Argent, and overlooking the Place de la Concorde from our table in Les Ambassadeurs in the Hôtel de Crillon.

Nice, where I stayed with my friends Ray and Kim, was a change to casual resort life. I stay with Ray and Kim regularly in New Orleans, but I had never been to their apartment in Nice as most of the time they let it out to tourists. Monaco is a short bus ride away: one euro! Having reached crotchety middle age, I had vowed never to visit noncapital cities again in this lifetime, excepting San Francisco and New Orleans, of course. Nice is a perfect excuse to break that vow. In the last few years Nice has been renovated, cleaned, painted and polished. Indifferent buildings with featureless facades have been magicked into elegance by the extensive use of trompe l’oeil. Architectural features such as balustrades and shaped pediments over windows have been added to many buildings with paint. Some seeming opulent villas are actually flat

Pair of ormolu and enamel cassolettes c. 1775, designed by Matthew Boulton (1728-1809), made by Boulton & Fothergill (Soho, Birmingham 1762-82), h: 20 cm; re-enamelled green. $9250

Georgian & Continental Furniture • Porcelain

Silver • Ikons • Paintings • Imperial Russian

www.Roys-Antiques.com.au

410 Queens Parade Clifton Hill Vic 61 3 9489 8467 30

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walls entirely faked up with paint. The effect of this theatricality is astonishingly successful. In keeping with Nice’s original Italian nationality the buildings are all gaily coloured, looking exactly like large ice cream cakes.

WHERE TO BEGIN The apartment is only a block from the water in the port area. This is where the antiques centre and the flea market are. There are a hundred antiques shops in Nice, and this fact is proudly advertised on street signs. Most of them are in the port area. They range from the usual indifferent ‘funky’ mid-century modern to shops with ten pieces of museum quality Renaissance furniture. The two-storey antique centre is a bit run down, and features a rather sad looking fernery held captive behind a balustraded balcony. Here I was excited to find a wheelbarrow at the front of a store with a pile of goodies including several red Morocco leather and gilded articles. I have a weakness for these. One was a satchel or purse with an accordion style interior. No price. Another was a shaped 19th century jewellery box, fitted for a parure: a necklace, two bracelets, earrings and a brooch. The jewels had long since gone their own way and the hinge was broken. I was charmed by its complex shape and gilded red leather, but the ticket price of 1000 euros (AUD$1270) certainly dampened its appeal. Prices generally were enough to make most Australians faint. We are very spoiled in Oz. In one shop on the lower floor two men were inside the unlit shop with the door closed, playing chess. They were always there every time I went by. Not once was the shop door open or the shop lit. Cunning marketing! More affordable was the flea market – Les Puces de Nice, Antiquités, Brocante. Here were about 40 stores. The range of goods was broad: postcards for a few euros jostled with Empire bronze handles for hundreds. I was tempted by a mid-19th century pair of finely worked bronze fire ornaments for 250 euros. Alas, I was travelling this hop of the trip with hand luggage only – an allowance of 7 kilos.

WALKING TOUR The port area of Nice is separated from the medieval section by a steep hill. A great castle once surmounted the hill, but that was long ago. The hill is high and steep, but the base is relatively small. This allows one to walk around to the other side in about 15 minutes. One can walk along the 1820s esplanade to the old city or one can walk the inland route through the imposing and beautiful Garibaldi Square. This large cobblestone square has a central fountain, a few decorative trees, and is surrounded by a suite of elegant trompe l’oeil enriched canary yellow facades. The square is given over to dining, and umbrellas, tables and chairs cover much of the open space. Either way, when one reaches the Old City the

only way between the multi-storied buildings are the tiny streets, called ruelles, miniature rue! These narrow lanes curve so that one cannot see far down each, and since the land undulates, the ruelles are sometimes steep ramps. Many of these are now lined with fascinating shops selling rare condiments and spices, aromatic soaps, and astonishing flavoured ice creams. There are also the usual tourist T-shirt and clothing shops, Irish pubs and many restaurants. Periodically one chances on a tiny courtyard in front of a baroque church looking like giant confectionery and filled with people dining under white parasols. Every few hundred metres there will be a gap between the shops revealing a 17th century marble fountain or religious shrine. Here and there are also to be found little antiques shops huddling between restaurant tables. These have eccentric opening hours and harbour many strange and delightful things, some of which were a mystery even to me as to function, age or provenance.

AMUSING CAUTIONARY TALES It is always best to avoid mystery objects. I am reminded of two, hopefully apocryphal tales. One lady mounted her prized travel souvenir, a large metal syringe, on her country style kitchen wall only to have the local vet recognise it as an animal enema. Too, too rustic making! Another lady served gravy in a fine porcelain sauceboat at an elegant dinner party where one guest identified it as an 18th century Sèvres bordalou, not at all suitable for the delivery of food! A bordalou is an elegant ladies’ chamber pot. Roy Williams ROY’S ANTIQUES 03 9489 8467 www.roys-antiques.com.au

PLENTY

THE CLASSIC GEORGIAN DRAWING ROOM reflects the formal but stylish comfort of a bygone era he Georgian period (1714-1811) was one in which our forebears surrounded themselves with objects revealing the dignity and ease of the times in which they lived. Today as I look back, it is my very favourite decorative style – one that, in this day of ‘paring-back’ and minimalism, still looks remarkably stylish.

IMPACT OF ROBERT ADAM I will attempt to describe the features of a small Georgian drawing room with an architectural mode that reflects the more classical taste of the time, favoured by Robert Adam (1728-1792), famed architect of the period who treated furniture and interior decoration as a complete whole. This integrated style reflects a feminine delicacy that was the fashion of the day for both the drawing room and the music room that were ostensibly used by the ladies of the house. The dimensions of the room are quite small however, a vertical striped wallpaper on the walls adds to the illusion of height. The Georgian custom of having the best quality furniture arranged formally around the edge of the room is utilised to best advantage. The entire fixed woodwork in this interior – the cornices, skirting and window framing – look best painted ivory, and the mantel piece is a simple Adam-style pattern, flanked by small marble Corinthian columns. An oval ceiling rose or plaster decorative panel with a central light fitting, usually a candlestick chandelier with five to seven branches finished with clear prisms catching the light, adds a dignified simplicity to the ambience of the room. The pattern of the carpet, along with the design of the silver candelabra on the mantel piece, the style of the sideboard and small tables dotted around the room reflect a classical theme.

QUALITY FURNITURE SET THE ROOM’S TONE English Georgian furniture was mainly plain and simple. Well-designed pieces of furniture made using quality woods such as oak and mahogany, crafted by hand with good quality metal ware dominate the room. With the dark tones of mahogany, colours such as sagegreen, deep peacock blue, dull red with suggested ivory highlights make for a successful colour scheme. Burnished gold or bronze finishes also add to the warmth of the room. A beautiful chair with the famous three feathers of the Prince of Wales crest on the back made famous by the furniture maker George Hepplewhite (1715-1762) along with a wonderful pair of pier tables in neoclassical style are the items of choice. Hepplewhite produced simplified and functional furniture; working mainly in mahogany or satinwood, his designs are characterised by straight tapering legs and shield or oval chair backs with openwork design.

DATING GEORGIAN PIECES A Georgian piece can usually be dated by the construction and style. The very early pieces may have been of a pegged construction using mortice-and-tenon joints held by pegs or dowels instead of glue or screws. From the early Georgian times the most common way of construction was by hand-cut dovetail joints which were glued, sometimes handmade screws were used. The most popular style of handles was drop and swan neck handles. A Sheraton breakfront bookcase or cabinet standing on ogee bracket feet is another strong feature in the room along with a striking rosewood card table standing on a carved central pedestal. Thomas Sheraton (1751-1806) made his name with the publication of the Cabinet-Maker’s and Upholsterer’s Drawing Book: 1791-1794. Like Robert Adam, Sheraton advocated light and delicate furniture characterised by straight lines, often accentuated with reeding and inlaid fruitwood decoration.

ACCESSORISING WITH ART The walls of the Georgian drawing room would be adorned with romantic paintings such as family portraits and scenes from family life interspersed with dramatic landscapes captured in brilliant colours. Such works are exemplified by Sir Joshua Reynolds (1723-1792), one of the most renowned portrait artists of the time, and Joseph Mallord William Turner (1775-1851), celebrated for his light-filled landscapes. The Georgian drawing room was designed to be impressive. Important guests would have been entertained here following dinner. Tea drinking or ‘taking tea’ – quite a ceremonious occasion in the 18th century – would also take place in this well-appointed room.

THE VICTORIAN IMPERATIVE During the 19th century, decorating styles reflected the way English society adapted to the rapid changes that the Victorian age brought. Victorian England saw the birth of new domestic concepts and the overriding effect was the emergence of a more cluttered way of decorating. On one hand, many were still influenced by the principles of classic formality, whilst others opted for the more brazen ornamentation for which the Victorian period is known. I like and endorse the words of John Ruskin: ‘Have nothing in your houses that you do not know to be useful or believe to be beautiful.’ If these words are to be truly believed, one can understand why I prefer the more understated Georgian style of decoration. I add that if this adage were to be adhered to, perhaps fewer blunders and decorating mis-matches would occur in the furnishing of our homes. Dawn Davis EAGLEMONT ANTIQUES 0408 530 259 dawn@eaglemontantiques.com.au www.eaglemontantiques.com.au

Eaglemont Antiques A Unique Shop in a Heritage Area Come and browse through our showroom filled with quality antique furniture: dining tables, bookcases, small occasional furniture; a wide variety of English and European porcelain and glassware; and all sorts of interesting objets d’art. We offer: ❀ Complete restoration service ❀ Valuation service ❀ Consignment sale service ❀ Home decorating service ❀ Cash for all goods purchased A Regency period butler’s tray

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

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COLLECTOR PROOF COINS 1955 – 1963 struck at the Melbourne and Perth mints are Australia’s most affordable rare coin investment series Right: 1956 Perth proof penny. Valued at $7,500 in 2006; current 2012 value, $16,000

t is a fact that the mints in Canberra and in Perth are today prolific producers of proof coins specifically designed and marketed to collectors on a commercial basis to generate profits. Consider that in the year 2010, the Royal Australian Mint in Canberra produced more than 17,000 proof sets. And that’s just one product out of hundreds. It is a natural assumption that Australia’s pre-decimal proofs were struck on a similar basis. The reality is that this is far from the truth.

Below: 1955 Perth proof penny & half penny. Valued at $14,500 in 2006; current 2012 value, $30,000

DEBUNKING A MISCONCEPTION In 1955 Treasury bowed to collector and dealer pressure and sanctioned the striking of proof coins as part of an on-going commercial venture. The ‘collector’ proof coin series, launched in 1955 to the delight of the collecting public came to a conclusion in 1963, just prior to decimal currency changeover. Government intervened in just one aspect of the program – only those coins being struck for circulation were to be issued as proofs.

STRUCK PROOF COINS The Melbourne Mint was striking both silver and copper coins for Treasury which meant that it could strike both silver and copper proof coins: florin, shilling, sixpence, three pence, penny and half penny. For the Perth Mint, operating as a copper producing mint, this meant the striking of penny and half penny proofs only. The coins were released annually with an

1956 Melbourne five coin proof set. Valued at $1,900 in 2006; current 2012 value, $3,700

official issue price of face value plus a premium of one shilling per coin – mintages averaged around the 1,500 mark. Each piece was minted to exacting standards – from the selection and polishing of blanks, the preparation of dies and ultimately the actual striking. The result is a coin that is pleasing to the eye, well struck with strong designs and superb smooth background fields. It is an important series in our currency heritage for it represents Australia’s very first annual proof coining program: the pre-cursor to the series introduced by the Royal Australian Mint in 1966.

1959 Melbourne six coin proof set. Valued at $3,000 in 2006; current 2012 value, $6,000

TRACING THE GROWTH IN VALUE The demand for premium quality examples in this series has far outstripped supplies, underpinning considerable growth. The complete set (of 54 coins) in perfect quality was selling for $50,000 in 2006. Today it is worth $100,000. One of the greatest advantages of this series is that the coins can be acquired progressively one year at a time.

1955 1956 1957 1958 1959 1960 1961 1962 1963 1955 1956 1957 1958 1959 1960 1961 1962 1963

Perth Mint Proof Coin Sets 1d & 1/2d 1d 1d 1d 1d 1d & 1/2d 1d & 1/2d 1d & 1/2d 1d & 1/2d Melbourne Mint Proof Coin Sets 1d & 3d, 6d & 1/1d & 3d, 6d, 1/- & 2/3d, 6d, 1/- & 2/1d & 3d, 6d, 1/- & 2/1d, 1/2d & 3d, 6d, 1/- & 2/3d, 6d, 1/- & 2/3d, 6d, 1/- & 2/3d, 6d, 1/- & 2/3d, 6d, 1/- & 2/-

Mintage 301 417 1112 1028 1030 1030 1040 1064 1100 Mintage 1200 1500 1256 1506 1506 1509 1506 2106 5042

WHAT IS A PROOF COIN? To anyone with some industry savvy, the word ‘proof’ grabs attention. It equates to rarity and exclusivity – qualities that are attractive to both collectors and investors.

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A proof coin is special and the following text will help to explain why. As a general statement, coins are minted in two distinctly different styles and for two distinctly different purposes. 1. Coins are struck for circulation so that you and I can use them in everyday commerce – buying a loaf of bread, the newspaper or a bottle of wine. They are struck in a factory environment in their millions. 2. Coins are also struck to proof quality. A proof coin is a display piece (showpiece) of its circulating counterpart and was never intended to be used as currency. It is considered a ‘piece of art’. That is, coinage in its most elegant and artistic form and because of the lengthy time involved in its production, proofs are struck in restricted numbers –usually less than 20.

PREPARING THE PROOF DIES A lot of preparation goes into the striking of a proof coin. The dies are hardened and brushed to ensure that the design will be sharp and almost three-dimensional in its appearance. The blanks are hand-picked and highly polished to produce a coin with a mirror shine and smooth fields. The dies are struck twice to create a sharp, well-defined design. The rims encircling the coins are high, creating a picture frame effect encasing the design. The pristine nature of the striking is particularly evident in the denticles. They are crisp and uniformly spaced around the circumference of the coin. COINWORKS AUSTRALIAN RARE COINS AND NOTES 03 9642 3133 info@coinworks.com.au www.coinworks.com.au

ORMOND

French striking carriage clock, c. 1870s

French time piece carriage clock, early 20th century

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

CARRIAGE CLOCKS efore the watch became an accurate timekeeper, miniature clocks intended for travelling were made. Through the 18th century travelling became less strenuous and this resulted in a small market for socalled coach watches. They were very similar to a giant watch and although portable were too large to be carried conveniently on the person but small enough to be transported by coach or boat. Some of them were especially useful at night, since they were equipped with repeating mechanisms. The earliest travelling clocks were made in southern Germany, France and Italy and were hexagonal and rectangular table clocks, but it was in France that the major developments in travelling clocks took place. These clocks were not manufactured for long and were soon replaced by the carriage clock. The first carriage clocks were made in the early 19th century by Abraham Louis Breguet, undoubtedly one of the greatest clock makers of all. His clocks were highly complex, superbly finished and beautifully cased. This of course made them very expensive and only a small number were produced. The first maker who produced carriage clocks in any quantity was Paul Garnier (1801-1869) and other makers such as Boliviller, Auguste, Berolla, Jules and Lepine followed. By 1850 carriage clock production was full steam ahead. Through much of the Victorian

period McCabe, Frodsham, Dent, Vulliamy, Barwise, Smith and Jump made carriage clocks. Their clocks were usually larger, heavier and considerably more expensive than those made in France. There are also a limited number of Swiss and Austrian carriage clocks. However, France and especially Paris, became the production centre for carriage clocks. All types of carriage clocks were made: simple timepieces, striking clocks, alarm clocks and sometimes clocks with a calendar. The Industrial Revolution affected the lifestyle in the 19th century and the wealthy middle class demanded not only useful but decorative articles as well. By 1850 the plain gilt brass carriage clock had evolved into pieces of art with heavily engraved cases. There were cases with columns on the sides, as well as enamelling and other forms of ornamentation. Some of these items were one of a kind, especially designed for exhibitions or according to the request of an individual customer. In the beginning the visibility of the movement through the glass was appealing to customers, but later clients preferred a multiplicity of decorations and this led to the production of clocks where no part of the case surface was without any decoration. They were all originally sold with a leather covered wooden case for transport. Important markets developed for carriage clocks, particularly with leading jewellery shops in England and America ordering

custom-made clocks. One of the largest purchasers was the USA firm Tiffany & Co. The popularity of the carriage clocks in that country led to USA clock companies like the Waterbury Clock Company, Ansonia Clock Company, Seth Thomas, Chauncey Jerome, the Boston Clock Company and the Vermont Clock Company to mass produce those clocks,

thereby manufacturing an inexpensive item. Today the beauty of carriage clocks and the fact that you can see the movement, make them a sought after and collectable item, as well as showing a steady appreciation in value. THE CLOCKWORKS 03 9578 6960

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 â&#x20AC;&#x201C; Fri 9 am - 5 pm & Sat 9 am - 1 pm Ph: 03 9578 6960 Left: Post World War II Swiss carriage clock and alarm Right: A modern English carriage clock Antiques and

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VINTAGE HMV FAMILY RADIO

back on the air I recently received an email from a collector detailing his restoration of the finish on an early radio using the Howard range of products, in particular Restor-A-Finish and Feed-N-Wax. It really was gratifying to read his comments. Here is a section from his very enthusiastic email. ‘Howard Products made possible the total restoration of the cabinet, and I was amazed at how simple it was to use. The Feed-N-Wax finish brought

back to almost new the beauty of the grain in the veneer.’ This HMV radio, model 661 made circa 1940, was purchased new in that year and has stood since then in the same house to which it was originally delivered until 2012, when it was purchased by Glen Amer, a wireless radio enthusiast, from the granddaughter of the original owner. Although functioning, the radio did require some internal work. The

Just wipe it on and wipe it off ... Great on varnished doors and floors too

1800 672 646 www.howardproducts.com.au Order online or locate a stockist 34

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capacitors were replaced as were faulty resistors and other worn parts. The next task was to somehow restore the tired old cabinet. Glen saw an article on Restor-A-Finish in an issue of Collectables Trader and he bought a few Howard Products online. He then used Restor-A-Finish and Feed-N-Wax to bring the dull old nitrocellulose finish back to life. In his message to me Glen wrote this. ‘I have wanted one of these radios since seeing one at a neighbour’s house when I was a child. But every example of this set that I had come across required complete cabinet refinishing, and I prefer to have original cabinets where possible. The tuning dial was really bad so this was the first area I tested Restor-A-Finish on, and it came up looking like new.’ Glen went on to say, ‘I have now used Restor-A-Finish and Feed-N-Wax on every item of furniture in my house where required. I recently had to take the pump out of my player piano and scratched the case while doing so. I was really upset with myself, but I applied a bit of the Restor-A-Finish over the area, and now I can’t even see

where I scratched the case.’ It’s really good when I receive comments like this, especially when they are complete with photographs of the process. David Foster Howard Products Australia 1800 672 646 advice@howardproducts.com.au www.howardproducts.com.au

BERWICK

Edrington Park’s grand art exhibition

A PREMIUM ART EVENT IN VICTORIA 15 – 17 February ocated in Berwick, Victoria, Edrington Park was once home to the Governor-General of Australia, Lord Casey and his wife. Although well-regarded in her own right – Lady Casey was an artist, author and aviator – the greater accolade was earned by Lord Casey. His steadfast support of Antarctic exploration and research over three decades resulted in his being honored with the naming of Australia’s third Antarctic station, Casey, in 1969.

RARE OPPORTUNITY TO VISIT In February 2013, Edrington Park will be hosting a grand art exhibition, with over 50 professional and emerging local artists’ works on display. Edrington Park is set on five acres of magnificent grounds which include a heritage-listed garden and trees that are over 100 years old. This exhibition will give you a chance to stroll through the iconic two-storey homestead and enjoy refreshments in the picturesque gardens. Rarely opened to the public, this is a special opportunity.

TRADITIONAL & CONTEMPORARY ART Traditional and contemporary works will be displayed throughout the 10 historic homestead rooms and within a giant marquee. There will be numerous award categories on offer for the artists, in particular the Baron Casey award for the ‘Best in Show’ and the popular ‘Petit’ category which covers miniature works no larger than 10 x 15 cm. Provenance Artists’ Inc. is organising the art exhibition, hosted by Edrington Park Retirement Village in association with the City of Casey and National Trust Victoria (Casey/Cardinia).

The exhibition will be open every day from 10 am – 6 pm except Sunday when it will close at 3 pm. Edrington Park is located at 6 Melville Park Drive, Berwick, Victoria.

For more information contact Calvin Bell EDRINGTON PARK ART EXHIBITION 03 9704 7773 provenance@tpg.com.au www.artshowsofoz.com

THE EDRINGTON Grand Art Exhibition

15-17 FEBRUARY 2013 where | EDRINGTON PARK HOMESTEAD 6 MELVILLE PARK DRIVE BERWICK

contact | CALVIN BELL, PROVENANCE ARTISTS INC

provenance@tpg.com.au

www.artshowsofoz.com Antiques and

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POCHOIR: THE FRENCH ART of fine fashion F rench haute couture has always received worldwide recognition, and talented artists were previously employed to introduce designers’ fashion to the public. In Paris illustrations by specialist fashion artists are displayed in museums along with designers’ clothes. Early in the 20th century, dedicated fashion periodicals began being published for circulation. As only the wealthy could afford a subscription these exclusive fashion magazines were avidly coveted and the stylishly presented fashion illustrations were collected as works of art. Subscribers began to

use the beautiful hand-coloured pochoir illustrations for wall decoration – a custom that continues today. Pochoir, the French word for stencil, is used around the world in recognition of French expertise in mastering this method of fashion illustration.

PREMIER POCHOIR PUBLICATION The first and most rare of the luxury periodicals that used the pochoir method of illustration was Journal des Dames et des Modes – Costumes Parisiens. Couturier Paul Poiret (1879-1944) adapted this name from a publication that was

Antique Print Club Antique Print Club-house (separate from our home)

95 Mt Nimmel Road NERANWOOD Qld 4213 above Springbrook Road in the hills behind the Gold Coast 1 hour from Brisbane CBD

Refreshments available

Sundays from 10 am or by appointment Phone 07 5525 1363 0412 442 283 (mobile reception limited)

Email sales@antiqueprintclub.com

www.antiqueprintclub.com Antique Print Club will be at Broadbeach Jupiter’s Casino & Hotel Rotary Gold Coast Antiques Fair 3 - 6 January 2013

first produced in the 18th century. Between June 1912 and August 1914 (until the outbreak of World War I), Poiret published his own Journal des Dames et des Modes. It contained editorial on fashion and extracts of literature from eminent writers of the day but most important were the beautiful pochoir fashion plates printed on thick Holland paper. Fashion artists included Umberto Brunelleschi and Leon Bakst (both of whom were also designers of stage sets and costumes). Brunelleschi (1879-1949) was born in Florence, where he attended the Academy of Fine Arts. He worked in Paris from 1900, and became on of Europe's bestknown illustrators. His love of the dramatic is evident in his stylized fashion illustrations. Charming pochoir illustrations were also contributed by Armand Vallée, Roger Broders (the famous travel poster artist whose name is synonymous with French Art Deco), Etienne Drian, Pierre Legrain and Gerda Wegener, as well as many other fine artists. One of the great French illustrators of the early 20th century, George Barbier (1882-1932), made his debut as a fashion designer during the few years this periodical was published, and his illustrations have always been in demand. Each exquisitely drawn pochoir image required up to 30 different stencils to be cut for the finesse required by skilled pochoir fashion artists in the layering of gouache and watercolour by hand. As only 186 different fashion illustrations were produced in 79 editions of Journal des Dames et des Modes – Costumes Parisiens during the short duration of publication, these wonderful little fashion pochoir are rarely seen today. Perhaps Poiret was over-ambitious publishing so many editions each year, and using such an intricate, labour-intensive style of illustration – or perhaps he was made a better offer?

PROMINENT POCHOIR PERIODICAL Slightly larger, and simultaneously published, Gazette du Bon Ton, Arts-Modes et Frivolitiés included literary works, lifestyle advice, information on how and where the latest fashions should be worn, and also included beautiful pochoir illustrations. Paul Poiret was among the major couturiers who signed contracts, so that their designs could be introduced to the public by this magazine. Designers Madeleine Cheruit, Georges Doeuillet, Jacques Doucet, Jean Paquin, Poiret, British couture house Redfern & Sons, and Charles Worth all had a following, but designs by Worth were the first to be mass-produced for

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the general public. The designer who is perhaps best known today is Jeanne Lanvin, whose wonderful clothing designs for children were also showcased in this magazine. Lucien Vogel published 10 editions of Gazette du Bon Ton each year from 1912 (except during the war), until the magazine was taken over by Conde Nast in 1921. Vogel subsequently became editor of Conde Nast's ‘Vogue’, and the focus remained on fashion artwork – although the illustrations were no longer by the labour-intensive method of hand-coloured stencils. As with Journal des Dames et des Modes, Gazette du Bon Ton was printed on thick paper, with pages loosely hinged together. With slightly larger pages than the Journal, there were eight hand-coloured fashion studies in each edition for the Gazette – sometimes including a double size pochoir with its central fold attached by a slip of paper so as not to damage the image. The most beautiful fashion plate is undoubtedly the only one that folded out twice. This superb pochoir displays 20 fashion designers’ latest evening gowns in a beautiful evening scene on a terrace in the south of France.

NOTABLE POCHOIR ILLUSTRATORS In the Gazette, fashions were illustrated by charming fashion narratives that often included groups and settings – frequently accompanied by humorous captions. ‘Croquis’ (sketches), mostly illustrated by the Soeurs David (David Sisters) were based on the styles of the latest fashions, and were shown simply and elegantly, with no background scene. Four regular contributors to Gazette du Bon Ton were George Barbier, Pierre Brissaud, George Lepape, and André-Edouard Marty. Other prominent artists included Charles Martin, Léon Bakst, Erté, Umberto Brunelleschi, Paul Iribe, Bernard Boutet de Monvel, H. Robert Dammy and Fernand Siméon. Etienne Drian also provided charming pochoir plates that have perennial appeal. Pochoir fashion illustrations captured the spirit of the era when they were painted, and the charming illustrations of Gazette du Bon Ton, Arts-Modes et Frivolities and Journal des Dames et des Modes – Costumes Parisiens will always be treasured and enjoyed, not only as fashion, but also for their artistic value. Kathryn and Derek Nicholls ANTIQUE PRINT CLUB 07 5525 1363 www.antiqueprintclub.com

HEALESVILLE

Di King, NSW farm, oil, 40 x 76 cm

Di King, Beside the river, oil, 61 x 76 cm

Di King, Midnight blues, oil, 60 x 76 cm

Di King, Just for fun, oil, 92 x 92 cm

GIFTS WITH A DIFFERENCE For miniatures & giclees visit Di King Gallery W ith Christmas just around the corner, the Di King Gallery is prepared.

MINIATURE CANVASES

John Thomas has been busy reproducing some of his special images onto miniature canvases. The small stretch canvases, measuring approximately 10 x 12 cm, come with their own stands so they can be displayed very easily. These little gems would make the perfect gift for Christmas.

ORIGINAL ARTWORKS For those clients who only wish to own an original painting, nothing has changed. Original paintings by both John and Di will be on display, delighting customers as usual.

Among the great range of her images, she has chosen a select few of her award-winning paintings including A Rocky Escarpment for which she won the prestigious Mortimore Prize in 2011. These reproductions can be framed or bought unframed, reproduced on canvas or on watercolour paper, for framing under glass. Di and John look forward to seeing their regular clients and welcoming new clients to the gallery. They are only a phone call away. If they’re home, they will always open the gallery.

Below left:John Thomas, Cloud Shadows, oil

Below right: John Thomas, The Home Run, oil

Above: John Thomas, Bough Down, oil (detail)

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

SELECT DI KING GICLEES Di’s variety of giclees have already proven to be very popular and will also been showcased. If you’ve ever wished you could take home a painting but it was out of reach, now you have a chance to have that image on your wall with these limited edition fine art prints. With great consideration, Di has had some of her very sought-after images digitally reproduced.

03 5962 2557 0414 404 798 - 0414 404 792

Corporate and private viewings can be arranged

OPEN ANYTIME BY APPOINTMENT 32 Maroondah Hwy, Healesville 3777 mail@dikingartist.com

Always available at the Gallery… Original works by Di King and John Thomas And Digital Reproductions by Di King Antiques and

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BELGRAVE

Frances Lucas, The Cloud Over the Patch, Mavis Hill Award

Wendy Jane Sheppard, Anthony. Best Drawing

Brad Trembath, The Meeting. Winner of Best Oil or Acrylic

Barbara McManus, Ranunculus. Best Mixed Media

Barbara Beasley Southgate, Lady in Grey Trentham. Best Pastel or Pencil

Pat Whittington, River Crossing. Best 9x5

Guntis Jansons,The Old Dairy. Encouragement Award

Jill Rietmeyer, Moonless Night Holland. Best Water Media

Zhonghua Fan, Tulips (1) Highly Commended

Cathie Berry, Charcoal Study. Commended

SHERBROOKE ART SOCIETY’S summer to autumn exhibitions A non-profit organisation run by volunteers, Sherbrooke Art Society was set up to encourage and support local artists. It was founded on a tradition of realist

painting and seeks to encourage both traditional and contemporary interpretation of representative subjects. On display are a diverse variety of works in

Sherbrooke Gallery

Painting by Peter Smales: Streeton Award 2012

Sherbrooke Art Society Inc Established 1966

46th Annual STREETON ROBERTS McCUBBIN Awards Exhibition Open Saturday 11 May 2013 3 pm

FREE ENTRY For information or entry forms contact us directly or via our website To Monbulk

62 Monbulk Road, Belgrave 3160 Tel: 03 9754 4264 Gallery Hours: 11 am - 4 pm, closed Tuesdays www.sherbrookeartsociety.com

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

various mediums from this large collective of artists. The Society provides studio space, classes, paint-outs, demonstrations, exhibitions and competitions to encourage art in the local community.

VISITOR EXPERIENCE Sherbrooke Art Society Gallery sits beside Clematis Creek at the edge of majestic Sherbrooke Forest just a few hundred metres from the town of Belgrave.

OPEN STUDIOS 27 – 28 April Sherbrooke Art Society will again be participating in the Dandenong Ranges Open Studios Open Weekend. This year the weekend will be held one month earlier on the last weekend in April. In 2012 there were an estimated 5000 studio visits across the Dandenong Ranges Open Studios program with 33 studios open to the public. For more information, please go to the Open Studios website www.openstudios.org.au Studio experience – an artist will be occupying and working in each of the studios at Sherbrooke Art Society. Visitors will be able to wander in and out of the studios or stay for complete demonstrations. Artists will be available to chat about their work and Sherbrooke Art Society. Gallery experience – the gallery will be hung with the latest exhibition. On display from 11 May will be the Streeton, Roberts, McCubbin Awards exhibition. Visitors will be able to peruse a large variety of paintings hanging in the gallery as well as displays of glass and ceramic works. A number of members of the Society will be painting in the gallery over the course of the Open Studios Weekend in various mediums such as watercolour, pastel, charcoal, oils and acrylics. Visitors may choose to observe or interact with the artists. Outdoor experience (weather permitting) – artists will be painting in the garden area beside Clematis Creek. Visitors will be free to wander around the garden and enjoy

the sounds of the trickling creek in its bushland setting.

STREETON, ROBERTS, McCUBBIN AWARDS EXHIBITION 11 May – 3 June This will be the 46th year of this prestigious arts award exhibition. The awards encourage realism in Australian art and are open to all artists. Last year’s exhibition attracted over 240 paintings from top artists across the state, the winning entries sharing in $3750 worth of prizes. The awards are given over three categories: Best Landscape (Sir Arthur Streeton Award); Best Non-Landscape (Tom Roberts Award); and the best small painting (Frederick McCubbin Award). In the past this exhibition has attracted more traditional works however, in recent years, more contemporary works have been entered. All exhibited works are available for sale. For more information or entry forms, contact us directly or via our website. The official opening and awards presentation takes place at 3 pm on Saturday 11 May – a perfect outing for the Mother’s Day weekend.

BARGAIN ART SALE Until January Framed and unframed works from a large choice of artists are available at bargain prices from December through to 31 January 2013.

LEARN TO PAINT Sherbrooke Art Society has three studios and caters for a range of different mediums and styles for students of all levels. Our experienced tutors are all professional, award winning artists. Contact the gallery or visit the website for more details. Classes fill fast so early enrolment is essential.

SHERBROOKE ART SOCIETY GALLERY 03 9754 4264 www.sherbrookeartsociety.com

CHELTENHAM

Tony Sowersby

John Lacey (Adelaide Group Show)

Helen Cottle (Mansfield Easter Show)

WITHOUT PIER GALLERY

Exhibition program 2013 COOLART 11 – 28 January

TONY SOWERSBY 13 – 27 March

ithout Pier will be exhibiting again this year at Coolart Wetlands in January. During this period we will be showing a mixture of contemporary, realist and Indigenous art. Coolart, on the shores of Western Port near Somers, is about 70 km south-east of Melbourne. Over a period of nearly 140 years, Coolart’s successive owners – including some prominent identities – left their mark on the estate. With its ever-changing wetlands, bird sanctuary, woodlands, Victorian mansion, superb grounds and nearby beach, Coolart today attracts visitors all year round.

Tony is a painter, cartoonist, muralist, portraitist and comic book author and illustrator. He has been active in community and public arts since the 1980s. Tony has worked extensively in schools in Victoria, interstate and in Papua New Guinea. A firm believer in art’s potential as an agent of social change, many of his projects have involved working with at-risk young people or disadvantaged adults, using art as a means of promoting a sense of self-worth and hope. This work with the least powerful in our society has, in the last decade, been increasingly coupled with a willingness to criticise the most powerful.

JAMIE DADDO 17 February – 3 March

JENNIFER TARANTO 13 – 27 March

Jamie Daddo lives in Melbourne, where for 20 years he has participated in group and solo exhibitions. Never satisfied completely with what lies before him, believing there is always better to be achieved, he feels that in this simple fact lies the reason for being. He flirts between the facets of being an artist and a poet. From painting to drawing, with a look at creating landscapes on vases, he visits unknown places which are not considered by many others. ‘My work gives me the opportunity to explore the world around and outside of myself. I am intrinsically an outward looking person who not only sees the physical, but also what lies underneath,’ Jamie states. ‘When I paint there is an intensity in my stare as I stand at the easel. My look penetrates my subject beyond their skin as though I am looking into the soul of the sitter… and that’s what I paint.’

Born in Melbourne in 1957, Jennifer lives in Prahran, Melbourne. She studied at Brighton and Prahran Technical Colleges in Melbourne and her charming illustrations have been published in botanical and children’s books. Freedom of expression and a passion to create produces her inspiring works which are executed in oils, acrylics and watercolours. The subjects she favours ranges from water and ocean to botanical and forest paintings. She also designs for clothing and commercial products. Her exhibitions are a brilliant combination of light, colour and reflections.

MANSFIELD EASTER SHOW 28 March – 1 April Looking for something special to do at Easter? Then visit the Mansfield Easter Show being held for the 16th consecutive year at the Mansfield Masonic Hall, Highett Street, Mansfield.

Jenny Taranto Jamie Daddo

Geoff La Gerche (Melbourne Watercolour Show)

Regarded as 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. The opening night is Thursday, 28 March and the show runs from 29 March to 1 April over the Easter break. Opening hours are 9 am to 6 pm Good Friday, Easter Saturday and Sunday, and 9 am to 4 pm on Easter Monday. A must-see for all art lovers and collectors!

GROUP SHOW – ADELAIDE ARTISTS 7 – 21 April A group of seven South Australian artists will exhibit their work at Without Pier Galleries in April. The paintings will range in genre and style from landscapes, abstracts and bird portraits to indigenous inspired works. The exhibition will showcase these diverse images with the common element being the contemporary nature of each of the works. Some of the artists are award winners and each is committed to their art practice. Patty Chehade, Kveta Deans, Eileen Lubiana and

Mitjili Napurrula (Coolart)

Sheree Wright are graduates of the prestigious Adelaide Central School of Art. Bill Botten, John Lacey and Ian Willding have had many years of experience and a solid history of group and solo exhibitions.

MELBOURNE WATERCOLOUR SHOW 15 April – 5 May Without Pier Galleries will host the Melbourne Watercolour Show at the Glen Eira City Council Gallery in April 2013. Solely dedicated to the art of watercolour painting, outstanding watercolour artists from Victoria and interstate will be invited to exhibit works – making this a most prestigious group watercolour show. All paintings on display are for sale, featuring an eclectic range of subjects. The success of last year’s show was overwhelming and this show is not to be missed. Located on the corner of Glen Eira and Hawthorn Roads, Caulfield, the Glen Eira City Council Gallery hours are from 10 am to 5 pm. WITHOUT PIER GALLERY Cheltenham 03 9583 7577 enquiries@withoutpier.com.au www.withoutpier.com.au

ESTABLISHED 1994 - Showing Contemporary, Realist and Indigenous Art www.withoutpier.com.au Plus Sculpture & Glass

320 BAY ROAD CHELTENHAM 3192 VICTORIA p: 03 9583 7577 e: enquiries@withoutpier.com.au

COOLART WETLANDS & HOMESTEAD Indigenous & Contemporary Works Lord Somers Road - Somers 11 – 28 January

MANSFIELD EASTER SHOW Masonic Hall Mansfield 29 March – 1 April

JAMIE DADDO Cheltenham Gallery 17 February – 3 March

GROUP SHOW – ADELAIDE ARTISTS Cheltenham Gallery 7 – 21 April

TONY SOWERSBY & JENNIFER TARANTO Cheltenham Gallery 13 – 27 March

MELBOURNE WATERCOLOUR SHOW Glen Eira Town Hall 15 April – 5 May

Antiques and

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Eamon O’Toole, Sidchrome tool cabinet

Eamon O’Toole, Big Bang

Eamon O’Toole, Sidchrome Tool Cabinet No 1

Michael Callaghan – Earthworks Poster Collective, Mutate Now & Avoid the Rush, 1977 silkscreen print. Art Gallery of Ballarat, purchased 1978 © The Estate of Michael Callaghan

THE ART GALLERY OF BALLARAT CELEBRATES SUMMER

Exciting exhibitions welcome the warmth and lead into autumn A mong the temporary exhibitions at the Art Gallery of Ballarat this summer and autumn are two very different exhibitions which explore and celebrate aspects of contemporary life. Big Boys’ Toys is a sculpture exhibition of moulded reproductions of anything and everything to do with motorsports – from racers themselves to tool kits, tyres and Blundstone boots. The other is a review of the extraordinary world of political protest and the images associated with it. Got the message? surveys the field of social and political posters over the last 50 years, from the era of the protest poster in the 1960s through to our own time, when the printed word and image are being strongly challenged by new social media.

EAMON O’TOOLE: BIG BOYS’ TOYS 15 December 2012 – 24 February 2013 This summer, the Art Gallery of Ballarat will look part Formula 1 showroom and part motoring enthusiast’s tool shed as it is taken over by a show that will shock some traditional fine art aficionados while delighting others who might not normally think of darkening the door of an art gallery. While some visual artists seek to comment on society from the outside with results that can seem incomprehensible, challenging or even rather pompous, there are others who are simply fascinated by what is happening inside our culture and their work – while perhaps less confrontational – can still be extraordinarily engaging and powerful. Eamon O’Toole describes himself unashamedly as a ‘petrol head’ or ‘rev head’. His fascination for the mechanical and those who create and experiment with it extends beyond the engineering feats, function and personalities or individuals involved – it is more about the creativity and ingenuity employed to create an object of beauty and purposeful function, forced by sometimes unusual and extreme circumstances. Big Boys’ Toys is a tribute to the backyard mechanic. ‘Under less than ideal conditions the backyarder has given rise to an inventively creative way of solving problems, using parts that don’t always belong but somehow making

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them fit, often lifting mechanical components, like the Holden Red Motor, into Australian folklore status,’ O’Toole observes. ‘Bound by the desire to emulate his more sophisticated counterparts, but hindered by a lack of finance and support, the backyarder ingeniously develops a makeshift solution which, ironically, is tapped into by the very persona he aspires to. The lovely loose approach of the backyarder means he is not restricted by institutional rules and limitations – he is free to create, driven by the need to improvise, in order to solve.’ O’Toole seeks to apply a similar lively inventiveness of approach to his work and his sculptures are often a tribute to the sophistication of Formula 1 or the simplicity of Australia’s engineering icon – the Sidchrome tool kit. ‘My childhood in rural Victoria has played a major role in how I go about building. Many aspects of my work are as a direct result of living in the country where improvisation is par for the course. The idea of showing my work at a rural gallery provides me with the opportunity of striking a cord with these people.’ Imagine an eight-year-old boy who is totally fascinated by Formula 1 racing and who is able, in our image saturated society, to see endless footage of the big races but perhaps not able to go to them as a spectator nor likely to sit in a Formula 1 car himself. What does he do? He makes a model of the car out of whatever there is to hand and plays with that model endlessly. In that child’s imagination the model can be almost as satisfying, as powerful, as the real thing. Eamon O’Toole’s big boys’ toys have something of that feeling about them except that the child has become an adult and the replicas are fantastically detailed and life sized. The feeling of excitement they engender and the sense of presence that they have are almost indescribable. Of course being all grown up now, we know these are replicas and therein lies another aspect of this work – a spark of humour directed at our childlike-need to surround ourselves with things that bolster our feelings about ourselves. The artist is saying ‘Go on, accept it – it is ok to want to be [name a formula 1 driver]. I do.’

GOT THE MESSAGE? 50 YEARS OF POLITICAL POSTERS 2 March – 14 April

While there will be a focus on posters from the 1970s and ’80s when Australian poster collectives were tackling the pressing issues of that time, the Got the Message? exhibition will also feature many significant posters from the new generation of Australian graphic designers and artists who employ digital technology and other media in their quest to reach more hearts and minds. Of particular interest to the Australian audience will be the strong contingent of highly charged posters from overseas, few of which have been shown here before. There will be large and representative groups of posters relating to the Vietnam War (USA), May 1968 (France), ‘Solidarity’ (Poland), Chinese Cultural Revolution, and Amnesty International, as well as to more recent outbreaks of dissent such as the Occupy movement. Got the Message? will provide a unique opportunity for visitors to experience some of the most artistically arresting posters engaged with critical social issues of our time such as war, racism, sexism, AIDS, environmental destruction, nuclear proliferation, consumerism, and political leadership. Eamon O’Toole, Holden Red Motor No1

The exhibition will feature work by internationally-renowned artists and designers including Seymour Chwast, Milton Glaser, Paul Rand, Tomi Ungerer, Klaus Staeck, Moichi Umemura, Yossi Lemel, Maciej Urbanic, Lex Drewinski, and Henryk Tomaszewski. There will also be important posters by John Lennon/Yoko Ono, Keith Haring, Robbie Conal, Shepard Fairey and feminist warriors the Guerrilla Girls. A comprehensive illustrated catalogue will accompany the exhibition. This will provide the essential history and social context behind selected posters and will examine such matters as the future of the poster, the role of humour, the different forms of visual rhetoric adopted, and the problematic function of propaganda and ideology. It also will tackle difficult questions regarding the social role that posters can play in our digital age. Providing an essential backdrop to the exhibition will be photographic documentation of selected posters in situ and a range of other protest media. ART GALLERY OF BALLARAT 03 5320 5858 artgal@ballarat.vic.gov.au www.artgalleryofballarat.com.au

Eamon with Honda NSR500

BALLARAT

Eamon O’Toole:

BIG BOYS TOYS Full-scale plastic sculptures and motorsport art by a self-confessed revhead

Saturday 15 December 2012 - Sunday 24 February 2013 Eamon O’Toole McLaren Formula Mp4/4,1 – Ayrton Senna Car 1991/92, hand-moulded plastic, wood and steel frame, enamel paint, textas, aluminium leaf, gold leaf, rubber. 470 x 230 x 90 cm. Photograph: Brian Hand

the hughes gallery

Art Gallery of Ballarat 40 Lydiard Street North Tel: 03 5320 5858 artgalleryofballarat.com.au Open daily | Admission Free

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8 February – 19 May 2013

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detail: J.M.W. Turner, Venice, the Bridge of Sighs, exhibited 1840. © Tate, 2013

CAMBERWELL

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IN HOUSE ABORIGINAL GALLERY OF DREAMINGS STOCK

AUCTIONS • NO BUYERS PREMIUM • HAMMER PRICE IS GST INCLUSIVE • UNIQUE POST AUCTION EXCHANGE POLICY • ALL MAJOR ARTISTS REPRESENTED • MUSEUM STRETCHERS • GALLERY PROVENANCE • RANGING FROM $250 TO $250,000

our times a year over two decades Aboriginal Gallery of Dreamings, Melbourne featured Aboriginal masterpieces in their full-page advertisements, followed by a related article for clarification and education. Some of the masterpieces reproduced in the posters forming the border are now in local and international museum collections. Most notable is Clifford Possum’s Warlugulong, which continues to hold the record price at auction when it was sold to the National Gallery of Australia, Canberra for $2.4 million in 2007. Not all our paintings were sold however when we closed the city gallery in Bourke Street in 2008 and moved to Cheltenham. With more than 3500 handpicked and commissioned paintings in storage at our factory/warehouse/museum complex in Cheltenham, retirement was not an option. All Aboriginal Gallery of Dreamings stock is listed at www.aboriginalgalleryofdreamings.com. Our major project, the Emily Museum, is unique. This is the first museum ever, dedicated to a single Aboriginal artist. Although still in the final throes of construction, we opened the doors to the public for a preview. The official opening of the museum, dedicated to the brightest star in the art cosmos, Emily Kame Kngwarreye, is planned for early to mid 2013. Details are at www.emilymuseum.com.au. To be kept up to date, email us for inclusion in the guest book at museum@emilymuseum.com.au. Auctions are planned to help fund the Emily Museum. Twice a year, over the next five years, works in the Nangara exhibition from the Ebes Collection will be offered for sale at auction. To view these paintings visit www.nangara.com. In the past 12 months we have held three in-house auctions from the Cheltenham warehouse with great results; prices ranged from $100 to $1million. Details of the works and results of all three sales can be found at www.agodauctions.com.au. If you missed the first three auctions, there is another sale planned for March 2013. We offer huge savings on stunning works of art as there are no additional fees: buyer’s premium of up to 25% is not charged and GST is included in the hammer price. Even our unique exchange policy applies to auction purchases (conditions apply). So don’t miss the next auction!

THE ABORIGINAL GALLERY OF DREAMINGS 11-15 Christensen Street Cheltenham Vic 3192 • P: 0457 005 000 Open 5 days a week for sales or viewing or by appointment

www.agodauctions.com.au

Antiques and

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CITY / BALLARAT / BENDIGO

LONGEST-T ’S IA L A R T AUS LARGES D N A G IN RUNN IQUE FAIR ANT

Breathtaking Natural

30 March 2013

EASTER SATURDAY 10 am – 6 pm

31 March 2013

Beauty Open Daily from 10am 500 Collins Street, Melbourne VIC 3000 Ph +61 3 9629 6900 Email info@duncanandfraser.com.au Have you joined our VIP Club?

www.duncanandfraser.com.au Ask for your free gift with purchase

Antiques and

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EASTER SUNDAY

ALL S ITEM R FO SALE

10 am – 5 pm

1 April 2013

EASTER MONDAY 10 pm – 4 pm

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

BENDIGO

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

Superb Royal Worcester porcelain Warwick vase, cobalt blue enamel and gilt decoration

Victorian Parian figure group made by Robinson & Leadbeater (Stoke-on-Trent, England)

Victorian double burner banquet lamp with original etched shade

Australian carved emu egg on silver-plated stand, c. 1890

NEW CONTAINER ARRIVING EARLY DECEMBER

Rare pair early Victorian walnut presentation goblets, c. 1850

Victorian rosewood fitted travelling box, c. 1870

Small selection of over 50 rare & unusual boxes in stock

Victorian Tunbridge Ware glove box, c. 1870

Rare Victorian mahogany inlaid apprentice chest, c. 1870

Rare inlaid enamel box made by E. Philippe (Paris). c. 1867

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

Antiques and

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BENDIGO

Antiques and

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From the Bendigo Art Gallery collection:

JAPANESE VISIONS 1 December 2012 – 27 January 2013 rawing exclusively from the collection of Bendigo Art Gallery, Japanese Visions will explore the influences of Japanese woodblock printing on Australian artists. With increased trade access to Japan from the mid-19th century, its people and culture became a source of fascination for the West. The techniques, approaches and subject matter of Japanese art and design were a revelation to artists, especially printmakers, who combined these elements with Western practices to create innovative visions of the world around them.

UKIYO-E AND FRENCH IMPRESSIONISM French Impressionist and post-impressionist artists, such as Edgar Degas, Henri Toulouse-Lautrec and Claude Monet, enjoyed a fascination with Japanese ukiyo-e woodblock prints. From the 1850s such prints were widely available in Paris through dealers such as Samuel Bing, and gained popularity through exhibitions and publications.

EAST/WEST INFLUENCE ON AUSTRALIAN ART PRACTICE In Australia many artists were consciously influenced by the Impressionists and studies in Europe, and the Japanese aesthetic filtered through to their practice. Artists such as Margaret Preston (1875-1963), Thea Proctor (1879-1966) and Lionel Lindsay (1874-1961) adapted Japanese influences – whether derived from woodblock prints, or the Japanese-inspired textiles, ceramics, fans and painted screens that became popular in the fashions and interior decorations of the early decades of the 20th century. Some of the leading proponents of modernism in Australia were attracted to woodblock and linocut printing, which peaked in popularity throughout the 1920s and 1930s. Although it was a centuries-old practice in Japan, woodblock printing embodied many of the fresh directions Western artists were interested in exploring in their work, as they moved away from traditional modes of representation.

Ethel Spowers (1890-1947), The Green Bridge, 1926, colour woodcut. Bendigo Art Gallery

IMPACT OF JAPANESE WOODBLOCK PRINTS Design features of the Japanese woodblock prints were adopted, such as unique compositions and viewpoints, cropping of key elements, unconventional spatial effects, bold silhouetting, flat areas of colour, and reduced emphasis on perspective and shadow to suggest depth. Artists such as Ethleen Palmer (1906-1958) and Ethel Spowers (1890-1947) directly acknowledged the Japanese influence by printing their initials in the vertical or monogram format of traditional Japanese artists’ signatures. Other artists drew more heavily on the materials and techniques of Japanese woodblock printing. Nancy Grant (1911-1998) used rice paste mixed with watercolour ink, brushing it by hand directly onto the woodblock to achieve gradations in tone. Using the bamboo covered pad called a baren meant that printers could manually control the amount of pressure applied, and achieve bold or subtle

Konobu Sandono II c. 1890, View of Asakusa Temple in Rain, colour woodcut. Bendigo Art Gallery

effects with the ink – seen most clearly in Japanese woodblock prints in the gradual fading of blue skies into the sea. This exhibition will bring together works by both Japanese and Australian artists, to trace the ways in which Japanese art and design has been a source of inspiration in our visual culture. BENDIGO ART GALLERY 03 5434 6088 www.bendigoartgallery.com.au

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The techniques, approaches and subject matter of Japanese art and design were a revelation to artists, especially printmakers, who combined these elements with Western practices to create innovative visions of the world around them.

”

Antiques and

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THE EMILY THE FIRST DEDICATED TO AN ABORIGINAL ARTIST for more information visit www.emilymuseum.com.au Emily 1994

Exhibition poster Amsterdam 1999

magine Amsterdam without the Van Gogh Museum. Established in 1973, it is dedicated to arguably Holland’s most famous artist, and instantly recognised by his first name only. Imagine Paris without the Picasso Museum, which opened fairly recently in 1979. Imagine Nice without Matisse?

World famous museums dedicated to an individual artist, synonymous with the country of their birth, are major attractions to locals and tourists alike. The Van Gogh Museum alone attracts more than 1.5 million visitors annually. Recessions come and go; however culture, art and music, literary masterpieces, architecture and history are what make us identify with the countries in which we were born or choose to live.

Antiques and

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Arken Denmark exhibition 2008

EMILY KAME KNGWARREYE (1910-1996) Aboriginal art is to Australia what Impressionism is to France, and the New York School of the 1950s is to the USA. From the formative days in the early 1970s when this oldest uninterrupted visual communication system was translated onto movable surfaces, it was recognised worldwide as a major art movement that put Australia firmly on the international art map.

Of the many highly acclaimed superstars of the Aboriginal art movement, now 40 years old, none shine as brightly as Emily Kame Kngwarreye. Volumes have been written by academics, art critics, curators and historians about her genius and uniqueness. The first solo international exhibition of Emily’s works was in my birth city of Amsterdam. Held in the 13th century Oude Kerk (‘Old Church’), Amsterdam’s oldest church, the exhibition was hailed as a blockbuster and worthy of being exhibited in

the city’s world famous Stedelijk Museum of Modern Art. Similar sentiments were expressed by the international press after Emily represented Australia at the Venice Biennale in 1997. Emily died in September 1996. Six years later in 2002 The Emily Museum was registered, the first museum to be dedicated to an individual Aboriginal artist and, another decade later, in 2012, we opened the doors to the public for a preview at our factory / warehouse in Cheltenham, Victoria, where the

MUSEUM EMILY KAME KNGWARREYE 1910 - 1996 SPECIAL PREVIEW ON SHOW NOW

Above: The Emily Museum mezzanine

Ebes and Nangara collections (comprising over 800 Aboriginal art works) are stored when they are not travelling or being exhibited.

INTERNATIONAL ACCLAIM Emily’s last major exhibitions were in 2009, instigated by the Japanese Museums of Osaka and Tokyo where 106,000 visitors in Tokyo saw the show in six weeks. Emily’s arguably most acclaimed work and one of the last she made in a series radically different from previous styles, known as the Last Series, featured on the front cover of the sold-out catalogue. After returning from Japan in 2010, the series was shown at the National Museum of Australia in Canberra. I spent a couple of weeks travelling throughout Tasmania with the then Director of the Rijksmuseum and former Director of the Van Gogh Museum, Professor Ronald de

Leeuw and Dr Simon Levie, former Director of the Rijksmuseum. Both prominent figures of the international art world, they were in Australia as a result of their involvement with the legendary Rembrandt exhibition of 1997/98 and were guests of Art Exhibitions Australia. Both had visited Australia several times, loved the country and especially Aboriginal art following an initial introduction to it at the National Gallery of Australia. Dr Levie has acquired around 24 outstanding Aboriginal works over the years that we worked together, starting in 1987 during the organising of a number of exhibitions planned around the bicentenary in 1988. Their fascination with Aboriginal art was an unexpected surprise and the catalyst for lengthy conversations about art in general and the place of museums in society. Levie’s memorable speech at the

Below: Emily 1994, painting The Wall

opening in Amsterdam in 1999 was a highlight in one of the first chapters of the Emily saga.

large works sold at public auction for a record $1,056,000 in 2006.

LARGE WORK FETCHED OVER $1M

INVITATION TO SPECIAL PREVIEW

The universal reaction was of awe and appreciation from every international museum curator, director and collector exposed to Aboriginal art. Most specifically the response was to Emily’s work featured in the many international travelling exhibitions we held of Nangara. The 5 x 15 metre Emily Wall (comprising 53 panels) and the Last Series convinced me to collect as many of her works as possible to form the basis of a dedicated museum in her name, before the cost of the works escalated and made the project prohibitive. Emily is the only female artist who received the Keating award in 1992 and one of her

The official opening of the museum in Cheltenham will be in early to middle 2013 as we are refitting the exhibition space and producing a catalogue of the museum collection. While all this is happening we are open to the public for a special preview of approximately 200 of Emily’s wonderful paintings including her monumental Emily Wall. The museum has onsite parking and admission is complimentary.

THE EMILY MUSEUM

Australia without the art of Emily… hard to imagine! Hank Ebes THE EMILY MUSEUM 0457 005 000 / 0419 329 886 museum@emilymuseum.com.au www.emilymuseum.com.au

FREE PREVIEW

COMPLIMENTARY ON-SITE PARKING

During installation until the official opening early 2013. Details to be announced on the website Antiques and

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Belisario pendant light, copper antique, dark bronze, nickel plated, silver antique, 30 cm

Laika pendant light, copper antique, dark bronze, nickel plated, silver antique, 25 cm

Domed pendant light, black, 42 x 11.5 cm

INSPIRED LIGHTING new industrial pendants at Schots Home Emporium S

Newark pendant light, gun black, brushed nickel, 28 x 38 cm

Thomas pendant light, gun black, brushed nickel 26 x 27 cm

Beaker pendant light, matt black, 18 x 34 cm

chots’ new range of industrial pendant lights are some of the most stylish to be found in today’s market. These French and Italian inspired ceiling lights are at once both modern and traditional in style, and add a real feature to any space.

Felix pendant double light, brass antique, copper antique, dark bronze, nickel plated, silver antique 10.5 cm

This range evokes early 20th century industrial lighting and weathered barn lighting. Luna pendant light 35.56 cm (14 inch), brass antique, copper antique, dark bronze, nickel plated or silver antique

Their reproductions of vintage fixtures retain the classic functional designs while taking on a variety of new finishes. The lights are formed from solid brass then hand patinaed and come in a range of classic finishes. Competitively priced, these practical ceiling lights are also decorative elements, the shapes and forms adding interest to the room’s décor. For more information about this range and other lighting solutions call SCHOTS HOME EMPORIUM 1300 693 693 info@schots.com.au www.schots.com.au

Luna pendant light 22.86 cm (9 inch), brass antique, copper antique, dark bronze, nickel plated or silver antique

Watson pendant light, gun black, 25 x 20 cm

Antiques and

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Funnel pendant light, matt black, 24 x 26 cm

Luna pendant light 45.72 cm (18 inch), brass antique, copper antique, dark bronze, nickel plated or silver antique

Luna pendant light 27.94 cm (11 inch), brass antique, copper antique, dark bronze, nickel plated or silver antique

ANTIQUE CENTRE

The French Fur niture Specialist Established 1984

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

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

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

• Murano Glass

• Royal Winton - Carlton Ware

• Men’s and Ladies’ accessories

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

FRENCH HERITAGE ANTIQUES 03 9583 3422

68 Beach Road, Mentone Vic 3194

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

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(opposite Mentone Life Saving Club)

03 9583 3422 Email: mentonebeachantique@gmail.com Open: Thur-Fri-Sat-Sun-Mon 11 am - 5 pm www.mentonebeachantiquecentre.com

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French Heritage Antiques

www.mentonebeachantiquecentre.com

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MENTONE BEACH

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MENTONE

MENTONE Antiques by the beach F rench Heritage Antiques have been situated on Beach Road, Mentone since 1984. Devotedly run by Barbara and Michel, this business has grown to become Mentone Beach Antique Centre, which now incorporates French Heritage Antiques. Michel grew up in the south of France and has been around antiques all his life. He and Barbara go to France several times a year to buy stock. If you have a particular piece in mind, please come in and see Michel who would be happy to source it for you while he is in Europe.

FROM SINGLE SHOP TO SELECT CENTRE

Centre in the afternoon. You are sure to find that perfect gift for someone special or a remarkable piece of genuine antique French furniture for yourself. It is a gem of a shop and well worth the trip. Michel and Barbara will be only too willing to help you find what you are looking for. Mentone Beach Antique Centre is open Thursday to Monday from 11 am to 5 pm. MENTONE BEACH ANTIQUE CENTRE 03 9583 3422 mentonebeachantique@gmail.com www.mentonebeachantiquecentre.com

The double fronted shop is located directly opposite Mentone Beach. It houses seven rooms of antiques. Not only does Mentone Beach Antique Centre specialise in French antiques, it also now has several other dealers operating from the premises to bring you an even wider range of antiques and collectables. These include furniture, clocks, mirrors, jewellery, porcelain, glass, objets d’art, prints, maps and lighting. Consignment goods are taken at very reasonable rates and all clients are offered the best price and given the best customer service.

SUMMER STOP With summer nearly upon us, an ideal way to spend the weekend is driving along Beach Road, stopping for lunch at one of the excellent bayside restaurants, taking in the coastal vista and stopping to inspect the fascinating wares at Mentone Beach Antique Antiques and

art

MORNINGTON PENINSULA

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ANTIQUES AND ART on the Mornington Peninsula

1. MENTONE MENTONE BEACH ANTIQUE CENTRE

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

2. MORNINGTON MORNINGTON PENINSULA REGIONAL GALLERY

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Civic Reserve Corner of Dunns and Tyabb Road, Mornington 03 5975 4395 Open 10 am - 5 pm, Tuesday - Sunday Closed Mondays and some public holidays The region’s premier art gallery offers a dynamic program of nationally significant exhibitions of contemporary and historical art by Australia’s leading artists, together with acclaimed exhibitions focusing on the Mornington Peninsula’s rich cultural life. Recent memorable exhibitions have reflected on the work of the Boyd family, Arthur Streeton and Fred Williams.

6. SORRENTO SORRENTO AND FLINDERS FINE ART GALLERY

3. TYABB TYABB PACKING HOUSE ANTIQUES Mornington-Tyabb Road, Tyabb (opp Tyabb Railway Station) 03 5977 4414 Open 10 am - 5 pm, Thursday - Sunday This unique complex is Australia’s largest collection of antiques and collectables. Spend the day browsing, talk to the dealers, most have over 20 years experience. Visit the tearooms then take a ride to the working craft village, art gallery and kiosk. Wheelchair and pushers available. Coaches welcome.

4. MT MARTHA MEADS ANTIQUES & COLLECTABLES The Clock Tower Arcade Shop 3, 34 Lochiel Avenue, Mt Martha 03 5974 8577 Open 10 am - 5 pm, Wednesday - Sunday We have an eclectic selection from the 1800s to the 1970s including unusual and interesting glass, china, toys, pictures, small furniture and jewellery. We buy and sell.

Antiques and

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5. RED HILL MONTALTO VINEYARD & OLIVE GROVE 33 Shoreham Road, Red Hill Mel Ref: 256 B2 03 5989 8412 info@montalto.com.au www.montalto.com.au Open 7 days Montalto Vineyard & Olive Grove's 50 acre amphitheatre property is the ideal setting for wine, food, nature and art. Awarded the Top Winery Destination in Victoria 2006. The permanent outdoor sculpture collection can be enjoyed throughout the year with additional exhibitions. An acclaimed restaurant overlooks the property. Award-winning estate wine and olive oil for tasting at the cellar door.

WHITEHILL GALLERY Whitehill Rd Redhill / Dromana 03 5931 0146 rick@whitehill.com.au www.whitehillart.com.au Open Thursday, Friday, Saturday, Sunday, Monday During school holidays 7 days a week. Peninsula Showcase Regular exhibitions featuring prominent artists in painting and sculpture, Angelo Quabba, Fiona Bilbrough, Carole Foster, Glenn Hoyle, Annee Kelly, Rosmary Todman Parrant, Andrew Grimmer, Josephine Pititto, Malcolm Beattie. Sculpture Walk featuring Esther Goldberg, Jessie Mclennan, Robert Ford, Caroline Graley. Beautiful jewellery, ceramics, woodwork and wearable art.

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.

MARLENE MILLER ANTIQUES 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.

SORRENTO

David Brayshaw, Outer Reef

Craig Davy, Coastal Dune

David Brayshaw, Coral Garden

SUMMER AT SORRENTO FINE ART starts withA Patch of Blue anuary 5 marks the opening of the exhibition of exciting new works by David Brayshaw, Craig Davy and Chris Kandis. For over a year, these artists have been preparing for this exhibition at our Sorrento Gallery.

FEAST ON SEASCAPES David Brayshaw has been a professional artist for 30 years. He has a Fine Arts Diploma and has studied at the Royal Arts Society and Arts Students League (New York). His work has been shown in over 20 solo and more than 50 group shows throughout Australia and overseas. Craig Davy has been painting for only three years but in that time his work has evolved very quickly and has a distinct style. Living on the Peninsula all his life, Craig has a connection with the local scenery which is reflected in his paintings. In the short time he has been painting, Craig has won over 30 awards at shows judged by prestigious adjudicators, held a successful solo exhibition and now exhibits interstate. Chris Kandis has been around the art world for a long time. After completing his Bachelor of Arts degree in Fine Arts he undertook an educative painting tour around Europe. Chris has regularly held solo exhibitions in Sydney, Melbourne, Greece, Athens and Canada. His paintings have won many competitions and are collected by notable societies and organisations.

Don’t miss this exhibition which will be a feast for the eyes; if you like seascapes, it will be here. Both the gallery at Sorrento and Flinders offer home viewing, layby, wedding register, commissions and much more. Contact the gallery for the next dates of Exhibition Onboard. Keep up to date with what is happening by visiting our website.

Craig Davy, Beach walk 2

PENINSULA GALLERIES Sorrento 03 5984 3880 Flinders 03 5989 0889 bec.barbour@bigpond.com.au www.peninsulagalleries.com.au

Enquire and book now for ‘A Tour of China’ with award-winning artist Charlie Tong. Tour dates 13 – 24 April 2013. Travel to China and see magical places of great history and beauty. Five star accommodation, meals, tour guides and translators. Bookings close soon. For more information phone Rebecca on 03 5984 3880 or go to the website www.peninsulagalleries.com.au

Chris Kandis, 6

Antiques and

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THE MAJID COLLECTION

continues the series on Persian carpets IN THIS EDITION LOOKING AT THE RENOWNED ISFAHAN RUG he city of Isfahan is part of Persian heritage. One of the oldest cities of Iran, this 2500-year-old city served as Persia’s capital from 1598 to 1722. The centre of trade and art for a time, Isfahan was also one of the world’s most elegant cities in ancient days, renowned then – as it still is – for an abundance of great historical monuments. Today it is also one of the largest cities in Iran and rugs made in Isfahan are in high demand worldwide. These beautifullydesigned Persian pieces are also technical masterpieces, ensuring they remain popular as well as valuable decorative items.

ART BY DESIGN Designs are often inspired by images of Isfahan’s architectural masterpieces of the 17th century Safavid dynasty, such as the Chehel Sotun Palace and the Mosque of Sheikh Lotfollah (a UNESCO World Heritage Site). Popular Isfahan rug designs also include that of the arabesque medallion, vase and medallion, vases, flowers and birds, tree of life, and scenery. Other common elements include the incorporation of scenery, portraits and animals. Like other Persian rugs, medallions and floral patterns are also standard adornments.

COLOURS APPEAL TO WESTERN TASTE What appeals most to the western world about the Isfahan rug is attributed to the colours employed. One Isfahan rug can carry as much as 14 colours including beige, cream, blue, dark blue, and red. However a more subdued colour palette is used in Isfahan rugs while the strong reds popular in other Persian carpets are not incorporated, allowing the colour scheme to better match western design preferences.

QUALITY MATERIALS AND FINE CRAFTSMANSHIP

Antique Isfahan, c. 1900, 235 x 150 cm

Isfehan, c. 1960, wool and silk, Tree of life design, 140 x 100 cm

Antiques and

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Isfahan rugs are usually hand-knotted on foundations of silk or cotton. The wool pile used for weaving is also of high quality and cut short to let the design shine through.

Pictorial Isfehan, wool and silk, Omar Khayyám design, 217 x 137 cm

In addition the carpets are all hand woven and its weavers use asymmetric knots with double wefts. Wefts are the horizontal threads interlaced to form layers dividing the rows of knots so this use of double wefts is the main reason for Isfahan carpets being renowned for their fine weaving. The more knots per square inch, the more intricate is the resulting design. In fact, knots per square inch (KPSI) is the measurement for determining just how finely woven a rug is. Isfahan carpets usually range from 400 to 800 knots per square inch. As well as being technically perfect, the resulting Isfahan endproduct is amazing in its detail.

THE SEIRAFIAN RUGS Of the Isfahan carpets, one of the best known and highest quality is the Seirafian. These rugs start at 700 KPSI going up to 1500 KPSI – a legendary achievement in itself. The Seirafian is one of the weaving workshops of which Isfahan is most proud. It was in these workshops that master weavers supervised people and guaranteed the Isfahan stamp of superior quality. The Seirafian workshop was founded by Haj Agha Reza Seirafian (1881-1975). Though initially a banker and carpet dealer, Agha Reza did not enter the business of producing carpets until 1939 when he had to complete two rugs that one of his suppliers couldn’t finish. As he was a perfectionist, Seirafian rugs became renowned for their technical quality and intricate designs. Building on the traditional techniques of Isfahan rugs, Agha Reza’s innovations produced the best quality carpets of his time. He made use of natural dyes and the best raw materials as well as employing the most skilful weavers and talented designers. Quality assurance was given to the demanding carpet market by his ensuring that the family name was woven on the top or bottom of the carpets. As a result, his carpets became the most popular among traders and interested individuals. Agha Reza produced quality Isfahan rugs until his death, whereupon his seven sons and their descendants continued this task. Now it is believed that there are 32 Seirafians living and dead counted among the masters of Isfahan.

THE ZENITH OF ISFAHAN The glory days of Isfahan peaked during the Safavid Empire, from 1501 to 1722, when Iran flourished as a hub for architecture, philosophy, poetry, and art. During this time, weavers were much inspired by the world around them. However, when the Afghans invaded Iran, ending the Safavid era, the art of weaving came to an abrupt halt until its revival in the 1900s. During World War I, Isfahan became renowned again for its weaving techniques – but its primary product was garments. However as the requirements of modern fashion changed, Isfahan’s reign as a garment centre also fell. So the people of Isfahan went back to traditional weaving. Taking inspiration from Safavid dynasty designs, they used soft and fine Merino wool that was usually used for cloth. The resulting beautiful Isfahan rugs became immediately popular in the world market and, by the 1920s, weaving became serious business again in Isfahan. However during the Great Depression, as money became scarce, Isfahans needed to lower the cost of the rug. The solution was to use native Persian wool rather than the imported Merino wool. Though that resulted in the Isfahan rug having a harder feel, it was still uncompromising on quality. It was during this time that Isfahan re-established itself as one of the world’s hubs for rug production, and one of the cornerstones of the present-day Iranian weaving industry. Majid Mirmohamadi THE MAJID COLLECTION 03 9830 7755 majidcarpets@optusnet.com.au www.majidcarpets.com

MORNINGTON PENINSULA

Remarkable Remarkable e natural history histo ory illustrations fr o Museum Victoria om Victoria from

EXHIBITIONS TO VISIT AT Mornington Peninsula Regional Gallery THE ART OF SCIENCE: NATURAL HISTORY ILLUSTRATIONS 13 December – 17 February hether they fly, swim, crawl, wiggle or walk, we are endlessly fascinated and inspired by the creatures of our world. Featuring amazing illustrations from Museum Victoria, this exhibition showcases the uncommon beauty produced from 300 years of exacting scientific observation and illustration. As exploration and science have expanded our horizons across time and space, the ability to capture and communicate the truths held in nature have become increasingly important.

Scientific artwork is as important and astonishing today as it was in the 18th century.

VISION SPLENDID: LANDSCAPES OF PHILLIP ISLAND & WESTERN PORT 13 December – 17 February During the 19th and 20th centuries, Phillip Island and Western Port became a favourite destination for artists as they searched for views beyond the familiar confines of Melbourne and Port Phillip. Along with the treks of singular artists, Phillip Island and the shores of Western Port also played host to artists’ camps where drawings and paintings

Rhyll Plant, Plaice Mat (Platessa vulgaris) 2004, woodblock, ink on paper. Source: Museum Victoria

were made and ideas formed and exchanged. Featuring outstanding works by Eugene von Guérard, Arthur Streeton, Tom Roberts and Walter Withers, this exhibition includes a roll call of Australia’s most revered artists and is the first exhibition to consider artistic representations of this unique and varied stretch of coast and land.

LOOK! AUSTRALIAN PICTURE BOOKS TODAY 27 February – 21 April Children and adults of all ages will be intrigued and inspired by this delightful exhibition, which celebrates the worlds and stories revealed in picture books.

Created by the State Library of Victoria, Look! includes sketches, drafts, mock-ups and finished artwork as well as multimedia presentations to demonstrate the various stages in developing contemporary Australian picture books. Over 40 of Australia’s most talented illustrators are featured in the exhibition including: Shaun Tan, Jeannie Baker, Graeme Base, Bob Graham, Gregory Rogers, Ann James, Leigh Hobbs, Terry Denton, Ron Brooks and Frané Lessac. The exquisite images in Look! tell many stories – some beautiful, some hilarious and some difficult. They help children to understand the world and nurture their imaginations and dreams. For full program details, including times and costs visit the Gallery’s website. MORNINGTON PENINSULA REGIONAL GALLERY 03 5975 4395 mprg@mornpen.vic.gov.au http://mrpg.mornpen.vic.gov.au

Eugene von Guérard, View of the Granite Rocks at Cape Woolamai, c. 1872, oil on canvas mounted on cardboard. National Gallery of Australia, Canberra Antiques and

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MORNINGTON PENINSULA

An exciting program of events planned from January to May at BELEURA HOUSE & GARDEN BAYSIDE SINGERS 16 February he extensive and varied repertoire of this group includes both accompanied and a cappella pieces and ranges from sacred and early music to classical. Originally formed in 1972, the Bayside Singers keep their skills honed by taking part in eisteddfods and performing at various occasions and venues including National Trust properties. House and garden tour includes morning tea, lunch and recital. $36 / $33 concession

OPERA IN THE GARDEN 1 & 2 March For the fourth consecutive year, Beleura joins forces with the Dame Nellie Melba Opera Trust to showcase opera stars of the future in an enthralling operatic performance. This year’s event, devised by James Wright, is based on the charming opera Hansel & Gretel by 19th century German composer Engelbert Humperdinck. After the performance, enjoy supper with wine or champagne and the opportunity to chat to the cast. A courtesy bus at 5.30 pm transfers guests for the 6.30 pm performance. The event includes the performance and a light supper. $75 / $70 concession

RADIO PLAY 19 March Beleura proudly presents James Wright and Beverley Dunn performing selections from the

Anna Maria Georgiana Bright (née MannersSutton). Beleura collection

Bright - Manners Sutton Collection

wonderful Oscar Wilde Play The Importance of Being Earnest. House & garden tour includes morning tea, lunch and performance. $36 / $33 concession

THE HIGHGROVE FLORILEGIUM 4 April This year Beleura has been fortunate to acquire the recently published Highgrove Florilegium – a set of books celebrating HRH Prince Charles’ magnificent garden at Highgrove. To mark the advent of autumn, we will have these ravishing books on display, allowing page turning. Jenny Phillips, the celebrated Australian botanical artist

Jenny Phillips, White Magnolia Grandiflora

who is also a contributor, will be our guest speaker on the day. Jenny will talk about her involvement in this project as well as botanical illustration in general. Having focused her drawing, watercolour skills and love of gardening on botanical art, Jenny has developed her skill and knowledge to a remarkable level. Her ability to capture the essence, beauty and life of a plant without compromising on botanical detail makes her work extremely collectable. Jenny will bring some of her original works and we will also have a selection of her cards. An exciting day awaits! House & garden tour includes morning tea, lunch and presentation. $36 / $33 concession

GOVERNMENT HOUSE ON THE SEA 11 April This year the National Trust Heritage Festival celebrates Community Milestones – events that resonate in the story of our people and places, their lives and how they contribute to the social cohesion of a place. Beleura has a marvellous past – it was built 150 years ago and was, for a time, the centre of local events. The Victorian Colonial Parliament leased Beleura for use as a summer or marine residence for the governor, Sir George Bowen (1873-1879). The Governorship carried considerable cachet, with society revolving around the person of the Governor, wherever he was. Beleura researcher and volunteer Pru J Evans will give an illustrated talk exposing early Melbourne society’s dilemma of finding suitable residences for the Governor of Victoria. A fascinating tale of intrigue, social oneupmanship and the beautiful and practical solution - Beleura on Sea. House & garden tour includes morning tea, lunch and talk. $36 / $33 concession

THE GOVERNORS’ WIVES: Georgiana, Lady Manners-Sutton: 23 April Marguerite Hancock, author of Colonial Consorts – The Wives of Victoria’s Governors 1839-1900, will talk about Georgiana, Lady Manners-Sutton (Viscountess Canterbury) who spent summers at Beleura. ‘The Governor’s wife, a tall woman with a beaky nose, a tiara, and a cold smile, stopped and spoke to Aïda, who made a curtsy, sinking and rising with something of the rhythm of a wave. Of all those present she was perhaps the only one for whom the brief assumption of royalty would have been without awkwardness or stiffness. Having addressed a few well-meant words to her temporary subject, the Governor’s wife gave a glance and a nod to Sophie, and the procession passed on.’ Martin Boyd, The Montforts.

Antiques and

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Drawing Room, Beleura

House & garden tour includes morning tea, lunch and talk. $36 / $33 concession Diamantina, Lady Bowen: 30 April The esteemed heritage expert Tom Hazell OA will talk about one of the most interesting of Victoria’s vice regal ladies, Diamantina, Lady Bowen, also known as Contessa Diamantina di Roma, a member of the Ionian aristocracy. Some years earlier, as wife to the Viceroy in Queensland, she had bewitched as ‘a young and beautiful Greek fairy princess – another Fair Ines, who seemed to have stepped straight out of a poetry book, to dazzle the eyes of a pack of rough bush children. Never had we seen anyone faintly resembling this gracious being with her kindly smile and soft, foreign accent, about whom everything, from the bow of ribbon in her hair – they were the fashion then – to the filmy pocket handkerchief with its coroneted monogram, seemed to exhale an odour of romance. Strange indeed must have been the crudities of Australian life to this gifted Greek Lady, whose brilliant acquirements and delicate charm might have seemed somewhat out of place in the primitive colony, just given a name and an existence of its own,’ – Mrs Campbell Praed. Sir George, a former Governor of Queensland, was thought a somewhat pompous, if excellent, Viceroy. House & garden tour includes morning tea, lunch and talk. $36 / $33 concession

THE BRIGHT FAMILY SILVER 7 May Kevin Murray, renowned dealer in English antique sterling silver, will speak on the fine silver used at Beleura by Charles Edward and Anna-Maria Georgiana Bright when entertaining her parents, His Excellency the Governor, Sir Henry and Lady MannersSutton, later Lord and Lady Canterbury. The silver came through the Manners-Sutton family and includes the famous Speaker’s 1783 kettle made for the marriage of Richard Bright of Ham Green to Sarah Heywood and used when he was Speaker of the House of Lords. In 2007 members of the Bright family arranged for Beleura to acquire some of their family silver, thus the dining room table may be set with some splendid crested silver. House & garden tour includes morning tea, lunch and talk. $36 / $33 concession For more information contact BELEURA 03 5975 2027 info@beleura.org.au www.beleura.org.au

LANGWARRIN

EMMA ANNA MATT CALVERT BOZO INK: CAMERON BISHOP & DAVID FITZSIMMONS DANIEL CLEMMETT EWEN COATES AUGUSTINE DALL’AVA ROBERT DELVES DAMIEN ELDERFIELD & LANI FENDER TROY EMERY ANTONIA GOODFELLOW MATTHEW HARDING WILL HEATHCOTE DAVID JENSZ GREG JOHNS CHACO KATO JOHN KELLY CHRIS LANGTON MICHAEL LE GRAND IAN LOITERTON LUCAS MADDOCK & ISAAC GREENER

McCLELLAND SCULPTURE SURVEY & AWARD 2012 18 NOVEMBER 2012 – 14 JULY 2013

www.mcclellandgallery.com

ZOE AMOR

GERARD MCCOURT ANTON MCMURRAY KARLEENA MITCHELL JAMES PARRETT TERRANCE PLOWRIGHT CHARLES ROBB ANDREW ROGERS KATE ROHDE ROBBIE ROWLANDS FAUSTAS SADAUSKAS BENJAMIN STORCH MARCUS TATTON VINCE VOZZO JUD WIMHURST

McCLELLAND SCULPTURE PARK + GALLERY

Summer exhibitions program

for his work Hnagma. This year the Mary & Lou Senini Student Art Award exhibition features the work of Victorian tertiary students who have been selected for their outstanding ability within the field of textiles. The following artists were selected as finalists: Hannah Bertram, John Brooks, Alison Kennedy, Ayfer Ocal, Margaret Rowe, Andrew Treloar, Denise Wray, Azza Zein.

JANET LAURENCE The Alchemical Garden of Desire Showing until 3 March 2013

John Gollings

MCCLELLAND SCULPTURE SURVEY & AWARD 2012 Sculpture Survey Exhibition

Showing until 14 July 2013 alued at $100,000 and judged by Deborah Edwards, Senior Curator of Australian Art at the Art Gallery of NSW, the McClelland Award 2012 was awarded to Greg Johns for his work At the centre (There is nothing). The McClelland Achievement Prize (MAP) was awarded to Christopher Langton for Away with the fairies. Valued at $30,000 (non

acquisitive) MAP includes a solo exhibition of the artist’s work at McClelland during the time of the subsequent McClelland Sculpture Survey in 2014. The Sculpture Survey exhibition features the works of all the finalists as well as those of the winners.

THE MARY & LOU SENINI STUDENT ART AWARD 2012 FOR TEXTILES Showing until 13 January 2013 Congratulations to Andrew Treloar, the recipient of the 2012 annual prize of $3000,

Janet Laurence’s art is a synthesis of nature, science and architecture, traversing the disciplines of installation, photography, painting and sculpture. She often uses specific environmental sites to explore ideas of both the tangible – of nature in decline and renewal – and the intangible, such as the inherent memories of these sites and the plants and animals that inhabit them. In her most recent body of work, Laurence considers the process of tracing the ‘memory of nature’ through elaborate constructs of glass leaves and vitrines that contain and screen a collection of botanical images, specimens and natural curios. These works comment on the volatility of nature whilst acting as a museum, to protect and memorialise a plant’s history. For her McClelland installation, Laurence merges past and present, juxtaposing collected botanical curios with living samples gleaned from the garden of Cruden Farm, Langwarrin, created by Dame Elisabeth Murdoch. In this installation Laurence expresses both the

existence of plants and the idea of a garden as protective haven for the botanic.

AFTERMATH Landscape photographs by John Gollings from Black Saturday Showing until 3 March 2013 The Black Saturday bushfires burnt across Victoria on and around Saturday, 7 February 2009. Comprising as many as 400 individual fires, these resulted in 173 deaths and 414 people injured – Australia’s highest ever loss of life from a bushfire. The fires were mainly centred around Kinglake, Marysville, Narbethong, Strathewen and Flowerdale regions which were all but completely destroyed. This exhibition features the work of John Gollings, a prominent Melbourne-based photographer. His aerial photographs of the devastated blackened forests of the Kinglake Marysville region reveal the raw abstract patterns of the land. Stripped of vegetation, there is a curious play of black and colour, of patterns and textures, which are only revealed in the destruction of the bush. Some images capture and merge the ambiguous patterns of cast shadows and blackened tree trunks, while others reveal the rolling topography of the denuded landscape, where roads and tracks and the marks of man add to the extensive geometry of the land. McCLELLAND SCULPTURE PARK + GALLERY 03 9789 1671 www.mcclellandgallery.com Antiques and

art

ROCKINGHAM GLAZE – COPIED SHAMELESSLY

When piracy could be interpreted as admiration

Pic 1: Two ‘Rockingham’ teapots; left – made by Spode or Copeland & Garret, right – made by Wedgwood, c. 1840

Spurious marks on the teapots; left: by Spode or Copeland & Garret, right: by Wedgwood

here’s been a lot in the news recently about patent cases before the courts; the tech world is in chaos as they tussle for the rights to certain popular ideas. Just as well the patent world didn’t exist back in the early 19th century! In the potteries at Staffordshire, invention was contagious. An idea would be developed, a shape designed for the first time and suddenly, it would appear all over, copied with little modification by the competing potters. This is hardly surprising when you examine a map of the potteries of the period. Towns like Stoke-on-Trent were a mosaic of pottery establishments, quite literally next door and across the road from each other. The workers lived in tiny cramped cottages in the spaces between. There was no way to keep a secret. Copyright was unheard of and patents were not common. If a design or technique came into fashion, everyone made it. A fashion of the early 19th century was the brown Rockingham glaze. The story of the glaze and its subsequent piracy across the ceramics world is an interesting tale.

ORIGINS TRACE TO POTTERY AT SWINTON In 1807, the Prince of Wales and future King George IV (1762-1830) visited William Wentworth-Fitzwilliam, 4th Earl Fitzwilliam (1748-1833) at Wentworth House in South Yorkshire. The Earl had helped finance a small local pottery at nearby Swinton which was also not far from Manchester. This had been founded in the mid-18th century and had moderate success with basic pots made for the local market. The Earl had provided funds as a philanthropic gesture for which he was well known and liked by his tenants. The pottery was able to refine its wares to suit the developing demand for sophisticated fine tea wares, producing a quality cream ware much like Leeds pottery. By the time of the Prince of Wales visit, they had developed an interesting soft brown glaze for their cream wares, using iron oxide and manganese in the lead glaze to achieve the unusual finish. They were by no means the first to create such a finish, the Chinese had been shipping a similar glaze to Europe for hundreds of years and Meissen, the first European porcelain factory was producing the equivalent by the 1720s.

Antiques and

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Pic 2. Porcelain Rockingham-glaze tea wares; rear: from the 1842-65 post-Rockingham period, decorated by Baguley (a former artist at the factory), front: post-1865 cup & saucer from when he transferred his activities to Mexborough. Baguley did not make his porcelain, but decorated others’ works: the marks are very misleading.

Pic 3. Cadagon teapot, marked COPELAND, c. 1860

FROM LOCAL MARKET TO ROYAL PATRONAGE They were however the first to capture the attention of a prince. On being served his tea from brown-glazed, finely potted cream ware teapots while visiting Earl Fitzwilliam in 1807, the Prince requested a selection for his own personal use. This of course became a fashion statement, and suddenly the demand for ‘small brown pots’ mushroomed. The name Rockingham was associated with them at this stage, the Marquess of Rockingham being directly related to the Earl Fitzwilliam. The name was probably in honour of Mary Watson-Wentworth (Bright) (1736 -1804), the last Marchioness of Rockingham and was intended to give the pots a pedigree. She had died a few years before the visit of the Prince of Wales, but having her name associated with the wares certainly elevated their desirability!

Pic 4. Rockingham glazes on pottery: from left to right, a head window rest, a dog’s head stirrup cup, a head mug, dog’s head moneybox, early to mid 19th century

TEA POT SHAPE

FLATTERING IMITATIONS

The pots produced were not the regular ovoid shape pots, but tall baluster-shape forms, rather like a coffee pot. This shape (Pic 1) was said to enhance the quality of the tea, and we know they were not intended for coffee due to some being helpfully labelled ‘BLACK TEA’ and ‘GREEN TEA’. This was done in gold, and it appears that most were embellished with gilt flowers, chinoiserie scenes, or a seaweed pattern. This gold is rather prone to wear, and examples in good condition are rare.

The proof of the rich brown Rockingham glaze’s appeal is revealed in the scope of contemporary imitations. Spode, Wedgwood and Mason – leading competitors of the time – were all guilty of piracy, right down to the impressed ‘ROCKINGHAM’ mark to the base. We know this because shards of kiln rejects from these manufacturers have been excavated from their respective factory sites – irrefutable proof! We have recently discovered two such interesting examples. The first is a large pot (Pic 1 right), decorated with a pleasant seaweed pattern in gold. Impressed ‘ROCKINGHAM’ to the base, it is actually Wedgwood, circa 1840. The second discovery (Pic 1 left) is a smaller pot made to hold a single serve of tea. It is hand inscribed ‘Rockingham’ to the base and is either Spode or Copeland & Garrett, of the same date.

ROCKINGHAM PORCELAIN WARES Tea wares were apparently not made in the cream ware body, however a rare group of porcelain was made at a slightly later period, circa 1830-42 (Pic 2). The porcelain side of Rockingham is altogether another topic, and once again involves royal patronage. The quality of these products is supreme, and is ultimately to blame for the factory’s demise in 1842. They spent so much creating a service for the king who was too slow in paying, resulting in the business becoming insolvent! It is ironic that after the initial ‘discovery’ and royal promotion of the works, royal patronage (i.e. failure to pay the bills) was also apparently responsible for the demise of Rockingham.

ROCKINGHAM’S FAMOUS CADOGAN TEAPOT Another Rockingham creation was the remarkable Cadogan teapot. Modelled on a Chinese example from the Ming dynasty, it is shaped like a peach; there is no lid or apparent opening until it is turned upside down. This reveals the filling technique, with a shaft from the open base rising into the

interior space which allows the filling, and prevents the loss of tea when turned upright and poured out the spout. However, a drawback is the inability to clean the pot’s inside, somewhat unhygienic! The example shown here (Pic 3) is for once honest, being impressed COPELAND. It is very close in appearance to examples impressed ROCKINGHAM that are not made by the factory and that these false ‘Rockingham’ Cadogan teapots can be attributed to Copeland, post-1847.

A GENERIC DESCRIPTION The term ‘Rockingham glaze’ often appears in antique shops, and today refers to the translucent brown, rather than the factory. The glaze was used on a wide range of items throughout the 19th century, such as money boxes, window stops, mugs and stirrup cups (Pic 4). If they are also marked ROCKINGHAM still do not take it at face value – there is more to the story! These items will be released for sale in our 2013 exhibition to be held in our Geelong premises in late February 2013. Join our email list via our website to keep updated. Paul Rosenberg MOORABOOL ANTIQUE GALLERIES 03 5229 2970 www.moorabool.com

GEELONG

Lenton Parr, Forms in bronze I-V, c. 1958, bronze with verdigris patina. Geelong Gallery. Gift of the Estate of the artist, 2012. Photographer: Robert Colvin

Lenton Parr Untitled, c. 1965, painted steel. Geelong Gallery. Purchased through donations, 2012. Photographer: Robert Colvin

A QUESTION OF SCALE at Geelong Gallery n display until 24 February, A question of scale – maquettes and small sculpture from the permanent collection presents a selection of small-scale sculptures in various media that are finished works in their own right or were conceived as maquettes (scale models) for larger works or site-specific commissions. This special exhibition includes works by George Baldessin, Geoffrey Bartlett, Vincas Jomantas, Clifford Last, Fiona Orr, Lenton Parr, Tina Wentcher and Danila Vassilieff. Of particular interest are several newlyacquired works by the prominent Centre Five Group sculptor, Lenton Parr (1924-2003). In particular, a group of small bronze forms, which have been recently gifted to the Gallery after having been included in an exhibition in Melbourne of works from the artist’s estate. Here they are shown in company not only with existing works by Parr in the collection but also with works by two other Centre Five modernist sculptors, Clifford Last and Vincas

Jomantas. Together with their contemporaries, Inge King, Norma Redpath and Teisutis Zikaras, these six Melbourne-based artists were largely responsible for promoting a progressive approach to sculpture in Australia and for encouraging architects, developers and institutions to award site-specific commissions to contemporary Australian sculptors working mostly in an abstract idiom. Having studied art at the Melbourne Technical College, Parr spent two formative years in England between 1955 and 1957 where he worked as a studio assistant to the great English sculptor Henry Moore (1898-1986) who was famous for his unmistakable style of biomorphic abstraction. Cast after this time, these bronze forms reveal some initial indebtedness to Moore and to the stylised sculptures of Moore’s contemporaries, Reg Butler (1913-1981) and Eduardo Paolozzi (1924-2005), while the shield-shaped ‘heads’ and angular ‘limbs’ of certain of these small forms offer a nod in the direction of Picasso (1881-1973) and cubism in general.

The group marks an important transitional phase in the development of Lenton Parr’s sculpture that from the 1960s onwards increasingly moved in the direction of rectilinear abstraction inspired by industrial structure and particularly by the handsome appearance of agricultural machinery.

Geelong Gallery is open daily from 10am to 5pm. Please note, the gallery will be closed on Christmas Day, Boxing Day and New Year’s Day. Entry is free. GEELONG GALLERY 03 5229 3645 www.geelonggallery.org.au

Danila Vassilieff, Reclining nude, 1952, Lilydale limestone. Geelong Gallery. Gift of Mr and Mrs John Reed, 1980 © National Gallery of Victoria

Antiques and

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GEELONG

Bombe chest in the process of being stripped of its fittings

The chest treated with paint stripper

Applying shellac, the traditional way

WELCOME TO THE WORKSHOP of Pegasus Antiques fter a lot of interest in the last Antiques & Art article, where we talked about a light restoration of a French console table, in this edition the team at Pegasus Antiques would like to take you through the process involved in the restoration of a French inlaid bombe chest. However, a quick introduction first: Pegasus Antiques is a family owned and operated business in Geelong that started out in the back shed of the family home in 1982. Since this time Pegasus has grown towards being the biggest, sole antique furniture business in Australia. From sourcing the furniture all around the UK and France to traditionally restoring and personally delivering each item, if you have not been into Pegasus, now is the time.

VANDALISED BY BAD RESTORATION Having worked as a French polisher in the family business for 15 years, I have spoken to countless visitors and clients about our traditional restoration methods and view it as a great privilege to be able to work on some of the finest furniture ever made. I also value this opportunity of being able to give readers a glimpse into the process. Now to the restoration: This marble top chest was found in the south of France on a recent buying trip and we were very excited upon investigating to discover that it is a genuine piece (not a reproduction like so many) – just with a terrible finish! At some point in this 1880s chest’s life, it was vandalised by being

restored with lacquers and a spray gun so that all its beautiful inlays and parquetries were completely hidden. While this finish may be quick to apply, it leaves the grain with a flat dead look that is very uninspiring but we were thrilled to see the original marble and brass ormolu was in perfect condition.

THE PROCESS Once the container landed in Australia, this bombe chest was the first piece into the workshop. The first stage was all the cabinetry work. This included draw runners, guides and stops, and all the ormolu and marble had to be taken off. Each piece was labelled during the process, a time consuming procedure but necessary when it comes time to reassemble the chest. Then, there was no avoiding it, this French chest had to be stripped of the lacquer. About three layers of paint stripper was applied by hand and left to soak for about 20 minutes. Now the hard work began – using steel wool and scrubbing over and over, slowly the lacquers were removed. The chest was then left to dry overnight. If stripped well, a piece will not require much sanding – in this case, only a light hand sanding was all that was required. Next was polishing the chest. Using a traditional rubber and shellac we started French polishing the chest and were over the moon to see that with the first coat, the colour of grain confirmed that it is kingwood. By the end of the first day of polishing, this chest received about 30 coats of shellac. The next day we ‘cut back’ the chest using a fine steel wool, and continued polishing. This process is repeated up to five or six times – depending on the piece of furniture. However, this chest required only three days of polishing and on the last day a very fine

The chest restored, the original handles and ormolu mounts re-attached

cut back and a very thin shellac polish applied about five times. Now to the waxing part. All that polishing resulted in a high shine so we used a black wax – which goes on clear – and fine steel wool to slightly cut back the chest. This is where it gets personal as each piece of furniture is restored individually and so we can wax as hard or light as we want to obtain the desired finish. As this chest should have a glow but not a gloss, the wax needs to just slightly dull the French polish to bring out a stunning glow. After the light waxing the next step was to apply wax to the marble top. Fortunately the ormolu was in near perfect condition, and just required only a light clean after which it was re-attached. The difference in the chest is amazing. Now the timber has depth and colour in the grain while the parquetries and inlays look three dimensional. This is how it was originally polished and no quick method can do justice to such furniture. Please feel free to call or come by and see us in our Geelong warehouse. You are always welcome to poke your head into the workshop to observe this time-consuming but very fulfilling process. For more information please contact Joel Duggan PEGASUS ANTIQUES 03 5221 8290 pegasusantiques@bigpond.com www.pegasusantiques.com.au

CONTAINER OF MAGNIFICENT FRENCH FURNITURE DUE EARLY DECEMBER

VISIT US ON THE WEB:

WWW.PEGASUSANTIQUES.COM.AU OPEN 7 DAYS A WEEK

512-560 LATROBE BLVD, NEWTOWN 3220 PHONE 03 5221 8290 66

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French bombe chest c. 1880s, restored to its original glory

AIREYS INLET

Brooke Cunningham

Ondra Gangell

Susan O’Brien

Featured artists

Lucyna Opala

AT EAGLES NEST GALLERY agles Nest Fine Art Gallery prides itself on showcasing the works of established and emerging artists from the Geelong/Otway region, many of whom live in the local area.

BROOKE CUNNINGHAM Brooke’s passion for Australian themes and icons is evident in her quirky rendition of local birds and other fauna. Big, brightly coloured parrots or a kangaroo skipping along the bush often feature in her gorgeous paintings, capturing what is the essence of Australia.

ONDRA GANGELL Ondra has a great love of nature and she hopes that through her paintings others are reminded that we all have a role to play in taking care of it. Her art is sourced from the beauty of their surroundings and there is much to choose from living around the coastal areas.

SUSAN O’BRIEN: Artist’s statement ‘My art is an expression of Victoria’s countryside and beaches. It is an attempt to capture, through colour and shapes, the vastness of our country whether it be in farming or the wide expanses of our beaches. I use colour to create moods of warmth and

heat: the dryness of our droughts; the coolness of our winters; the spectacular colours of our autumns; and the blossoming vibrancy of our spring colours. All contribute to make paintings that portray a sense of timeless beauty in an expressive, linear, sometimes cubist format.’

LUCYNA OPALA Following a series of venerated works featured in local and international galleries, festivals and media, Igora Design presents Day dreamings: Unframed, an anthology of felt designs. Lucyna Opala, the artist of the Igora Design label, describes the inspiration behind this collection as a dynamic dreamscape of past, current and future memoirs, at times shifting and blurring between real and imagined states of being. ‘These are the places I have been, places I have seen from a bird’s eye view in a dream, and memories of my journey between the Polish highlands and the Australian outback. The felt acting as the connective tissue translating my own realities,’ she explains. The works showcase the artist’s connection with the world, expressing the physical/spiritual dimension through a looking glass of eclectic and illusory pieces. With each work representing a dream; whether lucid and intentional or beautiful but haunting, the audience is invited to discover their own meaning and interpretation. Made from the finest Australian merino wool and silk fabric, every unique work is richly interwoven with colour, texture and form. Physically light and floaty, all pieces can be worn in an assortment of ways, moulded by the owner’s psyche.

SUSAN ROMYN This small collection of new works will give 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. For more information contact EAGLES NEST GALLERY 03 5289 7366 nadia@eaglesnestgallery.com.au www.eaglesnestgallery.com.au

Craig Penny

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

CRAIG PENNY: Artist’s statement ‘I like to think that to paint a successful painting is not so much to have tamed the beast, rather to have been taken along for the ride and still be there at the end of the experience. For me painting is like life … giving yourself enough skill, knowledge and integrity and then letting yourself free to take what is thrown your way. You don’t need to tame and control it for magic to happen ... you just need to be there at the end.’

JILL RAYMOND

Susan Romyn

Jill draws her inspiration from the dramatic seasonal changes that alter the landscape around her. On her doorstep is an array of flora and fauna, trees, hills and rivers that offer her a myriad of ideas for her beautiful works.

Exhibitions: 4 - 31 January 22 March - 18 April 3 - 31 May

Colour Memories & Possibilities Susan O’Brien Great Southern Land Craig Penny Day Dreamings: Unframed Lucyna Opala

Feature Artists JANUARY MARCH - APRIL

Susan Romyn Ondra Gangell

FEBRUARY MAY

Jill Raymond Brooke Cunningham

Open every day: 10 am – 5 pm

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

Antiques and

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HAMILTON

J.J Hilder (1881-1916), A Quiet Corner, Dora Creek, 1916, watercolour on paper Ken Knight (b.1956), Guns on Dam Embankment, Western District, 2009, oil on board

Exhibition program at HAMILTON ART GALLERY amilton is famous for its magnificent art gallery and some exciting and varied exhibitions are on display over the summer months. With six modern galleries and a collection of 8000 items, exhibitions are always changing. Highlights during the summer include exhibitions on Australian watercolours, prints by William Hogarth and highlights from the Gallery’s recent gifts and acquisitions.

MARRIAGE A LA MODE Until 17 March William Hogarth’s greatest moral tale was contained in the six prints of Marriage a la Mode. These satirise the marriage of an impoverished noble to a wealthy merchant’s daughter and in the process comment on many of the contradictions of 18th century English life. Hogarth was the great satirist of the 18th century and, while he was conveying a serious message, it is hard to not see humour in much of his imagery today.

RECENT GIFTS AND ACQUISITIONS Until 20 January Displayed for the first time in this exhibition are many of this year’s generous gifts. The decorative arts are a feature of this collection. These range from the work of Australian ceramicists such as Gwyn Hanssen Pigott and Janet Beckhouse, to Italian glass by Laura de Santillana, Art Nouveau ceramics from Sweden and silver and ceramics from the Danish modern movement.

focuses on the watercolours from Australia’s golden era of watercolour painting of the 1930s including the works of J.J. Hilder, Blamire Young and Tom Garrett.

fought valiantly as part of the Australian troops committed to these battles. The local Lovett family, among others, are part of this history that is the subject of this exhibition.

HAMILTON QUILTERS

KEN KNIGHT PAINTINGS

2 December – 13 January This will be the 15th biennial exhibition by the Hamilton Quilters whose quilting skills are again proudly displayed by the gallery. Always popular, this exhibition brings together the skill of local craftspeople, the richness of modern fabric design and the practicality of the quilt.

20 March – 5 May Australian landscapist Ken Knight has mastered the depiction of the hot, dry Australian summer, among his many subjects. Over the years he has spent time in western Victoria depicting its pastoral subjects that feature in this exhibition.

STAN KELLY ‘FUNGI’

ON PERMANENT DISPLAY

13 February – 12 May The late Stanley Kelly OAM (1911-2001) worked from Ararat and his botanical drawings of all the Australian eucalypts remains the classic reference. It is Kelly’s eucalypt paintings that now decorate Australian passports. In his later life he started to document Australian fungi – a project he never really finished, given its immensity. These watercolours are some of the work he did on this project.

Taylor Gallery Australian art from the collection Gaussen Gallery 18th century landscapes by Paul Sandby Barber Gallery Asian ceramics and metalwork

DAVENPORT PORCELAIN

Stan Kelly (1911-2001), Fungi (undefined), c.1990, gouache on paper

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

11 February – 31 March Davenport is really the penultimate 19th century English porcelain – rich, ornate and decorative – but refined and elegant at the same time. This selection comes from a private collection and this will be its first exposure to a wider audience.

AUSTRALIAN WATERCOLOURS

INDIGENOUS AUSTRALIA AT WAR

Until 24 February Hamilton Art Gallery holds watercolours from the 18th century onwards and this exhibition

6 March – 28 April It is little known that from the Boer War (1899-1902) onwards indigenous Australians

Informal group portrait of members of the 2/18th Australian Field Workshop. Australian War Memorial

HAMILTONARTGALLERY HAMIL LTONARTGALLER G Y 107 B Brown rown Street Street HAMIL HAMILTON LTON Victoria 3300

T: (03) 5573 0460 E: inf info@hamiltongallery.org fo o@ham miltongallery.org W: www www.hamiltongallery.org .hamilton ngallery.org Davenport tea service c. 1880, porcelain. Private collection

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HAMILTON

Discover something special AT BAIMBRIDGE ANTIQUES he picturesque regional city of Hamilton is in the centre of the western district of Victoria, a lovely 45 minutedrive from Port Fairy, and only one hour from Warrnambool, Mount Gambier, Portland and Horsham. Within 20 minutes of Hamilton are waterfalls, volcanic caves and lakes and historical Aboriginal sites. The sight of rolling green paddocks with cattle and sheep grazing under majestic red gums soothes the soul.

Dunkeld inspired many early Australian painters including Louis Buvelot, Eugene von Guerard and Nicholas Chevalier. So when you're looking for special antiques flavoured with an arty weekend, do take a scenic drive to Baimbridge Antiques. BAIMBRIDGE ANTIQUES 03 5572 2516 www.baimbridgeantiques.com

PASSION FOR JEWELLERY In the midst of all this splendour is Baimbridge Antiques. A family owned and operated business, Baimbridge Antiques offers a delightful and diverse range of superb jewellery, both antique and contemporary. Overseen by the family matriarch, Ruth Colliton, her passion for jewellery has seen the business thrive from a tiny back shed to an opulent treasure trove in Hamiltonâ&#x20AC;&#x2122;s CBD. With a discerning eye and excellent knowledge of his subject, son Rhys Colliton oversees a huge area, showcasing a large selection of antique furniture and decorative items from the 17th to the 20th centuries including many oak pieces. Rhys enjoys sourcing the special piece a client can be seeking. Twenty minutes from Hamilton at the foot of the spectacular Grampians is the charming town of Dunkeld which has a thriving arts community. The impressive setting of Antiques and

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BALLARAT’S ANNUAL ANTIQUE FAIR is the longest running event of its kind 9 – 11 March

fixture on thousands of calendars around Australia, the annual Ballarat Antique Fair continues to attract visitors from far and wide. Now in its 43rd year, it has become the largest and longest running event of its kind in Australia. Bringing together 100 dealers from around the country, this event features an unequalled range of antiques and collectables for sale under the one roof. A ‘must-see’ event for antique lovers and collectors, visitors travel large distances to attend, with bus tours even bringing people from as far away as Adelaide and Sydney. Always held on the Victorian Labour Day long weekend, antique dealers from around Australia will converge at the Ballarat Badminton Stadium to bring you treasures gleaned from around the world.

A FAIR DESIGNED FOR COLLECTORS To ensure a comfortable visit, the organisers have transformed the venue into a great exhibition with carpeting, special lighting and full air-conditioning installed. Coffee stations and a catering service for light meals, snacks and refreshments with additional seating and extra toilets, ensure you can devote the entire day to bargain hunting. Many visitors make a weekend of it and enjoy this event together with the many other unique attractions offered by the region at that time.

All the well-known and respected dealers will once again be there together with some interesting new faces bringing merchandise, perhaps never before seen. Many dealers will save their best pieces acquired during the year to show off at this incredible event. There will be something of interest for everyone from a simple cup and saucer to an entire house-lot of furniture. Silver, jewellery, artworks, ceramics, china and glassware will be there as well as almost every conceivable collectable you can think of. From Art Deco to vintage fashions – whatever your collecting interests, you will be sure to find something to get excited about.

MYRIAD SPECIALIST DEALERS Specialist dealers in every type of antique item and period will be available to chat to

you face-to-face and offer expert advice. You will have the thrill of seeing and handling some incredible pieces as well as being able to chat and discover the amazing history of an item that interests you. Dealers will be only too happy to share their expert knowledge.

AVOID THE CROWDS The fair runs over three days with the Saturday being by far the busiest. If large crowds put you off a little, you may prefer to visit on the Sunday or Monday instead, when dealers will have more time to chat and you can move around a lot more easily!

ABOUT THE FAIR The Ballarat Badminton Stadium is located at Dowling Street, Wendouree in Ballarat. The fair hours are Saturday 9 March, 10 am to 6 pm; Sunday 10 March, 10 am to 5 pm; and

Monday 11 March, 10 am to 4 pm. Entry tickets will be available in the car park on Saturday morning from 9 am and breakfast is also served there for the early birds. Tickets will be available then at the door. Entry is just $15 for adults and seniors; $12 for aged and invalid pensioners; carers and children under 16 accompanied by an adult are free. A threeday pass is $30, concession is $24. Valuable door prizes will be drawn on each of the three days for those placing an entry in the barrels. For further information contact the fair organisers BALLARAT ANTIQUE FAIR 1300 303 800 www.ballaratantiquefair.com.au

BENDIGO 2013 EASTER ANTIQUE FAIR 30 March - 1 April reparations are nearing completion for the 2013 Bendigo Easter Antique Fair. Dealer numbers are limited to 32 as in 2012, 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 2013 and 2014 Bendigo Easter Antique

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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 30 March and Sunday 1 April 2013. 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 AND ART in Central Victoria

2. BENDIGO BENDIGO ART GALLERY

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

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

GALLERY ON STURT 421 Sturt St, Ballarat 03 5331 7011 info@galleryonsturt.com.au www.galleryonsturt.com.au www.accentframing.com.au Open Mon-Fri 9am - 5.30pm, Sat 10am - 2pm Director: Leigh Tweedie Spacious art gallery located in Ballarat CBD. We exhibit an impressive range of works by Australian artists and emerging artists. On show are original works and limited edition fine art prints and you will be pleasantly surprised at our realistic prices. Recent exhibitions include John Brack, Pro Hart, Kenneth Jack, Sir Lionel Lindsay, Norman Lindsay and Ruby Lindsay. Accent Framing at Gallery on Sturt offers custom framing and wide format giclee printing onsite. We extend a warm invitation to come and enjoy our gallery and our friendly professional service.

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

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.

AVOCA 5

MARYBOROUGH 3

BENDIGO POTTERY ANTIQUES & COLLECTABLES CENTRE 146 Midland Hwy, Epsom 0478 435 885 info@bendigopottery.com.au www.bendigopottery.com.au Open 7 days 9am - 5pm With over 40 sites including glass, ceramics, furniture, vintage clothing, jewellery & all manner of interesting collectables, the new centre complements Bendigo Pottery’s retail gallery, individual artists’ studios & cafe on this historic site.

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

lines include Italian cushions, photo frames, Victoria Spring jewellery and homewares.

THE AMAZING MILL MARKETS IN DAYLESFORD 105 Central Springs Road, Daylesford 03 5348 4332 Open 7 days 10am - 6pm Superb display of Victorian and Edwardian furniture, collectables, clocks, vintage clothing, porcelain and china. Over 100 stall holders, 2.5 acres, all under cover with a café serving homemade food and a variety of hot and cold drinks.

6. AVOCA – 15 minutes from Maryborough McMURRAY GALLERIES

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.

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

103 High Street, Avoca 03 5465 3060 lauriemcmurray@mcmurraygalleries.com.au www.mcmurraygalleries.com.au www.lauriemcmurray.com.au Hours: Open most days from 10.30am - 5pm. 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.

7. TRENTHAM GOLD STREET STUDIOS WORKSHOPS AND GALLERY 700 James Lane, Trentham East Vic 03 5424 1835 ellie@goldstreetstudios.com.au www.goldstreetstudios.com.au Hours by appointment. Director Ellie Young Exhibition: Ralph Gibson Exhibition 9 Dec to Feb 2013 Seminar: APPS April 2013 Representing: Joyce Evans, Bob Kersey, Karl Koenig, Hans Nohlberg, Chia N-Lofqvist, David Roberts, Tim Rudman, John Studholme, David Tatnall, Steve Tester, Craig Tuffin, Mike Ware, Gordon Undy, Ellie Young. Works: albumen, carbon, gum bichromate, gumboil, lith, chrysotype, new cyanotype, photogravure, platinum/palladium, salt and silver gelatin photographs.

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

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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 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

MEET A GUILD MEMBER

Alastair Wilkie of Marquis Antiques

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 of 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 Garry Mathewson Mailing Road Antique Centre, Canterbury, Vic. 3126 Mentone Beach Antiques Centre, Beach Road, Mentone, Vic. 3194 Antiques & Collectable Centre, Bendigo Pottery, Epsom, Vic. 3551 Mobile: 0402 042 746 Email: Billygarry@bigpond.com.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 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 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.mentonebeachantiquecentre,com 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 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

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 Mark Seaton & Maxine Nichol www.seanicantiques.com.au 673 Whitehorse Road, Mont Albert, Vic. 3127 Phone: 03 9899 7537 Mobile: 0418 326 455 Furniture from 1880s to 1950s Sympathetically restored and ready for any home 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 Diana Brady Diana Brady By appointment PO Box 165 Malmsbury Vic. 3466 Email: dianab3@bigpond.com.au Specialising in antique hand painted ceramics, jewellery, French, English and Australian antique furniture Mobile: 0438 048 260 Frivolities Coralie Davidson P.O.Box 225, St. Leonards NSW 2065 Mobile: 0414 607 136 Marquis Antiques Alastair Wilkie Antiques & Collectable Centre, Bendigo Pottery 146 Midland Highway, Epsom, Vic. 3551 Mobile: 0402 888 439 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 www.timegallery.com.au

www.vadg.com Direct enquiries to any of the Guild Committee Members

ANTIQUES – ULTIMATE RECYCLING 72

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WHEN DID YOU START DEALING IN ANTIQUES? I bought my first antiques business in South Yarra in Melbourne in June 1970. After a lot of work tidying up the shop and buying better quality stock, I commenced trading on 4 July 1970. My trading stock for the first 12 months was mainly cedar and pine furniture, interspersed with brass and iron double beds. WHAT SPARKED YOUR INTEREST? I had a few friends who had retail outlets in Melbourne dealing in antiques and collectables. So on odd occasions I would drop in to visit them and they kept urging me to give up my job and start my own business. Also my parents had a house full of antiques and so it followed, with gentle pressure, that I ended up in the antiques trade. WHAT AREA OF ANTIQUES DO YOU MOST ENJOY? I started importing containers of antiques from England and Scotland into my second shop at 1379 Malvern Road, Malvern. I learnt a lot about Georgian furniture in England and I still love it today. WHAT’S YOUR FAVOURITE PIECE IN STOCK AT THE MOMENT? I have a great love of early antique clocks. Some made in America, England and Germany. My favourite piece is a walnut cased English bracket clock made by Jeremiah Sewell of London, circa 1799. WHAT ANTIQUE PIECE CAN’T YOU LIVE WITHOUT? On one of my buying trips to England, I stumbled across a small shop in Taunton in

the south west of England. Within a few minutes I saw a beautiful flame mahogany chest of eight drawers with three secret drawers at the top. I negotiated a price to suit the owner and myself. I still own it and I know that can’t live without this chest of drawers. WHAT’S YOUR ANTIQUE TIP FOR THE FUTURE? I regard good quality antiques as a good investment even though prices aren’t as strong since the 1980-1990s. My advice is to buy the best quality you can afford, as they don’t make them anymore. WHAT’S THE BEST PIECE OF ADVICE YOU’VE RECEIVED OVER THE YEARS? Good advice I received from the late Mr John Dunn in Malvern was ‘When your head and your heart tells you to buy a beautiful piece, don’t hesitate!’ WHAT ADVICE WOULD YOU PASS ONTO OTHERS? I have travelled extensively overseas looking at and buying all manner of antiques and collectables. The best of advice I could pass on would be to try to specialise in a certain field. Buy books on your subject of interest and ask for advice as often as possible and gain as much knowledge as you can. ANY OTHER COMMENTS YOU’D LIKE TO ADD? There are lots of antiques centres and shops in all states of Australia and New Zealand. Have a holiday and make it a buying trip. All dealers will help with packing and shipping your purchase back home.

BALLARAT

Heinrich Bürkel (1802-1869), Italian landscape with travellers, 1832, oil on canvas. Art Gallery of Ballarat. Gift of Mrs I. Main-Rippin, 1932

Heinrich Bürkel (1802-1869), Charcoal burning in a wintery landscape, 1835, oil on canvas. Art Gallery of Ballarat. Gift of Mrs I. Main-Rippin, 1932

THE PROVENANCE OF EUROPEAN ART TREASURES

in the Art Gallery of Ballarat T he cover image this issues features one of the many treasures to be found within the Art Gallery of Ballarat’s extraordinary collection. It is one of a series of four paintings by early 19th century German artists which were once in the collection of Prince Adolphus Frederick, Duke of Cambridge, the youngest surviving son of King George III. The paintings, by artists Heinrich Bürkel, August Ahlborn and Georg Brandes, were purchased by the Duke during the time when he was Viceroy of Hanover, the British royal family’s territory in Germany. The Duke was keen to encourage art collection and appreciation among the burgher of Hanover and led the way by purchasing paintings at various exhibitions held in the large provincial city. When Queen Victoria succeeded to the English throne in 1837, the crown of Hanover, which could only descend in the male line, passed to her uncle Prince Ernest Augustus, Duke of Cumberland, the Duke of Cambridge’s elder brother. With his brother now King of Hanover, the Duke of Cambridge was no longer required to be viceroy and returned to London, bringing his family and his art collection with him. When the Duke’s son, Prince George, second Duke of Cambridge, died in 1906, his extensive collection of art and royal memorabilia was sold by auction. Four of the paintings were bought at the auction or soon after, by Melbourne stockbroker and his wife, John and Isabella Main Rippin. They brought the works back to Australia with them and for many years were hung in their Orrong Road mansion.

GIFTED TO THE ART GALLERY Three paintings were eventually gifted to the gallery in Ballarat by his widow. Both John and Isabella had come from Ballarat and still felt close ties with the city of their birth. The painting featured on the front cover, Coast near Amalfi by August Wilhelm Julius Ahlborn (1796-1857), was given by John Rippin to a close friend. Its whereabouts came to light as the result of some dedicated detective work by the Gallery’s director,

Gordon Morrison, and was discovered to be hanging in a house on the Hawkesbury River near Sydney. Due to the special circumstances, the Gallery decided to vary its usual collection policy, which limits acquisitions to Australian artworks, and purchased the painting, thus bringing the four ‘Cambridge’ paintings together again.

part – prepare to enter the eternal city which is bathed in warm light. A party of revellers looks on from a vine covered balcony. The view could be said to be a northern European’s romanticised view of the ancient Italian capital.

For more information about the significant art collection contact Art Gallery of Ballarat 03 5320 5858 www.artgalleryofballarat.com.au

CONTRIBUTION TO EUROPEAN ART HISTORY The ‘Cambridge’ paintings have recently come under scrutiny once again, and have been newly conserved and their frames regilded. German art historians specialising in the paintings of this era, who were not aware of the existence of these works, have been excited to discover these ‘lost’ works and include them in the lists of known paintings by these artists.

HEINRICH BÜRKEL (1802-1869) There is particular interest in the two paintings by Heinrich Bürkel which are held by the Ballarat gallery. Drawing inspiration also from the works of the 17th century Dutch masters, Bürkel became a very successful landscape and genre artist whose works are to be found in many European public and private collections. In 1824, having finally being granted permission from his parents to pursue an artistic career, Bürkel moved from his birthplace of Pirmasens to Munich. With the exception of two years spent in Italy in 1831-32 he spent much of his life in the Bavarian capital. Life in the Bavarian mountains and the close connection between the countryside and those who worked it was a favourite theme of Bürkel who was praised for his skill in depicting nature in winter. This beautifully rendered painting with its charcoal burners at work at the onset of winter is a fine example of his sensitive working of such scenes. The second painting dates from the time of the artist’s visit to Italy. It depicts a scene just outside the gates of Rome – next to the medieval Osteria di San Antonio. A group of travellers – peasants and monks for the most Antiques and

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Snags, Beer and Bubble Fest

Take part in the world’s longest lunch

ESCAPE TO BENDIGO IN AUTUMN BENDIGO’S NEW GOLD PIONEERS endigo might have been built on foundations of gold, but the cultural influences of those who came in search of wealth and a better life are more evident than ever in our growing food, wine and craft beer culture. The city’s new pioneers are the many chefs, restaurateurs and winemakers who are crafting a renaissance of fine dining across the region; developing the unique tastes and flavours of central Victoria for a new generation of eager palates. The Bendigo region hosts a great variety of events to celebrate the theme ‘Earth’ as part of the regional closing weekend during the Melbourne Food and Wine Festival 15 – 17 March 2013. It’s a great time to escape to Bendigo and experience the beautiful heritage streetscapes during the autumn months. BENDIGO EVENTS INCLUDE

SALT OF THE EARTH 15 March (7 pm-11 pm) The Dispensary Enoteca Take a nostalgic trip back to 1968 as we forage through Margaret Fulton’s classic cookbook, released that year. Nominated as an Australian Living Treasure, Margaret Isobel Fulton OAM is the matriarch of Australian cooking and is credited for changing the way Australians cook and eat. We will redefine and interpret many of her classic recipes matched to the earthly brews, wines and spirits against the background of down and dirty rockin’ tunes of the period. Dress code is strictly 1960s! In 1968, a leather-clad Elvis Presley returned to his roots with the ’68 Comeback Special. Bob Beamon jumped and his Olympic record still stands. Martin Luther King Jnr and Robert F. Kennedy were assassinated. The Stone’s Beggars Banquet came out – its last track being ‘Salt of The Earth’.

TAKE PART IN THE WORLD’S LONGEST LUNCH 15 March (12 pm-4 pm) Rosalind Park Enjoy central Victoria’s most stylish food and wine experience of the year. Sit at our elegant, long table in the idyllic surrounds of Bendigo’s historic Rosalind Park. Savour six regionally-sourced courses presented by Wine

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Bank on View, all superbly matched by expert sommeliers to the best wines from the Bendigo wine region. The region offers an interesting variety of wine styles as you’ll discover by taking a seat at our table.

FOSSICK UNDER THE EARTH 16 March (12 pm-4 pm) Various Heritage Buildings Fossick for ‘food gold’ beneath three of Bendigo’s most spectacular heritage icons in this progressive dining experience; the Hotel Shamrock, the Bendigo Visitor Centre which was once Bendigo’s Post Office and the Basement Bar which was previously part of the Royal Bank Building. Each participant will be taken on a fossicking journey. Local and regional food grown in the rich gold bearing soils of this bountiful region will be teamed with local wines, beer and juice. Each venue will showcase local musicians and the rich stories of each heritage building will be ‘unearthed’.

demonstrations from our farming women and sparkling wines made by the girls.

PICNIC IN THE PADDOCK 16 March (11 am-4 pm) Bridgeward Grove Olives & Art Embrace the principles of the traditional picnic: slow food, regional wines and oldschool games that are fun for the whole family; apple bobbing, sack races and kite flying. Using the Bridgeward Grove farmgate, olive grove and surrounding paddocks as the stage for the event, guests are encouraged to indulge in food prepared from locally sourced produce as well as relax and enjoy the

DIG IT. DEJUSTATION 16 March (6 pm-10 pm) Goldmines Hotel This six course degustation features food foraged from the forest, presented in the historic Goldmines Hotel garden and matched with local wines and craft brews. This event is exclusively a complete ‘vego dego’, showcasing how diverse the earth’s produce can be. Chef Lee Bryant will prepare his unique take on local plants and flowers to showcase the regions bounty of natural produce.

SNAGS, BEER & BUBBLE FEST 16 March (11 am-5.30 pm) Heathcote Heathcote’s ancient Cambrian soil produces much more than heavenly shiraz. Taste and enjoy the earthly delights of the farmers, brewers, butchers, cider and winemakers of the region and beyond. What’s on offer: Artisan sausages, microbrewed beers, craft ciders, sparkling wines and more. All grown, created, fermented, brewed, barbequed and served to you by those who tend the earth, the beast, the vine, the hops. In tribute to the froth and fodder – courtesy of Mother Earth – we salute the women of Snags, Beer & Bubble with beer tasting workshops hosted by the Beer Diva,

Autumn in Bendigo

fresh air and inviting open space. Upon arrival, each guest will be presented with a hand-woven blanket and a picnic basket abundant with BWG cheese, quince paste, olives, olive oil and preserves. Slow cooked Howard lamb, local wine and beer will also be available. For more information, events and great accommodation packages contact BENDIGO VISITOR CENTRE 1800 813 153 tourism@bendigo.vic.gov.au www.bendigotourism.com

BENDIGO

POST OFFICE GALLERY Childhood: Growing up in Bendigo On show until 24 February The experience of those who grew up in Bendigo mirrors that of many Australians he concept and experience of childhood has evolved over time, influenced by social and cultural change, the shifting needs within the family unit, and varying expectations of adults.

Nineteenth-century British thought saw an emerging sentimentalism toward children. There was growing interest in preserving children’s innocence and protecting them from the responsibilities and harsh realities of adult life. Where previously there had been little difference between the treatment and expectations of child and adult, the contemporary concept of ‘childhood’ as a distinct and relatively carefree stage of life – a time to be devoted to education, socialising, discovery and play – emerged at this time. Childhood for some is sun-soaked and sugar-coated but for others, full of awkward moments and obstacles. Nonetheless, it is a time considerably shaped by the place in which one grows up. From local haunts to childhood games and tales of mischief, defining moments and

community events, the current Post Office Gallery exhibition Childhood: growing up in Bendigo presents childhood treasures and memories gathered from the individual and shared experiences of childhood in Bendigo. Rather than drawing on formal collections and archives, the exhibition has been curated by calling on the hidden childhood treasures and stories from the homes and memories of Bendigo locals past and present. Bendigo has been a playground for generations of children, exploring, learning and growing. Today it is known as a ‘child friendly city’, a city that engages with children directly, and is continuously monitoring and responding to the changing needs of children in the community. The voice of children has not always been so validated, and there are few firsthand accounts of early Bendigo history told through the eyes of children. Indeed, even broad reference to children in historical documentation is limited. Considering this, Childhood: growing up in Bendigo focuses primarily on the childhood experience of the generations who are present, to tell their story firsthand. The exhibition is a mixed-tape for the new millennium, a collage drawing together the stories of those who came forward to contribute their memories and childhood objects for display, providing a snapshot of the diverse and layered lives of those who have

grown up in the Bendigo region over the past 100 years. Quirky keepsakes, personal treasures, souvenirs and family heirlooms are displayed alongside short oral history recordings of childhood memories presented on vintage rotary dial telephones at listening posts in the gallery.

Tin toy, c. 1960s. Cox family collection

Despite different childhoods in Bendigo being lived in markedly different times, and from a range of cultural foundations, iconic features of the physical landscape of the Bendigo region as well as civic events such as the annual Easter Fair and Agricultural Show are common threads that connect memories. While sharing a geographical location, each experience of childhood in Bendigo is of course unique, impacted by social, cultural, economic and familial nuances as well as things distinct to certain generations, such as world events or significant social, ideological or technological change.

In this way the childhood experience of those who grew up in Bendigo mirrors that of many Australian children, ensuring that visitors to the exhibition who grew up in Australia but did not grow up in the Bendigo area are likely to find many stories and objects that resonate with their own childhood experiences. Clare Needham Curator, City History & Collection POST OFFICE GALLERY 03 5434 6179 postofficegallery@bendigo.vic.gov.au

BENDIGO ART GALLERY: Contemporary Australian Silver & Metalwork Award n 2013, Bendigo Art Gallery will host the 12th Contemporary Australian Silver & Metalwork Award in partnership with Buda Historic Home and Garden in Castlemaine. The Contemporary Australian Silver & Metalwork Award is a unique national biennial exhibition with multiple acquisitive and non-acquisitive prizes, showcasing contemporary silver and metalwork practice in Australia. The award caters for the individual designer, the small manufacturer and the emerging artist and student. This award exhibition was established by Buda in 1988 to commemorate the important contribution of former Buda owner Ernest Leviny (1818-1905) to 19th century Australian silversmithing as well as to celebrate the art form and provide encouragement to both established and emerging artists.

Hungarian born Leviny trained as a gold and silversmith in Budapest in the 1840s. In 1852 he sailed to Australia with a small team of men to take part in goldmining in the Castlemaine area. As his mining efforts were unsuccessful, he opened a jewellery and watchmaking business which thrived; so much so, he invested in property and mining during the early years of Castlemaine’s development. Two significant Australian works were created by Leviny in the late 1850s. His gold and redgum inkstand featured four gold nuggets from Ballarat, Bendigo, Maryborough and Castlemaine – representing the Southern Cross. This work confirmed Leviny’s high level of skill, especially when it was later exhibited in London and attracted much interest.

Brooch designed by Meghan O’Rourke 2011, Peacock series. Winner 2011 Leviny Award

Retiring at age 45, Leviny purchased Buda as a home for himself, his wife and eight children. Leviny family members resided at Buda for more than 118 years. Buda is now open to the public Wednesday to Sunday and on public holidays.

Childhood: growing up in Bendigo

In 2013, the two award categories for Professional Silversmiths and Students and Recent Graduates boast a total of three prizes each – the largest being $8000 in cash, sponsored by the Maxwell and Merle Carroll Fund and the Victorian Arts Centre Trust. Professional artists will have their works exhibited alongside emerging and student silversmiths, offering the opportunity of viewing inventive metalwork including hollowware, jewellery and sculptural works. Entries to this exciting award are now open, and must be physically received at Bendigo Art Gallery by 4 pm, Friday 1 February 2013. For entry forms please contact Bendigo Art Gallery. The exhibition will be on display at the Post Office Gallery, a satellite space of Bendigo Art Gallery from 29 June – 28 July 2013.

Japanese Visions: Works from the collection

Post Office Gallery 9 November 2012 – 24 February 2013

1 December 2012 – 27 January 2013

BENDIGO ART GALLERY 03 5434 6088 www.bendigoartgallery.com.au Antiques and

art

BENDIGO

Bendigo Rotary Club’s

EASTER ART SHOW eld at the charming Bendigo Town Hall, the Rotary Club of Bendigo’s annual Easter Art Show and Sales is a top annual destination for lovers of art. Now in its 45th year, the 2013 show will be held over the Easter long weekend – from Friday, 29 March until Monday, 1 April. Over 700 paintings will be on display at the exhibition, where art enthusiasts can buy direct from the artists. All proceeds from entry

tickets, art sales and the preview evening will benefit local and overseas charitable programs. Awards are non-acquisitive.

AWARDS AND PRIZES The two main awards are for contemporary and traditionalist / realist art, and are worth $3,000 each. A new award has been added to honour an artist who has exhibited in every Easter art show since its inception. The Geoff Paynter

Creative Interpretation Encouragement Award will offer a cash prize of $1,000. In addition, five highly commended awards will give each winning artist $500, recognising excellence and creativity in their work. Members of the Rotary Club of Bendigo have observed a continuing rise in the quality of works being presented each year. This ensures a greater level of sales – which is great for the artists as well as for collectors.

presentations and first chance to inspect and then purchase an artwork whilst talking to the artist, should you so desire. Formalities commence at 8 pm, to be opened by a popular local radio announcer Jonathan Ridnell, followed by the President of the Rotary Club of Bendigo, Brian Figg. Awards will be announced and presented, after which all paintings go on sale.

VISIT WITH ARTISTS

Artists are invited to enter the Rotary Club of Bendigo’s 45th Annual Easter Art Show and Sales. Entry forms are available on the website and the entry fee ranges from $10 to $15, depending on the size of the work. All sales commissions – a low 20% – go to charity. Works from Melbourne and Geelong should be delivered by courier. Entries close on 15 March 2013. 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, opening hours are from 9 am and 5 pm. Opening hours on Easter Monday are from 9 am to 4 pm. There is also ample street parking for the convenience of patrons.

Art Exhibition and Sales

This professional exhibition attracts over 5,000 visitors and many exhibiting artists attend the art show and value the opportunity to discuss their inspiration, methods and passions. 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, metropolitan Melbourne and regional Victoria. The artists who were awarded the non-acquisitive prizes had most works purchased in 2012. Artists commented that it gave them a very strong message to present their highest quality works for which they will be well-rewarded.

Preview Evening Thursday 28 March

PREVIEW & AWARDS PRESENTATION

The 45th Annual Easter Rotary

General Exhibition Friday 29 March to Monday 1 April

BENDIGO TOWN HALL Contemporary Composition Cash prize $3,000 Traditionalist/Realist Composition Cash prize $3,000 Geoff Paynter Creative Interpretation Encouragement Award Cash prize $1,000 5 Highly Commended Awards Cash prize $500 Entry form can be downloaded from www.bendigorotaryeasterartshow.com Enquiries: Graeme Clarke 0409 164 600 Email: sales@lightswitch.com.au 76

29 March – 1 April

Antiques and

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The preview evening being held on Thursday 28 March is the opportunity for you to meet and mingle with other like-minded art lovers as well as the exhibiting artists. Starting at 7:30 pm, your $25 ticket entitles you to drinks and hors d’oeuvres, being a guest at the award

CALL FOR ENTRIES

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

EPSOM

Royal Worcester figurines, 1865 ‘Before and After the Wind’

Royal Worcester blush ivory vases c. 1900

Royal Worcester teapot, c. 1887

FINE PORCELAIN AND CERAMICS at Bendigo Pottery Antiques & Collectables Centre Examples of products made by the Royal Worcester Porcelain Company are on display and for sale at Bendigo Pottery Antiques & Collectables Centre located at Bendigo Pottery, the site of Australia’s oldest working pottery. ROYAL WORCESTER: AN INTRODUCTION he Worcester porcelain factory founded in 1751 is described as ‘the longest lived and one of the best.’ Set up by a physician and an apothecary the factory successfully produced table wares in soft-paste porcelain using a formula that was more durable than the pieces made by their competitors. This initial period is named the Dr Wall period (1751-76) after one of the founders, John Wall.

Royal Worcester vase, c. 1881

From 1757 the company pioneered the use of transfer printing and by 1760 was producing pieces with underglaze in blue. Finer pieces decorated with tooled gilt ornament in the 1780s were with mercury gilding which had replaced the earlier honey gilding. The term ‘porcelain’ is accredited to the Venetian, Marco Polo, who wrote of Chinese ceramics with a brilliant white surface and compared them with the marine snail porcella. The designs influenced by those of Sèvres reflected the eccentric and oriental fashions of the Rococo period combined with French opulence. There followed a series of different owners: Thomas Flight’s (1783) partnership with Martin Barr – Flight & Barr (1793-1807), Barr, Flight & Barr (1807-13), Flight, Barr & Barr (1813-40). When the company amalgamated with R. Chamberlain in 1840 the following period of 11 years was marked by financial difficulties until the company experienced a turn around when W.H. Kerr and R.W. Binns took over the firm in 1852, restyling the name to Kerr & Binns. In 1862 the firm took on the name the Royal Worcester Porcelain Company. By 1887 there were 700 employees with the firm concentrating on vases and figures. Modellers made these in a variety of styles. The Aesthetic movement saw the adaptation of Japanese designs popular in the Victorian era. Tea wares were diamond shaped and decorated based on Japanese art. Pierced or reticulated porcelain imitated oriental and Indian carvings. Pots had elephant head handles and legs, for example. The blush ivory wares of the early 1900s were an attempt to imitate matured, mellow ivory and showed the Art Nouveau influence. The Royal Worcester painters’ range of subjects is most extensive and includes birds, cattle, cottages, fish, flamingos, fruit, orchids, peacocks, swans and flowers. The great painters of the latter 19th century included members of the Stinton family – John, James and Harry, as well as Harry Davis, Richard Seabright, William Powell and William Hawkins. To find out more about the work and lives of the talented artists and modellers working at Worcester a good reference is Henry Sandon’s Royal Worcester Porcelain, from 1862 to the Present Day.

In 2009 the Royal Worcester name was purchased by Portmeirion Potteries of Stoke on Trent and the Worcester factory site and shop closed.

Centre, an historic museum, six individual artists’ galleries and a cafe plus hands on clay activities. At 146 Midland Hwy, Epsom, the pottery is open 7 days, 9 am to 5 pm.

BENDIGO POTTERY

BENDIGO POTTERY 03 5448 4404 info@bendigopottery.com.au www.bendigopottery.com.au

The site of Australia’s oldest working pottery incorporates Bendigo Pottery manufacturing and retail, the new Antiques & Collectables

BENDIGO

POTTERY

NEW – Antiques & Collectables Centre Now open and featuring over 40 individual sites

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 Antiques and

art

SHEPPARTON

DOOKIE ART ATTACK 25-27 May

et among the Dookie Hills in an idyllic rural setting is the University of Melbourne’s Dookie campus. Located midway between Shepparton and Benalla, the campus is a 2200 hectare estate which includes the nationally significant 270 hectare Dookie bushland reserve and Mt Major with its 360 degree views of the Goulburn Valley. Within the campus is a broadacre farm orchard, vineyards, dairy farm and piggery. Lovely historical buildings dot the landscape as do sheep grazing and majestic trees just begging to be photographed or painted. This is the setting for the annual Dookie Art

Attack held at the end of May. The retreat offers two to four day packages with the fourth day dedicated to plein air painting and is very suited to painting groups. The tutor for the plein air painting day 2013 will be Helen Cottle.

HISTORY OF THE PROGRAM Originally there was one workshop led by Ross Paterson. His class was attended by the late Jean Cowan who was a member of the Peninsular Art Society. Her vision was for Victoria to have a workshop program similar to that found in NSW. The Dookie campus was the ideal venue for such an event, and so the Dookie Art Attack was born. Jean was one

glassons art world

of the initial tutors until ill health forced her to withdraw from the program. A scholarship is being set up in Jean’s memory.

PROGRAM The Dookie Art Attack will be held 25, 26 and 27 May with the plein air option on Tuesday 28th. The program is structured so that participants work with a single tutor, for either two or three days. Anyone can join the plein air day as it is a separate workshop. The focus of the Art Attack is for students to acquire and/or improve their skill base. The 2013 three-day program, catering from beginners to advanced, will be run by 12 tutors who are among Australia’s most professional, well-known and respected artists. At the conclusion of this exciting series of workshops, students will showcase their work in a mini exhibition. As well as being a forum for participants and tutors to discuss the works, it is an opportunity to explore the idea of developing skills in another genre or medium, and plan for the following year’s classes. Many of the students have been attending the Art Attack for a number of years, finding the experience to be very rewarding. Friendships between students and tutors are built and it is also a journey shared, observing the development of skills over the years.

DOOKIE ART ATTACK

ACCOMMODATION

25, 26 & 27 May choose from 12 instructors

The campus offers dormitories with basic, heated single rooms and shared amenities. Though not luxurious, the rooms are comfortable, and evenings are spent in organised activities designed to encourage interaction between tutors and participants. The package includes all meals.

Plein Air Workshop Tuesday 28 May For prospectus call

AN ART RETREAT The Dookie Art Attack is an art retreat, an opportunity to become immersed in creative pursuits removed from the daily grind. Forget the world for a while and reward yourself – you deserve it!

SPONSOR’S ADDITIONAL PROGRAM Sponsored by Glasson’s Art World is Paint Trekkin’ Australia. These are short plein air painting trips held in tutors’ own backyards. Many tutors involved in the Art Attack are participating in this program. Regina Hone, for example, is running a trip in March in Sorrento. Visit www.painttrekkin.com.au for more details. If visiting Shepparton, Glasson’s Art World holds exhibitions on a regular basis. For more information contact GLASSONS ART WORLD 03 5822 0077 www.glassonsartworld.com.au

03 5822 0077 workshops@glassonsartworld.com.au

SCHEDULE Tutor

www.glassonsartworld.com.au 78

Antiques and

art

Medium

Level

Days

John Orlando Birt

Watercolour

Beginners – Intermediate

3 days

Helen Cottle

Acrylic

All levels

3 days

Regina Hona

Portraits

All levels

3 days

Glenn Hoyle

Oils

Beginners & beyond

2 days

Robert Knight

Charcoal Landscapes

All levels

2 days

Janet Matthews

Coloured Pencil, Nature

All levels

3 days

Paul Margocsy

Wildlife Art/Air Brushing

All levels

3 days

Ross Paterson

Watercolour

Intermediate – Advance

3 days

David Reynolds

Botanical Art

All levels

3 days

Charles Sluga

Watercolour with mixed media

All levels

3 days

Judith White

Mixed Media

Experienced only

3 days

John Wilson

Oils

Intermediate – Advance

3 days

SHEPPARTON

Utagawa Toyokuni I (Japanese, 1769-1825), Publisher: Izumiya Ichibei (Kansendô), The Chôfu Jewel River (Chôfu no Tamagawa), c. 1795-1801 (late Kansei era), woodblock print (nishiki-e); ink and colour on paper, vertical ôban, right sheet of triptych; 36.1 x 25 cm. William Sturgis Bigelow Collection

SHEPPARTON ART MUSEUM the sole and exclusive venue for The Golden Age of Colour Prints: Ukiyo-e from the Museum of Fine Arts, Boston he exhibition is drawn from one of the most significant collections of Japanese prints in the world which is held at the Museum of Fine Arts in Boston and has previously only been seen in Japan, where it toured four venues in 2010-11. The exhibition’s only showing in Australia is at the Shepparton Art Museum (SAM) after which the works will return to Boston. The Golden Age of Japanese Prints from the Museum of Fine Arts, Boston features the art of three of the most important artists in Japanese history: Torii Kiyonaga, Kitagawa Utamaro and Toshashusai Sharaku, along with a selection of work by their contemporaries. Each of these artists were masters and key innovators in the medium of the ukiyo-e print. Focusing on what is known as the golden age of nishiki-e colour prints, the Tenmei and Kansei eras (1781-1801), it showcases 100 ukiyo-e prints and offers a rare opportunity for Australians to appreciate the stunning colour aesthetic that is the essence of nishikie, or ukiyo-e printed in multiple colours.

and anime films are everywhere. These are direct artistic descendants of the Golden Age artists in this exciting exhibition. In the Australian context, this will be the first major exhibition of Japanese prints in three years and one of the largest ever held. None of the works in The Golden Age of Colour Prints have previously been seen in Australia, and no exhibition featuring these particular key artists together has previously been staged here. ‘While The Golden Age will appeal strongly to national audiences already interested in Asian art, the beauty and accessibility of the imagery, along with the current broad contemporary interest in Japanese culture, will ensure significant interest among the general public as well,’ stated Kirsten Paisley, Director of Shepparton Art Museum.

Tsutaya Jûzaburô (Kôshodô), A Spring Outing, c. 1787-88, (Tenmei 7-8), woodblock print (nishiki-e); ink and colour on paper, vertical ôban; 37.5 x 26 cm. William Sturgis Bigelow Collection

ACCOMPANYING EDUCATIONAL PROGRAMS Japanese is the most widely taught non English language in Australian schools, and it is available in more than 400 Victorian schools. To this end the show will be supported by an education program tailored to current curricula and designed to draw extensive school visitation from across Victoria and New South Wales in particular. Alongside this exhibition SAM will also present a complementary show focusing on the Japanese influence on Australian ceramic practices, curated from its extensive collection. The exhibition will be accompanied by an extensive public program of Japanese themed artistic workshops, tutorials, talks, tours and tea ceremonies. SAM has a dedicated

Torii Kiyonaga (Japanese, 1752-1815), Publisher: Nishimuraya Yohachi (Eijudô), Actor Segawa Kikunojô III Performing the Lion Dance (Shakkyô), 1789 (Kansei 1, 3rd month), woodblock print (nishiki-e); ink and colour on paper, vertical ôban; 37.2 x 24.9 cm. William Sturgis Bigelow Collection

workshop and studio adjacent to the exhibition space where these events will be held. The gallery is open every day, 10 am – 4 pm; public holidays 1 pm – 4pm; closed Christmas, New Year’s Day and Good Friday. For more information about The Golden Age of Colour Prints: Ukiyo-e from the Museum of Fine Arts, Boston contact SHEPPARTON ART MUSEUM 03 5832 9861 www.sheppartonartmuseum.com.au Photographs © 2012 Museum of Fine Arts, Boston

A NEW DIRECTION IN JAPANESE ART In common with other radical moments in art, these images were considered to be crude and unsophisticated when they first appeared. The superficial world of beauty and entertainment, of the pleasure quarter and the theatre were considered to be both remote from everyday life and not appropriate subjects for art as they featured tales from history, geisha, kabuki and courtesans. However the art form rose to great popularity in the metropolitan culture of Tokyo during the second half of the 17th century.

IMPACT ON WESTERN ART The imagery of ukiyo-e (pictures of the floating world) has had a powerful and enduring influence on Western art and may seem familiar to many visitors. Movements such as Impressionism, Art Nouveau and Pop Art are all indebted in various ways. The work of Australian artists as diverse as Charles Conder, Sydney Long, Brett Whiteley and Brent Harris reveal an interest in Japanese art of this time. In contemporary culture the striking images of Japanese manga comics

Katsukawa Shunshô (Japanese, 1726-1792), A Battledore (Hagoita) with a Portrait of Actor Segawa Kikunojô III, Edo period, woodblock print (nishiki-e); ink and colour on paper, vertical aiban; 31.7 x 22 cm. William Sturgis Bigelow Collection Antiques and

art

NEW SOUTH WALES

Susanne Gervay and Anna Pignataro

A VICTORIAN CHRISTMAS efore Victoria’s reign started in 1837, there was no Santa Claus, no Christmas cards or holidays from work. However the wealth and technologies generated by the industrial revolution of the Victorian era would change this. The face of Christmas would start to reflect middle class ideals and values, which would spread to all classes of society. Middle class families in England and Wales could now take time off work and celebrate over two days, Christmas Day and Boxing Day. December 26th – ‘Boxing Day’ – earned its name as the day servants and working people opened the boxes in which they had

collected gifts of money from the ‘rich’. The railways allowed country people who had moved into the towns and cities in search of work to return home for a family Christmas. So everyone could participate in the festivities.

CLAUS & CARDS Father Christmas was originally part of an old English midwinter festival, usually dressed in green, a sign of the returning spring. The stories of St Nicholas (Sinter Klaas in Holland) came via Dutch settlers to America in the 17th century. From the 1870s Sinter Klass became known in Britain as Santa Claus, and with him came his unique gifts and toys, reindeers and sleigh.

With the introduction of the penny post in 1840, it became cheaper to send mail, and as a result of colour printing and the invention of printing machines, cards could be printed faster and cheaper. The custom of sending printed cards was started in England in 1843 by Henry Cole who did not have time to write letters to each of his relatives. He asked artist John Calcott Horsley to design a card for him. About 1,000 of these cards were printed, and those not used by Sir Henry were sold by the printer for one shilling. The first company to print and sell Christmas cards on a large scale was Charles Goodall & Sons of London in 1862. The first charity card was produced in 1949 by UNICEF.

THE TREE: AN OLD GERMAN CUSTOM The tradition of a Christmas tree in the parlour came to England by way of Queen Victoria’s great-great-grandfather King George I. Victoria had a Christmas tree at Windsor Castle and in 1848, an etching of Victoria, Albert, and their children gathered around their decorated tree was published in The Illustrated London News. Christmas trees became the central feature of the Victorian family Christmas. German settlers brought the custom to Australia and America.

ELABORATE DECORATIONS

FROM

• LITERARY EVENTS • ART EXHIBITIONS • RESTAURANT, PRIVATE DINING, CONFERENCE & FUNCTION ROOMS

148

PER NIGHT IN A COSY ROOM*

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

HUGHENDEN BOUTIQUE HOTEL 14 Queen Street, Woollahra, Sydney

www.thehughenden.com.au 02 9363 4863 80

Antiques and

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What made the Victorian Christmas tree so special was its elaborate decoration. Decorations included gingerbread men, marzipan candies, hard candies, cookies, fruit, cotton-batting Santas, paper fans, tin soldiers, whistles, wind-up toys, and trinkets of all kinds. Paper cornucopias filled with nuts, candies, and other treats were the Victorian favourite. Later in the century imported ornaments from Germany began to replace the homemade ones. First came glass icicles and hand-blown glass globes called kugels. Dresdens, which were embossed silver and gold cardboard ornaments, took exotic shapes – moons, butterflies, fish, birds, ships and even automobiles. A Victorian family’s most prized ornament was the Nuremberg angel atop the tree. It had wings of spun glass, a crinkled gold skirt and a wax or bisque face. Angles or cherubs represented the Victorian ideal of childlike or womanly innocence.

brought with it affordable games, dolls, books and clockwork toys, though these were still limited to the affluent middle class. In a ‘poor’ child’s Christmas stocking, which first became popular from around 1870, there would be perhaps an apple, orange and a few nuts. The classic tale of the importance of the gift of giving was Charles Dickens’ A Christmas Carol. A children’s book, it was first published by Chapman & Hall on 19 December 1843.

SYDNEY’S VICTORIAN HOTEL FOR LITERATURE A rare statue of Charles Dickens resides in Sydney’s Centennial Parklands across the road from Victorian hotel The Hughenden, which stands amongst the largest expanse of Victorian architecture in the Southern Hemisphere. The Hughenden is also home to the Society of Children’s Book Writers and Illustrators Australia and New Zealand (SCBWI) and children’s literature. Charles Dickens’ A Christmas Carol sits alongside collections of Australian children’s books and illustrations, including the recently launched Ships in the Field. Limited art quality editions of Anna Pignataro’s illustrations from the book as well as autographed copies are available for purchase from The Hughenden; either would make a special gift.

Susanne Gervay www.sgervay.com THE HUGHENDEN Free Call: 1800 642 432 reservations@thehughenden.com.au www.thehughenden.com.au

GIFT GIVING At the start of Victoria’s reign, children’s toys tended to be handmade and expensive. With factories came mass production, which

Further reading www.historic-uk.com; www.tumblr.com; www.biblicalquality.com

NEW SOUTH WALES

AUSTRALIA,

with reindeer and elephant V incenzo Coronelli (1650-1718) was one of Italy’s most illustrious map and globe makers. His prodigious output represents the most complete geographical knowledge of the world in the late 17th century. A member of the Franciscan order and a Doctor of Theology, he was founder of the first geographical society in the world, the Accademia Cosmografica degli Argonauti in 1684. In 1685, he was appointed Cosmographer to the Venetian Republic. He is generally regarded as Italy’s finest mapmaker with his maps noted for their accuracy and for their grandeur, elegance and lyrical nature, so clearly illustrated here. In 1681, Coronelli was commissioned to construct two substantial globes for the reigning Louis XIV. He moved to Paris and completed in two years these remarkable works that combine art and science. The globes are 4.57 m in diameter and weigh approximately 2032 kg. A door in the side of the globes allowed around 30 people to stand inside. The globes are displayed at the Bibliothèque Nationale François Mitterrand in Paris. In 1688, he produced a printed version of the globes measuring 110 cm in diameter. Whereas the earlier globes were drawn and painted by hand these were based on 12 printed gores and separate polar calottes. As

such, they formed the largest printed globes to date. Because of the expense of producing such globes, only nobility and wealthy clients could afford them. In order to appeal to a wider audience, the gores were re-printed in atlas format and appeared first in the 1696-97 Isolario (the second part of Coronelli’s Atlante Veneo) and later in Coronelli’s Libro dei Globi in both the 1693 and 1701 editions. In one edition, the gore representing Australia includes the map itself and at the bottom, a section of the large elaborate and beautifully drawn cartouche of dedication. This continues into the next gore and includes a self-portrait of the artist surrounded by delightful cherubs. Despite his renown and reputation for precision in recording the most current geographic discoveries of the day, Coronelli somewhat wistfully or whimsically added reindeer and an elephant to his vignettes of northern Australia. Did Coronelli, map-maker and artist supremo, perhaps enjoy a relaxed moment of allowing imagination, rather than reality, to run wild?

Above: Vincenzo Coronelli, three gores from Terrestrial Globe including the map of Australia with reindeer and elephant

Right: Vincenzo Coronelli, Asia Divisa – double page of the eastern hemisphere

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

GOWRIE GALLERIES PTY LTD 02 4365 6399 maps@sydney.net www.gowrie-galleries.com.au Definitions Calotte, a skullcap, especially worn by priests; thence the caps at the poles of a globe.

Cartouche, a structure or figure, often in the shape of an oval shield or oblong scroll, used as an architectural or graphic ornament or to bear a design or inscription. Gore, one of usually 12 printed sections of a celestial or terrestrial map which when laid to a sphere, join to form a complete globe.

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

Coronelli, Isole Dell’ Indie – South-east Asia

Antiques and

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A piece of Australian aviation history:

The sterling silver model Fairey 111D before restoration

THE FAIREY 111D The story of its restoration at W J Sanders F or a silversmith there is nothing more satisfying than restoring a truly historic piece of silver. When CMDR David Goble RANR visited W J Sanders in 2011with the most magnificent silver model of a vintage aeroplane work ceased immediately. The scale model Fairey 111D was a masterpiece of craftsmanship and skill drawing the admiration of the team of skilled artisans.

HISTORY of the Fairey 111D The Fairey 111D is the first aircraft to circumnavigate the Australian coastline and was originally ordered for service in the Royal Australian Navy in the early 1920s. Seaplanes were commonly used for survey, reconnaissance and pioneered flights along the Australian coastline. In April 1924, Flying Officer Ivor McIntyre and Wing Commander (later Air Vice-Marshal) Stanley Goble left Point Cook in the RAAF Fairey 111D, the aim of the flight to show the usefulness of seaplanes and to complete the first aerial circumnavigation of Australia. During the journey, McIntyre and Goble experienced many difficulties including barely missing cliff edges at Bulli; the compass had exploded and one of the floats had been damaged. They also experienced engine trouble and were delayed because of bad weather. Forty-four days later, the two men landed safely in St Kilda, Melbourne where they were welcomed by the Governor of Victoria, the Earl of Stradbroke and a cheering crowd. Prime Minister Mr Stanley Bruce (1883-1967) said that McIntyre and Goble’s journey had ‘demonstrated the great possibilities of air flight not only for the defence of Australia but also for rapid communication with its widely separated and outlying settlements.’ Wing Commander S J Goble and Flight Lieutenant I E McIntyre were subsequently awarded the prestigious Britannia Trophy in 1924 for ‘A flight round Australia taking 44 days and covering 8,568 miles in 90 hours flight time in a Fairey IIID.’

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The sterling silver model Fairey 111D after restoration

HISTORY of the silver model It was no surprise that the W J Sanders silversmiths were impressed by the intricate workmanship of the replica after they discovered the Mappin & Webb maker’s mark and the stamp signifying the London assay office hidden under the RAAF insignia on the wing. Mappin & Webb, founded in 1810 originally in Sheffield, became one of the United Kingdom’s most prestigious silversmiths and in 1897 they were granted a Royal Warrant. From information obtained from a 30 year old newspaper clipping, we discovered that two sterling silver replica models of the Fairey 111D were made, presented to Goble and McIntyre shortly after their landing. Many years later the replica awarded to McIntyre ended up in the hands of London antique dealer John Bourdon-Smith. In 1988, Bourdon-Smith visited Melbourne where he decided to put it up for sale in the hope an enthusiastic aviator would buy it and give it to the nation. Unfortunately this did not happen, and it was later sold. The current owner of McIntyre’s silver replica is unknown. Meanwhile in 2011, the silver model seaplane presented to Goble and now in the care of grandson CMDR David Goble RANR was in need of repair and restoration. He brought the model to W J Sanders & Co hoping it could be restored to the way he remembered it when he was a young boy. He reminisced, recalling a time when he used to want to play with it but was not allowed, told that it was not a toy.

THE RESTORATION process Step 1. Firstly, the seaplane needed to be taken completely apart. The propeller, inside housing, all strut wires and engraving plates were disassembled in preparation for cleaning. Step 2. All the components were chemically cleaned. The procedure involves soaking the items in a chemical solution to soften the dirt. Following this, the parts were scratch brushed.

A brush made of very fine brass is used to flick off the now softened dirt. Step 3. Silver solder the attachment for the base and machine hand polish all the silver parts. A very labour intensive task that took over six hours to complete. The machine hand-polishing with soft brushes removed all scuff marks returning the model’s original silver patina. Wax was applied after polishing. Step 4. Make replacement silver wire struts. The original wires, some of which had become detached, were quite brittle and most could not be re-used. In order to do this, seven metres of 0.2 mm thick sterling silver twisted rope was made. Accurately re-rigging the wires was one of the most difficult tasks for the silversmith as no existing photograph of the replica seaplane was clear enough to determine exactly how each wire sat. Eventually, thanks to internet research, some close-up shots of a Fairey 111D in an aeronautical museum supplied us with the answers. Step 5. The Air Force badges were very faded and impossible to re-use. These were recreated in-house and the tail of the seaplane was then

repainted, matched to the original colour. Step 6. The wooden plinth, also in bad state of disrepair was stripped back, sanded and then repainted with high gloss black paint. New felt was affixed to the base. Step 7. Finally, each piece was painstakingly reassembled and placed on the plinth. The seaplane was given a final light buff and was now ready to be collected. The fully restored seaplane was picked up and then taken on a visit to the home of the recipient’s eldest son, Commodore John Goble RAN (Rtd) who was favourably impressed with the W J Sanders craftsmanship. ‘It is better now than I remember it,’ he said. The model Fairey IIID seaplane is now in the hands of the Chief of Air Force, having been presented to him at the RAAF history conference held in Canberra on 4 November. It will be placed on public display at the RAAF museum in Point Cook, Victoria as a permanent loan item from the Goble family. Bianca Fazzalaro W J SANDERS & CO 02 9557 0134 www.wjsanders.com.au

NEW SOUTH WALES

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Henri de Toulouse-Lautrec, Emile Bernard, 1885-86, oil on canvas, 54 x 44.5 cm. Tate, London, bequeathed by Arthur Jeffress 1961 © Tate London 2011

Henri de Toulouse-Lautrec, Woman with a tub – the tub (Femme au tub – le tub), 1896, from Elles, colour lithograph, 40.4 x 52.8 cm. National Gallery of Australia, Canberra, purchased 1977

TOULOUSE-LAUTREC: PARIS AND THE MOULIN ROUGE only at the National Gallery of Australia, Canberra this summer enri de Toulouse-Lautrec was once described by a contemporary critic as ‘the quintessential chronicler of Paris, as it is understood by those who come here seeking bright lights and wild pleasures.’ During his short but brilliant career, he created vibrant and lively images of his adopted city and its inhabitants. Favourite themes included the dance halls, the theatres and the caféconcerts that crowded France’s capital during the latter half of the 19th century, and of the performers who made them famous. The National Gallery of Australia’s major summer exhibition Toulouse-Lautrec: Paris & the Moulin Rouge will introduce Australian audiences to the artist whose work has come to define fin-de-siècle Paris. Despite this amazing artist’s international popularity, the Australian public has not previously had an opportunity to see a full retrospective devoted to his art in all media. The National Gallery’s exhibition promises a thorough and provocative examination of the artist’s work, including his forays into Impressionism, through more than 100 paintings, drawings, prints and an extensive collection of his famous posters, borrowed from 30 public and private collections worldwide. A particular focus is on his observations of Parisian life, with special emphasis on the cabaret culture around the Parisian arrondissement Montmartre – its dancers, singers and other performers, the drinkers at the bars, and other scenes of the fashionable world.

A LIFE SHORTENED BY ILL HEALTH Born into a wealthy aristocratic family from southern France in 1864, Toulouse-Lautrec’s parents were first cousins which may have contributed to the series of congenital health conditions that plagued him throughout his short life. During his childhood he suffered severe breaks to both his legs that never fully healed. As a result his legs remained those of a child’s while his torso developed into that of an adult. He grew to be only 5 foot 1 inch (154 cm) tall and became extremely selfconscious about his appearance. His poor health and physical impediments meant he was unable to participate in the typical hunting, shooting and fishing activities of male family members which caused an early estrangement from his father that continued until his own premature death in 1901. Instead he turned to painting and drawing, working under local teachers. His work from this period captures family members and

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views of their various estates. His youthful love of horses is evident in The jockeys [Les jockeys], 1882, on loan from the collection of Carmen Thyssen-Bornemisza.

LOVE OF PORTRAITURE This exhibition also sheds new light on Toulouse-Lautrec’s often-neglected portraits, demonstrating his artistic development. Following his move to Paris in the late 1880s, he was intrinsically drawn to the bohemian life of Montmartre where artists, writers and philosophers mingled in local bars exchanging ideas and seeking inspiration. During his time as a student in Paris, first studying under Léon Bonnat and later Fernand Cormon, he met many important artists from what became known as the Post-Impressionist group. These included Vincent van Gogh and Emile Bernard, whose 1885-86 portrait borrowed from London’s Tate collection demonstrates Toulouse-Lautrec’s enduring love of portraiture. Throughout his career he painted portraits of friends and family. During the late 1880s and early 1890s he created a series of full length portraits of his male friends and family members, shown as well-to-do men-abouttown or flâneurs. These men – in top hats, formal overcoats and often carrying canes – are shown lounging in the artist’s studio amongst canvases propped against the walls. Portrait of Dr Henri Bourges, 1891, his housemate at the time, shows the subject pulling on his gloves as if impatiently waiting to head out on the town with the artist.

A SPECIAL KIND OF MODEL Toulouse-Lautrec frequently became obsessed with particular models, often redheads. The subject of the jewel-like painting Carmen Gaudin, 1884-85 from the National Gallery of Art, Washington is one such example. He painted her more than 14 times, sometimes as herself and on other occasions in the character of a laundress. This almost obsessive treatment was given to other models who took his – sometimes fleeting – fancy. While Carmen went on to model for other artists, when she later asked if he had more work for her, she was summarily dismissed – she had committed the grave sin of dyeing her hair black! To say that he had a ‘type’ would be a gross understatement. Another redhead with whom the artist had an enduring relationship was the dancer Jane Avril. She appeared not only in paintings but also in many of his most famous posters. He designed those bold graphic works

Henri de Toulouse-Lautrec, Portrait of Dr Henri Bourges, 1891, oil on cardboard mounted on panel, 79 x 50 cm. Carnegie Museum of Art, Pittsburgh, acquired through the generosity of the Sarah Mellon Scaife Family. Photograph © 2012 Carnegie Museum of Art, Pittsburgh

to advertise her performances at various Paris nightspots. Unlike the many associates who increasingly kept their distance as alcohol and venereal disease began to take their toll on his art and mind, Jane remained loyal to the end. This exhibition contains three posters featuring Jane Avril, including the artist’s final poster from 1899.

PARIS’ UNDERBELLY The exhibition juxtaposes the gay, heady world of Parisian nightlife with the city’s harsher underbelly. Toulouse-Lautrec devoted a considerable part of his oeuvre to works that explored the lives of the prostitutes who lived in the brothels catering both to the wealthy and to the poor areas of the capital. Known as closed houses (maisons closes) or houses of tolerance (maisons de tolérance) because of their legally ‘tolerated’ place within society, the artist turned to these establishments and their inhabitants for inspiration in his drive to depict Paris, warts and all. To this subject, he dedicated both paintings and a suite of prints entitled Elles, 1896. Interestingly, only rarely did any of these works include men, the customers of such establishments. Instead he focused on the day-to-day lives and interactions of the women themselves – sleeping, sitting and waiting for clients as well as at their toilette. Although not the first artist to use prostitutes as models, he succeeded in capturing a tenderness in his images of these women that had previously been lacking in such depictions, observing: ‘A professional model is like a stuffed owl. These girls are alive.’ This exhibition encompasses work from the formative years of Toulouse-Lautrec and his extraordinary diverse depictions of the Paris social scene, the café-concert, contemporary theatre, dance hall and the brothels. The artist’s subject matter became the epitome of modernity, and through his painting and graphic work he became an influential figure in the evolution of art throughout the 20th century.

Henri de Toulouse-Lautrec, Jane Avril, 1893, colour lithograph, 128.2 x 93.6 cm. National Gallery of Australia, Canberra, gift of Orde Poynton Esq. CMG 1996

Toulouse-Lautrec: Paris & the Moulin Rouge will be on display in Canberra only, from 14 December 2012 to 2 April 2013. Tickets are available at ticketek.com.au Simeran Maxwell Exhibition Assistant for Toulouse-Lautrec: Paris & the Moulin Rouge NATIONAL GALLERY OF AUSTRALIA 02 6240 6411 www.nga.gov.au

Henri de Toulouse-Lautrec, The jockeys (Les jockeys), 1882, oil on canvas, 64.5 x 45 cm. Carmen Thyssen-Bornemisza Collection on loan to the Museo ThyssenBornemisza, Madrid

CANBERRA

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QUEENSLAND

THE 26TH ROTARY ANTIQUES & COLLECTABLES FAIR INCORPORATING THE GOLD COAST BOOK FAIR

3 - 6 January 2013 et aside time in the first week of next year as the eagerly anticipated antiques, collectables and book fair will again be presented by the Rotary Club of Palm Beach from 3-6 January 2013 at the popular Jupiters Hotel & Casino at Broadbeach. Having grown to become an institution for locals, holiday makers and serious collectors, the fair is being presented in a superb setting for the display of an array of fine quality pieces

while offering all visitors an opportunity to enjoy the spectacular entertainment and excellent dining available at Jupiters.

postcards. Antiquarian collectors can find historical documents, as well as books with an enticing selection of literary treats gathered from many parts of the world – including old and rare volumes, children’s classics, and a wide range of subjects and pastime pursuits.

WHAT’S ON OFFER

FUND RAISING FOR CHARITY

Over 70 dealers from interstate and locally will be exhibiting in the venue’s spacious airconditioned surroundings. They will be displaying and selling an eye-catching selection of porcelain, silver, furniture, linen, jewellery, clocks, coins, lithographs, prints, maps and

This annual fair is a major Rotary Club of Palm Beach fundraising project for charity. The need to raise funds for projects both here in Australia and overseas is very much in our hearts, so please make a point of visiting. Enjoy the buzz of browsing among an inspiring array of collectables and antiques presented by dealers from around Australia.

26th ROTARY ANTIQUES & COLLECTABLES FAIR jewellery, porcelain, china, silver, clocks, pottery, furniture, historic documents – and much more!

plus GOLD COAST BOOK FAIR 2013 rare books, prints, posters, maps and postcards BROUGHT TO YOU BY THE ROTARY CLUB OF PALM BEACH

Jupiters Hotel & Casino Convention Centre Broadbeach Queensland

Thursday 3 - Sunday 6 January 2013 January 2013 Fair Dates

Admission

Thursday 3 Jan 6 pm – 10 pm Adults $12 Friday 4 Jan 10 am – 6 pm Concessions $10 Saturday 5 Jan 10 am – 6 pm Under 17 Free Sunday 6 Jan 10 am – 3 pm For FREE Jupiters Parking – validate your parking ticket at the Antiques Fair

Don’t forget our Mid-Year Fair at Albert Waterways Centre Sunshine Boulevard, Broadbeach Queensland FRIDAY 19 JULY – SUNDAY 21 JULY 2013 Phone: 07 5577 2771 / 0411 649 242 Website: www.rotaryantiquesfair.com Email: AntiquesFairChairman@tpg.com.au 86

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We look forward to welcoming one and all at Jupiters in January 2013 and thank dealers, sponsors and the public for their continuing support. For more information contact Peter Campbell ROTARY ANTIQUES & COLLECTABLES FAIR 07 5577 2771 / 0411 649 242 AntiquesFairChairman@tpg.com.au www.rotaryantiquesfair.com

TOOWOOMBA

Graham Lancaster Auctions

We are now accepting Quality Collections & Single Items for our Forthcoming Sales

3 Railway Street TOOWOOMBA QLD 4350

Ph: 0418 730 904 Colour Catalogues are Available @ $15.00 Each

Fax: 07 4613 1111 Email: info@gdlauctions.com View Catalogue & Photos One Month Prior to Each Sale:

Make Cheque/Money Order payable to G. Lancaster

www.gdlauctions.com.au

FORTHCOMING AUCTIONS “THE BLOKEY AUCTION” Sat 2nd & Sun 3rd Feb 2013 (Toowoomba Swap Weekend) • Garagenalia, Enamel Signs, Petrol Pumps, Oil Bottles & Racks, Tins, Pedal Cars, Quality Tin Toys and more

“ANTIQUE BOTTLE AUCTION” Sat 16th Feb, 2013 (Toowoomba Bottle Show Weekend) Quality Ginger Beers, Black Glass, Pot Lids, Codds, Cordials, Household, Convict Spruce Bottles and more

“AUSTRALIANA & POTTERY AUCTION” Sun 28th April 2013 Australian Colonial Pottery, Decorative Arts, Studio and Artware Pottery, Australian Glass and more

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THE AUSTRALIAN ANTIQUE AND ART DEALERS ASSOCIATION The premier organisation for antique dealers and commercial art galleries in Australia Collectors look to 20th century designs ecent harder times in the antiques market has resulted in traditional favourites often being shunned, while Deco and 20th century design are finding more converts. And it is not just younger buyers with little or no interest in period brown furniture who are buying. Current darlings of the market include American, Japanese, French, Scandinavian and especially Italian design items, from large pieces of furniture to lighting and objets d’art. At a recent antique fair held at the National Trust property Runnymede in Tasmania, wellknown AAADA Hobart dealer Warwick Oakman sold an original Eero Aarnio ball chair for a considerable sum.

Dealers respond to the shift in collecting trends This marked change in taste has been recognised by the AAADA and there has been a revision of datelines, which means that 20th century design is now an integral area of dealing for many of the association’s members. With the growing trend of traditional quality for modern living, it must be emphasised that despite the burgeoning popularity of late 20th century design, it is not a case of anything goes, and connoisseurship is far from dead: quality and workmanship do count. Dealing in 20th century design is just as demanding as in any earlier period, as it is the acquisition of stock along with an inherent eye

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for detail and style that enables dealers to spot the appeal of things considered to be ‘modern’. Interior decorators and designers, along with adventurous collectors and dealers, have all played a role in bringing attention to 20th century work. More than just a new look for sleek apartments, the turn of the 21st century has made a whole range of styles legitimately collectable, and remarkably quickly. Now the 1960s, 1970s and 1980s are often referred to as vintage, in much the same way we spoke of the Edwardian and Victorian eras in the last century. It is not just a matter of fashion – the furnishings of the recent past have actually become the latest ‘big thing’ and are playing their part in an era of connoisseurship when antiques of all periods are appreciated on their merits and not their age.

Sydney AAADA Show 2012: smaller, but just as popular! Australia’s only international quality antique shows, the AAADA shows are fully vetted for authenticity and backed by the reputation of Australia’s finest antique and art dealers. Due to popular demand, this year the AAADA held a smaller, boutique Sydney show while the usual venue at Royal Randwick was being redeveloped. Though smaller than usual, the show attracted good crowds and if you attended you would have enjoyed the ambience of the Byron Kennedy Hall situated at the Entertainment Quarter at Moore Park. Many marvelled at the beautiful pieces that dealers from all over Australia brought to exhibit and sell. With record crowds, the association looks forward to the next AAADA show to be held in Melbourne in 2013.

AAADA Melbourne 2013 Antiques Show announced 24 – 28 April The AAADA show in 2013 offers for sale the finest and most diverse range of fine art and antiques in one place, at one time, in Melbourne. A gala preview will be held on Wednesday 24 April, from 6 pm-9 pm; tickets are $30 per person and can be purchased from the AAADA office. The show will be open from 11 am to 7 pm except Thursday, 25 April 2012 (Anzac Day) for which times are yet to be advised. Tickets will be available at the door. General admission: $20; concession: $15; children under 16 free.

Find us on the web To find out more information go to the AAADA website – www.aaada.org.au This site lists our expertly vetted members who uphold the principles of the Association and adhere to its Codes of Practice.

Facebook Join AAADA Facebook page today for a chance to win a free subscription to World of Antiques and Art magazine.

The Essential Buyers Guide This booklet is the definitive guide to buying, collecting, selling, valuing and restoring antiques and art with confidence, from Australia’s leading antique and fine art dealers and their approved service providers. Obtain a copy by phoning the Executive Secretary on 03 9576 2275.

AUSTRALIAN ANTIQUES AND ART DEALERS ASSOCIATION 03 9576 2275 secaada@ozemail.com.au www.aaada.org.au

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

Melbourne M elbourne Fair F a air r 24–28 A April p pril 2013 Royal Ro oyal E Exhibition xhibition Building Carlton Car lton n Gardens Gardens Melbou Melbourne, urne, Victoria Victoria

Melbourne’s Melbou rne’ ne s only only international internatio onal quality, qualitty ty, fully ful ly vvetted eettted antiques antiques and ﬁne ﬁn ne ar arts ts fair fair..

All ite items ems for sale www.aaada.org.au/melbournefair www w.a .aaada.org.au/ /melbournefa air

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BRUCE POSTLE THE IMAGE MAKER at Monash Gallery of Art 3 May – 30 June 2013 AUSTRALIA’S STORY THROUGH PHOTOS ne of Australia’s most celebrated photojournalists, Bruce Postle has taken thousands of images in over half a century of photojournalism. In 27 years working with The Age, Postle captured some of the most iconic images of our times. This special exhibition presents over 50 photographs from a master storyteller. Every photograph in the exhibition tells a vivid story and Bruce has captioned them to disclose the humorous, profound and moving moments behind their making. The exhibition includes some of Postle’s most famous images such as the ‘one-take’ shot of Bert Newton receiving a kiss from Mohammed Ali during the Logie Awards at the Southern Cross Hotel in 1979, despite Newton’s gaff ‘I like the boy’. These pictures are unforgettable and have entrenched themselves in the cultural, political and sporting life of Melbourne. Most Victorians will recognise Postle’s photograph of trainer Tommy Woodcock with his horse Reckless on the eve of the Melbourne Cup in 1977, an image that speaks volumes about the love between man and animal. Other iconic pictures include Postle’s remarkable 1986 photograph of then-NGV Director Patrick McCaughey standing in the gallery in front of an empty space where Pablo Picasso’s painting The Weeping Woman had once hung. Jennifer Byrne, well-known journalist/broadcaster and presenter of ABC TV’s First Tuesday Book Club, has said of her experience working as a journalist with Postle: ‘I got a lot less green running with Pos. He showed not told, encouraged not corrected; shared his eyes with me so I learned to look and listen before reaching for the notebook. Read his captions, and you’ll get a whiff of the enthusiasm and energy that infected me then, and is with him still.’ Postle began his newspaper career in Brisbane in 1957 – following in the footsteps of his father, a star press photographer – then moved to Melbourne in 1969. Along the way he worked for Queensland Country Life, the Brisbane Courier-Mail and Melbourne’s The Age. The exhibition is accompanied by the publication Bruce Postle: The Image Maker

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published by Elm Grove Press Pty Ltd and available at Monash Gallery of Art. Gallery director Shaune Lakin states: ‘Bruce Postle is truly one of Australia’s great photojournalists. Before the days of citizen journalism and social media, we relied on people like Bruce to put a picture to the events of the day. Across five decades, Bruce’s photographs helped Victorians see the events of the world as they unfolded.’ Entry to Monash Gallery of Art is free. The gallery is open Tuesday to Sunday (closed Monday and public holidays). MONASH GALLERY OF ART 03 8544 0500 mga@monash.vic.org.au www.mga.org.au Clockwise from top left: Bert Newton receiving a kiss from Mohammed Ali at Logie Awards, 1979; Trainer Tommy Woodcock with Reckless, eve of 1977 Melbourne Cup; Lunchtime entertainment at Borthwicks Meatworks (Bowen, Qld) in 1971; NGV Director Patrick McCaughey reflecting, after the theft of Picasso’s The Weeping Woman in 2004; Gough Whitlam and John Gorton in 1981; Jack Blackburn loses bushfire fight, 1981

Beautiful Bendigo While the city shines with historic beauty, cosmopolitan Bendigo is firmly set in the now.

Boasting beautiful streets created from one of the world’s greatest gold rushes, Bendigo is a vibrant regional centre, offering so much to experience and enjoy: t t t t t

UPCOMING EVENTS Chinese New Year

Golden Mile Raceday

Sanguine Estate Music Festival

Bendigo Easter Festival

Regional Closing Weekend : Melbourne Food and Wine Festival

Bendigo Winemakers Festival

Farmers’ Markets Handmade Market

MILDURA

ECHUCA

BENDIGO

HEATHCOTE MELBOURNE

GEELONG

ly located in Central Victoria, Bendigo is minutes from Melbourne Airport along Calder Freeway and 90–120 minutes via Line trains from Southern Cross Station Find ExploreBendigo on Facebook Follow ExploreBendigo on Twitter

For information, tickets and short break accommodation packages, freecall the Bendigo Visitor Centre on 1800 813 153 or visit:

www.bendigotourism.com

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