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SALLY BERESFORD ture 17th - 19th Century Town & COuntry & English & French Furni

Handcrafted to order French Carriage Oak Table

Carriage Oak Detail

Butcher’s Table c.1870

Small Tables

Walnut Fauteuil c.1810


Extension Tables

‘Florence’ Chandelier



Our Cellar Door is open for lunch from Thursday to Sunday 11am-5pm




antiques &art ISSN 0813-9296




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A selection of signed Gallé and Moorcroft vases, c. 1910

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Beech forest in France

Harvested trees imported from France

EUROPEAN forest timbers M

y fifth article on European timbers focuses on cherry, elm and beech.

Cherry (Prunus avium) Referred to as the wild cherry, this species of cherry is native to Europe. It is a deciduous tree growing from 15 to 30 metres tall with a trunk up to 1.5 metres in diameter. The same name has been used for other species of Prunus in various localities. Wild cherries have been a food item for several thousands of years, with cherry stones found in deposits of Bronze Age settlements throughout Europe and England. In one dated example wild cherry microfossils were found in a core sample from rubbish beneath a Bronze Age pile dwelling near Lake Garda in Italy. It is likely the stones have been spread far and wide by birds.

The timber from wild cherry is a hard close grained reddish or pinkish brown. It has been used extensively in France for making cabinets, armoires and musical instruments. This hardwood is excellent for woodturning and carving and has therefore been used widely for cabriole legs and tops by the menuisiers (carpenters) and for tables and other furniture made by ébénistes, the skilled cabinetmakers. For some time I have imported wild cherry directly from France which I have used for making more classic tables and buffets. Wild cherry trees are sometimes grown in France in close proximity to vines and vineyards, where it is said to impart a cherry flavour to the grapes.

Elm (Ulmus) As a timber elm is highly valued for its interlocking grain and consequently its high

resistance to splitting; it was used for chariot and wagon wheels in Roman times and in the Middle Ages to make bows, as elm was known as a very stable timber with good lateral strength. So too it was used extensively for making the seat for chairs from one piece of wood, such as Windsor chairs during the 18th and 19th centuries. Elm was often used to make classic tables in the Poitou region of central-western France. It has a grey to honey colour, now favoured by collectors, and provided a surface slightly softer than oak. It weighs between pine and oak. Elm is also resistant to decay when wet and was therefore used in ship building and bridge building. Unfortunately Dutch elm disease has devastated elms throughout Europe and much of North America in the latter half of the 20th

century, so the elm is no longer found as a mature tree in Europe. The disease first arrived in Europe from the Far East in 1910 and into North America in 1928, but nearly disappeared in Europe by the 1940s. The more virulent strain of the disease was identified in Europe in the late 1960s, and within a decade over 20 million trees died in the UK alone, approximately 75 per cent of all elms. There is no sign of the current pandemic waning but there is some hope in the susceptibility of the fungus to be severely debilitated. Australia does not have Dutch elm disease.

Beech (Fagus sylvatica) Beech is a very stable timber and has been used extensively for making chairs, staircases and for veneers. There’s plenty of French beech available, being eight per cent of France’s forest, totalling 1.34 million ha, equivalent to nearly half of the UK’s total forest area. French beech forests are still growing with another 5.5 per cent increase in the last four years. France’s temperate and relatively rainy climate – even compared to the UK – is perfect for beech. The forest management in the east of France produces logs that according to one sawmill are ‘very large in diameter and deliver a wood that is ideal for veneers, rotary cutting and high class timber.’ Beech also ‘performs well in sanding, drilling, routing and gluing’ and ‘poses no particular technical problems in drying’ (Tunnels & Tunnelling International). In my next article I will elaborate on some interesting developments involving my importation of timbers – in particular, trees from France.

SALLY BERESFORD 02 9362 1733

Side table made in wild cherry



Child’s chair made in elm dating to early 18th century

Editorial Content COVER Danie Mellor (Mamu/Ngagen/Ngajan peoples), An Elysian city (of picturesque landscapes and memory), 2010, pastel, pencil and wash with glitter and Swarovski crystal on Saunders Waterford paper. National Gallery of Australia, Canberra, purchased 2011 See page 96

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European forest timbers The Country Trader’s contemporary collection inspirational pieces Classic Australian children’s literature & accompanying illustrations – Susanne Gervay Cliff Fragua Native American sculptor – Jeannette Arif A continuing passion for antique maps & prints – Derek & Kathryn Nicholls Ahmet Solak answers rug & carpet owners’ FAQs The central medallion in Persian carpets – Ross Langlands Fine furniture, art works and more in the heart of Bondi Junction Pack & Send art and antique specialists From a special place: Burmese Buddhist arts New store - freshly arrived stock, Elements i love ... The Art Gilding Academy the only place in the world where you can learn professional gilding in just two weeks What is Doug Up On Bourke? Furnishing trends from America’s biggest trade show Mecca for the beautiful and unusual Mizpah jewellery at Kalmar Antiques Pack & Send now open at Botany A brief history of Australian banknotes Nobles Numismatics $3.4 million sale – Jim Noble From the Australian National Maritime Collection, an extending timber cabin bed – Kieran Hosty Fish in Australian art showing at Australian National Maritime Museum Centenary of the Titanic remembered at the Australian National Maritime Museum – Shirani Aththas Aladdin incandescent mantle lamps – Jurgen Weissner History awash – Denis j de Muth Souvenir life rings – Stephen Hampson Australian female artists – Vincent Day & Helen Day French furniture at Baker and Houghton Antiques Unique France design style for that special look – Nadia Aber-Griffith Parquetry flooring, one of the finer things in life – Ivan Kirton The roll-top desk and its place in history – Gary Auton Whether downsizing or looking for French inspired lighting options be inspired at Eliza Jane Antiques – Jane Rush Collecting perfume bottles – Eleanor Keene The mysterious Monsieur Descubes: A botanical thriller Old warehouse makes a beautiful showroom for French provincial and handcrafted floors – John Fredriksson Balmain Road Antique Centre is the newest antique centre in Sydney What is old can be almost new again – David Foster And so to bed at Balmain’s windows to watch Ussed & Abbussed: The Department Store Antique General Store, a Narrabeen institution The Northern Sydney Antiques and Collectables Fair in Berowra The cameo: an ancient decoration choice Islington Antiques in Newcastle since 1990 Tea and teapots – Janice Piotrowicz Superb cedar at Rare Find Country Antiques The good life: Heartland - for sale with freehold Windsor and Hawkesbury antiques and collectables trail Visit historic Richmond and The Bank Bazaar Especially for the guys at historic Windsor The scenic Hunter Valley perfect for antique hunters Thoughts on collectors, collecting and collections – Jonathan Vincent For the diary: Annual Dubbo Antique & Collectables Fair – Carla Pittman The Doll Collectors Club of NSW presents 31st Annual Doll Fair Camden Quota Antique Fair bringing collectors and antiques together – Eileen Regent Hunting and collecting in southeast Australia, an Aussie road trip – Katherine Kasz Stories from the past: memories of Australian country dealers – Jane Crowley Exclusively at Geelong Gallery in search of the picturesque - the architectural ruin in art Introducing String: antiques with a domestic inspiration National Indigenous Art Triennial, celebrating contemporary indigenous arts – Franchesca Cubillo Carol Jerrems at the National Gallery of Australia – Gael Newton Marking 25 years in Canberra: The ACT Springtime Antique Fair – Les Selkirk The Forrest Hotel and Apartments The beginnings of time in horology – Michael Colman A specialist furniture manufacturer: Churchill Chesterfield made in Australia Collecting insights with the Australian Antique & Art Dealers Association Art, money & Mona Lisa’s curse – John C R Albrecht

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

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OUT & ABOUT Vintage fashions a good mix with the dec art


he preview of the first sale for 2012 held by Theodore Bruce in their Sydney Beaconsfield rooms mixed vintage fashions in with the other areas of

Robert Williams, Leona Kerlan, Eleanor Keene

collecting providing an interesting and eclectic mix of antiques, jewellery, fine wine and Asian art. Established in 1878, Theodore Bruce is Australia’s oldest auction house and the sale was designed to encompass as wide a range of collecting interests as could be managed in the space. The company is moving to larger premises nearby.

Natan Kuchar, Adam Drexler, Debra Drexler

Assoc Prof Diane Fatkin, Dr Dennis Kuchar

Alex Gottshall, Dr Ron Weiser

Prof B Graham, Dr Dennis Kuchar

Art for heart research

The opening address was made by Professor Bob Graham AO, Executive Director of the Victor Chang Cardiac Research Institute. Prof Graham outlined the vital work of the Institute which focuses research in heart disease, molecular cardiology and cardiac transplantation. The Institute was set up in 1994 in memory of the outstanding contribution made to the hospital and general community by Dr Victor Chang who was brutally murdered 20 years ago. A successful evening of Kuchar’s art sales of familiar scenes of the local neighbourhood and eastern suburbs beaches was enjoyed by all.

James Badgery of Theodore Bruce Auctions

T Daphne McCaughan, Glennis Murphy from Sydney Antique Centre

Eleanor Keene, Lee Stone, Director of Theodore Bruce Auctions

Celebrating Marilyn

General view of the exhibition

he opening of Dr Dennis Kuchar’s solo exhibition titled Darlo, Paddo & the Beach took place at the Xavier Art Space in St Vincent’s General Hospital, Darlinghurst Sydney. As well as an artist, Dennis is an Honorary Cardiologist (for more than 20 years) at St Vincent’s Hospital. He has previously been the winner of the oil prize in the Waverley Art Competition. Dennis donated all the proceeds from the sale of his works to the Victor Chang Cardiac Research Institute.

Louise Garczewska, Director, Getty Images Gallery

Marilyn lookalike Suzie Kennedy


he Getty Images Gallery in London is running an exhibition of imagery and memorabilia to commemorate 50 years since the untimely death of Marilyn Monroe. A private viewing was held on Wednesday 7 March before its opening to the public on 9 March.

Victoria Wolcough, Director Chairman’s Office Christie’s and David Gainsborough Roberts, owner of one of the largest collections of Marilyn Monroe memorabilia in the world



Photos by Ian Gavan/Getty Images 2012

Lisa Forrest launches Ships in the Field at The Hughenden


isa Forrest former Olympic swimmer, author and media commentator launched at The Hughenden Hotel, Susanne Gervay’s Ships in the Field illustrated by artist Anna Pignataro. The launch was a National Year of Reading event. Susanne’s latest book gives a voice to the children and families of refugees finding home in Australia. It is dedicated to her aunts who escaped Hungary and were eventually accepted by Australia to migrate there. Anna Pignataro’s beautiful illustrations were on exhibition for

the launch. Guests included human rights lawyer Jacqueline Everitt, Jennie Orchard from Room to Read Australia Foundation, John Petersen Manager NSW Migration Heritage Centre at the Powerhouse Museum, poet Michelle Cahill, editor and author Sharon Rundle, Sue Alvarez OAM Storytellers Guild and many Australian authors.

Nina and Anna Pignataro Anna Pignataro, Susanne Gervay, Sarah Davis Susanne Gervay, Jennie Orchard

Above: Jeni, Lisa Forrest, Kate Forsyth

Below: Thomas Gervay, Margaret Fox, Megan Gervay

FOR THE DIARY Winter fairs to visit NSW & ACT 7 - 8 JULY Blue Mountains Antiques & Collectables Fair with interstate and country dealers, Blackheath Community Hall Great Western Hwy Blackheath NSW enquiries 0428 446 534 28 - 29 JULY 31st Annual Doll Fair & free doll identification & valuations 12-2 pm, Liverpool Catholic Club free shuttle bus from Liverpool Station, 02 9389 0324/02 9181 2311 / 0409 345 556 dollsclubnsw@gmail 3 - 5 AUGUST 26th Camden Antiques Fair & Valuations, Charity Preview Friday 3 August 6:30 pm, Camden Civic Centre Oxley St Camden NSW 02 4655 5963 17 - 19 AUGUST ACT Springtime Antique Fair, Gala Opening Friday 17 August 6 pm, Albert Hall Parliamentary Triangle Canberra ACT 02 6231 5244 /0418 631 445 31 AUGUST - 2 SEPTEMBER Northern Sydney Antiques and Collectables Fair, Gala Opening Friday 31 August 6:30-9 pm, Berowra Community Centre Gully Rd Berowra NSW 0424 023 220

COLLECTING INTERSTATE QUEENSLAND 24 - 27 MAY 40th QADA Antique Fair, RNA Showgrounds Gregory Terrace Bowen Hills QLD, tickets at entrance 20 - 22 JULY Rotary Palm Beach Antiques & Collectables Fair, Albert Waterways Centre Sunshine Blvd Broadbeach QLD 0410 887 537 VICTORIA 27 - 27 MAY The Victorian Artists Society’s People Painting People, portrait painters in action at VAS Galleries 430 Albert Street East Melbourne VIC 03 9662 1484 22 - 24 JUNE Avoca Antiques Fair, Gala Charity Preview Friday 22 June book on 03 5465 1000, Function Centre Avoca Racecourse VIC 1300 303 800 / 0428 384 133 24 JUNE Hobby Leisure & Collectors Carnival, Sandown Racecourse Princes Hwy Springvale VIC 03 9568 8441 13 - 15 JULY 20th Rotary of Hoppers Crossing Antiques & Collectables Fair, Williamstown Town Hall Williamstown VIC 03 9748 6437 & 0408 486 432 16 JULY Malvern Artists’ Society Art Demonstrations, Malvern Town Hall cnr Glenferrie Rd & High St Malvern VIC 03 9822 7813 21 JULY Pakenham’s Annual Antique Fair & Valuations, Pakenham Racecourse Pakenham VIC 03 5941 1327 & 03 5943 2366 26 AUGUST Collectors Heaven, Malvern Town Hall cnr Glenferrie Rd & High St Malvern VIC 03 9568 8441 9 SEPTEMBER Warragul Regional College Antiques & Collectables Fair & Appraisals, College Assembly Hall 55 Burke St Warragul VIC 03 5623 4127



The Country Trader’s Contemporary Collection inspirational pieces T

hroughout its 26 year history The Country Trader has drawn on its sources and designs to create stunning collections that have to be seen to be believed. Design, provenance and style are all of the highest order at The Country Trader. A new range of exciting products was launched at the beginning of 2012 at the Sydney Emporium, at the pyd building in Waterloo, as well as in Melbourne’s Edward Clark Antiques gallery in Windsor. The Country Trader will soon open in Brisbane. The new Contemporary Collection is designed to inspire the home stylist and is specifically created for the discerning client with a passion for quality, comfort or practicality. A few images give a taste of the exquisite design options possible with the new range, including the highly sought after oyster coffee table. The feather down sofas are as comfortable as they are pleasing to the eye. The great 19th century style inspired cabinets have been designed to suit a modern lifestyle by offering adjustable shelves. Some of the amazing pieces of furniture are the already famous ‘chairs in underwear!’ This beautiful classic range of chairs and sofas offers those with a passion for interior décor a great tool to give any room that wow factor we all seek, notably designers. Chairs and sofas are made to look aged and as if they had been reupholstered time and time again.


The intentional aging is what makes them so unique and captivating. Not only do they look fantastic in their underwear, but they can be upholstered and dressed up to please anybody’s taste and needs. At a great price, these pieces are absolute temptations. The Country Trader brings together an eclectic but achingly stylish selection of chests of drawers with impeccable aesthetics.


The construction method and finishing techniques of the chests of drawers follow the traditions of hundreds of years of benchmade, hand-finished European furniture, using the best materials available as well as classic European hardware. Great craftsmanship is married with affordability in these authentically French period styled commodes. The Contemporary

Collection chest of drawers is perfect in the living room as well as in the bedroom. It features serpentine or straight fronts, lovely panelling, bevelled edges with reeding, and a painted or natural finish. There are even drawers that open to reveal secret compartments. These drawers add an extra touch of class to finish that special space in your home. The Country Trader is one of the most famous interior design furniture sources in Sydney, specialising in exceptional and remarkable furniture, promoting the art of living well in a very sophisticated but unpretentious way. The Country Trader presents the largest collection of decorative furnishing offerings in Australia. We are located at the pyd building in Waterloo, a design-driven centre built with the purpose of retailing unique objects and leading home décor brands – the destination for all who want to keep abreast of the latest trends. This is but a sample of the amazing settings you may encounter when you visit The Country Trader or view our everchanging online catalogue.



Frané Lessac, Illustration for the Greatest Liar on Earth

Frané Lessac, The Garden, illustration for My Little Island Anna Pignataro, illustration for Ships in the Field by Susanne Gervay

Serena Geddes, illustration for Totally Twins Tropical Trouble by Aleesah Darlison

Classic Australian children’s literature and accompanying illustrations: From Norman Lindsay’s The Magic Pudding to Frané Lessac’s We Are All Born Free


or the first hundred years of Australian settlement, the available children’s books and illustrations which featured the Australian colonies were really parodies of British literature. Scenes were English countryside and Aborigines looked like Africans. There was no recognition that Australia had its own distinctiveness. By the turn of the 20th century, children’s books were starting to reflect the uniqueness of the Australian experience, its landscapes, flora and fauna and the emerging sense of being Australian. Children’s books would become a participant in this developing sense of national identity. Iconic books include Dot and the Kangaroo by Ethel Pedley illustrated by Frank P Mahoney, (1899), The Magic Pudding and The Adventures of Bunyip Bluegum written and illustrated by Norman Lindsay (1918), Tales of Snugglepot and Cuddlepie written and illustrated by May Gibbs (1918), Blinky Bill written and illustrated by Dorothy Wall (1933) and author Mary Durack and illustrator Elizabeth Durack’s tales about Aboriginal children in the Kimberleys (1935). After World War II Australian children’s literature came to be recognised for its educational and cultural importance. In 1945 the Children’s Book Council was established in NSW to be followed by all the other states. It was a time of great Australian authors such as Patricia Wrightson, Joan Phipson, Colin Thiele and illustrators such as Pixie O’Harris and Ida Rentoul Outhwaite. Alan Marshall’s I Can Jump Puddles (1955) became a classic in its revelation of Australian landscape and courage overcoming polio. During the 1970s, Australian children‘s books came of age with an emergence of innovative, brazenly Australian children’s books, their authors and illustrators reflecting a confidence in an Australian identity and its diverse landscape. The quirky Australian humour evident in The Magic Pudding exploded into Jackie French and Bruce Whately’s multi-million-selling picture book, Diary of a Wombat. May Gibbs’ gumnut blossoms and evil Banksia men pave the way to award-winning Fox by Margaret Wild and illustrator Ron Brooks. Today’s Australian picture books challenge every boundary in colour, text, presentation and theme such as Ships in the Field by Susanne Gervay illustrated by Anna Pignataro, Shan Tan’s The Arrival, and Mending Lucille by Jennifer Poulter, illustrated by Sarah Davis. Australian children’s illustrators today are innovative, exploring a wide variety of styles and mediums bringing. Some of these established and emerging illustrators include new young artist Serena Geddes, impressionist watercolour artist Anna Pignataro, multi-medium artist Sarah Davis and naïve artist Frané Lessac.

SERENA GEDDES This Sydney-based illustrator started her career working in animation for Walt Disney Australia. In 2009 Serena secured her first contract and has illustrated 14 books ranging from picture books to novels. Serena’s imagination and her ease with pen and ink are evident in her creative characters. Serena illustrates with humour, warmth and an individual quirkiness. Her works include Samuel‘s Kisses and Totally Twins. She draws by hand using pencil and watercolours.

ANNA PIGNATARO Anna Pignataro, an award-winning artist, is passionate about watercolours. Her illustrations capture relationships and ideas with their impressionist style and humanism creating multiple story and narrative within her art. Her loose-lined pencil and water colour illustrations in the highly acclaimed Ships in the Field reveal both the warmth of family life and the dark and threatening memories of war that haunt them, an evocative and moving exploration of the migrant experience.

are colourful, quick drying and non-toxic. Her first book My Little Island embraces this naïve style and has sold over 350,000 copies. Frané‘s artwork is grounded in ideas and imagination translating them into illustrative story as evident in her new work The Greatest Liar on Earth, a ‘true’ story by Mark Greenwood, the author and her husband. Frané was one of 30 international illustrators who contributed to the Amnesty International picture book, We Are All Born Free on the Universal Declaration of Human Rights. The illustrations of Serena Geddes, Anna Pignataro, Sarah Davis and Frane Lessac are included in an exhibition alongside the works

Sarah Davis, illustration for The Fierce Little Woman and the Wicked Pirate by Joy Cowley (Gecko, 2011)

of Shan Tan, Stephen Axelson, Wayne Harris, Donna Rawlings and other illustrators. The exhibition at The Hughenden in Sydney is open to the public. Susanne Gervay THE HUGHENDEN Free Call 1800 642 432

SARAH DAVIS Sarah Davis is internationally recognised for her innovative and diverse illustrations and winner of Children’s Book Council of Australia‘s 2009 Crichton Award for Mending Lucille. She works in multiple mediums including oils, ink washes, watercolours, mixed media and collage. Her artwork contains humour, layers of meaning and subtext. Her recent picture book Sounds Spooky is highly original with experimental use of collage, 3-D modelling and painting to create eerie scenes. Contrasting with this is her warm, humorous and delightful illustrations for The Fierce Little Woman and the Wicked Pirate with deep use of colour, detailed characterisation and rich scenes of the sea, contrasting with the deeply emotional artwork of Mending Lucille.

FRANÉ LESSAC Frané Lessac is an author and illustrator with over 35 children’s books published and awarded the Muriel Barwell Award for Distinguished Service to Children’s Literature in 2010. Her travels are a major source of inspiration as she renders impressions of a country and the way of life. USA-born Frané Lessac embraces the rich colours and exotic scenes of Montserrat where she began to develop her unique style of naïve art. She works in rich primary colours, creating instinctive illustrations and representational images using gouache paint on arches watercolour paper. Frané obtains a range of depth from flat opaqueness of colour to a wash in works that

Your boutique Sydney escape • LITERARY EVENTS • ART EXHIBITIONS • RESTAURANT, PRIVATE DINING, CONFERENCE & FUNCTION ROOMS The Hughenden c. 1870, associated with Australia’s first philosopher Barzillai Quaife, is home to literature & the arts. Discover the works of Archibald artist Wendy Sharpe; 1930s Laurent works; c. 1850 painting of the Victorian girl, artist unknown. Jazz & musical evenings, art exhibitions and books are part of Hughenden life.






HUGHENDEN BOUTIQUE HOTEL 14 Queen Street, Woollahra, Sydney 02 9363 4863

Free Call 1800 642 432



Winter blessing

Lightening design


Marble bear



y connection with the stone involves spirituality and reverence for the spirit that dwells within. It has been on this earth much longer than man and for this reason the stone becomes the teacher, it is simply what my ancestors believe. I am the mediator between the stone and the tools: the stone and the viewer. I visualize what the stone wants to become and I strive to help it blossom.’ Cliff Fragua of Jemez Pueblo New Mexico, at one time a student at the Institute of American Indian Arts (IAIA) in Santa Fe NM, has learned the secret of the stone through his worldwide travels and his cultural and ancestral teachings. Fragua’s sophisticated sculptures are featured in locations such as the Albuquerque Sunport International Airport, the National Statuary Hall in Washington DC and in collections worldwide. Fragua’s sculptures are mostly carved from alabaster and Italian marble. They are figurative and reflect his pride for his Native American culture. Fragua’s art features Pueblo womenfolk in ceremonial dress as well as wise old men and goddess like images. His sculptures are carved with dramatic, flowing long lines and capture light and shade through his use of chiselling different rough and smooth surfaces within the one sculpture. You feel a real sense of movement, grace and connection between the artist and the stone.

EARLY years As a child, Fragua was raised between Jemez Pueblo in New Mexico and St Louis Missouri where his father worked as a carpenter before moving to San Francisco in 1964. He liked


San Francisco, but Jemez Pueblo was always considered his family’s home. Growing up, Fragua spent a lot of his summers at the Pueblo with his grandparents and extended family. He developed between two worlds, the Native American culture and the western life. He adapted easily, moving between the two cultural spheres, taking in elements from both that have shaped him to this day. His mother, Juanita Fragua is a potter known for her smooth polished red and buff melon bowls, wedding vases and pitchers; taught by her mother, who learned from her mother as the Fragua revived pottery making at Jemez Pueblo. His sisters, Glendora and BJ Fragua make highly polished and finely carved pottery, while one nephew is exploring pottery as well as beadwork and Cliff’s daughter Tablita Fragua is now creating traditional pottery in both polished and painted designs. He remembers his earliest drawings as a child as something he loved and seemed to do with ease. As he grew older, Fragua‘s love for art developed more and more and as a young adult he decided to formally study art, attending IAIA in Santa Fe. Fragua’s introduction to stone carving occurred when his teacher, the famous Allan Houser (19141994) founder of IAIA’s sculpture department, handed him some carving tools and some stone and told him to do his best. During this four month period with Houser, Fragua created three sculptures which established his love for sculpture and the desire to master the use of the tools and understand the nature of stone. After much hard work and time, the tools became an extension of his hands, allowing him to do much more detailed work. His talent quickly became evident to his mentor


Bronze pot

DOUBLE BAY who gave him the keys to the studio to use whenever he needed. Another supporting force in his formative years was his family, especially his mother who allowed her son to use her kitchen as a studio, turning a blind eye to the constant settling of dust from the stone being carved, as she could see that her son was also carving his path in life. After completing studies at the IAIA in 1975, Fragua worked as a labourer by day and carved at night, living with his parents, two sisters and two brothers. He took his finished carvings to Albuquerque and to various Native American arts and crafts shops and they sold quickly. Also at this time, he made trips to Canada, Minnesota and throughout New Mexico, during which he collected new contemporary and traditional cultural ideas to influence his future sculptures. Fragua’s first big break came when a Pittsburgh gallery owner contacted Allan Houser asking if he would carve a chess set for him. Houser, however, handed the commission over to Fragua as he was unable to carry it out himself. So off to Pittsburgh it was for the next six months, packing up his wife Chris and two children. Fragua worked as an in-house sculptor creating carvings of small animals which sold in his employer’s shop while he completed the chess set. His popularity started growing, but unfortunately the shop eventually folded causing Fragua to uproot his family and move back to Jemez Pueblo.

NOW a sculptor In 1979, focusing more than ever on his craft, Fragua entered his art into competitions, his work winning many prizes. He sold just about all of his sculptures. In the same year his work was chosen for the Indian Market Show and he won best of division, best of classification and first place for stone carving. Fragua was pursued by gallery owners and featured in regional and national publications. He then accepted an invitation to be exhibited in a gallery in Albuquerque on consignment. After

Rain dancer

only one week, the gallery owner rang Fragua asking for more sculptures to exhibit. Now Fragua was able to become a full-time sculptor. Fragua believes that the stone has its own spirituality given to it from the earth and that it is a living entity waiting to be released. He sees himself more as a medium evoking what the stone wants to be. He listens to the stone then helps it to manifest itself into its full potential. Fragua keeps the feeling of the stone inside him and believes he is rewarded with the personality of the stone. In particular, he enjoys working with alabaster as he feels it is softer and more feminine. His work can be found in galleries worldwide as well as in public spaces in and around his home state, New Mexico. Today, Fragua continues to create his art and is admired by many worldwide. Jeannette Arif FOUR WINDS GALLERY 02 9328 7951

Read about Cliff Fragua Anya Montiel, ‘The Art of George Morrison and Allan Houser: The Development and Impact of Native Modernism’, American Indian Quarterly Vol. 29, No. 3/4, Special Issue: The National Museum of the American Indian (Summer Autumn, 2005), University of Nebraska Press pp. 478-490

Greening of the Earth



For Derek and Kathryn Nicholls a continuing passion for antique maps & prints & a few of our favourite things

Giovanni Battista Piranesi, copperplate engraving ‘Urn on pedestal’, c. 1773-78

Antique world map, c. 1718 by Henri Chatelain


ntique maps are a passion with us, and it is difficult to bring ourselves to put them on our website. However, there are many other subjects that give us equal enjoyment. The beauty of antique maps and prints is that they never go out of style. The downside is they are not made any more, so enjoy them while you can.

CLASSICAL and architectural From earliest times, the importance of a homeowner was represented by the use of formal architecture. The essence of early classical structures, with grand arches, columns and capitals, was captured by Italian architect Giacomo Barozzi (1507-1573). Basing his work on Vitruvius, in 1563 he published copperplate engravings illustrating his Regole della Cinque Ordini d’Architettura (Rules of the Five Orders of Architecture). This influential work was published in a number of languages over hundreds of years. We have a number of these wonderfully detailed engravings from the middle of the 18th century. The beauty of the buildings by Inigo Jones can be attributed in a large part to his study of classical architecture in Italy, and his belief that strict mathematical proportion should be adhered to in all design. Between 1715 and 1767, Colen Campbell published beautiful large copperplate engravings (many folding double- and treble-page size) by Henrik Hulsbergh from drawings by Henry Flitcroft of structures by the ‘father of classical English architecture’ Inigo Jones (1571-1625). Over the years, the stately homes and estates of Britain have been well-represented in engravings and lithographs; and many of

these now grace the walls of homes – stately and otherwise. One of the most talented of all Italian artists was Raphaello Santi (1483-1520) of Urbino. His spectacular decoration of the Loggia was a High Renaissance masterpiece. During the last two years of his short life, Raphael and his assistants painted his spectacular designs on pillars, doors and ceiling arches of the Vatican. Among the finest records of his decorative genius, are the superb engravings of Raphael pilasters, created from meticulous drawings by eminent Roman artists, draughtsmen and architects. To represent each tall pilaster, two large copper engravings were carved, and each pair of these plates was joined after printing, for publication in Rome between 1772 and 1777 for Logge di Rafaele nel Vaticano (Raphael’s Loggia at the Vatican). These superb pilasters are remarkable not only as an important visual record of Raphael’s stunning design, but also for the quality and depth of tone, done by hand with gouache and watercolour. These pilasters were re-engraved much smaller, and published with a pair on each large folio-size page, ten years later, in Paris. In the 17th century, Pietro Santi Bartoli (1635-1700) was one of the finest engravers of classical antiquities. He also engraved works for the Vatican, and aspired to capture the beauty and essence of Raphael’s superb classical frescoes. In AD98, Marcus Ulpius Trajanus (52-117) was elected Roman Emperor and a column was erected in his honour. Relief carvings of the victorious battles of Trajan’s army in their defeat of the Dacians in AD104, encircle the Trajan column in Rome.

Pietro Santi Bartoli, engraving of Trajan Battle army ration distribution, c. 1673

Gazette du Bon Ton c. 1913, triple page fashion illustration ‘Cotes d’Azur’



Architectural drawing by Inigo Jones, c. 1715-57

Bartoli classical engravings of maidens and centaurs in the Sistine Chapel, and sea dragons and fauns are quite fine, but the consecutive engravings of Trajan’s battle narrative, circa 1673 (coloured in gouache and watercolour) are fabulous! Naturally when we find such rare engravings that are consecutive, we join them for full enjoyment. Spectacular and opulent design is exemplified also in the series of engravings of the work by prominent architects who used motifs in ornamentation for architectural details and furnishings in 16th, 17th and 18th century apartments in Paris. These beautiful studies were printed by Charles Chardon the Elder, and published by Georges Rapilly in Paris, circa 1863. Perhaps the finest exponent of antique engraving and etching of classical works however, was Giovanni Battista Piranesi (1720-1778) for Vasi Candelabri Cippi y Sarcofagi Tripodi Lucerne ed Ornamenti Antichi published in Rome between 1773 and 1778. An architect by profession, Piranesi was a graphic artist of technical brilliance and great expressive range. As well as restoring them, Piranesi designed and built amazing artefacts in stone, combining fantasy themes from his Baroque training with his archaeological discoveries. His extensive work in Roman archaeology illustrated by his Vedute di Roma (Views of Rome), circa 1748-78 was acknowledged by his election to the Society of Antiquaries of London. Today he is perhaps most famous for his well defined three-dimensional copperplate engravings of vases and urns that are still appreciated in contemporary decor.

Engraving of grand pilasters designed by Raphael for the Vatican’s Loggia, c. 1772-77

FASHION plates Since early last century the Musée des Artes Decoratifs has displayed not only examples of superior fashion, but also beautiful images by eminent fashion illustrators. French couturiers have always received worldwide recognition. Talented artists were employed to introduce designers’ latest fashions to the wealthy, who usually subscribed to the exclusive magazine, Gazette du Bon Ton (Journal of Good Life). Published 10 times a year between 1913 and 1925 (with a break during World War I), each edition was printed on thick paper, stapled into book form, and contained 8 hand-coloured pochoir stencils of the latest fashions. The beautiful fashion studies were avidly collected from the first issue. The croquis (sketches) were simple and elegant individual fashion studies – hand-coloured stencils by the David sisters. Regular fashion illustrators George Barbier, Pierre Brissaud, George Lepape and Andre-Edouard Marty (as well as many others) showed the latest fashions in an appropriate setting – with gestures, posture and groupings all adding to a charming fashion narrative. Humorous captions often add a further appeal. Some editions contained a double-page image, with the fold attached to a slip of paper so as not to damage the image. There was only one triple-page fashion plate. It is stunning, with 20 of the latest evening gowns designed by different designers, shown on a terrace by a chateau, overlooking the Mediterranean. These delightful fashion illustrations captured the spirit of the era when they were painted, and are still relevant today – and not as retro-fashion. While engravings from a century earlier may offer more appeal to a collector, the distinctive pochoir fashion illustrations of Gazette du Bon Ton are more in demand as they are also enjoyed for the artistic presentation of each composition. We currently have a wonderful selection on our website. Also on our website is an extensive collection of the botanical illustrations of

Giacomo Barozzi drawing showing composite capital & entablement & cross-section, c. 1764

Pietro Santi Bartoli, copperplate engraving of Vatican classical relief, c. 1670

early Australian flora. We always appreciate the superb hand-coloured 19th century lithographs of mammals and birds by John Gould, and the smaller but perhaps more sensitively portrayed beautiful hand-coloured lithographs of John Gerrard Keulemans. Our appreciation of both birds and botany (and wallabies) has been much heightened since closing the gallery at Milton in Brisbane. We are spending much more time in the many hectares of our garden (and I use the term loosely!) at home in Neranwood above Springbrook Road in the hills behind the Gold Coast. We enjoy keeping in touch with everyone, so be sure to phone or email if you can visit us at the Antique Print Club-House. Derek and Kathryn Nicholls ANTIQUE PRINT CLUB-HOUSE 07 5525 1363 +61 412 44 22 83


South Persian afshar

Turkmen tent bag

Turkish Kayseri Bunyan

Ahmet Solak answers rug & carpet owners’ FAQs W

ith over 35 years’ experience in carpet cleaning, repair and restoration, Ahmet Solak answers questions that he has frequently heard from rug/carpet owners over the decades.


photodegradation. To prevent further photodegradation ensure that any direct sunlight is blocked by curtains.

STORAGE Q: I need to put my carpets into storage for a

around the edges, what could be causing this? P.S We don’t have any pets. A: If a carpet is rotting around the edges then there is something in the room near the carpet that is causing this. At first people do think it’s a pet but if the markings are around the edge the first thing that comes to my mind is a plant. Plants in pots, if heavily watered can have small spurts of overflow onto the floor. Water alone can damage a carpet but the water from a pot plant can be even more damaging. After processing through the soil the water becomes contaminated with chemicals that are hazardous to your carpet. Check around your carpet for other household items that could be passing along contaminants.

few years whilst I am away, what is the safest way to store them so that they remain in mint condition? A: Storing carpets is a delicate process. If stored correctly you can safely protect the value and lifespan of your carpet. If stored incorrectly you could be damaging your carpet far worse than if it were not stored. If you are storing them seasonally in your own home then the selected location becomes more flexible as you are able to monitor the environment. However, if you are going to be away from the storage location for an extended period it is very important that you select a room that is cool, dry and out of direct sunlight. The next step is to ensure that your carpet is cleaned. If you store a carpet for an extended period of time without having it cleaned you could be storing your carpet along with dirt, harmful chemicals and other contaminants. These contaminants can damage the carpet during the storage preparation and throughout the storage period. Once you have prepared your carpet for storage by selecting a location and cleaning, you will need to have them rolled. You can do this yourself however if you have an expensive carpet and you wish to retain its value, I highly recommend having it professionally cleaned, rolled and stored.



Q: My carpet has become damp from a recent flood, how soon do I need to have it cleaned?

A: Any carpet affected by a flood must be cleaned while it is still damp. Once the carpet dries it can become damaged and will then need to be repaired as well as cleaned if you wish for it to keep its value. Not having your carpet professionally cleaned immediately after a flood is one of the fatal mistakes that can damage a carpet.

MOULD Q: My carpet is starting to go mouldy and rot

Q: Our carpet is fading in one spot, what could be causing this? A: It depends on the size and shape of the area that is fading. Fading can occur if a carpet is displayed in a room that allows direct sunlight to hit the carpet in the same location on a daily basis. The ultraviolet rays from direct sunlight can break down the chemical bonds in the threads creating a bleaching effect. This process is called

chemicals are not designed for the textiles found in antique rugs or carpets and could create additional damage. Unfortunately soaking up the urine is not enough to ensure your carpet is not damaged from the incident. If you value your rug then you will need to have it cleaned by a professional who works with antique rugs.

MORE QUESTIONS WELCOME If you would like Ahmet Solak to answer any questions about rugs or carpets then send your questions to Selected questions will be featured in the next edition. All questions will be answered in a return email and integrated into the frequently asked questions section of Ahmet’s websites.

Cleaning process

Ahmet Solak is the proprietor for Persian Carpet Repair and Restoration Company and can be contacted at PERSIAN CARPET REPAIR AND RESTORATION COMPANY 02 9571 4411 / 0414 598 692


Q: My pet has just urinated on my antique rug, what should I do?

A: Animal urine is very acidic and a major cause for changing the chemical composition of the dyes once it has set in. My first suggestion would be to remove as much of the urine as possible with a damp towel. You can add water as you soak it up to dilute the acid but DO NOT use cleaning chemicals. Regular household cleaning

Ahmet Solak 123 HARRIS ST (REAR ENTRANCE) PYRMONT SYDNEY NSW 2009 Tel: 02 9571 4411 Mob: 0414 598 692 Fax: 02 8399 2078 email: Before repairs



Bidjar rug, western Persia, c. 1900, 210 x 140 cm. A very elegantly drawn and carefully resolved design from the workshops in the Kurdish township of Bidjar

Feraghan rug, western Persia, c. 1880, 195 x 130 cm. A spectacular ‘sunburst’ or ‘sky door’ medallion dominates the ivory field of this beautiful old western Persian village rug

Qashqa’i rug, south Persia, c. 1880, 220 x 130 cm. Such elegant and refined tribal weavings were the work of the Qashquli ‘taifeh,’ a sub group of the Qashqa’i, regarded by many as the greatest of all Persian weavers

The Central Medallion


he history of the Persian medallion carpet begins in the 15th century with the sudden appearance of such carpets in miniature paintings. Carpets appearing in miniatures prior to the 15th century show very different designs, without central medallions. Scholars have often regarded the undeniable artistic accomplishment of early medallion carpets as an indication that they were products of a long period of development. However, the evidence found in miniature painting does not support this. The alternative view sees the design of these carpets as a departure in style and subject matter and as the products of workshops where painters, designers and artisans worked together to produce magnificent carpets of greater sophistication than was previously the tradition. The earliest extant examples of Persian medallion carpets come from the court workshops of the Safavid period (1501-1722). These palatial carpets, monumental examples measuring up to 10 metres in length, are considered by many to be among the most beautiful carpets ever made. The best known Persian carpet in the world, the famous Ardabil carpet in London’s Victoria and Albert Museum is from this period and features an intricatelylobed circular medallion ringed by quarter medallions in the four corners of the field. In a sense it displays the archetypal medallion carpet composition and is one of only two dated carpets surviving from Safavid workshops. A cartouche at the field bears the inscription ‘Maqsud of Kashan in the year 946 (1539 CE)’. The other example is also a medallion rug. It features a hunting scene reminiscent of contemporary Persian miniature painting, and significantly, Chinese motifs of cranes and cloud bands. It is in the Poldi Pezzoli Museum in Milan and bears a signature and the date 929 (1522 CE). These carpets and many now housed in the world’s great public collections were made under royal patronage in the reign of the first three Safavid rulers, Shah Ismail, Shah Tahmasp and Shah Abbas. The arts flourished during this period and declined only after the finish of Shah Abbas’ rule in 1629. Such medallion carpets were important as audience carpets on which royalty sat enshrined over the central medallion and entertained honoured guests seated upon other less important carpets in a traditional arrangement before them. The convention of such a schematic composition as found in medallion carpets is also found in other Persian art forms of the period, chiefly book illumination



and painting, and tile work and metal work. One essential point emerges quite clearly from the literature concerning the origins of these designs: many of the motifs and much of the symbolic language have evolved from common Asian cultural beliefs. The old Asian world view proposing the centre of the cosmos as a position of special power is of prime importance when looking at the design. Ideas were often understood in terms of the ordered universe. Persian royalty saw themselves as divine representation here on Earth, acting as intermediaries between the heavenly world and the earthly world. Hence, there was special significance attached to the central medallion as a position of power in a carpet which was itself seen as a representation of the universe. Similar importance was attached to the lotus flower in Buddhist art. Places of worship were seen as representations of the universe in miniature. Many mosques actually provide us with more graphic threedimensional examples of this world view. The mosque dome was viewed as the sky above the earthly world indicated by the floor. An aperture (‘sky door’) at the apex of the dome was the way through to the heavenly world beyond. The sky above was believed to revolve on a central axis which projected up from the centre of the earth through the ‘sky door’. This explained the movement of the stars and planets. In the carpet analogy, the central medallion was the ‘sky door.’ The correct approach in contemplating the design of an oriental carpet is to take the bird’s eye view from directly above the central medallion. From this ideal viewing position, the carpet represents the Earth as seen through the ‘sky door.’ Conversely, it is a glimpse of the heavens looking up through the ‘sky door’ from a central position on Earth. Similar expressions of this common Asian world view are embodied in the plan of the central Asian yurt which is the space occupied by the oy, the circular felt trellis tent. This tent has a smoke hole at the very top signifying the ‘sky door’. The felt, which covered the smoke hole, was decorated with the cloud collar motif, a lobed circular outline also used to define openings in many forms of Chinese art, particularly ceramics and textiles. Many carpet scholars consider that the Persian medallion has evolved directly from the cloud collar. In the design of Chinese dragon robes the cloud collar outlines the neck or ‘sky door’, and sea and mountains decorate the hem in the form of wavy, multicoloured diagonal stripes and peaks while


Khamseh rug, south Persia, c. 1880, 210 x 140 cm. For many tribal weavers the original symbolic meanings may have changed over time but the conventions of design and composition remain. Such pieces made by ‘Arab’ Khamseh groups featured the murgi (chicken) motif scattered almost at random through the rug

Heriz rug, northern Persia, c. 1880, 170 x 165 cm. A formal composition of concentric medallions and split palmette border is given great vitality through the gentle angularity of drawing. As with many such rugs, a star or flower at the very centre represents the cosmic axis, the main route of communication between heaven and earth

sky dragons and cloud bands float in the body of the robe between neck and hem. This same iconography is used in the pillar rug. Such rugs are wrapped around the pillars in Buddhist monasteries and present a view of Heaven and Earth in profile, rather than from above. In this case a holy man or Lama occupies the sky between the mountains and Heaven. The sun was also a potent symbol in the ancient world, particularly among early Persian Zoroastrians who worshipped it. It embodied connotations of light, power and wisdom. An alternative idiom for the ‘sky door’ was the ‘sun gate’ also represented by the central medallion in carpets. Through this ‘sun gate’ passed the sun’s rays, an allusion to the beaming of divine splendour and celestial glory. Asian concepts of the universe make reference to four other ‘sun gates’ concerning the actual sun and its path during the summer and winter solstices. These mark the imaginary apertures in the north east and north west and the south east and south west through which the sun was believed to enter and leave the sky. These four ‘sun gates’ appear as openings in the four corners of the field of carpets, sometimes as medallions, more often than not partially obscured by the border. These corner medallions or openings then offered glimpses of heaven, or from above, glimpses of the Earth or the gardens of paradise deemed to lie between Heaven and Earth. Sometimes they too represented the metaphysical sun. Most medallion carpets have at their very centre a flower or star form. Early Persian medieval diagrams show the Earth’s axis in cross section as an eight pointed star. A similar convention is observed in Buddhist mandalas in the form of the lotus flower. The cosmic axis, no matter what its form, was believed to be the main route of communication between Heaven and Earth. This central axis has been represented and interpreted in various ways. It appears as a ‘tree of life’ connecting the three level universe of the subterranean, earthly and heavenly worlds. The tree of life is shown in profile in prayer rugs, its stylised spreading ranches symbolising the levels (usually seven) within Heaven itself. The cosmic axis was also seen as a great mountain upon which the sky rested. For many, however, it was a totally spiritual concept and any form of physical presentation was metaphorical. The role of the borders in oriental rug design has been variously interpreted. The view of the universe afforded by the field of the carpet is circumscribed by the borders. This is treated as if looking through a doorway into a landscape

beyond. The closer one is to the doorway, the wider the scope of vision; the further away, the more limited the scope. This obviously puts the border and field on different planes; a concept visually re-enforced by the fact that the borders of the rugs often intersect elements of design at the edges of the field, as if the field pattern continued on beneath the border. These patterns which seemingly extend infinitely beyond the border further describe the vastness of the universe and at the same time embrace the concept of divine indefinability, the idea that God’s greatness is so vast it cannot be envisaged. Traditionally the borders are also seen as separating the earthly world from the heavenly world as reflected within the field. While on the one hand they constitute a kind of barrier, they are also seen as symbolic of the overlapping of the two worlds. Reciprocal patterns, found in most border compositions, are interpreted in this way. The origins of such ancient world views are probably lost, and the symbolism has been reinterpreted many times over. The same motifs have different meanings for different people through time and space. The early Safavid kings were both devout Moslems and Sufi mystics who derived much of their philosophical thought from Buddhism. While in the 16th century they may well have subscribed to this interpretation of medallion carpets as symbolising some common Asian world view, the weavers of the rugs in this article, made at least three centuries later, may have viewed things entirely differently. Obviously, the design tradition has survived without interruption but such patterns may have become purely decorative by the time these rugs were made. However, the obvious vitality and craftsmanship in each piece are a clear indication that the rugs did mean something to the people who invested a great deal of time and artistic endeavour in making them. Ross Langlands NOMADIC RUG TRADERS 02 9660 3753 References Schuyler VR Camman, Symbolic Meanings in Oriental Rugs, in Textile Museum Journal, Vol 3, No. 3, Washington DC, 1972 MS Dimand and Jean Mailey, Oriental Rugs in the Metropolitan Museum of Art, Metropolitan Museum of Art, New York, 1973 D King and D Sylvester, et al., The Eastern Carpet in the Western World, exhibition catalogue, Arts Council of Great Britain, London, 1983 Jon Thompson, Carpets from the Tents Cottages and Workshops of Asia, Barrie & Jenkins, London, 1988



123 Harris Street Pyrmont NSW 2009 AUSTRALIA TEL 612 9660 3753 FAX 612 9552 4939 e-mail:







FINE FURNITURE, ART WORKS AND MORE in the heart of Bondi Junction


Bellagio International BU Y ~ SE L L ~ H I RE

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Ph: 02 9369 4934 â&#x20AC;˘ Mob: 0416 131 015 ask for Ray Open: Mon-Sat 11 am - 6 pm 16


ellagio International has been operating at 1A Hollywood Avenue, Bondi Junction for more than a decade. It has become the favourite place for interior designers, commercial producers and those who like fine and unique items. They sell and purchase their stock from around the world. Each piece of furniture and art is unique.

FURNISH in style Bellagio International carries a wide range of crystal chandeliers, beautiful oil paintings, gilded mirrors, fine porcelain, bronze statues, console tables, dining suites and bedroom suites. They also offer a vast selection of clocks, period and modern furniture and much, much more. Items from their catalogue can be viewed on their website and ordered through their store.

BELLAGIO INTERNATIONAL 02 9369 4934 0416 131 015


PACK & SEND art and antique specialists


pecialising in transporting art and antiques means that Pack & Send superstores stock an extensive range of packing supplies – including bubble wrap, air bags, tailor-made boxes and crates – for both shops and individuals who choose to do their own wrapping. Museums, art galleries and antique dealers Australia-wide are finding Pack & Send’s service truly valuable when they ask them to take care of the entire logistical process: from pick-up to packaging to insurance, paperwork, freighting and safe door-to-door delivery. No other company in Australia does this. In relieving them of what can often be a time-consuming and onerous task, curators and collectors are free to concentrate on their core business. Pack & Send will personally manage the entire job and even computertrack the item en route until it arrives safely and in pristine condition at its destination.

PROFESSIONAL Packing Service Pack & Send is the only packaging and freight company that has access to Instapak Foam-in-Place technology, a system using soft foam that expands when two chemicals are combined in contact with air. Foam-in-Place moulds itself to fit the precise shape of the item being packed and this product possesses a density that aids in the prevention of damage from impact, vibration or from being dropped. Instapak Foam-in-Place enables glassware, paintings and various antiques to be sent through the

Museums, art galleries and antique dealers Australia-wide are finding Pack & Send’s service truly valuable when they ask them to take care of the entire logistical process

freight system without compromising the safety of the item. Not only that, but Foam-inPlace is highly cost efficient and readily disposed of without harming the environment. Pack & Send is the only freight company that will send as well as pack antiques and art for you. When you consider the price of packing the item yourself on top of another company’s freight charges, Pack & Send’s price – as well as its hassle-free, one-stop shopping convenience – makes it a very attractive option.

Pack & Send Bondi Junction is open six days a week, from 8.30 am to 5.30 pm, Monday to Friday, and from 9 am to 12 noon on Saturday. The team at Pack & Send look forward to the opportunity to offer their services in solving any packaging or freight problem you might have. PACK & SEND 02 9386 1644

Excess baggage? Have your personal effects custom packed and sent home safely by the professionals at Pack & Send

SAVES Time and Money Art and antique dealers, galleries and museums are now realising that using Pack & Send for their logistics is a means of providing a superior level of service to their customers and actually saves them time and money. Martyn Cook of Martyn Cook Antiques in Queen Street, Woollahra NSW is a fan. He uses Pack & Send to send artworks worth many thousand dollars. ‘From long experience I know I can rely and depend on Pack & Send. They collect fine art, pack and deliver for us nationwide and around the globe. We’ve had no breakages so far,’ he says with a smile. That’s good news to people such as the Miami, Florida, customer who purchased some framed sailing prints, including an 1830s copy of a French sailing ship heading out for a perilous expedition to the Arctic and a sailing scene on Sydney Harbour in the 1880s.

Superstores... We Send Anything, Anywhere!

Your investment in professional care The time and care you take when selecting your precious pieces should not be compromised when you need to move them. PACK & SEND uphold the highest standards in customer service and packaging methods, and possess a wealth of experience in handling precious items. PACK & SEND deliver you: • Dependable and versatile transport options across town, interstate and around the world • Complete assurance – ‘no compromise’ packaging solutions and protection against loss and damage • Total convenience – we pick up from you and provide on-site quotes! • Professional, no obligation advice from a team with a wealth of experience

304 Oxford Street, BONDI JUNCTION NSW 2022 PH: 02 9386 1644 FAX: 02 9386 1760 ANTIQUES & ART IN NEW SOUTH WALES



From a special place

Burmese Buddhist arts Lacquer ware proceeds go directly to Burmese families elebrating 21 years of trading in Paddington, Special Pieces has secured a number of unique Burmese artefacts from family sources in Burma. All products have been provided to retain Burmese art and culture, showing the remainder of the world how special these artisans are… and hopefully save these artefacts from being lost or destroyed. All images of Buddha within the collection contain a Burmese Government seal of approval to ensure a controlled program of artefact distribution.


meditating and performing acts of charity to improve karma in future existences. Burmese craftsmen were anonymous and were expected to follow various rules and formulae when creating a Buddhist icon – failure to observe established norms would render the object unsuitable for use in worship. Initially, artisans closely copied imported models, but over time the Burmese craftsmen assimilated foreign influences and blended them with a local style, so that works of art became unmistakably Burmese in spirit and method.

BURMESE Buddhist arts


Tales from the Life of Buddha, the Jataka stories of the 550 former lives of the Buddha and various teachings, have provided much of the subject matter and outlets for expression in the arts and crafts. Burmese practice Theravada Buddhism that emphasises the need for every person to seek his own way to salvation by following the precepts,

We already are familiar with two words and one source of the lacquer used in Burma. Lac is the varnish made from certain insects’ shells, long known as shellac or cheik lac in Burmese. General usage now uses lac as the term for any of the various resinous wood varnishes, including that from the sap of the thit-si tree. This resin lac is used in making lacquer ware in Burma, China, Japan and Korea, but the Burmese thit-si tree (Malanhorrea usitata) that grows in Shan State is said to have better viscosity and last longer. Bagan is the centre of making ‘laureate’ or lacquer wares stretching back almost a millennium, prospering in the period from the 11th to 13th centuries CE when it was the seat of the Myanmar dynasty. Burmese kings would presents lacquer ware as gifts to other royals, along with silk and jewellery. It is still the hub of culture with many temples,

Chinese and Japanese Quality antique and reproduction furniture and artefacts


336 South Dowling Street, Paddington • 02 9360 7104 Monday to Saturday 10 am to 5 pm - Sunday by appointment 18


pagodas and monasteries surviving, along with many arts and crafts. Bagan is located on the eastern bank of Ayeyarwady River, not far from Shan State where resin bearing trees grow. The other materials for making laureate are softwood and bamboo. The techniques of making lacquer ware have been handed down in the surrounding villages. There are instructors in the craft where a family member may work in an unpaid apprenticeship – to keep the art and culture alive. Artwork on the lacquer ware is either painted or etched in between the many layers of lacquer. The colours used in paintings are natural products, such as trees, lime, earth, sand, rock, bones, smoke, charcoal and egg. In Burma, lacquer work is a major art and still a pride of the country.

TYPES of lacquer ware Lacquer wares were used not only by royalty but also by ordinary Burmese families to serve their daily meals. Usually, a threelegged low circular table made of bamboo strips and lacquer was used, such as still being used in remote villages and monasteries. The monks used lacquer thapeik (alms bowl) during their daily alms round of collecting their food from the villagers. Thapeik and its cover were made of bamboo, wood and resin. There are many types of lacquer ware vessels, the two primary types being the betel

nut box and the hsun ok, the daily multilayered food container. The hsun ok is the most varied among all of the containers, ranging from a bamboo frame with plain red or black lacquer to the very ornate style – even decorated with gold, gilded and jewelled. All have a classic design and spiritual forms, unique to Burmese artisans.

MODERN challenges Due to increasing economic costs associated with resin retrieval and the desire of modern Burmese people for ‘western’ products, the lacquer ware art has less demand and is dying. Fortunately, some Burmese families, in an attempt to preserve the ancient art, have chosen to share it with the remainder of the world. Hopefully, through external interest, the unique talent of the Burmese people can be restored and flourish for all posterity. Visit Special Pieces in Paddington to view the selection of unique Burmese artefacts. Proceeds of product sales have gone directly to individual families – this project pays no third party. For more information contact SPECIAL PIECES 02 9360 7104


New store – freshly arrived stock

Elements i love… E

lements i love has opened in Surry Hills. This is a newly created little sister store to Architectural and Antique Elements. Inspired by their travels and a recent New York sojourn, founders Brooke Crowle and Tim McGuigan had been on the lookout for a small boutique space that would have the same vibe that they loved around New York’s TriBeCa/Soho area, and that would complement their existing Leichhardt warehouse on James Street at the corner of Darley Road. The rustic timber columns and exposed beam ceiling in the new shop provide a

perfect palette for a fab collection of handpicked pieces: antique French provincial, Swedish and Belgian, vintage and industrial and Indian-British colonial finds. High on the wish list was a lovely big glass shop window so passersby can catch a quick look at what’s in store.

arriving in Surry Hills. With the new store in mind, the last buying trip was a great opportunity to include some hand-crafted artisan items that were discovered along the way. These pieces, along with locally sourced oneoff pieces which are quirky, chic and affordable will add much interest to the collection, both at the new store and the warehouse.

WHAT is in store?

If you have already visited our Leichhardt warehouse, have no doubt that you will love the little sister store. It is nestled in the bustling Surry Hills precinct, perfectly

A just landed shipment from France, full of French vintage and antique finds will first be cleaned, waxed, rewired and photographed before

situated between Ray Hughes Gallery and Bourke St Bakery. We hope to see you at Elements i love, soon.





The Art Gilding Academy The only place in the world where you can learn professional gilding in just two weeks



rt Gilding Australia was approached by Fr Savas Pizanias of a Greek Orthodox Church in the heart of Wollongong NSW (65 km south of Sydney). The St Nektarios Church was established in the late 1960s with the dedicated efforts of the local Greek community. This commission came close after the success of Art Gilding Australia’s frame restoration at the St Joseph’s Boys College. We again invited our Master Class student, Ana, to accompany us on the Wollongong project. Our international reputation for renowned

excellence in craftsmanship brought everyone involved, especially the founders of the parish, great joy and satisfaction to see the icon screen and three altars being transformed by gold leafing. This young dynamic priest believes that by creating a beautiful ambience in his church he will be able to attract young people, through marriage and baptism ceremonies, back to this parish. This is one of our historical, prestigious and church gilding projects on prominent heritage buildings and prestigious sites that include: Sydney Town Hall (with the largest organ in the Southern Hemisphere), NSW State Parliament House and Legislative Assembly Area, Sydney Mint, Government House Sydney, Admiralty House and many places of worship.

Brigitte with gilding workshop project

ART GILDING ACADEMY’S NEW FORMAT MASTER GILDING CLASS As many prospective students find it difficult to allocate two whole weeks, full time to complete our Master Gilding Class, we have changed its format. The Master Gilding Class will now run over a nine-day period.


Art Gilding Studio Restoration and frame conservation Oil and water gilding services On-site architectural gilding We come to you FREE STUDIO QUOTES

Art Gilding Academy Hobby Workshops Weekend Classes Master Classes (fully certified) FREE INFORMATION EVENINGS For dates, free brochures and friendly advice

The curriculum, which has proven successful over the last 11 years, is not changing. During these nine days, students learn more than they could in a three-year apprenticeship. We provide a relaxed and fun atmosphere and attendees are always like-minded people. For your benefit, classes enrol no more than six students, guaranteeing personal attention. Completing the Master Gilding training course allows students to add skills to your chosen profession and offers the freedom to build up a business and work from home. On completion of the professional Master Gilding Class, students receive a certificate.

GOLDFINGER CLUB We cannot teach you ‘experience’, but being a member in our Goldfinger Club will give you the support to tackle every project with confidence. We have a policy of full commitment to assist members of the club to build their ‘very own golden dream.’

Call Brigitte now 02 9310 3007

99-101 Buckingham St, Surry Hills NSW (Entrance in Cleveland Street)

Like to learn food gilding? If you are interested in attending the workshop being held in Surry Hills, Sydney please contact Brigitte on 02 9310 3007 or by email



HANDS-ON EXPERIENCE FOR STUDENTS During the year, Master Class students are invited to join the Art Gilding team on a number of gilding projects. Translating theory to practice under the watchful eyes of experts is a valuable learning experience for students as they apply their newly learned skills to practical situations. This is a win/win situation for everybody concerned.

WEEKEND Classes Sydney: Sat/Sun 10 am – 4 pm WOULD YOU LIKE TO ADD SKILLS AND MORE PROFITS TO YOUR BUSINESS? This class has been especially designed for people unable to attend week-day classes and is held once a month. We know how difficult it is for small business owners to find time during the week, so our intensive weekend class may suit you perfectly. The classes run from 10 am – 4 pm Saturday and Sunday and participants are taught, step-bystep, gilding techniques that are applied to furniture, picture frames and mirrors, cornices and even walls. Many students have found that gilding adds another dimension to their business, which they have been able to capitalise on by adding a new profit centre. Moreover, it’s fun! The weekend class is very reasonably priced at $795. This includes the project – an Egyptian plaque – and all tuition and materials. In certain circumstances this fee could be claimed as a tax deduction. Those able to benefit by acquiring this skill include artists, painters, framers, restorers and French polishers; in fact, anyone who wants to add new skills and a new source of profit to their business. For more information contact Brigitte at ART GILDING ACADEMY 02 9310 3007


What is


Doug Up On Bourke?

ore than a warehouse in Waterloo, Doug up on Bourke is one of the largest sources of industrial, commercial, rustic antiques and hard core collectables in Sydney today. Here renovators, collectors or anyone looking for to create a decorative statement will find that special piece. All stock is sourced in Australia and they specialise in mid 1800s to late 1950s. Come and view the mind-blowing collection of pigeonhole units, timber plan drawers, filing cabinets, rustic kitchen tables and trestle tables, advertising signs and old road signs. There are industrial work benches, old machinery tables, chairs, vintage original Bakelite phones, lovely old suitcases and shipping trunks, rustic sawhorses, childrenâ&#x20AC;&#x2122;s toys and chairs, enamel and gal buckets. Nickel

framed showcases, early tram and bus rolls and not forgetting the extensive selection of more than 200 old watering cans, offer interesting decorating ideas. Make sure you have plenty of time as Doug Up On Bourke is a place to browse. Both the store and their online gallery are designed to mooch around slowly, here surprises lurk and memories of the past come flooding back. Pay a visit to Doug Up On Bourke, we promise that your first visit will not be your last. If unable to call into the warehouse then drop in online, you will not be disappointed as each visit will reveal yet another surprise! DOUG UP ON BOURKE 02 9690 0962

901 Bourke Street Waterloo NSW 2017





Gesso finished console

Citrus highlights

Blue mood Nature in all its glory Industrial polished nickel pendant

Decorative mirrors

Bobbin chairs & quatrefoil motif

Four poster bed

Furnishing trends from America’s Biggest Trade Show



he High Point Market, held twice a year in North Carolina for retailers and design professionals in the important home furnishing industry, is a proving ground for upcoming trends. The spring event just closed revealed a newfound optimism in the industry. Colour was everywhere. Saturated colours appeared mainly on accessories but were sometimes used for walls and upholstery.

Orange had been proclaimed the colour of the year and other citrus shades were also abundant but the predominance of blue in every shade from aqua to midnight revealed a move to the use of more colour without the risk of becoming last year’s fashion. Upholstery featured more detail with flanged seams, contrast piping and button tufting appearing on classic and contemporary sofas, chairs and beds. Velvet and mohair!


› Texture – as quoted by the presenter at a design seminar, ‘texture is the new bling’

› Driftwood appeared on many items and table tops with a natural (live) edge

› Rattan and other natural weaves are combined with formal furnishings.

› Ornate mirrors in every conceivable finish › Artworks featuring natural subjects, e.g. › ›

marine life, botanicals, insects and animals – nothing new here, but sometimes framed or displayed in interesting ways Over scaled artwork is an important trend Boxes appear in every size and shape, often in luxury woods, horn and mother-of-pearl.

Over-scaled art

TRENDS in Australia Whether or not all of these trends appeal, there is bound to be something to inspire a new addition to the home – maybe a couple of bright cushions to lift a neutral room, or a rattan basket to add some texture. Or you might consider having a nail head trim on that new sofa you’re about to order. Australian interior designers will be keen to incorporate these ideas when presenting their proposals and retail stores will soon reflect the trends. See many examples in the Laura Kincade showroom in Alexandria, open seven days. LAURA KINCADE 02 9667 4415

› Ikat and tribal patterns are used by many manufacturers

› Quatrefoil and Moorish patterns continue to › › › › › › NEW SEASON COLOURS AND PATTERNS Ask our designers about the many customisation options offered by Hickory Chair Co. of North Carolina

› ›

be strong in everything from wallpaper and fabrics to light fittings, headboards, screens and table bases Greek Key motif is seen repeatedly – very Versace! Designers are still finding inspiration from the animal kingdom. Everything from rams and lion heads to hooves and lions feet and whimsical birds legs on lamps and side tables Bulky rustic furniture has been replaced with more refined shapes in new and recycled woods with textured finishes and rubbed-back paint Bobbin chairs are used for both dining and lounge Chairs with wooden backs are an example of dining chairs that can be easily an accent chairs for formal or informal living rooms Classic sofas in slim styles with single seat cushions for a more contemporary feel Four-poster beds are new again Gesso as a furniture finish – a smooth plaster-like white surface.


› Industrial design is still a strong influence


› Lucite is back – material from occasional

80 O’RIORDAN STREET, ALEXANDRIA (next door to Domayne) Open Monday to Saturday 10am to 5pm & Sunday 10.30am to 4.30pm

T: 02 9667 4415 · W:

Woven cane swivel stool

and is best in lighting tables, dining chairs and table bases, to sofas and lounge chairs.

› Gold, gold, gold – but mostly soft brushed, antique finishes – not brash like the 80s. Silver tones are taking a bit of a back seat. Blue





Antiques, 20th century design, industrial and architectural heritage, toys and dolls, rustic farmhouse furniture, jewellery

A new industrial space in the inner west for lovers of design and curiosities Upper Level 76 Mitchell Road, Alexandria NSW 2015 I Open 7 days 10 am - 5 pm I P: 02 9698 0907 I E: I

MECCA for the Beautiful and Unusual M

arking seven years of success, Mitchell Road Antique and Design Centre is renowned as a popular and important centre for those in search of the beautiful and the unusual. Customers include many designers, home owners and film producers. Upstairs in the big yellow building on the corner of Mitchell Road and Fountain Street in Alexandria, there are over sixty dealers displaying their wares. The scope of pre-loved and recycled items is breathtaking and all this under one roof is brilliant convenience. Antique furniture and collectables sit comfortably among a huge range of retro clothing, furniture and accessories. Collections of early toys and robots, music makers, records, radios, kitchen and garden furniture and utensils rub shoulders with industrial furniture and artefacts. Lamps and sculptures created from machinery saved from landfill live in harmony with tribal artefacts from the Pacific region and elsewhere.

Each space reflects the personal passion of a particular dealer and you will frequently find them tending their space and eager to talk about the treasures on offer. Whether you realised it or not, almost everybody has seen items from Mitchell Road Antique and Design Centre in the course of watching Australianmade films or television shows, or when reading a magazine. We have long been a favourite hunting ground for stylists and set designers looking for period pieces and accessories, or simply unusual and funky items with which to create a signature mood and look. Customers take delight in creating their own trend with the treasures they have discovered at the centre. Gift vouchers are a favourite present for those who find difficulty in choosing that special piece from the extensive displays.

TRIBAL pieces in stock We are thrilled with two special tribal pieces that have recently arrived. The reef fishing

canoe from Ramu on the north coast of Papua New Guinea is over 60 years old. The village Shamanâ&#x20AC;&#x2122;s dance costume from a Karawari River village in the East Sepik Province of Papua New Guinea is hand woven in rattan cane and finished with a swamp grass skirt: it is museum quality.

contemporary interpretation. Pieces include an amazing wall unit incorporating a desk, banquette, a bedroom set that includes a desk, and a lounge setting surround with floor to ceiling mirrors. Rush to purchase the incredible atomic sputnik hanging light.

OPEN daily RETRO furniture of 1960s We have a collection of furniture by the significant furniture designer, Paul Kafka (1907-1972) that has come from a house in Rose Bay designed by Michael Graves in the early 1960s. A European furniture designer who arrived in Australia in 1939, Kafkaâ&#x20AC;&#x2122;s training and early practice in Vienna during the 1920s and 30s is reflected in the references to the art deco style that continued to inform his work in Australia. These influences are particularly evident in his characteristic use of strongly striped veneers and geometric detailing, albeit with a

Visit upstairs in the big yellow building on the corner of Mitchell Road and Fountain Street in Alexandria, open from 10 am to 5 pm seven days a week, entry is from Mitchell Road. Lyn and her friendly staff are always helpful with enquiries and purchases. Others may come and go, but we remain a constant and reliable source of recycled and rescued history for everyone who climbs the stairs to our treasure house. MITCHELL ROAD ANTIQUE & DESIGN CENTRE 02 9698 0907



Mizpah jewellery at Kalmar Antiques T

he Hebrew word ‘Mizpah’ is found in Genesis Chapter 31, verse 49 that refers to Mizpah as a watch tower, symbolising a place of sanctuary. When Jacob and Laban agreed to peace at Gilead, they built a memento of stone and named it, like their wise covenant, MIZPAH – meaning ‘May the Lord keep watch between you and me when we are away from each other.’ Over centuries and millennia, the term Mizpah has been looked upon as giving good fortune and a safe return for those who are apart. Note that it does not have a religious connotation. In this way, Mizpah jewellery is quite different to many other traditional sayings or symbols as it does not refer to any monetary or faith gains as might other amulets or talismans – it means personal safe being and secure passage.

VICTORIAN Mizpah jewellery Not surprisingly, Mizpah jewellery found popularity during the Victorian era – an era of romance and desire. Since this was an era of great exploration and travel over vast distances, many pieces of Mizpah jewellery were made and given to people who were travelling, to wish them a safe return. Indeed some superb Victorian era Mizpah jewellery can be found, most commonly in the form of rings and brooches. Victorian rings will usually be in gold and have inscribed or embossed the word Mizpah across the top of the ring. Brooches were commonly made in either sterling silver or gold, or even a combination of both. Many Mizpah brooches will also have the very sentimental symbols for faith, hope and charity included in the brooch, namely faith as

Over centuries and millennia, the term Mizpah has been looked upon as giving good fortune and a safe return for those who are apart



a cross, hope as an anchor and charity depicted by a heart. Rarer still are Mizpah bracelets and bangles as well as lockets, all of which are very attractive and unique pieces of jewellery.

LATER Mizpah jewellery During the Boer War (1899-1902) and WWI (1914-1918) Mizpah jewellery had a small resurgence, given to some men who left for war to wish them protection and a safe return passage. Mizpah jewellery was also frequently given by loved ones departing for distant shores, especially those immigrating to parts of the British Empire notably Australia, Canada and South Africa. The word came into usage in love letters as a sign off.

ENJOY Mizpah jewellery The advantage of buying Mizpah jewellery is that you really don’t have to spend a great deal of money. For example, a piece of Mizpah jewellery from the Victorian era of the 1880s may be purchased from $200 upwards. Mizpah jewellery is one that is steeped in tradition, and for anyone who is a romantic, nostalgic or just wants a piece of antique jewellery with meaning behind it, then look no further that wearing a piece of Mizpah jewellery.

KALMAR ANTIQUES 02 9264 3663



IMPORTERS & RESTORERS OF ENGLISH, WELSH & CONTINENTAL ANTIQUE PINE & COUNTRY FURNITURE FOR 25 YEARS Wednesday to Sunday 11 am to 5.30 pm or anytime on a phone call

358 Botany Road Alexandria NSW 2015

02 9698 2785

ANGELA & CHRIS LISTER Specialising in: Re-seating of chairs in cane, Danish cord and Restoration of Seagrass furniture

02 9516 2851


Traditional Gold Leaf Embossed • Leather Inlays for Desks • Leather Desk Mats • Complete Desk Restorations

Antique and Modern Finishes Quality Imported Leather Large Range of Patterns and Stamps Regular Pick-up and Delivery Sydney Metro Area Mail Order Australia-wide

Mob: 0429 994 664

Eastern Suburbs Antique Restorations Pty Ltd Traditional French polishing and all furniture repairs Specialising in all upholstery and a wide range of discounted fabrics 1603 Botany Road, Botany NSW 2019

t: 02 9316 4445 m: 0416 048 222

GET MOVING TAXI TRUCKS Jun 3, Jul 1, Aug 5, Sept 2, Oct 7, Nov 4, Dec 2


ntiques & Collectables Fair

Presented by the

Specialist Antique Carrier OVER 30 YEARS EXPERIENCE

Prompt and reliable

Peter Firmager

0411 046 796

Rotary Club of Springwood, Inc Springwood High School Grose Road, Faulconbridge Saturday 2 June 9 am - 4 pm and Sunday 3 June 10 am - 3 pm Admission $7 Daily Pensioner Concession available

ALL ITEMS FOR SALE Wide range of fine estate, period and costume jewellery, English and Australian furniture, sterling silver, precious gold, fine porcelain, glass and crystal, linen, clocks, prints and many other onteresting collectables.

INQUIRIES Valda: 02 4751 8277 or Ross: 0414 279 805





This is an exclusive hand woven Moldavian kilim made with 100% wool and natural dyes. The kilim is over 90 years old. Moldavian kilims are rarely made with white or cream coloured centres, making this a unique piece. Size 1.68 x 2.80m

We sell exotic rugs and kilims from around the world. Our well stocked showroom has a large range of traditional and modern rugs and kilims, patchwork rugs and patchwork kilims to cater for all our clientsâ&#x20AC;&#x2122; desires. All clean, wash, repair and restoration jobs are guaranteed with free pickup and delivery to all suburbs

1300 166 266

02 9558 2288

21-23 Homer Street, Earlwood NSW 2206 26



PACK & SEND now open at Botany

At Pack & Send we will personally manage the entire job and even computer-track the item en route until it arrives safely and in pristine condition at its destination

” A

rt and antique dealers, galleries and museums are now realising that using Pack & Send for their logistics is a means of providing a superior level of service to their customers and actually saves them time and money. At Pack & Send we specialise in transporting art and antiques, which means that we stock an extensive range of packing supplies – including bubble wrap, acid-free films and tailor-made boxes made of cardboard, pine or plywood – for both shops and individuals who choose to do their own packing. Museums, art galleries and antique dealers Australia-wide are finding our service truly valuable and asking us to take care of the entire logistical process – from pick-up to packaging to insurance, paperwork, freighting and safe door-to-door delivery. No other company in Australia does this. By letting us take care of all the details, curators and collectors are free to concentrate on their core business. At Pack & Send we

will personally manage the entire job and even computer-track the item en route until it arrives safely and in pristine condition at its destination.

PACK & SEND 02 9661 1144

PROFESSIONAL packing service Pack & Send is the only packaging and freight company that has access to Instapak Foam-in-Place technology, a system using soft foam that expands when two chemicals are combined in contact with air. Foam-in-Place moulds itself to fit the precise shape of the item being packed and this product possesses a density that aids in the prevention of damage from impact, vibration or from being dropped. Instapak Foam-in-Place enables glassware, paintings and various antiques to be sent through the freight system without compromising the safety of the item. Not only that, Foam-in-Place is highly costefficient and readily disposed of without harming the environment. We are the only freight company that will send as well as pack antiques and art for you. When you consider the price of packing the item yourself on top of another company’s freight charges, Pack & Send’s price – as well as its hassle-free, one-stop shopping convenience and total service solutions – makes it a very attractive option.

PEACE of mind With our specialist knowledge and our experience in the packing and freighting of fragile, large, awkward and valuable items, we are able to insure even the most fragile art or antique item. Insurance against loss and or damage is available through all Pack & Send stores, giving you peace of mind when sending valuable items and one-off pieces.

NO JOB too big or too small When you call Pack & Send, regardless of whether the job is large or small, we can professionally pack it and co-ordinate its delivery to anywhere in the world. Anything from an envelope, archaeological artefacts, to large oversize paintings and 100-year-old antique chandeliers, Pack & Send have the expertise to transport it safely.

Pack & Send Botany is open seven days a week, Monday to Friday 8.30 am to 5.30 pm, Saturday and Sunday by appointment. The team at Pack & Send looks forward to the opportunity to offer their services in solving any packaging or freight problems you might have.

PACKAGING....TO US IT’S AN ART FORM! PACK & SEND maintain the highest standards in customer service, packing materials and techniques that ensure your precious pieces are not compromised when being moved. Our trained staff can professionally pack any item no matter how fragile, awkward or valuable and then have it delivered anywhere!

PACK & SEND Botany offer: • Dependable and versatile transport across town, interstate and internationally • ‘No compromise’ packaging and loss/damage cover • Total convenience including pick-up and on-site quotes! • No obligation professional advice from our experienced team • Tailor-made crates, cases and cartons at our site

456 BUNNERONG RD, MATRAVILLE NSW 2063 PH: 02 9661 1144 FAX: 02 9661 1133 Email: ANTIQUES & ART IN NEW SOUTH WALES


Bank of New South Wales 1824, 20 Spanish dollars

Ann Mash c. 1812 promissory note

National Bank of Australasia 1910 one pound note, superscribed

A brief history of Australian banknotes W

hen England decided to send convicts to Australia, it gave virtually no thought to establishing a system of currency. While the Commissariat was responsible for feeding, clothing and housing the convicts, the military, administrators and free settlers needed to buy food, clothing and other necessities. Despite the mixture of coinage brought from England and Europe, the settlement soon ran out of small change. A few years passed before the first paper money was developed.

PROMISSORY and currency notes Within the first 40 years of the colony nearly 100 traders in Sydney and Van Diemen’s Land (Tasmania) issued their own small change paper notes. Their buying power (as opposed to their face value) depended on the reputation of the issuing individual or trading house, that is, whether the merchant could back notes by specie, higher value notes such as bills of exchange, or credit in goods. The early notes date from 1803 (M Robinson, Sydney) to 1828 (W Lamb,

Hobart). Currency and promissory notes are rare and usually in poor condition. Denominations vary from Spanish dollars, shillings and pence, to English pounds sterling, shillings and pence.

COMMISSARIAT notes Commissariat notes were store receipts used as a form of currency. They were regularly redeemed for bills drawn on the English Treasury. Many were discounted by holders who could not wait three months for payment – they endorsed the notes to another who in turn advanced the original holder funds, less a discount: the recipients of Commissariat Notes read like a Who’s Who of the colonies. Commissariat notes became obsolete by the 1840s and its accounts branch was abolished in 1846.

PRE-FEDERATION or private banknotes Between 1817 and 1901 private or preFederation banks provided paper currency for the colonies, states and commerce. The Bank

of New South Wales, established in 1817, was the first; by 1841 another 23 banks had been formed, including branches of some London banks. From the 1850s gold rush to 1888, a further 32 banks opened. During the 1893 banking crisis most banks collapsed, but notes from still surviving banks were legal tender and could be exchanged for gold at the bank’s head office. The New South Wales and Queensland governments issued Treasury notes. Yet only nine banks remained operating, from over 50. Most private or preFederation banknotes are rare.

SUPERSCRIBED notes A superscribed note was printed by a private bank, sold to a government that then overprinted it as a temporary measure during delays in issuing paper currency. The rarest superscribed notes are those from eight private banks, re-issued by the Queensland Government in 1893 and gradually withdrawn and destroyed as it issued notes early in 1894. Following Federation and the Australian Notes Act of 1910, notes from private banks were overprinted with ‘AUSTRALIAN NOTE’ and the promise to pay the bearer in gold on demand, until the Commonwealth Government produced notes. Superscribed notes from smaller banks are even rarer, especially in higher denominations.

PRE-DECIMAL notes The first official Federation paper currency was in 1913 when the 10/- (ten shillings), £1 and £5 notes came into circulation. The £20 note issued in 1914 was the first and only of its type, circulating until 1938; there was a single issue of £50 (1914-1940) and £100 notes (1914-1945). The £1,000 note, issued in 1914 was initially available to the public, but within a year it was used only for exchange between banks.

Cerutty Collins 1916 five shilling note, unissued

UNISSUED notes In 1916 the Australian Government prepared a 5 shilling note to counter the shortage of silver coin, but destroyed most in 1922 with only four specimen notes surviving. This occurred again in 1946. A £1,000 note ordered in 1922 languished until 1928 when the Government decided not to proceed: just one note is known, sold in 2008 for AUD$890,000. One pound notes commissioned in 1926 were destroyed because the printing was unsatisfactory – only two sheets and 12 individual notes remain of 7,000,000. Some designs were never made: 1934 designs for £50 and £100 notes were not printed because of insufficient demand. The £1 note featuring Edward VIII remained unissued because of his abdication from the throne on 16 November 1936.

DECIMAL notes 1966-1996 Australia changed to decimal currency in 1966 when 10 shillings became $1, £1 equalled $2, £5 became $10 and £10 became $20; in 1967 the $5 note was introduced, $50 note in 1973 and the $100 note in 1984.

Fraser Cole 1991 five dollar note

POLYMER notes 1995 - to date Collins Allen 1913 ten shillings note

STAR replacement notes

Old O ld money talks. It sspeaks peaks of history and ra rarity. arity. Of value that is ne never ever

In 1948 the American system was introduced of printing a hollow 5-point star after the serial number to indicate it was a replacement for a mistaken serial number. Pre-decimal star notes are rare with none above £5. This practice continued on early decimal notes (1966-1969) until technology could identify and remove faulty notes.

Australia led the world with the polymer $10 in 1988. The $5 followed in 1992 through to the $100 note in 1996. Collectors of polymer banknotes can obtain yearly sets, first day of issue and collector folders.

Fraser Evans 1995 polymer fifty dollar note

dim minished. Investment in n rare banknotes allow ws you diminished. allows to balance b your portfolio for superannuation or other inve estment with stability and a solid growth. T o pre eserve investment To preserve you ur wealth now and into the future. F or informa ation, your For information, see e coinworks com au u or phone +61 3 9642 2 3133






ph 02 9567 1322 fax 02 9597 1782






HOLEY dollar New South Wales, five shillings or holey dollar, 1813, struck on a Charles IIII, Mexico City Mint eight reales is very rare and sold for $95,530. A well-worn holey dollar, countermarked T. Knight, was bought for ‘just’ $32,038.


ver 80 per cent of the lots were sold by volume and nearly that percentage by value at the recent 99th Noble Numismatics sale. All prices quoted include the 16.5 per cent buyer’s premium and GST. The featured collection, the Tom May Collection of Greek, Roman, British, Australian coins, medals and tokens realised nearly one million dollars.

1913 TEN Sshillings The most expensive lots were the pair of presentation ten shilling notes, numbered in sequence, realising $248,145 for both. They were awarded to W.N. Hedges in the ballot. Each has a presentation letter dated Melbourne 5 July 1913, addressed to W.N. Hedges at ‘Dunboe’, Sackville Street, Kew East (a suburb of Melbourne) signed by the Secretary to the Treasury, Geo. T Allen.

This 1913 ten shillings, Collins/Allen numbered M000054 has two rounded corners, a repaired tear spot top margin at left, two pin holes, otherwise nearly extremely fine and very rare. This 1913 ten shillings, Collins/Allen numbered M000055 is a full note with printer’s guide lines in all four corners of the

front. It is extremely rare in this condition and one of the finest known.

TOKENS The Alexander Collection of Australian and New Zealand tokens attracted a wide spread of buyers, with more than 92 per cent of the lots sold. James Campbell of Morpeth, silver threepence, undated but c. 1854, by J.C. Thornthwaite sold for $10,485 – a top price for a token. Light grey toned, good very fine and extremely rare, this is one of the finest known and a classic of the series.

The Bell and Gardner Rockhampton penny token also by J.C. Thornthwaite, went for $3,786; the William Allen Jamberoo penny, 1855, by J.C. Thornthwaite reached $5,359; and the POW camp Liverpool NSW square aluminum threepence set a record at $4,660 for the grade.

The gold 1852 Adelaide pound realised $10,485. Sydney Mint sovereigns sold from $3,495 for the 1861 example; two 1865 sovereigns achieved $2,796 and $3,029 respectively; the inverted A for V in Victoria shield sovereign sold for $5,534. The top price in the Australian Imperial gold went to a half sovereign, 1918 Perth, for $9,320.

George V Melbourne Mint pattern 1921 square cupro-nickel kookaburra penny by D. Richardson (4.20 grams) is dark toned, nearly uncirculated and rare – achieving the top price of $39,610. An uncirculated Australian Commonwealth 1933 shilling sold for $12,815 and a good extremely fine 1923 halfpenny went under the hammer at $11,650. Enjoy this fact: a proof 1938 threepence, valued in 1980 at $75, sold for $5,825.

choice Harold II penny struck at the Steyning Mint ($5,592), a Richard III groat, mint mark boar’s head ($3,961), a milled shilling of Elizabeth I ($4,1940), proof-like Cromwell shilling ($7,864) and British proof George III 1816 half crown ($4,078). Elizabeth I (1558-1603) portcullis money, 1600-1601 of the Company of Merchants of London Trading into the East Indies, silver four testerns (13.46 grams). There is a slight weakness above E on obverse and reverse position, otherwise attractively toned, good very fine, rare – and achieved $9,903.

Top price: Charles I (1625-1649), Pontefract besieged, 1648-9, lozenge shaped silver shilling, 1648 (5.50 grams). It has a small crack in flan and is especially rare in this state, bought for $6,990. A Charles I 1646 Newark besieged sixpence sold for $3,146.

MEDALS The Tom May collection of orders, decorations and medals mostly sold over estimates: Naval General Service medals, clasp Nile ($7,223); clasp Copenhagen 1801 ($7,806); clasp Trafalgar ($10,485); and a Military General Service medal clasp Corunna ($4,777.) A Waterloo medal sold for $3,961. An Australian Commonwealth Horse, 1902, second pattern rising sun hat badge went for $2,330.

Rare: Commonwealth (1649-1660), pattern milled silver half crown by P Blondeau, edge inscribed ‘Truth and Peace 1651 (olive branch) PETRVS BLONDAEUS INVENTOR FECIT (palm branch)’ – sold for $6,990. The Blondeau pattern 1651 shilling went for $3,961 to the same bidder.


This trio was awarded to an Australian Flying Corps Pilot Ace, Killed In Action, comprising the 1914-15 Star, British War Medal 1914-18 and the Victory Medal 1914-19. Dvr. A.J. Palliser 9/A.S.C. A.I.F. is engraved on the first medal; Lieut.A.J. Palliser. A.I.F. on the second and third medals. This trio and death plaque sold for a staggering $27,960, the bidding starting from $6,000.

SILVER and bronze The Tom May British collection included amazing mediaeval and renaissance silver and bronze coins. An Offa silver penny sold for $2,913: Offa (d. 796) was a powerful AngloSaxon England king who established a new form of coinage with the king’s name and title and the name of the person responsible for the quality of the coins, as followed for subsequent centuries. English royalty and their coins included: an Alfred the Great monogram penny as a Viking imitation ($7,340), halfpenny ($2,796), a



Dramatic prices were achieved for Russian coins. Peter I (the Great) silver 1708/7 twelve kopeks for Lithuania – it still has some original mint bloom and is nearly uncirculated, was sold for $7,747. A Peter II 1729 rouble achieved $9,320. A 1735 half rouble of Anna attracted $12,349 after strong e-mail bidding took it over ten times its estimate.

BRITISH gold The best results from the Tom May collection were for the Elizabeth I milled half pound ($19,223) and the Charles I Oxford Mint triple unite 1643 ($66,405). Historical medals were highlighted by the 1588 Defeat of the Spanish Armada in silver ($4,427) and a George IV coronation medal in gold ($4,078). The Charles II Naval Victory against Holland was secured by an enthusiastic yachtsman for $1,864. China gold was strong: a China dollar ($23,300), a China 1981 proof two hundred yuan, Bronze Age finds ($3,961). A Russia Elizabeth 1756 ten roubles, estimated at $6,500, sold for a significant $46,600.


FREDMAN SVW F O R M E R LY S Y D N E Y V I N TAG E WAT C H E S We also purchase: Patek Philippe Cartier Vacheron & Constantin Le Coultre Audermars Piguet Universal International (IWC) Movado Ulysse Nardin Omega Chronographs Military Watches

Reminiscent of the French jewellery salons of the 19th century and located in the historic Strand Arcade, Victoria & Albert Antiques is a treasure trove filled with interesting and unusual antique, vintage and quality reproduction pieces. With decades of experience, our knowledgeable staff will help you find the perfect gift, or special treat for yourself.


Shop 28, Ground Floor, Strand Arcade 193 Pitt Street Mall, Sydney PHONE: 02 9221 3373 MOBILE: 0407 676 838 MONDAY to SATURDAY

We are strong buyers of all men’s and ladies’ wristwatches in any condition



The Tom May collection of ancient coins mostly exceeded estimate.

New Zealand consecutive pair of Wilson 1955-6 fifty pounds sold for $8,155. Successful private issues were the Tasmanian notes: Zeehan ten pounds sold at $19,805 to, while the Launceston five pounds sold for $8,000.

Roman Empire: Septimius Severus, (193-211 CE), gold aureus, Rome mint, issued 195 (7.26 gm), obv. laureate head of Septimius Severus to right, around L SEPT SEV PERT AVG IMP VII, rev. around DIVI M P II F PM TR P III COS II P P, Victory advancing to left, holding wreath and trophy. This is almost as originally struck with a spectacular portrait, altogether very fine style and rare, sold for $22,000 plus buyer’s premium and GST.

Roman Gold: Caracalla, (198-217 CE), gold aureus, issued 216, Rome mint (6.46 gm), obv. laureate bust to right of Caracalla, draped and cuirassed seen from behind, around ANTONINVS PIVS AVG GERM, rev. lion radiate walking to left, thunderbolt in jaws, around P M TR P XVIIII COS IIII P P. Nearly extremely fine and very rare, this Caracalla was the subject of a bidding duel (estimate $16,000), eventually going under the hammer for $34,950.

Unique: National Bank of Tasmania Limited, specimen one pound, Ringarooma, 18-, No 003000, imprint Sands & McDougall Limited Melbourne, rubber stamped ‘cancelled’. Nearly extremely fine and believed to be unique, it realised $19,805. After the success of the two presentation ten shilling notes mentioned at the beginning, a red serial Collins/Allen ten shillings sold for $15,728. Four consecutive ten pounds, 1943 sold for $8,388; a specimen ten shillings, 1954 sold for $53,590 after a long bidding duel in the room; and a nearly uncirculated five pound star note attracted $27,960.

CONSIGNMENTS for sale 100 closing now Noble’s next sale is our one hundredth, taking place in Sydney on 24-27 July to commemorate one hundred sales, our first being in Sydney in October 1977. We look forward to seeing you then. Jim Noble NOBLE NUMISMATICS 02 9223 4578

Victoria & Albert Antiques Shop 17, The Strand Arcade, 412 - 414 George St, Sydney NSW 2000 Ph: 02 9221 7198 Fax: 02 9221 7214 Monday - Friday 9.30 am–5.30 pm Thursday 9.30 am–7 pm Saturday 9.30 am–5 pm Sunday 11 am–4 pm


Antique, vintage and selected new buttons Shop 25 Nurses Walk, The Rocks (enter through Surgeon’s Court off George St, opposite Museum of Contemporary Art)

Ph: 02 9252 0833 Email: OPEN 7 DAYS 10am - 5.30pm ANTIQUES & ART IN NEW SOUTH WALES


Ship’s extending cabin bed, c. 1830-50, beechwood frame, Baltic pine slats and runners, birch canework and back panels, six turned legs can be unscrewed, brass castors

From the Australian National Maritime Collection

an Extending Timber Cabin Bed A “

well-to-do passenger travelling to Australia during the 19th century might have used this rare extending cabin bed, says Australian National Maritime Museum curator of ship technology, Kieran Hosty. This is a rare representation of an early cabin bed and an evocative example of how people of financial independence travelled to Australia in the 1850s, in some degree of comfort. This extending timber cabin bed consists of a beechwood frame, Baltic pine slats and runners, birch canework and back panels, and was manufactured about 1830-50. The six turned legs can be unscrewed and are finished with brass castors embossed ‘Loach and Clarke – Collins Patent.’ Wealthy passengers supplied their own furniture to fit out their cabin for the journey. However elegant and comfortable, such furniture also needed to be practical, light and compact. Campaign furniture or knockdown furniture, of which this cabin bed is a perfect example, was designed to be easily assembled and quickly folded up without the use of nails, tacks or tools, for use by travelling armies, surveyors or explorers. Additionally, this furniture also needed to be comfortable and attractive to ensure the military, professional or commercial traveller all the luxuries of home while journeying to and around distant lands. Such pieces were designed to look like regular Georgian household furniture and were constructed by some of the most eminent cabinetmakers of the day.


The demand for this style of furniture increased as the British Empire expanded. Gentlemen and their ladies in the Georgian and later Victorian periods would go to great expense to demonstrate and maintain their station in life. Because issues of class and respectability were taken very seriously, makers of this type of furniture were able to flourish. By the early 1800s established British furniture companies such as Thomas Shearer, George Hepplewhite, Thomas Sheraton, Thomas Chippendale, and William Ince and John Mayhew were designing a variety of portable, collapsible furniture pieces including stools, trunks, wardrobes, baths, tables, chairs and beds. Along with these went all the accoutrements suitable for a gentleman including ice chests, wine coolers, rifle and cutlass holders, portable hangers and boot and shoe racks. Manufacturers could design or convert virtually any household item into a suitable portable unit. Such furniture lent itself perfectly to sea travel. The rigours of a four to six-month voyage were harsh on ordinary domestic household furniture. Even the largest cabins were generally no more than three metres square and usually came unfurnished. The primary item of furniture for any cabin passenger in the 19th century was some form of bed. Knockdown ship’s beds were made to be shortened during the day and used as a chair or settee, extending at night to full-sized beds. Hanley Northcote, in Colonial Furniture of New Zealand (1971) notes several


This is a rare representation of an early cabin bed and an evocative example of how people of financial independence travelled to Australia in the 1850s

” examples of single ship-cabin beds in the collection of the Canterbury Museum that were brought to New Zealand on board the Charlotte Jane in 1850. Furniture makers and designers extolled the ease with which their furniture could be used on board ship. Morgan and Sanders, cabin outfitters to Lord Nelson, illustrated in an 1810 trade card their range of portable army and navy equipment. This included a sofa bed ‘contrived on purpose for Captains Cabins, & Ladies or Gentlemen going to the East or West Indies,’ which formed ‘an elegant Sofa, and may be transformed with great ease into a complete Four Post Bed, with Bedding Furniture, &c.’ Noted campaign furniture designer Pocock claimed in one of his advertisements that his patent sofa beds ‘made comfortable and convenient Sofa and Bed, suitable either for

Camp or Barracks, or on Board a Ship, or even for an elegant Drawing-Room; and yet are very portable by folding into a very small Compass for the Convenience of Carriage.’ He added that ‘they have been highly approved by distinguished Officers in the Army and Navy.’ The extending cabin bed is currently on display at the Australian National Maritime Museum in the Age of Sail gallery.



Kenneth Macqueen (1897-1960), The Beach Fisherman, 1934, watercolour with pencil

John Olsen AO (b. 1928), The Bouillabaisse, 2009, mixed media on paper

Deborah Halpern (b. 1957), Fish, 2010, neon lighting and Perspex

Fish in Australian art showing at ANMM until 1 October


rom Indigenous rock paintings and scientific illustrations, to 20th century still lifes and contemporary multimedia, the Australian National Maritime Museum is taking an unconventional look at Australian art, showing how the simple subject of fish has been a source of artistic inspiration for hundreds of years. This major exhibition spans centuries, art movements and mediums. Fish in Australian art presents more than 170 works from wellknown Australian artists such as Margaret Olley, William Dobell, Yvonne Koolmatrie, Rupert Bunny, Anne Zahalka, John Brack, Michael Leunig, John Olsen, Craig Walsh and others – all within the unique context of fish and fishing. ‘While there have been many books and exhibitions on plants, flowers and birds in Australian art, fish have been virtually overlooked,’ said exhibition co-curator and art historian Stephen Scheding. ‘Drawing on the ANMN’s own collection of maritime art together with works on loan from public and private collections around the country, this fish-eye view of Australian art history reveals a remarkable and surprising body of work from the purely descriptive to the wonderfully eccentric,’ he said.

FISH and fishing This unusual introduction to Australian art history begins by looking at the influence of fish and fishing in Indigenous culture through rock art, traditional weavings and bark paintings.

Works by renowned Indigenous weaver Yvonne Koolmatrie and Yolngu artist Galuma Maymuru show how representations of fish in Indigenous art are often linked to stories that reaffirm and communicate Indigenous peoples’ connection to freshwater and saltwater country. Images of Indigenous people fishing also feature in rarely seen works by the Port Jackson Painter who arrived on the First Fleet. The exhibition looks at portrayals of fish in 18th and 19th century scientific drawings by artists and naturalists who sailed with James Cook, William Dampier and Matthew Flinders. Still life works by Peter Churcher, William Buelow Gould and Margaret Preston show the roles of fish in domestic life. Our fascination with fishing as a popular past-time is evident in works by Conrad Martens, Kenneth Macqueen and Joshua Smith. However Australian artists’ fascination with fish hasn’t been limited to drawings or paintings. The exhibition includes a range of art forms including scrimshaw, sculpture, multimedia and decorative arts. Visitors will see works by Chris O’Doherty (Reg Mombassa) and Michael Leunig, John Olsen’s colourful 2009 piece, The Bouillabaisse, James Gleeson’s surrealist 1983 study with fish and Arthur Boyd’s Ventriloquist and Skate. Decorative vases, an extravagant fishing trophy, advertising, jewellery, children’s toys and artistic displays of fishing tackle round out this exhibition. The exhibition was jointly developed by art historian, author and collector Stephen Scheding,

and museum curator Penny Cuthbert. Fish in Australian art is open until 1 October 2012. Entry to the exhibition is included in general admission to the museum: $7 adults, $3.50 child/concession or $17.50 for families. The Australian National Maritime Museum, Darling Harbour, is open daily from 9.30 am to 5 pm. For more information about Fish in Australian art and related events visit AUSTRALIAN NATIONAL MARITIME MUSEUM 02 9298 3777

Arthur Merric Bloomfield Boyd AC OBE (19201999), Ventriloquist and Skate, 1979-80, oil on canvas. Reproduced with permission of Bundanon Trust

Ferdinand Bauer (1760-1826), Southern Pygmy Leatherjacket, 1801-1803, watercolour on paper. Natural History Museum London UK



RMS Titanic leaving Southampton, 1912. Courtesy Titanic In Photographs: Klistorner & Hall

Photograph of Rose (Kate Winslet) and Jack (Leonardo DiCaprio) on the deck of RMS Titanic, from James Cameron’s film Titanic

Centenary of the Titanic remembered at the ANMM A

rguably one of the most significant events of the 20th century, the sinking of Titanic has captivated people and generated controversy for decades. Now 100 years on, the Australian National Maritime Museum will mark the centenary of the disaster with an intimate memorial exhibition and events program. RMS Titanic was to be the greatest ship afloat, shining proof of the industrial power of the modern world. But tragically, this vision was shattered on its first voyage when it struck an iceberg and sank on 15 April 1912 with the loss of over 1500 lives. The exhibition at the Australian Maritime Museum presents the history of this epic tragedy from construction to fateful sinking and rediscovery, and the controversy surrounding it. Drawing on replica objects, ship models, memorabilia, newspapers and graphics, this exhibition concentrates on the human stories behind the disaster. Learn about the ‘unsinkable’ Molly Brown, the unsung heroes like junior wireless operator Harold Sydney Bride, and Arthur Henry Rostron, Captain of the Carpathia which came to Titanic’s aid. Visitors see a large memorial wall which lists the names of all the known survivors and the victims of the sinking – a dramatic realisation of the size of the disaster in human terms.

displayed, including outfits worn by Kate Winslet, Leonardo DiCaprio and Billy Zane, together with props, photographs and design sketches. Highlights include: • Pale lavender chiffon dress worn by Kate Winslet (Rose DeWitt Bukater) throughout the sinking scenes • Antique white silk dress with gold embroidery worn by Kate while walking on the ship’s deck • Corduroy pants with vest and suspenders worn by Leonardo DiCaprio (Jack Dawson) • Gentleman’s suit worn by Billy Zane (Cal Hockley) • Beaded evening gown worn by Kathy Bates (Molly Brown). Other costumes include those worn by the characters Spicer Lovejoy, Madeleine Astor, a dinner party extra, and a ship’s officer. Props include a Titanic life vest, Carpathia life ring, Rose’s hand mirror and a binoculars’ case (salvaged from the wreck in the film). An audiovisual installation also delves into the filmmakers’ vision for the film and their passion to bring it back to the big screen in 3D. Controversy has surrounded Titanic for decades… from the shocking number of

deaths, particularly among third-class passengers, to the scarcity of lifeboats on board. In more recent years the salvaging of the wreck site and recovery of objects have been likened to grave robbing. The exhibition looks at these issues, the basis for them and the differing viewpoints. The exhibition is presented in association with principal partner 20th Century Fox that is releasing James Cameron’s Academy Awardwinning Titanic in 3D in cinemas from 5 April. Remembering Titanic is open until 11 November 2012. Entry is included with general admission: $7 adults, $3.50 child/concession or $17.50 families. The Australian National Maritime Museum, Darling Harbour, is open daily from 9.30 am to 5 pm. More details at

Shirani Aththas AUSTRALIAN NATIONAL MARITIME MUSEUM 02 9298 3777 Mrs JJ Brown, 1912. Survivor of the Titanic as she landed from Carpathia. Image courtesy of the Library of Congress Prints and Photographs Division, Washington USA

Titanic in popular culture See the impact of the Titanic on popular culture from books to films, culminating in the new release of James Cameron’s Titanic in 3D. The museum has partnered with 20th Century Fox to include selected costumes and props from the Academy Award®-winning 1997 film Titanic. Written, directed and produced by James Cameron, Titanic is the second-highest grossing movie of all time and received a record 11 Academy Awards® including Best Picture and Best Director. To commemorate the anniversary, James Cameron and producing partner Jon Landau have digitally remastered and meticulously enhanced the film to 3D, allowing audiences to experience this ground-breaking and uniquely emotional and visual epic on the big screen like never before. Nine costumes from Oscar®-winning costume designer Deborah Lynn Scott are


L to r: Yellow strolling or deck dress worn by Rose (Kate Winslet); Jack Dawson costume (Leonardo DiCaprio); Rose’s tea gown, also known as the sinking or swimming dress; Caledon ‘Cal’ Hockley lounge suit (Billy Zane). Costumes designed by Deborah Lynn Scott 1996/97. On loan from 20th Century Fox Costume Department. Image courtesy of the Australian National Maritime Museum


RMS Titanic propellers in dry dock at Belfast. Image courtesy Titanic in Photographs: Klistorner & Hall


Tall Lincoln Drape with 14 inch shade

Hanging lamp with Alpha Reflector shade

Queen with fluted Whip-o-lite shade

Wall lamp with Morning Glory shade

Aladdin Incandescent Mantle Lamps M

odel B Aladdin lamps were manufactured between 1933 and 1955. These lamps were featured in glass and metal as well as brass and nickelplated brass. Most of the coloured glass lamps can he credited to Henry T. Hellmers and Eugene Schwarz who was the chief designer of the Mantle Lamp Company from 1928 to 1951. The ‘NuType’ Model B Aladdin burner had a few new improvements. This burner was fitted with a direct rack and pinion wick winder unlike the winding mechanism on Model 12 burners which were fitted with a wick winder with 3 to 1 reduction gears. Furthermore, on this burner air for combustion is drawn from the sides through baffled air passages and not through a central draught tube as on Model 12 burners. The wick raiser and the winding gear are of very strong brass making it more robust than previous models. The thread on Model B burners is coarse making it interchangeable only with Model A. The Model B burner used a Lox-on mantle and chimney as on the Model 12. However, the light output was rated at 125 candle power as opposed to 80 candle power for the Model 12. A large number of Model B floor lamps were manufactured in a large variety of finishes: bronze and gold, ivory and gold, ivory and rose gold, green and silver, bronze lacquer and gold, oxidised bronze, antique ivory lacquer, silver plate and many more. Some Model B hanging lamps were manufactured in different designs: tilt frame with parchment shade, tilt frame with glass shade, flat steel frame with the parchment shade inside the chain with parchment shade and outside chain with parchment shade. Model B table lamps were made in the following styles: Colonial in clear green and amber crystal glass

Cathedral in clear green and amber crystal white green, green pastel and rose moonstone glass Corinthian in clear, amber, green crystal glass, clear font/black foot clear font/green foot clear font/amber foot, white, green, rose and white font/black foot, white font/green foot and white font/rose moonstone foot glass Majestic in white moonstone, rose moonstone and green moonstone glass Orientale in ivory, green, rose gold, silver and bronze Beehive in clear, green, light amber, dark amber and ruby crystal and white moonstone glass Quilt in white, green, white font/black foot white font/rose foot moonstone glass Queen in white moonstone with oxidised bronze base, white moonstone with silver base green and rose moonstone glass Treasure in chromium, bronze and nickel finish Vertique in rose, yellow, green and white moonstone glass Washington Drape round base in clear, green and amber crystal glass Solitaire in white moonstone glass only Short Lincoln Drape in alacite, transparent amber crystal, amber opalique, amber solitaire base, ruby crystal, ruby crystal solitaire base and clear crystal glass Tall Lincoln Drape in clear crystal, alacite old formula, alacite new formula, alacite/scallop design on top of foot, cobalt crystal/plain foot, cobalt/scallop design on top of foot, ruby crystal deep red colour and ruby crystal faded colour glass Short Washington Drape filigree stem in clear, green and amber crystal glass Washington Drape bell stem in clear, pink, green, and amber crystal glass

Washington Drape plain stem in clear, pink, clear no oil fill, green, emerald green and amber crystal glass Victoria in decorated china with oil fill and decorated china without oil fill Simplicity in alacite, decalmania, alacite gold lustre, alacite plain rose and white glass These are just a few models to show the vastness of the Model B table lamp range. In Australia fonts were manufactured from steel, brass, copper and bakelite and mounted on steel timber stems with a painted finish. A large selection of parchment shades were available to fit virtually any decor including the white Morning Glory shade, which is decorated with a band of green vines showing red and blue flowers with yellow centres. This shade is now available again ■ Recommended reading on the history of Aladdin incandescent mantle lamps is the highly informative, well-illustrated Aladdin the Magic Name in Lamps. Next issue: The well-known Miller lamps.

In Australia fonts were manufactured from steel, brass, copper and bakelite and mounted on steel timber stems with a painted finish.

” Jurgen Weissner THE EVERBURNING LIGHT (02) 6565 0104

Antique, old and new Kerosene Lamps Spare parts including shades, shade holders, burners, mantles, lamp oil, specially treated wicks for better burning, custom made high quality chimneys. ● Aladdin Mantle Lamps that produce 60 watts of light with no smoke or smell, ideal for emergency lighting. ● Restoration and repairs, brass polishing, nickel plating, copper plating and antique copper finish for small items. ●

The Everburning Light 2265 Pacific Highway, Clybucca NSW 2440. Phone: 02 6565 0104 e-mail: Website:



Perth Challenge Cup, raced 1906-1910 After being won three times by skipper Chris Webb on Australian II the cup was presented to boat owner Watty Ford. The whereabouts of this trophy is today unknown

Australian 18 Footers Championship Trophy made by W J Sanders 2012

The reverse of the trophy

HISTORY AWASH! t may have been a coincidence that while commemorations of the 80th anniversary of the opening of the Sydney Harbour Bridge were being held, just around the corner in Milsons Point another significant part of the Harbour’s history was celebrated on 19 March 2012. Australia’s top yachtsman, boating enthusiasts, historians and interested people gathered at the Sydney Flying Squadron for the launch of Robin Elliot’s Galloping Ghosts on the history of the 18 Foot yacht, together with the unveiling of the rebirthed Australian 18 Footers championship trophy.


HISTORY of Australian 18 Footers Championship Trophy

John Stanley provided a design drawing from the 1940s of a classic 18 Footer by marine architect and 18 Footer yachtsmen, Alf Beashel. The W J Sanders silversmith’s interpretation of his design was created as a model on the trophy top. This model yacht, including rigging, ropes and sails, were made in sterling silver. The sails were given a satin finish to replicate canvas.


The first official race commencing the Australian 18 Footer championship was in 1906. If the championship was won three times by the same yacht, the trophy was then given to the owner to keep. However, the two sailors and their yachts that achieved the three time wins took home the trophies and so were not listed on subsequent trophies. As the early trophies were of significant value, it no doubt intensified the rivalry.

CHARTING the competition To coincide with this book launch, it was decided that a new trophy would to be made that would list every winner from the inception of the championship; this would serve as the major trophy to be awarded to future winners. It soon became obvious that this would be more than just a trophy, it would have to reflect the rich history of the race. Concepts for the design and making of the trophy commenced when legendry sailor and 18 footer historian, John ‘Steamer’ Stanley arrived at W J Sanders with a bag full of molten metal and announced that he held the remains of the original Mark Foy Challenge Cup, destroyed in a 1958 fire. Stanley asked if any parts of this metal could be used in the making of a new trophy for the Australian 18 Footer championship.


As part of the brief, names of winning boats and skippers were to be listed for every year of racing between 1906 and 2011, and winners far into the future had to be accommodated. Referring to our recent restoration of a 1920s aeronautical trophy with an art deco styled plinth, we sketched our concept of the finished trophy that would also have a similarly styled plinth.


MATERIAL AND METHOD: working in silver The molten silver from the Mark Foy Challenge Cup was refined and then milled into sheet silver for the front feature plate and the three large silver plates on which were listed all winners. The outside of the yacht, keel and rigging were given a high polish finish. The silver yacht sits on two pieces of silver seaweed-type foliage. The silver base was the only surviving intact component recovered from the original Mark Foy Challenge Cup.

HISTORY RECORDED Front silver plate The silver plate on the front lists winners of the Perth Flying Squadron Challenge Cup (1906 to 1910) and the Mark Foy Challenge Cup (1911 to 1927). The plates on the side panels list all the winners of the Australian championships between 1928 and 2011.


STERLING silver badges Attached on the reverse side of the new trophy are three sterling silver badges, replicas of the badges created in the 1930s for the Galloping Ghost trophy. These new badges contain photographs with engraved plaques beneath them that detail historic aspects of the competition. All trophy components were made in 925 sterling silver and where appropriate stamped as such. The scribing was hand engraved, around 3500 characters and numbers. For W J Sanders this was somewhat a labour of love. For those interested in the history of the harbour and that of the Australian 18 Footer championships, a visit to the Sydney Flying Squadron at Milsons Point to view the 18 Footer memorabilia and historic trophies is a must. Dennis J de Muth W J SANDERS 02 9557 0134 Further reading Robin Elliot, Galloping Ghosts, Boat Books Crows Nest NSW 2012

Chris Webb (1866-1948) The Don Bradman of 18 Foot sailing, Chris Webb was the winner of the Perth Challenge Cup from 1907-1910 and also the winner of the Mark Foy Challenge Cup four times between 1911 and 1927

Mark Foy Challenge Cup, raced 1911-1927 In 1911 Mark Foy put up the cup valued at 200 guineas. After being won three times in a row by skipper Chris Webb on H C Press, the cup was presented to the boat owner George Press in 1927. Sadly the trophy was all but lost in a fire that destroyed the Press family home in 1958. In 2011 the silver remnants of the cup were donated to the club and then refined and incorporated into the new trophy. The laurel supports for the model yacht on this trophy are the only surviving intact components




SS Chusan, P&O, 1950-1973

Right: SS Moeraki, built Glasgow 1901-1916 torpedoed in Gulf of Genoa TSS Katooma, built Belfast 1913 for McIlwraith, McEacharn Ltd, Melbourne, requisitioned for troop ship in WWI and WWII, 1949 renamed Columbia (1949-1959)


hether a memento of a grand voyage or a special holiday souvenir, miniature life rings remain a sought after collectable by shipping enthusiasts. They were made in various styles and materials for sale to passengers as keepsakes, variously known as a lifebuoy, life ring, lifesaver, life preserver, lifebelt, kisby ring or Perry buoy – all terms for a flotation device. Shipping collectors find them desirable as they usually show the company’s house flag and identify the vessel’s name. Some great

SS Wollowra, built 1909 for Adelaide Steamship Company, passengers included Henry Lawson, ended service 1954

examples survive from Australasian companies including Adelaide Steamship Company, Australian United Steam Navigation and the Union Steamship Co of New Zealand. Most miniature life rings were produced and sold to passengers on board the ship. Modern ones date from mid-20th century and often bear destination details, ports of call and dates of the cruise – these are mostly made of plastic and in modern styles. Earlier, they were only available in the

SS Arcadia 1953, P&O, Australian cruise departing London 1968; withdrawn 1979

SS Arranmore, built in Glasgow 1893, renamed TS Vindicatrix after WWI, scrapped 1967

Below: RMS Omar 1896, built for North German Lloyd (NDL) line, WWI repatriation to Britain, 1919 Orient Steam Navigation Company 1921 sold and renamed SS Omar 1924, SS Edison 1935 scrapped Italy

Above: SS Wandilla, built 1912 Dalmuir for Adelaide Steamship Company, WWI training ship (TSS) Above right: SS Macedonia, built Belfast 1903-1931 (members of Hordern family travelled aboard c. 19081909 to England, Marseilles, Cairo, Nile River, Colombo) Right: RSV Ophir, portrait of Duke of Cornwall, 1901 tour of Australia RSV Ophir, portrait of Duchess of Cornwall, 1901 tour of Australia



SS Canberra, P&O, 1961-1997, souvenir life ring of 1976


Southern Antique Centre 30 SHOPS UNDER ONE ROOF


245 Princes Hwy, Kogarah


(near St George Leagues)


20 minutes south of the City

• OPEN 7 DAYS from 10 am • CAFÉ • We Buy - Sell & Hire ship’s barber shop. I have seen photographs taken in the barber’s shop on the White Star liner, Olympic with eye-catching life ring souvenirs hanging around the walls. Some of the earliest rings had tinted photos of the ship and even original paintings. Rings were also carved from wood, painted by the deckhands and sold surreptitiously to passengers walking the decks. These could be easily personalised with travellers’ names and other details of the voyage. Local examples of these are around, especially from the P & O and Orient liners. They were usually painted red and white, or blue and white, although combinations of other colours can be found. Some of the scarcer life rings frame photos of passengers or the ship were produced by local photographic studios. These more professional artefacts were made by Alfred Dufty, a marine landscape photographer in Erskine Street Sydney and Melba Studios in Swanston Street Melbourne. Their products were more elaborate and hand decorated with the company house flags and colours. These, made expressly for the Australian coastal service, are highly prized by collectors. Souvenir life rings can be found in various forms. Some were produced for the Navy and other maritime services. There were life rings associated with the royal yachts, such the restyled HMS Ophir that conveyed the Duke and Duchess of Cornwall and York (the future King George V and Queen Mary) to Australia to open the first Federal Parliament in Melbourne in 1901. Some were likely distributed as royal gifts to dignitaries and other officials – they were definitely not for sale. All of these make interesting collecting and represent a snapshot of wonderful memories from our maritime heritage. Stephen Hampson SOUTHERN ANTIQUE CENTRE 02 9553 7843

Phone: 02 9553 7843 Mobile: 0410 436 933

Above: RMS Niagara, 1912 for Union Steam Ship Company; operated by CanadianAustralian Steamship Company 1939-1940 sunk by German mine off New Zealand. Its rich gold cargo was recovered

MV Westralia, requisitioned by RAN in 1939 as HMAS Westralia

Left from top to bottom: SS Wakatipu, built 1876 Dumbarton, Union Steamship Co of New Zealand Ltd, 1930 scrapped RMS Moana, built in Dumbarton for Union Steamship Company of New Zealand Ltd, 1903 on Canadian run, 1910 became Union SS Co of NZ until 1921, 1927 scuttled at Otago Harbour Heads RMS Ortona, built 1899 Barrow-in-Furness for Orient Company, 1909 renamed Arcadian, 1915 became a troopship and headquarters for General Sir Ian Hamilton GCB GCMG DSO TD during the Gallipoli campaign, 1917 torpedoed en route to Alexandria Right: SS Innamincka, built Clyde 1890 for Adelaide Steamship Co Ltd, sunk 1941 in Manila Bay by Japanese air attack ANTIQUES & ART IN NEW SOUTH WALES


Alethea (Thea) Mary Proctor, The Swing, 1925, hand coloured woodcut

Ethel Anna Stephens, Still life with Hyacinth, 1924, oil on canvas board

Mabel Pye, Summer, 1939, linocut



any intrepid and talented female artists have been driving, innovative forces in Australian art since colonial times to the advent of modernism, through to today’s contemporary street art movement. Day Fine Art features a selection of these female artists.

EDITH FLORENCE TRETHOWAN (1901-1939 Western Australia) Trethowan was a painter and printmaker who studied under printmaker Henri Van Raalte in Perth from 1915 to 1920, then at the Perth Technical College where her skill as a printmaker developed. In 1931 she was in a joint show with J.A.B. Linton and Beatrice Dean Darbyshire (1901-1988), showing nine woodcuts, and later exhibited woodcuts with the Perth Society of Artists in 1933 and in 1935, dying young in 1939. The 1980 exhibition of her blocks and engravings renewed recognition of her contribution to printmaking.

LISETTE KOHLHAGEN (1890-1969 South Australia) Kohlhagen studied art under Gwen Barringer and L. Wilkie in Adelaide, moving to Sydney to study under Adelaide Perry. Working in all mediums, Kohlhagen became well known for her woodcuts and linocuts. She travelled and exhibited her work extensively – Adelaide, Sydney, Melbourne and London. An active member of the Contemporary Art Society, in 1944 she was a founding member of Group 9 along with Dorothea Foster (Dorrit) Black (1891-1951), Jeffrey Smart (b. 1921) and Jacqueline Hick (1919-2004).

ETHEL ANNA STEPHENS (c. 1855-1944 NSW) Born in Sydney, Stephens was Julian Ashton’s first student. She was well versed in all mediums from oil painting through to the linocut printmaking process. In 1892 she became the first woman elected into the council of the Royal Art Society. She was also

Day Fine Art is Vincent and Helen Day. We are young dealers with an interest in traditional & contemporary Australian works & Old Master drawings. Our stock includes a wide selection of Australian works by artists such as Arthur Streeton, Hans Heysen, Norman Lindsay, Lionel Lindsay, Thea Proctor, John Brack, Arthur Boyd and many more. We aim to present rare works that are aesthetically appealing and also offer an interesting historical significance. We provide an exceptional client service and cater for all budgets, styles and interests.

Lisette Kohlhagen, The Ginger Jar, c. 1947, hand coloured linocut

an original member of the Society of Artists and for several years was the president for the Society of Women Painters. Her prolific involvements in the arts led many to speculate that Stephens was a major influence on the advent of the art and crafts movement in Australia. She travelled and exhibited extensively throughout Australia and Europe. Her magnum opus was exhibiting at the Old Salon, Paris in 1920.

ANN GILLMORE REES (CARTER) (1900-1982 Victoria) Ann Gillmore Rees was a designer and teacher who used three different names, beginning in England as Doris Carter in the 1920s, through to Ann Gillmore Rees in Australia in the 1970s. UK-born Rees studied wood engraving under Noel Rooke from 1923-28, exposing her to cutting edge modernism. Her wood engravings from this period are compared favourably with those of Claude Flight and Ian McNab, and her book illustrations include woodcuts for the scriptural Book of Tobit (Mandrake Press, 1929). Several of her embroideries were exhibited at the Victoria and Albert Museum London in 1933. Married in 1937, she and William T Rees moved to Australia in 1939. As Ann Rees, she helped form the Arts and Crafts Society of New South Wales in 1944 and associated with the founding of the Embroiderer’s Guild of NSW in 1957. She taught at the Society of Arts and Crafts School and at the Guild she taught modern embroidery.

Ph: 0404 930 120 or 0424 842 294 Website: Email: 40


MABEL PYE (1894-1982 Victoria) Pye, a printmaker and painter from Melbourne, studied with Adelaide Perry, Ethel Spowers and Napier Waller under Bernard Hall at the National Gallery School and exhibited as early as 1914 at the Victorian Artists’ Society Gallery. In 1930 she experimented with the technique of linocut. Her bold lines and use of colour embraced the advent of modernism in Australian art. A member of the Melbourne Art Society (19181941) and of the Melbourne Society of Women Painters and Sculptors (1920-1950), Pye is represented in the National Gallery of Australia.

MARIAN ELLIS ROWAN (1848-1922 Victoria) Rowan was a prolific self-taught artist. Born into a wealthy family, Rowan has been described as a woman with unquenchable sprit. She travelled extensively, often to locations with difficult access, well before the idea of an independent female was accepted in society. Her primary subjects were the documentation of wildflowers and birds in their natural habitat. Many of her wildflower studies were classified by the Victorian Government’s botanist, Baron von Mueller. The National Library of Australia holds an extensive collection of her wildflower paintings.



(1860-1940 Victoria) Rae trained at the National Gallery School with George Folingsby, with peers Tom Roberts, Frederick McCubbin and John Longstaff; she received the honourable mention of promising young student along with Rupert Bunny and Alice Chapman in 1883. Her family moved to Paris in 1887; in 1890 she joined the artists’ colony at Étaples and continued to exhibit in the Paris salons. Rae and Bunny studied together in Paris at Colarossi’s Studio in 1891. Rae exhibited at the Salon de Champs de Mars and the new Society des Benedictins in Paris, and the inaugural exhibition at the British Australian Art Gallery in London. The Museum at Étaples purchased her painting Pierrot in 1892. When WWI began, Rae contributed to a local French voluntary aid detachment and many of her works during this period depict soldiers, camps and scenes from the regions surrounding Étaples.



Alethea (Thea) Mary Proctor (1879-1966), The Swing, 1925, hand coloured woodcut

wildlife. Other notable works are the illustrations for her husband’s book Birds of Paradise and Bower Birds printed in 1950.

(1880-1955 Tasmania) Medland was a printmaker and artist. She was married to artist Tom Iredale and together they shared a life brimming with the study of natural science and art. In 1911 she was invited to illustrate William Yarrell’s A History of British Birds. Unfortunately the book was never published. In 1972 the 248 paintings that were to illustrate the book were rediscovered. In 1925 the Australian Museum commissioned her to produce a series of 30 postcards depicting Australian birds and

(1911-2003 South Australia) The daughter of artist Sir Hans Heysen, Nora was incredibly talented. The first woman to win the Archibald Prize in 1938 with her portrait of Madame Elink Schuurman, she became the first appointed female war artist, commissioned to depict women during their duties ‘working at everything they did during the war.’ Her works are held in National Gallery of Australia and many other institutions throughout Australia. (1879-1966 NSW) Thea Proctor studied with Julian Ashton in Sydney and was friends with Margaret Preston and George Lambert. Her work is striking and encapsulates the modernism movement. After living in London, Proctor returned to Sydney and started the Contemporary Group, a major step for Australian art in a predominately conservative art scene. Proctor taught design at Ashton’s Sydney Art School and privately, introducing many young artists to linocut printing and in the latter 1940s taught drawing for the Society of Arts and Crafts. Proctor’s work is held in the National Gallery of Australia and many major institutions. Vincent Day & Helen Day DAY FINE ART 0404 930 120 / 0424 842 294 Further reading Design and Art Australia Online,


Baker & Houghton ANTIQUES Experienced dealers in a new, exciting showroom and 400 sq m warehouse packed with furniture, collectables and objets d’art


We buy and sell. Come to us, or we’ll come to you Visit our great new location with onsite parking

66 Planthurst Rd, Carlton NSW 2218 Open 6 Days 10am – 5pm, closed Tuesdays P: 02 9547 3698 E: Formerly trading as Brae-Mar Antiques and Janda Antiques

FRENCH FURNITURE at Baker and Houghton Antiques


he most frequent question we are asked about the range of French furniture in our warehouse relates to the origin of French furniture styles. Here are a few details on different styles that frequently arrive in our warehouse in Australia, from France. Much as with English furniture styles, the name given to a French style broadly follows that of the reigning monarch or leading designer at the time of development. Often great scientific or exploratory advances occurred during such periods that influenced the visual look of furniture, whether in the construction, wood or ornamentation. Each style continued to be popular through the centuries with faithful reproductions that are themselves antiques.

LOUIS XV The design features that appeared during the reign of Louis XV (1715-1774) are predominantly the use of a flowing curve where every outline, moulding and ornamentation assumes a sinuous, serpentine shape often enlivened with curlicues, cartouches and cascade like motifs and features reminiscent of fountains.

LOUIS XVI The Louis XVI style relates to the reign of Louis XVI (1774-1793), contrasting with the Louis XV style as the former flowing curve becomes constrained with a refined or classical look overlaying the design and appearance of furniture of this period. Thus the legs are now often straight, rounded and

spindle shaped, spiral, lathe turned or fluted. While marble was used in Louis XVI styles, there is a wider use of marble for flat surfaces and the decoration of furniture now reflects a return to the classicalism of palm and acanthus leaves, lions’ heads and paws, chimaeras and genii.

DIRECTOIRE style The Directoire (1795-1799) style is named for the government after the French Revolution when furniture was made in base woods, although the few luxury items made were in mahogany and exotic woods. Furniture is more refined with gentle curves and geometric lines, and its ornamentation restrained, in keeping with the post-revolution recovery of the nation. A good example of a chair of the Directoire style is shown. This chair has a painted wood finish with turned front legs, while the back is gently scrolled and the arms are padded on baluster supports.

LOUIS-PHILIPPE Louis Philippe (r.1830-1848) was the last sovereign of France. In his period furniture was influenced by designs illustrated in Claude-Aimé Chenavard’s design and pattern books, Nouveau Recueil de Decorations intérieures published between 1833 and 1835, and Album de L’Ornemaniste in 1835. The various antiquities held by notable collectors of that time were also influential, so furniture depicted romantic literature and archaeology.

ART Nouveau The art nouveau style is deemed to have emerged in Nancy around 1880 and to have gained recognition as a style at the Universal Exhibition held in Paris. This style demonstrates an exuberant use of line with shapes free-flowing and drawing on nature for inspiration. Furniture is often veneered with inlays depicting flowers, butterflies and insects adorning the flat panels.

now a museum where a visit takes you back in time to the height of the Art Nouveau movement. The collection of furniture is just breathtaking and to take in the entire collection takes the best part of a day. Within the museum one will see Gallé’s exquisite Dawn and Twilight bed with its butterfly marquetry, Louis Majorelle’s bureau et fauteuil (desk) and Vallin’s gueridon tripode (occasional tripod table) that is reminiscent of a huge water lily pad. The breath of the collection is awesome with rooms furnished as they would have been during the 1890s. The museum also contains extensive glass, ceramic and textile exhibits. While a visit to Nancy can be undertaken as a day trip from Paris, we highly recommended that readers allow at least two days to explore Nancy and to visit the museum. There are many art nouveau buildings in the city including Louis Marjorelle’s home which reflects the peak of art nouveau design.

MUSÉE de l’École de Nancy Émile Gallé (1846-1904) and Louis Majorelle (1859-1926) worked in this former home of Jean Baptiste Eugène Corbin (1867-1952), the Art Nouveau movement’s chief patron. It is

BAKER AND HOUGHTON ANTIQUES 02 9547 3698 / 0439 489 457



Unique France design style for that special look


nexpected meetings between antique and modern require a sensitive colour palette. The contrast between old and new can be striking, but an interior scheme needs some harmonious elements. When it comes to a home decorating idea, mixing modern items with antiques is great because it keeps a room fresh, adds contrast and depth, and ultimately creates balance.

COLOUR corner Colours and finishes are key tools for architectural and design professionals. Both can be used to highlight, add drama or bring cohesion to a scheme. Once you find the fabric, the easiest way to choose a paint colour for the walls is to use that source of inspiration as your starting point. Decorating a room with different furniture styles, colours, and patterns is fashionable and fresh. Combining colours creates an ambiance and atmosphere in your home for whatever style you feel like creating: classical, contemporary, vintage, dramatic, eclectic and many more. Colour is one of the first things you notice when you walk into a room. Is it any wonder that colour, and how you use it, is one of the most important decorating


decisions you’ll make in your home? Inside your home, the latest colours and the way they’re applied give voice to your personality and décor. Colour sets a mood. From floor to ceiling, paint colour reflects your style and makes a personal statement of what home means to you. Decorating with colour means choosing the right shade of taupe for your family room, the right shade of yellow to make your kitchen sunny, or the right colours to accent your living room furniture – and it can sometimes be a bit overwhelming. Unique France’s expert advice will assist you to achieve your project. The French country colours palette includes the full colour spectrum – from vibrant and strong, to pale and neutral, including the whites that Madame de Pompadour and Marie-Antoinette so loved. True to the French individualistic style, colours are interpreted in their own subtle way. Paler colours are milky but still have depth – strong colours are vibrant but not shouting. Some traditional colours include milk washes, lime washes and a green- or greytoned distemper. Weather and natural light also play an important role in influencing decorative colour choices. Light will be paler in the cooler southern areas opposed to the warm northern rooms in our Southern Hemisphere. The result of mixing traditional and modern furniture, finishes, materials and fabrics is an elegant, enduring design that is both comfortable and classic. This style strikes the perfect balance through its simple lines, neutral colour scheme, and use of light and warmth. Decorating your home with antiques is chic, elegant and easy to commence. It is beautiful and distinctive to have an antique piece of furniture seated against a wall painted in modern colour or a modern wall paper. This creates a whole new dimension into the space. Unique France has launched a unique range of painted furniture. This new style is exceedingly smart and it’s an easy way to add colour to a white or neutral room.

FABRIC corner Decorating with fabrics adds warmth, colour and ambiance to a room while bringing in different patterns and textures. By using reupholstered antiques, such as a Louis bergère chair in a modern fabric will make a beautiful


statement in the space. Re-upholstering an antique chair in unexpected patterns and colours is a great way to give traditional furniture a modern appeal. The Karin Sajo Collection offers a large, unique, and inspiring range of fabrics suitable for home decorating. Her creations are an invitation to dive into multi-ethnic sensual influences revisited with flair. Her fabrics and braids have subtle colours and gleam of timeless elegance. Her fabric revives the very classical design in the most modern way, always with the highest standard of quality wrapped in a French touch. With the exclusive distribution rights of Karin Sajo Editions in Queensland, Unique France shows again its attachment to the purest design and the highest quality.

PARIS DÉCO OFF This past January, PDO was back for its third season with over 70 international houses of decoration opening their Parisian showrooms and collections. This event offered a unique opportunity to explore the aesthetic universe of decoration in Paris. Creators of fabrics, light fixtures, carpets, trimmings and more invited us into their current and past collections while offering a glimpse into their know-how and craft.

Unique France offers a wide range of services from interior design, soft furnishing, parquetry flooring and wall finishing. We carry a broad selection of fine French antiques including an impressive selection of elegant provincial furniture, refined 18th and 19th century marquetry pieces, decorative objects, porcelain, bronzes and art. Chandeliers are a noted speciality. For ideas and information view our website, visit our showroom or ring with your questions to Nadia Aber-Griffith UNIQUE FRANCE 07 3254 0404


PARQUETRY FLOORING one of the finer things in life


arquetry flooring dates back more than 300 years. Created and designed to last for decades and even centuries, this stylish, unique floor covering will outlast any other. Constructed like no other flooring, a parquetry floor is a standout amongst all flooring types.

WHERE design and construction meet Parquetry flooring is a combination of many rectangular pieces of solid wood laid out in geometric patterns that are eye-catching and stunning. They combine the beauty and colour of wood grain with design, pattern and shape. These beautiful floors are not secured together using the traditional tongue-andgroove technique as one might suspect. Their designs and solid block construction are what give parquetry flooring its centuries-lasting characteristics and allows it to stand the test of wear over time. These attributes allow parquetry flooring to be refinished time and time again without compromising durability.

COMPLETELY unique Because the pre-cut rectangular blocks can come in different sizes, the number of different patterns that can be created are almost endless. Hence, each floor is completely unique and unlike any other. You can choose from a number of different species of wood for your floors which include Australian hardwoods such as jarrah, blackbutt and tallow wood. Considered to be the most environmentally responsible product in the wood flooring industry today, parquetry flooring is also highly regarded as the best flooring for any home or business.

A VALUABLE home investment From an investment standpoint, a parquetry floor can significantly increase the value of your home or your business property, as well as its desirability to potential buyers or investors. The look and feel of a parquetry floor adds beauty and originality to each room in which it is installed. In addition to the financial benefits of parquetry flooring, there is the advantage of longevity. An investment in flooring that will last you a lifetime or more is always a better investment than substandard flooring options that will require more time, money and inconvenience to replace over and over again.

CHOICES in wood flooring We use wood to make things of great value and beauty, such as musical instruments, furniture and fine wood floors. Likewise designed to last decades and even centuries, parquetry floors are creations of great beauty, style and heirloom quality in your home. A beautiful wooden floor is the union of wood with the intent and approach of the skilled people working with it. That is why at Kirton Fine Parquetry, your quality floor starts with the right mindset, a careful attentiveness to the task and a quality consciousness. Ivan Kirton welcomes queries and makes private appointments at your convenience. He will discuss all your needs for fine parquetry, or for his floor sanding and polishing services â&#x20AC;&#x201C; talk personally with Ivan Kirton KIRTON FINE PARQUETRY 0449 022 373



Arts and Crafts oak roll-top desk

Double pedestal oak roll-top desk, c. 1900 with fielded panels and fitted well

The roll-top desk and its place in history


hile bureaux were the fashionable writing furniture of the 17th and 18th centuries, the roll-top desk was the stylish choice from the second half of the 19th century into the first half of the 20th century. They were so popular that by 1900, roll-top desks were the single biggest export furniture item from the USA. The roll-top desk has its origins in France in the middle of the 18th century with an inventive artisan, Jean-François Oeben (17211763). Paris was the place to be for a creative and gifted young artisan in 1740 when Oeben, aged 19, arrived from Germany apparently already with mechanical knowledge and training in metal and woodwork. Paris must have been like Hollywood was for actors in the 1920s: artisans and artists from all over Europe were flocking to the city seeking fame and fortune at the court of Louis XV. There was great industry in furnishing the palaces of the monarchy as well as the chateaux of the aristocracy. Oeben was obviously a young man of charm and great promise as he managed to ingratiate himself into the upper classes of Parisian society and marry into the very influential Vandercruse family.

BUREAU du Roi Soon he came under the patronage of Louis XV and in particular the King’s mistress, Mme de Pompadour who commissioned him to produce many fine pieces, of which a number survive. Even though Oeben wasn’t ébéniste to the king, he was commissioned to make one piece no doubt because of his special skills. Louis XV wanted a desk for his new palace at Versailles, to be both grand and secure as befitted this desk’s importance. Oeben commenced a design that would take him the last three years of his life; it was finally completed six years later by his successor, Jean Henry Riesener who had married Oeben’s widow. Although Riesener claimed credit for Louis XV’s bureau du Roi (King’s desk), one of the most famous piece of furniture ever made, there seems no doubt that design of the complicated mechanical locking device and the tambour roller were by Oeben. Oeben’s inventions were central to the development of the roll-top desk over 100 years later. ‘A place for everything and everything in its place’ was a catch-cry of the 19th century mindset and it found application in the roll-top. The idea of a double-pedestal

Cutler light oak roll-top desk



desk, each pedestal with a bank of drawers, topped with a superstructure of drawers, pencil slides and pigeon holes for all manner of paraphernalia, plus the ability to work at one’s desk then secure it with a pull-down of the tambour, was appealing.

AMERICAN roll tops desks If you see a roll-top desk, chances are it is American – probably 90 per cent of roll-top desks, maybe even more, were made in the USA. The American development of the rolltop is an interesting study in economic history and it involves a congruence of factors. From the middle of the 19th century, large numbers of skilled tradesmen migrated to the prosperous USA from Britain and Europe. America’s sense of freedom and encourage innovation that fostered new furniture designs. With abundant local supplies of quality timber, skilled cabinetmakers, and the efficient transport systems, both water and rail delivered to expanding domestic market. Literacy was critical as correspondence was necessary with family connections and growing businesses, and the US Mail was efficient. By the 1880s furniture was the biggest US export item, yet up to this time roll-top desks were produced primarily in England, expensive and

Art Deco oak roll-top desk with Sydney retailer Beard Watson label

restricted to the wealthy. Designers began to reduce production costs for domestic and commercial customers. For government, universities, schools and businesses, the security aspect was much appreciated. At the end of the day the roller came down and with one lock everything was sealed away so that work could resume on return. Look for trade labels or markings such as Cutler Desk Co, Shannon File Co, Derby Desk Co, Standard Desk Co and Wootton Desk Co. While the local US market provided the initial impetus, soon the roll-top was now a status symbol and fashion item exported around the world.

ROLL-TOP desks in Australia The Cutler Desk Co exported roll-tops to Australia from the 1880s through to the 1960s. In Australia, many roll-tops found today may have no manufacturer’s markings, but are most likely American-made. Curiously, there does not seem to have been much local production as it rare to find an Australianmade piece. The layout of a roll-top desk is much the same, with minor variations: the height varies, some have tooled-leather writing surfaces, but they all follow a universal design, mainly in oak and sometimes in walnut. The roll-top is very useful in the study, home or office, especially for monitors and laptops as well as old-fashioned hand correspondence. There is plenty of room for a tower or printer in the knee tunnel or even on the very top of the desk. A collector of miniatures can fill the pigeon holes for a very attractive and secure display. Garry Auton GLEBE ANTIQUE CENTRE 02 9692 9577



Kauri pine roll-top desk c. 1930 fitted with tooled leather writing surface, eight drawers to base in excellent condition. $2,450

Double pedestal roll-top desk, c. 1920, made by Francis Dickin, Sydney. $2,950

Early Victorian mahogany cylinder top double pedestal desk in excellent condition. $7,500 Single pedestal maple roll-top desk, restored. $1,650

Rare roll-top double pedestal desk made from selected Hunter River cedar, c. 1870, featuring ten drawers and twelve more drawers to tooled leather well. $7,850

American figured black walnut roll-top desk with fielded panels. A quality piece in original condition. $4,950

Magnificent Louis Philippe oak cylinder top desk, c. 1860. Provenance: ex Bill Bradshaw collection. $7,650

Oak roll-top desk with fielded panels, c. 1920. $3,850

Roll-top desks 2 Levels at 62 Parramatta Road, Glebe NSW 2037 (Opposite Sydney University Veterinary Hospital) • • Email: Open 7 days – 10am to 6pm PArking and other entrance rear of building at 74 Arundel Street. Phone: 02 9692 9577 ANTIQUES & ART IN NEW SOUTH WALES






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Want to collect and not sure of current values? Major and boutique auction houses list their most interesting sales. Covering coins, stamps, sporting memorabilia to world of furniture, vintage fashion, jewellery, fine art, and so much more, read about a 1917 one penny block that sold for $155 to a $27 million Andy Warhol canvas. To find out more visit p: 02 9389 2919

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

Cartier Gold on sterling silver quartz c. 1990 $1500

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

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

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

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

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

Moonflower, 1982

Sunbaker, 1937

Interior Elizabeth Bay House, 1978

At Toowoon Bay, 1985

Blue Gum Forest, c. 1940

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

Omega Seamaster 14 ct c. 1960s $1895

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





Whether downsizing or looking for French inspired lighting options

be inspired at Eliza Jane Antiques


any customers who have downsized lament the loss of their antique furniture not designed for modern smaller homes. This and the high demand for small functional pieces of furniture sent me to the United Kingdom, Paris and the north of France. Exploring wholesale fairs and markets, I sought quality furniture and light fittings suitable for the smaller scaled apartment, town house or semi-detached home. By the end of the trip I had assembled enough pieces of French lights and small

furniture for a container. Specifically chosen for the Australian home, this eclectic mix will be in store from January 2011.

COMPACT antiques for today Side cabinets, some with marble tops, are very adaptable as occasional side tables, while a pair makes practical and romantic bedside tables. Many have a single drawer over a single door cupboard, while others are former commodes. The practical drawer is ideal for accessories, while the cupboard could holds books, for example.

Eliza Jane Antiques

Among the small tables are diminutive drop side Pembroke tables and art nouveau twotiered tables. A three-tier fold up stand will serve whatever purpose you need, whether as a side or serving table in the dining room, or to display your collectables, or be a beautiful and practical filing table in your home office – tax time will be a pleasure with this item. A pier cabinet, finely inlaid and in small proportions, sits under and is in proportion to a window, ready to hold delicate treasures. It provides a tabletop for fresh flowers in an heirloom vase, or a cluster of photographs of friends and family in silver frames. Imagine a gilt vitrine displaying your favourite collection, the finely applied gilding giving a modern-scale room the wow factor.

CREATING a spatial illusion



* SPECIALISTS IN GENUINE ANTIQUE LIGHTING * Large showroom with an extensive collection complemented by quality furniture, timepieces and decorative & collectable items.

Phone 02 9518 6168 34C TAYLOR ST ANNANDALE NSW 2038 BUYING & SELLING Full restoration service for lighting and metal polishing 48


Mirrors are the interior designer’s key secret for smaller modern homes, as they create an illusion of space and reflect available light to brighten even the darkest room. Exceptional large gilt mirrors are wonderful in small apartments to open up an area, or to greet visitors when placed opposite the entrance. Smaller mantel-sized mirrors look wonderful above a small cabinet or table, creating a focus in a functional space such as a hallway. I’ve seen such a mirror hanging in a laundry to add glamour and reflect light onto the dullest of domestic duties.

ADD a French accent to an interior Paris earned the City of Lights nickname when Les Grands Magasins du Louvre were illuminated during the Paris Exhibition of 1878, one of the first capital cities to light its streets. A large range of French antique and vintage lighting, varying from ecclesiastical candlesticks to fabulous chandeliers is on its way to Eliza Jane Antiques. The French have taken lighting seriously, since the Roman hand lamp, followed by the common hanging oil pan light and using tallow candles for over 1500 years. France developed sophisticated and highly decorative light fittings by the 14th century, and the French passion for accent lights has lead to a plethora of surviving pieces across the eras. The French have continuously improved the first simple hanging light in heavy bronze, silver or iron, known as a corona (Latin for crown), that had a cone shaped socket serving to catch the dripping tallow as well as hold the candle. In store will be 19th century bronze art nouveau ceiling lights, alabaster bowl lights and

crystal ceiling lights that will bring style to a room. The timelessness of Art deco wrought iron and glass ceiling pendant lights are among the stylish stock arriving early in 2011. Another decorative lighting option is that of traditional candlesticks that are both utilitarian and decorative. The French absorbed Far Eastern influences such as the urn and ball shapes of the baluster stem candlestick. These elements remain in traditional ecclesiastical wares. I have sourced French ecclesiastical candle stands for Australian collectors. Add a statement to a table with a unique Régence triple foot candleholders that will be the talking point of every dinner party. I selected lights in many styles that reflect (no pun intended) the history of electricity in France, such as a late 19th century gas light converted to electricity and art deco table lights. Standing lamps are highly adaptable whether as reading lights or to create focus lighting without full overhead lighting. Torchères light up art on the walls and highlight decorative ceiling treatments. The art nouveau ‘whiplash’ standing lamps and wrought iron and copper standard lamps give a sculptural dimension to a corner of any room. Since the 12th century, iron and bronze chandeliers have been used in France, originally with removable scroll arms radiating around a solid central sphere. A wonderful ecclesiastical embossed crystal pendant waterfall chandelier is a prized purchase that only one discerning customer will be lucky enough to take to its new Australian home. Visit Eliza Jane Antiques in Annandale to see the fresh stock from France and the UK and select un cadeau Français for your home. Jane Rush ELIZA JANE ANTIQUES 02 9518 6168 / 0416 167 151 References Ian Cameron & Elizabeth Kingsley-Row (eds), Collins Encyclopedia of Antiques (London, Glasgow: Wm Collins Sons 1977) Florence de Dampierre, Chairs: A History (New York: Abrams 2006) Judith Miller (ed), Miller’s Antiques Encyclopedia (London: Reed Consumer Books 1998) Barbara Milo Ohrbach, Antiques at Home (Moorebank NSW: Doubleday 1989) Lisa Norfolk (ed), Miller’s Antique Price Guide 2002 (Tenterden England: Octopus Publishing 2001) Stanley Wells, Period Lighting (London: Pelham Books 1975)





:63+-69 PUJ)7





Collecting perfume bottles T

he word perfume comes from the Latin phrase per fumus meaning ‘through the smoke’ referring to the scent from burning incense. Prestige and wealth were associated with the possession of sweet smelling perfumes from fragrant herbs, spices and flowers, particularly those from exotic countries; the harder to get, the more expensive the scent.

PERFUME through history The ancient Egyptians used perfume from birth to death and flasks of perfumed oils were found in excavated tombs. These are one of earliest forms of perfume bottles known. Romans were large consumers of perfume. In the 17th and 18th centuries perfume was primarily used in Europe to conceal personal body odour from a distinct lack of general hygiene and cleanliness. Many believed the use of strong smelling herbs had medicinal purposes and could keep disease such as typhus and the plague at bay. Pomanders were a popular form of carrying scent and spices on one’s person. These were usually in the form of a pendant, worn around the neck or waist and would contain cloves, spice and citrus. Vinaigrettes were also popular in the 18th century, commonly found in the form of a tiny silver box which enclosed a small sponge soaked in aromatic vinegar. These are highly collectable today.

The 19th century saw a great period of change with the Industrial Revolution. There were many technical develops in synthetic scents, as well as growth in manufacturing industries including the glass factories where perfume bottles were produced. As a result of economic growth England had an increasing middle class and those with new found fortunes from manufacturing growth. These new clientele were trying to elevate their status in a hierarchical class based society by keeping up with the latest fashions to assimilate upward. Fashion, scent and cleanliness were important aspects of being accepted and seen as part of the upper, ‘leisure’ classes.

GLASS perfume containers Due to the high taxes on glass production in England in the 18th and early 19th centuries, its cessation in 1845 saw a rise of decorative glass items. With the technological developments more experimentation was taken with glass techniques and design. Many of the perfume houses started and held close relationships with their local glass-works in developing their ranges. The fashion was for perfumeries selling floral scents in refillable bottles. Women would take their decorative bottles to have them filled with their own scents, sometimes even having them blended especially. A vast range of bottles included cut glass, crystal

bottles, cameo glass, coloured glass, glass stoppers, silver screw tops, ceramic and in the late 19th century, atomisers came into use. Portable miniatures were also popular and would often have a chain or loop to attach them to chatelaines or necklaces. The 19th century also saw huge developments in travel and with the expanse of the railways, vanities and travel cases became a necessity. Today many of the glass or crystal tubular bottles with silver lids, designed to fit snugly into vanity compartments are collected and sold on their own merit.

PERFUMES in 20th century There were great changes again in the following century; fashion houses taking on the role of making and marketing fragrance. If you ask most women at some stage in their life they have owned a bottle of Chanel no.5 that Gabrielle (Coco) Chanel developed in 1921 as a sideline to her fashion empire. This was the first fragrance named after a designer and took a vision of her lifestyle and fashion into a marketable product. It was targeted at a broader audience, most of whom couldn’t afford her fashion but could buy into the image of her lifestyle with a small bottle of scent; still one of the world’s most successful selling perfumes. The simple perfume bottle in a classic pharmaceutical style epitomised Chanel’s utilitarian simplistic design sense. It was in

stark contrast to the cut-glass and ornate perfume bottles of the Victorian period that were still popular. While perfume is much more readily affordable with the developments in synthetic fragrances in the early 20th century, there are products still sold at inflated prices to keep a certain level of prestige. Perfume more recently has been dominated by the celebrity market, with many celebs launching a range such as Britney Spears, Sarah Jessica Parker and Beyoncé, each trying to find a new shape, style or colour of bottle to differentiate themselves from the competitors. In 2011, 1047 new fragrances were launched worldwide. Fashion designer Jean Paul Gaultier’s iconic bottle design is of a curvaceous women’s torso, a shape used by Schiaparelli with her ‘shocking’ scent in the 1930s. Gaultier regularly releases collectors’ versions on his original torso design, creating a consumer frenzy to not only purchase and wear his scent, but for those die hard followers there are variations on the bottle to purchase, collect and display.

COLLECTING perfume bottles Perfume bottle collecting is very popular and we see many enthusiasts at the Sydney Antique Centre purchasing bottles for their collection. I have met collectors who have dedicated cabinets in multiple rooms, full of perfume bottles! Others buy a few as a dressing table point of interest. Many singular bottles are bought as birthday gifts. Current favourites collected include: • Art deco 1920-30s clear cut glass bottles with glass stoppers • Vintage labelled perfume bottles • Chanel bottles • Promotional and sample bottles. • Merchandising displays A recent trend is that of Avon bottles from the 1960s and 1970s which are starting to turn up. Many are novelty designs, such as animal forms: dogs, deer, cats and cars. I predict that Avon perfume bottles will become more collectable in the near future, and now would be a good time to start collecting with their prices still relatively low. Eleanor Keene SYDNEY ANTIQUE CENTRE 02 9361 3244






FELLIA MELAS GALLERY Woollahra Times Art Gallery 2 Moncur St Woollahra 02 9363 5616 Open 7 days

Antique Print & Map Company Antique Maps and Antique Prints from c.1600: Antique Maps of all countries Antique Prints of all subjects

Heritage Editions Reproductions from antique maps & prints Limited Editions of important antique maps

Antique Print Club (no longer in Milton, Brisbane)

at 95 Mt Nimmel Road Neranwood Q 4213 (in hills behind Gold Coast)

By prior arrangement Phone: 07 5525 1363 0412 442 283 52



Chinese and Japanese Quality antique and reproduction furniture and artefacts


336 South Dowling Street, Paddington | 02 9360 7104 Monday to Saturday 10 am to 5 pm - Sunday by appointment




Kalmar Antiques has something for everyone

Kalmar Antiques Specialising in antiques, fine jewellery, watches and objets de vertu Shop 45, Level 1 Queen Victoria Building, Sydney 2000

Phone: 02 9264 3663 Email: You can also visit our website at




Fine Furniture Designed and Hand Made in America by Hickory Chair Company IN AUSTRALIA ONLY AT LAURA KINCADE 80 O’RIORDAN STREET, ALEXANDRIA (NEXT DOOR TO DOMAYNE) Open Monday to Saturday 10 am to 5 pm and Sunday 10.30 am to 4.30 pm Telephone: 02 9667 4415 Website: ANTIQUES & ART IN NEW SOUTH WALES



setting a new

standard 1









Porcelain, Glass, Stunning selection of Lighting & Chandeliers, Metalworks, Victorian, Edwardian & French Furniture,




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Late Victorian hand blown and enamelled green glass ewer with applied clear glass handle, c. 1895 $1, 295 Exquisite cobalt blue glass lined jewel box gilt finished with enamelling and porcelain floral decoration in relief with key $1,495 Ruby hand painted glass lustres, c. 1890 $2,950 Ivory carved figurine on a carved timber stand $2,395 Late Victorian green gasoline glass four trumpet epergne, c. 1890 $3,500 Bohemian malachite glass vase decorated in deep relief with maidens beneath grape vines, c. 1930s $895 Pair of early spelter in relief panels finished with cold paint $3,600 pair German porcelain figure with gilded decoration, c. 1880 $2,695 Victorian cranberry glass single trumpet epergne, c. 1880 $595 Superb 19th century light from France with wrought iron frame, leadlight shades, brass reservoirs and Hinks patent duplex oil burners, c. 1887 $42,000 Art nouveau shaped green glass vessel in WMF silver plated case from Germany, c. 1895 $1,295 English silver plated writing desk set with figural ruby glass vase, c. 1880 $695 Australian oak plan desk in two sections with panelled sides, c. 1920 $4,950 Maureen Lee watercolour $695 Pair of French 20th century walnut marquetry bedside chests with gilt brass mounts $2,500

Prints, Ephemera, Watches, Statuary, Silver, Ceramics, Clocks, Perfume Bottles, Oriental, Costume Jewellery, Cruet Sets

LIMITED FLOOR SPACE / CABINETS AVAILABLE. CONTACT DENISE 02 9550 5554 212â&#x20AC;&#x201C;220 Parramatta Rd, Camperdown NSW 2050 Phone 61 2 9550 5554 Fax 61 2 9550 4990 Open 7 days 10 amâ&#x20AC;&#x201C;6 pm Off-street parking



~ Purveyors of fine Antiques and Collectables ~

66 - 70 Parramatta Road, Camperdown, Sydney Open seven days 10.30am - 5.30pm Ph: 02 9557 8929 E:

Gold diamond and jade stick pin $3750

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

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

Omega Seamaster 14 ct c. 1960s $1895 Cartier Gold on sterling silver quartz c. 1990 $1500

Of the three nine piece sterling silver tea sets made by Garrard & Co London in honour of the coronation of Queen Elizabeth II, this is the only known surviving example. Hallmarked Garrard & Co London 1953/54, weight approximately 11 kilos A selection of English Hallmarked Sterling Silver frames and antique silver available.



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

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



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


Louis XV style bergère armchair, gilt decoration, upholstered in brocade with matching serpentine footstool, set on cabriole legs. Bergère: $2250 footstool: $850

Regency/ Early Victorian card table on quad form base featuring inlaid stringing to top and sides. $2,250

Solid brass Victorian style desk lamp. $385

Late Victorian/Edwardian Captain’s chair, newly upholstered in leather. $3,250

Louis XV style bedside cabinet with marble top, ormolu mounts, single drawer and cupboard. $1,250

Six Henri II style walnut dining chairs. $350 each

Late Victorian walnut extension dining table to seat twelve set on carved, turned legs mounted on brass cup castors, French polished top. $9,500

Contemporary marble and bronze Renaissance style pendulum mantle clock. $385

Judith Talacko, Skirts and Sails on the Wind, oil on canvas. $825

Glebe Antique Centre Henri II style Brittany mirror, c. 1900, h: 1.47 x w: 1.27 m. $650

62 Parramatta Road, Glebe NSW 2037 (Opposite Sydney University Veterinary Hospital)

Contemporary ceramic jug and basin set. $680

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

Open 7 days – 10am to 6pm Email: Check out our up-to-date websites The largest collection of genuine antique furniture in Sydney George IV mahogany secretaire/bookcase, c. 1820. $4,950

Art Deco beech standard lamp. $595

Henri II style walnut extension table to seat ten, c. 1900, French hand polished. $4,950

Pair of brass/bronze blackamoor lamps raised on polished timber plinths. $7,680 pair

George IV mahogany piano secretaire desk, c. 1820. $5,650 Pugin Gothic style centre column dining table, c. 1830 to seat six. $2,850

George II oak dresser, 1740, decorated with mahogany banding and acorn spandrels to base and top. Replacement brass handles. $12,500

Three piece campaign chest of five drawers supporting a mahogany two door cabinet fitted with two shelves. $6,250

Baroque or Renaissance style mahogany library table/desk in the early Chippendale manner, made early 20th century featuring carved mounts, partial gilt and polish finish. $7,850

Edwardian mahogany and fruitwood bow fronted inlaid showcase/display cabinet. $1,950





Superb Victorian mahogany carver chair, with scroll back and arms, set on cabriole legs. c. 1860

French gilt double bed, decorated with floral swags over bowed cane side panels. c. 1890

Victorian mahogany slat back carver chair. c. 1880

Victorian faded English oak corner cabinet, with multiple shelves and central panel door. c. 1880

Superb late Victorian rosewood parlour cabinet, with ivory & satinwood marquetry made by Shoolbred & Co. London. c. 1890

Rare late Victorian walnut multi shelved corner cabinet, featuring 2 doors and central drawer. c. 1890

NEW CONTAINER ARRIVING FROM UK EARLY JUNE Please refer to our website: for a full listing of new stock

Valentine’s Antique Gallery 369 Hargreaves Street, Bendigo, Victoria 3550 Phone: 03 5443 7279 Mobile: 0418 511 626 Fax: 03 5442 9718 Email: 60


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






The first printed map to show any of the Dutch discoveries in Australia, Jodocus HONDIUS c. 1624

OUR STOCK INCLUDES 15th – 18th century world maps Australian maps from the 17th century onwards Maps of Southeast Asia and the Pacific

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Expert advice on all aspects of map collecting Full research, evaluation, restoration and framing service Collections and individual items always considered for purchase Extensive range of decorative antique engravings Detail of Australian discoveries

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



The mysterious Monsieur Descubes: A Botanical Thriller From left: Alexandre Descubes, Acacia harpophylla, pencil and watercolour, 43 x 26 cm Alexandre Descubes, Eucalyptus saligna, pencil and watercolour, 43 x 26 cm Alexandre Descubes, Mauritius, plan of the districts of Moka and Port-Louis, 1879, cartographic material, compiled from the government triangulation estate plans & from many other sources. Courtesy National Library of Australia


owrie Galleries have in stock a set of ten large original botanical studies, in pencil and watercolour, of acacias – Australian wattle – and eucalypts. They are meticulous in their detail, showing each part of the different plants, drawn with loving expertise, painted in accurate and soft tones, and with extensive information hand written in pencil on each page. These notes include not only the botanical information, but also publications referred to, and the various vernacular names of the plants, when known, whether English, Australian and in some cases, Australian Aboriginal. The elegant signature in ink on each page reads À. Descubes. Two maps of Mauritius by Descubes are held in the map collection of the National Library of Australia. The library of the Lewis Ginter Botanical Garden in Virginia, USA, has 2,500 botanical watercolours of plants of the Indian subcontinent in its special collections. There is a mystery attached to the life of the author of these works, botanist and cartographer, Alexandre Descubes, who lived and worked in Mauritius and India in the late 19th and early 20th centuries. No one knows for sure the exact place or year of his birth, nor is there any record whatsoever of how, where and when he died. After his prodigious compiling over twenty years of what is surely one of the world’s most extensive botanical studies by one man, our hero vanished. There is a discrepancy in the official records of his birth date: the records in Mauritius1 tell us that Descubes was born there in July 1850. However, they also point out that those of the Indian Surveyor General’s Office record his birth date as 17 July 1854. To help the plot thicken, if not be solved, when the watercolours were offered to Gowrie Galleries, it was through a FrenchCanadian contact who believed the artist to be from Canada, although without concrete evidence. The Librarian at the Lora M. Robins Library at the Lewis Ginter Botanical Garden, Maggie Southwick, has been researching the life of Descubes for eight years and has provided much of the information that we now have. Yet even she finds missing pieces after eight years on this puzzle and that certain crucial aspects of the life and death of the artist remain enigmas. In her address2 on Descubes her conclusion consisted of questions yet to be answered. How did Descubes reach Mauritius? Was he a descendant of French colonists? After suggesting that there may have been up to 5,000 botanical drawings, she asks where are the rest? Oddly, there is no discussion regarding the donor of the Descubes collection, Lora M. Robins after whom the Library at the Lewis Ginter Botanical Garden

was named. Even Descubes’ meagre entry in Tooley’s Dictionary of Mapmakers casts no further light. The one line entry simply reads ‘Descubes, A. Map of the Island of Mauritius, 1880.’ We know that from 1872 to 1877 Descubes worked as a surveyor in Mauritius and was appointed draughtsman in the Public Works Department in 1874. He began his cartographic career in 1877, publishing the maps of Moka and Port-Louis (1879) and of Mauritius (1880), the same as those maps held in the collection of the National Library of Australia.3 In 1885 he resigned from the post with Public Works. From 1887 he worked in the Forestry department of the Indian Surveyor-General’s Department, becoming Superintendent in 1904 and in 1905 publishing a map of government controlled forests of India. There are two plans dated in pencil 1912 and 1913, and the latest work is dated 1919. Those botanical watercolours in the Lewis Ginter collection, which are dated, have a range from 1875 to 1919, and nine are stamped on the verso ‘Imperial Institute Library.’The Lewis Ginter Library notes4 give no indication as to who commissioned Descubes to fulfil this enormous undertaking. The following is the description of their items: ‘Along with the individual painting, each sheet also has extensive botanical information including family, genus, species name; full botanical description of the plant; a list of countries and/or habitats in which the plant is found; a list of plant names in the vernaculars of each of these areas or countries; and a list of literature references to the plant. The plants depicted are mostly natives of, or cultivated on, the Indian subcontinent. Each of these sheets has a unique identifying number.’ The watercolours held at Gowrie Galleries match this description exactly – with an extraordinary exception: they are of Australian flora. Who commissioned these studies? Why are the Australian plants included in the brief? Is it possible that it is true that, according to the French-Canadian connection, Descubes was commissioned by the Indian Government? Yet, after the vast task was completed, Descubes was not paid, so did he proceed to sue? Was he destitute and unable to pay the legal fees, so he handed the collection over to his lawyers? The final sentence in the biographical notes from the Dictionary of Mauritian Biography is chilling in its pathos, telling us no more than mere guesswork about the ending of the story of this man, Alexandre Descubes. ‘The date and place of Descubes’ death remain unknown but it may be surmised that he disappeared during the influenza epidemic that struck India in 1919-1920.’

The terrible irony of our lack of exact knowledge about him surely would not be lost upon this artist whose fastidious and loving attention to detail, to both botanical and cartographic fact, was remarkable. Perhaps he will remain forever, the marvellous, mysterious Monsieur Descubes.

GOWRIE GALLERIES Pty Ltd 02 4365 6399

Notes 1. Dictionary of Mauritian Biography from The Lewis Ginter Special Collection 2. ‘Demystifying A. Descubes: Researching a little known botanical artist of the 19th century, or, CBHL Meets CSI and the Power of Serendipity.’ Presented by Maggie Southwick, Librarian, Lora M. Robins Library Lewis Ginter Botanical Garden, Richmond Virginia USA to the Council on Botanical and Horticultural Libraries, Annual Meeting, June 2007. 3. National Library of Australia, Alexandre Descubes, Map of the island of Mauritius [cartographic material] compiled from the Government triangulation estate plans, title deeds, & from many other sources by A. Descubes, Public Works Department, Mauritius, 1880 (NLA Ref RM540). National Library of Australia, Alexandre Descubes, Mauritius, plan of the districts of Moka and Port-Louis [cartographic material]. Compiled from the government triangulation estate plans, etc, etc. by A. Descubes, draughtman, Surveyor General Dept., N. Connal, Surveyor General, T. Dardenne lith., William Crook, lith., 1879 (NLA Ref RM1902). 4. The Lewis Ginter Botanical Garden Library Special Collection notes on the Descubes collection


1486 Ptolemy Ulm world map in fine original colour

Latest catalogue

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

For orders 02 9387 4581

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

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





Old warehouse makes a beautiful showroom for French provincial and handcrafted floors


ohn Fredriksson, designer at Antique Floors salvages timber from demolition sites around NSW including old houses, factories, bridges and wharves that would otherwise go to landfill. Using recycled Australian timber adds instant

character and history to a home, office or restaurant as is evident at the Centennial Hotel dining room in Woollahra, which utilises Australian blackbutt saved from a disused woolshed. With the world’s trees being cut or burned 30 times faster than they are being planted it is

common sense to recycle and repurpose. ‘When this is not possible it is essential to use timbers from sustainable forests,’ says Fredriksson.

CREATING an authentic look European wide oak floors have their own inherent charm and can be manufactured from new boards and expertly treated to look old. These floors can be pre-finished or treated with natural oils dependent on your taste. Available in many different widths these boards are laid randomly to create that authentic oak planked floor look. For a personal sense of what it is like to walk on and feel these beautiful floors, visit Antique Floor’s charming showroom in one of Balmain’s oldest warehouses. It has been fitted with numerous flooring styles and examples of John’s custom joinery, furniture and a selection of antiques. Right: Centennial Hotel’s dining room floor of recycled Australian blackbutt Below: An example of recycled tallow wood Bottom: Flooring on display in the showroom



John Fredriksson ANTIQUE FLOORS 02 9810 8838


BALMAIN ROAD ANTIQUE CENTRE is the newest antique centre in Sydney!


lmost 50 shops bursting with fresh stock for collectors are trading at the Balmain Road Antique Centre, which opened in Lilyfield in September 2010. This slick, exciting and diverse antique centre has many rooms and varied shops. We are open for pursuing, browsing and purchasing every day of the week. Dealers source antiques and collectables from all over the world, filling this huge warehouse space with unique and special treasures. This antique centre showcases a variety of styles and periods of furniture and objects, with plenty of English and Australian antiques. The current popular styles that new and established collectors seek are stocked in abundance: early industrial, art deco, retro, mid-20th century modern as well as rustic and all manner of exotica. As the antique centre’s stock is fresh and continually being updated, you are sure to find among the almost 50 dealers at least one item to surprise you or a friend. We especially encourage anyone seeking a special piece to set off a room or to complement an established collection to come to the centre first, as there are many items never previously on offer in Australia’s antique industry.

THE KINDEST CUT: a unisex hair salon

street parking and some customer parking from the Alberto Street entrance.

An exciting new addition to Balmain Road is The Kindest Cut. At the helm is Tony Meredith who is no stranger to the area having previously run the salon in Balmain for many years. He is now back and doing it again. If experience counts for anything look no further. Trained at Intercoiffure the leading international hairdressing organisation, Tony has been personal hairdresser to many international stars including Raquel Welch, Omar Sharif, Nancy Kwan and Laura San Giacomo, to name but a few. Tony looks forward to offering you the same care and attention and a consultation costs nothing. To make an appointment call 02 9555 1952. The Kindest Cut @Balmain Road is open Tuesday to Saturday 10 am to 6 pm.

PUBLIC transport Balmain Road is serviced by bus and light rail. Bus routes L37, 440 and 4456 travel along Balmain Road directly to the centre. Victoria Road is a major bus corridor for buses travelling to and from the city. Lilyfield Light Rail Station is located approximately 600 metres south and smoothly conveys collectors and their treasures to Darling Harbour and Central Railway Station.

BALMAIN ROAD open everyday Balmain Road is open seven days a week. We open at 9 am and plan to close at 6 pm, although we often stay open later to accommodate customers and our passionate dealers. Note that during the festive season we are closed on Christmas day and New Year’s Day, but are open all public holidays. Take a stroll through our huge warehouse space and browse the ever-updated stock on our website. You will be surprised and delighted by what you discover at BALMAIN ROAD 02 9818 4990

EASY TO find and park Located 500 meters from Victoria Road Rozelle, turn onto Darling Street that then becomes Balmain Road after five cross streets. Local landmarks include the Callan Park Health Centre and the Sydney Collage of the Arts, across the road. There is plenty of



Restored antique piano, c. 1860, after Restore-A-Finish

Antique piano, c. 1860, before restoration

What is old can be almost new again R “ ecently I received an enquiry from a gent who owns a magnificent antique piano. Here’s what he asked. ‘Can you please advise me what product would be best to use on my antique piano, dated circa 1860, which is somewhat dull and lifeless and has a few scratches and ring marks on it. A friend who uses your products suggested Howard Orange Oil and another

suggested Restor-A-Finish. What would you suggest? I attach a photo of the piano in question.’ Thanks & regards, Neville This was my response: Restor-A-Finish is an excellent choice for the job you want to do. This product was actually created for the antiques trade back in 1969

Pianos, violins, guitars and in fact all traditional acoustic musical instruments with polished wood bodies can look wonderful with a Restor-A-Finish treatment. Keep these precious items looking and sounding beautiful with new Howard Lemon Oil.

1800 672 646



Add life to the instruments you love

‘Life is like a piano. What you get out of it depends on how you treat it!’

knocked about baby grand piano which we found in an auction house. We astonished the management of that establishment by offering to restore the surface and about halfway through the job, we took this photograph. Can you imagine how improved the surface was after the restoration was finished? I’ll have to leave it to your imagination because a potential buyer started taking an interest in the piece, so we excused ourselves and left the manager with a tin of Restor-A-Finish to complete the job. Neville took my advice and you can see by his photo of the keyboard section how lovely that mid-19th century piano now looks.

David Foster Director HOWARD PRODUCTS (AUST) 1800 672 646

ANOTHER success story using Howard Products



and has been a mainstay for professionals in that industry ever since. It amalgamates or combines with existing finishes such as French polish (shellac), varnish and lacquer, without actually dissolving them. The way it works is that it softens an existing finish by, if you like, putting all the essential juice back into the old, rather dry surface. This allows you to move that softened finish in and around damaged areas until it gives an overall good look. After a brief minute or so you can simply wipe the surface dry. You’ll find in the case of white heat marks and cup or glass rings, that these blemishes pretty well blend away completely. Scratches are a slightly different matter; light or ‘cat’ scratches will blend out in much the same way as heat rings and water marks, but deeper cuts and large battered areas require a different approach. In this situation you take a pad of our very soft four-zero (0000) grade steel wool and saturate a portion of it with Restor-A-Finish. Then you gently rub it into the scratched area until it begins to ‘take’ and the scratch or bad blemish begins to blend out. To assist this process you can actually leave the Restor-A-Finish sitting on the surface for 15 minutes or so to ensure that it really penetrates the surface. Some scratches are too deep to actually remove but the finished job will at least give the impression that the piece has been cared for over time. Whatever marks are left become part of the patination which is in fact essential to many people as a proof of age in genuine antiques. Now the next step to consider is how to protect the newly restored finish. I would suggest that you go with a coat or two of Citrus Shield Paste Wax in a colour that best matches the colour of your piano. You simply apply a thin even coat of this buttery, woodcoloured paste wax, allow 20 minutes for it to set and then buff it to a rich shine. What will excite you is that this wood-tinted carnauba based wax will, when dry, fill those scratches that are annoying you. If applied and buffed properly, the surface will feel smooth and the appearance of those marks will be incidental, as if they are just a part of the history of that lovely old piano.

Have look at the photograph of a halffinished restoration on a pretty faded and ANTIQUES & ART IN NEW SOUTH WALES

Baby grand piano halfway through restoration


An unusual collection of porcelain, furniture, glassware, paintings and collectables ~WE BUY & SELL~

450 Darling Street Balmain, NSW 2041 Ph: 02 9810 9333 AH: 02 9629 1302 Mob: 0409 037 651 Tues, Wed, Thur, Fri, Sat 12pm - 6.30pm, Sun 12pm - 5.30pm - Closed Monday

WE CAN SUPPLY THAT ELUSIVE ONE-OFF PIECE, OR A COMPLETE HOUSEFUL Please call in and peruse our diverse collection: • furniture 1800-1930 • porcelain & glassware • Australian pottery & bottles • architectural antiques • kitchenalia & advertising • paintings & prints • and a ‘never ending’ collage of collectables

open 7 days ~ 10 am to 5 pm 78 PITT STREET PARRAMATTA 2150 (next to freeway overpass) PHONE 02 9633 3426 or 02 9891 1727

And so to bed at Balmain’s windows to watch


rom about 1850 a new style of bed fashion emerged in Australia. Traditional four poster beds based on British and European designs gave way to elaborately festooned brass beds and their simpler cousin in wrought iron. These metal styles lasted until the 1920s. During the same period, simple timber interpretations had a very popular following. They showed the evidence and influence of the Arts and Crafts and Art Nouveau movements, and from the 1930s timber once again was dominant. It is possible to find today good examples of that era, sometimes cut or adapted as verandah settees and day beds. Have you ever hankered after a four poster bed? ‘It’s very grand to sleep in a four poster bed,’ said Marion of Malcolm Antiques. ‘You

can close the curtains to keep warm, create a secret love nest and even tie your partner up as well,’ she laughingly added. From first settlement until the mid 19th century cedar four poster beds were all the rage in Australia. In time blackwood, eucalyptus, kauri and Huon pine were used too but cedar was king. The handsome low and high four posters sported turned and carved posts and a variety of headboards including simulated rolling pin decoration. It was a servant’s duty each day to dust the top of the canopy and the curtains to remove insects that found their way through shingled roofs. It was certainly an effort to get into those original four poster beds, as usually three mattresses had been stacked on top of each other: first horsehair, then straw and finally for comfort a down mattress, creating a hill often 46 cm high to scramble up.

Malcolm Antiques has historically interesting four posters and other wonderful beds available for your selection. They all come with side rails and bases. Consider an Australian colonial four poster cedar double bed made around 1840, or a rare pair of French single beds with original painted effects, or carved decorative features on a Queensland maple 1920s double bed, or a very special child’s bed with original painted metal and brass finish. ‘Antique beds are investments, very rare and perfect for any bedroom. Buying an old bed gives a sense of heritage and always makes money, unlike today’s beds. The structure lasts well and all they ever need is a new mattress,’ said Marion. The much admired Malcolm Antiques is halfway between Balmain and Rozelle, at 450 Darling Street opposite the famous Cat & Fiddle Hotel.






or unconventional shoppers who enjoy shopping in a cool vintage atmosphere, Ussed&Abbussed: The Department Store is an amazing innovative concept in new and vintage shopping. Famous for its stunning décor, it is equally famous for its large choice of over 2000 of the most sought after designer labels at heavily discounted pricing for men and women. This is the largest such collection ever offered.

UNCONVENTIONAL and unique This amazing department store is the largest of its kind. It has two lounge areas, a wig centre and styling services by renowned branding expert Hanna Guenzl, from Deep Vision. Also find jewellery, designer handbags, home wares, quality antiques, zebra skins and vintage furniture. Established clients include models, TV presenters, actors, stylists and image consultants. Ussed&Abbussed’s clients


come from all over Sydney and interstate from Melbourne, Perth, Brisbane and the Gold Coast – just to shop at this incredible store.

THE RETAIL Therapy Service Ussed&Abbussed also offers The Retail Therapy Service, where clients book a shopping experience and enjoy the store in privacy, at their own leisure. For bookings of five or more, the store will be closed and complimentary appetizers and champagne are served for your enjoyment. We recommend a visit to this unconventional and unique concept of a high street department store with an amazing eclectic mix in a café relaxed atmosphere. You won’t be disappointed! USSED&ABBUSSED 02 9909 2827


Famous for its stunning décor, it is equally famous for its large choice of over 2000 of the most sought after designer labels at heavily discounted pricing for men and women





Antique General Store a Narrabeen institution


f you’re ‘vintiquing’ in Sydney there’s only one place to go in your search for quality vintage and antique pieces. The Antique General Store is a Narrabeen institution, having occupied the same heritage building for nearly 30 years. One of Sydney’s longest running antique centres, it is unique in the fact that it’s run as a co-operative.

ELEVEN dealers Currently eleven dealers, all female, are spread throughout the large, rambling store, filling every nook and cranny with furniture, collectables and interesting decorator items. Every room has a different feel as each dealer brings a different background and different perspective to their stock. Some of the dealers have been here since its inception and while they’ve seen fashions change, the desire for quality hasn’t changed.

SUPPLYING customers’ The Antique General Store specialises in individual pieces that have stood the test of time in quality and style. Each piece retains its patina and each comes with its own history ready to become part of your history. Nothing resembles the contents of a chain store catalogue – and you don’t need an allen hex key to put anything together. Every dealer has the same common desire – to offer usable, yet unusual pieces. In one day we may satisfy a bride-to-be who is adding to her collection of mismatched antique china for her wedding reception. Next a local customer finds a rustic workbench to use as a desk in a study. Finally new home owners finding exactly what they want in a dining table, end up decorating their entire dining room when they find the perfect sideboard, lamp and mirror.

The demand for sturdy functional furniture is as strong as ever as is the desire to find just the right decorative piece to display in a traditional or modern décor. Our prices are reasonable, Lay-by service is available and Dealers strive to find elusive pieces for customers.

DECORATIVE & quirky The Antique General Store is renowned for its quirky decorator items and is regularly raided by TV and film designers and stylists. Furniture and accessories from the store are featured in Baz Luhrmann’s remake of The Great Gatsby and in a new TV lifestyle show premiering in May.

We buy and sell interesting items

10 rooms bursting with a quality mix of classic antiques, vintage, rustic, industrial, nautical and interesting decorator items.

Cnr Powderworks & Warraba Rds North Narrabeen

02 9913 7636 Open 7 Days 10am-5pm



Whatever your decorating style, whether inner city apartment, beach house or bungalow, the Antique General Store will have something to suit your lifestyle. Come and visit our rooms bursting with a quality mix of classic antiques, vintage, rustic, industrial, nautical and interesting decorator items. The Antique General Store is open seven days, from 10 am to 5 pm, on the beautiful northern beaches. In between personal visits, view refreshed stock on our website. ANTIQUE GENERAL STORE 02 9913 7636




he Lions Club of Berowra holds its second Northern Sydney Antiques and Collectables Fair over the weekend of Friday 31 August, Saturday 1 and Sunday 2 September 2012. It is in the Berowra Community Centre. All profits from the fair are donated to charity. Join the official opening on Friday evening 31 August when visitors enjoy the privilege of first choice of the items for sale up. Opening night admission is $15 which includes wine and light refreshments, and concludes at 9:30 pm. Opening hours for Saturday 1 September are 10 am to 5 pm; the fair reopens on Sunday 2 September at 10 am closing at 4 pm. Daily admission costs only $5 per person.

DIRECTIONS The Berowra Community Centre is on The Gully Road, Berowra and is very easy to locate. From the Pacific Highway, turn at the

traffic lights into Berowra Waters Road: a left turn if coming from the south or right from the north. Take the second exit at the roundabout and the Centre is down on the left. There is adequate signage to assist navigators and drivers, and those taking the five minute walk from Berowra Railway Station.

INTERSTATE dealers Collect from dealers bringing stock from all over NSW, Queensland, Tasmania and Victoria. They have a wide range of antiques and collectables. Quality English and Australian furniture is on offer. Among the excellent English china you’ll find rare Royal Doulton series ware, Beswick and Moorcroft, along with ceramics from many periods. There is a fantastic variety of glassware, cutlery, silver and jewellery. For military specialists there are medals and badges. The assortment of bric-a-brac and books will be sure to entice all buyers.

VALUATIONS Do you want to have an expert opinion on your own piece of family treasure and an estimate of its value? There is a small charge for valuations on Saturday and Sunday at the fair, all for charity. Look for the valuation registration desk at the top of the stairs. We recommend only small items as access may be an issue with larger pieces. Register your items for valuation early, as the valuer can assist with only so many collectors – definitely on a ‘first in best dressed’ basis!

REFRESHMENTS and help Our café is serving light teas, coffee, soft drinks, water and other refreshments. Relax in

an adjoining room where you can sit and discuss items you have purchased or indeed, items you are thinking of buying, all with fine refreshments. There are pleasant grounds around the Centre should you wish to bring a picnic and enjoy the Berowra bush. Berowra Lions are on hand to assist you. We are easily identified by our Lions t-shirts and name badges. All proceeds from the fair will be donated to charity once running costs have been deducted. Please accept this annual invitation to come and browse at the North Sydney Antiques and Collectables Fair. It is a fun day for all the family. Lions Club of Berowra NORTHERN SYDNEY ANTIQUES AND COLLECTABLES FAIR 0424 023 220

Where Berowra Community Center, Berowra When Friday 31 August, Saturday 1 & Sunday 2 September 2012 Times Friday 31 August, Official opening – 7:30 pm $15 Admission includes light refreshments and a glass of wine. Bookings are essential. Saturday 1, 10:00 am – 5:00 pm Admission $5 each Sunday 2, 10:00 am – 4:00 pm Admission $5 each The fair features over twenty stalls displaying a large range of antiques and collectables for sale. Dealers from all over NSW, South Australia and Victoria will be in attendance, providing a not to be missed trove of treasures, for view and purchase. Expert opinions on your own special piece of family treasure and an estimate of the item’s value will be available for a small fee, on a first-in-best-dressed basis each day. Come browse at the Northern Sydney Antiques and Collectables Fair A fun day for all the family! Further information call 0424 023 220 or





of Epping

ANTIQUES & JEWELLERS Jewellery designed, handmade, restored and re-modelled Antique Furniture, Jewellery & Timepieces from Late Georgian, Victorian, Australian Colonial to Art Deco

Showroom open 5 days Tuesday to Friday 9:30 am - 5:30 pm Saturday 9:30 am - 4:00 pm 14 Bridge Street, Epping Ph 02 9876 2500




Abbott’s Antiques


Now celebrating 80 YEARS of quality antique dealing

19th century Australian colonial oil on canvas, The Bushrangers by F. W. Woodhouse, dated 18-09-1889

19th century ruby glass lustres with scallop and star cut rims, c. 1890

19th century Australian colonial oil on board, Yarra River Landscape by George Peacock, c. 1880

Qing dynasty carved jade pagoda and landscape plaque

French bronze figure of a seated boy reading, Susse Foundry, Paris, c. 1850

Fine pair of Royal Crown Derby floral painted, gilt decorated vases, dated 1897 by Désiré Leroy

Royal Worcester painted Peacock jardinière, dated 1907, signed W. E. Jarman

Selection of Russian silver and enamel: koush (Moscow, 19081917), vodka cup (Moscow, 1896-1908), spoon (Moscow, 1889)

Three 18th century English wine glasses, l to r: gilt fruiting vine, opaque twist; bell bowl, four knop, opaque twist; round funnel bowl, Lynn glass

Victorian sterling silver floral engraved bead edge four-piece tea and coffee service, London, 1876, made by Fredrick Elkington

Two German bisque head dolls, l: Armand Marseille, c. 1900, r: Simon & Halbig, c. 1900

19th century French mahogany fall front desk with fitted interior, c. 1840

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

14 Eastern Road, Turramurra NSW 2074 • Tel 02 9449 8889 Visit for a further selection of current stock ANTIQUES & ART IN NEW SOUTH WALES



Dural Antiques Well Worth the Drive… 857 Old Northern Road, Dural NSW 2158 Phone: 02 9651 2113 • Mobile: 0411 116 084 Trading hours: Open 6 days (closed Tues), 10:00am – 5:00pm, Sunday 10:00am – 4:00pm

The largest range of antiques in the Hills District A large 4000 sq foot showroom, plenty of parking, air-conditioned comfort


An ancient decoration choice


he cameo tradition has been dated back to 1500 BCE when agate was the choice of hard stone to carve – and those first cameos were worn by men. The early cameos made by artisans following ancient carving traditions were miniature works of sculpture depicting loyalty, faith or moral statements. Others portrayed living heroes or rulers of the time, biblical events, goddesses and gods along with beautiful women. During the time of Alexander the Great, the cameo rose to an art form. In successive periods of the Roman Empire, Middle Ages and Renaissance periods, cameos were made

to be significant accessories that rose above the whims of changing fashion. The word ‘cameo’ came into use in the 13th century to distinguish the method of carving in relief used, compared with ‘intaglio’ that referred to the technique of carving into material. Throughout history it would be the women of royalty that set the tone for the wearing of cameos. Queen Elizabeth I, Catherine the Great and Queen Victoria all favoured wearing of beautifully carved cameos – thus popularising them as a new ‘must have’ fashion accessory – for women. Many materials have been carved into cameos including original hard stones, lava, jet, agate, onyx and many more gems. However the most traditional material would be the seashell, generally carved from either the helmet or the cowrie shells, and still carved today.

In all cameo shells there are three colours: 1. The outside colour – this is usually cleared away to get to the source of the middle colour. However, it is sometimes left to suggest hair or the like 2. The middle colour – is invariably white 3. The ground colour –the background upon which the figure is carved to stand in relief. It was not until the 19th century with the popularity of shell cameos that Victorian women in England made the cameo a lasting favourite. Women pictured on cameos emerged as a popular design and became a prized souvenir. So to today, fine cameos are again becoming sought after as items of jewellery



that are admired and adorned. Women of today are embracing the beauty of cameos and bringing them back into fashion once again. DURAL ANTIQUES 02 9651 2113 / 0411 116 084

Further reading Kathy Flood, Warman’s Jewelry Fine & Costume Jewellery Identification and Price Guide, Krause, Iola WI 2010 Anna Miller, Cameos Old and New, Gemstone, Woodstock VT 2009


Antiques & Collectables Dealers A GUIDE TO

ON THE CENTRAL COAST 1. AVOCA BEACH ANTIQUES Now incorporating the Beecroft Treasure House Specialising in antique jewellery with the largest range on the coast and an exceptional range of silver and extensive selection of fine porcelain and rare collectables. 173 Avoca Drive, Avoca Beach Open 7 days 02 4382 1149 or 02 4381 0288

1 Victorian ruby and seed pearl locket 9ct yellow gold c,1880 $1180 Art Deco Royal Doulton coffee pot c. 1930 $420

COLLECTORS’ COTTAGE ANTIQUES No longer trading from the Central Coast. Please ring 02 4389 1922 for any enquiries or requests. Otherwise please visit our shop in Newcastle: Shop 7A & 7B, Centenary Antique Centre 29 Centenary Road, Newcastle (100 metres north of Civic Station) also: search for Collectors’ Cottage to see hundreds of items for sale. Fenton Carnival Glass “Peacocks on the Fence” frilled edge dish with multi-coloured, electric finish, $495

In Memoriam: Graham See


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collectables trader

SUBSCRIBE TO THE MAGAZINE AND SAVE OVER 22% – includes FREE delivery within Australia YES! I wish to (please tick one) ❏ subscribe ❏ extend an existing subscription ❏ send a gift subscription to Collectables Trader magazine starting with the next issue for only ❏ $49 for 6 issues ($8.15 per issue, 18% off) or ❏ $85 for 11 issues ($7.70 per issue, over 22% off) Overseas rates available on request I enclose my ❏ cheque/money order payable to JQ Pty Ltd ABN 39 945 398 132 OR charge my credit card: ❏ Visa ❏ Mastercard ❏ American Express ❏ Diners Club

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adly, we note the passing of well known Brisbane member and President of the Queensland Chapter, Graham See. Born in Bagara, thirteen kilometres east of Bundaberg, Graham’s childhood was spent on the family property with his two siblings. He was a fine sportsman and a good student. He went to teacher’s college after high school and embarked on a teaching career. But it was after a four year stint in Canada, where he taught English at a high school there, that he took up lead lighting as a hobby. It was his interest in this art form that introduced him to the world of antiques, and the two gentlemen that ran the Brisbane Antique Centre. His interest in business matters, combined with his ever expanding knowledge of antiques saw him take over the ground floor of the building that housed the centre and perhaps the rest is history. Well known Brisbane dealer Bernie Strumpf remembers Graham as an honest, trustworthy and likeable man, recalling good times spent with Graham at antique fairs. His generous nature was only surpassed by the bright “twinkle in his eye”, Bernie stated. Graham’s funeral was held at St. Augustine’s Church in the Brisbane suburb of Hamilton on Wednesday 15th February. Graham is survived by his wife Pam, his son Alex and two step daughters.

Reprinted courtesy AAADA The Mercury, March 2012

first met Graham in 1982 when first setting up the Queensland magazine. It was the beginning of a relationship that went from Graham being a client to that of friend. I valued the times spent in his company and looked forward to the chats over tea or coffee. For the next 30 years I spent many wonderful hours in his company. Graham was a man of great refinement. He always focused on the positive, looking for the good and never uttering a negative comment. I could always call on him for advice, given without hesitation and with much good will. Graham’s passing has created a void and I will sorely miss those conversations and words of wisdom. It was a privilege to have known him; a man loved and admired by family, friends, colleagues and clients. Vale Graham Andre Jaku





ISLINGTON ANTIQUES in Newcastle since 1990


elcome to over 2000 square feet of antiques and collectables and furniture from Victorian through to retro. At Islington Antiques we have a special emphasis on quality Art Deco furniture at affordable prices, most lovingly restored by our skilled craftsman. If you want a special piece restored, we will do it in our own workshop. Stripping, polishing, lock repairs and mirror resilvering are a few of the services we offer. We restore old brass beds, including converting a double to a queen size bed. Royal Doulton is one of our specialties, in a showroom housing an enormous range of quality china and porcelain. We have 1500

Royal Doulton pieces in stock including dinner service pieces, Series Ware, Bunnykins and Flambé. We also sell and stock a selected range of new Royal Doulton. In our mirror showroom is a selection of modern, traditional and Art Deco mirrors displayed in all their different shapes and sizes. If you are renovating, redecorating or building we have a mirror for every room in your home – from lounge and dining to bedrooms and bathrooms. Decorator pieces are another enhancement to find in our store. Hand-selected from importers from all around Australia, you can decide on lamps, figurines, paintings, prints and new furniture, any and all of which will complement both traditional and modern decors.

Our second store – Our Style Furniture and Decor opened seven years ago and is dedicated to handcrafted solid timber furniture which we import directly. The stock includes traditional English styles in mahogany and cedar, French provincial dining suites, Louisstyle chairs and sofas in fruitwoods and creampainted furniture are prominent features. Newcastle, the gateway to the Hunter Valley, is a leisurely two-hour drive from Sydney. Please visit on your next trip. We can arrange freight Australia-wide. ISLINGTON ANTIQUES 02 4961 0533


Come and browse through our 2000 sq ft showroom where you will find a dazzling range of furniture, china and collectables. We stock an extensive range from Victorian through to retro, including some stunning pieces from the art deco period. Recent additions to our collection include an inspiring range of decorator items, antique and art deco style wall mirrors that complement modern or traditional decors. When travelling to Newcastle and the Hunter Valley please pay us a visit, you will be glad you did.


105-111 MAITLAND ROAD, ISLINGTON, NEWCASTLE Ph: 02 4961 0533 • Rod: 0414 610 533 • Tim: 0415 495 967 Open Friday, Saturday, Sunday, Monday 10 am - 5 pm • 3 km from the City centre



VALUE PLUS online and hard copy

Read all the magazines online and still receive them by post

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Beswick character teapot of Sairey Gamp

Shelley souvenir teapot decorated with a Bowral scene

Royal Winton Nantwich teapot Wedgwood Jasperware teapot


he Chinese have been drinking tea for about 4,500 years yet it was unknown in England and Europe until around 1610. Its arrival and subsequent popularity is due to the English East India Company. At the time of its initial import, England was the greatest coffee drinking country in the world; there were over 2,000 coffee houses in London. By the mid 17th century taking tea was a well established Dutch practice, the custom spreading across the Atlantic to colonial America. The taking of tea with cake is an English pastime that can be traced to Anna, wife of the 7th Duke of Bedford, who in around 1840 introduced the 5 pm ritual as a meal to bridge the time between breakfasts and dinner usually served at 8 pm. The English tradition was to only consume an enormous breakfast, not eating again until evening.

TEA in China and India Early in the 17th century, large British East India Company tea estates were established in India and two centuries later in Sri Lanka. This tea was also shipped to North America, becoming the focus of 1773 protests called the Boston Tea Party that started the American Revolution.

TEAPOTS and more Traditional Chinese preparation uses teapots for holding hot water to pour over tea leaves in small bowls where the tea brews. The first teapots brought with tea imports from China were small red and brown stoneware pots from near Shanghai. During the Ming (13681644) and Ch’ing (1644-1911) dynasties, the purple clay ceramic teapots of Yihsing, Kiangsu in China were the most famous. Pieces by a master potter are sought after and are worth their weight in gold. The early centre for English teapot production was in Staffordshire and the potteries established there. English teapots were stoneware, refined earthenware fired at high temperatures to withstand hot liquids. The basic design of pot, spout and handle continues. Josiah Wedgwood was one of the finest of the early 18th century potters. His creamware became popular because the cream smooth glaze was easier to decorate. It remained unchallenged until Spode invented bone china at the end of the century. When it came to decorating teapots, manufacturers let their imaginations run wild. They were produced in every colour and combination of colours. They were shaped to represent different products, e.g. bamboo and shells, and decorated with fauna, flora and depictions of historical events. They came in every shape imaginable: fruit, vegetables such as cauliflowers and cabbages, animals including monkeys and rabbits, people and buildings, for example cottage wares.

TEAPOTS made in Australia Early Australian potters, once released from the basic work of clay pipes etc, quickly became involved in domestic production and in some cases developed purely Australian designs. An example of this is the famous kangaroo teapot produced by Charles A Stone’s Bristol Pottery Company, established in Brisbane in the mid-1890s. There are also the wonderful outrageous teapots made by William Ricketts in Melbourne showing Aboriginies, tree trunks, flora and fauna. Our Lithgow pots with impressed kangaroo mark are highly sought after. What 1940s kitchen didn’t have a plain Bakewells teapot on its shelf?

AN INTERNATIONAL selection Teapots from the 20th century are represented by beautiful examples by Shelley, Royal Albert, Clarice Cliff, Royal Winton and Carltonware, along with many continental manufacturers from France, Czechoslovakia, Germany and Austria. Potteries such as Royal Doulton produced wonderful patterns on teapots to compliment their dinnerware along with more unusual teapots in their Series ware.

Janice Piotrowicz THE CENTENARY CENTRE 02 4926 4547 Further reading Anne Anderson, The Cube Teapot: The Story of the Patent Teapot, 2006 Mary Lou Heiss, Robert J Heiss, The Story of Tea: A Cultural History and Drinking Guide, Ten Speed Press, 2007 Beatrice Hohenegger, Liquid Jade: the Story of Tea from East to West, St Martin’s Press New York, 2006 Yong Liu, The Dutch East India Company’s Tea Trade with China, Brill Boston, 2007

Saracen silverplated teapot

VARIATIONS Manufacturers have tried to improve on the original design. Robert Crawford Johnson was responsible for the design of the revolutionary cube teapots registered in 1917 and sold as a ‘safety’ teapot. The shipping line Cunard bought thousands of cube teapots for their ocean liners. The weirdest was the Cadogan teapot popularised by Lord and Lady Cadogan of England in around 1820; it was lidless, the water was poured in a hole in the base and flowed downward through a vertical tube so that when the pot was upright the tea poured from the spout and didn’t fall out the bottom.

COLLECTING themes Human nature’s creative desires flourishes in teapot production, so why not concentrate on collecting a style, manufacturer, designer, era or decade of teapot? Many young people are into retro and the bright metallic anodised teapots of the 1950s and 1960s are what they are after. Or is your preference for the elegance of silver or silver-plated services? Perhaps you have a farmhouse kitchen and enamelled steel or shining copper is more to your liking. It is refreshing to see there is a revitalisation of the very enjoyable afternoon High Tea and the pastime of lingering over a cup of tea, a cupcake and conversation. The Centenary Centre has many teapots and whatever you are looking for we will endeavour to meet your needs. We look forward to welcoming you to our Centre, open seven days from 10 am to 5 pm.

Five new dealers – bigger and better than ever Open 7 Days - 10 am to 5 pm Visit our Old Grocery Store Museum

29 CENTENARY ROAD NEWCASTLE 2300 Phone: 02 4926 4547




Pair of cedar bookcases, c. 1880, h: 2.74 metres

Cedar bookcase, c. 1845, original glass and finish

Cedar ‘convict’ chairs, l: c. 1860 with impressed mark of John Hill, r: c. 1879 with impressed mark of Thomas Ogle

Carved back cedar chair, c. 1840. Four J Sly stamps

Superb cedar at Rare Find Country Antiques A

mongst some of the more unusual items we’ve picked up recently are the following fine cedar items, some from early colonial times.

BOOKCASES A fine pair of full cedar gothic Victorian bookcases of circa 1880 is originally from a monastery. As with most objects made for the church, they are over-engineered and the doors are almost two inches thick. They are also not in

two pieces, but one piece, and stand at 2.74 metres (nine feet) tall. Although identical to look at, one is slightly smaller all over. Nevertheless, this pair is very rare to find in cedar. The magnificent early cedar bookcase, dating to circa 1845 is full cedar with extensive veneering throughout. The cabinet has original glass, half columns top to bottom and has a fantastic original dark finish. It also utilises choice cuts of cedar, particularly in the door panels. Such a rare piece is difficult to find today.

Rare Find Country Antiques A selection of our quality and rare Australian chests of drawers

The Hunter’s largest selection of genuine Australian antique cedar furniture, most of our stock is pictured on the website: Opening hours: Saturdays 10 am - 4 pm or by appointment. We are there most of the time as we live on-site. Chiffonier made by John Osborne of Singleton in 1863

38 Denison St, Hamilton Ph 02 4969 3801 Mobile 0418 684 724 78


CHAIRS The superb cedar carved chair is a fantastic example of early colonial furniture. It has faceted legs and unusually, has no midbar. The chair is beautifully made and bears four J Sly stamps, which would indicate his liking of the chair. The chair is an early example and is circa 1840. The two cedar ‘convict’ chairs are almost identical, yet one is earlier (circa 1860) and bears the impressed mark of John Hill in two places. The other is made by a Maitland cabinetmaker named Thomas Ogle and is circa 1870, having his impressed mark in one spot.

Cedar cabinet, c. 1860, original finish. Trade label of Thomas Moore

CABINETS The cedar cabinet (circa 1860) is possibly the base of a bookcase. It has a lovely original finish and choice cuts of cedar, particularly in the door panels. The cabinet bears the trade label Thomas Moore, which dates the cabinet at around 1860. The superb specimen cabinet (circa 1920) has a fiddle back blackwood exterior and two sliding doors, which enclose 48 cedar drawers. Each drawer has a cedar-framed glass panel and each drawer is individually numbered, 1-48. This cabinet appears to be originally a museum piece. It would be extremely useful to house any collection, whether butterflies, stamps or coins or small collectables.

Specimen cabinet, c. 1920, fiddle back Blackwood exterior, 2 sliding doors, 48 cedar drawers, numbered

TABLE, CHEST The Huon pine dressing table (circa 1880) was made in South Australia, still with the original glass handles and superb carving. This dressing table is one of the most attractive and well manufactured dressing tables we have come across. The four drawer cedar chest has very unusual and original handles and bears the trade label of James Lawson in three places. The address given on the label dates this piece at around 1885. It also rests on its original castors and has a good original finish. Each of these items is difficult to source these days, and every piece is considered rare. Even rarer is to see this current selection together at our Hamilton warehouse. Now open Saturday from 10 to 4, and all inspection is by appointment (no set open hours). So please ring at anytime, as we are usually on site. RARE FIND COUNTRY ANTIQUES 02 4969 3801 / 0418 684 724

Cedar chest, c. 1885, original handles, castors and finish. Trade label of James Lawson

Huon pine dressing table, c. 1880, made in South Australia, original glass handles


NEWCASTLE & HUNTER VALLEY ANTIQUES TRAIL featuring bed & breakfast accommodation and art galleries 1

The Centenary Antique Centre


UNIQUE ANTIQUE ECLECTIC 29 Centenary Road, Newcastle Ph: 02 4926 4547 OPEN 7 days, 10 am – 5 pm 28 shops under the one roof: Newcastle’s largest antique centre and home to the Old Grocery Store Museum.


82 Elder Street, Lambton (opposite Lambton Park) Ph: 02 4957 8233 OPEN Monday to Friday 10 am – 4.30 pm Saturday 9 am – 3.30 pm Closed Sunday Affordable antiques – interesting china, jewellery, lamps and clocks. A range of items to suit the discerning buyer. Boutique splendour. WINNER of Hunter Small Business Awards 2011 Antiques and Gifts

Antiques & Collectables on Darby 1/158 Darby Street, Newcastle Ph: 02 4926 3003 OPEN 7 days, 10 am – 5 pm 15 dealers: collectables, china, glass, jewellery, furniture and smalls.



Brunker Road Antiques

Coliseum Antiques

118 Maitland Road, Mayfield Ph: 02 4967 2088 OPEN 7 days 10 am – 5 pm A large centre within a heritage building. Buying and selling: furniture and collectables, huge selection. Coffee shop and art sales Georgian – Victorian – Retro.



The Tyler Gallery


Ambleside Antiques Cottage


Rare Find Country Antiques

38 Denison St Hamilton Ph: 02 4969 3801, Mobile: 0418 684 724 Open by appointment only Specialists in Australian antiques, specialising in cedar.


Islington Antiques 105–111 Maitland Road, Islington, Newcastle Ph: 02 4961 0533 OPEN Friday, Saturday, Sunday & Monday 10 am – 5 pm Trading in Newcastle for 20 years. We stock a large and varied range of quality furniture, china and collectables in our 2000 sq ft showroom.

Paul Vinecombe

Antiques & Decoratives 92 Wollombi Rd, West Cessnock Ph: 02 4990 9212, Mobile: 0418 635 658 OPEN Tuesday – Sunday 10 am – 5 pm Closed Monday After 29 years now trading in Hunter Valley at Cessnock.

108 Maitland Road, Islington Ph: 02 4962 1532 OPEN 10 am – 5 pm, closed Tuesday Attractive decorator pieces to enhance your home or that wanted item to add to your collection. Large affordable range: linen, tools, glass, china, furniture, jewellery, sewing items. Ample free street parking nearby. Air-conditioned.



105 Lang Street, Kurri Kurri Ph: 02 4936 1511 OPEN Monday – Friday 9 am – 5 pm Saturday 9 am – 3 pm Sunday 10.30 am – 3 pm The largest antique and second-hand furniture warehouse in the Hunter. Furniture is our forte.

106 Maitland Road, Islington Ph: 0411 683 496 OPEN Friday, Saturday and Sunday 11 am – 5 pm Specialising in contemporary art, with jewellery, accessories, furniture and more.


Heartland Antiques & Arts

321 High Street, Maitland Ph: 02 4933 9923 OPEN Six days 10 am – 4 pm Closed Tuesday Most unusual mix of decorator pieces and traditional antique furniture along with old pine and period styles, china, chintz, pottery, paintings, posters and prints. All things suitable for furnishing a country house, a farmhouse, a weekender or the odd ranch with both flair and decorum.

35 Brunker Road, Broadmeadow Mob: 0437 417 512 OPEN Friday – Sunday 10 am – 5 pm The place to come when you want something different.


Memory Lane Antiques & Decor


* In the interests of better service for our customers, if you enjoy the convenience of this map, please tell the shops you visit. Thank you.

Antique Toy Collectables

655 Hunter St Newcastle West 2302 Ph: John 0412 296 420 OPEN Mon – Fri by appointment (readily available) Sat 10 am – 4 pm Sun 11 am – 3 pm 100's of vintage toys, dolls, teddies, trains (Hornby O) plus pedal cars and doll prams. Largest range in Australia. *** JUST OPENED ***.




Heartland â&#x20AC;&#x201C; For sale with freehold CLOSING 30 JUNE - ALL STOCK MUST GO!


f the lifestyle of a country squire appeals then Heartland, a freehold antique store in Maitland, may be the answer. Strategically located at the entrance to the Hunter Valley, this beautiful heritage building is an opportunity to incorporate a business with a more leisurely country lifestyle â&#x20AC;&#x201C; the best of both worlds. Maitland is now the fastest growing local government area in NSW and locals are benefitting from the injection of entrepreneurial investments in the region. The arts and culture renaissance has resulted in food festivals, commercial growth and the development of historical themed programs such as heritage walking tours before or after tourists visit the vineyards of the Hunter region. Maitland has been the hub of the Hunter for more than 150 years. It is steeped in history and fascinating heritage buildings. Located on the New England Highway, it is about 30 minutes drive from Newcastle and is accessed from Sydney via the F3 taking approximately two hours.


A FREEHOLD antique store in Maitland This architecturally incomparable building is unique. There are three floors including a large two level three bedroom apartment that has been fully restored. The first floor is reached by a cedar staircase that features Victorian iron lace balustrades and the craftsmanship of cedar joinery. A conservatory style roofline means that the centre of the building is given lots of natural light. The apartment is reached by another cedar staircase that covers the two levels. Why sell such an asset? The owners have come to that time in their lives when age and necessity have forced them to reconsider their options. Now into retirement, they have serious health issues that can be no longer ignored. After a lifetime of being involved in the antiques trade, they are leaving a business that has been kind to them and which has given them a lot of pleasure. It is time to pass the reigns onto the next generation of collectors and dealers.


Opportunity knocks for a younger person with vision and enthusiasm. Whoever acquires this asset also gets the business for free and a choice of stock at value. It is only by visiting Heartland that one can truly appreciate the value added and charm of this heritage site.

To inspect this unique property, phone Marion on 0414 012 608 or after hours on 02 4930 6984.





Kurrajong Antique Centre

The Junkyard

Windsor & The Hawkesbury Antiques & Collectables Trail


indsor and the Hawkesbury is restablishing itself as a great destination for antiques, collectables and old wares. Windsor is a comfortable drive north west of Sydney in the picturesque Hawkesbury Valley. It is a popular short break, weekender and day trippers location. It is also a popular stopover point for city folk heading to the Blue Mountains, Hunter Valley, Central West as well as the North and South Coasts. Windsor boasts some magnificent historic buildings, its own paddle wheeler and horse drawn restaurant with the region being home to great national parks and the picturesque Hawkesbury River. Windsor and the Hawkesbury is also home to 19 unique antiques, collectables and old wares shops within a short drive of each other.

Maureen Partridge, Thompson’s Country Collectables

On Sundays, you can enjoy the Windsor Craft Market in the mall from 9 am – 4 pm. An overnight stay at one of Windsor’s boutique B&Bs ensures you miss nothing and allows a leisurely pace for browsing. If visiting on a Saturday you must fit in a visit between 10 am and 2 pm to Empire Beds, which is about 3 km from Kent’s. Phil and Peter Jurd’s workshop is good fun for blokes and fascinating for iron and brass bed enthusiasts. Phil has been in beds for over 25 years and this is Sydney’s one-stop brass bed shop for made to order, restoration and extensions from double to queen. Walking down George Street to New Street you will see Maureen’s delightful dusky pink rendered store, Thompson’s Country Collectables. Maureen has an elegant range of antiques and collectables from 1750 to 1950, but

Windsor Restoration Supplies

Peter and Phil Jurd, Empire Beds


specialises in Victorian furniture, silver, jewellery, china and glass. Around the corner from Maureen’s is Windsor Restoration Supplies. David has arguably the Hawkesbury’s most comprehensive range of supplies for the restorer including brass and period lighting, cabinet fittings and handles, traditional timber finishes and period home restoration supplies. They also have an elegant range of outdoor furniture. Jump in the car and head out to The Junkyard at Londonderry. Sue and Gary have five acres of recycled farmyard and building materials, bric-àbrac from antiques to op shop stored in a variety of sheds, old bus and train carcases. The astute collector can find real bargains here – its nickname is ‘the five acre garage sale’ and you should allow some serious scrounging time here. One the boys will love for sure.


Megan Wood, The Bank Bazaar

John Koster, Kostercraft

Take Windsor Strreet and continue to The Bank Bazaar, a haven of mysterious and stunning antiques, furniture, artworks, designer jewellery and so much more. Situated in the historic town of Richmond, The Bank Bazaar is housed in the old 1880s bank that has been lovingly restored, and complementing the antiques are one-off pieces of furniture and a refreshing mix of contemporary decorator items for the home. The pieces come from across the fashions of the century and range from pianos and marble mantelpieces to tea cups and model planes. Customers are welcome to sit amidst the wares and enjoy a cappuccino from our coffee shop with a piece of cake and a good book, or relax with friends for lunch under the shade of a giant elm in the tea garden. John and Anne Koster, of Kostercraft, further on in North Richmond can help you out when you have found that special piece, but it needs some TLC. They specialise in preservation and restoration of antique and modern furniture and art. They can also repair and restore distressed ceramics. Further along the trail, Kurrajong Antiques Centre has a very large range of antiques and collectables. Brian has several large rooms, an upstairs and a downstairs filled with English china, glassware, art, furniture, toys – there’s probably very little he hasn’t got. Brian’s is the kind of large rambling antiques emporium you remember from the old days and has a wonderful yesteryear feel. We all look forward to seeing you on our trail one day soon.


WINDSOR & THE HAWKESBURY antiques & collectables trail 1


5 8 7

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To advertise on this page please phone

02 9389 2919 Email:

3. Windsor Restoration Supplies, Windsor Proprietor: Dave Crawshaw Phone: 02 4577 4853 Opening Days & Times: Mon to Fri 9 am to 4.30 pm Sat 10 am to 2 pm Public Holidays: Closed Address: 268 George Street, Windsor

1. Empire Beds, Wilberforce Proprietors: Phil Jurd & Peter Jurd Phone: 02 4575 1223 Website: Email: Opening Days & Times: Mon to Fri 9 am to 5 pm Sat 10 am to 2 pm Public Holidays: Closed Address: 2/11 Ti-Tree Place, Wilberforce

2. Thompsonâ&#x20AC;&#x2122;s Country Collectables, Windsor

4. The Junkyard, Londonderry Proprietors: Gary & Sue Evans Phone: 02 4572 5211 Opening Days & Times: 7 days 10 am to 4 pm (weather permitting) Public Holidays: Closed Address: 11 Bennett Road, Londonderry (Just a 10 minute drive from the centre of Windsor)

5. Kostercraft, North Richmond Proprietors: John and Anne Koster Phone: 02 4571 1320 Mobile: 0412 571132 Email: Website: Opening Days & Times: Mon to Fri 9 am to 6 pm Sat, Sun: Available for enquiries and drop offs Public Holidays: Available for enquiries and drop offs Address: 27 Elizabeth Street, North Richmond

6. Kurrajong Antique Centre, Kurrajong Proprietor: Brian Briggs Phone: 02 4573 1683 Opening Days & Times: 7 days 10 am to 5 pm Public Holidays: 10 am to 5 pm Address: 101 Old Bells Line of Road, Kurrajong

7. The Bank Bazaar Proprietor: Megan Wood Phone: 02 4588 6951 Opening Days & Times: Weekdays 9 am to 5 pm, Saturday 9 am to 4 pm, Sunday closed Address: 290 Windsor Street Richmond NSW 2753

8. Guy Stuff, Windsor Phone: 02 4577 2797 Email: Website: Opening Days & Times: Open 7 days 9 am to 6 pm (9pm Thursday Nights) Address:149 George Street Windsor

Proprietor: Maureen Partridge Phone: 02 4577 2381 Opening Days & Times: 7 days 10 am to 5 pm Public Holidays: 10 am to 5 pm Address: 11 New Street, Windsor




Visit historic Richmond



ichmond is only around an hour’s drive from Sydney’s CBD, perfect for an outing to the Bank Bazaar housed in the beautifully restored historic former Commercial Banking Company building.

HISTORIC Richmond As early as 1789 Governor Phillip had explored the district and, although it was considered isolated, the colony’s need for food and the richness of the alluvial Hawkesbury

river flats, ensured early settlement. It was Phillip who climbed a small hill near the river and named it Richmond Hill in honour of the Duke of Richmond. Richmond was first settled by Europeans in 1794 and quickly became the granary for the colony. Five years later the area was providing Sydney with half its grain requirements. The problem was that the Hawkesbury River flooded regularly. Thus, in 1810 when Macquarie established the five Macquarie

towns in the Hawkesbury Valley: Windsor, Richmond, Castlereagh, Wilberforce and Pitt Town, he specifically located the township on a ridge above the Hawkesbury River. This decision was due to the 1809 flooding which devastated the farms in the area. Macquarie exhorted all the settlers in the area to ‘move to these places of safety and security’ and it was on this basis that the town of Richmond began to grow. Throughout the 19th century the town prospered and grew due to the rich agricultural lands which surrounded it and because it was ideally located on the cattle routes from the west and the north.

COMMERCIAL Banking Company Building The rising wealth during this period resulted in the construction of many outstanding buildings including the Commercial Banking Company Building in Windsor Street. The building was designed by the architects, the Mansfield Brothers who were responsible for the design of many CBC bank buildings in major country towns in and around NSW. The bank is a double storey stucco brick construction of Victorian Italianate design. The structure comprises the banking chamber and vault as well as drawing, dining and ante rooms downstairs and the bank manager’s residence upstairs. There is also a stables

The Bank Bazaar, 290 Windsor Street Richmond NSW 2753 T: 02 4588 6951 • Open hours: Monday to Friday 9am to 5pm, Saturday 9am to 4pm, SUNDAY CLOSED



building at the rear as well as a garden shaded by enormous jacaranda and elm trees, both over 100 years old. In the 1970s a sympathetic extension was added which doubled the size of the banking chamber. The bank continued to operate in Windsor Street until 2008 when the National Australia Bank decided to vacate the premises and the building was put up for auction. The current owners completely renovated and refurbished the premises.

A NEW purpose The banking chamber now houses the Bank Bazaar antique shop incorporating a coffee shop and tea garden. The Bank Bazaar offers an amazing range of quality antiques, artworks and home wares. There is vintage lead crystal, period and contemporary glassware, furniture, jewellery, fashion accessories, fine china, soft furnishings, books, unusual curios and much more. Come in for a browse and stay for a coffee. Open on saturdays from 9 am to 4 pm and during the week from 9 am to 5 pm. Closed on Sunday. For more information contact THE BANK BAZAAR 02 4588 6951


The Queen’s Australian visit

Southern Corroboree frog, $1 colour pad printed uncirculated coin

The Queen’s 60th Anniversary 2012 50c silver proof coin

Asian elephant, $1 colour pad printed uncirculated coin

70th anniversary of the Kokoda Trail, uncirculated 50c coin

Australian proof coin set

Especially for the guys at historic Windsor VISITING Windsor


he 200 year old Windsor township is set on the magnificent Hawkesbury River and steadfastly celebrates its history and country village atmosphere. A complete escape for the Sydney-sider and only 40 minutes down the M2, you can enjoy the charms of shopping, browsing, historic buildings, entertainment, alfresco dining, people-watching and great coffee. Shopping and browsing opportunities abound for all ages and stages. The Windsor Craft Markets are every Sunday and offer great locally grown food and handmade crafts. An eclectic selection of discount stores and specialty shops means in Windsor you can buy a leather purse, English humbug confections, a ukulele, hand-beaten Peruvian silver jewellery, a poncho, scented candles, hand-beaded necklaces, handmade soaps, shoes, designer dresses, Bali or French-inspired home wares and footy team collectables. Guy Stuff also has the following stores: Guy Stuff Baulkham Hills 02 9688 6388 and Guy Stuff Narellan 02 4648 1606

GUY STUFF Gifts and Collectables In the middle of the historic township of Windsor in is a collector’s dream come true. Guy Stuff Gifts and Collectables, located in the middle of the pedestrian mall at 149 George Street, is a 400 square meter retail store with over 5,000 different collectables on sale. Ninety-nine percent of the items in this mega store are male orientated. Some of vast array of collectables you will find at Guy Stuff include thousands of collector pins, limited edition die cast model cars, die cast model aircraft, Royal Australian Mint coins, tin toys and signs, retro robots, NRL merchandise, Ned Kelly memorabilia, Coca-Cola, Aviation, Ford, Holden, movie collectables and more.

For the convenience of visitors to the Windsor store, Guy Stuff is open every day from 9 am to 6 pm, staying open until 9 pm on Thursday.

Baby proof coin set, ‘Dot and The Kangaroo’

Shores Under Siege, set 3 uncirculated coins

For more details contact GUY STUFF WINDSOR 02 4577 2797

GUY STUFF product feature: Royal Australian Mint coins Guy Stuff is an authorised dealer and stockiest of coins from the Royal Australian Mint in Canberra. Coins make great gifts, are very addictive collectables and quite often are fantastic investments. Themes to search through include coins minted for royal events, militaria, anniversary milestones, such as the 150th anniversary of Melbourne Zoo, and coin sets minted this year. A unique retail concept offering a large range of gifts and collectables for men GUY STUFF BAULKHAM HILLS Shop 9, Stockland Mall Shopping Centre 375 Windsor Road Baulkham Hills NSW 2153 P: 02 9688 6388 E: Open 7 Days 9am to 6pm (9pm Thursday Nights)

Special coloured 50c coin included in the 2012 Australian uncirculated coin set

100 years of Australian Navy, set 6 silver proof coins

GUY STUFF NARELLAN Shop 2, Narellan Town Centre 326 Camden Valley Way Narellan NSW 2567 P: 02 4648 1606 E: Open 7 Days 9am to 6pm (9pm Thursday Nights)

GUY STUFF WINDSOR 149 George Street Windsor NSW 2756 P: 02 4577 2797 E: Open 7 Days 9am to 6pm (9pm Thursday Nights)

Authorised Dealer




KURRAJONG ANTIQUE CENTRE spanning 740 sq metres (8,000 sq ft)

Antiques and Collectables LOTS OF NEW STOCK Come up and visit our centre now with an increase to over 50 fully stocked display cabinets with china, glass, silver, silver plate, jewellery, crystal, porcelain and bric-à-brac. We have a large range of original art (oils, watercolours, etchings and lithographs), brass, as well as Victorian and Edwardian furniture (cedar, mahogany, pine and oak). All in a lovely old Art Deco Cinema/Theatre


101 OLD BELLS LINE OF ROAD, KURRAJONG • PHONE 02 4573 1683 OPEN 7 DAYS 10 am - 5 pm

THE SCENIC HUNTER VALLEY perfect for antique hunters


rom small shops specialising in music collectables or toys to the larger centres, the Hunter Valley caters for all tastes. You will find everything from buttons and linen and stunning Art Deco pieces to exquisite Georgian furniture, tools and old farm rustics to delightfully kitsch 50s and 60s home wares and charming country pine furniture. Just a two-hour drive north of Sydney, you could be enjoying the many delights of the Hunter Valley this weekend.

NEWCASTLE Founded in 1804 as a penal colony, Newcastle is a city rich in history. Discover Newcastle’s convict past and the birthplace of Australian industry; visit Victorian mansions and villas;

marvel at the grand cathedral; or learn about the area’s colourful maritime history and how Fort Scratchley was built to protect the city from possible Russian invasion. Newcastle Tourism’s visitor information centre on Hunter Street will supply you with details on heritage walks through the city, art galleries and museums, just a few of the delights Newcastle has to offer. Of course, another delight is hunting through Newcastle’s many antique shops and centres. A fabulous city to explore, stay awhile and enjoy the comfort and history that Newcastle’s bed and breakfast homes can offer you. Australia’s sixth largest city and the capital

Lake Macquarie Art Gallery. Image courtesy City of Lake Macquarie



of the Hunter region, Newcastle has much to offer the visitor here on a short break or an extended stay. Newcastle is a beachside city boasting a spectacular coastline with some of Australia’s best surfing beaches. Newcastle has a large working harbour, its entrance guarded by Nobby’s breakwater and lighthouse, probably the most famous Newcastle icon.

THE MAITLAND Region Maitland is a lovely heritage city in the heart of the Hunter Valley, a short drive from the famous Hunter Valley vineyards and acclaimed wilderness areas. Just minutes from Maitland you will discover the most delightful villages and towns. East Maitland: The original city site, this is an architecturally heritage-rich town with many beautiful buildings to appreciate including churches, the old Maitland Gaol and great antique hunting opportunities. Rutherford: A few minutes on the other side of Maitland is Rutherford, home to the historic Annanbah House, where the Australian movie 15 Amore (2000) was filmed, with still more antique hunting to enjoy. Lorn: Located just over the bridge from Maitland is Lorn. Fine examples of Federation houses, together with wonderfully preserved late Victorian homes set in magnificent gardens, make this place a true delight. Enjoy the Heritage Walk or just indulge in more antique hunting. Bolwarra: Just a few minutes along the road is Bolwarra with even more charming historic homes

and gardens and even more antique hunting. This lovely town sits on the edge of some of the most beautiful, gentle farmland in the region.

DUNGOG With the first European settlement of the township occurring in the 1820s and 1830s, historic Dungog has much to offer visitors. There are quality antiques to discover in Dowling Street and a B&B set in magical rural surrounds in which to soak up the country atmosphere. The Visitor Information Centre on the corner of Brown and Dowling Streets (02 4992 2212) can supply you with maps and details on the many historic buildings in this beautiful township. Dungog is the perfect base for exploring the nearby Barrington Tops National Park. This unspoiled World Heritage listed area offers so much to experience, from cascading rivers and primeval wilderness to rare and endangered species of plants and animals. The many walking trails in the park cater to all, ranging from 20 minutes to the 22 km Link Trail Walk. NEWCASTLE AND HUNTER VALLEY ANTIQUES TRAIL 02 4974 2999


Thoughts on collectors, collecting and collections ‘The Collector is the true resident of the interior’ ‘The collector dreams his way not only into a distant or bygone world but also into a better one’ Walter Benjamin (1892-1940) s a group of people (some would call us a collective of like-minded spirits) collectors represent as good a cross section of society as any endeavour could. Like a long distance foot race there are sprinters, joggers and walkers who all compete for the ultimate prize: the possession of something desired.


SPRINTERS Sprinters can be seen before the start time (sometimes several hours, if not the day before) talking loudly to themselves and their fellow contestants in a bid to stir the vendor from slumber. One recently here in the Blue Mountains was bailed up in a corner by a guard dog, having chanced an early inspection over a back fence. Like glacial ice they accrue outside the residence until their sheer size and the loud slamming of car doors is all too much to ignore. Swarming over items like an army of ants they pick and prod their way to their satisfaction before, if making a successful foray, they hold aloft their acquisition like a victorious gladiator whose life has been spared by the roar of the crowd and Caesar. These are the sprinters of the race and always in their wake, as they move onward to the next plotted target; they leave an eerie silence, which I have always found disconcerting. Sellers are left in a blubbering mess, or enraged by their attitude. I have even had to lock the doors of my house during one of my sales, having discovered I was being made offers for possessions for items I thought safe in my bedroom.

JOGGERS Joggers arrive at the end of the day and are usually sure that a bargain, if it still remains, can be acquired at a price that satisfies both parties. I am more akin to these people and like to retain a sense of good manners.

To me, the race is not a matter of life and death. I am too slow to be Phaedippidies, the Greek soldier whose run from the battlefield to deliver the message of a Greek victory over the Persians in 490 BCE is commemorated in the modern marathon race.

MARATHONERS The marathon runners of collectors are prepared to stay all day at an auction to wait for lot number 652. They have researched their item thoroughly with hand and eye, have assessed the auctioneer as well as the crowd, and may even have left a cautionary bid to eliminate infant competition. When bidding they have been known to leave their hand in the eye as if to smite other interested parties with their bid card which has become their sword. If the auction is predictable they have the luxury of even leaving the saleroom and returning to make a second offer on that garage sale item that was too enthusiastically priced earlier that day. They are comfortable and composed, sit in the most comfortable chairs but are always in plain view to the auctioneer when the moment is required. Years of practise have exhausted that glaze they see in the eyes of eager buyers and their sense of timing is split second. They do not feel the remorse of an opportunity missed, but exercise the discipline required with a set budget ceiling.

SO WHAT makes a collector or for that matter a collection? A collector is anyone who finds a similar joy in items that strike a chord in a personal, emotional and even a material way. Like Sam Wagstaff, patron of photographer Robert Mapplethorpe, the acquisition of the largest 18th and 19th century photographic collection (then sold to the Getty Museum for $5 million) was a lifelong race. He then turned his head to the acquisition of silver and through careful buying, was able to move to the penthouse apartment at number 1 Fifth Avenue. We as collectors cannot aspire to change the face of collecting in such a way that a world record price for a photograph (99 cent II Diptychon by Andreas Gursky) sold in 2007

for US$3.34 million, followed on from the collecting habits of Sam Wagstaff. However we can spend as little as $1 for that item for our collection that gives us a further extension of self.

WHAT’S going up? • Depression era furniture • Anything considered anti-social, especially alcohol and tobacco related items • Cut glass especially coloured pieces

WHAT’S going down? • Heavy overbearing English period furniture

Jonathan Vincent VICTORY THEATRE 02 4787 6002


VICTORY THEATRE ANTIQUES & CAFE 17 Govetts Leap Road, Blackheath

More than 50 dealers selling bric-à-brac, antiques & collectables Largest antique centre west of Sydney Open 7 days 10am–5pm Phone: 02 4787 6002 ANTIQUES & ART IN NEW SOUTH WALES



FOR THE DIARY: Annual Dubbo Antique & Collectables Fair 14 – 15 July 2012 he Dubbo Regional Theatre and Convention Centre will be filled with the splendour and quality of the annual Antique & Collectables Fair hosted by the Rotaract Club of Dubbo City Inc, with assistance from the Rotary Club of Dubbo City Inc.

includes wine, canapés and local musicians creating an ambience not to be missed. Tickets to the opening can be purchased prior to the event by emailing

INVITATION to gala Friday night opening

Running on both fair days are free talks on a diverse range of subjects. The talks, running for approximately 30 minutes, include subjects such as Moorcroft pottery, silver, jewellery identification and care, and Beswick’s Beatrix Potter. These topics plus the


13 July 6 pm-9 pm Cost $20 The centre comes alive on the Friday night for the gala opening. Your entry ticket

FREE programs

other subjects will intrigue the avid collector, enthusiast and the interested browser. As in the past, it is anticipated that over the weekend close to 2,000 visitors will visit the fair. It is an opportunity to view the special pieces brought to this major regional event by more than 20 antique dealers from New South Wales, Victoria and South Australia. From intricate collectables, fine jewellery, elegant dinner services, to carefully crafted furnishings, there is definitely something for every taste and collecting interest.

VISITING Dubbo The thriving city of Dubbo is at the crossroads of regional NSW and only five hours’ drive north-west of Sydney, making the event easily accessible to locals and Sydneysiders looking to get away for a heritage themed weekend.

WHILE at the fair Past visitors to the fair know the café area offers a welcoming break for tired shoppers. Here patrons socialise and recharge, enjoying the wonderful treats prepared and served by the dedicated volunteers from the Vision Australia organisation. As well as providing home-style morning teas, return for a substantial lunch later in the day, you will not be disappointed. For the afternoon break, consider the Devonshire Tea option.

PRIZES to be won On entering, you are provided with an entry form for the numerous Lucky Door prizes drawn throughout the day. Tickets for raffles are also on sale. Before leaving the fair remember to fill out the survey for your chance to win a prize.



SUPPORTING the community Members of the Rotaract Club of Dubbo City Inc and the Rotary Club of Dubbo City Inc take pride in hosting this event, providing patrons and participating antique dealers with a pleasurable experience. Profits from the weekend fair are part of the Club’s fundraising program and used to assist local community charities including the RSPCA, School of St Jude and NALAG (National Association for Loss & Grief). For more information contact Carla Pittman ROTARACT CLUB OF DUBBO CITY INC 0418 294 438


The Doll Collectors Club of NSW Presents 31st Annual Doll Fair


ome along and join in the fun at the annual Doll Fair being held at the Liverpool Catholic Club. The huge selection of traders will be offering thousands of antique and modern dolls and bears, vintage cloth dolls, bisque, composition and plastic dolls and gollies. There will also be dolls clothes, shoes, wigs, linen, lace, old prams, doll furniture and miniatures as well as books, magazines and greenware.

FREE valuation Bring your dolls to the club’s valuation table. Please note that there is a limit of three dolls per person.

WARNING! FAKE COLLECTABLE DOLLS Since early 2006, more modern fake dolls are being sold as antiques for high prices on the internet and at doll fairs in Australia. These reproduction dolls are mainly coming out of Germany and Belgium. They are an increasing problem, especially to those who collect allbisque dolls as they spread through USA, Japan, England and Australia. Very appealing and cleverly put together, it’s not surprising that collectors are mistaking them for antiques. Once you recognise them you have no trouble realising that they are fakes, so do not let them deter you from collecting the genuine article. Fakes can be spotted by these signs: They are usually represented as vintage stock coming from old German factories but this is not the case They are presented on old cards as salesmen‘s samples, usually dressed as pairs in jester outfits or dressed as bunnies, etc Several boxed sets of twelve dolls have been noticed, dressed in quite attractive clothes which appear to be vintage, but closer examination reveals them just clever sewing Some tiny dolls are presented in old cardboard boxes Another often-seen fake is an all-bisque googly, mould number 217 or 292. These are the same mold numbers as a genuine antique Kestner googly but fakes have a different face and footwear from the original. Watch for glass-eyed, all-bisque dolls about 10 cm (4 inches) tall Fake all-bisque Heubach dolls include piano babies, Kewpie dolls, military nodders, snow babies, bathing beautys and half-dolls. Newly-made dolls can often be recognised by kiln dust in the ears, nose and hands; tea-stained clothing; heavily-glued wigs and clothing construction methods. If you do collect small dolls, be wary of these signs.

28-29 July

Repairing of celluloid dolls is fairly easy. Note that a pink celluloid doll which is now really dark brown could be unstable celluloid; cases have been reported where such a doll has self-destructed.

HINTS for storing dolls MARKS on vinyl dolls As vinyl ages, it can lose colour, fade or turn yellowish due to the presence of petroleumbased secondary plasticisers used as fillers to extend the vinyl product. These substances react with ultra-violet light (sunlight), producing the changes. Vinyl can also become blotchy as the result of poorly-mixed ingredients. It has been suggested that faded vinyl can be re-dyed using cloth dye of a suitable shade – only a temporary solution as dyeing has to be repeated. In some lightweight vinyls, as used for the body and legs of some walker dolls, the plasticisers migrate to the surface where they evaporate with the result that the plastic becomes brittle and splits. Nothing can be done to reverse this reaction. Marker pens are devastating for vinyl dolls that readily absorb that ink, which is almost impossible to remove. Try using an acne treatment from the chemist, painting the penaffected area using a cotton bud, then wrap the area in a clean dry cloth. Leave the doll in a cool dark place for about a week. If the mark is still visible after a week, repeat the treatment. If two treatments fail to remove the ink, unfortunately it is probably a lost cause.

Never store dolls in plastic bags as these sweat in Sydney’s humidity and can cause severe deterioration, especially to composition and plastic dolls For safer storage, wrap the doll in a pillowcase, towel or similar soft cloth Place the doll face down with the eyes open. This avoids the problem of sleep eyes falling out in bisque heads, or sticking in a closed position as can happen with some hard plastic dolls Never place mothballs near plastic dolls as they may trigger the breakdown of the plastic, especially in Pedigree dolls Store every doll in a cool place, away from direct sunlight. The Annual Doll Fair draws people searching for that old doll or toy that they lost in their childhood. Others may just have discovered a little child deep inside, now searching for a new collecting interest. For more information contact DOLL COLLECTORS CLUB OF NSW INC 02 9389 0324 / 02 9449 1999 02 4393 9973

CELLULOID dolls Made in Japan from about 1917 onwards, celluloid dolls were very popular with little girls from the 1920s until the early 1950s. They were light in weight, washable and relatively unbreakable, almost the ideal doll. However, they were very flammable and the use of celluloid for dolls was banned worldwide in the 1950s and many parents threw them away for fear their children would be injured should the doll catch fire. Celluloid dolls were easily damaged or dented in a number of ways. Little owners would bite dolls’ noses, the thinnest part of the face and consequently the most easily damaged. While brothers have always loved teasing sisters, once they discovered the flammable properties of the celluloid, many a young lad set his sister’s doll on fire much to its owner’s distress and parents’ horror. ANTIQUES & ART IN NEW SOUTH WALES



CAMDEN QUOTA ANTIQUE FAIR bringing collectors and antiques together Saturday 4 and Sunday 5 August 2012


ntiques come in many different sizes and so do the collectors who admire them. Camden Quota Antique Fair held on the first weekend of August each year has been bringing collectors and antiques together for 26 years!

MAJOR ANTIQUE & collectable show In 2012 approximately 30 well-known dealers will bring fresh stock of antiques including furniture, jewellery, linen and porcelain. These antique dealers come from

all around the state with an amazing array of collectable and rare items so you are sure to find something special, and perhaps the item for which you have been searching.

PREVIEW evening The preview is on the evening of Friday 3 August from 6.30 pm to 9 pm. This is the best opportunity to browse, buy, or consider buying before the fair opens to everyone on the weekend. The preview evening costs $15 per person which includes a light supper. Entry on Saturday and Sunday will be $7



Antique Fair CAMDEN CIVIC CENTRE, OXLEY ST CAMDEN (opposite Woolworths)

Preview Evening, 3 August 2012 6.30 pm - 9 pm Entry on Friday evening is $15 per person which includes a light supper

Saturday, 4 August 2012 – 10 am to 5 pm Sunday, 5 August 2012 – 10 am to 4 pm Entry Saturday and Sunday $7 per person. Children under 12 free. No concessions

Quality selection of antique furniture, jewellery, Australiana, linen and lace, fine china, porcelain and precious objects for sale A well respected valuer will be available on Saturday and Sunday to give verbal appraisals of family heirlooms at a cost of $3 per item Limit two items per person Refreshments including homemade pies, soup, sandwiches, tea, coffee available on Saturday and Sunday Net proceeds to 1st Cobbitty Scout Group, Wollondilly SES & other charities Camden Quota – volunteering in the community since 1972 All items for sale

Enquiries about the Fair 02 4655 5963 Monday to Friday 10 am to 6 pm 90


per person per day. A ticket in the lucky door prize of an antique is included in your admission fee. In addition to buying treasured antiques and collectables, support the raffle with its prize of a valued antique and increase our donation to charities.

APPRAISAL service A well-respected professional valuer will offer appraisals of your family and personal treasures. You only pay $3 for appraisal of each item. Please observe the limit of only two items per person so everyone has a chance to receive this important appraisal service. All appraisal fees are donated to charity.

COFFEE shop Over the weekend our coffee shop will be serving delicious refreshments along with tea and coffee. Each year our Camden country soup, hot home-made pies and freshly-made sandwiches are a big hit. All profits are donated to charity.

HELPING others The fair is a fund raising activity of QUOTA International of Camden, a not-for-profit organisation which supports local, regional and international charities. Since our first fair, approximately $400,000 has been raised and donated to many worthwhile charities. Beneficiaries for this year’s fair will include the 1st Cobbitty Scout Group & Wollondilly SES and other charities. For over 24 years we have donated to Careflight, Guide Dogs, Bush Fire Brigades, State Emergency Services, Leukaemia Foundation, palliative care services at local hospitals and to research on cures for cancer and heart disease. For more information about the fair contact Eileen Regent CAMDEN QUOTA ANTIQUE FAIR 02 4655 5963





VILLAGE ANTIQUES A TOUCH OF BRASS Jellore Street, Berrima 2577 02 4877 1366


Open Wed, Thur, Fri, Sat 11am - 4pm Sun, Mon, Tues by appointment

Huge selection of antique beds in metal (fancy iron, and brass and iron) and various timbers, pine sleigh beds, mahogany halftester beds, French beds, etc. All sizes.

SALLY BERESFORD/FRENCH FARMHOUSE 02 4869 3736 French farmhouse tables made to order, French provincial antiques, industrial, architectural and decorative items

MITTAGONG ANTIQUES CENTRE 85-87 Main Street (Hume Hwy) Mittagong 2575 02 4872 3198 Fax 02 4872 3216 Open 7 Days 10am - 5pm 650 sq metres (7,000 sq ft) with large variety of stock. Plenty of parking. Excellent loading docks. Eftpos & credit cards welcome.

Old Hume Highway, Nth Mittagong (Braemar) 02 4872 2844 Mob 0416 251 946 Kamilaroi c. 1906 has 6 rooms of French, English, Oriental and Scandinavian antique furniture, mirrors, clocks, chandeliers, porcelain, silver, jewellery, paintings, objets d’art and decorative items. Also the Parterre Garden and the Barn and Cottage with other exciting items.

Sutton Forest PEPPERS MT BROUGHTON A SOUTHERN HIGHLANDS GRAND COUNTRY ESTATE Kater Road, Sutton Forest 2577 02 4868 2355 Fax 02 4868 3257 The estate’s extensive facilities include an à la carte restaurant, cocktail bar, swimming, tennis, cycling, volley ball, gym and walks through the glorious old gardens. A round of golf at the adjoining Mount Broughton Golf and Country Club can be arranged.


BestRegional Attraction*

over 45 Antique Dealers plus a coffee shop all under the one roof!



OPEN EVERY DAY 10.00AM TO 5.00PM 85-87 M AIN S TREET • M ITTAGONG T ELEPHONE 02 4872 3198 • FACSIMILE 02 4872 3216 porcelain • fine arts • furniture • silver • books • & more






Everything from antique furniture, jewellery, memorabilia & other paraphernalia. Housed in the Historic Old Post Office in Wingen, on the New England Highway about 20 minutes north of Scone



MITTAGONG Rowdy the Labrador. Not for sale

Rowdy the Labrador was ours! Some things are just meant to be. Rod packed the van in record time and we drove the remaining 160 kilometres on the sweet smell of success.


Original shop displays, c. 1920s, l: figure promoting Radiotronics, h: 40 cm; r: figure promoting General Electric Radio, h: 45 cm

Classic c. 1940s motorcycle made by French firm New Map (1925-1950s)

Hunting and collecting in southeast Australia



ith glee we placed our signage on the shop door – ‘Hunters and Collectors Antiques will be closed until 1st March’ – and set off on the road for a few weeks of driving and buying. Being on the road is a dream for us, both the thrill of the chase and to have a break from retail. Lots of private calls had already been set up before we left to make our trip more interesting and hopefully fruitful. Our first buys were fantastic and only 20 km from our shop! One of our purchases was a coffin carrying cart and immediately I had visions of buying a coffin, etc. Our first overnight stay is usually in Hay and on this leg of our journey there is not much to buy. Our next day of driving took us through more of the Hay plain and saltbush panorama with many crows circling the Sturt Highway waiting for carrion, which unfortunately is rife in this area. The Sturt Highway is a black ribbon snaking along the very flat plains with barely another

vehicle in site. One can travel for hours along here without encountering human life – it seemed a long time between towns. Our journey was kept amusing by the number of ‘kangaroo’ signs along the highway indicating that there are many of them in the area. Many of these signs had rather large testicles skilfully drawn onto them. I actually thought that this just meant that they were very large kangaroos. However, Rod informed me that this was not the case.

SOUTH AUSTRALIA At last into South Australia, but not before a fabulous meal in Mildura. There is no doubt that we like to travel on our stomachs and driving and shopping for stock is always more pleasurable on a full stomach. After passing underneath the Dunlop sign and the fruit checkpoint the only way of telling that we had crossed the border was by the South Australian line markings which are always freshly painted and very white. Eventually we arrived in the beautiful Barossa Valley where much to our disappointment

HUNTERS & COLLECTORS ANTIQUES Trading in Antiques & Collectables from the 18th, 19th & early 20th century With special interest in Australiana, antique firearms, advertising paraphernalia, daggers, bronzes, boxes, ivory, whaling items, maritime, taxidermy, Whitby jet, vintage clothing & classic labels, leather gloves & vintage sunglasses.

Original plaster shop display Ballarat Bertie, c. 1930s, h: 56 cm

Advertising wall clock made by Baird Clock Co USA, 1890s, 8-day movement, h: 7 8cm

Taxidermy of Indian Bengal tiger's head, c. 1940s, mounted on mahogany shield

Emile Galle´ art glass vase, c. 1900, h: 13 cm

All things interesting & unusual 8 Bowral Road, Mittagong NSW 2575 (80 minutes south of Sydney)

Tel: (02) 4872 1661 or 0414 449 366 Open 7 days 10 am to 5 pm

Rod Cauchi & Kathy Kasz 92

Iconic Australian fairground laughing clowns, 1960s, h: 77 cm


many of the shops had also closed for the entire month of February. Despite this we still managed to buy a couple of things so were feeling pretty pleased with ourselves by the time we arrived in Adelaide proper. Our next day was spent meeting one of our South Australian contacts who always has interesting bits for us to buy. After much friendly chatter and enjoyable negotiating, I happened to mention our funeral cart. Lo and behold our contact had only just seen a fabulous Victorian copper coffin, all complete and probably never used. Was it for sale? Have to leave this one for a while as these things just can’t be hurried along, next trip perhaps. The following day was partly spent chasing some private calls. One of these was for a taxidermy zebra shoulder mount. Both Rod and I like old and good quality taxidermy, so we were looking forward to this call. However, at this nondescript house we were stunned to see skins of all descriptions on the floors and walls; shoulder mounts and floor mounts filled the rooms. All these animals had been shot and taxidermied by the owner who was looking very proud of himself. We never purchase any recent taxidermy, and particularly from someone who has done the hunting. It is one thing to see old taxidermy in an ancient baronial castle, quite another to see so much in a small suburban house. We beat a hasty retreat. This incident left a sour taste in our mouth. Our next call was also unsuccessful, but at least the item was an antique. The rest of the day was spent checking the last few remaining shops, catching up with local dealers and repacking the van so that we could fit even more in. The next morning we left Adelaide heading to one of our favourite places in South Australia – Strathalbyn, a lovely town with lots of antique shops where we caught up with our antique dealer friends. Then it was time to head off down the Princes Highway to Mt Gambier. One could be forgiven for thinking that the earth is flat when driving this road, as well as devoid of human life, as there are kilometres of nothing until Wellington to catch the punt across the river. I love this area and while waiting for the punt you have plenty of time to explore the gaol which sits forlornly on the river bank. It is a delightful spot, although I am not sure the convicts would have thought so in the dead of winter! The punt takes about one minute to cross to the other side and then it was on the road again for more of the same landscape dotted with saltbush and empty salt pans. The road hugs the coast along the Young husband Peninsula (how did it get such a name?) and passes through the odd seaside town. One of our favourite shops is here and to our dismay it was closed. Naturally we peered through the shop windows and spied a fibreglass Labrador dog originally a charity fundraiser for guide dogs. We had been searching for one of these for quite some time for our shop so that visitors can donate a gold coin to our local animal shelter. Luckily the phone number was on the shop window and as the owners knew us from previous trips they were happy to come down and reopen the shop, but we were told that the dog was not for sale. My instructions to Rod were ‘We are not leaving this shop without that dog!’ Naturally he agreed. How we wanted that dog! We purchased some items and chatted away, but were not getting anywhere concerning the dog. Eventually, after much discussion, and negotiation, and substantial financial inducement,

Travelling to Mt Gambier, the next day we crossed over the border into Victoria. Here the kangaroo signs are peppered with bullet holes and there are lots of kangaroos to be seen by the side of the highway. Luckily, they were all alive and kicking. We always stop in Port Fairy, one of my favourite places. There used to be lots of antique shops here, but now only one remains so it was good to catch up. In the 20 years I have been coming to Port Fairy I have never seen a fairy penguin! I love the Georgian bluestone fishermen’s cottages which are dotted throughout Port Fairy as well as some magnificent sea captains’ grand homes. Hardly anything to buy but we have lots of calls in Geelong, and how successful we were! We had a great time and as usual it was a treat to swap stories with dealers who have been trading for as long as we have. After a fun day we hightailed it to Melbourne. There are still lots of antique and second hand shops in Melbourne so we were kept pretty busy although not a great deal to buy. However, we still had Mornington Peninsula ahead. Again, we were not too successful so we were glad to leave early the next morning for Ballarat, a drive in torrential rain and a pea soup of a fog. Here I was approached by a fellow wearing a kilt with long dreadlocks and immediately Braveheart minus the blue face paint came to mind. He decided to tell me that antique shops would sell so much more if nothing had a price on it. We beat a hasty retreat with much mirth, leaving the poor antique shop owner to deal with another bright idea from the general public. It never ceases to amaze me the number of people who feel it is their right to tell us how to run our business. A guy once came into our shop and told me ‘I always wanted to be an antique dealer. You just sit in your shop all day reading the paper and then someone comes in and buys something.’ Taking a deep breath, I told him in no uncertain terms the reality of our industry. He beat a hasty retreat, never to be seen again (luckily). After Ballarat we headed off towards Bendigo. Driving through Newlyn we were reminded of our purchase years ago at an antique shop there. When we went to pay, there was the most enormous huntsman spider perched on top of the Eftpos terminal. Of course none of us were game to go near it and in the end we paid with cash, leaving amid peals of laughter. Later in the day we came across an antique fair in a paddock in Maldon. Naturally we stopped and had an enjoyable time buying some interesting pieces despite the 30 degree heat and burning sun. We went back the next morning to do it all over again, fondly recalling all the fairs we did in the UK, although this was one-fiftieth of the size. It was then a drive through Bendigo and past many cute Victorian towns that all used to have antique shops but now sadly no longer do so. Only Elmore near Shepparton still has a couple of shops – there used to be quite a few. A night in Albury and then back to our shop in Mittagong, and the mammoth task of preparing our stock for shop worthiness. So in the space of two weeks we had driven a mind boggling 4,000 kilometres through every type of weather, checked out at least 60 shops, 14 antique centres, several local markets and made a couple of dozen private calls. So if you think we have had a lovely break from retail you would be correct, but if you think we had a lovely rest then you would be very wrong. The only way an antique dealer can have a restful holiday is to go to a desert island. However, we would not change our lifestyle for anything as we love what we do. Rod is reopening our shop now and as I haven’t had enough travelling or buying, I am heading to Paris and London to meet my daughters. Cannot wait to start antique shopping the minute I arrive. Katherine Kasz HUNTERS AND COLLECTORS ANTIQUES 02 4872 1661


Stories from the past: memories of Australian country dealers Part II: Odour or perfume? Smells: it’s all in the perception


njoy these stories told to me as I was growing up, about antique dealing in the 1960s in country Australia. I hope that similar characters still exists today and that these adventures and finds can be still made... obviously names and places have been changed.

THE STORY SO FAR At the request of the owner Theo visited a rundown cottage where in the kitchen he found a huge cedar chest of drawers, a dead pig in the middle of the room, and a few kitchen furniture items. The smell was so overpowering that the visit was brief. Theo drove back to the main homestead to give his verdict. The owner, Mr Rosebay ambled out onto the veranda and listened patiently as Theo listed what he would take and what financial remuneration he would make in return. A nod and a word of thanks was all it took. They carted the furniture out into the yard and loaded it onto the back of the ute. Theo was determined not to have to venture out to the property for a second load. As the last chair was strapped on and the heat and smell of the pig enveloped them they climbed back into the ute and drove to the civilisation of the main road. As the furniture was unloaded in the rear lane behind the workshop Lucy wandered out to meet Theo. As she came closer her eyes squinted at the smell that had followed the ute all the way into Wagga. The whole load had absorbed the smell of the pig from the chest of drawers. Away from the immediate vicinity of the cottage, Theo realised just how bad the smell was.

The pieces were left in the yard so the coming storm might wash away some of the smell. The rain did wash off the years of grime, so once the furniture was sanded and waxed, it sold quickly in the shop.

A STUNNING INTERPRETATION The chest of drawers was a different matter altogether. Caustic soda, sugar soap, cloves and wax could not diminish the smell of the rotting pig. To look at the gleaming timber and graceful lines of the chest one couldn’t help but admire the craftsmanship of the cabinet maker. But the drawers emitted the same powerful smell albeit a little disguised by the dozens of cloves that had lain in the drawers for weeks. Finally the chest was placed in the shop, decorated simply with a vase of geraniums. The bell above the door rang and in walked Mrs Smith of a famous Wagga family. The family matriarch, she always dressed in silk stockings and short white gloves, even in the sweltering heat of a 1960s summer. This lady’s standards were high and the word compromise was not in her vocabulary. Her custom was eagerly sought by merchants of Wagga, but they had to live up to her standards. Theo had had dealings with Mrs Smith before, delivering pieces to her vast homestead and being asked to carry them from one room to the next as she decided the most suitable spot for the item. Invariably deliveries to her took half a day, at least. On this day she was immediately drawn to the chest of drawers and enquired as to the price, for Theo had not yet had time to write the ticket.

‘Well, that chest has just come in,’ muttered Theo under his breath, as he rapidly did the sums in his head and wondered how he would explain the particular odour surrounding it. ‘Oh it’s beautiful. It would be a wonderful wedding present for Angus (her eldest son) and Julia.’ She opened one of the top drawers and inhaled deeply, ‘I just love the smell of old furniture. Don’t you?’ Theo scheduled the chest’s delivery for late January after the Wagga society wedding between Angus and his beautiful bride. The chest of drawers stood pride of place in the newlywed’s bedroom where it was much admired, from its lustrous cedar colour right down to its ‘old furniture’ smell. Jane Crowley DIRTY JANES EMPORIUM & ANTIQUE MARKET 02 4861 3231

To look at the gleaming timber and graceful lines of the chest one couldn’t help but admire the craftsmanship of the cabinetmaker.

Episode I appeared in Antiques & Art in NSW, summer 2011-2012.



Bernardo Bellotto, Ruins of the Forum, Rome, c. 1743, oil on canvas. Claude Lorrain, Capriccio with ruins of the Roman Forum, c. 1634, oil on canvas. Gift of the Art National Gallery of Victoria Melbourne. Felton Bequest 1919 Gallery of South Australia Foundation assisted by the State Bank of South Australia on the occasion of the 150th Anniversary of South Australia, 1985 Art Gallery of South Australia, Adelaide

Exclusively at Geelong Gallery In search of the picturesque – the architectural ruin in art Showing until 24 June


rom the Renaissance to the present, artists working in a variety of media have drawn inspiration from the romantic and evocative aspects of ancient architectural ruins. This interest is explored in the Geelong Gallery exhibition In search of the picturesque – the architectural ruin in art through paintings, decorative arts and works on paper sourced from collections around Australia. The exhibition’s scope is comprehensive: works by Italian, French, Dutch and English artists from the 17th to 19th centuries sit alongside those of Australians such as Lionel Lindsay, William Blamire Young, Victor Cobb, Russell Drysdale and Margaret Olley. The exhibition’s guest curator, Dr Colin Holden, notes that for many of the artists represented in the exhibition, the European Renaissance of the 15th and 16th centuries was a crucial prelude. It saw the excavation of antiquities and a renewed interest in Greek and Roman architecture and sculpture. By the end of the 16th century, a new direction had emerged for treating ruins in art in which the

dominant considerations were the artist’s imagination, and the registering of a mood, rather than a documentary focus. Across the 18th century, the enjoyment of ruins was maintained by the Grand Tour, the cultural and educational travel undertaken by the aristocracy and gentry from all over Europe. For grand tourists seeking ruins, until the mid-18th century, Rome was their ultimate destination. Greek and Middle Eastern sites then gradually became accessible. Of all Roman ruins, the single most frequently represented building is the socalled Temple of the Sibyl at Tivoli, outside Rome. Giovanni Battista Piranesi’s masterly etchings of the temple all exaggerate the grandeur and scale of the subject. The peak of imaginative art inspired by ruins in the 17th century was reached in the work of Frenchborn Claude Lorrain, who spent most of his working life in Italy. In one of his early works, Capriccio with ruins of the Roman Forum, purely imaginary ruins of a circular temple are added to buildings in the Forum, along with elements from another site in Rome. By comparison, Bernardo Bellotto’s Ruins of the

Forum, Rome is almost documentary; radiant light gives an impressive dignity to its subject, under inspection by a group of Grand Tourists. For artists and viewers alike, ruins were not neutral, but laden with meaning. They often symbolised the folly of human ambition. Salvator Rosa and Benedetto Castiglione place the philosophers Democritus and Diogenes amid ruins as they contemplate human weakness. Castiglione’s Circe seems to question the effectiveness of her magic powers, and the setting reinforces her questioning. Ruins could also symbolise the greatness of the past, particularly for Piranesi in his Vedute di Roma. In Callot’s Martyrdom of St Sebastian or Castiglione’s The raising of Lazarus, ruins could symbolise the older religions and civilisations that Christianity would replace. By the beginning of the 19th century, a nostalgic sympathy for the Middle Ages had emerged in northern Europe, expressed in both literature and the visual arts. In River Wye, JMW Turner pays tribute to Claude Lorrain in the overall pastoral mood and in the glowing light that highlights Chepstow Castle.

A pastoral atmosphere likewise permeated many works in watercolour and ink that were created at the same time. The fascination for the gothic is reflected in a number of Australian images, such as Norma Bull’s etching of ruins at Port Arthur, and Victor Cobb’s Gothic windows, ruined shrine, Ivanhoe showing a kind of folly built from remains of a forerunner to the presentday St Patrick’s Cathedral. More often it was modest-scale deserted rural buildings that provided the subject matter for Australian artists. In Sydney Long’s The deserted selection or Lionel Lindsay’s The dilapidated barn, Kurrajong, the mood is basically a melancholy one. Blamire Young’s Rat’s Castle, Hobart captures something more disturbing: a strong sense of waste and dereliction, even if it is very much the product of the artist’s imagination (Young knew it only from a photograph). Other Australian images resonate with symbolism common to many European images. A bookplate by Raymond McGrath, showing the artist sitting on a classical fragment while playing on panpipes, suggests the fragility of youth and beauty in the face of age and the march of time. Hill End, a once flourishing centre during the gold rush in the Bathurst region in the 1860s, attracted several artists after World War II. Though its buildings were comparatively recent, Russell Drysdale imbued them with a sense of age and grandeur. For Drysdale, Margaret Olley and others who travelled there, the attraction could be summed up in a phrase attributed to Piranesi: these were ‘speaking ruins.’ Even in this much younger culture, the pleasure of ruins could inspire artists to some of their best work. This essay draws extensively from the curatorial research of Dr Colin Holden.

GEELONG GALLERY 03 5229 3645

Victor Cobb, Gothic windows, ruined shrine, Ivanhoe (since demolished), 1926, etching. Private collection, Melbourne


Russell Drysdale, Hill End, 1948, oil on composition board. Geelong Gallery, Victoria JH McPhillimy and HP Douglass Bequest Funds, 1952 © Estate of Russell Drysdale


Sponsored by the William Angliss (Victoria) Charitable Fund. Indemnification for this exhibition is provided by the Victorian Government.


Introducing String Antiques with a domestic inspiration


he Longbarn is pleased to announce the opening of String in the main street of the heritage town of Braidwood this August, giving customers and lovers of our style and ‘look’ another beautiful shop to explore when visiting. The philosophy behind String is all about respecting and savouring the use of natural fibres and the handiwork of the past and bringing them into our everyday lives. The idea for String has been developing for some time and has primarily grown out of a love for old utilitarian textiles. We have been hunting and gathering old European linen, flax and hemp including tea towels and grain sacks as well as ‘woman’s work’ from times past. We have re-worked old textiles into beautiful unique pieces for the home, such as huge 150 year old hemp and linen grain sack cushions and bolsters; there are accessories such as handmade one-off bags and some wearables. String opens in the well-known old bank building on the western side in the middle of the main street known as The Altenbourgh. You are welcome to browse the studio workroom full of ongoing projects and an interesting collection of materials. As much as anything else, String is a reaction against mass produced home wears and plastic.

Our collection of beautiful, solid antique furniture and unique mix of objects is really recycling and up-cycling at its refined best.

AT LONGBARN The Longbarn continues to house a great selection of antique Provencal, industrial, garden and architectural pieces. Currently in stock are work benches, kitchen islands, armoires, settles, chairs, tables and garden pieces in Longbarn’s beautiful surroundings at the historic home of Tidmarsh. Operating hours Longbarn is open Thursday through to Monday, and on public holidays from 10 am to 5 pm. This year Longbarn is closed June and July whilst we are in France.

LONGBARN IN SYDNEY Visit Longbarn in the city, open 7 days a week for our large selection in the Sydney Antique Centre on South Dowling Street, Sydney. Look for us right in front of you, at the bottom of the stairs where the theme continues with versatile, interesting and unique pieces. The trilogy of Longbarn, String and the Sydney Antique Centre is worth checking out at Spring 2012 will be a great time to visit Braidwood with our new shop and lots of new stock.

THE LONGBARN 02 4842 2784



Daniel Walbidi

Sally Gabori (Mirdidingkingathi Juwarnda)

Tall Man, 2010

National Indigenous Art Triennial CELEBRATING CONTEMPORARY INDIGENOUS ARTS unDisclosed: 2nd National Indigenous Art Triennial 11 May – 22 July 2012 at National Gallery of Australia


hen established in 2007, the National Indigenous Art Triennial at the National Gallery of Australia had two distinct priorities. First, the triennial would showcase the very best contemporary Aboriginal and Torres Strait Islander art from across the continent. Second, it would provide an opportunity for an Aboriginal or Torres Strait Islander curator to take the helm and to determine the focus and content of the exhibition, selecting artists who are working at the highest level within their art practice. In this way, the voice and statement of the triennial would be strategically Indigenous. The inaugural National Indigenous Art Triennial, Cultural Warriors, curated by then senior curator Brenda L Croft, invited 30 Aboriginal and Torres Strait Islander artists to participate. The artists originated from remote communities, regional centres and major cities, and the comprehensive exhibition was developed to coincide with the 40th anniversary of the 1967 Referendum, the fiftieth anniversary of NAIDOC (National Aboriginal and Islander Day Observance Committee) and the 25th anniversary of the National Gallery of Australia.

CURATOR Carly Lane In 2011, the National Gallery of Australia welcomed Carly Lane as curator of the 2nd National Indigenous Art Triennial. Lane is a Kalkadoon woman from north Queensland, although she has spent most of her professional career in Perth, Western Australia. She initially became interested in working in this sector because of a personal desire to be involved in preserving and facilitating access to Australia’s oldest continuing art practice and culture. As Lane embarked on her career, she discovered within herself a growing awareness and appreciation of the beauty, diversity and power of Indigenous art and its multiple expressions across time, medium and region. For Lane, her career allows her to truly celebrate, acknowledge and participate in

developing a greater understanding of the depth and complexity of Aboriginal and Torres Strait Islander art. Lane has worked as a research assistant, assistant curator and curator at several state and national institutions, including the Berndt Museum of Anthropology, University of Western Australia, National Museum of Australia, National Gallery of Australia and Art Gallery of Western Australia. Her career highlights include being the inaugural curator and judge for the Western Australian Indigenous Art Award in 2008 and preselector and judge for the 26th National Aboriginal and Torres Strait Islander Art Award in 2009. Lane is also currently a PhD candidate in Anthropology at the University of Western Australia. Her experience and knowledge now comes to bear on the second National Indigenous Art Triennial. Over 18 months, Lane travelled extensively across Australia, meeting and talking with artists, curators and institutions about what has been occurring in the Australian Indigenous arts sector in different parts of the country. This regionally focussed research provided Lane with a vital professional development opportunity and enabled important conversations with artists to occur.

ARTISTS Through this process and in consultation with curators at the National Gallery, Lane selected 20 Aboriginal and Torres Strait Islander artists who are working at the cutting edge of contemporary art: Vernon Ah Kee (Kuku Yalanji/Yidinji/Waanyi/Gugu Yimithirr, Qld), Tony Albert (Girramay, Qld), Bob Burruwal (Rembarrnga, NT), Lena Yarinkura (Rembarrnga/Kune, NT), Lorraine ConnellyNorthey (Waradgerie, Vic), Michael Cook (Bidjara, Qld), Nici Cumpston (Barkindji, SA), Fiona Foley (Badtjala, Qld), Gunybi Ganambarr (Datiwuy, NT), Julie Gough (Trawlwoolway, Vic), Lindsay Harris (Nyoongar, WA), Jonathan Jones (Wiradjuri/Kamilaroi, NSW),

Alick Tipoti (Kala Lagaw Ya)



Mirdidingkingathi Juwarnda (Sally Gabori) (Kayardild/Kaiadilt, Qld), Danie Mellor (Mamu/Ngagen/Ngajan, Qld), Naata Nungurrayi (Pintupi, WA), Maria Josette Orsto (Tiwi, NT), Christian Bumbarra Thompson (Bidjara, SA), Alick Tipoti (Kala Lagaw Ya, TSI, Qld), Daniel Walbidi (Mangala/Yulparija, WA) and Nyapanyapa Yunupingu (Gumatj, NT). These artists operate independently of each other and yet share many things in common. They engage in a discourse that is about Indigenous authorship. Sometimes these statements are blatant and obvious while others are subtle and sublime. Each one has their own methodology of communication, sometimes it is digital-based, sometimes organic and sometimes synthetic – it is, of course, a representation of the many manifestations of contemporary Aboriginal and Torres Strait Islander Art. The title for the second National Indigenous Art Triennial is unDisclosed and alludes to the way in which information is communicated by Aboriginal and Torres Strait Islander peoples and within Indigenous communities, particularly through art. Many elements in Indigenous art – whether it is the story, cultural knowledge or obligation to elements of design or representation – are inaccessible or not revealed to viewers for various reasons. However, it is the discourse about knowledge that reveals an important aspect about Indigenous art. That is, the power is given back to the artist, who has the right to inform the viewer as much or as little as desired. The artist is the one to decide what level of information or access is disclosed to the viewer.

MAJOR patron On 3 November 2011, the Gallery announced that Western Australian-based company Wesfarmers joined as the principal partner for the second National Indigenous Art Triennial. This relationship builds on the existing partnership between Wesfarmers and the Gallery for the Wesfarmers Arts Indigenous Fellowship, consolidating Wesfarmers as the major patron for Indigenous art and Indigenous professional development at the National Gallery. The Wesfarmers Arts Indigenous Fellowship comprises two programs. One offers ten Indigenous Australians the opportunity to participate in a ten-day arts leadership program every year. The other is offered every two years and gives two midcareer professionals the opportunity to undertake a focused project at the National Gallery of Australia over a two-year period. In 2010, Jirra Lulla Harvey and Glenn Iseger-Pilkington were the two successful

candidates to receive the inaugural Fellowships valued at $50,000. Jirra Lulla Harvey holds a media and communications degree and has experience as a journalist and arts writer. Her project is focused on the development of the Gallery’s Indigenous marketing strategy for the 2nd National Indigenous Art Triennial. Glenn Iseger-Pilkington holds a Bachelor of Arts (Visual Arts) and is currently employed as the Curator of Indigenous Art at the Art Gallery of Western Australia. His project involves the development of a digital-based interactive application specifically related to the triennial and designed for mobile devices. Both of these projects will provide the Gallery with a significant model that will be drawn upon and modified each triennial. The participants in the arts leadership program for 2012 will also be provided with the opportunity to experience the arts sector at a national level. They will forge a stronger network for the Wesfarmers Arts Indigenous Fellowship program, which will in turn strengthen the sector. The recipients this year are Ruby Alderton, Sharon Nampijimpa Anderson, Victoria Doble, Georgia Mokak, Suzanne Barron, Zena Cumpston, Vivian Warlapinn Kerinauia, Bradley Harkin, Jack Jans and Robert Appo.

NGA’s commitment The Gallery’s commitment to the Aboriginal and Torres Strait Islander arts sector and the development of Indigenous workers in this country is unparalleled. The vision, leadership and dedication to these important areas are evident in both the National Indigenous Art Triennial and Wesfarmers Arts Indigenous Fellowship. These valuable projects and other initiatives of the National Gallery of Australia will continue to impact positively on the future of Indigenous art in Australia. When the 2nd National Indigenous Art Triennial opens in May 2012, it showcases not only the art of 20 contemporary Aboriginal and Torres Strait Islander artists, but also the curatorial rigour of Carly Lane and the strategic projects of Glenn IsegerPilkington and Jirra Lulla Harvey. Franchesca Cubillo Senior Curator, Aboriginal and Torres Strait Islander Art NATIONAL GALLERY OF AUSTRALIA 02 6240 6411

This article was first published in Artonview, no 68, National Gallery of Australia, Canberra, 2011




Carol Jerrems in front of wall with Australian Centre for Photography exhibition posters, 1974. National Gallery of Australia. Gift of Mrs Joy Jerrems 1981

Carol Jerrems, Living in the 70s (Red Symons), 1975, gelatin silver photograph. National Gallery of Australia. Gift of Mrs Joy Jerrems 1981

CAROL JERREMS at the National Gallery of Australia


n 1970 Carol Jerrems saw the Sydney production of Hair: the American tribal love rock musical. Then in her final year of photographic art studies at Prahran Technical School in Melbourne, she presented a spiraxbound booklet of images from the Sydney production as part of a school assignment. It was labelled with her distinctive san-serif stamp ‘carol jerrems / photographic artist’ and no doubt helped win her an award that year from the Institute of Australian Photographers. For even as a student Jerrems had a powerful sense of her identity as a photomedia artist. Her work attracted other awards and attention; she was clearly marked as a talent and went on by 1975 to have her work exhibited, published, collected and celebrated by a new wave of popular and official acceptance in the early 1970s of photography as an art in step with contemporary art and life. After Jerrems premature death in 1980 her Hair booklet – so much a part of the energy of the times encapsulated in the musical – was gifted to the National Gallery of Australia by her mother Joy Jerrems. The Hair booklet and a group of other works from her student years not seen since graduation will be on view in the retrospective, Carol Jerrems: Photographic Artists 1968-78 which opens at the National Gallery of Australia on 25 August.

Carol Jerrems, Hair performers on stage, Metro Theatre Sydney, 1970, gelatin silver photograph. National Gallery of Australia. Gift of Mrs Joy Jerrems 1981


Hair had been conceived in 1966 by two American actors by James Rado (James Radomski) and Gerome Ragni, as a new style musical reflecting the Hippie counter culture energy on the streets of the East Village in New York and Haight Ashbury district in San Francisco. The plot follows the adventures of a Vietnam War draftee from Kansas who is befriended by a tribe of hippies while on his way to the army induction centre in New York. The musical promoted the Hippies anti-war and peace movement activism, drug experimentation, sexual and personal liberation. The first Australian production of Hair opened at the Metro Theatre in Kings Cross in June 1969. The local show was produced by Harry M Miller with the young Jim Sharman as Director and included an experimental film by Albie Thomas for the anti-war sequence, and lighting by the UBU collective of which he was a member. A few months later in May 1970, the death of a number of Kent State University students protesting the escalation of the Vietnam War into Cambodia who were shot by their own local Ohio National Guardsmen, ensured the Broadway and international productions of Hair remained linked to these tragic events. The Australian production was mostly drawn from locals, not all seasoned performers

although professional actor-singers John Waters and Reg Livermore became household names. The cast also had imported AfricanAmericans including the teenage Marcia Hines from Boston. Reg Livermore on his website calls Hair ‘the show that set me free’ recalling how after initial scepticism that ‘once I saw it I knew that was where I wanted to belong, that there had to a place for me on that stage; I had to get into it, some way somehow…’ Jerrems left no particular comment in her journals about the impact of Hair, although she had or soon after adopted an Afro hairdo instead of a shorn Mia Farrow cut. But the power of the show is alive in the little booklet today as much as when it startled and impressed her teachers at Prahran. As an early viewer this author can also attest that you didn’t need to be stoned – Livermore attests that it was as much a lifestyle for the cast as a musical – you came away believing it was the dawning of the Age of Aquarius! By 1970 when Jerrems was forging what would become her distinctive style she was drawing on the highly charged graphic arts of the sixties, Rock albums and jazz photography, new wave European films, and the wide-angle 35mm reflex cameras that enabled startling close-ups and blurred backdrops or vice versa. She went for energy and grain rather than the decisive frozen moments of older style magazine photojournalists. Carol was not by any means the first to reflect the sixties ethos. Older experienced photojournalist David Moore (b. 1927) while not embracing the Hippie lifestyle in Sydney brought a new emotionalism, sensuality and sexuality and

Carol Jerrems, Vale Street, 1975. National Gallery of Australia. Gift of the Philip Morris Arts Grant 1982


Carol Jerrems, Peggy Solinsky and bird, 1968, gelatin silver photograph. National Gallery of Australia. Gift of Mrs Joy Jerrems 1981

Robert McFarlane, Young couple at ‘Happening’, Centennial Park, Sydney, 1969, gelatin silver photograph. National Gallery of Australia

dynamic to his image-making in the 1970s, while younger photojournalist Robert McFarlane (b. 1942) was consciously recording the sweet optimism of counter-culture youth. Some of the new generation of personaldocumentary photographers sought a new freedom from commissioned photoessays in the 1970s – like Jerrems slightly older contemporary friend Roger Scott (b. 1944) who took a more acerbic look at the Australians old and young. Photojournalists Wesley Stacey (b. 1941) and Rennie Ellis (b. 1940) embraced the wilder lifestyles of the era with their 1971 book on Kings Cross which recorded six months at the end of 1970 and early 1971 in the R&R watering hole of choice for American soldiers serving in Vietnam. Carol Jerrems was one of the first women photographers to have her works collected by Australian art museums and public collections. Her work, both in her own time and to the present, has commanded respect and attention among a rich history of Australian photographers who saw the medium as both personal and political, and uniquely geared to the liberation and zeitgeist of their own post-WWII generation. The forthcoming Jerrems exhibition presents the full spectrum of the prints which Jerrems signed and presented as her best work from 1967 to 78 as held in the Jerrems archive at the National Gallery of Australia. Gael Newton Senior Curator of Photography NATIONAL GALLERY OF AUSTRALIA 02 6240 6411


photographic artist 1968–1978






Marking 25 years in Canberra


T antique jewellery glass ◆ porcelain ◆ silver furniture & collectables Established in 1971 - Member of AAADA

26 Allowrie Street Jamberoo NSW 2533 9 km from Kiama Tel: 02 4236 0389




he tradition of holding the ACT antique fairs at Canberra’s historic Albert Hall continues. Being held 17 to 19 August, this perennially popular event never fails collectors looking for quality and interesting pieces. Presented by the Rotary Club of Canberra City, the fair is a wonderful excuse to leave the winter blues at home and venture to Australia’s capital city for a weekend of treasure hunting. Seasoned collectors, both local and interstate, are well known at the fair coming to source those hard to find pieces. Adding to the lure is the old-world charm of delicious home-made cakes and slices served with morning or afternoon tea in the hall’s Supper Room. This year’s Springtime fair will feature 23 specialist antique dealers offering a wide range of collecting options from furniture to jewellery to collectables. Amongst the stock on offer will be miniature ivory netsuke, Estate, Victorian and Edwardian period jewellery, imposing mahogany chiffoniers and for the hallway or to add charm to a room – chiming grandfather clocks. The Rotary Club has a very strict rule regarding labelling and pieces offered for sale. Reproductions or new merchandise are not allowed and all items must be accurately described. Purchasers are advised if restoration work has been carried out on a piece of interest. Together, the organiser, the Rotary Club of Canberra City and the participating dealers,

are very proud of the standard set at the fairs and the contribution to the community via the proceeds raised. The revenue generated will this year be given to Pegasus Riding for the Disabled to help the organisation continue its unique rehabilitation programs. The gala opening night will be Friday 17 August from 6 pm to 9 pm. The fair continues over the weekend opening 10 am to 5.30 pm on Saturday 18 August and opening 10am closing 4 pm on Sunday 19 August. Entry is $7 ($5 concession), children aged 14 and under are free. Wheelchair access is available. To find out more contact Les Selkirk ROTARY CLUB OF CANBERRA CITY 02 6231 5244 / 0418 631 445


6 pm - 9 pm 10 am - 5.30 pm 10 am - 4 pm

Presented by Rotary Club of Canberra City Admission $7 Concession $5 (children under 14 years admitted free)

Established Genuine Antiques and Collectables Fair Enquiries: 02 6231 5244 or 0418 631 445 R E F R E S H M E N T S AVA I L A B L E The Rotary Club of Canberra City will provide financial support to enable Pegusus Riding School to fund programs allowing those with disabilities to enjoy horse riding

Wheelchair access is available Sponsors of the Fair include WIN TV, Chioce Liquor (Phillip) and CosmoreX Coffee 100



Looking for that elusive item or gift? You may well find it at The Hall Attic, an eclectic range of antiques, collectables, old wares and craft. Located in the delightful village of Hall, ACT, take a browse through The Attic and then enjoy a Devonshire Tea at the local coffee shop. We are always interested in buying antiques and old wares. We also sell on consignment Tim & Glenda Bloomfield 6 Victoria St Hall ACT 2618 Tel 02 6230 9377, Mob 0418 162 830 0pen weekends and public holidays 11am - 4pm


ANTIQUES & RESTORATIONS Offering personalised service and sales Specialising in Georgian, Victorian and Edwardian mahogany and walnut furniture Small silver items, both sterling and plate Selkirk Antiques have selected pieces of Doulton, (including Flambé), Shelley & Moorcroft Ceramics Furniture restoration service available 29 Summerland Circuit, Kambah ACT 2902

02 6231 5244 Fax 02 6231 3656 Mobile 0418 631 445


THE FORREST HOTEL and Apartments


he Forrest Hotel and Apartments is located in the heart of Canberra within the parliamentary triangle and is the closest hotel to Parliament House. The Forrest Hotel overlooks beautiful parkland with views right up to Parliament House. There is a rich political history in the Forrest Hotel and Apartments, with at least five different politicians as former owners! Forrest Hotel and Apartments is within a tranquil setting of old oaks and parkland, giving vistas that change with the season from the Sherwood Restaurant, our Conference Room and hotel suites. Cosmopolitan Manuka Village is minutes from Forrest Hotel, a social and shopping hub with many cafés, shopping boutiques, cinemas and fascinating mix of people. The ItaloAustralian Club, located behind the Forrest Hotel and Apartments, welcomes every Forrest guest to be a temporary member, providing a special cultural experience during your stay in the national capital. Perhaps your schedule can include a game of AFL or rugby at the Manuka Oval. The choice of accommodation styles at The Forrest is our way to help you customise your stay. With a mixture of 76 hotel rooms and 40 apartments, guests can choose a standard hotel room, a hotel suite or a family hotel suite with a kitchenette. You can select a one or two-bedroom apartment (fully serviced). Every room has broadband and free car parking. Conference facilities are flexible. The fully equipped Nottingham Conference room seats 35-40 people when set up boardroom-style, or seats 80 people in a theatre layout. We offer tailored packages for business, trade and private functions to meet your goals and needs.

Chef Craig Mclaren oversees delicious à la carte cuisine in our licensed Sherwood Restaurant. His very contemporary Australian cuisine is presented stunningly in the hotel’s restaurant and bar overlooking the parklands. If you are planning a trip to Canberra, stay at the Forrest Hotel and Apartments for convenience, quality and value, as a centrally located base for your visit to the wonders of the national capital. If planning to explore by foot, bike hire is available through our reception. Please contact the Forrest Hotel and Apartments to book your superb art lovers’ package. We include overnight accommodation, full hot buffet breakfast for two people, one bottle of wine per room. For guests’ convenience, tickets to the NGA Renaissance exhibition are available at the Forrest Hotel Reception. FORREST HOTEL 02 6203 4300



Chinese great steelyard arm clepsydra of Keng Husn and Yuwn K’ai

Waterclock by Ctesibius of Alexandria (fl. 285-222 BCE)



he term ‘horology’ stems from two Greek words, hora, which means time, and logos, which means word or telling. The modern dictionary defines horology as being the ‘science of time.’ Where does one start on understanding time? A good starting point would be when man began to record time. Two famous Greek philosophers in the 6th century BC defined time as follows. Pythagoras (c.582-c.507 BCE) stated that ‘time is the procreation element of the universe’ whereas Parmenides argued, ‘Time does not pertain to anything that is truly real.’ So our time base is the result of a Greek modification of an Egyptian practice combined with Babylonian numerical procedures. Sound confusing? Let us start at the beginning. Many thousands of years ago time was recorded as one day at a time. Time was ‘day to night’, ‘hungry or full’. Then, as man developed and understood the environment better, time started to be recorded by more accurate means. Days would have been added together to the time frame of the moon, then the moon to the seasons and so a general structure started to develop. Clearly, time became less haphazard as man began to develop the ability to predict the seasons. Suddenly, they knew when it was time to plant crops or harvest the grains and they had a better knowledge of how long they could store their food. Dawn was chosen by the Egyptians to represent the start of a new day, whereas the

Babylonians, Hebrews and later Muslims chose sunset. The Romans chose sunrise to mark the start of a new day but later midnight was chosen because of the variable length of the day. Most of Western Europe adopted sunrise as the start of the new day until the arrival of the mechanical clock in the 14th century. Astronomers like Ptolemy (c. 90-170 CE) chose midday as the start of the day and this stayed as the beginning of the astronomical new day until 1 January 1925 when, by international agreement, the astronomical day was made to coincide with the civil day. The first man-made solar, sun or shadow clock was from Egypt and dates from around 1500 BC. It was shaped like a T-square with marks on each side therefore giving no shadow at noon. This type of instrument, however, did not allow for changes in the seasons such as the longer and shorter days of summer to winter. The oldest surviving shadow clock (14791425 BCE) is missing the top of the T and without it is now similar in layout to the letter L. But it is an improved model as it takes into account the changing seasons. It has irregular marked intervals on its length, to compensate for a faster moving shadow, the further the sun moves from its zenith. The shadow clock was faced east before noon and west after. Star clocks were used as a night timing instrument. This incorporated a ‘merkhet’ which was basically a plumb line hung from an L shaped and marked holder. Through the merkhet astronomers could observe selected

Reconstruction of the Antikythera mechanism

Byzantine portable sundial calendar in brass c. 520 AD




Alabaster cast of an outflow clepsydra, Karnak Temple, 1415-1308 BCE

stars moving across the meridian (zenith) of the night sky. While doing this they discovered that certain stars crossed this meridian at a roughly even nature and at a certain point. In conjunction with this they used another instrument called a palm leaf (palm rib of the observer of the hours) which was basically a stick with markings that were roughly Y shaped with a slot at the top for sighting and setting the point for observations with the merkhet. The Egyptians were the first to set 365 days to the year, broken into three seasons of four months and then 12 months of 30 days and five additional days at the end of each year. They created a very good calendar and the Egyptians matched the day to the night by dividing the day into 12 intervals – 10 intervals for daylight and two extra for twilight. The Egyptians were also the first to use a water clock to measure the duration of night hours. Later, the Greeks called this device a‘clepsydra’. This basically required a tapered container to be marked into set parts to match the leakage of water that gave a time frame of water loss. The Egyptians also created the 24-hour pattern from the night stars. These were 12 ‘decans’ (each of the three divisions of a zodiacal sign) or diagonal star-clock calendars. These periods were carefully monitored by the priests who chose a new star every 10 days, creating 36 decans a year, three decans per month plus five days for the full year. The Babylonians left us with the first astronomical computations which were in a sexadecimal (60) system instead of our decimal system. These were taken up by Greek astronomers creating equal hours, breaking them into 60 firsts or minutes and each of these also into 60, creating seconds. The first sundial appeared in Greece in the 4th century BC. Scholars studied these instruments mathematically creating much greater accuracy for future generations. Their sundials were very robust and simplistic in their construction and were eventually adopted by the later early Christian communities and spread to Central and Western Europe. The Greeks were great philosophers and storytellers and by the 5th century BC were the first to record history in a chronological manner. For the first time in history the passage of time became more relevant, not only in the written form but in laws, contracts and expectations of the community.

Rome’s first sundial clock apparently was brought from Sicily in 263 BC. It was very inaccurate, as it was set from where it was made and, for example, 4 degrees latitude south gave incorrect time readings because of the angle of the sun. It was almost 100 years later before one was made appropriate to Rome’s latitude in 164 BC and within only six years Scipio Nasica set up a public clepsydra in Rome. Following this, clepsydras were installed in Roman law courts to formalise a time in law. It is reported that many wealthy members of the Roman population would pay the ‘clock’ watcher to slow down the clock so they would not be late for their day in court! By the time of Caesar, water clocks were used in the military camps to time the four night watches; evening, midnight, cock crow and morning. Around this time wealthy members of the upper class obtained private water clocks and special slaves were appointed to look after, read and announce the hours to their masters. This is the first time clocks became a significant status symbol. Even with improvements in these clocks, they still could not agree or keep equal rate of loss. This led the Roman writer Seneca to complain ‘that it was impossible to tell the exact hour, since it is easier for philosophers to agree than for clocks!’ When the Romans started using the Greek calendar, the months were equal of 30 days with 5 days of celebration. But the Romans were never as mathematically precise as the Greeks and after political manipulation and corruption the Roman calendar was always out by almost three months from the true solstice. This was the position when Julius Caesar introduced his calendar on 1st January 45 BCE. By the advice of the Greek astronomer Sosigenes, Caesar extended the previous year 46 BCE to 445 days to correct the anomaly of political power games where months had been shortened or lengthened at whim to prolong or shorten terms of office. Julius Caesar fixed the civil year at 365 and introduced the leap year of 366 every 4 years to compensate for the extra quarter day. He ordered January, March, May, July, September and November to have 31 days and all other months to have 30. The exception was February with 29 days except in leap years when it would have 30. Augustus interfered in 7 BCE and renamed Sextilus after himself and assigned the same


Roman Scaphe shadow clock of truncated form (hemicyclium). The gnomon was placed in its hole at the top parallel to earth, the hour read off indicated scale, c. 100 CE

number of days as the months before and after. He stole (or perhaps bought) the day off February (probably a poorer rich family represented the smallest month). To avoid having three months of 31 days, September and November were reduced to 30 and October increased to 31. Hence the calendar once again reverted to an illogical number of days in the months and has been copied throughout most of the world. Christianity originated from the world of the Roman Empire, so it was natural to start the Christian calendar on the Imperial Roman model that has continued more or less to this day. The Islamic world became the true successor of the former intellectual capital of the Hellenistic world – Alexandria. Alexandria had been a city of the Eastern Roman Empire, which outlived the Western Empire. Fortunately it was not over-run by barbarians and managed to keep intact much of the writings of the ancient worlds. Most Greek works were translated into Arabic by the end of the 9th century. The Muslim religion required mathematically educated people who could determine the astronomically defined times of prayer and the direction of Mecca. It is not surprising that many portable instruments for determining time were required, the chief instrument being the astrolabe. This instrument can be traced back to Ptolemy in the 2nd century CE and was the forerunner of the sextant. Some of these became elaborate double-sided instruments and later mechanical devices. Still the principal clock mechanism was the water clock, with added features giving sunrise, sunset indicators, month, moon and a celestial layout. Many of the ancient water clocks were instruments of incredible complexity as many were constructed to indicate the hour which varied from the sunrise starting point during the year. This required a complex in-built means of changing the starting and setting points. Although there were no mechanical clocks in antiquity mechanical advances were made for devices to reproduce the movement of the heavenly bodies. One remarkable Hellenistic geared mechanism that has survived was discovered in 1900, in the wreck of a Greek ship near Antikythera, off the south coast of Greece. In 1974 D.J. de Solla Price reported on the results of x-rays and gamma rays of the corroded remains of this bronze mechanism. He concluded that it was a calendrical computing device, determining the positions of the sun and moon in the zodiac and involved a series of wheels and fixed gear ratios for working out the metonic cycle in which 19 years correspond to 235 Lunar months. This was possibly the closest to a mechanical clock found in antiquity.

Cleopatra’s Needle once stood at the Temple at Heliopolis where its shadow kept the hour

But in 1983 four fragments of a geared instrument of early Byzantine origin possibly made around the reign of Justinian I (483565) were acquired by the British Museum. It has been possible to reconstruct the complete instrument, which was a brass sundial with a geared calendar that showed the approximate shape of the moon and its age in days and may also have shown its position and that of the sun in the zodiac. Two of the fragments have gears of 59 and 19 teeth and of ten and seven teeth. This instrument appears to be similar to an instrument described by the Persian scientist al-Bruin (973-1048). This would appear to be a direct practical link between the Greek and early Islamic times. In ancient China, time keeping was recorded using water clocks and sundials. The great steel yard arm clepsydra of Keng Husn and Yuan Kau (CE 610) seems to be the missing link between the normal in-flow or out-flow clepsydra and the one following. The steel yard arm or beam balance weighed water, along the beam was a container suspended by the controlling weight allowing the container to be lowered or raised acting as an in-flow and out-flow into a reservoir. The container was lowered into the water holder causing in-flow, filled to a certain point, then the clock observer would move the counter weight backwards raising the container, causing out-flow. This in effect was the first escapement, whereby the counter weight was moved as the escapement with the help of a human, in effect the weight could be changed in many positions allowing for the change in seasons. In China many astronomical devices had been made. Some of these had copied European lines, particularly with Greek science making its way from Alexandria, down through to India and then into China. An example is at this time there were three clans of Indian astronomers working in the capital. They manufactured a variety of astronomical instruments and clocks along these principles and also invented new ways of keeping the heavens synchronised for observations. Chang Sui (682-727), a Tantric Buddhist monk, known as I-Hsing with the help of a scholar named Liang Ling-Tsan explored the concept of self-running escapements. Liang Ling-Tsan is credited with developing a solution to the problem of elliptically mounted sighting tubes over the more common equatorial sighting system. Using these two systems together gave the astronomers the ability to make better observations and IHsing was able to develop a better calendar able to accurately predict eclipses, for example. The emperor Hsuan Tsung in 723 gave permission for the bronze casting of new

A drawn example of a Roman hemicycle and examples of Hemicyclium or Scaphe shadow clocks

astronomical instruments to be used by I-Hsung, Liang Ling-Tsan and other capable men. This was a water wheeled system and apparently is the first time in history that an escapement used scoops filled with water. As the water flowed in a trip system it advanced the scoops. The Chinese also used incense burners as a form of time keeping. These apparently burnt uniformly making them suitable. Some were single incense sticks and others were placed in a track system like a maze burning at certain intervals. I am not sure when they started using this form of time keeping but these were far more accurate than the candle clock being developed in Europe during this period. The candle clock was the next major invention in keeping time and is attributed to the Anglo-Saxon King Alfred (c. 849-899).

Byzantine portable sundial calendar in brass, c. 520 CE

According to his biography, Alfred the Great devoted eight hours to public duties, eight hours to studying, eating and sleeping with eight hours for worship. To apportion his time, he took 72 pennyweights of wax and made 12 candles each a foot long. Each burned for four hours or, an inch in 20 minutes. One of his chaplains, charged with the keeping of the candle, reported that they burned quicker in a draft. So the king devised a lantern (lanthorn) with frames of wood and sides of horn scraped thin enough to be translucent.

Michael Colman COLMAN ANTIQUE CLOCKS 03 9824 8244

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

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

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

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

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

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

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

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

Ph: 03 9824 8244 Fax: 03 9824 4230 Email: Website: Member of the Watch and Clock Makers of Australia (formerly HGA) and the BHI




Exhibition organised Exhibition orgaanised b byy Victoria tthe he V ic i toria and and Albert Albert Museum, M useum, London London aand nd tthe he Grimaldi Forum, Monaco G rimaldi F orum, M onaco Proudly owned Proudly owned aand nd operated o peraated by by the the City City of of Greater Bendigo with G reater B endigo w ith additional addi tional support support from from Arts Victoria A rts V iictoria

Exhibition E xhibition SSponsors ponsors


Media M edia Sponsors Sponsors

E xhibition Supporters Supporters Exhibition A par participant ticipantt of tthe he 2012 L’Oréal L’Oréal Melbourne Me lbourne Fashion Fashion Festival Cultural F esttival Cult ural Program P rogram




1. 2.









1. Victorian serpent collier, 18 ct yellow gold, cabochon garnets, pave set turquoise and seed pearls, concealed clasp. Sold $932

6. Louis XVI style chaise, c. 1860, painted cane frame set with cane webbing and down filled cushion supported on reeded and tapering legs, h: 88 x l: 318 x depth: 66 cm. Sold $1631

2. Vintage Omega Constellation ladies wristwatch, c. 1960s, 18 ct yellow gold, manual movement, case with claw set brilliant cut diamonds, cross hatched golden dial, woven bracelet, fold over clasp and concealed safety catch, l: 7 cm wt: 48.4 grams. Sold $1747

7. Victorian mourning jewellery photo locket bracelet, 9 ct yellow gold, fitted to reverse is a further glass insert for woven hair. Sold $1398

3. Art Nouveau sterling silver notebook pendant, h: 54 mm. Sold $128

8. William IV mahogany table, c. 1840, fitted with two drawers and two faux drawer fronts, stretcher base and reeded bun feet, h: 73 x l: 121x w: 65 cm. Sold $1398

4. Sapphire and diamond drop earrings, c. 1890s, set in 18 ct yellow and white gold; sapphire 1.50 ct. A.T.D.W. 2.65 ct. Sold $3728

9. 1962 220 SE Mercedes Benz Coupe Manual, DB-G50, 45,700 miles on odometer with black leather interior. Sold $12,815

5. Jadeite pendant, 18 ct white gold, 6 brilliant cut diamonds, totalling 0.10 ct, l: 3.7 cm. Sold $6757

10. Pair of 18th century Dutch Delft vases, h: 33 cm, of baluster form with moulded and painted cartouche panels, stamped with an underglaze blue leaf to the base. Sold $932

AUCTION SCHEDULE 2012 Fine and Decorative Arts Modern and Antique Jewellery Closing for entries Viewing

Sunday 17 June Monday 18 June Thursday 24 May Wed 13 - Sat 16 June

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

Sunday 29 July Monday 30 July Thursday 5 July Wed 25 - Sat 29 July


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

Sunday 9 September Monday10 September Thursday 16 August Wed 5 - Sat 9 September

HEAD OFFICE: 47 GLENFERRIE ROAD, MALVERN 3144 T: +61 3 9509 6788 F: +61 3 9509 3455 email:

Visit for details of all current lots




A specialist furniture manufacturer Churchill Chesterfield made in Australia


ased on Queensland’s Gold Coast, Churchill Chesterfields are leather chesterfield and bespoke furniture manufacturers.Proudly Australian made, the firm makes an extensive variety of designs. Choose from English reproduction traditional chesterfields, a range of Queen Anne wing chairs and recliner chairs. There are leather office/study swivel chairs, such as Captains, Admirals, Director’s, Gainsborough, Mountbatten’s, London swivel and larger wing swivels, also office/study or commercial compact chesterfield tub chairs, plus many more designs. All furniture is hand made by one of Britain’s most experienced craftsmen, using only the best possible resources available today to create everlasting masterpieces.

SPOILT for choice Our many ranges are all available in leather and fabric in a wide range of colours. We use original English antique rub off leathers plus the aged distressed pull up aniline and waxed aniline leather which are imported from the UK exclusive to us. The leather is fire resistant and is of the finest A grade hides. Imported from the UK are five leather ranges with a choice of over 70 different colours. If preferred, choose fabric or velvet upholstery. Perhaps you have a fabric already purchased – let us make it up in the style of your choice.

FRAMES and more Match your choice of fabric or leather with our selection of timber.Our frames are made of the finest European beech hardwood timber all from renewable forest plantations, the timber is the same used by 95% of UK chesterfield manufacturers. All frames come with a 10-year structural guarantee, are

dowelled glued and screwed. The looks include traditional mahogany; dark, medium, golden and light oak; walnut, plus many more.

used in its construction and for its beauty.

A MODERN chesterfield sofa Due to modern health and safety legislation, the old methods of producing a chesterfield sofa have changed. Our chesterfield sofas feature full flame retardant leather and foam fillings amongst many other modern refinements

ensuring the safety of you and your loved ones while retaining the original character of chesterfield furniture. CHURCHILL CHESTERFIELDS 07 5530 2648

OUR special chesterfields The chesterfields are made with sprung seats and hand-built sprung backs units, dispelling the myth that these designs are uncomfortable. Our designs, many not seen in the country before, are soft and luxurious, designed to suit a customer’s preference. For something different, there is the Art Deco range of plain unbuttoned chesterfields with mixed contrasting leather fabric combinations.

BELOW the surface The bespoke service is designed to addressa customer’s special requirement. This is a personal made to measure tailored manufacturing facility. The foams are standard fire resistant, are of the highest quality resilience, and carry a 10-year warranty.

WHERE & when the chesterfield was first introduced In England a chesterfield evokes an image of elegance and sophistication. This deep-buttoned sofa is synonymous with traditional English furniture design, its origin dating back to mid 18th century. In circa 1773 the fourth Earl of Chesterfield commissioned noted furniture designer Robert Adam to design a piece of furniture that would permit a gentleman to sit with the back straight and avoid what the Earl referred to as ‘odd motions, strange postures and ungenteel carriage.’ In our opinion, we assume this to be the forerunner of the now famous chesterfield sofa. The deep-buttoned leather chesterfield is one of the most distinguished luxury products of the British Isles, renowned worldwide for the craftsmanship

Churchill Chesterfields Manufacturers of high quality Bespoke English Reproduction Chesterfield leather furniture

Visit our web site

8 Moondance Court Opening hours 8am to 5pm Bonogin, Gold Coast Monday to Friday Queensland 4213 By Appointment Mobile: 0424 882 144 Saturday & Sunday only Telephone: 07 5530 2648 Email:



QUEENSLAND Graham Lancaster Auctions


3 Railway Street Toowoomba QLD 4350

Day 1 – Friday 1st June – Motorcycles Onsite – Toowoomba Showgrounds Day 2 – Saturday 2nd June Lancaster's Auction Rooms Day 3 – Sunday 3rd June Lancaster's Auction Rooms

Ph 0418 730 904 Fax 07 4613 1111 Email: View catalogue & photos from early May

Day 1 – Friday 1st June 2012 – Vintage Motorcycles & Stationary Engines Rare Spares, Sidecars, Tyres, Frames, Wheels & More Onsite Auction – 'Clive Berghofer Pavillion', Toowoomba Showgrounds VIEW Thurs 31st May 1-4 PM AUCTON DAY 8-11 AM

s of 100' ares Sp Rare arts &P

Indian 8 Valve Racer Day 2 – Saturday 2nd June 2012 – 'Blokey Auction' Garagenalia, Enamel & Cardboard Signs, Tins, Gramophones & More In-House Auction – Lancaster's Auction Rooms, Toowoomba

Day 3 – Sunday 3rd June 2012 – Antique Bottles, Pot Lids & Stoneware Whiskies, Codds, Ginger Beers, Pot Lids, Hair Restorers (Good Box Lots) In-House Auction – Lancaster's Auction Rooms, Toowoomba



COLLECTING INSIGHTS WITH the Australian Antique & Art Dealers Association


passion for collecting, whether it is fine paintings, wonderful artefacts or everyday ephemera is all about the search. This is the satisfaction of tracking down the perfect object to enhance your life. For many, the desire to collect is instinctive, a habit that never leaves but that pushes on from one great find to the next, and often one collecting enthusiasm to a new one. Some collectors live with the treasures displayed around them in their homes and offices; other collectors have their items stored away in boxes hidden from view. The varied and original arrangement of pieces can provide an insight into a unique style of interior decoration, performed with an eye for

texture, colour and shape. Everybody knows a ‘collector’ and perhaps the urge to collect is, simply put, as born in us! Some might agree and certainly for many children their ‘collection’ is often the most precious thing in their possession; they may hoard marbles or toy soldiers, postage stamps or tamagotchis. But whatever it is, remembering back to those early days, who does not remember the thrill in arranging, sorting, selecting and admiring those treasured possessions? Arguably, peculiar to humans, collections can reflect their owners’ real nature or speak of their yearnings, perhaps to be wildly free, as in abstract expressionism, or to be

comforted by nostalgic colonial scenes. Antique and art collecting is widespread, and this can explain why some people prefer to collect things that have associations with the past rather than the present. What people collect has always been susceptible to whim, and made desirable by the interests and the fashions of the day. Although it may be true that a collection is worth more when it is sold than a single example, most collectors, even if they started out with the idea of an investment opportunity, generally become hooked on the joy of the objects themselves and the thrill of the chase. In the shops and galleries of the various AAADA members and at the shows in Sydney and Melbourne, visitors are able to view and purchase with confidence everything from fragments of ancient art to shiny neo-classical pieces, from stuffed animals to 20th century designed furniture, antiquarian books to miniature replicas. You’ll be surprised by what you’ll find! There is always something for the enthusiast collector, interior decorator, or

those who just want to buy a living reminder of another time, or other tradition. Look for the AAADA logo.

Review of AAADA Melbourne show at the Royal Exhibition Buildings 3 – 6 May Once again this year’s, AAADA’s Melbourne show was a resounding success. The theme and emphasis was on making antiques relevant to today’s life style, thus appealing to younger buyers. The venue provided a spectacular backdrop for the 57 exhibitor stands. The constant comment from the public attending was high praise for this world heritage listed building and the effort put in by the exhibitors on their breath taking displays. Highlights included Dressed for the Voyage: The Titanic costume display which gave Melbourne a taste of some of the fabulous costumes of that era, and Exhibition of Asian Antiques was of great appeal to visitors interested in Orientalia.


STRATEGIC RELOCATION IN SYDNEY AAADA SYDNEY SHOW PLANS FOR 2012 With the major renovations and complete refurbishment of the buildings at Randwick, combined with the changing landscape in the antique fair calendar in New South Wales, the Association is now looking for an alternative venue to hold a Sydney show sometime later in the year. For further updates please check our website

ANNE SCHOFIELD and the Art of Jewellery Design Anne Schofield has been appointed an honorary consultant for an exhibition at the Powerhouse Museum titled The Art of Jewellery Design - from antiquity to the present day planned for August 2012. On show will be significant items from Anne’s private collection and pieces previously sold by her.


With legendary Australian ceramics dealer, Alan Landis moving to the Sydney Antique Centre in South Dowling Street in Surry Hills, there are now four of the country’s top antique experts offering the very best in antiques at one location. Alan joins Lyn Begg (Reflections Antiques), Janet Niven (Janet Niven Antiques) and Marie-Francoise Fatton (Au Lion des Neige) with their mouth-watering displays of everything from superb antique jewellery to the finest furniture and collectables. Attracting dealers of this quality shows that the Sydney Antique Centre’s management is serious in their determination to keep the centre as Sydney’s premium antique destination. They are Australia’s oldest and one of the largest antique centres in the country. An additional attraction is the centre’s well stocked café. The Sydney Antique Centre is just 2.5 km from Sydney’s CBD at 531 South Dowling Street Surry Hills, open daily from 10 am till 6 pm.


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

NOW AVAILABLE Copies of the 2012 Members’ and Service Providers’ Directory are now available. To obtain your copy, please phone the Executive Secretary on 03 9576 2275. The Directory is a comprehensive guide to all AAADA members and service providers, their locations, specialities and opening hours.

THE BENEFITS OF USING AAADA SERVICE PROVIDERS AAADA service providers are in fields of expertise that represent the highest Australian and often international standards. These skills complement the decorative and fine art objects offered by members of the AAADA, and as such we encourage you to seek their services when the need to restore, repair or evaluate an antique item becomes necessary. A list of service providers is also available on the website where you can also search for beguiling and highly collectable items.





Edward Bird (British 1772-1819), The Auction, oil on panel, 64 x 98 cm. Collection of Alfred Ernest Bright (1869-1938), Chairman of the Trustees of the Felton Bequest to the National Gallery of Victoria, thence by descent

Tony Tuckson (1921-1973), Margaret no. 1, 1950-1956, oil on canvas, 48.5 x 39.5 cm

Anne Hall (b. 1945), Boy with a frog in his pocket (Phillip Mora), 1967, 100.5 x 85.5 cm

Art, Money & Mona Lisa’s Curse Robert Hughes’ ruminations on the economy for art


ou could do worse than to bookend your understanding of the last 30 years of the art market with two works by Robert Hughes, the Australian born but mostly American resident art critic who in the late 1970s famously dismissed Australian art as of little significance as a young twentysomething. The two works I write of are essential art reading (and watching) and illuminating on many levels. Hughes’ essay, Art and Money, written in 1984 is just that, a straight forward essay that concludes his work Nothing if Not Critical, while in 2011 his made-for-TV documentary Mona Lisa’s Curse (only at present available on YouTube in parts and slowly disappearing!) is a fascinating series of interviews and observations that seem to confirm his fears and suspicions in 1984 that the art market was becoming much more about money, block-busters and celebrity than it was about the great pleasure of enjoying and learning from the gentle practice of wandering quietly through a public museum or slowly moving through an illustrated art book. The essay Art and Money is a ranging rumination of what money is doing to art and in typical Hughes style infused with extremely insightful and sober observations about how money has transformed the prism through which the public identify with art. It is interesting to read Hughes when he is talking about something he truly loves (art) and something he mostly detests (money’s impact on art) and so the piece is very much a minisearch for the roots of art investment discourse and why indeed we need to think

about art as an investment or in money terms at all. Hughes looks back through history and moves forward in to the 1980s when the piece was written. His first observation is ironic and that is that he accepts the premise that throughout history art has only thrived in environments where generous patronage (and enough dollars) existed to sponsor the ‘creative’ segments of the population. Up until perhaps the mid 19th century this support for the arts was largely the preserve of royalty, those nobles with the means to acquire art and, at this time, not too many major public collecting institutions. But what concerns Hughes more is what has happened to art appreciation in the post-war period with a global economy that is infinitely more liquid, more cashed-up and more vulnerable to art marketing than it has ever been. In this sense, money for him, when it comes to art is problematic. Just why he has a problem with it is the question that, for me, extracts the kernels from this terrific short essay. According to Hughes, the post-war period created the phenomena of the ‘million dollar plus’ painting; prior to this such prices were virtually unheard of and even when one applies various conversion formulas to account for prices over the centuries, very few of even the greatest works throughout history (based on their previous transaction prices) would come anywhere close to the million dollar price tags attributed to less significant and more contemporary works. Hughes asserts that money now moves like mercury, and in such quantities, that for him there is a Ivor Hele (1912-1993), The Circus, oil on board, 60 x 90 cm



profound disconnect between price, value and quality (historical and aesthetic importance). The appearance of the block-buster exhibition on the American gallery scene in the 1960s and 70s, the practice of cordoning a painting off in a public space with a red velvet rope and guard and the incessant discussion about the ‘priceless’ or ‘zillion-dollar’ painting has distorted and demeaned the importance of art socially and historically and repackaged art in general public discourse as something that must be priced, revered for its price and never divorced from its price. Hughes remembers the time when he would walk public galleries and never think about what such and such a painting was worth and he wonders why this quiet, scholarly pleasure has been lost to the masses that now surround a distant tiny painting on a wall and see not the painting but the dollars. Significantly, Hughes is not troubled by the reality of the masses filling the museums and galleries of the world. What concerns him is that they don’t seem to be doing enough ‘looking’ and are rather, consumed by the obsession with price and treasure. Hughes suggests a few defining moments that may well have contributed to the commoditisation of art and they are interesting indeed. In the 1960s Sotheby’s combined with Time magazine to create an art and antiques index that, as Hughes comments, was full of graphs, charts and very general data that indicated the enormous growth potential of these more exotic assets. For Hughes this was one of those tipping points when art began to mean something other than history, beauty and story to the masses. But perhaps the most interesting of his observations within this piece is his analysis of supply and demand and the emergence of American dollars and collecting in the 20th century. In the late 19th and early 20th centuries Hughes likens the plentiful and inexpensive supply of pre-19th century art (often great works that were truly cheap) with the teaming fauna of the Serengeti Plains – there was simply so much of it and enough to keep the art trade going for ‘100 years.’ This created the environment for sober prices, rarely expensive paintings and maintained the tone of art as an aesthetic and historical pursuit rather than an economic one. This supply dried up in the post-war period and in no small part due to the enormous fortunes amassed by Americans who became volume collectors themselves and also endowed

various American museums with the capacity to ‘out bid and out buy’ the rest of the world. The transfer of so much art from Europe to the USA during this period lay at the centre of what was going on. When this supply largely dried up the demand didn’t and so began the process of finding lesser quality old and new art to meet the demand. For Hughes this was the great turning point when art criticism was subsumed by clever marketing, slick galleries and cashed-up collectors transfixed by price, status and brand. Fast forward now to a lazy Sunday afternoon last year when I first watched Mona Lisa’s Curse which in many ways is Hughes’ contemporary version of his earlier essay. During the various segments of the documentary he sits with various ‘seriously cashed-up collectors’ and asks them what they think is going on. For me I think he delights in recording their belief, contained within their opinions, that their capacity to collect necessarily endows them with an art intellect. These moments in the documentary are made all the more poignant as they seek to impart their ‘forty something’ views to probably the greatest of all art critics. The documentary leaves us with Hughes’ despair that great museums like the Guggenheim are now being cloned on a global scale as if the institutions have now become what the art to the masses has become; places where brand and money are revered more than the art itself. For Hughes this is the time to ‘shut the book.’ So why read Art and Money and why watch Mona Lisa’s Curse? I sound a little schizophrenic given I do enjoy reading about and interpreting art statistics and economic activity. For me the answer is what Hughes is to my understanding of the art world. Hughes to art is what your grumpy, well-meaning steel-trap-minded uncle is to you when you need some advice or direction – your uncle, like Hughes, grounds you and reminds you what it’s really all about and what really is happening. So as an art lover I encourage you to remind yourself that art is not just about money but about appreciating, about history, about beauty, about aesthetics and about knowledge as well. John C R Albrecht Managing Director/ Head of Corporate & Private Collections LEONARD JOEL

Antiques & Art in New South Wales  

antiques, art deco, art nouveau, art, bronzes, ceramics, collectables, furniture, textiles, works of art

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