2024 AAADA Antiques & Art Fair Melbourne Catalogue

WELCOME

Step into elegance at the AAADA Antiques & Art Fair Melbourne in the iconic Malvern Town Hall, where a carefully curated array of furniture, rugs, ceramics, glass, paintings and jewellery awaits your exploration.

Join us for a celebration of history and artistry, as AAADA members, recognised industry leaders, converge with renowned dealers from across Australia. Their commitment to the AAADA Code of Practice ensures a collection of the finest pieces, instilling confidence in your acquisitions.

We are privileged to bring to you this catalogue featuring exceptional pieces of antiques & art which our exhibitors will be bringing to the fair. Along with items from our exhibitors, you will also find interesting articles, a directory of our members and service providers, and a directory of the fair.

While at the Fair, you can engage in a unique experience that transcends a typical exhibition. Explore timeless treasures, make informed purchases, and revel in the allure of antiques and art. Highlights include unwinding with Scotchmans Hill Evening Drinks, enjoying a complimentary glass of wine amid captivating antiques during twilight, and partaking in insightful tours and free expert appraisals. Elevate your Antiques & Art Fair experience, gaining insights into the value and stories behind the items.

We also take this opportunity to announce an exciting new partnership with The Johnston Collection (TJC), the award-winning house museum located in leafy East Melbourne at the historic 1860s townhouse, Fairhall. As one of our guests at this year's fair, along with guest curator Vincent Jenden, we invite you to stop by their stand and learn about the collection and how antiques can be a part of your home.

In the meantime, enjoy this catalogue, and we look forward to seeing you at Malvern Town Hall from 18th to 21st April 2024.

Andrew Simpson

President

Australian Antique & Art Dealers Association

The Australian Antique & Art Dealers Association

PO Box 294 I Apollo Bay VIC 3233

T: 0498 059 661 I E: info@aaada.org.au

AAADA.ORG.AU

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CONTENTS

FAIR INFORMATION

FAIR MAP

EXHIBITORS

CODE OF PRACTICE - MEMBER & SERVICE PROVIDERS

AAADA PARTNERS WITH THE JOHNSTON COLLECTION

A FOCUS ON COLOURED STONES

MAXIMALISM & THE DECLUTTERING TREND

AND IN FRONT THE LANCERS RODE THAT NEW SOUTH WALES HAD SENT

CHUAH THEAN TENG 1914 - 2008

A VERY EARLY DEPICTION OF FRENCH EXPLORERS IN THE VIRGIN EQUATORIAL LANDSCAPE OF ISLAND MELANESIA

CERAMIC COLLECTORS SOCIETY

KING ALBERT’S ‘BIRTHDAY BOOK’, 1915

A PRESENTATION CASKET WITH CARVINGS BY JOHN K. BLOGG, 1915

TASMANIAN ABORIGINAL (PAKANA) SHELL NECKLACES

FRANK HYAMS THE NEW ZEALAND WATCHMAKER & JEWELLER - GREENSTONE CANDLESTICKS

HYAKUMANTŌ DHĀRAṆĪ (百万塔陀羅尼 : THE EARLIEST RELIABLY DATABLE PRINTED TEXT

ENGLISH SILVER FOR WRITING

AAADA EMPORIUM

DIRECTORY OF MEMBERS & SERVICE PROVIDERS

ABOUT THE AAADA

The Australian Antique & Art Dealers Association is the leading industry body representing Antique and Fine Art dealers in Australia. Our members operate well established businesses, are respected for their expertise in their chosen fields, and continually seek to expand that knowledge. The AAADA is consulted by Government Agencies and Collectors Societies on all matters relating to Antiques and the Fine Arts. AAADA members offer professional advice and a commitment to advancing the understanding of Antiques and Fine Arts in the Australian community.

VENUE

Malvern Town Hall

1251 High Street

Malvern VIC 3144 (Cnr Glenferrie Road)

OPENING HOURS

OPENING PREVIEW

Thursday 18 April 4:00pm to 8:00pm with Scotchmans Hill

GENERAL ADMISSION

Friday 19 April 10:00am to 6:00pm

Saturday 20 April 10:00am to 6:00pm

Sunday 21 April 10:00am to 4:00pm

CAFE

Friday 19 April 10:00am to 5:00pm

Saturday 20 April 10:00am to 5:00pm

Sunday 21 April 10:00am to 3:00pm

SCOTCHMANS HILL EVENING DRINKS

Friday 19 April 4:00pm to 6:00pm

Saturday 20 April 4:00pm to 6:00pm

GETTING TO THE FAIR

We encourage attendees to be environmentally conscious when making travel arrangements.

PARKING

Limited parking is available at Malvern Town Hall and in the surrounding streets.

PUBLIC TRANSPORT

Plan your public transport journey at PTV Journey Planner.

RIDESHARE

There is a drop off point for rideshare vehicles outside The Malvern Town Hall entrance.

TICKETS

OPENING PREVIEW

Access the opening night Preview on Thursday 18 April, and all sessions between Friday 19 and Sunday 21 April.

Return entry tickets available upon exit.

Opening Preview: $50*

*$40 Early bird tickets available now

GENERAL ADMISSION

Adult: $20

Concession: $15

Child (under 18): FREE

Return entry tickets available upon exit.

Tickets available online or at the door.

Although tickets are allocated to a particular date, they are also valid for any general admission day

FAIR INFORMATION

WHAT'SON OPENINGPREVIEW

Browsethefair,whileenjoyinglight refreshmentsandwinesfromScotchmansHill.

Thisexclusiveeventgivesyoutheopportunity tobethefirsttovieworbuythefinestworks ofart,antiques,designandjewellery;from antiquitytocontemporary Thisspecialevening isahighlightofthe2024AAADAAntiques&Art FairMelbourne.

Thursday 18 April 4:00to8:00pm

OpeningPreview$50 Early bird tickets available now

> Secure your ticket to the Opening Preview here

SCOTCHMANS HILL EVENING DRINKS

Enhance your visit by timing it with the Scotchmans Hill Evening Drinks, a unique opportunity to enjoy a complimentary glass of wine while perusing the fair. Take in the twilight hours of the weekend surrounded by antiques and art in the stunning Malvern Town Hall.

Friday 19 April 4:00pm to 6:00pm  Saturday 20 April 4:00pm to 6:00pm

APPRAISALS

Come to the front desk with your item or a photo and we’ll match you with the right expert for your appraisal, taking you over to their stand to talk about your item and it’s history.

Friday 19 April 3:00pm to 4:00pm

Saturday 20 April 3:00pm to 4:00pm

Sunday 21 April 1:00 to 2:00pm

TOURS

TOUR1- MARKHOWARD- Start at Stand 7

Friday 19 April 11:00amto11:30am

Saturday 20 April 11:00amto11:30am Sunday 21 April 11:00amto11:30am

TOUR2-JOHNHAWKINS- Start at Stand 3

Friday 19 April 1:00pmto1:30pm

Saturday 20 April 1:00pmto1:30pm Sunday 21 April 1:00pmto1:30pm

TOUR3-ANDREWDIXON- Start at Stand 22

Friday 19 April 4:30pm-5:00pm

Saturday 20 April 4:30pm-5:00pm

WIN$1,000

BuyyourticketsonlineforachancetoWIN $1,000tospendattheAAADAAntiques&Art FairMelbournewhereaAAADArepresentative willtakeyouaroundthefairprovidingyouwith guidanceasyoubrowse.

Alladmissionticketspurchasedonlineare automaticallyentered.Foreligibilitycheckour TermsandConditions.

Entriesclose5pmonthe17thofApril2024 (AEST)

AAADA ANTIQUES & ART FAIR MELBOURNE

TOURS

JOHN

ANDREW DIXON

START AT STAND 22

FRIDAY 19 APRIL 4:30 - 5:00PM

SATURDAY 20 APRIL 4:30 - 5:00PM

SCOTCHMANS HILL EVENING DRINKS

COMPLIMENTARY COPIES OF AUSTRALIAN COUNTRY MAGAZINE AVAILABLE AT THE ENTRANCE UNTIL THEY RUN OUT

TIME YOUR VISIT TO THE FAIR FOR THE SCOTCHMANS HILL EVENING DRINKS, WHERE YOU WILL BE OFFERED A GLASS OF WINE WHEN YOU ENTER THE FAIR.

FRIDAY 19 APRIL 4:00 - 6:00PM

SATURDAY 20 APRIL 4:00 - 6:00PM

WIN A $1,000 GIFT VOUCHER TO SPEND WITH ANY AAADA MEMBER IN AUSTRALIA TO ENTER PLEASE FILL OUT THE SURVEY ONLINE VIA THE QR CODE OR FILL IN THE FORM & PLACE IN THE BASKET AT THE FRONT T&Cs APPLY

FAIR HOURS

THURSDAY 18 APRIL 4:00PM - 8:00PM

FRIDAY 19 APRIL 10:00AM - 6:00PM

SATURDAY 20 APRIL 10:00AM - 6:00PM

SUNDAY 21 APRIL 10:00AM - 4:00PM

TICKETS

GENERAL ADMISSION (19-21 APRIL) $20 CONCESSION (19-21 APRIL) $15

CHILDREN UNDER 18 FREE

TICKETS AVAILABLE ONLINE OR AT THE DOOR

ALTHOUGH TICKETS ARE ALLOCATED TO A PARTICULAR DATE, THEY ARE ALSO VALID FOR ANY GENERAL ADMISSION DAY (19-21 APRIL)

RETURN ENTRY TICKETS AVAILABLE ON REQUEST

AAADA ANTIQUES & ART FAIR MELBOURNE EXHIBITORS

ANTIQUARIAN ELIZABETH SYBER

40 years dealing in antiques and vintage wares. Specialising in Asian items and estate jewellery.

Elizabeth Syber

Murrumbeena, Victoria 0418 552 553

syber@bigpond.net.au

antiquarianonline.com.au

$5,750

Opal showing fire reds, greens, and blues. L 5cm

ANTIQUE&UNIQUEJEWELS

Antique,vintage&modernbespokejewellery.

LeighEnever

NewSouthWales

0419149743

l.se@bigpond.com

antiqueanduniquejewels.com

antiqueuniquejewels

antiqueanduniquejewels

Trading at fairs and online

18ct yellow gold citrine earrings. These beautifully preserved, deeply hued natural Golden Citrine Earrings are from the late Victorian Era. Circa 1885. H 12mm W 8mm

$5,850

ANTIQUES-ART-DESIGN (GUEST)

Christopher Becker at Antiques-Art-Design offers a wide selection of vintage Georg Jensen jewellery, Scandinavian and modernist silver, estate and fine jewellery, objects and artefacts.

Christopher Becker Shop 3/115 Macleay St (enter via Orwell St) Potts Point, New South Wales 0412 562 614 store@antiques-art-design.com antiques-art-design.com antiques_art_design

Hours: Wed - Sun 10.30am - 5.30pm or by appointment

A vintage Georg Jensen solid Sterling silver necklace of a rare design of a radiating folded layered concave lozenge link necklace with an integrated hook and figure of eight safety closurereferenced in numerous text books on modernist silver this was also included in the 75 artists 75 years exhibition of the Georg Jensen Silversmithy's work - marked 925 for Sterling silver and with post 1945 marks for Georg Jensen of Copenhagen and design number 133 by Tuk Fischer in 1963 - total weight 93.2grms - overall dimensions wearable length 430mm width 21mm - Circa 1965 Denmark

$8,450

CHINEUR ANTIQUES

At Chineur Antiques, discover elegance & history in our collection. Featuring an eclectic mix of French Art Deco glass by Charles Schneider & a selection of antique needlework tools & curiosities, each piece tells a unique story. Add timeless charm to your space with our distinctive finds.

Ann Christensen

Kew, Victoria 0407 880 554 info@chineurantiques.com.au chineurantiques.com.au chineur_antiques

By Appointment Only

A Vienna Porcelain Sculpture of a Seated Panther by Franz Barwig

1886 -1931: Circa 1925

A sleek, stylized porcelain panther sculpture by Franz Barwig depicts the animal in a seated position, observing the surroundings. The panthers' muscles and features are smoothly rendered with minimalist details, suggesting power and grace without intricate detailing. The glossy white finish of the porcelain adds to the elegance and simplicity of the form. The mounting of the Panther on a plinth enhances the prominence of the figure, giving it a sense of monumentality despite its modest size. The sculpture includes the signature' FB' in the upper right corner of the plinth. The underglaze blue mark on the base is the hallmark of the Augarten porcelain manufactory, indicating the quality and origin of the porcelain. The impressed pattern number on the underside is '1630'.

The design reflects the early 20th-century European modernist styles, focusing on form and line over ornamentation.

Franz Barwig (1868 -1931) was an Austrian sculptor known for his naturalistic and expressive animal sculptures. His work is characterized by a deep understanding of animal anatomy, which allowed him to create lifelike representations in various mediums, including bronze and wood.

Barwig taught at the School of Applied Arts in Vienna, influencing a generation of Austrian sculptors. His pieces often capture moments of tension, movement, or repose, highlighting not just the physical but also the subjects' perceived emotional state. Barwig's work was part of the naturalist trend in early 20th-century European art, which sought to depict subjects in a lifelike and often idealized form.

$2,635

DOUGLAS STEWART FINE BOOKS

Douglas Stewart Fine Books deals in rare and important books, ranging from the 15th to the 21st century. Our main areas of interest are voyages and travel (particularly Asia and the Pacific), colonial Australiana, Australian and international art, historical photographs, and children's and illustrated books. However, you will discover a much more diverse selection of books, ephemera, and original art on our shelves and on our website!

We work with private collectors, librarians, and curators worldwide to assist in building collections. As of early 2024 we have exhibited at over 70 international rare book fairs, including most of the major events: London, New York, San Francisco, Los Angeles, Boston, Tokyo, Hong Kong, Amsterdam, Toronto, Seattle, Sydney and Melbourne.

We are always interested in acquiring entire collections as well as individual items, in any subject area, but particularly those in fine condition, or of distinguished provenance, or which are otherwise significant or unique in some way. We handle printed books, manuscripts, photographs, archives, maps and prints, antique globes, and historical artworks.

You are invited to sign up to our e-newsletter via our website to receive our monthly updates of new stock.

Douglas Stewart

720 High Street

Armadale, Victoria

+61 3 9066 0200 info@douglasstewart.com.au douglasstewart.com.au

Hours: Mon - Fri 10am - 6pm, Sat 11am - 4pm

Norman LINDSAY (1879-1969) & Jack LINDSAY (1900-1990) A homage to Sappho.

London : The Fanfrolico Press, 1928. Limited to 70 signed copies. Quarto, vellum over bevelled boards with title and Lindsay decoration in gold, boards a little bowed (as commonly found), all edges gilt, bubbling to the pastedowns; 64 pp, illustrated with fifteen original etchings by Norman Lindsay, a fine copy. One of the finest Australian private press books, a beautiful production. Arnold, 19.

$16,500

ETRURIA ANTIQUES GALLERY

English ceramics, glass & miniatures.

Lee Bradshaw

South Melbourne, Victoria 0439 030 531

lee@witsend.id.au etruria.com.au etruriaantiques EtruriaAntiques2

By appointment only

Keith Murray bronze basalt vase Wedgwood. Circa 1930

A fine and large vase in engine-turned bronze basalt, designed by the New Zealand architect Keith Murray. Height: 8.5”

$3,000

EVANDALE ANTIQUES

Australian colonial furniture. Country and Georgian furniture.

Peter Woof

6 Russell Street

Evandale, Tasmania 0418 134 511 peterhwoof@bigpond.com

and emu, with Queensland police in a pictogram displaying scenes of fighting, playing sport and policeonhorseback,revolverdrawn.Onehasthe inscription,CARVEDBYGALBRAITH.Thisformof “transitionalart”waspracticedin Queensland, circa1910.

$1 $12,2,500 500thep pair air

GREENE & GREENE

Traditional antique store specialising in antique jewellery, silver, porcleain and glass, objets d'art and small pieces of furniture.

Michael & Victoria Greene

86 Queen Street

Woollahra, New South Wales 0418 961 666 greeneantiques@bigpond.com.au greeneandgreene.com.au greeneandgreeneantiques

OriginalAr ArtDecopla tDecoplatinum tinumand diamondlinebr braceleacelet t Circa1920-30,setwith OldEuropeancutdiamonds, withFrenchimportmarks,total weight:approximately6ct

$2 $22,2,500 500

J.B. HAWKINS ANTIQUES

Specialising in Fine English furniture, clocks, English & Australian silver, works of art & treen. Established in Australia in 1967.

John

Hawkins 'Bentley' Mole Creek Road

Chudleigh, Tasmania 0419 985 965 jhawkins@acenet.com.au jbhawkinsantiques.com

By appointment only

.

$1 $177,,500 500

Jame James sF FerergusonCole guson Phase1,Type1,giltbrassback-winding smalltimepiecetravellingclockwith engineturnedcaseandfinelymilled bezel.Theengineturnedsilvereddial hasapolishedRoman chapterringand Breguethands.Circa1835

LAUDER & HOWARD ANTIQUES

Fine 18th and 19th Century furniture, objects, paintings, selected rugs and textiles.

Mark Howard & Leslie Lauder AM.

185 Campbell Street

Hobart, Tasmania 03 6289 6946, 0412 095 110 enquiries@lauderandhoward.com.au lauderandhoward.com.au lauderandhowardantiques

Hours: Wed - Sat 10am - 5pm, Sun 1pm - 5pm

$19,850

Dutch burr walnut bureau bookcase, first half of the 18th Century. Circa 1750

LAURAINE DIGGINS FINE ART

Specialists in Australian Colonial, Impressionist, Modern, Contemporary and Indigenous painting, Sculpture and Decorative art. Sourcing European masterworks on request. Offering collection advice; valuations for insurance and facilitators of insurance, conservation and framing for clients.

Michael Blanche

5 Malakoff St, Caulfield North, Victoria Boonwurrung Country 03 9509 9855

ausart@diggins.com.au diggins.com.au

lauraine_diggins_fine_art

LauraineDigginsFineArt

Hours: Tues - Fri 10am - 6pm, other times by appointment.

Angelina Ngal circa 1947 - (Anmatyerr) Aharlper Country 2006 (detail) synthetic polymer on linen 200 x 137 cm

Exhibited: New Paintings by Angelina Ngal, Lauraine Diggins Fine Art,

16 August - 2 September 2006

Provenance: the artist

Lauraine Diggins Fine Art private collection, Melbourne

$35,000

Along with her sisters, Angelina Ngal is custodian of her grandfather’s country, Aharlper. Angelina’s painting of country translate the landscape into shimmering dots spilling across the canvas. Her paintings can be appreciated as striking abstract works, however there are complex layers of meaning related to the geography and spiritualiy associated with her country, In particular, Angelina paints the Bush Plum, Arnwetky, a small conkerberry plant with fruits and flowers which is connected to ceremonial business, especially for the women of Camel Camp in Utopia, N.T.

Angelina was part of the original art movement at Utopia, north east of Alice Springs with the introduction of batik in the 1980s and quickly adapted to painting on canvas, producing exquisitely coloured compositions. The swirling movement and sense of depth she achieves creates a sophisticated and elegant visual spectacle for the viewer. Angelina has exhibited widely in Australia and internationally as is represented in many significant collections, both private and institutions, including The Met, New York and the National Gallery of Australia, Canberra.

Full description available, click here

OBJECTS ECLECTIC (GUEST)

Ancient antiquities and artistic objects.

Brent Shegog and Joanne Costa Broadford, Victoria 0439 456 187

shegogbrent@gmail.com

antiquitiesbyobjectseclectic.com.au brentshegog

Egyptian Wood and polychrome Sarcophagus Mummy mask to 1189 BC

Egyptian Wooden and polychrome Sarcophagus Mummy Mask

circa 750 to 650 BC

Egyptian wooden and polychrome sarcophagus Mummy mask

3rd Intermediate Period

945 to 715 BC

Indus Valley Mehrgarth pottery vessel decorated with black and red lines, circa 3000 BC $295

Wooden Egyptian carved figure of a priest with delicate facial and hair features. 1st Intermediate to Middle Kingdom Period, circa 2100 to 1700 BC $3,995

Greek Apulian Red Figure pottery Lekanis circa 350 BC decorated with Satyr catching a duck and another holding a Thyrsus $3,395

Greek Blackware pottery jug with decorative incised patterns to body and neck, circa 500 BC $795

Ancient Holy Land pot on a stand with twin handles and circular hole to body 1000 BC $395

Elamite Bronze Bull Bakhtiyari Mountains area, circa 3000 to 2000 BC $4,695

PENTIMENTO

Portrait miniatures, ceramics, collectables & curios, specialising in small items of tortoiseshell & pique jewellery.

Jill Roberts

Victoria

jill@pentimento.com.au

0402 238 976

Cameocollarnecklace

Pinchbecksnakelinkchain andfivecameosetshells English,circa1830 $3 $3,,000 000

PERRYMAN CARPETS

Antique, Oriental, contemporary and bespoke carpets and rugs.

Ian and Belinda Perryman

100 Queen Street

Woollahra, New South Wales 02 9327 3910

info@perrymancarpets.com perrymancarpets.com perrymancarpets PerrymanCarpets

Hours: Mon - Fri 10am - 5pm, Sat 10am - 4pm

Ravar Kirman

East Persia, circa 1880

Woollen pile, cotton foundation

1.92 x 1.29 m

$12,000

PETER ARNOLD RARE BOOKS

Dealer in rare books, maps, paintings & prints.

Prahran Victoria

03 9529 2933

books@peterarnold.com.au peterarnold.com.au

PONTING, Herbert. In the pack ice.

Carbon print photograph, 30 x 45 centimetres, signed by Ponting bottom left, in original dark oak varnished frame, within mount.

One of the celebrated photographs taken by Ponting on Scott’s doomed expedition to the Antarctic between 1910 and 1913. This rare example was selected by the photographer for inclusion in the New Zealand and South Seas Exhibition of 1925-26 held at Dunedin. With the original exhibition label on the reverse. In fine condition

$14,500

ROBERT METSELAAR (GUEST)

Antiques with information, English porcelain 1760-1820, Georgian glass 1700-1840, 4 stages of English figure making, Moorcroft, Doulton, Hannah & Florence Barlow, Australian art - 20th century, including Indigenous art.

GUEST EXHIBITOR

Robert (Bob) Metselaar

Werribee, Victoria 0450 452 868 vanopa44@gmail.com

By Appointment Only

Ar rarare ee early arlyGeor Georgianpunchbo gian bowl wl

Circa1720-30madeintheRoman stylewith‘beakerstand’ design probablycopiedfromaContinental design,althoughRomanmanufacture occurredinSouthernEngland.

Asomewhatsimilar‘Beaker’footis foundinRoemerglasses

Rimdiameter: 27cm

This large and fragile glass is an extremely rare survivor - some 300 years old

The original punch drink was frequently made from just five ingredients, these being alcohol (usually rum, brandy, or arrack), sugar, citrus juice such as lime or lemon juice, water, and spices (like nutmeg). It was also reasonably common to use slightly sour wine mixed with liquor. Punch was a sweet alcoholic drink with fruit juices being the highlight. The design shape possibly adapted from earlier Roman designs, although then limited in manufacture to a much smaller size.

This is an important piece of Georgian glass, During forty years of active collecting, I have seen less than four of such large bowls offered for sale. Many of these large items simply would not have survived a timespan of nearly 300 years.

Condition: Excellent, no faults detected

$3,650

RUTHERFORD

Over seventy years of experience in fine antique jewellery and silver earning them a reputation for one of the best ranges of unique and beautiful Victorian, Edwardian, Art Deco and Retro jewellery in Australia. As well as their jewellery, their flagship store on Collins Street showcases an extensive collection of 18th, 19th and 20th century English silver. Three doors away, their pearl shop carries the beautiful Australian South Sea pearls as well as black and gold South Sea pearls from select farms all over the world. Their Camberwell store combines both antique and pearl jewellery.

Wesley Rutherford

182 Collins Street

Melbourne, Victoria 03 9650 7878

info@rutherford.com.au

rutherford.com.au

rutherfordjewellery

Rutherfordjewellery

Hours: Mon - Fri 10am - 5.30pm, Sat 9.30am - 5pm

Art Nouveau Aquamarine Ring

14ct yellow gold ring with a faceted emerald cut aquamarine of estimated weight 5.00ct set horizontally in an octagonal solid sided mount with grain set single and brilliant cut shoulder diamonds and green enamel features on a plain polished band.

Total Estimated Aquamarine Weight: 5.00ct

SHAWBROOK ANTIQUES

An eclectic blend of quality furniture, glass, ceramics, metalware and decorative items. Highlighting the Georgian period.

Gaye Bismire

Wangaratta, Victoria 0418 574 570

shawbrookantiques@gmail.com shawbrookantiques

Chinese export 6 fold hardstone and mother of pearl inlaid lacquer screen, circa 1920.

The main panel featuring women in traditional dress playing instruments and dancing. The lower panel showing decorative items.

W 250cm H 183cm

$8,750

SILVER SERVICE ANTIQUES

Dealing in a diverse range of antiques including jewellery, sterling silver and objets d'Art, Silver Service Antiques is based in Launceston Tasmania. Bill has been dealing in antiques for over 30 years and specialises in quality portable antiques across a broad range. Recently joined by his son Sam, they offer a friendly and knowledgeable service, both buying and selling fine antiques.

Bill Lowe

9 Quadrant Mall Launceston Tasmania 0431 727 421

wlowe22965@gmail.com sjscitycash.com.au

silverserviceantiques

Silver Service Antiques

Hours: Mon - Fri 9am - 5pm Sat 10am - 2pm closed Sundays and public holidays

SIMPSON'S ANTIQUES

Buying & selling Australiana. Established Simpson's Antiques in 1978, in Queen Street Woollahra, and he was one of the first antique dealers to specialise in 19th century Australian cedar furniture. He is currently the country's foremost dealer in early colonial furniture, consulting on, Australian Colonial Furniture and Decorative Arts for collecting institutions and private clients nationally. Andrew Simpson was instrumental in the formation of the Australiana Society, a forum for collectors and enthusiasts alike. Andrew was a co-author of Australian Art Pottery 1900-1950 (2004) and Nineteenth Century Australian Furniture (1985) and Australian Furniture

Pictorial History and Dictionary 1788-1938 (1998) the latter two have become the standard references on the early history of furniture making in this country.

Andrew Simpson

Sydney, New South Wales

0404 051 999

simpson@casuarinapress.com.au

australianantiques.com.au

A pair of Australian Blackwood framed plaster Portrait Medallions by the Australian sculptor Bernhard Smith (1820-1885) of his parents, Lord Henry Smith (1778-1855) and Jane Mary Voase (1783-1845) Sculptors and friends Bernhard Smith and Thomas Woolner arrived in Melbourne in October 1852.

SILVERSOCIETYOFAUSTRALIA

The Society is based in Sydney and has regular meetings in Melbourne. We meet six times a year to discuss an aspect of silver collecting and production. The Society also produces excellent newsletters that are emailed to financial members. Members’ interests in silver are very diverse: there are those who collect classical items such as sterling silver by renowned makers from England or Ireland, there are others whose interests lie in small wares i.e. items more of a domestic nature, others collect only Australian-produced items. Some have a deep knowledge of silver manufacture in European countries. Members readily share their knowledge & their library books and they are often seen at trade fairs and at the auction houses. See page 70 for meeting dates and the program for 2024

info@silversociety.com.au silversociety.com.au

THE JOHNSTON COLLECTION

An exhibition house featuring an astonishing array of Georgian, Regency, and Louis XV fine and decorative arts in an historic East Melbourne townhouse.

GUIDED TOURS | LECTURES | EVENTS

East Melbourne, Victoria

03 9416 2515

hello@johnstoncollection.org

johnstoncollection.org

tjcmuseum

The Johnston Collection

TheJohnstonCollectionChannel

THEAUSTRALIANASOCIETY

The Australiana Society was founded in 1978 to encourage appreciation, collecting, preservation and research of "Australiana". "Australiana" means objects relating to Australia and its history and culture. Membership provides 4, 60 page full colour issues of our flagship journal "Australiana", plus events, lectures and visits to private collections. Membership application form on our website.

National

info@australiana.org.au australiana.org.au

australianasociety

TRINITY ANTIQUES

Trading for over fifty years, Trinity Antiques offers fine quality and unique jewellery together with small treasures. Specialising in Australian Colonial jewellery with clients including major Australian Public museums and galleries.

Trevor Hancock

Valentine's Antique Centre Bendigo, Victoria 0431 226 343 tcfhancock@hotmail.com

with ruby eyes. Faberge, St Petersburg. Work Master: Julius Rappoport. Circa 1900. Snout to tail 43mm

$2,795

UNE BELLE CHOSE BY CURIUM

Decorative Arts from late 19th Century to early 20th Century.

Garry Stylianou

South Gippsland, Victoria

0409 419 451

gaston.curium@bigpond.com

unebellechose.com.au

une_belle_chose_by_curium

Une Belle Chose by Curium

René Lalique – ‘Sirène’

A frosted glass car mascot / figurine modelled as a sea nymph combing her hair.

Highlighted with a blue-green enamel patina.

Moulded signature ‘R. Lalique’.

French, circa 1920. 10cm high

$5,395

VALENTINE’S ANTIQUE GALLERY

Valentine's Antique gallery is located in the heart of Bendigo's art precinct in one of Central Victoria's grandest heritage listed buildings. This third-generation family business sources high-end antiques, glassware, boxes, porcelain, jewellery and art from Australia, the UK and Europe, displayed in stunning surrounds. In addition, the gallery incorporates an antique centre with independent dealer's cabinets, an artist's hub and a coffee lounge.

Peter Valentine

18 View Street

Bendigo, Victoria 0418 511 626

info@valentinesantiques.com.au valentinesantiques.com

valentinesantiquegallery

ValentinesAntiqueGallery

Hours: Tues - Sat 10am - 5pm, Sun 11am to 4pm

French ebonised boulle credenza

Introducing this antique 4-Door ebonised Boulle credenza with bow ends and intricate ormolu mounts, a true masterpiece from the Victorian era, crafted circa 1870. This remarkable piece of history showcases the finest craftsmanship of its time.

Crafted from ebonised wood, this credenza boasts a rich, deep black finish that lends a sense of opulence to any space. The Boulle style, renowned for its intricate and ornate marquetry work, graces the exterior with its striking brass inlays. Each delicate detail has been lovingly crafted by skilled artisans, resulting in a truly exquisite work of art. The meticulously crafted ormolu mounts that adorn the edges of the piece, create a beautiful contrast between the precious metals and the ebonised wood.

Beyond the four glass doors, the lush interior is adorned with sumptuous green velvet lining, which provides a luxurious backdrop to showcase your most treasured items. Whether it be prized collectibles, delicate figurines, or family heirlooms, this credenza offers a perfect display space while keeping them safe from dust and damage.

$12,500

VINCENT JENDEN DESIGN (GUEST)

Interior Design - Project Management - Antiques - Furniture - Soft Furnishings - Lighting

PO Box 415

South Yarra, Victoria 0411 34 6373

design@vincentjenden.com

vincentjenden.com

vincentjendendesign

Vincent Jenden Design

VJD Design Space

Kuki Veranda and Courtyard 38 High Street, Trentham, Victoria

Vincent Jenden is a New Zealand born Australian based interior designer.

Specialising in interior design and project management, Vincent is known for crafting stylish interior spaces that are timeless and luxurious.

With an appreciation for all periods of design, Vincent has a passion for cleverly combining contemporary design elements with furniture, fine objects, art and antiques from the seventeenth, eighteenth and nineteenth centuries.

Vincent's 30 year career spans the globe, commencing in New Zealand before immigrating to London, UK, in the late 1990s and settling in Melbourne, Australia in the mid 2000s. A highly regarded design innovator with a passion for excellence, Vincent has a firm belief that friendship, trust and strong communication skills are the keys to successful relationships and design projects. Recently Vincent opened an Interior Design space in the regional town of Trentham, Victoria. Vincent offers an ever changing array of decorative objects, sofas, feature chairs, soft furnishings, lighting and antique furniture pieces. Amongst his busy client schedule in Melbourne you can often find Vincent in his design space at Trentham over the weekend speaking with the many clients & locals that call in to say hello.

WALTER AND CO

Third generation dealers of fine quality 18th - 19th century English, Australian, Chinese and European furniture, silver, porcelain, clocks and objects of virtue. Specialists in 19th century Australian colonial furniture and objects. With a strong emphasis on original patina to all of our pieces. Established 1989.

Todd & Glen Baird

17a Bridge St

Richmond, Tasmania

0428 602 601 mail@walterandco.com.au walterandco.com.au

KPM porcelain plaque

An exceptional large late 19th century hand painted KPM porcelain plaque in frame. German, circa 1890

$13,500

WOODSHED ANTIQUES

Furniture dealer. Exhibiting at all major fairs throughout Australia, specialising in Georgian, Regency, William IV English furniture and colonial Australian furniture along with decorative pieces.

Graeme Davidson Ballarat, Victoria 0408 659 249 woodshedantiques@bigpond.com woodshed antiques woodshed antiques

By Appointment Only

Early 19th Century Camphorwood Campaign Chest. In two sections with two short over three long drawers with brass mounted corners and very attractive shaped inset handles and Bramah locks.

Feet are a heavy carved bracket giving strong support, the chest retains original polish and mellow patina.

Circa 1850, Anglo Chinese judging by the numbering to the draws. W 86cm H 98cm D 45cm

$3,600

THE AUSTRALIAN ANTIQUE & ART DEALERS ASSOCIATION CODE OF PRACTICE

1a. All goods to be sold to the public by Association members shall have a label or ticket attached to or immediately adjacent to the item in question.

1b. Such labels or tickets must give as much reasonable information as possible about the goods and this shall normally include such detail as:

* The full price

*A circa date of manufacture (or the actual year if hallmarked or dated)

* The material (eg. walnut, bronze, etc.)

* The maker's mark or artist's name if relevant/known

*Any major restoration or later additions

*If reproduction

1c. Where this is undesirable or impractical for security or other grounds the full price shall be written on a price list or in a stock book, with a full description to identify the article, and is available at all times during business hours for inspection by the public on request. N.B. in the case of lc, there shall be a prominent notice stating: Written prices of all goods offered for sale may be examined on request by members of the public.

2. The member shall not attempt to confuse or mislead the customer or falsely describe any of the goods he/she offers for sale or seeks to purchase. He/she shall in all respects comply with the provisions of the Australian Trade Practices Act and/or any State legislation of a particular nature.

3. Description details as indicated on the label and as offered verbally shall be written on a proper invoice which shall state the name, address and telephone number of the member and date of the transaction.

4. Members shall accept responsibility for descriptions of items given to members of the public by their staff. Staff must be appraised of all the requirements of the Association’s Code of Practice.

5. Members shall not make unsolicited visits to private domestic premises.

6. Members shall apply standards of fair dealing equally to the public, members or non members.

7. Members have no authority to act on behalf of or speak for the Association, save insofar as expressly authorised by the Executive.

8. Members shall not state or imply that membership of the Association is a guarantee of authenticity of any article offered for sale or that membership entitles them to any special standing insofar as authentication of articles is concerned. Responsibility for all claims or statements as to the authenticity lies solely with the member.

9. Professional valuations carried out by members (ie for a fee) shall be provided in writing, signed and dated, and worded to indicate clearly their purpose ie. for Insurance (replacement value) or for Probate (market value) in accordance with the guidelines set down from time to time by the Association.

10. Members are required to co-operate to the best of their ability with customer protection agencies (eg. the police, trading standards authorities).

11. Members shall at all times seek to advance the professional reputation and standing of the Association by acting in an honourable fashion and by promoting the knowledge and understanding of Antiques and Fine Arts within the Australian community.

Conciliation Services

- Should an occasion arise where either the customer or dealer feel they have been unfairly treated, the AAADA Conciliation Service will provide prompt and informal conciliation where the customer and the member are not able to resolve their dispute.

- Details may be obtained from the General Manager, PO Box 294, Apollo Bay Victoria 3233 Australia.

- Attention is expressly drawn to the fact that nothing in the above conditions shall affect the legal rights or obligations of any party to a dispute.

Buying with Confidence

THE AUSTRALIAN ANTIQUE & ART DEALERS ASSOCIATION APPROVED SERVICES SCHEME CODE OF PRACTICE

1. Written quotes will be provided for all work prior to the commencement of that work and will include (if appropriate) costs of materials, costs of labour and any other considerations. Quotes shall be adhered to provided that no longer period than three (3) months has elapsed since the supply of such quote, unless other works are mutually agreed to by both parties prior to and during the completion of the work, and that this has been noted and endorsed by both parties to the agreement, at the time that the alteration came into effect.

2. Professional services such as Fine Art Packing, Carriage, Valuations and Consultations, Jewellery, Silver, Porcelain and other repairs, will where appropriate, clearly define the methods to be employed, materials to be used, service to be provided and an advance written estimate of the cost of the complete service.

3. All work or services provided will be guaranteed against faulty materials and workmanship, and where appropriate, will be guaranteed against defects for a period of no less than twelve (12) months.

4. Approved Service Providers shall accept responsibility for services offered, work carried out or quotes given by their staff. Staff must be appraised of all requirements in the Association’s Code of Practice.

5. Any Approved Service Provider who accepts an advance payment or deposit for services shall clearly record in writing the terms of the contract, and by what period the full amount is to be paid. A copy of the terms is to be supplied to the customer at the time.

6. Complaints regarding faulty workmanship or dissatisfaction with any services provided should firstly be taken up with the provider of the service, and in the event where no amicable solution can be reached, the complainant may put their case in writing to The Australian Antique & Art Dealers Association Arbitrator, who will attempt to mediate the dispute without affecting either parties’ rights in law.

7. Approved Service Providers shall not state or imply that membership of the Approved Services Scheme entitles them to any special standing insofar as authenticity or quality of service offered is concerned. Responsibility for all claims on statements as to authenticity or quality of service lies solely with the member.

8. Approved Service Providers have no authority to act on behalf of or speak for the Association, save insofar as expressly authorised by the Executive.

Conciliation Services

Should an occasion arise where either the customer or service provider feel they have been unfairly treated, the AAADA Conciliation Service will provide prompt and informal conciliation. Attention is expressly drawn to the fact that nothing in the above conditions shall affect the legal rights or obligations of any party to a dispute.

The Johnston Collection is delighted to announce a new partnership with the Australian Antique and Art Dealers Association (AAADA).

The Johnston Collection (TJC) is an award-winning house museum located in leafy East Melbourne at the historic 1860s townhouse, Fairhall. The museum holds a superb collection of English Georgian, Regency, and Louis XV fine and decorative arts and hosts a unique program of guided tours, lectures, workshops, and events.

Fairhall and the Collection were a gift to the people of Victoria from William Robert Johnston (1911-1986). A prominent Melbourne-born antique dealer, real estate investor and collector, Mr Johnston operated his antiques business between Melbourne’s Armadale and Greenwich, London. Over the years, Mr Johnston’s collection has been enhanced through the generosity of some extraordinary collectors, including the late Roger Brookes who gifted his distinguished collection of English silver, fine paintings, furniture, glass, timepieces and objet d’art to the Collection in 2021.

AAADA PARTNERS WITH THE JOHNSTON COLLECTION

‘The business of antiques is in the DNA of The Johnston Collection’, said CEO Dr Louise Voll Box, ‘so we are thrilled to be partnering with AAADA’. ‘We look forward to sharing the world of antiques and decorative arts with long-term AAADA supporters and new audiences’, she said. ‘In line with Mr Johnston’s intentions, our Collection is displayed in a domestic setting without ropes or labels, and is regularly re-arranged, so we offer the perfect setting to showcase how to live with beautiful objects today’.

The current re-arrangement of the Collection by interior designer Vincent Jenden is a shining example of this link between past and present. As founder of Vincent Jenden Design (VJD), Vincent already has a close relationship with AAADA. His passion for combining antiques with contemporary styling has taken him from New Zealand to London and then to Melbourne working with private clients and on public commissions. Fit for a King: Vincent Jenden Reimagines The Johnston Collection is inspired by the anticipated Australian Royal Tour by King Charles III and Queen Camilla. As guest curator Vincent has

created a glamorous banquet at Fairhall set with a glittering array of silver and treasures of British and European fine and decorative arts to welcome the royal visitors. Vincent’s theatrical re-imagining has brought touches of wit and whimsy to TJC, creating a visual feast that layers antiques, art, and luxurious textiles with modern furniture to create alluring juxtapositions.

The Johnston Collection warmly welcomes visitors to the AAADA Antiques and Art Fair Melbourne in 2024. As a special offer for ticketholders, receive 20% off guided tour tickets to the current exhibition using promo code AAADA24.

Fit for a King: Vincent Jenden Reimagines The Johnston Collection is open Wednesdays to Sundays until 25 August, 2024 for pre-booked tours, and is accompanied by a program of lectures, workshops, and events.

For more information, chat with us at Malvern Town Hall, visit johnstoncollection.org or phone (03) 9416 2515.

A FOCUS ON COLOURED STONES

BY RUTHERFORD

18ct yellow gold necklace set with a cushion cut peridot of estimated weight 1.66ct set into a crimp setting (remade) fixed to a length of 18ct yellow gold chain which fastens with a bolt ring the necklace hallmarked for items made in Egypt of 18ct gold in 1919.

Circa 1890, 18ct yellow and white gold ring claw set to the centre with a round sapphire of estimated weight 0.95ct the mill grain edged scrolled surround is grain set with rose cut diamonds in white gold on a yellow gold reeded band.

An Art Decoame ameththyysst tanddiamond bar broochwithcarvedamethystscrolls toeachendandageometric polishedamethystdetail inthecentresetwith mixedoldsingleand rosecutdiamonds,estimatedweight: 1.17ct, between theamethyststoasecured pinfittingall in platinum,circa 1925.

18ct rose gold bracelet, circa 1930 set with six emerald cut aquamarines (estimated weight 27.00ct) each in four claws on a railed cheniered gallery separated by gold scrolled links each with a small diamond to its centre fastening with a concealed clasp and figure eight catch.

An 18ct yellow gold double hallmarked by W. Davis Melbourne. and L. Cadby presented as a fine five stone set dress ring centred by a single oval cut emerald of strong colour flanked to each side by four split pearls each silver white in colour claw set scalloped to gallery and merging to a plain band, circa 1880.

9ct rose gold and silver antique cluster earrings each with an oval ruby claw set to the centre surrounded by a mix of old and rose cut diamonds on a scalloped gallery with fixed hook and hinged lever back fittings, circa 1880.

15ct rose gold hinged bangle, circa 1900, multi claw set with a GIA certified unheated 8.28ct cushion cut Sri Lankan sapphire with a surround of twenty two old European cut diamonds all claw set on a five railed bangle fastening with push clasp and safety chain.

Find these beautiful pieces of history and other unique items at Rutherfords stand at the AAADA Antiques & Art Fair Melbourne

MAXIMALISM & THE DECLUTTERING TREND: CAN THE TWO COEXIST?

TIRA LEWIS, AUSTRALIAN ANTIQUE & ART DEALERS ASSOCIATION

Let's first dissect these two ideas. Maximalism is the art of pairing bold colours, bright patterns, various woods, and patinas with silver, gold, and glass of every colour and style! If this sounds like visual overload, the trend may not be for you, but you can still incorporate elements of it.

Start with something you love, like a set of silver cutlery you've had tucked away. Begin by setting the table for dinner, then layer it with additional elements such as a bunch of flowers or foliage from your garden placed in a vase you adore. Bring out the glassware, water and wine glasses, and maybe even a silver goblet. Use delicate pouring jugs for sauces, along with small spoons and forks for condiments—anything that's useful! Put them out and use them. While these items may not necessarily 'match,' imagine how fabulous your dining table looks! Extend this approach to any area of your house. Layering is the key—mix

eras, styles, bold prints, colours, and materials. Have fun with it!

Now onto decluttering. This trend is about removing things from your home that you don't use, love, or need anymore. It doesn't mean clearing the entire house; rather, it suggests being more mindful about what you bring into your space and what you should let go of. The basic principle is that the items in your house should be manageable. Avoid keeping 10 empty antique frames if you're never going to repurpose them. Don't store things unless there's a good reason, which, incidentally, can include rotating your collections, as long as you remember where you put them and actually bring them back out.

Look around your house, edit your life, and evaluate the items in it. The end result will be a home that brings you happiness rather than stress. You'll use the items you love instead of keeping them tucked away for special occasions.

AND IN FRONT THE LANCERS RODE THAT NEW SOUTH WALES HAD SENT: WITH EASY STRIDE ACROSS THE PLAIN THEIR LONG, LEAN WALERS WENT.

The Carrington Second Boer War New South Wales Lancer statuette, showing the lance and the emu feathers in his hat, hallmarked for London, 1900. Commissioned by the officers of the Lancer squadron as a gift to their Honorary Colonel, Lord Carrington, for his support of the squadron in England in 1899. Designed, made and cast in silver by the leading London Modeller of equestrian statuettes, Frederick Courthope in 1900. Weight 73 oz. height 32 cm.

BY JOHN HAWKINS

Col Burns of Burns Philp arranged the sending of a squadron of one hundred Light Horsemen to be quartered, fed, horsed, and trained at the British Army cavalry barracks at Aldershot, under the auspices of Lord Carrington, the Honorary Colonel of the Lancers and former governor of New South Wales, who contributed £500 towards the costs of the project.

Colonel Burns opened a fund to conclude the matter with a personal donation of £300 and Regimental officers and other supporters subscribed a further £2,000. Serving soldiers in his exclusive Regiment were approached, and each applicant agreed to pay their own fare of £20. This meant that costs for the whole enterprise was covered by the individuals involved rather than the government of New South Wales.

The 1899 detachment under the command of Captain [later Major General] Charles Cox or “Fighting Charlie” as he was known by his men, was trained alongside the British 6th Dragoon Guards [Carabiniers] at Aldershot. When the Second Boer War broke out, Cox volunteered himself and his squadron before they left England for service in South Africa. When the ship which was transporting them home to Australia dropped anchor in Cape Town, advice was received that the offer was accepted by both the British and New South Wales governments and the New South Wales Lancers became the first Australian cavalry regiment to fight on foreign soil. 1

And in front the Lancers rode that New South Wales had sent: With easy stride across the plain their long, lean Walers went.Unknown, untried, those squadrons were, but proudly out they drew

Beside the English regiments that fought at Waterloo.2

Andrew Barton Paterson, better known as Banjo, went to South Africa as a special Boer War correspondent for the major Sydney and Melbourne newspapers. He travelled with the first volunteers from New South Wales, arriving in Cape Town in late November 1899.

The slouch hat is strongly associated with Australian identity. The word ‘slouch’ refers to the sloping brim, made from rabbit-fur or wool felt and is always worn with a puggaree. The hat became the symbol of the Australian fighting man during World War One and continued to be worn throughout World War II, making the slouch hat a national military symbol.

By 1890, State military commandants had agreed that all Australian forces, except the artillery corps, should wear a looped-up hat of uniform pattern. The hat was turned up on the right side in Victoria and Tasmania, and on the left side in all other States, to allow for different drill movements.

General Bridges, the first commander of the 1st Australian Imperial Force, was found wearing his slouch hat reversed when he was fatally wounded at Gallipoli. As a mark of respect and remembrance for Bridges, when the slouch hat is worn at Royal Military College, Duntroon, it has become traditional to wear the chinstrap buckle on the right side of the face and the brim down. This tradition commenced at the Royal Military College in 1932.

The term ‘puggaree’ originates from the Hindu word ‘pagri’, meaning a turban or thin scarf of muslin. The Boer War puggaree had six pleats, one for each of the federated states. The current puggaree has eight pleats, one for each state and one for the Australian Territories. It is made from light khaki-coloured cotton and is worn on the slouch hat with a unit colour patch sewn on the right side. Royal Military College staff cadets wear a distinctive puggaree of olive drab colour. The eighth pleat signifies the graduation of the first international cadet through the Royal Military College who hailed from New Zealand.

The emu plume is still worn on slouch hats by members of the Australian Armoured Corps. This tradition originated with the Queensland Mounted Infantry during the great shearers’ strike in 1891. During this time, the

The Hawkins/Carrington New South Wales Lancer wearing a slouch hat, as worn here for ceremonial purposes with a puggaree, and emu feathers, the lance for use when mounted, the sword when dismounted. The trooper’s regimental hat and collar badges are in evidence.3

Queensland Mounted Infantry were called out to aid the civil power. Tradition dictates that when time permitted, the soldiers would ride their horses alongside emus, or in South Africa, the ostrich, and pluck out the feathers, placing them on their hats. The Gympie Squadron was the first to wear the feathers and the rest of the regiment soon followed. The Queensland government permitted the Regiment to adopt the plume as part of its uniform in recognition of its service.

In 1915, the Minister for Defence, Sir G. F. Pearce, granted all units of the Australian Light Horse permission to wear the plume, which they referred to as kangaroo feathers.

On the death of Lord Carrington, now 1st Marquess of Lincolnshire KG, GCMG, PC, DL, JP (16 May 1843 – 13 June 1928), his younger brother, Rupert Clement George Carington, now living in Australia, became 4th Baron Carrington, CVO, DSO, DL (18 December 1852 – 11 November 1929), inheriting his property but not titles.

Rupert Carington (1852-1929) was a soldier, grazier and politician. He served in the Zulu War in 1879 as acting adjutant of the 1st Battalion, 24th Regiment of Foot, and later commanded a troop of mounted infantry. In 1884, he had retired from the Grenadier Guards with a gratuity and in 1887 came to New South Wales where his brother, Charles, was governor. He was appointed a captain on the headquarters staff of the New South Wales Military Forces and next year, on 23 March, was made aidede-camp to his brother, a post he held until 1890.

On 23 March 1891 at St Matthew’s Anglican Church, New Norfolk, Tasmania, he married Edith, daughter of John Sutcliffe Horsfall and became a grazier and part-owner, with his father-in-law, of Momalong station in the Riverina.

Carington was placed on the reserve of officers in 1900 but in February 1901 went to the South African War as a major in the 2nd Regiment, New South Wales Mounted Rifles; he was promoted lieutenantcolonel in May 1902 and that month at Klerksdorp, Transvaal, formed and commanded the 3rd New South Wales Imperial Bushmen’s Regiment. This unit was made up of time-expired men from other Australian regiments and was later augmented by a draft of 200 Riverina bushmen raised and paid for by his father-in-law. Letters to his brother, Charles, give a vivid account of the actions and skirmishes of this stage of the war and he and his men received high commendation from Major General R. S. Fetherstonhaugh for their services in western and eastern Transvaal. Carington was awarded

the Distinguished Service Order and mentioned in dispatches.

He returned to Momalong in July 1902 and was appointed C.V.O. in 1905. Carington commanded the 6th Australian Light Horse Regiment in 1904-10, the 2nd A.L.H.B. in 1910-15, and was an honorary aide-decamp to the governors-general in 1912-17; he had been promoted colonel in 1911 and retired from the Australian Military Forces in 1918.

In May 1915, his brother’s only son, was killed in action and Carington became heir to the barony. He returned to England after World War I and in 1928 succeeded his brother Charles as fourth baron. He died of heart disease on 11 November 1929 at his residence in Eaton Place, Westminster. His wife had died in 1908 and their only son succeeded to the title. The two brothers were great supporters of both the Lancers and the Australian Light Horse.

When Governor of New South Wales, Charles Carrington had developed a good working relationship and affectionate regard for the NSW Premier, Parkes, whose determination in 1889 to promote Federation arose largely from their conversations. Carrington’s diplomatic work through the governors in Victoria and South Australia was crucial in paving the way for the Federation Conference of 1890. Lord Carrington’s official position of governor in pre-federation days carried the title of “Commander-in-Chief of the New South Wales Defence Forces”. In the early orders of the New South Wales Lancers, he is termed “Honorary Colonel” a position he held with great interest, munificence and practical assistance until his death in 1928.

At his farewell dinner on 11 September 1890, his Lordship granted permission for his family crest. an elephant’s head with coronet and three fleur-de-lys, to be incorporated into a Regimental Badge to be worn by the New South Wales Cavalry, of which the Sydney Lancers were a part. In 1894, the regiment became the New South Wales Lancers until granted a “Royal” patent in 1935. The Carrington’s crest remains as the badge of the 1st/15th Royal New South Wales Lancers, an active Australian Army Reserve Cavalry regiment, with its headquarters at the Lancer Barracks in Paramatta.

The statuette was probably originally conceived as a present to Carrington by Lieutenant-Colonel James Burns, the order finally being placed by the squadron and its officers at the end of their training under Captain Cox, Lt. Osborne and Lt Rundle at Aldershot in 1899 before sailing home via South Africa.

On his return to England … Lord Charles Carrington’s first speeches caused a sensation by his espousal of Australian nationalism rather than imperial federation, and his indictment of the “old ball and cartridge blunders” by which Tory secretaries of state had offended colonial sensibilities. The attacks had the obvious bias of a Liberal returning to party activity but made good sense, countered the shallow anti-gubernatorial witticisms of the Bulletin, won wide approval and vindicated Carrington’s intelligent attachment to New South Wales.

The maker’s mark, F.C in a clover-shaped lozenge, is for Frederick Courthope. His obituary quoted in Culme notes from a quotation that one of his fellow silversmiths stated that:

he was a master silversmith in every sense of the word and a particularly clever modeller of equestrian statuettes.

The Goldsmiths & Silversmiths Company, when approached by Burns and his fellow officers, must have commissioned this piece from Courthope which took time to model and complete the figure after the squadron had departed for South Africa.

NOTES

1.https://www.bwm.org.au/units/NSW_Lancers.php

2.Banjo Patterson’s ‘With French to Kimberley’, stanza 3

3.https://alh-research.tripod.com/Light_Horse/index.blog/1813456/ all-light-horsemen-wore-emu-plumes/

CHUAH THEAN TENG 1914 - 2008

LAURAINE DIGGINS FINE ART

Celebrated as the 'father of batik painting' Malaysian artist Chuah Thean Teng is credited as the pioneer of developing batik to a fine art painted medium, elevating the everyday craft to an art form. Combining his training at the Amoy Art Institute in Fujian, China with his batik skills, Teng used the technique of batik to create unique paintings of decorative patterns and intricate figure compositions, depicting contemporary life in Malaysia, including landscapes, flora, fauna and figures.

Teng held his first solo exhibition at the Arts Council of Penang in 1955 and became perhaps the first Malaysian to hold an exhibition in Europe at the Commonwealth Institute, London in 1959. Exhibitions followed in America and Australia throughout the 1960s and 70s. Two of his images were used by UNICEF as greeting

cards, giving wide popularity to his imagery. He has been honoured with three retrospective exhibitions and was awarded a ‘Datoship’ in 1988 and a Living Heritage Award in 2005.

The subject of Mother and Children is a favoured theme and his depictions of this classic and universal motif are amongst his most important works. This example, of which a variation is held by the Batik Museum of Penang, features a traditional Chinese composition of a square outside and round inside with simple curved lines and the patterned background using Teng’s tiedye technique, allowing the wax to crack and the dye to seep through to create the craquelure effect, against which the figures are set. The colour green is significant in Malay culture, as a symbol of peace and life.

diggins.com.au

CHUAH THEAN TENG

1914 - 2008

(Feeding the Baby)

batik on cloth, 85 x 88 cm

signed lower right: Teng

Copyright the Estate of the Artist, courtesy Batik Painting Museum, Penang.

Provenance: The collection of Harry & Masha Flicker, Melbourne Related work: Feeding the Baby

batik on cloth 90 x 90 cm in the collection of the Batik Painting Museum, Penang

Chuah Thean Teng is credited as the pioneer of developing batik to a fine art painted medium and celebrated as the 'father of batik painting'.

Read more

DOUGLAS STEWART FINE BOOKS

From a historical perspective, this painting is of great significance as a rare example of early nineteenthcentury Pacific voyage art. More specifically, its rarity is underlined by the fact that there are no finished watercolours by de Sainson held in public collections in either Australia or New Zealand. Despite the best efforts of David Scott Mitchell, Sir William Dixson and Rex Nan Kivell – the latter of whom ‘at one stage spent 35 years tracking down a painting ascribed to Louis Auguste de Sainson’ in his quest for a ‘prize acquisition’ (Sasha Grishin, Paradise possessed : the Rex Nan Kivell Collection. Canberra : NLA, 1998, p. 6) – the only original works by de Sainson from the voyage of the

A VERY EARLY DEPICTION OF FRENCH EXPLORERS IN THE VIRGIN EQUATORIAL LANDSCAPE OF ISLAND MELANESIA, PAINTED BY LOUIS-AUGUSTE DE SAINSON, THE OFFICIAL VOYAGE ARTIST ON DUMONT D’URVILLE’S FAMOUS

1826-29

EXPEDITION IN THE ASTROLABE.

Astrolabe held by an Australian institution are the group of unsigned preparatory pencil sketches contained alongside many signed and dated sketches by Arago from the circumnavigation in the Uranie in an album in the SLNSW (Accession no. PX*D 150) purchased from Otto Lange in 1930. In France, the BnF holds 25 of de Sainson’s finished watercolours (see further below).

Yet in addition to its rarity, the painting also has a great intrinsic importance. For two reasons, it stands out from all of the other voyage paintings by de Sainson which were ultimately selected for publication as engravings in the Atlas to the official voyage account of the Dumont d’Urville expedition. The sheer complexity and density of the composition – an attempt to interpret the wild lushness of the jungle vegetation – instantly distinguishes it from

SAINSON, Louis-Auguste de (1800-1874)

The artist with companions from the Astrolabe in the rainforest at Carteret Harbour, New Ireland (1827).

Watercolour and ink on paper, 398 x 287 mm (entire sheet); contemporary inscription in ink to verso: 80. Vue du grand torrent et d’une forêt / Hâvre Carteret; the artist’s own re-worked section (80 x 110 mm, irregular) carefully pasted on at lower left; short closed tear at right edge; extremely well preserved.

the other works. Furthermore, this painting strives to capture a transcendent moment of contemplation (echoing Dumont d’Urville’s own reflective commentary on his crew’s experience at Carteret Harbour – see below) rather than to document a quotidian event or scene. The painting has a profound spiritual dimension: as a meditation on our place in vast and powerful Nature, evoking the wonderment of Europeans who are encountering the sublime beauty of the lush, tropical environment for the first time, it can almost be viewed as a philosophical statement by the artist. It is a work that bears the hallmarks of European Romanticism. French watercolour artist and draughtsman Louis-Auguste de Sainson was born in Paris in 1800. He commenced his naval career in 1825, and in February the following year he joined Dumont d’Urville’s expedition to the South Seas as the official voyage artist on board the corvette Astrolabe, on a monthly salary of 100 francs. He had been recommended to Dumont d’Urville for the position by Quoy, one of the expedition naturalists. During the threeyear circumnavigation of the Astrolabe de Sainson was prodigious in his output, producing almost 500 drawings in total. From these works, selections were made for the Atlas volumes which were published in 1833 as part of the official expedition account, Voyage de la corvette l’Astrolabe exécuté pendant les années 1826, 1827, 1828, 1829, sous le commandement de M. J. Dumont D’Urville. Dumont d’Urville noted that ‘[de Sainson’s] portfolio contains no fewer than 182 views, landscapes, scenes and pictures; 153 portraits, 112 plates of dwellings, monuments, costumes, arms and utensils, and 45 coastal profiles, sketches of trees, etc.’.

Although one of the aims of the expedition was to find the remains of La Pérouse (or, at least, firm evidence of the fate of the navigator and his crew, last sighted leaving Botany Bay in March 1788), its broader objectives were the carrying out of scientific research and exploration in the Pacific, including the charting of the coasts of New Zealand and New Guinea. The Astrolabe visited the western, southern and eastern coasts of New Holland, the upper South Island and east coast of New Zealand, Tonga, Fiji, the Solomon Islands, New Guinea, and the chain of islands to its east (later known as the Bismarck Archipelago).

Early in July 1827 the Astrolabe sailed northwest from the island of Bougainville, the northernmost of the Solomons, and on 17 July anchored in Carteret Harbour, on the western side of New Ireland near its southern tip. Carteret Harbour (now called Lamassa Bay) is in the St. George’s Channel which separates New Ireland and New Britain. It was in this safe haven that the expedition was able to procure urgently needed supplies of wood and water. Although the Astrolabe's crew saw evidence of a recent visit to the area by the local inhabitants, including a human skeleton still in a state of decomposition, they encountered no-one. During the week-long sojourn the incessant rainfall was the most torrential any of the expedition members had witnessed. On 24 July the Astrolabe weighed anchor and continued on a northwestly course through the St. George’s Channel, making for the Admiralty Islands. On board ship in

the early hours of that morning Dumont d’Urville reflected: ‘All around me everything was deeply asleep … I silently reviewed in my mind the many tribulations our corvette has been through. How many times had these bodies stretched out all around me escaped being drowned at sea! … What could be more precarious than the lives of these men submissive to the will of one of their fellows and obliged to let themselves be dragged anywhere he liked to take them, through gales and dangerous waters and among even more dangerous reefs!’

Over 200 of de Sainson’s original pencil drawings made during the voyage of the Astrolabe are held in the Archives de France in two portfolios (MAR/5JJ/102/A ; MAR/5JJ/102/B) under the general title Vues des côtes et dessins à la mine de plomb [par Louis-Auguste de Sainson, dessinateur sur l’Astrolabe]. A much smaller group of his voyage sketches forms part of the album in the SLNSW that chiefly contains drawings made by Arago during the Freycinet expedition around a decade earlier.

The BnF holds 25 of de Sainson’s finished watercolours, worked up from his shipboard drawings after his return to France and used as the basis for engravings in the Atlas volumes of the official voyage account. These are catalogued by the BnF under the title Dessins originaux de De Sainson pour Voyage de découvertes autour du monde et à la recherche de La Pérouse, par Dumont D’Urville sur la corvette l’Astrolabe (1826 à 1829). The BnF watercolours once formed part of the library of Prince Roland Bonaparte. Images of them (including the versos, which have manuscript captions in the same hand as the present work) can be viewed : https://gallica.bnf.fr/ ark:/12148/btv1b52516343v/f22.item

An engraved version of the present work was made by Sigismond Himely, as one of the illustrations (plate 109, Forêt au Hâvre Carteret) in the second volume of the voyage account’s Atlas. It should be noted that Himely’s engraved image differs from de Sainson’s original watercolour in several respects, most notably in the depictions of the figures at far left and right, but also in the arrangement of branches and foliage in a number of places. As in other de Sainson works from the Astrolabe voyage, for example Vue interieure du pa de Kahouwera. (Nouvelle Zélande), the sketching artist in the foreground at lower left is a self-portrait.

The similarities between the present work and the watercolours conserved in the BnF in terms of style, technique and palette are abundantly clear; more crucial, however, is the fact that forensic analysis carried out in situ at the BnF has been able to show conclusively that the present work was executed on the same paper stock as the BnF examples, and that the handwriting of the inscription on the verso also corresponds perfectly with that in the BnF captions. Furthermore, the handwriting is identical to that on the back of a de Sainson drawing in the Musée du Quai Branly.

A rare and exquisite work by one of the key voyage artists to record early European exploration in the Pacific.

WEDGWOOD,JANEAUSTENANDWHITEWARE

Roger Elliott,on behalfof ZenaThomas: “Wedgwood,

Jane Austenwroteto hersisterCassandrathatshevisitedWedgwood’s London

where her brotherchoseadinnerset inWhiteWarefor his household.With notesand illustrations provided by ZenaThomas, Rogertoldthis remarkabletaleoftheassociationof the Austens’withWedgwood. Zena isacommittee memberoftheWedgwood Societyof Australia,andgenerouslyassisted Rogerwith materialtodeliverthistalk.

Jane AustenandWhiteWare.”Writer

Showroom

Left: The Jane Austen House is in Chawton, Hampshire and is now an independent museum dedicated to the authoresses’ life, works and legacy

Below left: Wedgwood pottery on display inside the Jane Austen House.

Above right: A tureen from a dinner service bearing the armorial marking of Edward Austen Knight on its lid, bowl and plate.

Right: The Edward Austen Knight dinner service.

Wedgwoood ‘white ware’ teapot.

Left: Wedgwood patterns in Book One of the factory’s series of sales catalogues.

Below: Two white ware plates in polychrome!

Below left: Pattern 491, “WW Blue and gold dimonds [sic] brown triangles & Crest on the rim to pattn plate & copper plate”

Bottom right: Portrait of Edward Austen Knight, Georgian gentleman. Edward was the third eldest brother of Jane Austen and provided her with use of a cottage in Chawton for many years. It is now the Jane Austen House and where his former dinner service is displayed.

The Ceramic Collectors Society was founded on 13 September 1949, by a small group of antique dealers and ceramic collectors in Sydney. Its aim is to promote appreciation and knowledge of ceramic art and to form a meeting ground for all those interested in ceramics.

Contact:

Honorary Secretary and Membership Secretary: Adrienne Wilson: 02 9332 3882

ceramiccllectors@weebly.com

ceramiccollectorssociety@gmail.com

KING ALBERT’S ‘BIRTHDAY BOOK’, 1915

BY JOHN WADE

After Albert I King of the Belgians refused safe passage to Kaiser Wilhelm’s troops to attack France, Germany invaded neutral Belgium on 4 August 1914. Britain, bound by an 1839 treaty to support Belgium’s neutrality, declared war on Germany the same day. Australian Prime Minister Joseph Cook offered his government’s support to the British Empire. The invaders captured much of Belgium including the capital Brussels. King Albert, as Commander of the Army, rallied the nation and delayed the German advance so Britain and France could marshal troops for several battles in September-October 1914. The Belgian Army retreated northwards, fighting a battle of attrition for four more years. King Albert fought alongside his men while Queen Elizabeth served as a nurse.

Ordinary Australians wanted to help the beleaguered Belgians. For the gallant king’s 40th birthday on 8 April 1915, citizens of Melbourne sold roses to raise money. Beechworth held a ‘grand patriotic concert’ for the King’s birthday. Belgian Relief Fund appeals by The Argus newspaper and the Lord Mayor raised over £270 000 (perhaps $30 million today). By this time, Australian troops of the AIF were in Egypt, preparing for the Gallipoli landing; they did not deploy on the Western Front in France and Belgium until 1916.

A committee of Victorians proposed a more personal and distinctively Australian gift, if somewhat impractical in wartime. By subscribing £1 each to sign a ‘birthday book’, they hoped to raise funds ‘as a birthday gift to King Albert for the help and relief of his starving people.’1 Sheets for the book could be signed at all the banks, the Commercial Travellers’ Club, Whitehead’s and Mullen’s.2

Professor T.G. Tucker drafted an address, which was to be ‘beautifully illuminated, and bound with all the sheets of signatures into a handsome volume and enclosed in a casket, of Australian woods elaborately carved’.3 When completed in late July 1915, the casket was shown in the windows of Allan’s and picture-framers D. Bernard & Co. in Collins Street.

The Leader described the carving:4

The top panel of the casket represents a weeping wattle (Acacia Saligna), designed to express sympathy and sorrow. In the side panels, of which there are four, are eucalyptus leaves, seed pods, buds and blossoms, the front panel having a ribbon entwined among the leaves, and bearing the words, “The leaves of the trees for the healing of the nation.”

The casket was designed and carved by Mr. John K. Blogg, of Surrey Hills, and the cabinet work was executed by Mr. H. Goldman, both gentlemen giving their services gratuitously, and sparing neither time nor cost in producing what must be acknowledged as the most beautiful casket ever seen in Australia.

Well known cabinetmaker Harry Goldman had been born in Bristol, came to Australia as a youth and established his furniture manufactory H. Goldman and Co at 394–400 Latrobe Street about 1912.5 In 1914, Lady Denman, wife of the Governor General, visited his workshop ‘to inspect the Victorian fancy timbers in which the firm is specialising,’6 receiving a jewel box as a gift.

Goldman was7 a pioneer of the use of Australian native timbers in high-grade furniture, he made several cabinets and other articles of furniture from native woods for presentation to the King and Queen, the Duke and Duchess of Kent, the Duke and Duchess of Gloucester, and other members of the Royal family by Australian organisations.

Vigorously active in trade, business and training organisations, in 1915, he unsuccessfully sued the Herald and Weekly Times for libel, after it reported that the military had carried out a raid on his premises under the Trading with the Enemy Act – unsuccessfully seeking evidence that Goldman was German or that he had bought goods from Germany. Chief Justice Madden was scathing of the military’s refusal to cooperate with the court.

Eventually, the address attracted 809 signatures. L. Byron Morres, honorary secretary of King Albert’s Birthday Book, sent the casket in November via RMS Medina through the Agent General to the ‘Belgian Consulate’ in London. He sent a bank draft for £809 to King Albert, asking ‘that the amount be handed to Her Majesty, Queen Elizabeth, for the benefit of wounded soldiers at the base hospital at Furnes, in which, it is known, she takes a great personal interest.’8

NOTES

1. Ovens & Murray Advertiser (Beechworth) 31 Mar 1915 p 2.

2. Argus 9 Apr 1915 p 6.

3. Argus 17 Apr 1915 p 18.

4. Leader (Melb) 31 Jul 1915 p 35, illustrated; also Herald (Melb) 28 Jul 1915 p 1.

5. K. Fahy & A. Simpson Australian Furniture p 55f.

6. Leader (Melb) 18 Apr 1914 p 51

7. Herald (Melb) 25 Nov 1939 p 12.

8. Argus 4 Nov 1915 p 5. The Belgian Army GHQ was in Furnes [Veurne] in 1914–15.

Article courtesy of the Australiana Society from the Australiana journal. Contact national secretary: secretary@australiana.org.au

australiana.org.au

John Kendrick Blogg (1851–1936, carver) and Harry Goldman (c 1872–1939, cabinet-maker), presentation casket with carved decoration, presented to His Majesty Albert I King of the Belgians, 1915 by 809 citizens of Victoria. Blackwood and other Australian timbers, 16.0 x 54.0 x 42.0 cm. The top panel represents the weeping wattle, Acacia saligna.

A PRESENTATION CASKET WITH CARVINGS

BY JOHN K. BLOGG, 1915

BY SARAH GUEST

The box seen here shows the superb carving of John Kendrick Blogg, a successful and entrepreneurial industrial chemist who was born in 1851 in Canada, settled in the Surrey Hills region of Victoria in 1877 and died in 1936. His day job involved making perfumes and extracting essential oils. Family legend has it that he began making furniture and ornamental wooden carvings after the death of his first wife, Annie, in 1893. This box carries several examples of his carving and, in terms of Australiana, is as good as it gets.

Until recently, Blogg’s work has been prone to slip under the radar. Perhaps this was because much of his output was made for his family, local churches and/or as war memorials, and rarely appears on the market. However, although Blogg probably did not regard himself as a professional carver, he was involved with several local arts and crafts organisations and, most probably, attended various exhibitions. He also wrote poetry and frequent letters to the editor, signed in his usual fashion as John K. Blogg.

He is best known as being one of the notable woodcarvers to recognise and exploit the beauty and decorative value to be found in Australia’s native flora –and he did ‘his thing’ with amazing dexterity and style. Needless to say, he also had an artist’s eye for placement and proportion.

Blogg often presented pieces of his work to people he regarded as important or significant and this box was presented to His Majesty Albert I, King of the Belgians

Detail of Eucalyptus leaves and gumnuts, with carved inscription

'THE LEAVES OF THE TREE FOR THE HEALING OF THE NATION'

Below: Signature, ‘John K. Blogg’ and date ‘1915’ on lid.

who reigned 1909–1934 (see following story). It is not too imaginative to suggest that Blogg, who was deeply distressed by the carnage of WWI, eagerly accepted this pro bono commission. Much of his work quietly commemorates the Australian soldiers who fought in World War I – thousands of whom lie in Belgian soil.

Many of John Blogg’s carved pieces feature sprigs, twigs and branches taken from Australia’s magnificent flora. Leaves, often gum leaves, represent all the Australian troops who fought in the ‘war-to-endall-wars’. Healthy leaves, those still attached to the mother-branch, represent men who returned, unharmed, to Australia. The shredded, tattered, insectdamaged and broken ones speak of the wounded and maimed and those on the ground represent, of course, the never-to-return dead. Flowers and gumnuts represent hope for the future. Blogg is known to have collected much of his subject matter directly from the bush or local gardens and to have faithfully reproduced his chosen specimens scars and all. There are five carved panels (on the lid and on the four side panels) set into a body of top-quality fiddleback blackwood. The timber employed in the carved panels is difficult, at this distance, to identify, but Blogg is known to have used Queensland maple (Flindersia brayleyana), white beech (Gmelina leichhardtii) and Leichhardt tree

(Nauclea orientalis) for some of his carvings and all could be contenders. Suggestions would be welcomed.

Blogg was a prolific woodworker with about 300 pieces to his name but only two boxes are known, this one and one in a private collection – sadly, not mine!

Blogg is known to have kept meticulous records which included professional photographs of all his work. So, anyone advertising a piece as ‘attributed to John Blogg’ should take care. And ‘Buyer Beware!’

If I ever get to Europe again I may request a personal interview with a box!

ACKNOWLEDGEMENTS

It took years to uncover this particular box and its emotive story and I am grateful to all who have helped and have kept me at it. Most particularly I would like to thank the staff of the Embassy of Belgium in Canberra who started the ball rolling. The curatorial staff in the Belgian Royal Collection were kind enough to supply the photographs and to thank me for telling them how their no-name mysterious box reached them. I am grateful to Narelle Russo who curated an exhibition Drawing with chisels: the woodcarvings of John K. Blogg, 1851–1936 at Mornington Peninsula Regional Gallery in 2007.

Article courtesy of the Australiana Society from the Australiana journal.

Contact national secretary: secretary@australiana.org.au

australiana.org.au

Born in England, Sarah Guest married an Australian and came to Melbourne in 1961. Soon after, she bought a cedar book box which was the start of an impressive collection of timber boxes. She wrote about plants and gardens in The Age for 20 years, has written seven books and is working on a book about Australia’s timber boxes.

Right: Detail of Eucalyptus leaves and gumnuts and blossom carved on the sides.

Left: Tasmanian maireener shell necklaces in various colours. Collection: Anne Schofield Antiques.

Above: Detail showing the iridescent maireener shells.

TASMANIAN ABORIGINAL (PAKANA) SHELL NECKLACES

BY ANNE SCHOFIELD

Antique jewellery dealer Anne Schofield recently exhibited a collection of rare Aboriginal shell necklaces from Tasmania, which were on show in June at her Woollahra gallery.

A tradition of adornment extends from the oldest living culture on Earth, and continues unbroken to this day. That’s what excites me about Tasmanian shell necklaces. My love of these delicate jewels began back in the 1990s when I first saw a display of specimens dated about 1870 at the Queen Victoria Museum and Art Gallery in Launceston.

A visit to the Tasmanian Museum and Art Gallery’s (TMAG) exhibition taypani milaythina-tu: Return to Country, which ran from October 2022 to May 2023, renewed my respect for these beautiful and rare items, and for their makers. My interest in these beautiful and rare items led to my 2007 exhibition of 30 antique and contemporary Aboriginal shell necklaces. Later in 2014 my fascination with these works was rekindled when I saw an exhibition at Object Gallery Sydney of Lola Greeno: Cultural Jewels. Lola Greeno (b 1946) is recognised as the matriarch of the revival of the art of making shell necklaces, a traditional cultural practice that was passed down to her by her mother Dulcie Greeno.

taypani milaythina-tu: Return to Country showed Aboriginal artefacts which had been collected by early explorers and colonials, then taken back to Britain and Europe as souvenirs. The TMAG curators had requested their return for this special exhibition and are hoping to negotiate a future permanent return to country. This historical material was complemented by new works.

I was particularly impressed by the lovely shell necklaces held by the British Museum and the Victoria & Albert Museum in London, and National Museums Scotland, which are in perfect condition after 200 years! I have since learned that 13 Tasmanian shell necklaces were exhibited at the Great Exhibition held in London 1851 at the Crystal Palace. Others were displayed at later intercolonial and international exhibitions including Calcutta in 1884.

The stories behind the tradition of making shell necklaces fascinates me. It is a long and arduous process and requires great patience, knowledge and skill, which is being passed down from mothers to daughters in families from the Furneaux Islands in Bass Strait (Flinders and Cape Barren Islands). Lola Greeno writes in her book Cultural Jewels’

Living shell collection requires arduous cleaning processes, sometimes taking months to remove the animal, and with maireeners there is the additional, secret means of removing the outer surface to reveal the inner, magically opalescent sub-surface of the shell, the gem within.

This necklace work involves four separate processes:

1. Collecting the specific shells at certain times of the year, with certain tides and climatic conditions.

2. Cleaning to remove the outer layer to expose the brilliant, vibrant colours of the shells. In former times this would have been done by burning grass over wood embers, when the action of the pyroligneous acid removed the outer coating from the shell, but today they are cleaned with a diluted chemical solution, although Lola says ‘we don’t reveal our exact solution methods.’

3. Piercing the shells. Originally the women punctured the shells using the eye tooth of a wallaby and threaded them with kangaroo sinew or plant fibre.

4. Ordering and stringing the shells. Today they use cotton, nylon or fine wire.

Pakana artist and academic Julie

Gough says in the catalogue of the 2016 TMAG exhibition kanalaritja – An Unbroken String

Tasmanian Aboriginal shell work is unique, the patterns and shell types indicate the maker and also reflect a place or places, the seashores from whence they came, and the knowledge of collecting and making. These necklaces offer insight into how to do things the right way, in slow time, with care. This is a gift not only for the makers, but to those who hold them. Those wearing them are our cultural ambassadors. They reveal by carrying our culture in this way their respect for our people, and for our Ancestors who ensured our survival and of cultural practices, including shell stringing.

Article courtesy of the Australiana Society from the Australiana journal. Contact national secretary: secretary@australiana.org.au australiana.org.au

Top left: Charles Woolley (1834–1922), photographer, Truganini (circa 1812–1876) wearing a shell necklace, circa 1866.

Top right & below Tasmanian necklaces of iridescent maireener shells.

Collection: Anne Schofield Antiques.

Anne Schofield AM has operated her jewellery gallery in Queen Street, Woollahra NSW since 1970 and wrote Australian Jewellery 19th and 20th Centuries with Kevin Fahy, published in 1990. Her contact information is on her website anneschofieldantiques.com.

FRANK HYAMS THE NEW ZEALAND WATCHMAKER & JEWELLER - GREENSTONE CANDLESTICKS

BY JOHN HAWKINS

Between 1885 and 1905 Frank Hyams ran a watchmaking and jewellery business in Princess Street, Dunedin. When his first wife Elle Hallenstein died in 1895, he married her London-based cousin Hilda in 1897 and he moved to London in 1898. The Hallensteins founded a clothing, retail and manufacturing empire in Otago with 34 stores throughout New Zealand by 1900. In New Zealand in 1901 he had made the gift from the people of New Zealand to the Duke and Duchess of Cornwall and York to commemorate their visit: a Maori war canoe with eight men rowing with the chief standing, with a taiaha supported on four similar square greenstone pillars topped with Kiwi birds, at a cost of £630, described as The most beautiful thing ever made in New Zealand.

Hyams opened on the first floor of 167 New Bond Street in late 1898, then moved to a prestigious shop at 128 New Bond Street on the corner of Grosvenor Street

where he promoted Greenstone as: identified with the Maori Race from the earliest knowledge we have of it. And while Greenstone lacks the brilliancy and transparency of the Emerald and other stones of the “Gem” tribe, the finer quality of the Stone is capable of receiving a high polish which brings out its latent beauty and renders it a most fitting stone for the manufacture of personal ornaments or the more useful table requisites. Hyams counted as a client Leopold de Rothschild, who won the 1904 Derby with his horse St Amant with an ancient two-inch New Zealand greenstone hei tiki in his pocket. Rothschild told the King that it was sent to him with a nice letter by an anonymous correspondent imploring him to wear the amulet during the race as a pledge of victory. That charm produced a boom in the sales of greenstone products around the world. It could be argued that these candlesticks next to the royal presentation canoe are among the finest greenstone items made by his now international firm.

The London hallmarks for Frank Hyams, without the date letter

HYAKUMANTŌ DHĀRAṆĪ (百万塔陀羅尼):

THE EARLIEST RELIABLY DATABLE PRINTED TEXT

BY DOUGLAS STEWART FINE BOOKS

The Hyakumantō Dhāraṇī is the earliest printed text to have survived in Eastern or Western cultures that can be verifiably dated, predating the movable type of Gutenberg by some seven centuries.

In the year 764 CE, the Empress Shōtoku (称徳天皇) commissioned one million (hyakuman) miniature wooden pagodas (tō) for distribution to ten major Buddhist temples in Japan. Known collectively as the Hyakumantō (百万塔), each contained a small scroll on rice paper with a Buddhist mantra or prayer (dhāraṇī), which was most likely printed on a bronze tablet - although some scholars suggest wooden blocks were used.

The Mahayana branch of Buddhism had reached China from India towards the end of the Han period, around 150 CE. It spread from China to Japan in the 6th century CE, where it quickly established itself as the primary form of Buddhism. In Mahayana devotional practice a dhāraṇī is a charm or prayer. Each of the Hyakumantō contained a dhāraṇī from the body of texts known in Sanskrit as the Vimalasuddhaprabhasa mahadharani sutra, and in Japanese as Mukujōkō daidarani kyō (無垢淨光大陀羅尼經). The sutra had been translated into Chinese by the Central Asian monk Mituoxian between 680 and 704 CE, and was one of the key sutras of Empress Shōtoku's period. Chinese was the principal language of worship, as there was no formal

standardisation of written Japanese at this early date; consequently, the dhāraṇī contained in the Hyakumantō were printed in Chinese script. As well as being intended for the expiation of sin and the accumulation of religious merit, the prayers were believed to have apotropaic powers, which meant that each of these diminutive pagodas was in essence a protective talisman to ward off evil spirits. Each of the Hyakumantō contained one of four prayers, known in Japanese as the Kompon, Jishinin, Sorin, and Rokudo. The Hyakumantō Dhāraṇī were dedicated and distributed to the ten major temples in Japan at the time: Sadai-ji, Daian-ji, Shitennô-ji Yakushi-ji, Tôdai-ji, Hôryu-ji, Sûfuku-ji, Kôfuku-ji, Genkôji, and Kôfuku-ji, where they were housed in specially constructed halls known as shōtōin.

The earliest record we have of the commission of the Hyakumantō Dhāraṇī is found in the Shoku Nihongi (続日本紀) of 797 CE, a 40-volume work of national history which documents their creation. Although it is questionable whether one million of the Hyakumantō Dhāraṇī were actually made, it would appear certain that at least several hundreds of thousands werean unprecedented example of mass production in Japan, which came at great personal expense to the Empress. We are certain that a small army of artisans was responsible for their creation: from the evidence provided by a maker's mark on many of the surviving examples, it has been ascertained that no fewer than

157 artisans were engaged in their production.

There are various theories as to why the Empress of Japan commissioned the Hyakumantō Dhāraṇī. The project commenced in 764 at the conclusion of the Fujiwara no Nakamaro Rebellion (藤原仲麻呂の乱), and continued until the Empress' death in 770 CE. Her act is formally recorded as a gesture of thanks for the crushing of the rebellion; other sources speculate it was an act of penance stemming from her association with the monk Dōkyō. Quite possibly it was related to both events, but there can be little doubt that at least part of the impetus for it derived from the Empress' time spent as a nun in the years between her reigns (see below). Ultimately, their commission could equally have served devotional or political aims.

Most of the extant pagodas have lost their printed dhāraṇī, and those that have survived are typically in a state of decay - unlike the present example. As noted by Yiengpruksawan in 1987: 'Their fate after the 8th century was unhappy; by the modern period most were lost, with Höryüji remaining the sole temple that still maintained a collection. When the Höryüji collection was surveyed in 1908, there were 43,930 pagodas but only 1,771 darani. Today Höryüji owns 102 pagodas and 100 darani.' (Mimi Hall Yiengpruksawan. One Millionth of a Buddha: The "Hyakumantō Darani" in the Scheide Library. The Princeton University Library Chronicle, Vol. 48, No. 3, Spring 1987, pp. 224-238).

The Empress Shōtoku remains one of the most fascinating figures in early Japanese imperial history. The daughter of Emperor Shōmu, she had previously reigned as the Empress Kōken (孝謙天皇) from 749 to 758 CE. The Empress Kōken ascended to the throne at the age of 31, and ruled under the influence of her mother, the former empress consort Kōmyō, and her nephew, Fujiwara no Nakamaro. Kōken was succeeded by the Emperor Junnin, and the retired Empress took Buddhist oaths and became a nun. In this period she formed a close personal relationship with the monk Dōkyō, with whom she is speculated to have had a romantic relationship. Despite her retirement, the former Empress retained an interest and influence

in Japanese imperial politics. After a power struggle developed between Kōken and Fujiwara no Nakamaro, the tension between the opposing camps culminated with the Fujiwara no Nakamaro Rebellion (藤原仲麻呂 の乱) of 764 CE. Nakamaro's troops were defeated and Kōken re-ascended the throne as the Empress Shōtoku. The monk Dōkyō was soon thereafter appointed Grand Minister, and in 766 he was promoted to Hōō (priestly emperor), even making an attempt to ascend the throne himself in the year 769.

In the twentieth century, a printed copy of the Uṣṇīṣa Vijaya Dhāraṇī Sūtra, known as The Great Dharani Sutra, was discovered in Korea. It is speculated to have been printed in the early eighth century. Printing in China is believed to have had its origins even earlier, in the seventh century CE during the Tang dynasty, and there are a handful of fragmentary examples suspected to be from this date in museums in China. However, the date of none of these specimens has been verified, and there is no comparable example of a printed document from such an early date that has appeared on the market in recent times.

Collectors hoping to locate other early examples of printing in Japan of such antiquity (i.e. from the 8th century CE) will be disappointed. After the commission of the Hyakumantō Dhāraṇī, mechanical printing in Japan went into decline. It remains unclear whether this was due to the cost of the endeavour, or the ritualistic implications of the printed prayers. Woodblock printing of text would not be revived until the 10th or 11th century, with woodblock books only beginning to be published more regularly in the 12th and 13th centuries.

The Hyakumantō Dhāraṇī are, collectively speaking, an extraordinary class of artefact dating to the earliest period of printing technology. They also provide a record of the practices and beliefs of Buddhist society in Japan in the Nara period. Most extant examples are in Japanese collections, there are no examples recorded in Australian collections.

The Hyakumantō Dhāraṇī is a great treasure and rarity in the history of the printed word.

ENGLISH SILVER FOR WRITING

DR ALISON M HOLLOWAY

Little is recorded of silver, used in England for writing, before the time of the Commonwealth (1649-1660).

There are references to two standishes in the inventory of plate belonging to King Henry VIII dated 1520. One is of Spanish origin, the other probably English marked with a lion.

Sir Robert Cecil’s inventory dated 1612 lists silver plate at the houses of Theobalds and Hatfield. It groups “white plate commonly used in the house” into different categories including “silver for writing”. Sir Robert had two silver standishes, one weighing 56 ounces, but they have not survived.

Other inventories from the same period describe silver dust boxes, boxes to hold pens and seals for attaching seals to official documents, but we do not have examples to see.

The only known surviving hall-marked standish from before the Civil War is that of Sir John Noble made in 1630. It is 5 and a half inches high and holds 2 pens, an inkpot, a pounce pot and a box of sealing wafers.

Until the middle of the sixteenth century it was not considered proper for a noble or titled gentleman to write his own letters himself. The writing of documents and letters was delegated to resident or itinerant scriveners. Itinerant scribes carried with them their own inkhorn, quill box, sand box and knife, usually in a leather case. Few were wealthy enough to afford silver.

There are references in the sixteenth century to the use of penners. These were tubular boxes some 5 to 6 inches long with compartments for ink powder and for short quills, often with a finial at one end bearing a personal seal. Some of these boxes were made of silver. In his portrait of 1625 King Charles I is depicted using a silver penner which contained a penknife for sharpening quills. A few other penners from the seventeenth century still exist in silver collections, but none from earlier times (Figure 1).

From the mid seventeenth century English standishes were shaped like a rectangular casket. The lid opened fully from hinges at the back or from hinges halfway across the top. Inside were several compartments, one for an inkpot, one for a pounce pot and one to hold wafers. Some had a long tray inside at the back, others stood raised with a shallow drawer underneath to hold quills and quill sharpeners. The trays were known as pen boxes. This basic style of standish became known as the Treasury pattern. This plain type continued to be used in offices until the nineteenth century. A full set of hallmarks were required on the casket. Each of the moveable parts needed only the maker’s mark and a silver mark (Figure 2).

By the end of the seventeenth century domestic standishes changed to the tray type. In its simplest

Figure 1

Figure 2

Figure 3

form an oblong tray on four feet carried an inkpot and a pounce pot and a hand bell. The bell would call a servant to deliver the hand-written letter or note. The hand bell was sometimes placed over the wafer box (Figure 3).

Sealing wax was used to seal letters. Instead of using a table candlestick to melt the wax which had been customary, single small taper candlesticks came into use. The earliest known taperstick was made circa 1685. The taperstick became part of the inkstand. Then there was a need for an extinguisher to put out the taper after use, and the dedicated extinguisher was usually attached to the taperstick by a chain (Figure 4).

During the eighteenth century standishes often incorporated additional features. A third pot with a lid with holes was added to hold a quill immediately after use when the ink on it was wet. The tray might have a trough to hold quills and sealing wax. There could be a seal box, a quill case, a quill sharpener or penknife, and a container for lead shot used to remove thickened dried ink from quills. Large standishes became centrepieces for desks or tables and many were elaborately ornamented with flowers or figures.

Two changes were introduced to satisfy ladies who wished to lead fashion. One was to change the flat tray to a canoe shaped tray with highly curved ends which could be fitted with handles. The popularity of this change persisted into the beginning of the twentieth century (Figure 5). The second was not so successful. From 1770 to 1810 globe inkstands were made to be used in libraries. They were awkward to use and did not hold all the items necessary for writing letters, so they were dropped (Figure 6).

Such was the popularity and importance of owning a standish to inform others that members of your household could read and write that from about 1760 standishes were copied in Sheffield plate for those who could not afford silver. Sheffield plate cost less than half that of silver.

The term standish was used for an inkstand until approximately 1800. Matthew Boulton in 1772 was one of the first to use the term “inkstand “to distinguish standishes with cut glass containers with silver lids from older standishes with silver containers.

Glass inkwells and pounce bottles made of cut glass were introduced during King George III’s reign. Glass was either clear or sometimes Bristol blue. Square cut containers were fashionable. When King George IV came to the throne glass containers could be urn, vase, melon or circular in shape. Cut glass containers were secured in place on trays by guard rings or hand- pierced galleries. Silver container lids were hallmarked. These lids were loose until about 1815, after which they were hinged. In Victorian times travelling inkwells had cork stoppers and hinged lids which could be locked into place.

In the late 1700s and in the first half of the nineteenth century silver inkstands became cheaper. Large scale

Figure 4

Figure 5

Figure 6

Inkstands remained popular during Queen Victoria’s reign. Master silversmiths competed against mass produced articles by making their own inkstands heavier and more ornate and flamboyant, along the lines of display or trophy silver.

Progress in allied fields resulted in inkstands becoming smaller again by the end of century. Wafers from wafer boxes were used until after 1845. After this date envelopes made by machine with adhesive to secure the flap down were introduced. Quill pens were replaced by the “drip pen” or “nib pen”, i. e. a pen with a steel nib first made in 1803 and mass produced in 1822. Blotting or bibulous paper made from rag paper replaced the gum sandarach kept in pounce pots to dry wet ink by the mid1800s. From mid Victorian times domestic inkstands often comprised only one or two silver mounted glass inkwells on a small tray (Figure 7 & 8).

Silver inkstands are rarely made now. Individual silver inkwells are still made and may have pride of place on a silver pen tray, but they are for show rather than use. A wide variety of inkstands from the nineteenth and early twentieth century are readily available for inspection and purchase but no longer used in daily life. Many old standishes have been broken up into individual pieces. Intact seventeenth and eighteenth century standishes are rare and are now collectors’ items (Figure 9).

silversociety.com.au

Courtesy of the The Silver Society Newsletter

The Silver Society is based in Sydney and has regular meetings in Melbourne. We meet six times a year to discuss an aspect of silver collecting and production. The Society also produces excellent newsletters that are emailed to financial members.

The Melbourne program for 2024 is as follows:

Tuesday 20 February: Books for sale from the Silver Society library

Tuesday 16 April: Favourite silver pieces in our collections: a show and tell

Tuesday 18 June: The Flynn Brothers silversmiths. Presenter silversmith Dan Flynn

Tuesday 20 August: Fakes and forgeries. Presenter Jolyon Warwick James

Tuesday 15 October: Silversmith Stuart Devlin AO CMG Silversmith & one-time Prime Warden Goldsmiths Hall

November 2024

TBC:

a “Silver Christmas Party” with afternoon tea at an historic Melbourne mansion

We meet early in the evening in an inner south-eastern suburbs hotel where we have privacy, meeting facilities and the opportunity to have a collegiate meal.

Some members have an almost encyclopaedic knowledge of an aspect or aspects of silver manufacture and curation, others are very much in the learning stage and they are particularly welcome to join us. Members are expected to contribute to the life of the Society by joining in and showing items that they may own and which would contribute to the discussion in hand.

Annual membership $70.00 (individual)

Please contact us if you are interested to attend a meeting: info@silversociety.com.au

Figure 9

Figure 7

Figure 8

factory production of silver trays, lids for glass bottles and the use of flint glass instead of cut glass cut the cost of labour and of materials.

GN OLSSON

THE JOHNSTON COLLECTION

FELLIA MELAS GALLERY

PETER WALKER FINE ART

AAADA

ANNE SCHOFIELD ANTIQUES

GUILLAUME DILLEE

J.B. HAWKINS ANTIQUES

SCOTCHMANS HILL

RUTHERFORD

AON

Tim Storrier (1949-) The Wayfarer bronze maquette, 44x30x18cm $18,000

McLean Edwards (1972-) Suite of Friends #8 oil on canvas, 50x40cm

Sidney Nolan (1917-1992)

Burke and Wills ripolin on board, circa 1960 52x64cm $14,500

Roland Wakelin (1887-1971)

South Coast Landscape oil on board circa 1954, 42x54cm $8,500

Victor Rubin (1950-) Bouquet oil on board 39x29cm $2,200

Sidney Nolan (1917-1992)

Kelly Head, 1955 mixed media, 25x20cm

2 Moncur St, Woollahra NSW 2025

Ph: 02 93635616

Gallery open Tuesday to Saturday 10am to 5pm, Sunday Monday by appointment only. art@fmelashallery.com.au www.fmelasgallery.com.au

William Edwards

Australian Silver Teapot, circa 1870

Marked to base

Height 30 cm, length 25 5 cm

Weight 907 g

Illustrated Hawkins, J B , 19th Century Australian Silver, p 255

Peter Walker Fine Art

101 Walkerville Terrace Walkerville

South Australia 5081

info@peterwalker.com.au

peterwalker com au

Georgian emerald paste parure, close set in gold. English, early 19th Century.

PREMIUM COOL MARITIME CLIMATE WINES

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Retro Diamond Ring

Platinum ring set with a bullet shaped diamond of estimated weight 0.70ct graded as colour G-H clarity VS to a curved feature set with three baguette cut diamonds and a surround of grain set diamonds on a plain polished band.

Total Estimated Diamond Weight: 2.00ct

Weight: 12.26grams

Age: Circa 1940

$14,500

More Information

Antique Diamond Brooch

Art Deco platinum brooch bezel set to the centre with an old cut diamond of estimated weight 1.20ct graded as colour I-J clarity SI1 and grain set in two rows along the central bar with old single cut diamonds and bezel set to the ends of those bars with two old half moon cut diamonds and grain set to the surrounds with sixty two mixed old cut and single cut diamonds the brooch fastening to the reverse with an 18ct white gold pin.

Total Estimated Diamond Weight: 3.88ct

Weight: 7.1grams

Age: Circa 1920

$18,500

More Information

Antique Diamond Cross with Pearls 18ct rose gold fancy filigree cross pendant the raised centrepiece is set with an old mine cut diamond and four rose cut diamonds on textured rose gold leaves four additional old mine cut diamonds claw set to the corners the cross itself with a filigree pattern plain polished edges and a bead to three ends below a fancy articulated bail set with three pearls and with a leaf at its top.

Total Estimated Diamond Weight: 0.60ct

Colour F-G Clarity SI

Weight: 12.84grams

Origin: French

Age: Circa 1900

$4,950

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DIRECTORY OF AAADA MEMBERS

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NEW SOUTH WALES

Abbott's Antiques

Turramurra, Sydney NSW 2074 abbottsantiques.com.au

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Alan Landis Antiques Rose Bay NSW 2029 alanlandisantiques.com

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Ancanthe NSW ancanthe@bigpond.com

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Anne Schofield Antiques Woollahra NSW 2025 anneschofieldantiques.com

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Antique Print Map Room

Ultimo NSW 2007 antiqueprintmaproom.com

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Ben Stoner Antiques Conservation & Restoration

Chippendale NSW 2008 benstonerantiques.com

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Bill Blinco – Emeritus Member Sydney NSW 2000

Charles Aronson OAM – Life Member Sydney NSW 2000 charles@aronson.com.au

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Chilton's Antiques & Jewellery Miranda NSW 2228 chiltonsantiques.com.au

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Day Gallery Blackheath NSW 2785 daygallery.com.au

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Grafton Galleries

Rushcutters Bay NSW 2011 hartley@graftongalleries.com.au

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Greene & Greene Antiques Woollahra NSW 2025 greeneandgreene.com.au

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Greengrass Antiques NSW

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Hordern House Surry Hills NSW 2010 hordern.com

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Hunters & Collectors Antiques NSW huntersandcollectorsantiques.com

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Josef Lebovic Gallery Kensington NSW 2033 joseflebovicgallery.com

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Justin Miller Art Paddington NSW 2021 justinmiller.art

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Lee Hardcastle Antiques Botany NSW 1455 leehardcastleantiques@gmail.com

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Nomadic Rug Traders

Pyrmont NSW 2009 nomadicrugtraders.com

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Woollahra NSW 2025 perrymancarpets.com

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Simpson's Antiques

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Victoria and Albert Sydney NSW 2000 antiquesinsydney.com.au

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Wright Gallery Fine Art

Balmain NSW 2041 wright-gallery.com

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QUEENSLAND

Eaglemont Antiques – Life Member East Brisbane QLD 4169 eaglemontantiques.com.au

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Hind's Antiques – Emeritus Member

QLD hindsantiques.com

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Lynzay Antiques

Teneriffe QLD 4005 lynzayantiques.com.au

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The Antique Guild

Brisbane QLD 4000 theantiqueguild.com.au

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Turn o' the Century

Sherwood QLD 4075 antiques@totc.com.au

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Wallrocks

Brisbane QLD 4010 wallrocks.com.au

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Peter Walker Fine Art

Walkerville SA 5081 peterwalker.com.au

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Tusmore Antiques

Adelaide SA 5000

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TASMANIA

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Grange Antiques

Latrobe TAS 7307 kevindahya@gmail.com

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Chudleigh TAS 7304 jhawkins@acenet.com.au

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Lauder & Howard Antiques

Hobart TAS 7000 lauderandhoward.com

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Leven Antiques

Ulverstone TAS 7315 levenantiques.com.au

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Peter Lane Gallery Richmond TAS 7025 peterlanegallery.com

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Silver Service Antiques

Launceston TAS 7250 sjscitycash.com.au

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Walter & Co

Richmond TAS 7025 walterandco.com.au

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Warwick Oakman Antiques

Richmond TAS 7025 warwickoakman.com

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VICTORIA

Antiquarian

Moorabbin VIC 3189

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Antique & Unique Jewels

VIC

antiqueanduniquejewels.com

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Armor Antiques

Geelong VIC 3220 armorantiques.com

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B.C. Galleries Ancient & Tribal Art

Armadale VIC 3143 bcgalleries.com.au

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Behruz Studio

Glen Iris VIC 3146 behruzstudio.com

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Chineur Antiques

Kew VIC 3101

chineurantiques.com.au

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Douglas Stewart Fine Books

Armadale VIC 3143

douglasstewart.com.au

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Etruria Antiques Gallery

VIC

etruria.com.au

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Fine Classic Antiques

Armadale VIC 3143

fineclassicantiques.com

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Francis Dunn Antiques – Emeritus Member

VIC

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Graham Geddes Antiques

Armadale VIC 3143 grahamgeddesantiques.com

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Gray Reid Gallery

Melbourne VIC 3000 grayreidgallery.com.au

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Imogene Antique & Contemporary Jewellery North Fitzroy VIC 3068 imogene.com.au

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John Furphy – Life Member

Armadale VIC 3143 johnfurphy@a1.com.au

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Kazari Collector

Prahran VIC 3181 kazari.com.au

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Lafite Fine Silver

Melbourne VIC 3000 lafitefinesilver.com

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Lauraine Diggins Fine Art Caulfield North VIC 3161 diggins.com.au

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Moorabool Antique Galleries

Geelong VIC 3220 moorabool.com

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Page Antiques

Canterbury VIC 3126 pageantiques.com.au

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Pentimento

Armadale VIC 3143 jill@pentimento.com.au

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Rutherford Melbourne VIC 3000 rutherford.com.au

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Shawbrook Antiques Wangaratta VIC shawbrookantiques@gmail.com

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Trinity Antiques Bendigo VIC tcfhancock@hotmail.com

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Une Belle Chose By Curium VIC unebellechose.com.au

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Valentine's Antique Gallery

Bendigo VIC 3550 valentinesantiques.com.au

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Westbury Antiques

Avoca VIC 3467 westburyantiques.com.au

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Woodshed Antiques

Ballarat VIC 3350 woodshedantiques@bigpond.com

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WESTERN AUSTRALIA

Brans Antiques & Art Mosman Park WA 6012 bransantiques.com

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DIRECTORY OF AAADA SERVICE PROVIDER

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ANTIQUE JEWELLERY, GOLD & SILVER RESTORATION

Chilton's Antiques & Jewellery

Miranda NSW 2228 chiltonsantiques.com.au

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Palloys

Marrickville NSW 2204 palloys.com.au

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Paragon Restoration

Cheltenham VIC 3192 rougejewellers.com.au

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W. J. Sanders & Company

Marrickville NSW 2204 wjsanders.com.au

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ART HANGING SERVICES

Hanging Around Art Hanging Service NSW hangingaround.com.au

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CARPET, RUG & TEXTILE CONSERVATION

Behruz Studio

Glen Iris VIC 3146 behruzstudio.com

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Persian Carpet Repair & Restoration Co

Pyrmont NSW 2009 persiancarpetrestoration.com.au

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The Rug Experts

Earlwood NSW 2206 therugexperts.com.au

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FINE ARTS CONSERVATION & RESTORATION

Lauraine Diggins Fine Art North Caulfield VIC 3161 diggins.com.au

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FURNITURE RESTORATION & CONSERVATION

Ben Stoner Antiques Conservation & Restoration

Chippendale NSW 2008 benstonerantiques.com

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GN Olsson Mastercraftsmen

Kurwongbah QLD 4503 gnolsson.com

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Patinations Conservation Services Furniture Restoration & Conservation Fyshwick NSW 2609 patinations.com.au

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GILDING, FRAMING & GILT RESTORATION

GN Olsson Mastercraftsmen

Kurwongbah QLD 4503

gnolsson.com/artisan-leather-restorer

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INSURANCE

Aon Risk Services Australia

Sydney NSW 2000

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VALUERS & CONSULTANTS

Adam Galleries

Woodend VIC 3442 adamgalleries.com

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Antiquarian VIC syber@bigpond.net.au

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B.C. Galleries

Armadale VIC 3143 bcgalleries.com.au

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Behruz Studio

Glen Iris VIC 3146 behruzstudio.com

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ByJoel

Flinders VIC 3929 byjoel.com.au

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Chilton's Antiques & Jewellery

Miranda NSW 2228 chiltonsantiques.com.au

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Christopher Day Gallery Paddington NSW 2021 cdaygallery.com.au

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Dillee Art Consultants

Brighton VIC 3186 dilleeartconsultants.com

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Hind's Antiques

Chuwar QLD 4306 hindsantiques.com

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Lauder & Howard Antiques

Hobart TAS 7000 lauderandhoward.com.au

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Lauraine Diggins Fine Art North Caulfield VIC 3161 diggins.com.au

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Look Art Consulting

Melbourne VIC 3004 lookart.net

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McWilliam and Associates

Southbank VIC 3006 mcwilliamassociates.com

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McWilliam and Associates

Sydney NSW 2000 mcwilliamassociates.com

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DECORATIVE ARTS & COLLECTORS SOCIETIES

Oriental Rug Society of NSW Forest Lodge NSW 2037 rugsociety.org.au

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The Australiana Society Bondi Junction NSW 1355 australiana.org.au

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The Ceramic Collectors Society Roseville NSW 2069 ceramiccollectors.weebly.com/contact.html

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The Furniture History Society St Kilda VIC 3182 furniturehistory.org.au

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The Silver Society of Australia Northbridge NSW 1560 silversociety.com.au

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Buying with Confidence

ADDITIONAL INFORMATION:

-All prices quoted are $AUD and include GST.

-Note no buyers premium.

- Purchases, plus cost of delivery are to be negotiated directly with the relevant dealer.

- Circa (c.): defined in this catalogue as approximately 10 years either side of the recorded date.

- Condition report - contact dealer and refer to the AAADA code of practice page 40.

- GST is not applicable to exported items but these items may be liable to import taxes in the country they are being imported to.

- The Australian country call code is +61