ct113_JanMar14.676094 by World of Antiques & Art

DEC - MARCH 2014

EDITION 113

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COLLECTOR INSIGHT Beyond reminders of childhood old trains are heritage and history

CURIOUS AND INTERESTING Gift giving solutions Search online and in store

TWEAK YOUR HOLIDAY EXPERIENCES Summer in Paris, Madrid, Sydney, Napier

SPECIALIST KNOWLEDGE AND UNDERSTANDING Art Nouveau pottery from Turn-Teplitz region of today's Czechoslovakia for an enormous variety of beautiful and sought after pieces

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

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Graham Lancaster Auctions

FORTHCOMING AUCTIONS

3 Railway Street TOOWOOMBA QLD 4350

Saturday 15 February 2014 (Toowoomba Bottle Show Weekend)

Call Graham on 0418 730 904

‘OUR ANNUAL EVENING BOTTLE AUCTION’

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Lancaster’s Auction Rooms

View Catalogue & Photos One Month Prior to Each Sale:

Saturday 12 & Sunday 13 April 2014

‘THE DENNIS O’HOY COLLECTION’

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On-site Bendigo Victoria

FEBRUARY 2014

‘AN EVENING AUCTION’ of antique bottles, pot lids and stoneware

APRIL 2014

‘THE DENNIS O’HOY COLLECTION’ Day One: An important offering of Bendigo Pottery & Australian Ceramics Day Two: A huge collection of antique bottles, pot lids and stoneware

www.gdlauctions.com

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MANAGING EDITOR Eva Jaku P: 02 9389 2919 editor@worldaa.com COPY EDITOR Paula Towers

his edition of Collectables marks the last quarter of the year, a time to consider holidays and maybe plan ahead for next year. Just over the ditch, New Zealand’s Art Deco capital of Napier celebrates its origin in style with a festival in February. A week-long extravaganza of over 200 events featuring boas and grand balls, Gatsby picnics and parades.

ARTWORK & DESIGN Brian Cass Kylie Kennedy Kathy O’Grady Brigitta Campbell production@worldaa.com

Further afield, and in the opposite direction, if travelling to Europe, Roy Williams gives tips on fabulous but less well-known museums in Paris. Importantly, his sage advice as to the best ways to access some of them, as well as locating restrooms and other challenges travellers face that are usually glossed over is amusing yet highly informative.

SUBSCRIPTIONS PO Box 324 Bondi Junction, NSW 1355 P: 02 9389 2919 F: 02 9387 7487 subs@worldaa.com ADVERTISING NSW/QLD – André Jaku P: 02 9389 2919 M: 0412 229 117 VIC/SA/WA/TASMANIA – David Freeman P: 03 9857 8184 F: 03 9816 3759 M: 0419 578 184 QLD André Jaku E: andre@worldaa.com NEW ZEALAND Subscription and magazine enquiries info@worldaa.com PRINTING Webstar P: 02 8737 9383 DISTRIBUTION Fairfax Media PUBLISHER André Jaku M: 0412 229 117 E: andre@worldaa.com JQ Pty Ltd ACN 002 160 303 ABN 39 945 398 132 Suite 1B, 10 Spring St, BONDI JUNCTION 2022 PO Box 324, BONDI JUNCTION, NSW 1355 P: 02 9389 2919 E: info@worldaa.com www.worldaa.com The contents of Collectables Trader is copyright and may not be reproduced in whole or in part without written permission of the publisher. Articles reflect the personal opinion of the authors and are not necessarily those of the publisher. JQ Pty Ltd uses due care and diligence in the preparation of this magazine, but it is not responsible or liable for any mistake, misprint, omission or typographical error. JQ Pty Ltd prints advertisements provided to the publisher but gives no warranty and makes no representation as to the truth, accuracy or sufficiency of any description, photograph or statement. JQ Pty Ltd accepts no liability for any loss which may be suffered by any person who relies either wholly or in part upon any description, photograph or statement contained herein. JQ Pty Ltd, reserves the right to refuse any advertisement for any reason. ISSN 1445-8160

Further on the topic of European museums, Spain’s famous Prado, renowned for its art collection, was originally designed as a natural history museum. Currently showing is an exhibition that includes interesting objects from the country’s National Museum of Natural Sciences that are placed in context with 25 of its most famous masterpieces giving visitors the opportunity to revisit the Prado’s origins while exploring the relationship between art and the natural world. Masterpieces are also unearthed locally. During the year in Australia, 13 pencil, ink and/or watercolour drawings were identified as serious studies for important works by leading Australian artists such as the late surrealist Jeffrey Smart. Terry Ingram reviews these exciting finds of works by contemporary as well as colonial artists including Nicholas Chevalier. Another colonial noted for his artistry was architect Francis Greenway whose design for Australia’s oldest lighthouse Macquarie’s Light was copied and enhanced by James Barnet who designed its replacement in 1883. Documents and objects from the Macquarie era trace its interesting history. Still popular today, the Macquarie Tower attracts many visitors and tourists eager to take in the spectacular views of the harbour as well as explore this historic icon. Further on the themes of icons and heritage, is the story on Bruce Macdonald’s toy and model trains and railways collection. A testament to its significance, the National Museum of Australia in Canberra purchased a portion of it, mounting an on-going exhibition representing most of his Australian manufactured collection with examples from over 30 different manufacturers from the 1930s to the early 1960s. This type of collectable may give readers some inspiration when considering gifts. At this time of year, Christmas shoppers have a myriad of gift giving options for the collectors in their lives, especially as there is such a wide selection for all ages, interests and budgets. Consider sports memorabilia for that sporting tragic, or more traditional silver pieces, art glass or decorative ceramics. Jewellery never goes astray, and mid century costume jewellery is affordable and special as is vintage and retro couture and accessories. Prints and posters as well as those collectables of the future – Steampunk – are other themes to consider. Always a great resource, dealers specialising in the decorative arts and collectables can readily be consulted to help find that unique and unusual gift wherever you are in Australia. We wish all our readers, contributors and supporters all the best for the holiday season and a safe and happy New Year. The editorial team at Collectables Trader

CONTRIBUTORS Melody Amsel-Arieli is an Israeli-American freelance writer on art, collectables, genealogy, history and more. Her most recent book is Jewish Lives: Britain 1750-1950 (Pen & Sword). Rob Ditessa writes articles on artists, collectors and collecting trends.

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Leigh Fist is a dealer in antique and modern clocks and watches. He owns The Clockworks in Ormond, Victoria. Terry Ingram is an arts writer for Australian Financial Review as well as a regular contributor to its Saleroom pages which he inaugurated in 1969. Paul Vinecombe is a dealer of long-standing in New South Wales and an expert in porcelain, glass and silver. Roy Williams is a noted antique dealer, author and principal of Roy’s Antiques in historic Fitzroy, Melbourne’s oldest suburb. He specialises in 18th and 19th century English, French and other European furniture, hallmarked silver and Imperial Russian silver and icons.

CONTENTS FEATURE ARTICLES

KNOWLEDGE BASE

Look beyond collecting objects In the art world, ‘not the full Monty’ can be more than enough Terry Ingram

From the wonders of Ancient Egypt a unique Sphinx belonging Mycerinus

SPECIAL INTEREST:

Collectors share their passion

TRAVEL FEATURE

Bruce Macdonald and his toy train collection is so special that the National Museum of Australia in Canberra has mounted an on-going feature exhibition of his Australian-made toy trains Rob Ditessa

Summer in Paris – the good and the irritating! Roy Williams

Ray and Jean Rogers and their carnival glass collection. Collecting carnival glass is a worldwide interest Rob Ditessa

The Prado pays tribute to its history

New Zealand’s Art Deco capital of Napier

Sydney’s Macquarie’s Light Australia’s oldest lighthouse

Botanical prints Documents of rare specimens and their medicinal properties Melody Amsel-Arieli

SPECIAL FEATURE: Ceramics 20

Royal Doulton’s Heroines Collection Celebrating iconic women drawn from British literature and history

Carriage clocks Miniature clocks intended for travelling Leigh Fist

REGULAR FEATURES 32

Teplitz art ware pottery The ceramics produced by the Teplitz area potteries were made using different techniques Melody Amsel-Arieli

Aynsley China One of the best-known names in ceramics Paul Vinecombe

43 72 76 79 80 87 88

Conundrum Book reviews Notice board Collectables subscription Trader Advertising rates Advertisers’ Index

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WIN conundrum enter our prize draw See page 43 CollectablesTrader

AMANDA ADDAMS AUCTIONS Auctioneers and Valuers

AMANDA ADDAMS AUCTIONS

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

SALE DATES 2014 Monday 6 January 2014 6.30 pm Viewing: Saturday 4 January 11 am – 4 pm Monday 6 January 12 noon – 6 pm Monday 3 February 2014 6.30 pm Viewing: Saturday 1 February 11 am – 4 pm Monday 3 February 12 noon – 6 pm Monday 3 March 2014 6.30 pm Viewing: Saturday 1 March 11 am – 4 pm Monday 3 March 12 noon – 6 pm

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

AMANDA ADDAMS AUCTIONS 344 High Street, Kew Victoria 3101 Tel: 03 9855 2255 Fax: 03 9855 2244

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

IN THE ART WORLD ‘not the full Monty’ can be more than enough Look beyond collecting objects – consider adding preliminary drawings and sketches to complement an Australiana themed collection

CollectablesTrader

TERRY INGRAM

These could teasingly leave the buyer to wonder if the artist should

hirteen pencil, ink and/or

have gone in another direction –

watercolour drawings

rather like a stripper who leaves a

published in books of exploration of

which came to light this

tiny piece of clothing on.

the period. There were also some

year have been identified as

Colonial & contemporary finds for astute collectors

indigenous studies. This was a

The recent finds included one work each

very modest $2000 to $3000 but

give a big boost to collectors of

by colonial artists Nicholas Chevalier

three savvy buyers pushed them up to

traditional and modern Australian art.

(1828-1902) and William Strutt (1825-

the wholesale price, ultimately going

Many of these enthusiasts may have

1915), the Australian-born Bloomsbury

under the hammer for $15,000 at a

been on the brink of tiring of their

associate Henry Lamb (1883-1960), and

Lawson’s Thursday sale in Sydney’s

passion, along with other Australiana

the late Australian expatriate Tuscan

Leichhardt on 24 October. This

buffs, because of the lack of fine

surrealist Jeffrey Smart (1921-2013).

purchase by Blue Mountains dealer

serious studies for important works by leading Australian artists. Word of their discovery should

examples at accessible prices to appear

The finds were not keenly contested,

sensational folder of drawings by this artist, which had been estimated at a

Vincent Day of a single portfolio of

on the market.

two going to institutions, a third to a

works took care of as many works by

Fascinating insights

private buyer at the reserve auction price

Ball as had appeared on the auction

and a decision on the fourth by the

Drawings, even of a very finished

market in the last decade.

proprietors of arguably its rightful home

variety, are often considered lesser

undecided as to whether to buy. The appearance on the market of

A natural home for Nicholas Chevalier’s drawing

market not used to seeing such works

these four lots showed that buyers, both

Institutions usually have their own

by the Renaissance master Raphael

private and public, can still participate in

way when it comes to buying

sold for many millions of dollars.

the mainstream of Australian traditional

drawings but one lot found a natural

art without a big outlay.

home in one of the sales. A watercolour in an exhibition at the

be. Often drawn and/or in watercolour

An affordable record of 19th century Australian outback life

or gouache as studies for famous

A fifth appearance, of nine drawings

Canberra which owns the work for

works, they can also give fascinating

by Adam Gustavus Ball (1821-82),

which the drawing had been done.

insights into an artist’s working

attracted keen competition at auction

This was Aboriginal Family Hunting

methods as he or she struggles

but still had some mileage in it –

Mallee Fowl near Echuca, c. 1862, a

towards a satisfactory conclusion.

going to a dealer who presumably

small (9 x 4 cm) brown ink and wash

hopes to capitalise on them. A civil

circular work on paper by Nicholas

engineer, Ball flourished as an artist

Chevalier which was purchased for

around 1859-1882 when he travelled

$15,000 and clearly relates to Mallee

throughout South Australia recording

Scrub, Murray River, NSW, 1871, a

scenes of outback life and the

watercolour in the library’s collection.

works, especially on the Australian

They are considered ‘not the full Monty’. Such works may not be the ‘full Monty’ but they can be satisfying in a way the finished works might not

Opposite page from top: Nicholas Chevalier (1828-1902), Aboriginal Family Hunting Mallee Fowl near Echuca, c. 1862, brown ink and wash on paper, 9 x 4 cm. National Library of Australia, Canberra

Australian landscape. The drawings in the folder included

Adam Gustavus Ball (1821-82), Life in the outback, South Australia

works which were photographed and

Bridget McDonnell Gallery in Melbourne in October went to the National Library of Australia in

Nicholas Chevalier accompanied Professor von Neumayer (1826-1909), the renowned German scientist and

CollectablesTrader 7

Right: William Strutt (1825-1915), Drawing of explorer Robert O’Hara Burke’s trousers

Art Gallery. Showing a makeshift hospital in a forest clearing in Salonica, Greece, it was uncovered by Somerset’s Court Gallery and sold for £2750. It was particularly interesting in that it has hints of Vorticism, a modern movement emphasising planes of colour that briefly gripped British painting in the 1910s but was not obvious in the finished work. The Court Gallery, founded in 1990, specialises in works by the Newlyn School and St Ives School, the Camden Town Group and the Bloomsbury Group, of which Lamb was the only Australian-born member. was estimated at $20,000 to $40,000. It

western district of Victoria. The last leg

made this but only just as it went under

for the collection of the Stanley and

of the tour took them through Echuca in

the hammer for $20,000 plus the 19.9

Aubrey Burton collection at the

June 1862. Chevalier came back with ‘a

per cent buyer’s premium. Estimates

University of Leeds in remembrance of

load of sketches illustrative of scenery’

always exclude the premium.

Professor Quentin Bell who was head of

according to The Argus newspaper of 2

The work was not the usual stack of

the Fine Arts Department there in the

July 1862. Gerard Hayes of the State

concrete chimneys and expressways but

early 1960s when the donor was a

Library of Victoria helped identify it.

an early work, which suggested Smart to

student. The Burtons were of the

Ms McDonnell’s exhibition also

be much more of a surrealist than when

Burtons Tailoring family which was a

working in his usual framework.

dominant retail tailoring group on the

included a drawing of explorer Robert O’Hara Burke’s trousers by William

The study was purchased by a donor*

explorer, on a three month tour of the

So instead of being knocked down to

British high streets for several decades in the middle of last century.

Strutt at $6500. This was identified as

a buyer seeking a fashionable Smart for

a study for his portrait in the

a lot of money it went to a seasoned

Melbourne Club but a decision as to

collector, Mr Jeffrey Hilton, who

Montague (Monty) Burton who supplied

its future was still awaited at the time

appreciated the revelation it contained of

British troops when they were

of going to press. Ball’s portfolio of

Smart’s surrealist influences in his

demobilised with their full ‘demob’ suits.

drawings had also included sketches

early days.

So when in the movie The Full Monty a

for Burke’s explorations.

group of out of work steel workers

Smart purchase

Background to a study for an iconic major work

At Davidson’s auction of Australian and

A Study for Advanced Dressing Station

male strippers promised to jettison –

international art in its rooms in Sydney

on the Struma of 1916 by Henry Lamb,

it is thought that this may have been

on 26 October, Jeffrey Smart’s 28 x 38 cm

a watercolour measuring 22 x 30 cm,

how the phrase originated.

ink, gouache and watercolour on paper

is a study for an iconic World War I

Study for Kurnell, done around 1955,

painting by Lamb in the Manchester City

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The group was developed by Sir

promised to take off the ‘full Monty’ – referring to the full outfit that the

*The writer has an interest in this transaction.

Fyans Cottage COLLECTABLES

WINTER LEGACY COLLECTION CELEBRATING 100 YEARS OF MOORCROFT

170 Moorabool Street, Geelong Victoria 3220 P: 03 5229 7006 F: 03 5222 3362 E: fyanscottage@bigpond.com.au www.fyanscottage.com.au Hours: weekdays 9.30 am to 5.00 pm Saturday 9.30 am to 1.00 pm. After hours by appointment

THERE ARE FIVE THINGS I HATE ABOUT PARIS! says Roy Williams I love Paris, mostly. I have three favourite cities, and I desperately want to live in each one: Melbourne, Paris and New Orleans. Nevertheless, while we may love much about each, there are always the little things that are maddening

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ew Orleans is forthright. It often causes you to evacuate the city (no easy task!) ahead of a serious hurricane. Labor Day weekend is very risky! The heat and humidity are also a trial.

Summer in Paris and you ask - where is the air conditioning? Paris, as in all things, is more subtle. Elegant, convenient and efficient, Paris is a model urban environment. The excellent and cheap public transport is enviable for Australians who must endure horrible and ruinously costly public transport at home. However, the metro is not air conditioned. Nor is the rest of Paris. This is one thing I hate about Paris. Shops, even department stores, and museums are not climate controlled. Summer can easily be humid and in the high 30s. I am surprised that major museums such as the Carnavalet, the Louvre or Decorative Arts Museum are not air conditioned. The paintings, furniture and textiles are as much at the mercy of the elements as the drooping travellers. Nor is shopping for clothes in a boutique several degrees hotter than the outdoors attractive. I have nearly fainted in the hardware basement of the department store BHV.

When Samaritane, with its historic glass ceiling was open, it could be 10 degrees hotter inside than out. Some shops do make an effort. However, it makes things worse for the pedestrian. Barrelling along the 60 cm wide footpaths one can suddenly be blasted with boiling air at knee level, as the outlet pipe from the portable air conditioner sticks out the boutiqueâ&#x20AC;&#x2122;s door. Summer in Paris is oppressive. The heat and humidity are taxing, but the weight of history makes the smell of Paris in June truly memorable.

What to do when nature calls! Getting straight to the heart of the matter, free toilets being almost unknown in Paris, men are permitted to urinate on the building walls, and I have witnessed this many times in the middle of the day. Seventeenthcentury monuments seem to be a favourite choice! At the Summer Folk

midsummer when the heat activates centuries of archaic effluvia. A vital tip for the tourist! There are free washroom facilities on the restaurant floor of BHV department store. The main toilets in the Carousel du Louvre, the underground shopping complex at the Louvre are 1.50 euro, while the recently opened bathroom facilities in the food hall are only 85 euro cents. Lavatories in museums are free once you have paid the entrance fee. Some museums are open free permanently or sporadically. Entrance to Carnavalet is presently free (as are its toilets) and so too are the Petit Palais and Cognac Jay. If you are fossicking for treasures at the vast Porte de Clignacourt flea markets, the facilities in Marche Dauphine building are 35 euro cents, but half way down the minor alley of the two alleys of Marche Biron there are free toilets.

Music festival crowds throng the streets and waiters glide about with trays of wine glasses. There can be a row of ten gentlefolk lined up the wall almost in the middle of a dancing crowd. After several hundred years the porous stone of the walls can be wonderfully pungent at

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Restroom challenge This brings us to another thing I hate about Paris. Those free Marche Biron toilets, like many facilities still in cafes, bars and other public places, are the traditional footprint toilets used in Asia, rather than the pedestal type Australians and Americans favour. These perfectly hygienic toilets have a ceramic hole in the ground and supports for the feet. One must be limber and nimble to be successful with these. I have been ‘35’ for many years now and my acrobatic skills are on the wane.

Crowd control and those historic sites Crowds are frequently unavoidable and unpleasant. I usually have various museums practically to myself, such as the Decorative Arts Museum in the Louvre Palace, but not part of the Louvre Museum. The Arts and Crafts Museum is also usually very quiet, as is the wonderful 19th century bone and skeleton museum near the Botanical gardens. This is well known to followers of the French fictional

heroine Adele Blanc Sec. However, the Louvre Museum, and particularly the upstairs entrance from the courtyard, is like the ‘Last Days of Pompeii’. I always enter through the underground shopping centre entrance. Much shorter queues!

paintings, textiles and wood are being terribly damaged by so much concentrated light. I have seen such idiot tourists slapped on the hand with a ruler by the docents in the Musee D’Orsay, where all photography has

attempt a visit to the Chateau de

been prohibited now. This is liked! I

Versailles these days. The multitudes

could be inspired to homicide by

are funnelled through the monument,

these mindless vandals.

which is fighting a losing battle with

Nevertheless, these petty spiritual

commerce. Each magnificent room

abrasions seem utterly inconsequential

seems to have a t-shirt kiosk at one

when I’m in the midst of the unfailing

side. Now palisades prevent one

delights and luxuries of Paris. I am

viewing with pleasure the façade of

quite convinced that if you sat

the Palace. The wooden palisade is

permanently in the baroque splendour

the new mass entry gate. Ugly new

of the Place des Vosges, you would

constructions and kiosks also mar the

never die. Of course, in the ‘70s we

view of the garden façade.

thought this could be achieved with a

Fortunately, the tidal surge of the

cardboard pyramid! Thankfully, we are

multitudes within the palace gives a

so much more sophisticated now.

much better idea of how the complex functioned in real life, than the vacant, beautiful photographs in books, devoid of a single human. Versailles was always a crowded and boisterous place, but the historically easy enjoyment of the refined treasures of the interior decorations.

Tourists behaving badly As with many museums, signs are everywhere forbidding the use of flash photography, usually in six languages. Nevertheless, in any given room in Versailles (and many other museums) the rooms are strobe lit

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infuriating as the light sensitive

Nerves of steel are required to

gratifying multitudes do not facilitate

with the constant flashes. This is

Vieux Paris porcelain vase c. 1830 and a modern reproduction. Vieux Paris (Old Paris Porcelain 1770-1870) always in stock. Also 18th and 19th century French furniture, bronzes, Ormolu, candlesticks, silver as well as British Georgian period furniture, paintings, silver and porcelain. Interesting range of Steampunk goggles, jewellery, etc.

Georgian & Continental Furniture • Porcelain

Silver • Ikons • Paintings • Imperial Russian

www.Roys-Antiques.com.au

410 Queens Parade Clifton Hill Vic 61 3 9489 8467

NSW Railways C30 class tank locomotive, made by Ferris Bros Pty Ltd, c. 1955, pressed and cast metals. National Museum of Australia. Photo: George Serras This was a prototype model which was shelved in 1955 as demand for O gauge products waned.

Bruce Macdonald with Bing model train, c. 1930, produced for the British market. Photo: Rob Ditessa

Bruce Macdonald and his

TOY TRAIN COLLECTION Though both types of trains are valuable collectables, toy trains were originally made to entertain children whereas model trains were made to scale and for older generations Right: Sheep van on a turntable, made by Modeltoy Products (Norman Coleman, Maitland), 1940s-50s, wood with pressed and cast metal components. National Museum of Australia. Photo: Jason McCarthy Working as a boilermaker at the Cardiff railway workshops near Newcastle, Norman Coleman began making O gauge model accessories in his home garage before leaving his employment in 1948 to pursue his hobby fulltime. Working at premises in West Maitland with two staff, Colemanâ&#x20AC;&#x2122;s products included bridges, level crossings, footbridges, water tanks, signal boxes, goods sheds and cranes, and a number of rolling stock items such as sheep vans, cattle wagons, flat wagons and refrigerator vans.

German style clockwork train made by Karl Bub, Germany, c. 1910. Photo: Rob Ditessa

CollectablesTrader

ROB DITESSA

peaking with Collectables in

his lounge room that is adorned with paintings and other memorabilia of a

lifetime’s interest in train transport, Bruce Macdonald reflects on his enthusiasm for collecting toy trains. He begins by explaining a distinction: ‘Model trains are made specifically to a scale whereas toy trains were made for the entertainment of children but

Above: NSW Railways four-wheel open wagon made by Belvart Railway Models (William Christie, Sydney), c. 1938, wood with turned brass wheels. National Museum of Australia. Photo: Katie Shanahan William Christie began constructing and displaying O gauge items at his Rose Bay home from 1936, moving the sale of model railway material to his umbrella shop in Bathurst Street, Sydney, in 1938. Along with his range of NSW rolling stock, parts and accessories, Christie also stocked a range of Fleet products and items produced by Frank Fitzgerald.

gradually became more sophisticated as they were was adopted as a hobby by the older generations.’ Toy trains emerged as a valuable collectable, in a broad sense, in the late 1960s, he continues, because they were thought to be rare. As people then searched for forgotten toys in cupboards and sheds, by about 2000 there was a plentiful supply of toy trains. The collectors who retained an interest and remained in the field were the enthusiasts who liked old trains because that reminded them of their childhoods. ‘For me, it wasn’t a nostalgia thing

Above: NSW Railways ‘Silver Chief’ clockwork locomotive, tender and passenger cars, made by Maurlyn Manufacturing Pty Ltd, Sydney, c. 1948, aluminium, with original box and track. National Museum of Australia. Photo: Jason McCarthy

so much as a sense of history. I’ve always been interested in railways,

into the history of toy trains in

of toy trains he has collected over

and so I’ve always been interested in

Australia,’ he explains.

the years, saying that a tally of

toy and model railways. I made trains

As a result, Macdonald has

numbers would be difficult because

myself. Then I got the idea that if

assembled a unique collection of

of the time frame of over 60 years

railways have a history, so must toy

Australian-made toy trains. He

of involvement in collecting. ‘At

and model railways. I started to delve

demurs from estimating the number

its peak, the whole collection

From left: Victorian Railways timber wagon, large goods van, tank wagon, small goods van and crane wagon made by Robilt Products (Ron Titchener & Associates, Melbourne), c. 1947-c.1949, sheet steel and cast metal components. National Museum of Australia. Photo: Jason McCarthy

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Victorian Railways petrol tanker and open wagon made by BPR (Balwyn Pacific Railway; Kenneth Lowry, Hawthorn East), 1940s, tinplate and cast metals. National Museum of Australia. Photo: George Serras Kenneth Lowry established a small business at his home in the suburbs of Melbourne in 1938. He began by supplying cast four and six wheel bogie components based on Victorian Railways rolling stock to fellow modellers. During the 1940s Lowry expanded his product range and sold parts aimed at the scratch builder through a number of retail shops. Lowry also produced a small number of tinplate goods wagons in kit form.

From left: NSW Railways ‘MRC’ refrigerator van, petrol tank wagon and ‘K’ open wagon, made by O Gauge House (Frederick Steward and associates, Sydney), c. 1947, cast metals. National Museum of Australia. Photo: Jason McCarthy

represented over 36 of the major global manufacturers of O gauge railway equipment as that gauge is what I limited myself to because it was the most popular gauge in the 1920-1950 period available in Australia,’ he adds. Macdonald’s collecting story began in about 1960 when he accompanied a friend, a model railway enthusiast, who was searching for some spare parts. Macdonald discovered that, for instance, at the Salvation Army depot at St Peters (Sydney) on a Saturday morning he could pick up a wooden banana box full of trains for about ten shillings. He had his own models that he made himself but when he saw all the trains and related paraphernalia at the shop, ‘I thought “Oh boy!” – and so that’s where it first started,’ he muses. At first Macdonald collected without any criteria in mind, assembling sets and series of versions of locomotives, carriages and other elements. As he accumulated and sorted his finds, Macdonald came to the realisation that there was no limit to what he had started but that he needed one. After some thought, he developed his collecting policy, to collect O gauge toy trains which were available in Australia between 1900 and the mid-1960s.

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From left: NSW Railways SBS air-conditioned saloon car, Victorian Railways country passenger car, NSW Railways SFS air-conditioned passenger coach, NSW Railways guard/power van made by Austral Railways (Sydney), c. 1951, pressed metal roofs, wooden chassis and die-cast bogie components. National Museum of Australia. Photo: George Serras Frank Slovnic established Austral Railways in Sydney in the late 1940s. The company produced a range of products for basic tinplate enthusiasts and serious modellers. During the 1950s, Slovnic began to produce detailed rolling stock kits with increasing diversity, until age and hearing problems forced him to give up his shop in 1965.

Display of trains manufactured in Europe. Top: Ditmar, Austria, c. 1947; J.E.P., France, c. 1950; Buco, Switzerland, c. 1947; bottom: Marklin, Germany, c. 1930. Photo: Rob Ditessa

Two German style stations made by Gebruder Bing, Germany, c. 1920, with English ‘Britains’ hollow-cast metal scenery

German style railway carriage made by Gebruder Bing, Germany, c. 1920 Photos: Rob Ditessa

He did not develop a fondness or preference for any particular brand or type, driven by the notion of collecting a comprehensive range. All the same, he adds, the locomotives attract the most interest from viewers because they were produced in greater numbers, and there is a greater variety.

Collecting community Through his membership of a toy train enthusiasts’ group, Macdonald

Locomotive model by Bassett-Lowke (England), c. 1930

acquired some trains from the swap, buy and sell sessions but he acquired most from word of mouth inquiries. He has never used the Internet because he likes to see the object before he buys it, and he very seldom bids at auctions. A friend who drove a bulldozer was a good source. The friend worked at the Auburn (NSW) tip, and picked up any toy trains he saw. Often Macdonald has repaired and restored trains but if he found wreckage that was beyond redemption, he used it for spare parts. Sometimes he has made a replica spare part. He warns he has seen restored items being passed off as

Display of NSW Government railway models made from 1946

originals. ‘I take my lid off to these

were shown to me. I was asked what I

able even to reproduce the crocodile

people because I saw in England

thought of them. I said very nice

effect of what happens when the

items that had been restored, and

original condition but they had been

varnish starts to crinkle.’

article and its full size prototype.

the rail gauge of 5'3" closely equates

Over the years there have been

to 1¼" but 17/64" is now totally

different scales used for O gauge

obsolete. However, toy trains were

‘There can be no variations of

models of “standard” gauge (4'8½"

not made to any scale.

O gauge. Gauge is the international

or 1,435 mm) prototype.

O Gauge definition BRUCE MACDONALD EXPLAINS:

measurement of the distance between

The three common scales were

There has recently risen an erroneous definition of a

the inside edge of the pair of rails

¼ inch to the foot, 17/64" to the

combination of gauge and scale,

which in O gauge is 1.25 inches

foot and 7 mm to the foot. The

like “O scale” which has been

or 32 mm.

former two are obsolete except in

promulgated by those who are

Victoria and South Australia where

ignorant of the technical difference.’

Scale is the proportion between an

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NSW Railways ‘American’ style end-platform first class car, made by Arthur Trimingham, Sydney, c. 1940, wood and metal components. National Museum of Australia. Photo: Jason McCarthy Arthur Trimingham (1880-1956) was a meticulous model maker, active in the Sydney Model Railway Society from the late 1930s. He made models of suburban coaches used on the New South Wales system, never producing for the retail market, but selling only to fellow enthusiasts and on commission.

Keeping track In order to keep track of all his trains and research work, Macdonald has recorded all the information on stock cards with identification numbers. ‘If you don’t do that you are in trouble; you don’t know how much you paid for it, or where you got it from, and when. Collectable things have to have provenance,’ he advises. Operating with the generous philosophy that if he has two of something, he is stopping another collector from enjoying one of them, Macdonald disposes of duplicates and triplicates. He adds, ‘If you can’t display all of them, you get rid of

Unpainted generic coach, made by Edward Esdaile, Sydney, 1940s, cast aluminium. National Museum of Australia. Photo: George Serras As a member of the Sydney Model Engineers, Edward Esdaile made patterns and aluminium castings for simple bogie coaches for the O gauge market. When Bruce Macdonald collected this coach, he decided to leave it unpainted so that the assembly method could be seen and appreciated.

not have them.’ This differentiates, he

coming on the market because that

says, the sincere collector from the

drives values down, noting that the

solely financially-driven one.

value of probably 75 percent of the

Storage & display

collectable items has halved in the

A maintenance regime is minimised by having good storage. He says, if you have the trains in display cabinets where you can see them, and dust them, that is all that is required. One of his sons made the purpose-built storage and cabinets he uses. From the beginning Macdonald had a helpmate, his wife, who passed away three years ago. ‘My wife, Dorothy, shared all of my interests and I shared hers,’ he recounts.

past eight years. Looking quizzical over a question about the value of his own collection, Macdonald says he has never looked into it. In 2005, Macdonald’s book Spring, spark and steam: an illustrated guide to Australian toy and model trains was published by Eveleigh Press (Matraville, NSW). It has now become a standard reference on the subject. His new book Iron Workhorses, which includes some 300 illustrations of steam locomotives used in Australian

some. If you can’t look at them, if

A question of value

industries, is scheduled for publication

you can’t run them, you may as well

He worries about whole collections

in December 2013.

National Museum exhibition and acquisition A testament to Bruce Macdonald’s expertise and the significance

involved in larger multiple manufacturing interests, and that

of his work, the National Museum of Australia in Canberra has

many of the manufacturers started this part of their work in

mounted an on-going feature exhibition representing about

response to a shortage of other products during and following

75 percent of his ‘Australian manufactured’ collection and

World War II.

purchased some of his extensive collection in 2009. Jennifer Wilson, a curator with the National Museum of Australia, says ‘The collection holds examples from over 30

searching given that many ceased operation in the 1960s. There

different manufacturers, along with a supporting archive,

is not another survey of similar size or scope about the

providing a comprehensive overview of toy train manufacturing

Australian toy and model train industry. Collectors and other

in Australia from the 1930s through to the decline of the industry

interested individuals have since mentioned that Bruce’s

in the early 1960s.

collection contains examples of manufacture or model that they

As we state in the exhibition and on the website, Bruce Macdonald is one of Australia’s foremost authorities on

Bruce spent decades sourcing the collection, contacting the manufacturers and or their families, requiring extensive

have never seen, sometimes completely unknown to them. The current exhibit contains over 100 items of rolling

industrial railways and steam power in both full-size and

stock, along with some examples of scenery, amounting to

miniature forms. Bruce has assisted us not only with the toy

135 separate pieces on display. The showcase is over five

and model train collection, but has also advised the National

metres long and two metres high, with five rows of trains

Museum on the acquisition and maintenance of many of its

each containing 20 or more separate pieces. There are

steam engines since the 1980s. Bruce’s book mentions much of

around 100 items in storage, mostly scenery and archival

the context for this collection, with many of the manufacturers

material. I tried to get every piece of rolling stock on display.’

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estigiou us figurine of HRH Mary, wn Princess of Denmark, designe ed by al Doultton to commemorate the e 10th versaryy of her marriage to HRH Frederik, Crown Prince of Denmark, in 200 04. 22.5cm m figurine beautifully captu ures cess Ma ary in her wedding gown designed d ffe Fran nk and recreates every exq quisite il includ ding the scoop neckline, sleeves s ired by the elegant shape of calla a lilies, ntricate e wedding tiara and her beautiful b quet of flowers, which included sprigs s of w Gum eucalyptus. uced in n a limited edition of only 1,000 1 es, the Princess P Mary figure is onlyy available e stockss last! RRP$19 99.00 each plus postage of $9.95 per very with hin Australia. e o er online ea at royaldoulton.com.au oya dou to o au. any enquiries please call 1300 852 002.

royaldoulton.com. royaldoulton.com m.au

Find us on o Facebook /RoyalDoultonCollectablesA Australiapage /RoyalDoultonCollectablesAustraliapage

ROYAL DOULTON’S HEROINES COLLECTION for fashion history enthusiasts The Heroines Collection celebrates iconic women drawn from literature and history across the centuries, from the Regency period of the 1780s onwards to the ‘roaring’ and rebellious 1920s. Royal Doulton’s sensitive designs capture both the spirit of each young woman and the typical costumes of the age.

daily life in a small town has made the book one of her most loved works.

symbolises the refinement and glamour

Emma’s costume recreates the fashionable

of country house living in the first

regency styles of the period 1811-1820

decades of the 20th century. UK television

when the Prince of Wales acted as Prince

dramas have brought the highs and lows

Regent for King George III who was

of gracious living from this time to

deemed unfit to rule. Dresses were

homes throughout the world. This figure

influenced by the Empire style: skirts

represents women of the age and, especially

draped from a fitted bodice below a

Emma is inspired by the heroine of the novel

woman’s bust, the material skimming the

of the same name, by internationally

body shape rather than being shaped by

acclaimed author Jane Austen (1775-1817),

petticoats or hoops. Emma’s green outer

which was published in 1815. Headstrong,

coat, with short puffed sleeves, falls open

beautiful and rich, Emma was typical of upper

to reveal her pretty floral printed dress, and

class or well-bred women of this period.

her matching shoes are finished with a

standing and economic security for women,

Lady Mary is the height of elegance and

Regency style notes

EMBRACING JANE AUSTIN: EMMA

In an age when marriage secured social

EDWARDIAN COUTURE

gold trimmed floral buckle. This graceful outfit is complemented by

the way they supported traditional values whilst embracing those of the modern world. The highly skilled artists at Royal Doulton have created a figure dressed in a graceful evening gown inspired by the slender lines and silhouettes of the costumes of the Edwardian period. French design influences

the novel explores Emma’s attempts at

full length white gloves, gold jewellery

With a fashionable raised waistline of the

matchmaking amongst her circle of friends

comprising locket, earrings and pretty

revived Directoire line style made popular

and acquaintances. Austen’s sense of

purse chain, and by her up-swept hairstyle

by couturiers such as Paul Poiret, Lady

humour, understanding of social manners

featuring intricate curls and ringlets held in

Mary’s wrap around overdress falls away to

and keen observation of the hum-drum of

place with a hair band.

reveal a darker toned shift tunic

Emma HN 5678, height 24 cm. Limited edition of 2,000

Mary HN 5679, height 24 cm. Limited edition of 2,000

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underneath. The slightly raised hemline of

and in a costume that’s also the height of

Cavendish, Duchess of Devonshire.

her dress, in trend setting purple, is the

fashion. The knee-length, sleeveless dress

Confident and stylish, hosting salons (or

height of fashion and reveals both her

with its drop- waist symbolises the

gatherings) of the leading literary, artistic

ankles and her matching shoes.

aspirations of the young women of the

and political personalities of the day, such

Finishing touches to the ensemble

decade as they discarded their corsets and

women had many influential friends but

include full length evening gloves, an

protested against other restricting social,

also many enemies.

elaborate platinum choker and an ornately

cultural and political attitudes.

Finely crafted details

decorated fan.

CAPTURING THE FLAVOUR OF THE JAZZ AGE Daisy is inspired by Daisy Buchanan, the heroine of the literary classic The Great Gatsby by F. Scott Fitzgerald. Judged to be

In order to replicate one of the chic colours of the times, Royal Doulton’s artists have developed a subtle oyster pink shade for Daisy’s dress and matching broad brim hat. Moreover, the delicate floral motifs on the dress create an impression of translucency, and reflect the

Wearing a stunning blue gown, which would have been made from silk, Georgiana is the epitome of the late Georgian age. Her outfit includes many period details such as the full and exaggerated shape of the skirts – ladies of the era achieved this look by wearing

Fitzgerald’s finest book, The Great Gatsby

fineness of the luxury fabrics that were

has inspired several films with the sixth

typically used in the twenties. Daisy’s

version released in May 2013. Daisy,

purse, scarf and shoes are ‘a la mode’, and

possessing great beauty and a sparkling, if

accented with lustre they complement her

superficial, personality, is the epitome of the

extravagant long pearl necklace.

socialites, the so called ‘flappers’ of the 1920s.

HIGH STYLE IN GEORGIAN ENGLAND

waistline, the striking cameo brooch worn

The liberated look

Georgiana is inspired by the beautiful and

at the centre of the lace collar and the

The figurine portrays Daisy as a confident

aristocratic women of the late 18th

elbow length sleeves ending in flounces,

young woman with a stylish bob hairstyle

century, of socialites such as Georgiana

over lace engageantes.

petticoats over a hoop, which was made from linen and stiffened with whalebone or cane. Other details recreating the style of the times are the bodice lacings, which criss-cross from the neckline to below the

Georgiana HN 5681, height 25 cm. Limited edition of 2,000

Daisy HN 5680, height 23 cm. Limited edition of 2,000

CollectablesTrader

Kalmar Antiques where you can hold a piece of history in your hand Specialising in antiques, fine jewellery, watches and objets de vertu

Shop 45, Level 1 Queen Victoria Building, Sydney 2000

Phone 02 9264 3663 Email kalmar@ozemail.com.au You can also visit our website at www.kalmarantiques.com.au

www.privateartsales.com CREATED BY A LEADING SYDNEY GALLERIST with 30 years in the arts industry, Private Art Sales is a unique art and collectables online trading forum designed to benefit the art vendor. Unlike any other site, Private Art Sales facilitates sales from vendor to buyer direct, with no commissions, premiums, or any costs associated with online, gallery and auction house trading. The vendor receives 100% of the sale price and has absolute control over the listing and selling process. The selling process is akin to a gallery over an auction sale with no time limits on the sale of works. The site is guaranteed to attract top national and international art buyers as it features an assemblage of high quality artworks and collectables from artists such as Sidney Nolan, Pro Hart, Bertram Mackennal, Robert Dickerson, Sir Jacob Epstein and Lucien Freud. Currently, all listings incur no fees making it an even more attractive forum for vendors to market their collections.

This user friendly site can be accessed at www.privateartsales.com where upon the creation of a personal account, one can start the selling process immediately.

List now and enjoy the benefits of no commission selling www.privateartsales.com

Spainâ&#x20AC;&#x2122;s national museum

THE PRADO famous for its art collection was originally designed as a natural history museum

An azurite lake: Giant azurite. MNCN-CSIC, with Joachim Patinir, Charon crossing the Styx MNP

The bird's conservatoire: Bird of paradise. MNCN-CSIC, with Frans Snyders, Concert of the birds, 1629-1630. MNP

n 19 November 1819 Museo Nacional del Prado opened its doors to the public for the first time as the Museo Nacional de Pinturas y Esculturas. However this neoclassical building by architect Juan de Villanueva was originally designed in 1785 as the Royal Natural History Cabinet on the orders of Charles III (1757-88). Objects held by the museum include some of those that the sovereign acquired from the collector and naturalist Pedro Franco Dávila (1713-1785). Later, under Charles’ grandson, King Ferdinand VII (1784-1833), the museum became the world-famous art gallery, a reputation which has continued to this day. The many iconic and historical items for which the Prado is renowned nowadays are indeed of artworks, including sculptures.

Evoking history In order to evoke the gallery’s history for visitors the artist Miguel Ángel Blanco – among the best known of Spanish artists associated with depictions from nature – was invited to curate a project. To experience the realisation of Charles III’s desire to house a natural history museum,

Top right: Apocalyptic dragons: Philippine water monitor & golden tegu. MNCN-CSIC, with The Master of Zafra, Saint Michael, c. 1495. MNP Right: The fury of the eagles: Golden eagle. MNCN-CSIC, with Leone Leoni & Pompeo Leoni, Charles V and the Fury, 1551-1564. MNP Far right: The anteater's cruel winter: Anteater skeleton. MNCN-CSIC, with Anton Mengs workshop?, His Majesty's Anteater MNP

The Veragua Bull: Verugua bull. MNCN-CSIC, with Peter Paul Rubens, The Rape of Europa, 1628-29. MNP

Black forests: Miguel Ángel Blanco, Book-box, number 1072. Biblioteca del Bosque libro, with Lucas van Valckenborch, Landscape with ironworks, 1595. MNP

Above: A Leviathan swallows a goddess: Dolphin skeleton. MNCN-CSIC with Roman workshop, Venus with a dolphin, c. 140-150 CE. MNP Left: Comparative autonomies: Snake skeleton. MNCN-CSIC, with Albrecht Dürer, Adam and Eve, 1507. MNP

Blanco created 22 ‘artistic interventions’ for visitors to reencounter the museum’s history and origins which incorporate a creative viewpoint by interacting with the permanent collection. Natural Histories. A project by Miguel Ángel Blanco (19 Nov 201327 April 2014) is made up of 150 objects from the natural world (minerals, stuffed or preserved animals, skeletons and insects), the majority from the Museo Nacional de Ciencias Naturales (National Museum of Natural Sciences), shown in the Prado galleries alongside 25 of the most famous masterpieces from its collections. Joachim Patinir’s work, for

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example, appears to become an extension of its subject lake. It is transformed into pigment by the placement immediately in front of it of a giant piece of azurite, the source of the copper carbonate that Patinir used as a pigment in his painting, Next to Dürer’s two panels, the space is transformed into a natural history collection by Blanco through his introduction of the skeleton of a snake wound round itself. The skeleton is one of the most beautiful objects in the Museo de Ciencias Naturales’ reptile collection. Images courtesy Madrid, Museo Nacional de Ciencias Naturales-CSIC Photos: Pedro Albornoz

TAKE A STEP BACK IN TIME TO ART DECO NAPIER, NEW ZEALAND

The nearby city of Hastings also has its own collection of buildings in Art Deco, Stripped Classical and Spanish Mission styles – one of the best examples is the Hawke’s Bay Opera House built in 1915

ANNUAL ART DECO WEEKEND FESTIVAL

celebration. They dress in period clothing,

and refurbished in 2007.

drive vintage cars, sip champagne, picnic in

New Zealand’s Art Deco capital of Napier,

great Gatsby style, attend elegant soirees and

TAKE ADVANTAGE OF WALKING TOURS

in Hawke’s Bay, celebrates its annual

wander the architecturally distinct streets that

While many tourists time their visit to

make Napier unique in the world.

Hawke’s Bay around the Art Deco Festival,

festival of origin in style in February with an event calendar that features boas and grand balls, Gatsby picnics and parades. What began as a two-day festival in 1989 has grown to a week-long extravaganza of elegance celebrating an era of sophistication and an all-important time in Napier’s history. The city was rebuilt from the ruins of a major earthquake in 1931 and has one of the most concentrated arrays of modern Art Deco, stripped classical and Spanish Mission style buildings of any city in the world.

As well as a vintage car parade, aerobatic flying displays, dinner dance and

Trust take walking tours around the city, or

banquets which organisers say will be of

visitors can do their own exploring with a

special interest to those liking ‘a little

self-guided brochure.

champagne, glitz and glam’.

MEMORABLE ARCHITECTURE INCORPORATING UNIQUE MAORI MOTIFS As well as being one of very few such concentrations of Art Deco buildings in the world, Napier city has extra significance as it was built in the depths of the Depression. The incorporation of Maori motifs and

The festival incorporates over 200 events and

to other collections.

other design elements also make it unique Another bonus is the large number

including national and international

of buildings inspired by the great

enthusiasts, many of whom make an annual

American architects Frank Lloyd Wright

pilgrimage to Napier for the Deco

and Louis Sullivan.

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Volunteer guides from the Art Deco

free outdoor concerts, there will be beach

IMMERSE YOURSELF IN THE ART DECO ERA will attract an expected 35,000 people,

tours of the city are available all year round.

EXPERIENCE A VINTAGE CAR TOUR A vintage car tour is another way to see

upheaval and widespread damage

It was not only popular at the time but

throughout the Hawke’s Bay region.

provided strong reinforced concrete with

Most of the buildings in the coastal city

decoration that would not fall off and

the city, in style; highlights include visiting

were flattened, either by the earthquake or

injure people as had happened with the

the National Tobacco Company Building,

the ensuing fires. The town’s water supply

Edwardian-style pre-earthquake buildings.

Deco houses and gardens in the suburb of

had been cut during the quake so there was

Marewa and the grand Edwardian Hawke’s

nothing to fight the fires that ravaged the

to preserve and promote what is now

Bay Club.

streets. However, remarkable community

recognised as a world-class collection of

BACKGROUND: 1931 NAPIER EARTHQUAKE

spirit prevailed and the town was almost

Art Deco architecture. The Art Deco

completely rebuilt in two years.

Weekend is organised by the Trust and is

Napier’s Art Deco origins go back to a

described as a not too serious celebration

devastating 7.8 (Richter scale) earthquake

STREAMLINED ART DECO STYLE FOR URBAN REDEVELOPMENT

on 3 February 1931 that caused geographic

The style that predominated was Art Deco.

The Art Deco Trust was formed in 1985

of Art Deco style.

TO FIND OUT MORE: artdeconapier.com Phone: + 64 6 835 0022 Email: trust@artdeconapier.com Like us on Facebook: facebook.com/artdecotrust

FUTURE DATES FOR THE TREMAINS ART DECO WEEKEND 19 – 23 February 2014 18 – 22 February 2015 17 – 21 February 2016

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MEMBER

Abbott’s Antiques The Established Name for Quality Antiques since 1931

MEMBER

Fine 19th century bronze lion and recumbent putto figure group on a verde antico marble and gilt metal base, c. 1830

Royal Worcester reticulated and gilt decorated two handled vase by George Owen dated 1908

French striking 8 day Sienna marble mantle clock garniture with gilt brass columns and enamel zodiac dial, c. 1900

Pair sterling silver ‘Cymric’Art Nouveau candlesticks designed by Archibald Knox for Liberty & Co., Birmingham, 1903

William IV mahogany patent library armchair with reclining action and sliding foot support, c. 1830, by George Minter, London

Tiffany Art Nouveau gold iridescent Favrille peacock decorated epergne, c. 1910

Fine Regency sterling silver and cut crystal centrepiece with lion mask mounts and ornamental floral centre, Birmingham 1809 by Matthew Boulton

19th century Italian bronze figure of Narcissus after the antique, c. 1890

Charles II sterling silver seal top spoon, London 1675 by William Cary

19th century Russian icon with silver and enamel oklad depicting St Vasilis and St Nadegda, Moscow, c. 1880

Fine Victorian inlaid walnut Davenport with brass gallery and tooled leather insert, c. 1850

Victorian sterling silver crested and floral engraved tea kettle on stand, London 1853 by Smith and Nicholson

Specialising in Fine English 18th & 19th century Furniture, Sterling Silver, Porcelain, Jewellery, Sheffield Plate, 18th century Drinking and Table Glass, Bronzes, Paintings, Art Nouveau and Art Deco

14 Eastern Road, Turramurra NSW 2074 • Tel 02 9449 8889 Visit www.abbottsantiques.com.au for a further selection of current stock

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Bohemia's Teplitz

ART WARE POTTERY A region in the Czech Republic which housed myriad potteries in the 19th to early 20th centuries is responsible for an enormous variety of beautiful and sought after pieces

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MELODY AMSEL-ARIELI

ollectors often refer to art pottery produced in the Turn-Teplitz region of Bohemia collectively as

Teplitz. Today, it is the Teplice region of the Czech Republic. During the Art Nouveau era (1890-1910), at the height of production, this kaolin-rich area boasted nearly 30 important pottery workshops and factories of all sizes.

Teplitz Potters Although all Teplitz area potteries produced ceramics, their techniques and products varied. Josef Strnact produced majolica plates with high relief scenes as well as wall plaques and vases vibrant with hand-painted applied fruit and florals. Julius Dressler produced not only lush earthenware majolica and faience

Art Nouveau, a creative

flowered service platters, shell-shaped

movement that embraced

jardinieres, and intricately-designed

architecture, graphics and

dresser boxes, but also porcelain ware.

interior design as well as

Alfred Stellmacher who founded

Above left: Art Nouveau vase by Stellmacher, 1904-1910. Courtesy Colletti Gallery at 1stdibs.com Above: Art Nouveau vase by Amphora porcelain factory, Riessner & Kessel, Teplitz, Austria, c. 1905-1910. Courtesy Alhambra Antiques at 1stdibs.com Opposite top: Turn-Teplitz Bohemian 19th century, hand-painted porcelain vase. Courtesy Pegaso Gallery Design at 1stdibs.com Opposite bottom: Pair of glazed ceramic vases by Ernst Wahliss, c. 1912. Courtesy J. Lohmann Gallery, at 1stdibs.com.

RStK porcelain is the most collectable Pieces manufactured by the Riessner,

most decorative arts, was a

the Imperial and Royal Porcelain

Stellmacher & Kessel porcelain

reaction to the classic and

Factory in 1859, is known for

factory which was founded in 1892 –

neo-classic revivalism

designing high quality, often

and used an ‘RStK’ mark – are the

popular in 19th century

whimsical, sculptured works. Some of

most collectable Teplitz of all.

Europe. Inspired by nature,

his ewers and vases feature applied

Archaeology buffs know amphorae as

art nouveau pieces feature

natural motifs like ferns or flowers.

ceramic vessels that were used in

organic, natural forms

Some feature hand-painted gilded

ancient times to store and transport

interpreted in strong colours,

insects or butterflies. Others, against

products like grains, wine and olive

stylised patterns, and curved,

grounds of lush florals, feature

oils. Art collectors, however, know

flowing lines. Flora and

startlingly fierce dragons or

the label RStK Amphora feature

fauna, real and imaginary,

curvaceous mermaids cunningly

undulating, asymmetrical

are popular motifs.

fashioned into handles.

interpretations of natural (and

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unnatural) motifs realised in

bold colours of Japanese woodblock

assigned a style number. These

earthenware or ‘ivory porcelain’ – a

prints. Wildly popular Japonism had

appear on their bottoms, along with

yellowish matte, malleable material

reached the West in the mid to late

their artist’s marks and the word

resistant to high firing temperatures.

19th century when that country, after

‘Amphora’. Pieces made by RStK

RStK gilded glazed vases and ewers

centuries of isolationism, began

Amphora, prized for their diversity,

were created by artists who studied at

participating in international

varied styles and high quality, earned

the Teplitz Imperial Technical School

exhibitions and world fairs.

top honours in both the 1893 Chicago

for Ceramics and Associated Applied Arts or followed the fine ceramics

Each Amphora design, which was realised in a variety of sizes, was

World’s Fair and 1904 St Louis World’s Fair.

manufacturing tradition of nearby Dresden. They feature either applied or hand-painted lifelike images including snakes, sea creatures, dragons, maidens, flora and fauna. Amphora design was also influenced by the flat perspectives and

Bust of Emperor Franz Joseph made by Ernst Wahliss modelled by Johannes Benk, 19th century, porcelain, h: 78.7 cm. Courtesy Heritage Auctions, www.ha.com.

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Glazed ceramic vase, designed by Paul Dachsel for Amphora, c. 1900. Courtesy Heritage Auctions, www.ha.com

Paul Dachsel’s mark inscribed on vase

Earthenware ‘grasshopper’ vase designed by Paul Dachsel for Amphora, c. 1904-1906. Jason Jacques Inc. at 1stdibs.com

‘Alexandra Porcelain Works’ Ernst Wahliss. From about 1910, porcelain was replaced by the so-called ‘Serapis Faiences’ and ‘Serapis Wahliss’ lines, a popular, fine, white earthenware. Serapis figurines, wall plates, covered boxes, vases, cachepots, tea and coffee services, which were designed by Karl Klaus and colleagues, featured complex, geometrically stylised natural forms hand-painted in brightly coloured enamels.

Designs by Paul Dachsel One of the most recognised artists working in the region was Stellmacher’s son-in-law, Paul When Eduard Stellmacher

involved carving, moulding, painting,

established his own company in 1905,

glazing and multiple firings and were

the original firm continued operating

costly, even at creation.

as Amphora porcelain factory,

it became known, continued to

Alfred Stellmacher: Imperial and Royal Porcelain Factory

produce amphora pottery through the

In 1859 Alfred Stellmacher began to

1940s and was nationalised by the

produce decorative ornamentations such

Czechoslovakian government in 1945.

as flower baskets and vases that turned

RStK figurines

his business around and so in 1876

Riessner & Kessel. When Kessel left in 1910, Amphorawerke Riessner, as

Dachsel, a master company designer who decorated works leaving the RStK factory from 1892 through 1905, when Dachsel opened his own pottery. Influenced by Austrian Secessionists exploring nontraditional art forms, Dachsel designed simple shapes enhanced with unique, stylised – and sometimes disturbing – embellishments. His very collectable ‘grasshopper’ vase, whose

established a larger factory where he

poised appendages, rising from a

produced luxury and utility porcelain,

mossy ground, evoke either a budding

ivory porcelain, figures and decorative

plant or an insect about to spring, is

dancers, and virgins – fashionable

vessels. This concern was taken over in

one example. Dachsel’s mark, an

motifs of the day. Rarely made were

1897 by retailer Ernst Wahliss.

entwined ‘PD’ followed by ‘Made in

The pottery also produced graceful figurines and highly-detailed, intricately-crafted busts of nymphs,

After Wahliss’ death in 1900, the

Austria’, reflects the effect that the

liable to breakage during their

porcelain factory was taken over by

shifting political landscape had on

manufacturing process. These forms

his sons Hans and Erich and renamed

manufacturers at that time.

larger busts, which were extremely

CollectablesTrader

A gentle one step solution that rids furniture of white rings Champagne glasses and coffee cups can leave white rings of condensation on your tables or sideboards. A hot pizza left on the table in its box, on a plate or on a napkin will soon dull the polished surface. Coffee cups without saucers, cans of cold drink and even a wine glass can leave behind a frustrating reminder that you, or your guests, forgot the coasters. Or it may be that the kids had a party while you were away and now your precious sideboard is etched deep with an alarming number of interlocking ‘Olympic’ rings. However you don’t have to refinish your furniture in order to remove them.

Bad advice on the net Search the net and you will find an article which recommends using a hair dryer to remove white marks. Trouble is you may well remove the ring but you’ll also spoil the varnish and be left with a degraded, patchy looking surface. Another suggestion is to use a steam iron and a tea towel. Steam is filtered through the tea towel pushing the condensation caught in the finish up to the surface and into the towel. However, the tremendous heat that the iron generates can literally scorch the polished surface.

The proper technique How the damage occurs The reason a white ring forms on polished surfaces is because a film of moisture migrates through micro fissures in the finish and, if it isn’t removed pretty quickly, this ring or haze mark could well become permanent. This is because the fissures which the moisture passed through can dry, widen and then become brittle, giving no protection to the wood underneath.

There is one way to do this properly – with the leading product on the market for removing heat rings, haze and watermarks – Howard Restor-A-Finish. Restor-A-Finish melts into and amalgamates with most varnished surfaces, gently blending away any damage that is on the surface and not down deep in the wood. This way, when restoring the surface, it won’t lose the original patination of the finish. Otherwise it’s like having just one part of

the car’s old finish repainted leaving the rest looking at odds with the new area. The result in most cases (except for extreme damage) is that when the repair is dry it will look exactly the same as it did before.

A polished finish After the Restor-A-Finish has rejuvenated the varnish and removed the rings, etc., the rest of the surface may have slight scratches, minor blemishes and some dullness still visible. To avoid having a patchy looking finish, with good bits and not-so-good bits jumbled together, bring it all together with a treatment of Howard Restor-A-Shine. This new product combines micro-powders with a creamy orange oil solution and the action of this amazing one-step gentle cut and polish cream removes stubborn marks and brings up a beautiful, rich French polish style shine to even the shabbiest furniture. David Foster Howard Products Australia advice@howardproducts.com.au

You don’t have to be an expert to get professional results That’s me on the far right using Howard Product’s fabulous Restor-A-Finish on my mother’s bridge chair and below is a picture of me reflected in the mirror of the dressing chest beautifully restored with Restor-A-Finish and Restor-A-shine after suffering smoke damage, as was all of my mother’s furniture. It is hard to believe that I’ve been able to achieve these great results knowing as little about furniture restoration as I do. Thank you, Heather Bennets

CollectablesTrader

Heather loves our products

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

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

2076 Gold Coast Highway, Miami • Phone 07 5572 0522 • Mobile: 0414 338 363 More than a website – shop online @ www.goldcoastantiquecentre.com.au OPEN 7 DAYS 10 - 5 Sun 10 - 4

BOTANICAL PRINTS Through the centuries, charming illustrations have showcased not only the beauty of plants but also documented rare specimens and their medicinal properties

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MELODY AMSEL-ARIELI

rom time immemorial, healers, relying on folk traditions and practical experience, treated ailments like skin diseases,

Opposite & below: Basilius Besler (1561-1629), three of a series of eight plates from Hortus Eystettensis, 1613, hand-coloured engravings on laid paper, probably from Jubilee Edition, 1713, with margins, together with The Besler Florilegium: Plants of the Four Seasons, published by Harry N. Abrams, Inc., New York, 1989, each sheet 53 x 43 cm. 1.Poeonia polyanthos flore rubro, 2. Colocasia, 3. Lilium cruentum polyanthos. Images courtesy of Bonhams, www.bonhams.com

digestive problems, and headaches with plants. Botany and medicine were entwined. As medical wisdom accumulated, herbalists, apothecaries, and physicians – as far flung as ancient Egypt, China, India, Greece, and Rome – produced herbals, books that contained pictures of local plants, along with their names, properties, associated lore, and medicinal qualities.

Beginnings of floral illustration The oldest known illustrated floral manuscript, the Codex Vindobonensis Medicus Graecus, considered the most valuable work in the history of botany and pharmacology and whose quality was unsurpassed for nearly a thousand years, dates from 512 CE. This is a manuscript of Materia Medica, the work of Greek physician Pedanius Diorscorides (c. 40 CE – c. 90 CE). As a surgeon with the Roman army of Emperor Nero, Dioscorides travelled through Italy, Gaul, Spain and North Africa, recording the existence and medicinal value of more than 550 plants. He compiled an

extensive listing of medicinal herbs and their virtues between c. 50-70 CE. A Byzantine artist illustrated

The original five volume Materia Medica is lost, but

Dioscorides’s herbal in 512 CE for

there are many surviving

presentation to the daughter of the

copies as it was copied

Emperor at the time, which featured

repeatedly throughout

around 400 colour illustrations.

Europe, with some

During the Renaissance, the quality

variations, over the next

of plant and flower studies were

1500 years. Some plants

revitalised by Leonardo da Vinci

were used for specific

(1452-1519), Albrecht Dürer (1471-1528)

disorders, while others were

and Jacobo Ligozzi (1547-1626),

credited with curing

by combining sensitivity with

multiple diseases.

scientific precision.

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Elizabeth Blackwell (c. 1700-1758), artist and engraver, Honeysuckle, from A Curious Herbal (1737-1739), on hand-laid, chain-lined paper, 24 x 37 cm, reissued in 1757 as Herbarium Selectum Emendatum et Auctum by Jacob Trew. Courtesy David Panken, www.panteek.com

Elizabeth Blackwell (c. 1700-1758), artist and engraver, Nymphaea radices (water lily rhizomes), c. 1757, original hand-colouring, 20 x 31 cm, very rare. Courtesy StudioBotanika, www.studiobotanika.com

Georg Dionysius Ehret (1708-1770) illustrator, engraved by JJ Haid (1704-1767), Iris prunum redolens minor, on thick, chain-lined, watermarked, hand-made paper, 24 x 36 cm, from Johann Weinmann, Phytanthoza Iconographia, 1737-1745. This rare eight-volume work is one of the most comprehensive botanical references of the 18th century. Courtesy David Panken, www.panteek.com

Following the invention of movable type in the mid 1400s, which allowed

Hans Weiditz (1495-c. 1537),

text alongside illustrations, hand

appeared. This was followed by

water-coloured botanical publications

Fuch’s De Historia Stirpium, whose

became more common. In 1484 Peter

large, exquisite woodcuts of

Schoeffer produced The Latin

individual plants influenced botanical

Herbarius, a small book with texts

illustration for years to come.

taken from various other herbals,

publications covering flowers or

native German garden plants. A year

ornamental plants appeared which,

later, he issued Der Gart der

unlike herbals – which described

Gesundheit, with a high proportion of

plants for medicinal purposes –

woodcut images of live plants, which

contained minimal text. Their plates

was unusual for the time.

were accurately drawn from nature,

vivae eicones (Living Portraits of

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In the late 1500s, florilegia –

featuring charming illustrations of

In 1530, the first part of Herbarum

Plants), realistically illustrated by

but often included birds, insects and small animals to enhance their

composition. Advances in printing techniques allowed use of traditional wood blocks, cutting furrows into metal plates, or etching with acid on copper plates.

Interest in specimens & science During the Age of Discovery alternately called the Age of Exploration (latter half 15th through the 16th centuries), European explorers, seafarers, adventurers, and naturalists introduced hardy specimens of exotic flora from around the world. Natural history artists, such as Sydney Parkinson (1745-1771) aboard James Cook’s ship HM Bark Endeavour, pencilled hundreds of plant outlines, while scribbling notes about their colours. Others, like apothecary Basilius Besler (1561-1629) and a team of engravers, immortalised over a thousand exotics gracing the Prince Bishop’s garden in Eichstatt, Germany. While interest in the natural world and the popularisation of science grew, strides in pharmacology reduced the use of herbal medicine. Eventually, the intrinsic beauty of plants became more important than their medicinal properties.

Floral fashion During the ‘golden age of botanical art’ (1750-1850), botanical engravings, issued individually or bound in herbals, or floras (scientific herbals that detailed and illustrated plants

Clockwise from above: Acacia lanuginophylla (Woolly Wattle), handcoloured copperplate engraving by Joseph Swan (1791-1874) after illustration by W J Hooker (1785-1865) for Samuel Curtis, The Botanical Magazine or Flower-Garden Displayed, London, c. 1834. Courtesy Antique Print Club www.antiqueprintclub.com Banksia integrifolia (Coast banksia), botanical plate 2770l, hand-coloured copperplate engraving by Joseph Swan (1791-1874) after illustration by W J Hooker (1785-1865) for Samuel Curtis, The Botanical Magazine or FlowerGarden Displayed, London, c. 1827. Courtesy Antique Print Club www.antiqueprintclub.com Metrosideros Lophanta (Crimson bottlebrush), hand-coloured stipple engraving by Gabriel from the drawing of Pierre Joseph Redoute (1759-1840) for Henri Duhamel du Monceau, Traite des arbres et arbustes que l’on cultivee en France en pleine terre, Paris, 1800-1819. Courtesy Antique Print Club www.antiqueprintclub.com Maurice Pillard Verneuil (1869-1942), Nasturtium, from folio published in 1896, on heavy creamy stock, 33 x 45.7 cm, created by pochoir process, wherein single layers of colour were added by hand to lithographs using stencils. Courtesy David Panken, www.panteek.com

native to particular regions), furthered

Pierre-Joseph Redouté (1759-1840)

systematic, scientific classification.

painted plants of the Royal Botanical

Cultivation of flowers, instead of

Gardens of Paris. Franz Bauer (1758-

herbs, became fashionable, with

1840) spent nearly half his life

wealthy patrons commissioning

painting the exotic florals of the Royal

paintings of their prized plants.

Botanic Gardens at Kew in London.

Gardener Georg Dionysius Ehret

As interest in gardening, natural

(1708-1770), for example, had the

history, and amateur botany grew,

choice of 5,000 varieties of tulips and

botanical art, like music and

800 varieties of hyacinths at the

needlework, also became a desirable

Margrave of Badaen-Durlach’s estate.

female pursuit.

Left: Pancrace Bessa (17721846), Tulipa oculus solis, from the first edition of Flore des Jardiniers Amateurs et Manufacturiers, 1836, original hand-colouring, 14 x 23 cm. Courtesy StudioBotanika, www.studiobotanika.com Far left: Pteris aspericaulis tricolour fern, from Edward J. Lowe’s A Natural History of New and Rare Ferns printed in London by Groombridge & Sons, c. 1865, 15 x 23 cm. Courtesy StudioBotanika, www.studiobotanika.com Below: Miss Sarah Drake (1803-1857), Iris setosa from Edwards’ Botanical Register, c. 1847, original handcolouring, 12 x 25 cm. Courtesy StudioBotanika, www.studiobotanika.com

The Floral Cabinet and Magazine of Exotic Botanica, published in the 1830s, was very popular. So was Curtis’s Botanical Magazine (published continually since 1787), which offered lavish works by

antique botanical prints have incurred staining, speckling, spotting, soiling, fading, foxing, yellowing, toning, and/or adverse signs of handling. Yet serious collectors often consider

Sowerby (1757-1822) and Sydenham

certain prints acceptable despite their

Edwards (1768-1819).

flaws. These include Beslers, which typically feature offsets (transfers of

plants, others excelled in particulars.

ink from previous pages) and bleeding

Walter Hood Fitch (1817-1892), for

through the print, for example, and

example, is known for his water lilies

prints from the 1928/29 first edition of

and Edward J. Lowe (1825-1900),

German photographer Karl Blossfeldt’s

Henry Bradbury (1831-1861) and

book illustrating almost sculptural

Daniel C. Eaton (1834-1895) were all

flower and plant images, which has a

famed for ferns. Also, far more

greenish cast to their ink.

accurate floral images became

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Throughout their long history, most

William Kilburn (1745-1818), James

While many artists drew diverse

Tips for collectors

Since botanicals were reprinted

possible through photography and

many times over, in their quest for the

chromolithography, a method for

best, collectors can often buy or trade

making multi-colour prints.

copies of the same print.

Collectables Trader

Congratulations to the winner of Conundrum No. 50

conundrum no.51

Congratulations to the winner of Conundrum No. 50, Mary Smith of Glen Waverley, Victoria, who wins a one-year subscription to the online version of CARTER’'S Price Guide to Antiques and Collectables at www.carters.com.au, valued at $125. he word ‘treen’, derived from an obsolete adjective meaning wooden, is the collector’s term for simple domestic objects that cannot be classified according to their decorative style such as Tunbridge ware. Before the late 17th century when earthenware became more affordable, common household objects were made from all types of wood. For vessels used to hold liquids, harder woods such as burr walnut and maple were preferred. Basically, treen comprises plates, bowls, spoons, cups and dining utensils as well as other kitchen and household equipment. The variety of objects made for general household use is enormous and includes pepper-mills, platters and bowls, money boxes, egg cups, spice boxes, lemon squeezers, pails, glove stretchers, potato mashers, spoons, nutcrackers and more. Small wood items were also made for use by tradespeople, in a pharmacy, or on a farm. Almost all treen is anonymously made – there are no maker’s names or marks. From the mid 17th century onwards objects were made by cabinetmakers and wood turners with the best pieces produced late 17th century until late 18th century, although it continued to be made during the 19th century. Pieces were made from a single piece of wood turned on a pole lathe and then polished. Basic utlilitarian items such as kitchen tools were waxed rather than polished and bear the hallmarks of their use being rough, stained, chipped and scorched. Luxury treen items such as snuff boxes that are properly cared for have acquired a satisfying patina. Pictured on the left are six treen objects. Read through the list below and study the pictures, then write the name of the object underneath the matching picture. Bird caller Cheese wheel holder Pocket watch stand Snuff box Tea caddy Wig powder shaker Once you are satisfied with your answers, complete the coupon below and mail it to the address shown. The first correct entry opened after the closing date for entries, will receive a free one-year subscription to Carter’s online price guide to antiques and collectables valued at $125. You must have an email address in order to be able to access the online price guide. Located on the internet at www.carters.com.au, it includes over 90,000 items. Carter’s online price guide is fully indexed, making it easier to locate items, and offers affordable access for infrequent or once-only users, as well as being moderately priced for an annual subscription.

Answers to Conundrum No. 50, which asked readers to identify the material from which six card cases were made are: 1. Ivory 2. Mother of pearl 3. Gold 4. Tortoiseshell 5. Lacquerware 6. Silver

CARTER’S PUBLICATIONS

PO BOX 8464, ARMADALE VIC 3143, AUSTRALIA FAX: 03 9819 4407 EMAIL: info@carters.com.au JOHN FURPHY PTY LTD ABN 37 005 508 789

To enter, write the answer underneath the appropriate picture, complete the coupon below and mail or fax this page or a photocopy to reach CARTER’S by 5 pm Tuesday 18 March 2014. Win a free one-year subscription to Carter’s online price guide to antiques and collectables at www.carters.com.au valued at $125. Name: ........................................................................................................................................................................................................................ Address: .........................................................................................................................Suburb or Town: ............................................................... State: .................Postcode: .................Phone..........................................................Email.........................................................................................

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Royal Vienna 19th century enamel perfume bottle

Sterling silver teapot made London 1819

Carriage clock made England c. 1890

Moorcroft vase decorated in Wisteria pattern

Chronometer by Frodsham & Parkinson

BRISBANE ANTIQUE EMPORIUM

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

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

07 3862 1600

0417 605 562

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

Diamond ring by Omega

Royal Dux porcelain figure, h: 57 cm

Chinese 19th century heavily carved footstool with needlepoint seat

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

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

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

English oak roll top desk c. 1900

Three piece tea set by Aynsley in orchard gold pattern

Georgian mahogany bureau

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

Ray and Jean Rogers and their

CARNIVAL GLASS COLLECTION A series of coincidences sparked Ray and Jean Rogers’ interest in carnival glass and in developing what has become an impressive collection Imperial Glass Company (USA), green carnival glass ‘Hattie’ pattern platter/ chop plate, diam: 25.4 cm

Crown Crystal Glass Co (NSW) carnival glass vase in dark banded diamond pattern with a heavy banded diamond whimsy tumbler. The whimsies were made from a heavier mould than that used for regular tumblers and were taller

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Riihimäki (Finland), blue carnival glass vase in ‘Tennessee Star’ pattern

ROB DITESSA

Collecting community It was 1988, and the Rogers and Iris

he Rogers owned a piece that had belonged to Ray’s mother, and a flyer in a local shop window

advertising an upcoming display of carnival glass, as well as a friend’s excitement about her latest acquisition of a very unusual piece, intrigued them both. ‘We went to the exhibition and saw all this glass and we couldn’t believe how beautiful it was,’ Ray reminisces, as Jean nods in agreement. They wanted to learn more, they tell Collectables. Their friend, Iris Westren, was already on the path as a collector, and she wanted to find out more about her find of a rare Northwood aqua opal bowl, ‘Peacocks on the fence’. It is very scarce because of its distinctive aqua opal colour. Carnival glass is characterised by the hues and richness of its iridescent colours and array of different designs and patterns. Enthusiasts like Ray and Jean fall in love with carnival glass for this brilliant explosion of shimmery colour it emanates and reflects. Many household and decorative objects have been fashioned from carnival glass including plates, vases, bowls, water jugs and tumblers.

all joined a carnival glass enthusiasts group that held, and still continues to hold, meetings at members’ homes for show-and-tell sessions and, importantly, to share information. In the beginning, Jean explains, they purchased a lot of very ordinary glass because they were keen to start building a collection. ‘When we started off, almost any piece of carnival glass we saw, we bought,’ she quips, adding that she and Iris visited many antique shops and attended many auctions. Ray jokes that he was the driver but he in fact became absorbed in carnival glass, and today speaks expertly about its history and especially the development of the processes to manufacture it. In due course, he joined the executive committee of the Carnival Glass Collectors Association.

Tracing the origins of carnival glass Ray explains that one of the original descriptions of carnival glass was ‘the poor man’s Tiffany’. In Tiffany and other fine glass, the colour was infused within the glass, but the Fenton Company about 1907 developed a way to imitate the colour and sparkle by spraying colour onto moulded glass before the final heat treatment. Initially carnival glass was made in the USA, and then around the world

WHY ‘CARNIVAL’? Although it is known under various other names, the more commonly used carnival description of this glass derives from its fate of being used as prizes at carnivals after its fall from popularity.

From top to bottom: Fenton Art Glass Co (USA) blue carnival glass ruffled rim bowl with ‘Peacock at the urn’ pattern, diam: 20.32 cm Crown Crystal Glass Co (NSW) carnival glass master bowl featuring a piping shrike surrounded by wattle blossoms Crown Crystal Glass Co (NSW) marigold carnival glass float bowl decorated with water lily and dragonfly, diam: 27.94 cm Crown Crystal Glass Co (NSW) carnival glass master bowl with kiwi surrounded by fronds of silver fern, New Zealand’s national floral emblem; a scarce piece

Right to left: Brockwitz (Germany), marigold carnival glass cookie jar (minus lid) in ‘Triple Alliance’ pattern Fenton Art Glass Co (USA) ‘Plaid’ pattern green carnival glass plate, diam: 22.86 cm Fenton Art Glass Co (USA), celeste blue carnival glass footed bowl in ‘Lotus and grape’ pattern Crown Crystal Glass Co (NSW) dark carnival glass ‘Swan’ pattern master bowl, diam: 22.86 cm Northwood Glass Company (USA), blue carnival glass plate in ‘Poppy Show’ pattern, diam: 22.86 cm

except Italy and Africa. It was most popular in the 1920s, but in the United States its popularity waned in the 1940s. Amongst the notable carnival glass makers were Crown Crystal Glass (Australia), Brockwitz (Germany), Riihimaki (Finland), Imperial Glass, and Northwood Glass (USA).

Research & information Ray explains that as collecting carnival glass is a worldwide interest, attending conventions overseas, especially in America, as they have done over the years, has been a great way for them to gain and share knowledge. The Internet has also become an important source of information because collectors post information about pieces they would not have seen otherwise. He adds that although online auctions are one way to grow a collection, they have never bought any items through these auctions. They have acquired a selection of books to help identify pieces and learn more of the history of the manufacturers. Sometimes the maker would make a one-off piece – a ‘whimsy’ – changing the shape and

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altering the colours, and these are very collectable. ‘Pieces turn up from time to time that need some research to identify the manufacturer, when it was made, and so on. There’s always something new to learn,’ says Ray. Over the years, they have enjoyed developing a more sophisticated appreciation that intriguingly sometimes led to unexpected results. For instance, in their search to replace a piece with a little chip in it or a minor flaw with the same in perfect condition, they sometimes have found that in both pieces there is an eyecatching glint or iridescence that made each unique, and they’ve ended up keeping both.

A collection needs to be catalogued However, like all collectors, a major problem they face is space and storage. Jean explains they have bought extra cabinets over the years, and had some bespoke cabinets made with inbuilt spot lighting to showcase their collection. They have reached capacity, she suspects. At the moment, Roy and Jean estimate they currently have about 250 pieces, of which one third is Australian-made, but they have only just begun to catalogue their collection. Although their friend Iris catalogues her collection, she says that for her it is ‘more just to keep a record of how much I’ve paid, and when I bought something,’ and that she has not

recently added up the number in her collection, not wanting to know exactly how much she has spent over the years. Ray's view is that ‘You have to catalogue the pieces because when we fall off the perch, the kids will ask what the hell are they going to do with this carnival glass. We don’t want to sell it at this stage because we love it. We enjoy it. The kids don’t want it. I know they want some of the prized big Australian bowls, but about the rest of it, they’ve got to decide what to do with it. So they’ve got to know what it is. You have to catalogue it otherwise it goes to the tip.’

we already had but it was such a beautiful bowl and the most magnificent bowl Jean had ever seen, so we bought it for our collection.’ Northwood Glass Company (USA) aqua opal carnival glass bowl in ice cream shape featuring ‘Peacock at the urn pattern’, diam: 25.4 cm Below: Crown Crystal Glass Co (NSW) carnival glass float bowl decorated with kookaburra at centre on a branch surrounded by native floral motifs, diam: 27.94 cm

Advice on how to care for glass The care and maintenance of their collections requires minimal work. The three collectors advise to avoid extreme heat variations, keep the glass objects out of reach of small children, and give the collection the occasional dusting. Although it does not look fragile, be careful not to knock it as it might cause a tiny chip. Any extreme sudden heat changes can cause that chip to grow into a crack.

Before you buy In America, some companies have tried to reproduce pieces. At first it is hard to tell the difference, Ray explains, but in time the iridised surface begins to oxidise turning dull, and making it easy to spot. ‘You can’t get the iridising the same, and the thickness of the glass is thicker than the original,’ he points out. As these collectors chat around the table, the wealth of enjoyment they find in their collections is palpable. Pointing to a piece at the centre of the table, Ray says, ‘We always have pieces out, and that piece sits in the middle of our table. We saw it in an antique shop in Cowra; it’s a duplicate piece of carnival glass Northwood Glass Company (USA) green carnival glass water jug and tumbler in ‘Singing birds’ pattern

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Valentine’s Antique Gallery IMPORTERS OF FINE QUALITY ANTIQUES ESTABLISHED 1947 French ebonised & amboyna Sewing Table c. 1870, with satinwood fitted interior, exquisite marquetry musical inlays to top, ormolu mounts

Superb French walnut Louis XV style marquetry Ladies Writing Desk c. 1870, with central ebonised cameo, ormolu mounts and fitted interior, H:97 x W:87 x D:54 cm

Fine quality Sheraton style satinwood cylinder top Writing Desk c. 1890, with superb marquetry inlays and fitted interior

Late Victorian mahogany serpentine shaped two tier Revolving Bookcase c. 1890, with satinwood crossbanding

Early Victorian three drawer mahogany Writing Desk c. 1860, with green tooled leather insert, baluster turned legs resting on brass castors, H: 75 x W:137 x D:91 cm

Outstanding rare pair of Victorian burr walnut three door Display Cabinets c. 1870, with bow ends, open lower central section, highlighted with scrolls and floral carvings, H:145 x W:149 x D: 40 cm; H:145 x W:135 x D: 40 cm

NOW ONLINE For weekly updates of new stock “LIKE” us on facebook

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

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

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

AYNSLEY CHINA Made since the late 18th century, Aynsley china is one of the best-known names in ceramics

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PAUL VINECOMBE

ohn Aynsley (I) (1752-1829) was originally from little Harley Towers, near Newcastle upon Tyne and came to Lane End in

Staffordshire about 1770 in search of new opportunities and commenced his business, circa 1775. In approximately

Photograph of Aynsley Pottery in Sutherland Road, Longton, Staffordshire taken by Mr Elliott, February 1975. Courtesy www.thepotteries.org/Pevsner/longton_inner_2.htm

1788 he opened Aynsley & Company in Lane End. From 1802 to 1826 he

pence in pay. He later recounted, ‘I

operated as a designer, engraver,

used to get up at five o’clock in the

printer of transfers and decorator at

morning and go off whistling to work.’

this address. During this period he

From lusterware to fine china

supplied transfers to other potteries and purchased earthenware in the white to which he applied his transfers. Careful examination of some transfer-printed views and romantic scenes will reveal ‘J. AYNSLEY’ in microscopic print. It was one of the principal makers of marked lustreware. James, the son of John Aynsley (I), went into partnership with his father, but that business failed and he left the pottery industry, dying in 1841. His son, John Aynsley (II) (1823-1907) started work at the age of nine for a local earthenware manufacturer, lighting fires underneath drying kilns for 12 hours a day and receiving two

In 1840, he was apprenticed as a thrower at a pottery in Longton and in 1844 he joined the famous Minton factory in Stoke where he completed his apprenticeship. In 1857 he formed a partnership with Samuel Bridgwood as the new John Aynsley and Company

More sombre were its Egyptian black

that would focus on fine bone china.

stoneware teapots, a marketing decision

In 1861, he commenced the

Bottom: Porcelain plate marking the coronation of King George V and Queen Mary, 1911, printed in colour. A crown is placed above the portraits which are flanked by the Royal Standard, and Union Flag, with a warship below. There are sprigs of roses and thistles around the sides of the plate which has a gilt rim. John Aynsley & Sons Ltd maker’s mark is printed on the base with the retailer’s mark: ‘TRADE MARK WILLIAM WHITELEY UNIVERSAL PROVIDER WESTBOURNE GROVE LONDON.’ National Maritime Museum Greenwich

made in response to the Victorian

Portland pottery in Longton, much of

fashion for mourning and which were

which still stands, and in the same

being produced by other English

year acquired the New Hall Works in

potteries. In 1880 its patterns were made

Hanley. In 1873, he established

from the moulds of Robinson and

Herbert Aynsley and Company as an

Cheltham who had operated the works

earthenware producer for his eldest

from about 1820-1870.

son, Herbert James Aynsley. John

Patterns and shapes

Aynsley (II) is remembered for his concern for the well-being of his

OPPOSITE Top: Chafing dish made by John Aynsley & Sons Ltd, 1912-1918, transfer-printed and glazed porcelain set in a tin-plated copper base which when filled with hot water kept the food warm. V&A Museum. Gift of Mrs A. M. W. Morgan. Teddy bears became very popular very quickly at the beginning of the 20th century and were used to decorate a wide variety of objects

Mug possibly made by John Aynsley, Stoke-on-Trent, c. 1790, pearlware transfer printed and coloured showing boxing match between Humphreys and Mendoza in 1788. Courtesy Sotheby’s

workers and entrepreneurial spirit, exporting tea, breakfast and dessert wares to North America.

Aynsley tea wares came in a variety of shapes with names such as Eugene, Florence, Twist and Diamond. In the years preceding WWI, John Aynsley and Sons was one of the

Fine domestic wares

largest manufacturers of china

Fine breakfast services and dessert

producing neatly patterned tea and

wares with fruit and flower decoration

breakfast wares, coffee cups and

are highlights in the early references to

saucers, dessert services and

Aynsley porcelains. The Pottery Gazette

specialities in china ranging from

observed in 1881 that John Aynsley and

medium to the highest quality.

Sons had acquired an enviable

New designs in the 1920s and

reputation for richness of colour and

1930s are characterised by dainty

artistic designs. Much of the wares was

shapes painted as flowers such as

traditional in inspiration, with patterns

Tulip, with butterflies as handles. By

after Derby, the blue and gold

the 1950s, John Aynsley and Sons

decoration reminiscent of 18th century

enjoyed a worldwide reputation for

Chelsea china and raised jewelling.

high-quality traditional wares.

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EXPORTS Porcelain blanks of tea wares produced by Aynsely China Ltd were exported to Australia where they were decorated by NSW porcelain painter Ethel Warbuton (1894-1992), c. 1916-1955. The 1920s British catalogue section of Philadelphian based Fisher, Bruce & Company, importers of china, earthenware and glassware,

Above: Advertisement for Messrs Aynsley & Fell Ltd, Royal Art Pottery, Longton, Staffordshire, appearing in the 1921 edition of the trade journal Pottery Gazette. The caption reads: ‘largest makers of flower-pots and clock sets in the world’

includes Aynsley bone china (breakfast and tea sets).

Royal seal of approval Royal connections date from when

Left: Aynsley creamware jug, c. 1800, decorated with two over-glaze transfer prints, one side shows a galleon in full sail; the other shows an Englishman beating a French man. Courtesy Aynsley Collectors Society

Queen Victoria gave John Aynsley (II) a royal commission, and Queen Elizabeth II and Diana Princess of Wales each selected Aynsley services as their wedding gift from the British pottery industry. Other royal links were Aynsley commemorative wares for the coronation of George VI and Elizabeth in 1937, and their 1939 royal visit to Canada. The tradition continues through today with royal milestones celebrated from the Queen's diamond jubilee to the wedding of Prince William to Kate Middleton and the birth of Prince George.

Wares to collect

Viewing early pieces

Aynsley small hand-painted multi-

Although most old Aynsley wares are

coloured porcelain items include

in private collections, significant

buttons, thimbles and stickpins, known

Aynsley wares are in a number of

as florals. Aynsley hired floral

distinguished English museums: V&A

designers to arrange porcelain flowers

Museum, London, Allen Gallery,

to ensure a realistic bouquet in the

Alton Hampshire; Fitzwilliam

finished brooch or pin. This range is

Museum, Cambridge; The Potteries

still in production. For collectors

Museum and Art Gallery, Stoke-on-

looking to acquire more recent pieces

Trent; The Royal Pavilion, Art

there are the teaware, tableware and

Gallery and Museums, Brighton and

figurines, just to name a few of the

Museum of New Zealand Te Papa

product ranges the company makes.

Tongarewa.

Family owned to corporation controlled Aynsley China Ltd was bought from Waterford in 1987 for £17.5 million. The company was subsequently acquired by Belleek Pottery Group,

Further reading Frank Ashworth, Aynsley China, Shire Publications, Buckinghamshire UK, 2002 Rayner W Hesse, Jewelry making through history: An encyclopedia, Greenwood Publishing Santa Barbara USA, 2007 G Bernard Hughes, Victorian Pottery & Porcelain, Country Life Limited, London, 1965

Ireland in 1997. Cylindrical shaped mug with flat loop handle possibly made by John Aynsley & Sons Ltd, 1800, earthenware transferprinted in black. V&A Museum. Gift of Lady Charlotte Schreiber

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Paul Vinecombe, ‘Aynsley china - 240 years of perfection’. Courtesy Antiques & Art in NSW, Dec 2010-May 2011, p. 78

French spelter and slate eight day clock, c. 1850, in excellent condition. $1485

Dennis Ropar, Cowgirl, mixed media. $650

Button back leather upholstered executive desk chair. $1250

Tiffany style leadlight pendant. $485

Dakota nine pendant ceiling light fitting. $850 French walnut bonheur du jour five drawer desk, c. 1900, set on turned legs featuring a pull out tooled leather writing table. $2250

German timber cased striking clock. Fully serviced includes three month warranty. $600

Bevelled mirror set in gilt embossed floral decorated frame. $495

Robert Wilson, Old School House. $680

Set of ten Victorian style mahogany dining chairs featuring Trafalgar bar back, fully sprung, well upholstered. $3500

Rosewood concertina style card table, c. 1850, in good condition. $2250

Glebe Antique Centre Phone: +61 2 9550 3199 Fax: +61 2 9550 3833 Pair of contemporary Georgian style mahogany three drawer bedside cabinets on turned splayed legs. $550 each

Pair of solid brass occasional lamps with milk glass coolie shades. $495 each

88-90 Parramatta Road, Camperdown NSW 2050

French Louis XVI style marble topped walnut nightstand. $950

Two levels of quality furniture, lighting, jewellery, glass, porcelain and general collectables

Victorian oak carver chair with green leather (recent) upholstered seat. $750

Open 7 days 10am to 6pm Email: sales@glebeantiques.com.au Edwardian walnut extension table for eight, single leaf with winding mechanism and repolished top, set on turned legs fitted with original cup and porcelain casters. $3950

French Louis XV style oak draw leaf table to seat twelve, with parquetry top. $3250

Check out our up-to-date websites

www.glebeantiques.com.au www.desksofdistinction.com.au The largest collection of genuine antique furniture in Sydney

French Louis Philippe Comtoise clock, c. 1860, walnut case. $2650 English double pedestal mahogany desk made in London, c. 1850, fitted with Bramah locks and regency style brass handles, featuring ten graduating drawers, two cupboards, tooled leather writing surface; beautifully made and restored. $9850 Set of ten mahogany spoon back chairs of exceptional quality, c. 1860, strong solid construction carved cabriole legs fitted with brass casters to the front legs, serpentine fronts, leather upholstered seats. $6500 set

Fine quality bird’seye maple and walnut five drawer chest, probably Swedish, c. 1920. $1850

French walnut extension dining table, late 19th century, carved cabriole legs with dropdown extension support legs, French polished top, seating for 12-14. $5950

Louis XV style secrétaire à abattant, c. 1890. $5500

French walnut three-door breakfront armoire fitted with central oval mirror. $2950

Impressive French Louis XV style queen size solid oak bed, c.1900, includes new Biddell spring mattress. $3250

Collectors’ Cottage Antiques Buying and selling a huge range of furniture, antiques

and collectables since 1985 Vintage Chinese cinnabar lacquer

Museum quality sawfish rostrum Collection of original Victorian era Valentine’s Day cards

Selection of German half dolls Mexican silver bolo slide

Screen printed 1950s advertising sign for Tooheys

Shop 7, Centenary ANTIQUE Centre 29 Centenary Rd Newcastle NSW • Open 7 days: 10 am – 5 pm Just 100 metres from Civic Station

02 4926 4547 View selection at www.antiquesplus.com.au – search for: Collectors’ Cottage

30 SHOPS UNDER ONE ROOF • Open 7 Days - 10 am to 5 pm Visit our Old Grocery Store Museum

29 CENTENARY ROAD, NEWCASTLE 2300

Phone: 02 4926 4547

centenaryantiques@hunterlink.net.au

www.centenarycentre.com.au 56

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MACQUARIEâ&#x20AC;&#x2122;S LIGHT Australiaâ&#x20AC;&#x2122;s oldest lighthouse The history and changes to the original building are revealed through documents and objects from the Macquarie era and reflect a vibrant growing colony

Macquarie Lighthouse today

he original Macquarie Tower in the old Sydney suburb of Vaucluse was commissioned in 1816 by then Governor of New South Wales, the renowned Lachlan Macquarie (1762-1824). The lighthouse is widely regarded as one of his most enduring legacies and certainly his most significant maritime contribution to the colony. Historic artworks illustrating this Sydney icon, which is Australia’s longest operating navigational light, include watercolours and drawings of Outer South Head, where Macquarie Tower was built in 1818. Outer South Head quickly became a popular location for daytrippers following the lighthouse’s construction, particularly because of its panoramic views of the harbour.

England, the Greenways had been stonemasons, builders and architects in the west country for generations and Francis was in private practice as an architect in Bristol when he was found guilty of forging a document in March 1812. The original death penalty was commuted to transportation for 14 years and he arrived in Sydney in February 1814. Apparently he was allowed much freedom after his arrival for he began private practice immediately and was given a ticket-of-leave. During 1815 he occasionally advised the government on

1879 and the new light commenced operation on 1 June 1883. By 1887 Greenway’s old lighthouse had been completely demolished. In 1970 the late 19th century staff quarters were demolished except for the head keeper’s quarters built in 1836 and the assistant keeper’s quarters constructed in 1881.

its public works and in March 1816 he

Coins mark the spot

was appointed civil architect and

Macquarie-era colonial coins, a holey

assistant engineer. His first work for the

dollar and a dump were recovered from

government was the Macquarie Tower

beneath the foundation stone of the

design and the stonework of the building

original lighthouse. These coins

Architectural legacy

was finished in December 1817.

symbolise Macquarie’s creative financial

Macquarie was so pleased with it that he

initiative: in 1813 he solved a currency

This, the original lighthouse, was designed by architect Francis Greenway (1777-1837). Born near Bristol,

presented Greenway with conditional

shortage by purchasing Spanish silver

emancipation. Next November the

dollars and punching out the centres,

lighthouse was completed.

thus creating two new coins – the holey

However by the 1870s Macquarie Opposite page: Left: Unknown artist, Macquarie Tower, c. 1820, watercolour. Image courtesy Mitchell Library, State Library of NSW Right: Photographer unknown, Old (left) and new (right) lighthouses, c. 1884. Image courtesy NSW State Archives

dollar and the dump.

Tower was in a very poor state, and a

It is believed these two coins were

decision was made to replace it with a

placed beneath the foundation stone by

new – almost identical – lighthouse just

Governor Macquarie during the original

2.5 metres away. Construction began on

lighthouse’s foundation stone ceremony

the new lighthouse on 18 November

on 11 July 1816.

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Portrait of Governor Lachlan Macquarie, 1822, watercolour. Inscribed at bottom: ‘Finished from Life by Read Snr Feb’y 11 1822.’ Image courtesy State Library of NSW

Photographer unknown, A view of Old South Head Road, looking north towards outer South Head and the old and new lighthouses, c. 1884 (detail). Image courtesy NSW State Archives

Replacement tower Architectural drawings of the new tower by architect James Johnstone Barnet (1827-1904), show how his design was closely modelled on Greenway’s original design, with some reconfigurations inside to accommodate electric engines. This replacement Macquarie Lighthouse on South Head was one of several lighthouses Barnet designed. In his role as colonial architect, he was also

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architecture; his public buildings were well built and well designed and stand as a memorial to his ability. In 1899 he published the important Architectural Work in Sydney, New South Wales, 17881899. References to his life’s work are sprinkled throughout the Sydney Morning Herald during 1863-1904.

works at Port Jackson, Botany Bay and

Still popular today, the Macquarie

Newcastle, courthouses, lock-ups, police

Tower attracts many visitors and

stations and post offices throughout New

tourists eager to take in the

South Wales.

spectacular views of the harbour as

colony in 1854. Following his appointment as clerk of works at the University of Sydney, he joined the colonial architect in 1865, a position

James Barnet (1827-1904), c. 1888. National Library of Australia

important influence on colonial

Still an icon

Colonial Architect's Office and became

Francis Greenway (1777-1837), by unknown artist. Image courtesy State Library of NSW

architect for 25 years he had an

responsible for the building of defence

Born in Scotland, Barnet arrived in the Photographer unknown, Macquarie Lighthouse, Sydney (NSW), c.1883. Architect James Barnet is to the left of centre figure. Photographic Collection, State Records NSW

which he held until 1890. As colonial

well as explore this historic icon. Every two months, tours are held which depart between 10 am – 4 pm and take approximately 20 minutes.The next tour will be held in early 2014. More information at www.harbourtrust.gov.au/ visit/macquarie-lightstation

Macquarie Lighthouse elevation by James Barnet, June 1883. Courtesy Mitchell Library, State Library of NSW

EXCITING NEW COLLECTION OF QUALITY CASUAL FURNITURE BY PALECEK OF SAN FRANCISCO

In store late September Open Monday to Saturday 10am to 5pm Sunday 10.30am to 4pm

CHECK OUT OUR ONLINE SHOP FOR EASY SHOPPING CAN BE VIEWED ON OUR WEBSITES www.xxxxantiques.com.au www.xxxxantiques.net ONE OF THE LARGEST SUPPLIERS OF MOTORING ACCESSORIES IN AUSTRALIA For sale & in stock

Corner Elizabeth & Johnstone St, Castlemaine VIC 3450

Phone 03 5470 5989 Web www.xxxxantiques.com.au / www.xxxxantiques.net Email sales@xxxxantiques.com.au

OPEN 7 DAYS 9.30 am to 5 pm

Carriage

CLOCKS Designed for travel, nearly all carriage clocks were made in France during the 19th and early 20th centuries

Top: Gilt-bronze cannelee cased carriage clock, c.1895, makerâ&#x20AC;&#x2122;s mark suggests it might be Brunelot (Paris, France) with champlevĂŠ panels, eight-day time and strike movement. Courtesy www.sundialfarm.com Left: Gilt and silvered bronze carriage clock made by Francois-Arsene Margaine (Paris, France), c.1885, with enamelled panels. Margaine was a famous carriage clock maker and received numerous awards including a gold medal in 1900. Courtesy www.sundialfarm.com

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Left to right: Post World War II Swiss carriage clock; modern English carriage clock

LEIGH FIST

French striking carriage clock, c. 1870s

French carriage clock, early 20th century

clocks in any quantity was Paul

production of clocks where no part

Garnier (1801-1869) and other makers

of the case surface was without any

such as Boliviller, Auguste, Berolla,

decoration. They were all originally

efore the watch became

Jules and Lepine followed. By 1850

sold with a leather covered wooden

an accurate timekeeper,

carriage clock production was full

case for transport.

miniature clocks intended

steam ahead. Paris especially became

for travelling were made.

the production centre for carriage

Retailers

Through the 18th century travelling

clocks. All types of carriage clocks

became less strenuous and this

were made: simple timepieces,

resulted in a small market for so-

striking clocks, alarm clocks and

called coach watches. They were very

sometimes clocks with a calendar.

similar to a giant watch and although portable were too large to be carried

English makers

conveniently on the person but small

Through much of the Victorian period

enough to be transported by coach or

McCabe, Frodsham, Dent, Vulliamy,

boat. Some of them were especially

Barwise, Smith and Jump made

useful at night, since they were

carriage clocks. Their clocks were

equipped with repeating mechanisms.

usually larger, heavier and considerably

Travelling clocks before carriage clocks 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.

France the leader in carriage clock production

more expensive than those made in France. There are also a limited number of Swiss and Austrian carriage clocks.

Consumer demands The Industrial Revolution affected the lifestyle in the 19th century and the wealthy middle class demanded not only useful but decorative articles as

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.

well. By 1850 the plain gilt brass carriage clock had evolved into

In some instances makers kept a record of the

pieces of art with heavily engraved

clocks they made. The workbooks of Vulliamy

cases. There were cases with columns

of London have survived and famous Swiss

on the sides, as well as enamelling

born horologist Abraham-Louis Breguet left a

and other forms of ornamentation.

full record of what he made.

The first carriage clocks were made by

Some of these items were one of a

Abraham-Louis Breguet (1747-1823),

kind, especially designed for

undoubtedly one of the greatest clock

exhibitions or according to the

makers of all. His clocks were highly

request of an individual customer.

complex, superbly finished and

In the beginning the visibility of the

beautifully cased. This of course

movement through the glass was

made them very expensive and only a

appealing to customers, but later

small number were produced. The

clients preferred a multiplicity of

first maker who produced carriage

decorations and this led to the

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

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The continuing mystery of the

SPHINX AND MYCERINUS the pyramid building king

t a site in Israel’s Tel Hazor National Park, north of the Sea of Galilee, a team from the Hebrew University of Jerusalem’s Institute of Archaeology recently unearthed part of a unique Sphinx belonging to one of the ancient pyramid-building pharaohs. This piece of the granite sphinx statue includes the paws and some of the front legs of the mythical creature which consists of a lion’s body with a human head. The find is approximately 50 cm long, while the entire statue is estimated to have been 150 cm long and 50 cm high. Between its front legs is a hieroglyphic inscription which bears the name of the Egyptian king Mycerinus who ruled in the third millennium BCE – over 4,000 years ago. This king was one of the builders of the famous three Giza pyramids. Along with the king’s name, there are hieroglyphics which indicate that the Sphinx probably originated and was placed in a temple in the major city of Heliopolis – one of the oldest cities of ancient Egypt – which is located north of modern Cairo.

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Rare royal Sphinx piece As this statue base is from one of the only known Sphinx of this king discovered anywhere in the world – including Egypt – the find at Hazor is an important discovery. It is also the only piece of a royal Sphinx sculpture discovered in the entire Levant area (a term referring to the ancient area lying in the eastern part of the Mediterranean, nowadays covering Israel, Lebanon, part of Syria and western Jordan). Since there is no record of a relationship between Egypt and Israel during the 13th century BCE, it is highly unlikely that the Sphinx was brought to Hazor during the time of Mycerinus. It is more likely that the statue was brought to Israel in the second millennium BCE during the dynasty of the Hyksos kings, who originated from Canaan. At that time, it has been estimated that Hazor’s population was about 20,000 making it the largest and most important city in the region. Its size and strategic location on the route

connecting Egypt and Babylon made it ‘the head of all those kingdoms’ according to the biblical book of Joshua (Joshua 11:10). Hazor was rebuilt and fortified by King Solomon and prospered until its final destruction by the Assyrians in 732 BCE. However documents discovered there, as well as at sites in Egypt and Iraq, attest that Hazor maintained cultural and trade relations with both Egypt and Babylon. Excavations were initially carried out at Hazor in the 1950s and 1960s then again from 1990. In 23 seasons, the resumed excavations have uncovered more of the Hazor acropolis, which boasted temples, palaces and other public buildings, as well as parts of the lower city where the commoners lived. Covering some 200 acres, Hazor is the largest biblical-era site in Israel and has been recognised as a World Heritage Site by UNESCO.

Further reading http://www.biblicalarchaeology.org/daily/biblical-sites-places

MITCHELL ROAD ANTIQUE & DESIGN CENTRE

Upper Level 76 Mitchell Road, Alexandria NSW 2015 Open 7 days 10 am - 5 pm P: 02 9698 0907 I E: mitchellroadcentre@yahoo.com.au www.mitchellroad.wordpress.com

COLLECTING BENDIGO POTTERY the Dennis O’Hoy collection goes under the hammer at Lancaster Auctions Collection for education & shows

Colonial cheese cover decorated with thistle pattern

ennis O’Hoy was probably one of the first Bendigo Pottery collectors, states Gregory Hill in his book Excellence Of Ware. Bendigo Pottery Majolica 1879-1911 (2009). Hill further goes on to state that ‘Dennis curated an exhibition of Bendigo Pottery at Bendigo Art Gallery in 1989 and wrote an excellent accompanying catalogue.’ Born and educated in Bendigo, Dennis O’Hoy went to Melbourne to attend RMIT. However, as the ceramic qualifications he undertook required students to work in industry, he returned to Bendigo in 1959-1960, where he worked at the Bendigo Pottery, becoming involved with all aspects of its production line.

Historical items Through talking with the older employees, Dennis became aware of the pottery’s history and extensive production lines, and was able to purchase items made by them. Buried in the pottery’s waste heaps were numerous failed stoneware bottles made for cordial makers throughout Australia and New Zealand. As a result Dennis was to later contact past and current cordial makers, and in many cases was able to collect a whole range of stoneware and glass containers – his energetic start to collecting historical items.

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Whilst working at the Pottery, Dennis was employed to establish a ceramic course at the Bendigo School of Mines and was later seconded back to the Bendigo Technical College (BSM) in 1962 to implement the Diploma of Art (Pottery) course. The collection became integral as a reference tool as part of the History of Ceramics and Methods of Production courses. Dennis retired from La Trobe University (Bendigo Campus) in 1996 as Head of Visual Arts and Deputy Dean of the School Of Arts. In October 1971 the Australian Glass Manufacturers (AGM), in conjunction with the Sunday Australasian Newspapers, invited Dennis to Sydney to judge their Australia-wide competition for the most interesting collection of past glass containers. In 1972, with Don Smart and the Australian Bottle Collectors Review, Dennis organised the First National Bottle Collectors Show and Conference held in Bendigo. It was such a great success the Second National Show was held again in Bendigo 1973. These national shows have continued, the latest one, held in May 2013, attracting around 3,500 visitors.

Majolica glazed coffee pot

history – beginning with the arrival from China to the Bendigo gold fields in 1860 of his grandparents – Dennis has decided to downsize his vast and cherished collection. His collection of stoneware and glass bottles and related items is one of the best and largest ever offered. This sale of Bendigo Pottery and Australian ceramics affords an opportunity for the collector to acquire rare and significant historical items that took over 55 years to collect. Many have been documented in a number of well-regarded publications including those by Ken Arnold – such as Bendigo Pottery. A Selection of Wares from 1858-1990 (2013); and Paul Scholes’ Bendigo Pottery (1979). The sale of the Dennis O’Hoy Family Collection will be held on Saturday

Rare & significant pieces

12 April and Sunday 13 April 2014 at

In order to devote more time to the

the Kangaroo Flat Leisure Centre,

major project of writing his family

Browning Street, Bendigo Victoria.

Rare pipkin with impressed early anchor mark

Advertising inkwell/matchstriker

Early breadplate with transferred decoration

Water filter featuring the Australian coat of arms

44th Annual 2014

BALLARAT ANTIQUE FAIR Saturday 8 March 2014 to Monday 10 March 2014 from 10 am

EST G N O L S ’ IA AUSTRAL AND LARGEST RUNNING IQUE FAIR ANT

for your LIBRARY

Tiny Esveld (Contribution by Clémentine Diepen)

Art signed Gallé: A practical guide www.tinyesveld.com Belgium 2013 298 pp Hardcover

ollowing on from her earlier publication Glass made transparent: A practical guide to French art glass by Gallé, Daum and Schneider (2010), Tiny Esveld has, together with Clémentine Diepen, produced a substantial reference focussing solely on glass artist and furniture maker, Emile Gallé. More than a business entrepreneur, Emile Gallé was a visionary whose glass vessels were held to be works of art rather than functional utilitarian objects. There are many books dedicated to Gallé and his creative output and this latest offering adds a fresh perspective to the study and appreciation of his remarkable works. In addition, as an expert in antique glass, Esveld brings new insights. This beautifully illustrated book explores the artist in the context of both the times and the influences that shaped his life and how this impacted on his work. Importantly, it discusses the pivotal role Emile’s father, Charles Gallé, played in founding the successful manufacturing concern that went on to become the vehicle for his son’s artistic production. As well Esveld acknowledges Emile’s wife Henriette and their daughters in continuing the company’s production of ceramics,

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glass and furniture following Emile’s early death. Thus this research covers not only the pieces produced by Emile Gallé during his lifetime but also those produced in the 30 years after he died. Van Gogh Museum head curator of exhibitions, Edwin Becker, gives a short introduction highlighting how this ‘richly illustrated publication... (with) interesting information – and even useful advice for tourists – is a handsome reference book.’ Following this are chapters on Gallé’s birthplace – Nancy of the late 19th century – which sets the context, then on his areas of expertise – ceramics, glass, furniture, followed by two chapters which should be of particular interest to glass enthusiasts – The Collector and Counterfeits. Interestingly, the table of these contents is located at the back of the publication where one would have expected the (non-existent) index to be placed and as it has been translated from Dutch to English sometimes the wording isn’t exact, however this is only a small drawback that is made up for by the interesting asides and informative descriptions on techniques. Gallé’s work in glass is the major area of review. Renowned as one of the world’s greatest glass artists, his designs in this material were greatly influenced by nature, with its infinitely rich colours and textures, as well as by Impressionism and Persian art. The dragonfly was a favoured insect and Gallé used it to decorate many pieces, especially in the last years of his life – it represented the transience of life for him. The motif was used on painted ceramics and in all possible forms on his glassware – etched, enamelled and engraved. In fact the term ‘marquetry’, which refers to decorative elements embedded in the surface of the glass, was developed by Gallé who patented it in 1898. He was responsible for inspiring the imaginative use of many such glassmaking techniques, the term deriving from the technique used to decorate wood furniture, which was also a specialty of Gallé’s workshop. A swarm of marquetry dragonflies can be found on the back of the interior of some cabinets, and he also used insects as supports or as feet for cabinets and tables. In contrast to the colour in nature he also produced mourning vases – with black tears for example. It is clearly through such works that he was also

impressed by the writings of Romantic and Symbolist poets. A noted example is the major piece Les Hommes Noirs (The Dark Men) held by the Corning Museum of Glass – described but not illustrated here. A vase designed by Emile in collaboration with the painter and sculptor Victor Prouvé, to expose ‘fanaticism, hatred, lies, prejudice, and hypocrisy’ he wrote. Referencing the wrongful conviction of French Jewish military officer Alfred Dreyfus (1859-1935), the vase as pointed out by Tina Oldknow, curator of modern glass at the Corning Museum of Glass – goes beyond the concept of a vase as a decorative vessel, and like other powerful works of art it inspires thought and discussion and noble ideas; its themes of false imprisonment, ethnic profiling and political cover-up are still meaningful, resonating across time and place. Art signed Gallé: A practical guide is informative and essential reading for anyone who collects glass as well as those with an interest in ceramics and furniture.

Marcus Flacks Classical Chinese Furniture The Vendome Press New York NY USA 2012 278 pp Hardcover

eviewing outstanding examples of Chinese furniture from the 16th to 18th centuries, this lovely coffee table sized book teaches what to look at and appreciate in terms of skill as well as being an excellent reference in construction details. As a dealer and collector, Flacks has been one of the forces behind the promotion and illumination of Chinese furniture over the past

20 years. Indeed the introductory chapters cover the trends in its collection as well as a brief history of Chinese furniture. He also explains, in simple, clear terms why something is rare. With the furniture he has chosen to feature, the author has aimed ‘to include pieces that have that extra something and push the barriers of design, material and craftsmanship’. The presentation of 52 masterpieces is accompanied by detailed descriptions. These are addressed within four main furniture types – the chapters covering chairs, stools, cabinets and shelves, and tables. The many large and impressive colour photographs of the items as well as their details are crisp and clear on a white background; these are occasionally accompanied by an artfully placed vase or other object and the text is featured only on the left hand pages, which maintains the images as the heroes of this beautifully presented publication. As well as the photos, seven delightful

illustrations on paper are included, created by contemporary Chinese artists and rendered in pencil or ink, with a pretty watercolour also featured, opposite the Artist Index. Created by another artist, and also a very useful tool for collectors, is the sculpture of the Map of Timbers presented as a photo of the Origins of Timbers – a wooden puzzle map of China highlighting its regions (plus brief pointers to other countries) which are important to furniture. Included in this most interesting reference section which would be of relevance to Chinese furniture enthusiasts, is the photo index of materials, consisting of 16 clear colour images of different woods. Following that is a photo index of all the photographs in the book which saves flipping through the entire publication, making it easier to locate an item within the book. The examples of restoration shown in Appendix 1 are very clearly depicted and instructive, the restored pieces highlighted

in colour within black and white photos, while the examples in the Original Condition appendix with the final version, which are shown in colour photos, are also well worth noting. A charming rendition of scale is used to illustrate the size of popular Chinese furniture pieces in The Relative Sizes appendix which features photos of the furniture compared to Le Corbusier’s Modulor as well as the regular 108 cm and 175 cm measurements. Another appendix on joinery cleverly illustrates the complexity and precision of the major systems of joinery used in classical Chinese furniture and developed by Chinese carpenters over several centuries. The black and white photos in this section effectively show the details. An essential volume for collector and experts, Classical Chinese Furniture would also appeal to anyone interested in furniture, design, Asian culture and aesthetics or those who are simply fascinated by the beauty of the pieces themselves.

ANTIQUE TOY WORLD 15 COOKSON STREET, CAMBERWELL 3124

www.antiquetoyworld.com.au Ph: 03 9882 9997 BUYING AND SELLING QUALITY OLD TOYS Contact: Peter Cozens • Mobile 0419 513 290 MAIL ORDER WELCOME

Paul Cholewinski

Technofix Motorcycle Racer c.1952 c/w $350

Floral Embossed China Featuring Carlton Ware - Royal Winton - Shorter and Son at

Camberwell Antique Centre Dinky 941 Foden Mobilgas Tanker c.1956 $750

25-29 Cookson St, Camberwell VIC 3124 Ph: 03 9882 2028 also trading from

Ringwood Antique Market Hornby LMS Tank Loco c.1927 c/w $350

Minic Carter Paterson Van c.1950s c/w $375

182 Mt Dandenong Road, Ringwood VIC 3134 Phone: 03 9879 1686 Mobile: 0412 333 368 paul.cholewinsk@optusnet.com.au

AUSTRALIA’S LARGEST RANGE OF VINTAGE TIN TOYS, DIECAST, TRAINS AND TOY REFERENCE BOOKS

CollectablesTrader 73

setting a new

standard

CLOS IN DOWN G SALE! ! Late Victorian hand blown and enamelled green glass ewer with applied clear glass handle, c. 1895

Superb 19th century light from France with wrought iron frame, leadlight shades, brass reservoirs and Hinks patent duplex oil burners, c. 1887

French oak oval extension table, superb detailed carving on a four footed central pedestal, h: 72 cm l: 127 cm w: 108 cm

Royal Worcester figurines â&#x20AC;&#x2DC;Water Carriersâ&#x20AC;&#x2122;, modelled by James Hadley, c. 1898, Female h: 23 cm Male h: 25 cm

Bohemian malachite glass vase decorated in deep relief with maidens beneath grape vines, c. 1930s

French Louis XV style two tier floral marquetry pedestal table with brass mounts, h: 75 cm w: 50 cm

Three piece lounge suite, immaculate original upholstery, gold gilded timber framework consisting of 3 seater settee and 2 armchairs

French Louis XV style night stand, rouge marble top fitted with one drawer and unusual curved marble interior cupboard, h: 85 cm w: 43 cm d: 37 cm Stunning French Louis XVI style buffet, white and grey marble top, inlaid walnut and burr walnut with bevelled back mirror and brass ormolu mounts, h: 208 cm w: 149 cm d: 55 cm

Fine set of five French Louis XV oak chairs with caned backs and seats

French Brittany style oak hall bench with storage, h: 99 cm w: 106 cm

Porcelain, Glass, Lighting, Metalworks, Prints, Victorian, Edwardian & French Furniture, Ephemera, Watches, Statuary

Ivory carved figurine on a carved timber stand

Lovely French terracotta figure, signed ‘T. Bess’, 27 x 26 cm Tufted back easy chair in rosewood, newly upholstered Antique French buffet in rosewood on oak with rouge marble top, h: 95.6 cm w: 122 cm d: 60 cm

LET’SEAL! AD TALKEASONABLE

French Louis XV style carved armchairs set on cabriole legs

Exquisite cobalt blue glass lined jewel box with key gilt finished with enamelling and porcelain floral decoration in relief

NO R

OFFER SED REFU

English silver plated writing desk set with figural ruby glass vase, c. 1880

Oversized Italian decorative charger signed ‘Pasquali Cappelli Napoli’, h: 500 cm

Faux bamboo shaving stand

Noel Jack Counihan (1913-1986), Untitled (nude study), charcoal on paper, 26.4 x 29.5 cm

Italian walnut coffer, c. 1880s

French antique ladder back carvers with rush seats

Fine French 19th century walnut keyhole desk set on carved cabriole legs fitted with four drawers and brass ormolu escutcheons, h: 76 cm l: 150 cm d: 86 cm

Large French walnut Louis XV style bookcase bevelled glass to doors with adjustable shelves, h: 185 cm w: 132 cm

Silver, Ceramics, Advertising, Clocks, Kitchenalia, Bakelite, Perfume Bottles, Oriental, Costume Jewellery, Cruet Sets

LIMITED FLOOR SPACE / CABINETS AVAILABLE. CONTACT DENISE 02 9550 5554 212–220 Parramatta Rd, Camperdown NSW 2050 Phone 61 2 9550 5554 Fax 61 2 9550 4990 www.camperdownmewsantiques.com Open 7 days 10 am–6 pm Off-street parking

WE BUY, SELL, HIRE AND TRADE

noticeBOARD recognised as such by WJ Harvey, but unlike some of the better known names, she failed to promote herself, or produce This makes her works all the more

John Shelton clock for Canberra

special – and rare. Visit

Martyn Cook Antiques, now in

http//:exhibitions.circa1785.com/clem

Rushcutters Bay, Sydney, has arranged

for more discussions, full illustrations of

for a highly important clock by John

Restoration work to the Ipswich Art

each piece, and a page of other

Shelton to be part of Mapping Our

Gallery’s Freeman and Hooper

examples of Clem’s work where you can

World: Terra Incognita to Australia at the

Galleries has being undertaken as

submit your own examples if you are

National Library of Australia running

part of continual improvement works

lucky enough to have any.

until 10 March 2014. It is a sister clock

on a commercial scale for retail sale.

Heritage work in Ipswich

to the heritage-listed building. The

to the regulator Lieutenant James Cook

galleries re-opened on 15 November.

took on the Resolution. It was made in

Digital access to Indigenous culture

about 1769 and needed a tripod stand to steady it.

Perth-based not-for-profit cultural organisation FORM has created digital access to a vast collection of content from the multi-award-winning Canning Stock route project through two platforms: a rich archive of nearly 40,000 unique items of Indigenous cultural content, and a storytelling app for iPhone, iPad and web: www.canningstockrouteproject.com

Jane Austen and Regency inspired dec arts The bicentenary of Jane Austen’s masterpiece Pride & Prejudice, published in 1813, is the inspiration of London’s Decorative Antiques & Textiles Fair’s planned display of two Regency interior styles the author would have been familiar with. One is after Mansfield Park, the other

Why is Clem important? Moorabool Antique Galleries www.moorabool.com has been researching the work of Harvey School potter Isabella Clementina Ainslie and has put together a publication and catalogue of this underrated Australian artist. The Harvey School ran for several

based on her cottage in Chawton, Hampshire. The fair, being held in January 2014, is organising the displays from participating dealers’ stock and will highlight Regency influences seen in contemporary furnishings and wallpapers.

Wallpaper fashion in Regency England

decades, and in that time had a large

Grey was a very popular colour for

number of students pass through. These

wallpaper (which was expensive) as it

were of vastly differing ability. Clem

served to disguise discoloration from

belongs to highly skilled, and was

candle and wood smoke.

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Library inventory updated Volunteers have been busy working in the Johnston Collection Reference Library undertaking an inventory of the books and periodicals on the shelves and getting the library collection into good shape. The Library is open to the public by appointment.

Sydney Opera House’s founding days on film David Moore (1927-2003), one of Australia’s leading photojournalists, renowned for his ability to capture and document art forms and human life meticulously documented the construction of Sydney’s Opera House from 1962 to 1973 on black and white film. Celebrating 4 decades since its creation, the posthumous

exhibition of Moore’s pictures is on

back on a froth of cream tulle, their

show for free at Customs House until

feathers black accented with white

26 January 2014.

evoking a half-mourning palette. The hundreds of yards of gathered silk netting were tea-dyed; the frayed edges blur one tier into another, allowing the black lace overlays to stand out. The gown took some seven months to create. Modern Love @ Bendigo Art Gallery until 2 February www.modernlovebendigo.com

Forward planning

A very public memorial in Hyde Park South The City of Sydney has commissioned artwork to be installed in Hyde Park South by Anzac Day 2015, to mark the centenary of Australia’s involvement in World War I. It will also be a lasting reminder of the contribution Aboriginal and Torres Strait Islander peoples make – and continue to make – to Australia’s protection. Aboriginal and Torres Strait Islander peoples have served Australia in

Bendigo Rotary is organised for

the military from before the Boer War to

2014. They have in train their annual

the present, but it may never be known

Easter Art Show & Sales booked in

how many officially served as ethnicity

to the Bendigo Town Hall. Running

was never required to be documented.

from 18 to 21 April, the show promises to showcase more than 700 works of art by local and interstate artists. Monies raised are directed to Rotary charities.

David Tulloch, Golden Point, Ballarat, 1851. Kerry Stokes Collection

For more information contact brianfigg@hotmail.com / 0428 133 384. Coinciding with the art fair is the Bendigo Easter Antique Fair being held at Kangaroo Flat Leisure Centre. This annual event starts on Easter Saturday, 19 April going through to 21 April, finishing at 4 pm. For more details contact Robert Dennis on 0414 248 120.

Some of the world’s most influential fashion designers are in Bendigo A stunning finale to this diverse exhibition is the couture evening dress by Alexander McQueen. The focal points are the two peacocks silhouetted in the front and in the

Scottish heritage in all its forms

Nostalgic value in Apple

Auld Lang Syne: Images of Scottish

surpassed all expectations when it

Australia from First Fleet to

sold for US$693,000 and in November

Federation at Art Gallery of

another Apple 1 was offered for sale by

Ballarat (12 April-27 July 2014) will

Cologne based Auction TeamBreker with

trace the extraordinary story of

its original white cardboard box. The

Scottish Australia through rich visual

unit, numbered ‘46’, comes from the

heritage in all its forms drawn from

first batch of 50 computers by Apple’s

objects and artworks sourced from

first client, the Byte Shop. It sold

national, state and regional collections

for US$330,000, including tax

and from private collectors. It will

and premium.

also be an opportunity to relish the

Prices realised for iconic modern-day collectables

rich imagery generated by the Victorian vogue for things Scottish. There will be a comprehensive calendar of public programs including bagpipe performances, highland dancing, Scottish country dancing, spoken word and musical presentations, an event to commemorate the 700th anniversary of the Battle of Bannockburn and a Research Your Scottish Ancestors Day. For more information go to www.forauldlangsyne.com.au or www.artgalleryofballarat.com.au

In May 2013 a 1976 original unit

Auction TeamBreker also sold the first issue of Action Comics magazine from 1938 for US$2,890,000 and the world’s most expensive Barbie doll. The 1999 Barbie by Stefano Canturi sold for US$302,500.

branch in early December was an autographed Fist of Fury brochure

International Bible museum for Washington, D.C.

signed to his student and co-star Bob Baker with an estimate of HK$20,000-30,000. His 1972 Game

Yet to be named and slated for

of Death jumpsuit, had an estimate of

opening in 2017, the museum will

HK$250,000-300,000. Also up for

seek to partner with Israeli museums

sale from the same film was his

historic Railway Station and aims to

and others around the world to ‘share

Nunchaku – one of the most iconic

collect local family history, relics and

the history, story, and impact of

martial arts weapons of all time

items of historical significance. Among

Jewish and Christian texts’. It is an

estimated at HK$200,000-300,000.

the collection is a display of a 1800s

initiative of Steven Green who holds the world’s largest private collection of rare biblical texts and artefacts that will be donated to the upcoming museum. This is an investment in the hundreds of millions of dollars to preserve and share the history, story and impact of the Jewish and Christian texts. Currently, a number of ancient manuscripts and artefacts from the Green Collection are on loan as part of an exhibit entitled Book of Books at Jerusalem’s Bible Lands Museum.

kitchen from Gilgione Station and

Affordable couture

California Café artefacts. In 1939 Jack

It is not unusual to

Vanges refurbished the café in the

pay a hefty price

typical 1930s American style. Recorded

for vintage

for posterity is a photograph taken by

Christian Dior

Frank Hurley of the interior with Jack

couture but a

Vanges behind the bar.

sleeveless version

Improve your knowledge

of a little black

The Victorian chapter of the AAADA

cocktail dress with

is holding it’s annual Autumn/Winter

a jewel neckline

lecture series in April and May. A

and a Gripoix self

great opportunity to hone your

belt from the 1968

collecting skills through these

Automne-Hiver

practical workshops. To find out more

collection was

phone 0401 995 501 or book online at

offered for sale by

www.aaada.org.au

USA based auction house Leslie Hindmarsh Auctioneers in early December with an estimate of US$700-900.

The Man, the Legend: the Bruce Lee 40th Anniversary Collection

Preserving local history The Nyngan Museum was established by the local community after the Bogan River flood of 1990

Among the iconic film memorabilia

destroyed the majority of the town’s

on offer by Spink’s Hong Kong

history. The museum is set up in the

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TRADER ceramics Porcelain candlestick by Metzler and Ortloff (Germany) c. 1930

Porcelain figurine by V.E.B. Schaubach Kunst Lichte-Wallendorf (Germany) c.1963-c. 1970, h: 13 cm $95 Upstairs Downstairs Nairne SA 08 8388 6167

h: 15 cm; 8199 impressed on base $195 Upstairs Downstairs Nairne SA 08 8388 6167

Beswick Friesian cow ‘Claybury Leegwater’ designed by Arthur Gredington1954, pattern no 1362A, l: 18 cm $195 Junction Box Antiques Neerim Junction VIC 03 5628 4144

Shelley Queen Anne trio c. 1930, handcoloured enamels over the black glaze transfer, pattern no. 11505 $125 Collectors’ Cottage Newcastle NSW

Carlton Ware teacup and saucer c. 1955, foxglove pattern $69 Yande Meannjin Antiques Narangba QLD 07 3886 6037

Shelley child’s plate designed by Mabel Lucie Attwell c. 1930, diam: 20 cm $95 Flawed and Fabulous Maitland NSW 02 4934 5799

02 4389 1922

Royal Doulton series ware ‘Orlando’ pattern dish c. 1930, l: 19.5cm $95 Aggie’s Attic Newcastle NSW 02 4926 4547

Vase made in Japan c. 1950, h: 14.5 cm, original sticker to base $125 Aggie’s Attic Newcastle NSW 02 4926 4547

Carlton Ware Cottage Ware teapot c. 1950, foxglove pattern $195 Yande Meannjin Antiques Narangba QLD 07 3886 6037

To see more dealer items for sale, visit www.AntiquesPlus.com.au, managed by John Furphy Pty Ltd who also publishes Carter’s Price Guides to Antiques and Collectables, now online at www.carters.com.au

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Capo di Monte porcelain figure group handpainted, impressed marks crowned N, no 55 incised R, 13 x 20 cm $425 Collectors’ Cottage Newcastle NSW 02 4926 4547

Shelley souvenir ware made for Australia c. 1950, hand coloured egg cup decorated with scene of Jenolan Caves $38 Collectors’ Cottage Newcastle NSW 02 4926 4547

Art Deco German made flapper half doll or pin cushion doll c. 1920s, hand painted porcelain, h: 5 cm $175 Collectors' Cottage Newcastle NSW 02 4926 4547

Japanese Imari vase c. 1920, hand painted, h: 21 cm $350 Tyabb Antique Centre Tyabb VIC 03 5977 4245

Royal Albert china coffee pot in American Beauty pattern c. 1980 $145 Yande Meannjin Antiques Narangba QLD 07 3886 6037

Pair Japanese Meiji period vases c. 1890, bronze, h: 19 cm each $495 pair Roy’s Antiques Pty Ltd Fitzroy North VIC 03 9489 8467

Figurine by Charles Lemanceau (French 1905-1980) c. 1930, craquelure finish $675 Nostalgia Antiques Pty Ltd Thornbury VIC 03 9480 3745

Royal Doulton figurine ‘The Sorceress’ designed by Alan Maslankowski c. 2000, HN4253, h: 24 cm $595 Roundabout Antiques Toowoomba QLD 07 4632 8805

Beswick 9 piece pottery coffee set c. 1970 $150 Antique Effects Ballarat VIC 03 5331 3119

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Japanese Meiji period figurine of tiger c. 1900, bronze on original wooden base, signed, l: 53 cm $2450 Heidelberg Road Vintage Bazaar Alphington VIC 03 9497 4000

Royal Doulton figurine ‘Jack Point’ HN2080, designed by Charles Noke c. 1970, h: 41 cm $3950 Roundabout Antiques Toowoomba QLD 07 4632 8805

Royal Doulton Kingsware McCallums whisky jug, c. 1930, h: 16.5 cm $1950 Yande Meannjin Antiques Narangba QLD 07 3886 6037

Royal Worcester pot pourri hand painted by Ayrton with date letter code for 1953, h: 25.4 cm $1950 Yande Meannjin Antiques Narangba QLD 07 3886 6037

Shorter and Sons milk jug decorated with hand painted blackberry design, h:14 cm $23 Flawed and Fabulous Maitland NSW 02 4934 5799

Royal Doulton figurine, ‘King Charles’ HN2084, designed by Charles Noke and H Tittensor c. 1980, h: 41 cm $2500 Roundabout Antiques Toowoomba QLD 07 4632 8805

Royal Doulton figurine, ‘Richard the Lionheart’ HN3675, designed by Pauline Parsons c. 1995, h: 26 cm $775 Roundabout Antiques Toowoomba QLD 07 4632 8805

Bing & Grondahl figurine 1952-1957, 4 x 9 cm $95 Nostalgia Antiques Pty Ltd Thornbury VIC 03 9480 3745

John Castle Harris vase c. 1940, 21 x 14 cm, inscribed signature to base $1950 Yande Meannjin Antiques Narangba QLD 07 3886 6037

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lighting English 1930s ceiling light 3 chain suspension fittings and shade re-wired ready to hang $425 Prism Original Lighting Pty Ltd Ashburton VIC 03 9885 8762

Czechoslovakian 1930s cream marbled glass ceiling light with 3 chain suspension fittings re-wired and ready to hang $425 Prism Original Lighting Pty Ltd Ashburton VIC 03 9885 8762

Barsony table lamp c. 1950 with original shade, part of original sticker, incised H4, 61 x 18 cm $750 Aggieâ&#x20AC;&#x2122;s Attic Newcastle NSW 02 4926 4547

Pair of French lights with three chain suspensions c. 1930, rewired, diam: 50 cm drop 90 cm $900 Seanic Antiques Newport VIC 03 9391 6134

Chandelier made Columbia USA c. 1930, h: 50 cm, original condition complete with 5 amber coloured slip shades. Needs to be wired and installed by an electrician $400 Junction Box Antiques Neerim Junction VIC 03 5628 4144

French chrome Art Deco 4 arm ceiling light, c. 1940, green and chrome shades, cleaned and professionally rewired $1250 Nostalgia Antiques Pty Ltd Thornbury VIC 03 9480 3745

Brass desk lamp made by Verdelite (Columbia USA) c. 1920s,original green slag glass panelled shade, fully re-wired $1250 Prism Original Lighting Pty Ltd Ashburton VIC 03 9885 8762

To see more dealer items for sale, visit www.AntiquesPlus.com.au, managed by John Furphy Pty Ltd who also publishes Carterâ&#x20AC;&#x2122;s Price Guides to Antiques and Collectables, now online at www.carters.com.au

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furniture Danish leather sofa designed by Mogens Hansen c. 1960, 78 x 194 x 80 cm $1850 Modern History Burnley VIC 0414 151 829

William IV mahogany child’s cradle c. 1835, 75 x 98 x 64 cm $1250 The Woodshed Antiques Ballarat VIC 03 5333 2613

English mahogany gentleman's chair c. 1870, with button back upholstery, on castors $895 Tyabb Antique Centre Tyabb VIC 03 5977 4245

Colonial cedar fire surround c. 1860s, sourced from mid 19th century house in Ballarat, features Georgian style bullseye motifs, 132 x 158 cm x 20 cm $650 Antique Effects Ballarat VIC 03 5331 3119

Games table c. 1910, alternating rosewood and blackwood squares, bird’s eye maple banded perimeter, moulded apron, square tapering legs, cross-stretcher base and lower tier, 77 x 45.5 x 45 cm $845 Furniture Revival Hawthorn VIC

Victorian cedar 2 door wardrobe c. 1880, 206 x 148 x 62 cm $1850 Antique Effects Ballarat VIC 03 5331 3119

Pair of Tessa T21 swivel chairs and matching ottoman c. 1990, original leather upholstery $2350 T21 Tyabb VIC 0431 193 139

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Tasmanian blackwood bedside cupboard c. 1935, original handles, 91 x 59 x 46 cm $395 New Norfolk Antiques New Norfolk TAS 03 6261 1636

Saucer chair made in Hong Kong c. 1970, woven plastic body set on a steel frame, label on base, 76 x 76 x 66 cm $145 Antique Effects Ballarat VIC 03 5331 3119

Foy and Gibson travel trunk c. 1950, fitted with a mock crocodile interior, 48 x 69 x 37 cm $175 Nostalgia Antiques Pty Ltd Thornbury VIC 03 9480 3745

Georgian trunk c. 1830, leather, brass studded and mounted, camphorwood lining, 31 x 73 x 39 cm $795 Page Antiques Canterbury VIC 03 9880 7433

English Adam style flame mahogany wine table, c. 1930, 43 x 53 cm $595 Seanic Antiques Newport VIC 03 9391 6134

Australian cedar serpentine front chest of drawers c. 1880, 137 x 113 x 52 cm $1950 Tyabb Antique Centre Tyabb VIC 03 5977 4245

French provincial oak 2 door cabinet c. 1950, set on cabriole legs fitted with interior shelf above a full-width drawer, 86 x 89 x 44 cm $475 Nostalgia Antiques Pty Ltd Thornbury VIC 03 9480 3745

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miscellaneous Decanter with original stopper made in Hong Kong c. 1960, silver fittings, h: 20 cm $565 Heidelberg Road Vintage Bazaar Alphington VIC 03 9497 4000

Victorian cameo brooch c. 1880, shell set in a gold leaf and vine mount, $850 Yande Meannjin Antiques Narangba QLD 07 3886 6037

Writing set made in England c. 1890-1900, original leather case, 22 x 8 cm, housing dip pen-letter opener, personal seal, quill sharpener / knife. Retailed in Seville, Spain $475 Stephen Cole Antiques Newcastle NSW 02 4929 3115

Italian pietra dura bracelet c. 1800, comprising five floral plaques each plaque housed in a silver frame $470 Purple Pepper Antiques and Art Brisbane QLD 0403 438 964

Pocket watch by Chapel Fields Watchmakers â&#x20AC;&#x201C; Philanthropic Institute, sterling silver case hallmarked for Chester 1889, with key, 6 x 4.5 cm $350 Stephen Cole Antiques Newcastle NSW 02 4929 3115

English games compendium c. 1900, mahogany case with original key, games books; 4 inlaid wooden whist markers, ebony and boxwood chess checkers backgammon set, bone and ebony dominoes set, etc, 40 x 22 x 8 cm $625 Stephen Cole Antiques Newcastle NSW 02 4929 3115

sterling silver Sterling silver photo frame hallmarked Birmingham 1900, 11 x 8 cm $195 Purple Pepper Antiques and Art Brisbane QLD 0403 438 964

ADVERTISING RATES 1/4 page colour $270 1/2 page colour $456.50 Full page colour $830

Sterling silver photo frame hallmarked Birmingham 1917, 12.5 x 12.5 cm $255 Purple Pepper Antiques and Art Brisbane QLD 0403 438 964

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TRADER photography

3 2

1 Sunbaker, 1937 2 Moonflower, 1982 3 Interior Elizabeth Bay House, 1978 4 At Toowoon Bay, 1985 5 Blue Gum Forest, c. 1940

Girard Perregaux 9 ct white gold stainless steel case back 17 jewel $2750 Brasac Enterprises 02 9389 2919

International Watch Company 18 ct gold, c. 1970, $3950 Brasac Enterprises 02 9389 2919

One of a set of five framed photographs making up a portfolio illustrating Max Dupainâ&#x20AC;&#x2122;s versatile approach to a broad range of subjects. They were selected by him for this set of limited edition prints published for the Royal Blind Society and were among his personal favourites. These were produced in the late 1980s. Set of five framed $2,500. Individual $600 each. Brasac Enterprises, 02 9389 2919

Gerrard Perregaux gyromatic, original band, c. 1960 $1295 Brasac Enterprises 02 9389 2919

Longines Admiral 10 ct gold filled, c. 1965 $2295 Brasac Enterprises 02 9389 2919 Gold diamond and jade stick pin $3750 Brasac Enterprises 02 9389 2919 24 Jewel VGOC 31198614 case 168018, 18 ct gold Omega Constellation c. 1971 $3800 Brasac Enterprises 02 9389 2919

Omega Seamaster 14 ct c. 1960s $1895 Brasac Enterprises 02 9389 2919

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David Freeman knows... David Freeman Antique Valuations is Melbourneâ&#x20AC;&#x2122;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.

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