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antiques&art IN QUEENSLAND

JULY - NOVEMBER 2012


ART OF Peter J Hill


GOLD COAST / MOUNT TAMBORINE

Q & A WITH AUSSIE ARTIST

Peter J Hill I

n this edition, I thought readers might enjoy a Q&A with Peter, as the insights will help understand what drives this Aussie artist. Q. Peter, what are you currently painting? A. I have two paintings on the go at the moment. One is a cattle branding scene set in the Northern Territory with two working stockmen. The other one is what I term an action scene with a stockman chasing a runaway steer on his horse with plenty of dust and gum trees. Also nearly finished is a painting of four draught horses cantering down a steep path from the mountains. Once it is finished it will be hung in the gallery. Another work nearly completed is a commission from Singapore. The subject is again horses. Q. You are a self-taught artist. Are there any other artists in your family? A. Yes, my maternal grandmother was an excellent pencil artist who excelled in portraits. Q. The Australian outback is in your blood, when did you first pick up a paint brush and when did you turn pro? A. I started painting when I was 19 years of age. I was working on Reola, a station property north of Broken Hill where the owner of the property saw my sketches. He went into town and bought me some brushes and a ‘How to paint’ book. I turned pro in the 70s. Q. The outback must have been visually appealing to a young, aspiring artist. The vibrant colours, landscapes, shapes and movement – was there a defining image that you needed to capture on canvas? A. There was not a specific image as such, I was amazed by the ever-changing colours of nature; the beautiful sunsets and the sun rises. I wanted to paint everything unique to our country such as our plant life and magnificent gum trees. Q. How do you achieve such a high degree of realism in your subjects and retain the respect and sensitivity for the rural countryside and the Australian outback? A. I paint subjects as I see them, which makes me a ‘traditional’ artist and not a contemporary modern artist. Q. Peter, although you paint anything from trees, plants, animals, skies and dust to people and horses, what do you enjoy painting the best? A. I enjoy painting horses the most, and over the years I have lost count as to how many I

have painted on canvas. When I lived in Canberra I would often visit the Australian War Museum and sit for hours just looking and studying the great war horses on show. Q. How many hours a day do you dedicate to painting? A. I spend about six hours a day painting and when I need a break, I watch John Wayne movies. Q. Some years ago there was a ram raid theft at your gallery and a number of your famous horse paintings were stolen. It is now believed these were sold on the overseas black market. Do you consider this to be a compliment and an appreciation of your reputation as a highly respected and sought-after artist? A. It was heart breaking, but I have learnt to live with the robbery. I did take it as a compliment as the thieves picked nine of my best paintings at the time. Q. Do you have any exhibitions planned for this year and where will they be held? A. I have been invited to have a solo exhibition in Camoweal, which is on the Queensland and Northern Territory border. It is for the Drover’s Festival in August this year. I have no other plans at this time as the gallery is keeping me very busy.

“ P. J.”ART GALLERY Owned and operated by internationally known artist Peter J Hill and his wife Judy

Q. What is your thought of the day? A. It is a thousand times better to have common sense without education than to have education without common sense. P. J. Art Gallery is the only gallery where the name Peter J Hill is signed on every painting that hangs on its wall. A Canadian customer once said, ‘To get to see the outback one only has to step into the gallery and take a look around. It is like stepping from the coast into the country in one step.’ Judy M Hill, Gallery Director P.J. ART GALLERY 07 5545 0089 / 07 5527 3107 Judyandpeter09@bigpond.com.au www.pjart.com.au

Peter’s paintings suit all budgets and can be packed and freighted throughout Australia and overseas Open 7 days 10 am - 4 pm

136 Long Road ‘Gallery Walk’ Eagle Heights Qld 4272 Ph: 07 5545 0089 Mob: 0428 259 014 Email: judyandpeter07@bigpond.com • judyandpeter09@bigpond.com Web: www.pjart.com.au 3


GOLD COAST / MOUNT TAMBORINE

Exhibitions that connect art and literature at Marks & Gardner Gallery

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hroughout history, and perhaps without realising it, man has benefited from the strange and wonderful connection between art and literature. We learn to read with the aid of illustrations, and the images we most vividly remember as children send us on a quest of curiosity eager to learn more about both the world around us, and the worlds contained in books. Maybe it is what both literature and art offer – a much sought after peek into a realm unfamiliar to us – that makes them both so alluring. Perhaps it is just human nature to crave inspiration for our eyes and mind. Whatever the reason, we tend to have a shared appreciation for the two and artists often put those sentiments onto canvas. Impressionist Auguste Renoir produced numerous works of people reading, among a host of other artists such as Franz Eybl and Jean-Jacques Henner.

ANNETTE Lodge The personification of the union of art and literature, Annette Lodge will be showing mixed media paintings inspired by her favourite classics, including Treasure Island and Crime and Punishment. Annette is a renowned Sydney-based painter and children’s book author and illustrator. Since the early 1980s, she has participated in group exhibitions and held solo shows across Australia and in Canada. Her book Bird won a Notable Book Merit at the Children’s Book Council of Australia Awards,

ART for the Bibliophile 30 June – 29 July Once a year, Marks & Gardner Gallery challenges their artists to test their creativity and produce a small body of themed work. This year’s challenge, titled Art for the Bibliophile brings together art and literature, and will consist of a range of mediums: paintings, sculptures, jewellery and more – all celebrating the marriage of art and books. The theme will continue in some form throughout the gallery’s exhibition program for the duration of the year to celebrate 2012 as the National Year of Reading.

and her latest book Natemba, details the plight of orphaned vervet monkeys in South Africa. Both titles feature Annette’s beautiful, colourful and imaginative illustrations. Annette’s paintings often impart a sense of mystery, allowing viewers to form their own interpretation as her works leave a lot to the imagination. Her travels are a source of inspiration, drawing heavily on the changeability and effect of water on an environment. There is an unmistakeable, unapologetic flair in her style that makes her work so engaging, and her talent for storytelling is evident in everything she produces.

MICHAEL Buckley Queensland still-life artist Michael Buckley will be bringing to the table his thought-provoking super-realist and vanitas themed works and pencil drawings for the Bibliophile exhibition. Michael’s passion lies in portraying the magical effect of light and shade on a setting through the classical realist genre. Coming back to painting in 2002, he was a finalist in a national still life and floral competition held by Australian Artist magazine, and his entry was featured in their December 2011 issue, with subsequent works also featured. Primarily working in oils, Michael captures the distinct culture of the bibliophile – the charm of a well-loved book, the comfort and mystery of the secrets held in bookcases, and the constant need to read more.

David Hinchliffe, Shakespeare & Co Bookshop, Paris, oil on board, 40 x 50 cm

A Multicap project initiated in 1981 to provide a career path for artistically minded people with disabilities, Monte Lupo currently employs 36 people, working in ceramics, pottery, screen printing, retail and packaging. Still going strong today, the group has had tremendous success with exhibitions across Queensland and parts of New South Wales. Described as a ‘naïve style,’ the ceramics of Monte Lupo focus on strong themes of bright colours and unlimited imagination, which can be likened to train-of-thought speed writing in regards to their delightful unpredictability. Alice will feature works that depict the stories within the pages of classic titles, including To Kill a Mocking Bird, A Clockwork Orange, Moby Dick, The Wizard of Oz, Alice in Wonderland and The Cat in the Hat. The exhibition will take a firm literal interpretation of each text, bringing to life the characters we know and love. The artists have created their signature garden dweller sculptures as well as unique one-off pieces.

DAVID Hinchliffe 7 September – 7 October Annette Lodge, Raskolnikov (from Crime and Punishment by Fyodor Dostoevsky), mixed media on board, 20.3 x 25.4 cm

Michael Buckley, The Bucket List, graphite on paper, 44 x 33 cm

MONTE Lupo’s Alice 3 August – 2 Sept Famed for their ‘garden dweller’ sculptures, Brisbane-based group Monte Lupo will be continuing the themes of the Bibliophile exhibition with their own solo exhibition, titled Alice. The exhibition will be a unique exploration into books and their titles. Monte Lupo: Alice – Garden dweller, ceramic & mosaic

Returning to Marks & Gardner, now as a fulltime painter, David will be showing the results of his recent tour to western Europe with paintings of famous book shops in France and the United Kingdom. A former deputy mayor of Brisbane, David has kept himself busy over the span of his career. He has spent over 40 years of his life developing his art style, and 25 of those years juggling his love of art and his passion for politics and people as Councillor for the Central Ward in Brisbane. David is well known for combining these passions. Starting the Artforce Project in 1999, David initiated the Brisbane-wide painting of signal boxes, brightening the streets with over 700 different designs by members of the public. His exhibition at the Australian Consulate in New York in 2011 spread awareness of the devastating Queensland floods, donating all of the proceeds to the Queensland Premier’s Disaster Relief Appeal. David’s work has been described as ‘contemporary impressionism.’ His depictions of the urban environment are a ‘response to light’ as he puts it, a prominent focus in all of his work. He has held over 55 solo exhibitions and is represented in collections both locally and internationally. In addition to his exhibition at the Australian Consulate, his works were shown at the Michael Ingbar Gallery on Broadway in Soho, New York, and at Marks & Gardner in 2011. David’s most recent works demonstrate the maturity of his artistic practice, the canvases capturing magnificently the atmosphere of his surroundings. Through a masterful use of colour and careful observation of his settings, David transports viewers to locations he has visited. David will continue the bibliophile theme in his solo exhibition, to be held in September of this year. The gallery will be hosting a solo exhibition of works by Maki Horanai running from 12 October to 11 November. For more details contact MARKS & GARDNER @Secret Garden on Tamborine Mountain 07 5545 4992 www.marksandgardner.com

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front cover

Editorial Content 03 04 06 07 08 09 10 11 12 13 14 15 16 18 19 20 21 22 23 24 25 26 27 28 29 30 35 36 37 38 39 40 41 42 43 45 46 47 48 49 50

Classic 1950s style dress featuring full skirt to below the knee, 1958, created by Surfers Paradise designer Ivy Hassard (1914-1998). Gold Coast City Gallery See page 11

Q & A with Aussie artist Peter J Hill – Judy Hill Exhibitions that connect art and litertature at Marks & Gardner Gallery Antiques on the West Side Fashions in the fifties A specialist furniture manufacturer, Churchill Chesterfield made in Australia Special events at the Gold Coast City Gallery Exhibitions at the Gold Coast City Gallery Exhibitions that challenge at the Gold Coast City Gallery Spirit of Australia Gallery home to authentic Australian-made products Spirit of Australia Gallery’s authentic Indigenous arts Is it worth anything? How to research and value your much loved treasures Grace Galleries is now a discount home decorator warehouse outlet at Southport Collecting Bakelite jewellery Come and browse through the exciting selection of books at Voyager Prepare for the worst before a loss occurs For Marie Antoinette heaven was Le Petit Trianon Blackamoors exotic figures from another age at the Antique Guild – Chris Hughes Terra Australis, kangaroos and other discoveries – Robyn Bauer The big picture at Paddington Antique Centre – Suzy Baines The timeless allure of pearls – Michael Moyle Hanoi highlights – Eilisha Little A commitment to quality at Lavin Antiques Personal service, history and the magic of antiques at Commercial Road Antiques – Ian Thomson At the Frank van Brundschot Fine Furniture – restoration classes Nudgee Road Antiques & Design Centre has expanded Easy to collect - hatpins Collecting butterfly jewellery Karuna Art & Jewellery Market celebrates its 10th anniversary – Sharon Wood Pack & Send art and antique specialists – Stephen & Janet McCartney Achieving optimum acoustics for string instruments – Ilja Grawert Loving Art Deco – Jason Bridge The history of Royal Worcester – Michael Belham Woolloongabba Antique Centre & Café is a unique design destination More to glass at Annerley Glassworx – Denise Allen Pointers to collecting old hand tools at Bayside Antiques & Collectables Centre ’New’ kid on the block – Brisbane Antique Centre Howard Products for that wonderful finish in four easy steps – David Foster Beautiful rugs deserve the best care – Stephen Muncey The experts at F.J. Mole-Silversmiths talk about antique metal ware restoration and the question of value – David Bissett & Kevin Eager A brief look at the history of the Worcester Royal Porcelain Company Salt’s at Crows Nest celebrates 30 years of progressive trading

antiques &art

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Lancaster’s Toowoomba Antique Centre - 18 years old and going strong Timeless Antiques tribute Titanic bedstead artisans – Mark & Lynne Bennett Toowoomba Regional Art Gallery’s winter-spring exhibition highlights The artwork of Sally Harrison, Dale Weston & Annie Clarke German master gilder reveals the secrets of this ancient craft From the Riviere College to The Hughenden – Susanne Gervay National Indigenous Art Triennial – Franchesca Cubillo A brief history of Australian banknotes Oriental Antique Gallery’s new Brisbane store – Phillip Guan

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GOLD COAST / MOUNT TAMBORINE

s& k r Ma rdner Ga llery Ga

Antiques

on the West Side A

visit to North Tamborine is a memorable day trip from Brisbane or the Gold Coast. Take in the breathtaking views to the west while visiting Witches Falls National Park – the first National Park in Queensland – and be sure to spend time at the picnic areas, local shops, antiques and art galleries and cafés. It is rumoured that the name Witches Falls stuck after residents west of Tamborine Mountain saw lights on the side of the mountain many years ago and attributed them to the ‘Mountain Witches.’ Visitors with an interest in the arts and antiques find this village a perfect destination. Here they are able to explore the high-quality shops on the Main Western Road in North

Tamborine in addition to enjoying the wonderful surrounding natural views. Witches Falls Gift House at 98 Main Western Road is next to Witches Falls National Park – the oldest National Park in Queensland. Come and meet Noelina and Phil in what appears to be a small shop but is in reality a well-stocked gift store. Search through the vast array of old and collectable objects including Shelley, Royal Doulton, Crown Derby, Wedgwood, Royal Dux, Lladro and other fine names. They have old and estate jewellery, antiques, curios and beautiful furniture in mahogany, walnut, oak and other rare and exotic timbers. Phil combines his furniture making skills

with a flair for bringing old pieces back to life. Furniture repair and restoration is his preference, while Noelina is a skilled artisan with her sewing machine. Continue opposite at 97 where you will now find The Shop Time Forgot and Kittys Vintage & Kitsch. Further along at 69 Main Western Road is Marks and Gardner Gallery. Here Janene and Mary will tempt you with their art gallery showing contemporary works, or their delightful Secret Garden bookshop. If tired from wandering through the plethora of shops, sit for a while at their verandah café and let it all soak in.

The Time Shop Forgo t & Kittys Vi & Kit ntage sch

Phil & Noelina Jackson 98 Main Western Rd Mt Tamborine QLD 4272 P: 07 5545 0885 F: 07 5545 0076 M: 0418 647 452 E: gifthouse@winshop.com.au

www.witches-falls-antiques-and-gifts.com.au OPENING HOURS Wed, Fri, Sat & Sun 10 am - 5 pm inc. Public Holidays Closed Christmas Day and Good Friday Open Anzac Day 12 - 5 pm Other times by appointment

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GOLD COAST / MOUNT TAMBORINE

s all F es ti ch iques se W nt A t Hou if &G

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lthough there was much cause for celebration with the end of World War II life did not return to normal right away. Rationing continued for numerous items for years after the war’s end as essentials were in short supply. However, with the cessation of hostilities women were expected to revert to their domestic pre-war role, and it was against this background that in 1947 Christian Dior launched his New Look fashions. France again became the centre of haute couture as the fresh new style changed fashions the world over. Post-war, women wanted fun, frivolity and new fashions. There were lush, full skirts, plentiful makeup, lots of accessories and a variety of happy pastel colours to choose from. As rationing was lifted, skirts became enormous, with literally yards of fabric, hair was cut short for ease of styling, stockings with stretch (and so without the seams) were worn with gay abandon. Petticoats were full and frilly, and matching accessory sets (compact, cigarette case and lighter or handbag, shoes and gloves) were mandatory. While Dior’s New Look was initially discouraged by the UK and US governments, because the look seemed frivolous against the continued rationing, it was so popular with the then trend-setting royal princesses Elizabeth and Margaret that in turn British and American designers incorporated the elements into their designs. Returning soldiers were faced with strong independent women, and there was a push for a return to the pre-war status quo with the clearly defined gender roles. As well as the prospect of giving up their independence, for every returning soldier there were four or five lovely young women available – the perils of war had certainly unbalanced nature’s ratio. These marriageable young women knew they had to compete for men, and compete they did!

LIFE reflected in fashion Courses, magazine articles, advertisements, movies – there was advice everywhere on how to attract and keep a man. Once you had attracted a suitable man, the name of the game in the 1950s was to please and keep him, and becoming the perfect wife was seen as the way to do just that. Hollywood extolled the virtues of domestic life. Magazines covered everything from cooking skills, how to throw an impressive cocktail party for your husband’s boss, to being sexy for your husband when he arrives home from work. Other subjects were how to choose music appropriate for every occasion, how to be an appropriately thrifty housewife, how to grow perfectly lush houseplants, how to keep the children quiet when he arrived

FASHIONS IN THE FIFTIES home, how to decorate your house in a pleasing manner, and how to knit him a sweater. You name it, the information was there for the 50s housewife and her maid, if she was lucky enough to have help! Probably the most noticeable and longlasting element that separates the 50s from all other decades of the 20th century, is the fashion. Compared to the 1940s, it was lush, expensive, well-made, delicate and dry-clean only. Women had lots of war-earned money to spend, and spend they did. As a natural backlash from the hard times, deprivation and rationing of WWII, fashion became everything it wasn’t during the 1940s: showy, fun, flash, pretty and girly. Think big, big skirts, tulle, petticoats, sparkly rhinestone jewellery, hair flowers and pretty clips, beaded shawls and high heeled-shoes. Hidden underneath of course were tight girdles, pointy ‘bullet’ bras and suspender belts. Virtuous impracticality ruled the day! Following the then-outrageous styles of Christian Dior’s New Look, fashion designers the world over began creating dresses with full skirts, yards and yards of fabric, fitted and strapless bodices, and tulle wraps. Whether they were for day or evening, the emphasis was on the feminine shape. The big-skirted tulle dress with a full petticoat and fitted bodice is the style most closely associated with the 1950s, but there were plenty of other key looks at the time that are collectable now and certainly need mentioning.

ICONIC 50s designs Firstly, the wiggle dress, so named because the circumference of the hem is narrower than that of the hip, hence a woman ‘wiggles’ when she walks in one. Popular to this day and made in a myriad of colours, fabrics and styles, the wiggle dress is now an icon of 1950s style. The Mexican and ‘squaw’ look is particularly sought-after now by a dedicated group of collectors. This look, commonly seen in full circle skirts, embroidered jackets and dresses, was initially a localised style available only in the American southwest in the late 1940s. It gradually became a national trend during the 1950s, and embodied many of the well-known 1950s trends such as full skirts, light cotton fabrics, and fine embroidery. But it had its own characteristics: two or three-tiered skirts, Native American colours, comfortable fabrics, and (for the jackets) colourful wool embroidery. Dress and jacket sets were also enormously popular throughout the 1950s and into the 1960s, described as ‘a very smart modern look.’ These dresses were around knee-length, fitted and tailored, while the matching jackets were usually short, boxy in shape, and often included fun details such as a closure at the back rather than the front or rhinestone buttons. Accessories were a vital part of any ensemble in the 1950s. Most collectable now are the Lucite box purses, which today

are expensive, but cost the equivalent of around $900 at the time! A lady’s outfit wasn’t complete without matching gloves, hat, handbag, shoes and stockings, and some of these pieces are now the most desired of collectables. At Kittys Vintage Kitsch & The Shop Time Forgot, we stock a wide variety of original hats, dresses, handbags and accessories from the 1950s. All our fashions are hand selected for their beauty, condition and wearability. Whether you’re new to wearing vintage or are a seasoned collector we take the time to dress you in head to toe vintage in a style that suits you best. For more information KITTYS VINTAGE KITCH &THE SHOP TIME FORGOT 07 5545 4402 the shoptimeforgot@gmail.com www.KittysVingtageKitch.blogspot.com

Specialising in the 1920s-70s We have a great range of imported vintage fashion & hats Art Deco, retro, stunning Bakelite & kitchenalia Something for everyone! 97 Main Western Road, North Tamborine OPEN Friday to Monday 10 am to 4 pm Tuesday to Thursday by appointment ph 07 5545 4402 theshoptimeforgot@gmail.com www.KittysVintageKitsch.blogspot.com www.facebook.com/KittysVintageKitsch Buying & Selling

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GOLD COAST

A specialist furniture manufacturer Churchill Chesterfield made in Australia

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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

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

include traditional mahogany; dark, medium, golden and light oak; walnut, plus many more. 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.

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 used in its construction and for its beauty.

BELOW the surface

A MODERN chesterfield sofa

OUR special chesterfields

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

Visit our web site www.churchillchesterfields.com.au

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: info@churchillchesterfields.com.au

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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 info@churchillchesterfields.com.au www.churchillchesterfields.com.au


GOLD COAST Left: Stephen Bowers, Citrus decorated bowl, 1991, earthenware. Winner 1991 Gold Coast Ceramic Art Award. Acquired 1991 Below: Gwyn Hanssen Pigott, Still life with two cups, 1994, wood fired stoneware. Winner 1994 National Gold Coast Ceramic Art Award. Acquired 1994

Robert Brownhall, The Visitor, Miami, 2002, oil on linen. Courtesy the artist and Philip Bacon Galleries, Brisbane

Special events at Gold Coast City Gallery 1000 DAYS: ROBERT BROWNHALL AND THE GOLD COAST 11 August – 16 September

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or most of its history the Gold Coast has existed within the imagination of those who visit as a place of escape. For some, these moments of suspension in this uncommon city might extend from a weekend or a week to a lifetime. For Brisbane artist Robert Brownhall, they are usually measured in single days, long days, longed for days. Over the past 20 years or so these experiences have accumulated into a collection of experiences and observations rich in both intensity and detail. For Brownhall, the insistent call to get down to the coast for at least one day every week is the release of being in the water and surfing. Then there is the quiet anonymity of sitting; watching from within the car or from the balcony of a rented apartment, and drawing. The resulting pictures, made back in his studio in Brisbane, are deceptively real; the often familiar subject matter rendered in enough enticing detail to make the viewer feel at home within the image. There are compelling visual truths here, of weather and light, of classic motels and high rise apartments, and blistering beach vistas. Also captured within these paintings are remembered and imagined moments, improbable scenarios and, in some of these works, a desire to express a personal connection with important moments in history from a place that seems so indifferent and Robert Brownhall, King Tide, Gold Coast, 2008, oil on linen. Private collection, courtesy Philip Bacon Galleries, Brisbane Robert Brownhall, The Islander, Gold Coast, 2008, oil on linen. Private collection, courtesy Philip Bacon Galleries, Brisbane

removed from the world stage. The Classic Motel in Brownhall’s depiction (pictured in the advertisement below) sporting a shade of pistachio green, is one of a declining number of smaller motels located on the Gold Coast highway a few blocks back from the beach. When it was built, such a prominent location was essential to capture the attention of a passing motorist. King Tide, Gold Coast occupies a particularly large beachfront block in Broadbeach. It is known locally to be tightly held and valued by the residents of the apartments behind, who wish to retain their beachside views. Brownhall’s view, as the three-story King Tide greets the full sun in the morning, is likely to remain for some time. As evening comes and lights start to dot the buildings the darkness and the visual drama of artificial illumination affords Brownhall a new stage for observation. The Visitor, Miami seems like a moment from a Hollywood film-noir set and reveals the artist’s debt to American realist Edward Hopper, but shows Brownhall dramatically accentuating the garish façade to create an eerily compelling image. A major publication, Robert Brownhall: Australian Stories will accompany the exhibition.

Potters Association and the Sculptors Society. A succession of dedicated ceramic committee volunteers, potters, sculptors, sponsors and gallery staff members have ensured the longevity and ultimate success of one of Australia’s longest running ceramic awards. In 1982 the award boasted $1,000 dollars as total prize money; $500 awarded to a functional piece and $500 for a sculptural non-functional piece. A pivotal point in the evolution of the award was in 1995, as the award progressed to include international ceramic artists, and in 1996 ‘international’ was added to the title of the award. Since then, the award has welcomed entries from many different countries including Canada, Germany, Ireland, Israel, Italy, Japan, The Netherlands, New Zealand, Qatar and the United Kingdom. Winners of the award include Stephen Benwell, Stephen Bowers, Peter Cooley, Gwyn Hanssen Pigott, Michael Keighery and Florence Rometsch, many of whom have gone on to become subsequent judges of the ceramic prize. Today, the Gold Coast International Ceramic Art Award continues as the major source of acquisitions for the Gold Coast City Gallery

ceramic collection. It performs the vital role of supporting the global ceramics community. The establishment of the award and support from all concerned has been rewarded each year with nationally and internationally significant acquisitions into arguably one of Australia’s finest regional collections.

For more information GOLD COAST CITY GALLERY 07 5581 6567 gallery@theartscentregc.com.au www.theartscentregc.com.au/gallery

28TH GOLD COAST INTERNATIONAL CERAMIC ART AWARD 2012 25 August – 14 October With a prize of $10,000 to the winner and up to $5,000 for acquisitions, this year’s Gold Coast International Ceramic Art Award will present a wide survey of contemporary ceramic objects, which provide a cross section of ceramic art production around the globe. Renowned curator and arts writer Dr Kevin Murray is the 2012 guest judge. He is currently Adjunct Professor RMIT University, Research Fellow University of Melbourne and Adjunct Research Fellow Monash University. He was previously Director of Craft Victoria, and is now the online editor for the Journal of Modern Craft. The award, which developed from humble beginnings to progress to one of the most significant international ceramic art prizes today, marks its 30th year in 2012. The following text has been adapted from an essay by Stephen Baxter, Gold Coast City Gallery Exhibition and Collection Coordinator, in Glimpse: Inside Gold Coast City Art Gallery’s Collection (2007). The inaugural Ceramic Art Award was developed in 1982 to encourage the creation and appreciation of art in clay, and was held in the Gold Coast City Council Foyer at Evandale, four years prior to the building of Gold Coast City Gallery. Ruth Lyons, then chairman of the newly formed Gold Coast Ceramic Committee, was the driving force behind the establishment of this award along with the support of the Gold Coast

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GOLD COAST

EXHIBITIONS AT THE GOLD COAST CITY GALLERY Erica Gray: Pipe Dreams 25 August – 7 October

G Erica Gray, Benders, Elbows & Pipes, 2012, PVC fabric, polyester fibre, mount board. Courtesy the artist

Erica Gray, Pipes, 2012. Courtesy the artist

rowing up in the suburbs of the Gold Coast with a father who worked as a plumber and three brothers that would eventually follow him into the trade, Erica and her childhood friends would fashion games out of the many and varied pipes that she had access to. This abundance of pipes and water system componentry has influenced Erica’s creative practice, resulting in Pipe Dreams, Erica Gray’s first solo exhibition. Erica Gray has perfected her craft after two decades in the fashion and manufacturing industry. Since her first job working on various surf label contracts, Erica has worked across a range of projects that involve sewing, fabric and accessory-making. In her artmaking practice however, she revels in creativity and freedom from the fashion industry. As she says, ‘Nothing makes me happier than seeing those stitches bunched up and on display where once it would have been unsightly and unprofessional to have any stitches shown on a garment.’ A pipe dream is a tremendous hope that is impossible to achieve. Similarly, the nonsensical squishy pipe creations that Erica produces could never − and does not wish to − perform the basic role of a pipe; instead these forms invite us to contemplate the unseen intertwining grids that circulate our lives. The artist uses the symbol of pipes and the term ‘pipe dream’ to organically explore and explain the contradictions and challenges that we face in life. Erica observes that ‘Pipe Dreams represents the attitudes of go get them, have a poke around, take a risk, jump and leap into new challenges, do that what takes your breath away, or makes your pulse

race and in the end if you don’t quite make it – sit back and have a laugh or better yet, try again!’ It is this sense of humour and unabashed optimism that pulsates through the exhibition. Supplementing the sculptures, which anthropomorphise into creatures complete with idiosyncratic personalities, will be paintings that continue Erica’s exploration into the concept of pipe grids through various media. Erica’s practice shares resonance with the spirit of Surrealism and Pop Art. During the 1960s and 1970s soft sculpture developed as an art form to challenge the more formal properties of traditional sculpture. According to Lucina Ward, curator of the 2009 exhibition Soft Sculpture at the National Gallery of Australia, Canberra, there was a fundamental shift in thinking about materiality and space, which followed on from the ready-made sculptures and modern constructions of the Surrealists in the early 20th century (Soft Sculpture exhibition catalogue, p. 5). Instead of using the sometimes cumbersome materials of stone, bronze or wood, artists used inexpensive readily available resources and industrial materials. Erica uses unconventional materials to challenge the nature of sculpture, and in doing so completely upends the materiality of the object, leaving it open to physical possibilities envisioned through the imagination of the viewer. Similarly, by amplifying the scale of the ubiquitous form of the water pipe, the viewer can no longer ignore the complex industrial decisions and pragmatic formfollows-function beauty of the object. In essence, Pipe Dreams is a celebration of the mundane; the functional; the absurd and the genius of the mechanical grid of pipes that circulate our lives. A catalogue accompanies this selling exhibition. The project has been assisted by the Regional Art Development Fund, which is a Queensland Government initiative through Arts Queensland and Gold Coast City Council partnership to support local arts and culture.

2012 Gold Coast Aboriginal and Torres Strait Islander Art Award 2012 13 October – 25 November Local Indigenous stories and artwork will be acknowledged and celebrated during the biennial Gold Coast Aboriginal and Torres Strait Islander Art Award and exhibition, a Gold Coast City Council (GCCC) initiative. Managed by the Cultural Development Unit, the award offers emerging and established Indigenous artists and opportunity to exhibit and promote their work to the wider community. The award was established in 2006 with Indigenous protocol and implementation overseen by a reference group of key Indigenous community stakeholders for each award. This year GCCC has formed a partnership with Gold Coast City Gallery to offer artists the opportunity to exhibit in a professional gallery. Tammy Kealy, winner of the 2010 People’s Choice Award, has said the award ‘provides an opportunity for Indigenous artists to share with, and encourage one another, as well as providing a healthy platform for competition.’ She sees the award as an important opportunity to share the cultural lives and beliefs of Indigenous Australians. In 2012 artworks depicting the theme Gauremagulli-nu (Stories from here) are invited to compete for the non-acquisitive prize pool of over $7,500. Closing date for entries is 7 September. One-on-one professional mentoring will be offered to artists during the call for entries period. For further information and to download an application form go to goldcoastcity.com.au/award or phone 07 5581 7508. The exhibition will be officially opened by Mayor Tom Tate on 17 October in the Foyer Gallery of the Gold Coast City Gallery, The Arts Centre Gold Coast. For more details contact GOLD COAST CITY GALLERY 07 5581 6567 gallery@theartscentregc.com.au www.theartscentregc.com.au/gallery

25 August – 7 October 2012 Soft sculpture and paintings that celebrate the mundane; the functional; the absurd and the genius of the mechanical grid of pipes that circulate our lives.

Above: Janelle McQueen with Kangaroo Dreaming, winner 3D category 2010 GCATSIA Left: Bruce Borey, Mugi. Winner, twodimensional art category. GCATSIA 2011

Works are for sale

Erica Gray, Benders, Elbows & Pipes, 2012, PVC fabric, polyester fibre, mount board. Courtesy the artist

The Arts Centre Gold Coast 135 Bundall Road Surfers Paradise Qld 07 5581 6567 | www.theartscentregc.com.au

This project has been assisted by the Regional Art Development Fund, a Queensland Government through Arts Queensland and Gold Coast City Council partnership to support local arts and culture.

Anthony Walker with Mallakarra, overall winner 2010 GCATSIA

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GOLD COAST

Exhibitions that challenge at the Gold Coast City Gallery a gendered perspective and personal insight into issues related to the body faced by women who have grown up on the Gold Coast, or any beachside town in Australia.

The bikini The most enduring element of sexualised design associated with the Gold Coast is the bikini. While it represents the casual fashion imagery associated with the Gold Coast, it is now less well known that there were a number of Gold Coast designers who created sophisticated and alluring original fashion.

Fashion

ENERGIES 22 September – 21 October

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old Coast City Gallery has been hosting the annual Energies exhibition for over 20 years. This exhibition is organised by a commendable committee of Gold Coast High School art teachers. All high schools on the Gold Coast are invited to participate by selecting their most outstanding senior students to exhibit one or two works in the gallery. An important feature of the exhibition is that the works are labelled without identifying which school the student comes from. There are no prizes awarded and the main aim of the exhibition is that all of the students’ creativity and skill is valued in a non-competitive way. This exhibition offers the opportunity to see the ways that high school students grapple with issues and theories that are both complex and seemingly ordinary. It also provides insight into the life of young adults, including the culture and realities of being young in the 21st century.

SEXUALISING THE CITY 20 October – 2 December Within the popular imagination there is a direct link between the image of the sexualised body and the city image of the Gold Coast. These perceptions are however often disparaged and limited by cliché, leading to a

Installation view from 2011 Energies exhibition

wider dismissal of the Gold Coast as a whole. Sexualising the City confronts and challenges this view by presenting important and visually rich images and objects from art, design, fashion, popular culture and architecture from the 1920s to the present. It aims to offer a much more layered and diverse view of the way in which the crafting of these types of images grew to contribute to city identity.

Art Artworks have been drawn from the collection of Gold Coast City Gallery and public and private lenders. An important Queensland artist represented in the collection is Betty Quelhurst who was born on the Gold Coast and trained in Brisbane and Europe. In the 1950s and 1960s whilst living in Tugun she depicted the emergence of the beach playground atmosphere, of relaxed informality between men and women. This is exemplified in a later work by the artist, The topless bather, 1984. Sprint II, 1971 by celebrated Australian artist Peter Powditchis is an abstract representation of a bikini clad woman, which was acquired by the city collection through the Gold Coast Art prize in 1972. In addition to works from the collection, both established and emerging artists will produce new artworks for the exhibition, including Gold Coast artists Scott Redford and Abbey McCulloch. Redford, who is also represented in the exhibition by a painting from the city collection, has been commissioned to design a pavilion for the display of Gold Coast souvenirs, which offer viewers a reinterpretation of objects that tell us a great deal about the societal and cultural standards of a period. McCulloch’s work in the show offers

A number of dresses designed by Gold Coast fashion designer Ivy Hassard will be on display in the exhibition, alongside sartorial photographs of elegant models parading her graceful wares. Many of Ivy’s dresses appeared in the Concourse de Elegance, a fashion parade of evening wear. Luxury cars were matched with each design in this event, which occurred annually during the 1960s and into the mid-1970s, and associated the Gold Coast with high fashion glamour.

Gold Coast culture and the body The Gold Coast as a cultural site has seen the creation of very potent images of women and men. The exhibition draws out the background and reasons for this type of imagery and identifies the wider culture around the city as a tourist destination and what in effect was actually being promoted to potential visitors. The exhibition also explores the way that artists have responded to this visual culture and have sought to define their own way of

TAA poster, Lennon’s Hotel, Broadbeach, 1963. Gold Coast City Gallery

seeing the body within this very particular city environment. The exhibition will present design elements from the fields of architecture, graphics, commercial photography and fashion and in so doing acknowledge the work of these creative disciplines in contributing to this broader visual culture. Visit our website from October for a series of public programs to complement the exhibition, including artist talks, fashion events and public discussion forums. GOLD COAST CITY GALLERY 07 5581 6567 gallery@theartscentregc.com.au www.theartscentregc.com.au/gallery

25 August - 14 October 2012

2012 Guest Judge Kevin Murray Independent Curator and Writer

$10,000 First Prize

Left: Peter Powditch, Sprint II, 1972, enamel on board. Gold Coast Art Prize, Gold Coast City Gallery. Purchased 1972

OPENING CELEBRATIONS Artist and Judge Talks Saturday 25 August From 3:00pm

Below: Betty Quelhurst, The topless bather, 1984, oil on canvas. Gift of the artist under the Cultural Gifts Program, 2001. Gold Coast City Gallery

Kirsten Coelho, Oil can, tea can 2009 Finalist, 27th Gold Coast International Ceramic Art Award, 2010

The Arts Centre Gold Coast 135 Bundall Road Surfers Paradise Qld 07 5581 6567 www.theartscentregc.com.au

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GOLD COAST

Spirit of Australia Gallery Home to authentic Australian-made products AUTHENTIC Aboriginal didgeridoos

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pirit of Australia Gallery offers the biggest variety of Eucalyptus species didgeridoos on the Gold Coast. You can find plain ones such as Eucalyptus woolybutt from one to 1.3 metres, and plain ones in bloodwood and ironbark. Hand-painted didgeridoos by Aboriginal artists such as Johnny Turnbull, Colin Wightman, Lionel Phillips, Karl Hardy, Lionie

Roser and others can be found in mallee and woolybutt (85 cm to 1.4 m). These artists also paint full size (1.3 – 1.6 m) didgeridoos on bloodwood or ironbark.

OPALS and jewellery The gallery displays a large variety of Aboriginal hand-painted necklaces, bracelets, and other jewellery. An impressive collection of black, crystal and matrix opals originated from Alanrise, Cooberpedy and other inland opal-mining centres. You can select your own

Spirit of Australia

G A L L E R Y Specialists in Authentic Aboriginal Fine Arts and Artefacts

Shop No. 5, 3171 Surfers Paradise Boulevard Surfers Paradise Qld 4217 Phone: 07 5561 0330 • Fax: 07 5561 0331 Email: info@spiritofaustraliagallery.com Website: www.spiritofaustraliagallery.com Open 7 days 9 am - 9 pm 12

loose opal stones and pendants from Boulder opals, mainly dug from the Queensland opal mines at Yowah, Koroit and Opalville.

OILSKINS, Jackets and Hats Traditional oilskin jackets and leather bush hats for the harsh environment of the Australian outback.

APPAREL Large selection of t-shirts and lycra, hand dyed, tie dyed and printed that are Australian made and feature licensed Aboriginal designs. The gallery offers a wide range of other distinctively Australian products: - Canvas paintings, boomerangs, emu callers and eggs, pottery, wooden carvings - Crocodile and kangaroo leather accessories

(belts, wallets, necklaces, bracelets, bags etc) - Australian-made toys - Sheepskin footwear (slippers and Uggs) - Ties, scarves, nappery, novelties and gifts - Harley Davidson official licenced merchandise SPIRIT OF AUSTRALIA GALLERY 07 5561 0330 www.spiritofaustraliagallery.com


GOLD COAST

John Turnbull, 60 x 150 cm $1,690

Anthony Walker, triptych, 3 x 91 x 51 cm

John Turnbull, 90 x 120 cm $1,690

SPIRIT of Australia Gallery S

Ningurra Naparulla, 54 x 86 cm $4,900

pirit of Australia Gallery is the only Aboriginal art gallery in Surfers Paradise. The Gallery offers a unique collection of traditional and contemporary Aboriginal paintings by Central Australia’s most famous artists such as Walangkurra Napanangka, Gloria, Jeannie and Kathleen Petyarre, Abie Loy, Evelyn Pultara, Margaret Lewis Napangardi and Ronnie Tjampitjinpa. The more contemporary and modern Aboriginal art is exhibited by Yondee, Trisha Mason, Colin Wightman, Melissa Wright, Grant Paulson, Bibi Barba and others. Spirit of Australia Gallery offers the largest collection of didgeridoos on the Gold Coast. Over 200 authentic, termite-eaten didgeridoos are on display. The Gallery offers free lessons on playing the didgeridoo to customers wanting to learn. You will also find a unique and wide variety of Aboriginal artefacts and souvenirs including boomerangs, apparel, pottery, crafts and gifts. Visitors to the Gold Coast should drop by the Gallery and take a photo of the largest didgeridoo that the Gallery displays at our entrance.

SPIRIT OF AUSTRALIA GALLERY 07 5561 0330 www.spiritofaustraliagallery.com

A Cora, 90 x 90 cm $750 Goompi Vgerabah, 90 x 170 cm $2,900

Goompi Vgerabah, 90 x 170 cm $2,900

Spirit of Australia

Anthony Walker, 120 x 180 cm $2,900

G A L L E R Y Specialists in Authentic Aboriginal Fine Arts and Artefacts

Kuddtji, 90 x 150 cm $5,500

Ronnie Tjampitjimpa, 92 x 150 cm $14,900

Shop No. 5, 3171 Surfers Paradise Boulevard Surfers Paradise Qld 4217 Phone: 07 5561 0330 • Fax: 07 5561 0331 Email: info@spiritofaustraliagallery.com Website: www.spiritofaustraliagallery.com Open 7 days 9 am - 9 pm Jeannie Petyarre, 140 x140 cm $4,500

George Tjugarrayi, 70 x 110 cm $5,900

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be well-versed in buying, selling and identifying good finds versus reproductions.

WHAT makes a good dealer?

Is it worth anything? How to research and value your much loved treasures

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helpful investigative resource is the public library. Take advantage of this often overlooked valuable researcher’s tool. The library’s staff will be of great assistance in finding books relating to antiques. Here is a repository of many titles on the different collecting areas and while there, why not search a little deeper into the archives for old catalogues, photographs and magazines that show old china patterns, glassware and so much more?

CONSIDERING values There are many factors in determining the value of a piece. It may be to satisfy a curiosity as to its worth or perhaps, more importantly, for insurance purposes. Another reason could be that there is a desire to sell or purchase an item and so establishing its worth on the open market is vital. If just curious about what it is worth, a good starting point is a price guide. There are reputable publications which provide

information, but as the title suggests – these are guides, not definite values. Another source is the sale results at auction. Auction houses make available the prices achieved but be aware the figures stated include the premium charged. Look for the results on the auction house’s website. Less time-consuming and frustrating is a visit to your local antique shop where you have the benefit of seeing similar items clearly priced. As all serious collectors will tell you, the best way to develop a good eye is to see and handle pieces. Plus there is the added advantage of asking questions and so learn more about your favourite subject. If a valuation is for insurance purposes this needs to be set out in a formal document, a verbal appraisal is not acceptable. It is advisable to have items appraised every 12 to 24 months, and the policy current in the unfortunate event you ever need to make a claim. Insurance companies may have appraisers they can recommend alternately, seek out a qualified licensed antique appraiser.

INVESTING in antiques You’ve decided you want to invest in antiques, building a collection perhaps for your retirement fund. Your investment begins with reference books – this is essential. To start with the cost may seem expensive but the gains are immeasurable. You need to study your subject. The knowledge acquired will reduce the likelihood of making mistakes plus

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As a guide there are several questions you can ask. Here are a few suggestions. How long have you been collecting or selling antiques? Usually, the longer a person has been in the antiques business, the greater their knowledge. Some proprietors may focus on the business end and so employ dealers to work behind the shop counter. If so, ask to speak with their dealer. Ask if the dealer belongs to a professional organisation, which helps to establish credibility. Does the dealer specialise in a particular field? This is useful if it’s something specific and the dealer is knowledgeable in the area you collect. A knowledgeable and experienced dealer will guarantee their stock and a good relationship depends on trust and respect. How many times over the years we have heard that what started out as business relationships bloomed into long term friendships. you will become more confident when buying, whether from an antique shop, fair, internet, car-boot sale, garage sale or auction. Consider joining a collectors’ club. As well as catching up with like-minded collectors at meetings, many clubs now have online forums and articles written by experts on their websites.

WANTING to sell? If wanting to sell an item, what is the best approach? There are several options: on-line auctions, an auction house, antique shops, or if planning a big clean out – have a garage sale. If using the live on-line auction you need to know what the item or one similar has recently sold for. On-line auctions usually put a mark up of 50% on the sold price, but you need to continuously study the field to check what is selling, at what price and what is not selling, much like the stock market. If having a garage sale, you can price yourself out of the market if planning to sell the item at antique shop prices. Estate sales can effectively be higher than garage sale prices, but once again you need to know what the market is doing. Continue to ask experts for advice, whether buying or selling. When sending an email to an expert it is recommended to include a good clear image of the item/s in question. As the person receiving the email deals with many inquiries on a daily basis, the more information you provide – especially important is the piece’s provenance – will save the expert making the appraisal valuable precious time.

WHO can I trust? A few tips to consider whether you are buying or selling is to find a dealer you can trust. A good dealer is knowledgeable and often owns an antique shop and can offer you advice when buying and selling antiques such as authenticity, historical information, price guides and negotiating services. Experienced dealers will

INVITATION to value antiques Recently Niko from the Gold Coast Antique Centre was invited to value antiques at the Gold Coast City Council exhibition 2012 Heritage Expo and Fair. He found the experience very rewarding, enjoying meeting the locals and valuing their much loved treasures. He was pleased to see how supportive and enthusiastic the local community is on the subject of collecting antiques.

VISITING an antique shop Be on the watch for reproductions that may be placed between genuine antiques. A reputable dealer will correctly label their stock as a copy or in the style of. When buying an antique the accompanying label should have information relating to the age, condition, details of the maker, decorator or manufactory.

ABOUT Gold Coast Antique Centre Our centre sells authentic antiques and collectables that are correctly labelled and competitively priced. With over 20 selected dealers offering a wide assortment of wonderful and occasionally quirky pieces, your time browsing will be rewarded with a find that will give you pleasure for years. For a free over the counter appraisal or an item you want to sell all you need to do is call to make an appointment with our expert Niko or formal arrangements can be made. Open every day, the Gold Coast Antique Centre is conveniently located on the Gold Coast Highway in the centre of Miami, halfway between the Coolangatta airport and the heart of Surfers Paradise, and one hour south of Brisbane. GOLD COAST ANTIQUE CENTRE, MIAMI 07 5572 0522 / 0414 338 363 www.goldcoastantiquecentre.com.au


GOLD COAST

Grace Galleries is now a Discount Home Decorator Warehouse Outlet at Southport

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he world has changed and so have people’s tastes and the way they shop, so we have repositioned our business to meet the market. We now operate as a discount home decorator warehouse selling a wide range of gallery quality furniture, decorative arts, home decorator items and collectables to suit the most discerning of tastes.

EASY to find

and sculptures as well as a selection of stunning mirrors. As Rodney likes to remind his many clients, ‘One large piece makes a much stronger decorating statement than ten small pieces.’

APPRECIATING and understanding antiques and collectables

We recently moved to new ground level warehouse style premises to be able to offer this expanded range. Come and visit us at 18C Young Street, Southport. The entrance is through the security gates and parking is easy. For those unfamiliar with Southport, it is the business centre of the Gold Coast and is just three kilometres north of Surfers Paradise.

We run a regular course aimed at improving knowledge on a wide range of antiques and collectables. Subjects include What is an antique? Areas of collecting; What is collectable? Style, taste, line; Australiana; Where to buy and sell; Investment or decoration; How to date items; and Local collectables. Participants receive a 50 page course guide.

MORE to choose from

NOW online for easier shopping

Our large stock includes an eclectic mix of gallery quality decorative and collectable furniture, mirrors, glassware, ceramics, decorative arts, clocks, big boys’ toys and collectables with that special appeal only found with creative well designed pieces. We meet all collecting and decorator interests from homemakers, collectors and decorators to businesses looking to upgrade their offices. As well as supplying clients living in southeast Queensland, interstate and overseas visitors looking for a unique item to take home will find that something special in our warehouse gallery. Our timeless and eclectic stock at any given time may include Chinese blue and white ceramics, Tiffany style lamps, crystal and coloured glassware, Asian furniture, huge floor vases, classical and modernist figurines

new items and if you would like to be on our mailing list, please let us know by emailing us at grace@gracegalleries.net. We are open Monday to Saturday from 9 am. For an appointment outside of these hours please phone GRACE GALLERIES 0408 109 427 grace@gracegalleries.net www.gracegalleries.net

Grace Galleries is embracing new technology by displaying a wide range of stock on its website at www.gracegalleries.net, listing items under five major categories. 1. Ceramics and glassware 2. Collectables and ladies fashion 3. Furniture and mirrors 4. Paintings, prints, sculpture 5. Tableware and decor items Potential buyers from anywhere in the world can browse online and contact Grace Galleries by email at grace@gracegalleries.net to arrange shipping. If purchasing smaller collectable items, most can be posted anywhere in Australia in a 3 kg express bag for a cost of just $20.

BE informed We send out a weekly email with details of

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Collecting Bakelite jewellery T

he first entirely synthetic plastic was invented by chemist Leo H. Baekeland who patented it in 1907. Given the trade name Bakelite, it was cheap to manufacture and was used in a variety of mass consumer items, from kitchen and table wares to cases for radios, telephones and fridges. As

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it could be tinted, Bakelite was also used in the manufacture of jewellery. The production of Bakelite jewellery began in the early 1920s and was very popular in the 1930s. This plastic could be made in bright vibrant colours: yellow, butterscotch, red, green and brown being the most common. It could be

transparent or marbleized by mixing various colours. As it was a malleable material, Bakelite was moulded, carved, painted and made into fabulous jewellery pieces which today are highly collectable. There are other early plastics, but Bakelite jewellery is the most sought after – it is very wearable and they are unique statement pieces. Bakelite was made into every type of jewellery: bracelets, necklaces, rings, earrings, fur clips and buckles. The most popular pieces today are the heavily carved bangles – hinged bracelets are called clampers – and huge necklaces. The most desirable colours are red, black, orange and the rare blue. During the Great Depression large amounts of Bakelite jewellery were produced; it was affordable and cheerful in bright colours and often in whimsical designs. Coco Chanel’s inclusion of Bakelite pieces in her 1927 accessories collection elevated it to the realms of haute couture. She continued to include it in many of her collections and there are photos of her wearing many Bakelite pieces. Other notable designers to use Bakelite for their costume jewellery designs included Hattie Carnegie and Elsa Schiaparelli. Clear Bakelite, often called Prystal, was invented in this period; these pieces today have often mellowed to a pale yellow and are referred to as ‘apple juice.’ Reverse carved pieces are highly desirable where a design, often animals or flowers, has been carved into the back. Another popular design features hand painted and coloured or laminated pieces where two colours are seamlessly joined together. During World War II production of Bakelite jewellery ceased as the material was used for

the manufacture of goods needed for the war effort. After the war many new plastics came along such as Lucite, which has also been fashioned into amazing jewellery pieces. Bakelite jewellery came back to prominence with the sale by auction of Andy Warhol’s collection after his death in 1987. Since then there have been several large collections dispersed, the most recent of these being the Susan Kelner Freeman collection with many pieces fetching over US$6,000.

BEWARE of fakes As there are reproduction pieces and many pieces are marked with the wrong date, it is always best to buy from a reputable dealer. There are many tests for Bakelite including hot water tests, simichrome paste, clunk tests, etc. However, there is no substitute for handling vintage Bakelite and studying the designs and carvings. Beware of pieces that are heavily carved and have a fine white powder look in the depths of the carving, these are generally reproduction.

CARING for Bakelite Never use modern cleaners as they can discolour the piece. Simichrome paste (available from some hardware stores) can be used to remove fine scratches from Bakelite and olive oil can be used to restore lustre to many pieces. For more information and details about Bakelite jewellery contact ONLINE ANTIQUES 0407 321 865 www.onlineantiques.com.au


GOLD COAST

SANCTUARY

ANTIQUES

A GALLERY OF VINTAGE & CLASSIC JEWELLERY, ANTIQUES

MASTHEAD WAY, MARINE VILLAGE, SANCTUARY COVE GOLD COAST QLD PH: 07 5514 8070 17


BRISBANE

Come and browse through the exciting

selection of books at Voyager FROM the Jazz Age crime fiction to read and collect

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he collection of 1920s and 30s crime novels is a picture in itself. Plots and characters to die for – easily read but hard to put down. Rare as hen’s teeth and

Voyager Rare Books Maps & Prints

Jazz Age Crime at Voyager – Superb First Editions

Rare Queensland Books a Speciality On the Balcony, Brisbane Arcade 160 Queens Street, Brisbane

Phone 07 3211 1231 www.voyagerbrisbane.com 18

nay impossible to get in Australia, this genre makes for a great and thoughtful gift. If you buy for yourself you will never lend them out.

HISTORY of Queensland Wow, we have moved along since the last edition of A&A in Queensland. We have added a terrific first edition of Leichhardt’s Journal of an Overland Expedition in Australia, from Moreton Bay to Port Essington, published by Boone in 1847. In original cloth covers and the ‘first of firsts’ title to the spine with reference to Moreton Bay, which is omitted from later ‘first’ printings – likely for marketing reasons. Whilst Leichhardt skirted around what is now central Queensland, Mitchell went straight for the heart, and his work Journal of an Expedition into the Interior of Tropical Australia published by Longman’s in 1848, represents the first inland expedition across the state’s vast centre. Our copy retains its original deep red cloth covers with an unusual gilt palm tree motif to the spine. Most copies of this book are re-bound, given what appears to be the delicate nature of the original. The Burke & Wills expedition is represented by the important book A Successful Exploration through the interior of Australia, from Melbourne to the Gulf of Carpentaria edited by Wills’ father and published by Bentley in 1863, based on his son’s letters and journal. No other contemporary record of the events exists in book form. Voyager’s copy is in near mint condition and the much sought after highly decorative endpapers, is certainly a curiosity. Authority Wantrup says, ‘No such copy should be passed by!’ Augmenting the Burke & Wills collection is a fine copy of the Presidential address (Lord Ashburton) to the London Royal Geographic Society in 1862 when Burke was posthumously awarded the Society’s coveted Founder’s Gold Medal. The extent of exploration activity at this time was striking with the President referring to Livingstone’s movements in Africa, the impending and likely news from Speake regarding the source of the Nile, the charting of the Yang-tze River by Captain Blakiston RA, for which he was awarded the Patron’s Gold Medal, whilst in Australia the

endeavours of Stuart, Gregory, Mitchell, Eyre, Sturt, Walker and Landsborough are all honourably mentioned.

PERIOD lantern slides – more than a curiosity The magic lantern slide has become a collectable and potentially a decorative item. Good sets on interesting topics are hard to find. In the past Voyager has sold handcoloured sets on Livingstone’s explorations and likewise sets on Stanley en route to make the most famous of all introductions. Early astronomical slides from Mt Wilson and handcoloured beautiful birds by Volker have also passed our way. Our latest collection is circa 1900 and is a delightful set of Egyptian archaeological interest, a subject being given a lot of attention due to the Mummy: Secrets of the Tomb exhibition. Our broader Egyptian collection has some interesting works including The Great Pyramid by Colonel Garnier, The Book of the Dead by Tirard and our favourite book title of the year so far – The Greater Light; Indications of the Book of Judges Vol XIV & Application of the Mosaic System of Chronology in the Elucidation of Mysteries Pertaining to the ‘Bible in Stone’, known as The Great Pyramid. The Mosaic System and Macrocosmic Cross & The Mosaic System and the Codex Argenteus – phew.

ART on show You may have missed it, but look out for future art exhibitions at Voyager. During the first week of June we hosted an exhibition and sale of stunning new works by local artist Colin Caneris. In the style of 15th century Italian icons, with bold colours and rich burnished gilt Colin’s objective of bringing peace and joy to everyone that attended was certainly achieved. The majority of works sold on the Meet the Artist evening and Voyager’s complimentary strong fruit punch was happily consumed.

FINDING that special gift We are always thrilled to help find that unique gift for a special person, event, or anniversary and we devote as much time as is required to come up with the goods. If you are struggling to find something for the person that has everything, or is impossible to buy for, give us call. Bill Jeffrey VOYAGER 07 3211 1231 www.voyagerbrisbane.com


BRISBANE Late Edwardian six compartment locket, 9 ct yellow gold, in superb condition

Prepare for the worst BEFORE a loss occurs The onus is on you to get your files in order, read your policy, make sure you understand it, in particular the settlement procedures

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he phobia members of the public have for an item of jewellery being overvalued for insurance purposes is flawed with poor logic. Let us also clear up another small fallacy. Technically, there is no such thing as an insurance valuation. It is a retail replacement valuation. The insurance industry of today does not operate or work the way many people think. Firstly, the insurance companies are only to willing to take premiums on highly overvalued items as you pay more. Contrary to belief, to them there is little correlation between an insured value and a payout figure, except it improves their bottom line should ever a loss eventuate.

WHEN a loss occurs This is the process implemented following report of a loss. I suggest that all readers take serious note of what I am about to say. Once your robbery or loss has been authenticated, then the following will most likely apply. You will need two documents for each lost item. 1. Proof of purchase. This can be by either an original purchase receipt or credit card statement confirming the transaction. 2. A completed valuation for the item, which is accompanied by at least a colour photograph of the item and a full description of the both the item and the gemstones contained within. If it is a gold chain or bracelet, the same detail will apply namely the carat, origin, description, length, width and weight. Valuations are assessed on what is called technical merit. This means that there is enough detail for the item to be either replaced or costed for replacement. Should you not be able to furnish either of these two documents then it is most likely that your claim will be declined. Statutory declarations from friends or a poor photograph of you wearing the item is increasingly less accepted as proof. In fact, one major company will not pay out or settle if claimants can only provide this latter information. Your proof of purchase or a valuation is very important, as it is this information that will be used by the insurance company to replace your item. If for instance you lost a 9 ct gold fob chain that you had insured for say $50 per gram. Now, if the insurance

company could replace it on a discounted purchase for $35 per gram, then your claim could be settled this way. This will result in an automatic saving of $15 per gram without any sacrifice on quality. This is a right of your insurance company. Most polices have a paragraph in the contract which states that they have right to replace lost goods with similar items. The days of insurance companies writing out a cheque are long since gone and are only done in extenuating circumstances.

WHAT you need to do Remember, it is not up to the insurance company to make sure that you have all the right information. As most households have some form of computer access or can use computers through friends or the local library, you can complete the following simple steps. Using a computer scanner, cover the glass bed with a thin sheet of clear plastic and lay items on it face down, ensuring the items are correctly placed. Gently lay down the lid, and then cover it with a dark coloured towel to keep out any extra light. This is also an excellent way of recording overlooked and understated costume jewellery items. If you can take or get good quality digital photographs, also do this. Save the scans on your computer but in addition, also burn a couple of CDs for backup records. If you cannot use a computer, go to your local photocopy shop and have them make colour photocopies of the items. Digressing for a moment, this sort of practice of taking photographs is also very valid for all collectables and valuables, porcelain in particular. Get plenty of proof, stand in each room of your house and photograph each wall of the room and its contents, just in case you ever need proof. It might also prompt you into completing a long overdue contents audit. I cannot stress how important is a valuation. However, it is just as important that your valuation be completed by a registered valuer. A retailer selling jewellery may not be qualified to give written valuations. For confidence, look for stores that use a NCJV valuer. Be aware that there are specialist valuers with different expertise so please contact them personally according to which of your precious items are to be valued.

Remember, the onus is on you to get your files in order, read your policy, make sure you understand it, in particular the settlement procedures. Then ascertain if you are covered or if you have the right policy for your needs. Be prepared and put yourself in the insurance company’s situation. Would you pay out on a claim that was not properly substantiated? Lastly, all of your detailed information makes the job of the police a lot easier when they trawl the pawn and second-hand shops looking for lost or stolen goods. PENFOLDS JEWELLERS 07 3221 7516 Penfoldjewellers@tpg.com.au

Est 1964

Penfold Jewellers

Reg. No. 26

FOR ALL INSURANCE VALUATIONS ON JEWELLERY, GEMS, SILVERWARE Insurance • Probate • Matrimonial

• Free cleans • 2 copies of valuation • Flat fee per item • Colour photos • Provenance established Brisbane’s Antique Specialists Silverware, collectables and gemstones Valuation ‘While You Wait’ (by appointment) FAMILY LAW • INSURANCE • PROBATE

P: 07 3221 7516 F: 07 3221 7206 M: 0400 322 175 Shop 5 Anzac Square 206 Adelaide Street Brisbane QLD 4000 Australia penfoldjewellers@tpg.com.au Jade, diamond and onyx 1950s style ring, set in 18 ct gold

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For Marie Antoinette heaven was Le Petit Trianon

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n 6 May Denis Geoffray, director of Unique France, was fortunate to be in Paris and attended the re-opening of le pavillon du Belvédère, part of Le Petit Trianon, on the grounds of Versailles. Together with many art lovers and most of the donors to

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the project, he celebrated the fine restoration of the pavilion to its original glory. It was a very special night, and as Denis remarked, it was as if the spirit of Marie Antoinette was there and like the guests, taking pleasure in the beautifully restored compound.

PETIT Trianon For the tragic Marie Antoinette Petit Trianon was her escape from the rigorous formality of Versailles; here she could enjoy a more relaxed lifestyle away from the pomp of court life. What makes the palace so remarkable is that it bears her personal taste. Originally the concept of Madame de Pompadour and built by the architect Anges-Jacques Gabriel (16981782) in 1761-4, this small palace is in the manner of classical Greek architecture and a break from the exuberance of the rocaille style then popular. Inspired by the discovery of Pompeii and Herculaneum, the classical elements reference Greek and Roman art rather than the classicism of the Renaissance. Petit Trianon is designed to complement the setting rather than dominate; beautifully proportioned each of the four facades is subtly different. The south and north entrances are articulated with pilasters, the east is plain while the west, which is the principal front, has freestanding Corinthian columns. Direct access to the gardens is via external staircases on the western and northern fronts. When acquired by Marie Antoinette the park was changed into an English style garden, replacing formality with irregular lakes, rockwork grottoes and undulating lawns. Working with her gardener Antoine Richard and architect Richard Mique, the queen had created on the grounds a Normandy village complete with a rustic farm and dairy. Although visually different from the original Gabriel design, the finished palace and gardens met the criteria of naturalness and simplicity that was originally requested by Louis XV and his mistress Mme de Pompadour – enjoying pastoral life in privacy away from court life. For Marie Antoinette, her privacy was maintained by ensuring visitors were by invitation only.

THE BELVEDERE Pavilion – a neoclassical design Set on the grounds of Petit Trianon, the octagonal pavilion also designed by Mique, was built between 1778 and 1781. It is regarded as an important feature of the English gardens. The early plans show the Belvedere design to resemble a pagoda. The interior decoration was not the work of Mique but of Le Riche; French sculptor Joseph Deschamps (1743-1788) completed figures for the exterior. Neglected for centuries the Belvedere deteriorated to such an extent that some of the architectural elements were lost. The impaired drainage system meant that water pooled in the lower parts of the building, surfaces were covered with moss and lichen, and there were cracks appearing along the walls and on the floors. Recognising the building was in an alarming state of disrepair, in 2009 the World Monument Fund (WMF) provided funds for its restoration and conservation. Work undertaken saw that structural stability was achieved, the interiors conserved, as was the exterior which included the stone balustrade, sculptures and entrance stairs. The interior conservation project involved cleaning the paintings, marble floors and the bronze decorative elements, which also required repairing. The project took two years at a cost of one million Euros. Returned to itsoriginal state, this rustic retreat was once the cause of deep resentment by the French people. They did not understand that this was a working farm growing produce consumed by its royal residents. Today Petit Trianon is an insight into the tastes of an era and the escapist visions of the ill-fated Marie Antoinette. UNIQUE FRANCE 07 3254 0404 www.uniquefrance.com.au


BRISBANE

Blackamoors Exotic figures from another age at the Antique Guild

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lackamoor figures trace back to 17th century Italy and most notably to the Venetian sculptor Andrea Brustolon (1662-1732) whose interpretation of people from Africa has been copied heavily copied down the centuries. His carved furniture made for the Venier family includes chairs crafted as gnarled tree branches set on statuettes of African youth carved in ebony. Also in ebony are his gueridons sculpted as naked African slaves with boxwood chains around their necks. As interior features, these sculptures are most often fashioned into lamps and candelabras or as tables and stands and found in pairs. Notably, these rare and exquisite sculptures depict African jet-black skin in contrast with lavish jewelled attire in fantastic poses. A very famous example is that in the collection of the GrĂźnes GewĂślbe (Green Vault) in Dresden. Titled Mohr mit Smaragdstufe (Moor with emerald plate), it was manufactured by the royal goldsmith Johann Melchior Dinglinger together with Balthasar Permoser, circa 1724, and is not an African but a South American Indian presenting a tray of emeralds. Probably their most peculiar and distinguishing hallmarks are their faces. Almost always they will have very Italianate European facial features. It has been suggested that this is due to the fact that many Venetians at the time may have had little to no exposure to Africans and were sculpting purely based on imagination or from examples of other artisans. While some take offense at these pieces, viewing them as degrading and racist, in fact the opposite is true. The depictions of these works of art reflect this high regard with a regal bearing and have little relevance to the black Americana depicting slaves in America. Many people often mistake blackamoors for these pieces of American history and have associated them incorrectly. True blackamoors hold much more value as antiques due to their age and are crafted in a very different spirit. It was in this spirit that their likeness became the subject of an artistic movement decorating homes throughout Europe. To this

day genuine blackamoors are sought after as collector items and command very high prices from discerning buyers. Their rarity in Australia makes them even more valuable and finding them in a complete set is even more challenging.

FASCINATING decorative arts at Antique Guild The range of exquisite collectables and antiques extends from fine 19th century furniture sourced internationally to one-off designer light fittings. Or, if looking for that special gift then select from the range of enticing estate jewellery. Here are pieces reflective of different periods of design such as highly collectable Art Deco rings cast in platinum and set with exquisite gemstones. For more about what is in stock contact Chris Hughes THE ANTIQUE GUILD 07 3221 3112 www.theantiqueguild.com.au

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PADDINGTON

TERRA AUSTRALIS kangaroos and other discoveries An exhibition of paintings, drawings and sculpture by Robyn Bauer in September

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or several years I have been preoccupied with the story of the discovery and exploration of Australia, particularly of the ill-fated French explorers Nicolas Baudin and Jean-François de Galaup La Pérouse. The fact that Australian animals and plants were collected and taken back to France has always intrigued me. Some of these

specimens actually ended up at Malmaison, the home of Napoleon’s Josephine. The voyage of the Comte de la Pérouse was organised due to the interest of King Louis XVI in the voyage of Captain Cook. Louis decided to send a crew that would rival Cook’s achievements. My self-portrait as Marie Antoinette with the thylacine in the

ROBYN BAUER STUDIO GALLERY AND SCULPTURE GARDENS 54 Latrobe Terrace Paddington Qld 4064 07 3511 6380 Gallery Hours: Tuesday – Saturday 10.30 am - 5 pm www.robynbauergallery.com.au www.robynbauer.com studio@robynbauergallery.com.au 22

background makes reference to this. There is a skeleton of an extinct thylacine in the Natural History Museum in Paris. Coming face to face with it provided me with the idea which led to this new series. The whole idea of discovery as a concept is one that I find stimulates my imagination as an artist. I have drawn and painted the animals in this exhibition with a sense of discovering them for the first time as the first Europeans would have done; not in the scientific manner of a natural historian but with a sense of wonder and excitement and an almost surreal drama. My kangaroo studies are all drawn from Lone Pine Sanctuary where I have been a daily visitor. I have taken hundreds of photographs and made numerous drawings of the kangaroos to use as reference material.

After having done extensive research on the voyages of discovery and familiarised myself with my real life animal models, I have attempted to work intuitively, melding together the different genres of botanical art, portraiture and landscape elements in an original way. The exhibition, showing at Robyn Bauer Studio Gallery, will consist of large oil paintings on canvas, small specimen images, black and white drawings and ceramic sculpture. I look forward to welcoming you to my gallery. Robyn Bauer ROBYN BAUER STUDIO GALLERY & SCULPTURE GARDEN 07 3511 6380 robynbauerstudio@hotmail.com www.robynbauergallery.com.au


PADDINGTON

The big picture at

Paddington Antique Centre FROCKS, Docs & Diamonds rocks the runway again

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or the third year running our annual vintage fashion parade, Frock, Docs & Diamonds was a sell-out success. Paddington Antique Centre’s fashion dealers combine their creative talents to put on this event and each year it gets better and better. Over 400 people attended to view 59 creatively styled outfits worn by 55 gorgeous models. The crowd was treated to great food, excellent bubbly and wine provided by Clovely Estate, and a glamorous, mirror-themed foyer display. In 2012 vintage is proving to be an even stronger trend. Once the realm of the collector or the eccentric, today we see fabulous vintage on the big screen, the small screen, and then of course everywhere on the streets. We see it in its relatively pure forms and we see it reinvented a thousand different ways. Stylish, confident women and men are giving vintage the recognition it deserves. Our dealers styled a number of individual vintage ensembles creating sets that gave our audience a sense of what can be done with vintage. These were sometimes theatrical, sometimes cute, but always fun and achievable. In addition to our dealers’ creative ensembles, we punctuated each set with a nod to pure vintage. There was a snippet of The Great Gatsby, a whisper of Miss Phrynne Fisher, and a nod to Mad Men. Our audience saw a special pair of pants handmade on Bond Street in 1947 and a prom dress, dating circa late 40s-early 50s, that was having its first ever outing. Vintage is about confidence, individuality and creativity. It’s about a healthy respect for our past while putting a personal stamp on the here and now. Our parades are a celebration of all of this. If you haven’t been before, come along next year. But I warn you, tickets sell out fast!

PADDINGTON celebrates and reinvents the humble button The Church denounced them as the ‘devil’s snare’ when European ladies began wearing them on the front of their dresses. Napoleon introduced them to men’s jacket sleeves to prevent soldiers mutilating themselves when they tried to wipe their noses. They are ubiquitous, beautiful and practical, and are now displayed and sold en masse in the Paddington Antique Centre button shop. Buttons replicate the history of antiques both in their range of styles and in the materials in which they are made. They are markers of social history. They can be utilitarian or decorative, or a combination of the two. Every art and craft has been used in the manufacture of the button. The minute scale necessary in the creation of buttons brings a sense of wonder at the skills involved. Buttons tell the story of our civilisation. Artefacts discovered in archaeological excavations indicate that originally prehistoric

buttons were probably used as decoration in the Bronze Age 3,000 years ago. It was many hundreds of years before their safety advantage saw them displace the pin as the fastener of choice. Buttons began life as decorations not fasteners. They were made of bone, horn, wood and seashells. As fabrics became more refined, the button-hole was invented and buttons were first pressed through them. The French word bouton (meaning to push), emerged. Buttons then went up-market and became an exquisite item used only by the very wealthy. Legend has it that King Francis I of France sported 13,600 buttons on his royal outfit for a meeting in 1520 with a similarly resplendent King Henry VIII of England. Prior to the 18th century in Europe clothing indicated class and rank and to ensure the stability of the class system, the common person was banned from ownership of any button other than those made from thread or cloth. An industry grew up around a growing practical demand for buttons, but it wasn’t long before the upper classes sought to reclaim them as status symbols. The vanity associated with the most extravagant buttons has caused controversy over the years. Risqué buttons on ladies’ dresses in 16th century Europe attracted the ire of the Church, which labelled them the ‘devil’s snare.’ To this day, the Amish community does not wear buttons because they are seen as a sign of pride. By contrast, buttons have sometimes also been associated with austerity and control. The most famous example of this are the black mourning buttons that dominated fashion for decades following the death of Queen Victoria’s beloved Prince Albert. During the last century, there was a dramatic fall in the importance of the button due to the emergence of mass-produced clothing and unforgiving modern washing machines and dryers, which required simple, easily-replaceable buttons. But if the interest in the Paddington buttons shop is anything to go by, buttons are well and truly back in vogue. The diversity of antique, vintage, and retro buttons provides a wonderful opportunity to make that individual statement. The other amazing thing about buttons is the diversity of people who love them. Since opening our button shop we have had a steady trail of people delighted by the idea of such a place in Brisbane. Some are serious collectors looking to expand their collections; some have special sewing or art projects that require just the

right set of buttons to complete them; others have just enjoyed looking. Whatever the case, this is the lolly shop for grown-ups.

FOYER displays Our recent foyer displays have included a very popular animal theme, which saw a life-sized fibreglass cow and calf take centre stage. Adults and children alike enjoyed looking at the diverse range of forms in which animals appeared, from taxidermied African blesblok, impala and hartebeest to delicate china birds, bejewelled

butterflies and bugs, and a fabulous orange powder-coated brass eagle. Following this display was an around-theworld tour of antiques and collectables that included an outdoor table painted with the American flag, a lovely old bedroom chair reupholstered with tea towels sporting Australian motifs, PNG and African artefacts, English china, vintage globes and tribal jewellery. Look out for a foyer display later in the year that is all about sewing, haberdashery and, of course, buttons. Don’t forget to pop in to the Plaza Theatre Cafe for a cuppa and a freshly baked treat. Check out our website and facebook regularly for what’s new and what’s happening at Paddington. Suzy Baines PADDINGTON ANTIQUE CENTRE 07 3369 8088 www.paddingtonantiquecentre.com

Something old for something new Be seen to be green and adopt something old to become your something new ❖ ❖

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Phone 07 3369 8088 167 Latrobe Tce Paddington Brisbane 4064 www.paddingtonantiquecentre.com info@paddingtonantiquecentre.com

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THE TIMELESS ALLURE OF PEARLS

Angelina Jolie at 64th Annual Venice Film Festival © Photo by MJ Kim / istockphoto.com

Artist unknown, Portrait of Queen Elizabeth I, 1559. National Portrait Gallery, London © istockphoto.com

he history of pearls traces back to ancient civilisations. For more than 4,000 years pearls have been highly treasured and revered across the globe. They were amongst the precious stones used for jewels in the Hellenistic period. In China, as far back as 2300 BCE, pearls were presented as precious gifts to royalty. Much later in the 11th century, the Mongol emperor Kublai Khan bestowed upon Marco Polo one of the world’s most famous pearls – the Arco Valley Pearl – a natural baroque blister pearl of 575 carats (115 gm). It is the second largest natural pearl in the world.

pearls with a rich sheen and are referred to as oriental pearls. These were highly prized in medieval and Elizabethan times when they were thought more precious and more valuable than diamonds and gemstones. Freshwater pearls are primarily produced by mussels and conch, and have a soft milky white sheen with a different lustre to the oriental pearl. Saltwater (oriental) pearls are usually smaller than freshwater examples; however a very large species of mollusc in the South Pacific and off the coast of Australia produces very large natural pearls.

thickness of the nacre often determines durability – the thicker the nacre, the more long lasting the pearl. The colours are determined by the mollusc and its environment, ranging from white to black. The most highly valued are the rose of Indian pearls. Other colours include champagne, silver, mauve, cream, green and blue. A perfectly round pearl is extremely rare and very expensive. Pearls come in a wide variety of shapes and sizes, from spherical to teardrop and what you choose is a matter of personal taste.

CULTURED pearls

CARING for pearls

AN OBSESSION for pearls

In the mid 1800s Japan was actively trading its natural pearls to such an extent that the industry was in danger of over harvesting. Thus began efforts to develop methods for implanting foreign matter into molluscs in hopes of growing pearls. Most well known for his research and development of cultured pearls is Kokichi Mikimoto who perfected growing round pearls indistinguishable from oriental pearls, except by laboratory testing. He patented the technique in 1916. Thus began the growth of the cultured pearl industry making exquisite pearls that were more affordable than traditional pearls. Mikimoto’s methods mimic that of a naturally produced pearl – raising the oyster, implanting a nucleus, growing the pearl and harvesting. Mikimoto continues to supply some of the finest cultured pearls around the world. They base a pearl’s quality on five factors: lustre, colour, shape, size and surface perfection. Because of their consistent quality, Mikimoto’s pearls are highly sought after worldwide and the company has set up a special section at their flagship Japan store selling second-hand Mikimoto jewellery.

Because pearls are organic and naturally soft, they will crack if treated badly. They can become discoloured from acid used in some perfumes and with acid that occurs with perspiration. After removing your pearl jewellery, wipe it with a clean soft cloth to help maintain its appearance.

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During the Middle Ages, jewellery was relegated to the privileged. At the end of the 13th century a law was passed in France forbidding commoners to wear precious stones, pearls and belts made of silver and gold. Pearls were used for crowns, coronets, brooches and headdresses. By the 16th century in England goldsmiths produced fine pieces for Henry VIII and his daughter Elizabeth I who also had an extravagant love of jewels. Portraits reveal exaggerated displays of precious jewels and pearls sewn onto her gowns, headdresses and collars. Elizabeth had an insatiable appetite for pearls. Her exquisite coronation collar, as seen in her Coronation Portrait of 1559 hanging in the National Portrait Gallery, London was a feast of large pearls and rubies.

FASHIONABLE again The passion for pearls has been re-ignited – from the fashion runways of Paris to the wardrobes of popular TV characters like Mad Men’s Betty Draper. Angelina Jolie at the Venice Film Festival looked stunning in an outfit accessorised with a triple strand pearl necklace, while über celebrity stylist Rachel Zoe favours layering outfits with multiple strands of pearls.

A PEARL is an organic substance Pearls are formed when a foreign body such as a grain of sand finds its way into an oyster which causes the mollusc to coat this irritant with very thin layers of a natural secretion. The size, shape and colour depends on the type of mollusc in which it grows. Oysters produce

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GRADING pearls The weight of a pearl is measured in grains: one grain is a quarter of a carat. The size of round pearls is measured in millimetres for easy grading. Pearls are categorised into grades that determine their quality. The highest quality pearl is virtually flawless with a minimum total nacre thickness, a beautiful unblemished surface and a bright, shiny lustre. While lustre and surface condition are important, the

Vintage Mikimoto cultured pearl set

MARKET value Prices are still quite high for natural pearls. In April of this year a pair of natural saltwater pearl and diamond earrings sold at auction in England for £1.4 million. The pearls weighed an incredible 34.508 carats and 33.235 carats making them the eighth largest pair of pearls in the world and particularly beautiful for both their form and colour. In Australia we are fortunate to be able to acquire second-hand and vintage pieces of Mikimoto cultured pearl set jewellery and necklaces at reasonable prices. It’s possible to find single and double strand pearl necklaces, pretty gold and silver pearl set rings, brooches and earrings. The Brisbane Antique Emporium more often than not has some lovely examples of Mikimoto pearls for sale at affordable prices. Michael Moyle Antiques at THE BRISBANE ANTIQUE EMPORIUM 07 3862 1600 info@brisbaneantiqueemporium.com.au www.brisbaneantiqueemporium.com.au


BRISBANE

EILISHA LITTLE shares more of her travel experiences to Indochina. This edition – Hanoi highlights

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anoi was quite different from Saigon. It seemed more prosperous, livelier and I suppose more determined to make the most of what the city had to offer tourists. The traffic from the airport was chaotic. Whilst my chauffer weaved in and out and around other vehicles as we approached the city the cars became more numerous, and I noticed that the streets seemed to become narrower. Through the rain and the dusk I was pleased to arrive at my hotel, which was very welcoming and of a high standard. The next morning my guide took me to the Ho Chi Minh Museum, the building of which was started in August 1985 and completed in May 1990. The architecture is reminiscent of a stylised white lotus and the museum deals mostly with the life and times of this remarkable man: the world leaders he met, photos of his early childhood and his family. Ho Chi Minh never married and maintained that Vietnam was his family. He loved children and wanted them all to have an education. He was born in 1890 and died in 1969, aged 79. He could speak 14 languages. This museum also deals with a section on Vietnam’s history and the struggles and victories of the Vietnamese people. We also visited some of the houses he lived in while president. Ho Chi Minh did not like living in the presidential palace built by the French choosing to live in a more modest house on the grounds. We saw his bedroom and little dining room with its very sombre furnishings as we passed by his windows. It was in this house with its meagre furnishings that he died. His health had been slowly deteriorating and it was sad loss to his beloved country.

We went to the National Museum of Vietnamese History and saw displays from the 2nd century BCE to the mid 20th century. We viewed wonderful stone and terracotta sculptures from the Champa collection. The Champa Kingdom, which dates from around the 2nd to mid 19th centuries, produced wonderful artistic and architectural works. The Cham people are today an ethnic minority in Vietnam. Halong Bay was our next excursion. It was a three and half hour drive from Hanoi, but the sight of these huge boulders coming out of the sea was awesome and the ride on the junk boat across to the cave was dramatic. This cave was only discovered in around 1990 when a fisherman saw a monkey going through a hole in a high stone cavity. He wondered where the monkey had disappeared to and followed him into the cavern where he was mesmerised by what he saw. Ever since, this cave has been a tourist attraction with visitors coming to see the colours, shapes and the mysterious way the stones merge as if someone had hewn replicas of animal heads. The variety of colours which seem to merge and then move into another area make this a vision of such wondrous scenes. Every step revealed something unexpected. So, in between watching these gigantic shapes emerge from the seabed and then enter this mystical cave, I’m not surprised that guides like to bring tourists on such a journey and observe their reaction. The trip back to Hanoi was uneventful after such highlights. The next day I boarded my flight to head back to Brisbane with some unforgettable memories to cherish. Eilisha Little EILISHA’S SHOPPE 07 3358 1448 / 0423 830 515

Member of QADA Proprietor: Eilisha Little

Antiques, Objets d’Art, Furniture, Porcelain, Sterling Silver, Old Jewellery, Collectables & Linen Experienced Hand French Polisher, Insurance Work Undertaken Open: Tuesday to Friday 10 am - 4 pm Saturday 10 am - 2 pm Sunday 11 am - 4 pm

109 James Street New Farm Qld 4005

Phone 07 3358 1448 AH 07 3844 3619 Mobile 0423 830 515

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A commitment to quality AT LAVIN ANTIQUES OUR criteria

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he pieces we buy have to have eye appeal, quality and good patination. If the piece has been refinished, its patination will have been stripped away and consequently the character has been dramatically reduced. Usually this means its

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value has been compromised as well. Another important factor is if the piece has undergone major restoration. Such items have no place in our showroom. Only after these criteria have been met will we consider acquiring the piece for our showroom. An added bonus is provenance, or if it has been

identified as coming from a top maker. To find items with these attributes is not easy, but we will not buy pieces of lesser quality; we are committed to selling quality items.

VISIT us at our new premises Lavin Antiques new showroom consists of 350 square metres of antique furniture, ceramics, silver and decorative items. Our new address is 11 Logan Road, Woolloongabba, in the heart of Brisbane’s antique district. Here you will find a selection of fine

furniture from the late 17th century, Georgian, Regency, Victorian and Art Nouveau periods. On the floor are examples from the workshops of prominent makers, for example Edwards & Roberts, Holland & Sons and Wilkinson & Sons. Do visit, we are open every day from 10 am to 4 pm and look forward to welcoming you. LAVIN ANTIQUES 07 3391 2300 info@lavinantiques.com.au www.lavinantiques.com.au


TENERIFFE

Personal service, history and the magic of antiques at Commercial Road Antiques

W

e are all familiar with the old saying ‘What goes around, comes around,’ but the story of one particular longcase clock is a little different, and had everyone at Commercial Road Antiques smiling with joy and surprise. Twenty-four years ago prominent Brisbane hotelier Neil McLucas consigned a collection of memorabilia to auction, including his much loved longcase clock. This was a decision he immediately regretted. Recently, the clock resurfaced at Commercial Road Antiques, its provenance known only to the dealer who had cared for it over the past nine years. A staff member who knew Neil and was aware he was looking to add a longcase to his collection rang him. After a short conversation, the pictures of the clock were emailed to Neil. As the pictures began to appear, Neil became so excited that before the download had finished he was on the phone exclaiming, somewhere between laughter and tears, his delight at seeing his favourite ‘Lady’ from the past after all these years. ‘It is hard to believe after all these years, but it is definitely the same clock and in better condition than when I last saw it. I am so pleased to have it back,’ Neil said. We wonder how many other stories of magic have occurred in the 20 year history of the centre, which has operated in the same location since opening. If you have a story or favourite memory we would love to hear from you.

SPECIAL Pieces In the centre is Lynzay Antiques who has sourced from Toowoomba an overmantel and fireplace carved by English born Dr Frederick

Hoop and bunya pine fireplace and overmantel carved by Dr Frederick Crook-King Snr, 1902-1906, for his home in Toowoomba, Qld. Lynzay Antiques

Crook-King Snr, the pieces were made in the years 1902 to 1906. Originally from London, Dr Crook-King migrated to Christchurch, New Zealand in the late 1800s. He decided to move to Australia, arriving in Sydney. In 1902 he relocated to Toowoomba where he resided in a magnificent home for which he carved much of the furniture in a similar style. An example of this is an accompanying matching pair of chairs, carved around the same time as the overmantel and fireplace. Ian Thomson COMMERCIAL ROAD ANTIQUES 07 3852 2352 commercialroadantiques@gmail.com www.commercialroadantiques.com

“THE BEST CENTRE IN BRISBANE”

Lynzay

Antiques

IS ALSO A HAPPY, HAPPENING PLACE In March interior decorator Leonie McIlwain and Guy Clothier had their wedding photos taken in the centre after their dusk ceremony

SEE MORE WEDDING PHOTOS ON OUR FACEBOOK PAGE

Exciting new showplace with fine furniture, antique & estate jewellery, silverware, ceramics and glass PETER MARTIN • 0412 599 299 AT COMMERCIAL ROAD ANTIQUES • 07 3852 2352

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

Commercial Road Antiques & Decorative Arts

85 Commercial Road Teneriffe QLD 4006 Open 7 Days 10 am – 5 pm 07 3852 2352

www.commercialroadantiques.com 27


BRISBANE

At the Frank van Brunschot Fine Furniture restoration classes experience the rewarding pleasure that comes from bringing a period piece of furniture back to life

T

he classes in furniture restoration are an opportunity to learn all the necessary techniques and skills involved in restoring antique and fine furniture. By the end of the term students will have a finished project they can be proud of.

ACCESSIBLE to all Learning furniture restoration techniques is not defined by age or experience. Frank has taught people at all skill levels, from beginners who are taught the methods and materials used in restoration, to refining and upgrading the skills of more experienced amateur restorers. Key to Frank’s approach to restoration is a conservation ethic. The principals he follows are internationally recognised as the standard of best practice when caring for quality pieces. This involves respecting and maintaining original workmanship, materials, finishes and surface patination.

PRACTICAL skills The first stage of the restoration process is assessing the piece. Students are taught to identify structural problems, loose veneer, lost material, the type of finish and condition. Frank takes students through the correct ways and methods of addressing these issues. Understanding glues. Students are shown how to use traditional hide glue for repairs. In terms of conservation repairs, a process needs to be reversible. Hide glue, a water based collagen glue that can be re-softened with water, has been used for thousands of years. Modern adhesives cross link and cause damage if needed to be removed. Another issue is they have a limited life span of 20 to 50 years. Their use on antique furniture has been mostly rejected by professional restorers. French polishing is generally a large component of the program. Students are taught the different ways of applying shellac. Beginning with simple shellac and wax

finishes, once proficient students are then taught how to achieve a full-bodied French polished surface using traditional French polishing rubbers, pumice powder and oil. As well as being a very versatile film-forming material, shellac is cost-effective as its application does not require expensive or elaborate equipment. A very good finish can be achieved with a little bit of patience and commitment.

COURSE content outline

› Polishing: what is a finish, different types of finishes and how they work

› Washing back or striping back a finish › Repairs and cabinetwork, traditional adhesives, joinery and veneer work

› Preparing a surface for polishing, colour

fine furniture restoration & conservation of antique furniture • cabinet-making • design • french polishing • free quotes

07 3216 2707 0412 954 716 1a 229 Robinson Rd Geebung www.frankvanbrunschot.com

matching and staining

› Cleaning, touching up and waxing an old finish › The polishing process. Shellac based traditional French polishing, waxing and oil based finishes.

HANDS on classroom Classes are held in Frank’s fully-equipped workshop designed for all aspects of furniture restoration and cabinetmaking. This is a relaxed and encouraging environment, providing a positive and rewarding learning experience. Classes are deliberately small to allow for a flexible teaching approach that caters to individual needs and abilities. Students are asked to bring in a small piece of antique or period furniture to work on. Classes are ongoing and students can enrol at any stage for a four, six, or eight week block. The modest course fee includes all required materials, polishes, waxes, solvents, timber and veneers, and every necessary hand tool and machinery. More information can be found at www.frankvanbrunschot.com or feel free to ring with any questions. CLASS TIMETABLE Saturday morning 9:30 am – 12:30 pm Sunday afternoon 1:30 pm – 4:30 pm Class fees (subjects to change) 4 weeks: $324.00 6 weeks: $460.00 8 weeks: $595.00

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ABOUT Frank van Brunschot Frank is a qualified cabinetmaker and teacher with a Bachelor of Visual Arts from ANU. He has many years of experience in antique furniture restoration and in exciting commissions, making and designing solid timber custom made furniture. Frank has a genuine commitment and passion for his work and is always generous with his knowledge. Phone or email Frank for any restoration or commission inquiries at FRANK VAN BRUNSCHOT FINE FURNITURE 07 3216 2707 0412 954 716 www.frankvanbrunschot.com


BRISBANE

Nudgee Road Antiques & Design Centre has expanded! Come and discover the exciting treasures

N

udgee Road Antiques & Design Centre operated by Parker International Pty Ltd, a family-run business since 1985, is a leading supplier of Oriental and European antiques and fine works of art in Australia. Proprietors, Catherine Ricketts and Kevin Parker, have a profound knowledge of the trade and are nationally recognised antique dealers. Catherine and Kevin travel frequently overseas to source their extensive range of antiques and decorative art pieces.

LOCATION The centre is located in the inner northern suburb of Hendra, near Doomben Racecourse. Well positioned, this means it is only a ten minute drive from Brisbane’s international and domestic airports.

THE CENTRE expands In early 2011, the two character commercial buildings in which the centre is located underwent a major renovation incorporating the impressive range of products Catherine and Kevin import. These include granite floor tiles, lighting, wrought iron fencing and gates, which are integral to the building’s vintage themed design. After more than two long years of sweat, dust and sleepless nights, the whole complex has been transformed into one of Brisbane’s most fabulous treasure troves.

TREASURES waiting to be discovered Walk into the shop and you will be dazzled by the remarkable displays of antiquarian artefacts, marble statuary, European and oriental furniture, cast iron products, chandeliers, gazebos and garden ornaments the centre has to offer.

The business caters to everyone from the avid collector to the single purchaser. As well as buying and selling to the general public, Catherine and Kevin wholesale to traders all around Australia. Thanks to the support and patronage of customers, the business has experienced immense growth over the past two decades, and continues to go from strength to strength.

UNDERSTANDING the market Over the past ten years the demand for, and price of antiques has risen significantly, and sourcing antiques has become increasingly difficult. This prompted Catherine and Kevin to expand their antiques business to include contemporary decorative items and to supply materials to developers, landscapers and interior designers. As a result, the business has been involved in many successful projects, supplying special pieces for custom orders and building a reputation as a source for quality amongst designers. Since early 2012, Nudgee Road Antiques & Design Centre has been collaborating with the Fraser Coast Regional Council in Queensland, supplying building materials for a Chinese garden project. They have successfully imported and delivered over 30 tons of building materials for this project alone.

INVITATION to be part of a growing team With the renovations completed, Catherine and Kevin are now able to offer skilled dealers the opportunity to become part of the complex, setting up their own outlets in the centre. It is envisaged that this combination of trades and services will make the centre into an ideal one-stop antique and design complex.

CHANDELIER Restorations at the centre

Catherine and Kevin invite you to come and explore the exciting array of stock on show at Nudgee Road Antiques & Design Centre. They look forward to welcoming you to their freshly renovated and expanded premises.

We are very happy to announce that Chandelier Restorations have opened up a business in the front showroom. The owner, Kamahl, is an expert in restoring chandeliers, lamps and wall lights. He can be contacted on 0433 120 208/ 07 3268 7725, or by email: chandelierrestorations@gmail.com.

For more information contact Catherine Ricketts & Kevin Parker Proprietors PARKER INTERNATIONAL PTY LTD 07 3268 2869 info@parkerinternational.com.au www.parkerinternational.com.au

Nudgee Road Antiques & Design Centre Operated by Parker International Pty Ltd

277 Nudgee Road, Hendra, Queensland 4011

European Arts & Furniture

Antique and Fine Works of Art Importer, Retailer and Wholesaler

Oriental Arts & Furniture

A treasure trove to be discovered

Marble Items

• Custom designed material for projects • Developers, Landscapers & Interior Designers welcome

Stoneware Cast Iron Wrought Iron

Lighting

Antiques Appraisal Services • General Insurance

• Family Division

• Deceased Estates

• Antique Certificate

Australian & European Specialist

Oriental Antique Specialist

Kevin Parker

Catherine Ricketts

0411 709 660

0411 709 669

Mon-Fri 9am-5pm

Sat 10am-4pm

Tel 61 7 3268 2869

Fax 61 7 3268 5200

Email info@parkerinternational.com.au Website www.parkerinternational.com.au

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Easy to collect-hatpins T he use of pins as a means of fastening head coverings has been in place for centuries. As early as the Middle Ages (1066 -1485) women used pins to secure wimples and veils in place. Wimples were popular in the late medieval period and consisted of a cloth worn over the head and around the neck and chin.

Throughout the 1860s, with the increase in popularity of the parasol, hats and bonnets saw a marked decrease in the size, some like the franchon were little more than a small triangular shaped piece of cloth. A franchon was made of straw or silk, often with wide ribbons tied under the wearer’s chin. Towards the end of the decade little doll hats started appearing and could be seen perched at the front of enormous hairstyles. During the early Edwardian period (19011907) it became popular for women’s silhouettes to resemble an S. Hats were positioned above piled up hair to compliment the curvaceous form created below. After 1908 the form became more slender and the hats became increasingly large. By 1911 they were often so large that the brims extended beyond the wearer’s shoulders. To secure such large creations, hatpins as long as 18 inches were employed. American stage star Lillian Russell and the toast of London, Lillian Langtry popularised large elaborate hats with hatpins to secure them. It was feared that such large hatpins could be used as weapons so several laws and bills were introduced during the early 1900s, in different areas, limiting the length of hatpins to 9 inches. In fact there are news articles from the period detailing injuries inflicted in self defence, by accident, and in malice. As a result ladies had to cut their pins to size or else apply for a permit to allow longer ones. With the advent of World War I women’s hats and hairstyles became smaller and were less elaborate. Large ornate decorations were often frowned upon and considered unpatriotic as it suggested that the wearer cared more about themselves than the war. The rise in popularity of the cloche in the 1920s marked the end of the hatpin as a major woman’s accessory and its beginning as a collectable.

IDENTIFYING copies and fakes The popularity of the hatpin as a collectable has spawned a market of fakes and copies. Identifying these fakes has made purchasing hatpins a precarious endeavour for the collector. The first step in preparing yourself is to buy a book on hatpins. Lillian Baker’s The Collector’s Encyclopedia of Hatpins and Hatpin Holders is a good place to start. Once

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you have a good book, study the pictures, look at the quality of materials, construction and styles. Try to match designs to specific eras. Once you can do this you will be far better equipped to weed out the fakes and find yourself a treasure. BRISBANE ANTIQUE EMPORIUM 07 3862 1600 info@brisbaneantiqueemporium.com.au References www.americanhatpinsociety.com/tour/history www.tnttrader.com/History_of_Womens_Hats


CLAYFIELD

794-810 Sandgate Road (Cnr Junction Road) CLAYFIELD Qld 4011 AMPLE ON-SITE PARKING (VIA JUNCTION ROAD)

Phone 07 3862 1600 Email: info@brisbaneantiqueemporium.com.au

Website: www.brisbaneantiqueemporium.com.au OPEN 7 DAYS 10am – 5pm 31


WOOLLOONGABBA

L A

avin ntiques

FURNITURE · CHANDELIERS · CERAMICS · PAINTINGS · RUGS · TEXTILES

Importers of fine quality antiques

11 Logan Road, Woolloongabba QLD 4102 Phone 61 7 3391 2300 Fax 61 7 3391 2331 Email: info@lavinantiques.com.au Website: www.lavinantiques.com.au Trading seven days a week 10 am – 4 pm

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GOLD COAST

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

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

2076 Gold Coast Highway, Miami • Phone 07 5572 0522 • Mobile: 0414 338 363 More than a website – shop online @ www.goldcoastantiquecentre.com.au OPEN 7 DAYS 10 - 5 Sun 10 - 4 33


CLAYFIELD

794-810 Sandgate Road (Cnr Junction Road) CLAYFIELD Qld 4011 AMPLE ON-SITE PARKING (VIA JUNCTION ROAD)

Phone 07 3862 1600 Email: info@brisbaneantiqueemporium.com.au

Website: www.brisbaneantiqueemporium.com.au OPEN 7 DAYS 10am – 5pm 34


Collecting butterfly jewellery Y

ou may have already walked past one and admired its beauty without realizing what it was. They feature in many collectables, most often pictures, trays, jewellery and other decorative items. Oftentimes, it’s not obvious that you are looking at butterfly wings as they are usually used in backgrounds to simulate water, sky or even cloth.

Butterflies and their wings are not harvested as you might expect, with someone running around with a net trying to catch the flighty insects. They are instead, most often farmed or ‘ranched’. In some cases the remains are found on the ground, collected and preserved. From as far back as the 1920s, butterflies were farmed in Europe to make small pictures, jewellery and decorative items, mostly for one English market. During the 1950s, Pretty Peacock Blue butterflies were captured by South American natives and sold to crafters for $5 each. The farming and collecting of butterflies, along with the jewellery, pictures and decorative

items created from them have been used in various parts of the world for conservation efforts. They are an excellent source of income and have provided a reason to preserve rainforests instead of clearing them for cattle and cash crops. ProNaturalezas Butterfly Conservation Program is a Peruvian organisation seeking to prevent habitat destruction by promoting butterfly farming and ranching. Peru has over 3700 species of butterfly. There are three basic styles of butterfly art: • Items that contain a whole butterfly, most often in the form of a large pendant. This is amongst the oldest form of butterfly jewellery. • Scenes reverse painted onto glass or Lucite covering a butterfly wing. In this case the butterfly wing forms the background of the piece. • Items using the butterfly wing without any overlaid detailing.

Originally, the most common butterfly jewellery items were pendants, pins and occasionally rings, but today butterfly wings can be found mounted into necklaces, bracelets and even earrings. The price is, in most cases, governed by the quality of the setting. There are a large number of motifs possible when optimising a variety of butterfly wings. Classically, most butterfly pictures were sold at tropical tourist areas, so they featured palm trees, boats and water scenes. However, pictures containing people, animals as well as many other scenes, can be found.

FAKE or genuine? When purchasing butterfly wing jewellery, pictures and decorative items, the best way to identify fakes is with a jeweller’s loupe or with a magnifying glass. Look closely for iridescence in the colouring. If you do have a magnifying glass or loupe, try to see the tiny overlapping scales, indicative of true butterfly wings.

CARING for your jewellery In caring for your butterfly art, moisture and bright light are your enemy. For this reason, when cleaning, use a soft polishing cloth to clean the wing’s surroundings, but leave it untouched. Try to display items in areas of low light and humidity, and store them properly when not in use. If you do this your treasures will be with you for years to come. BRISBANE ANTIQUE EMPORIUM 07 3862 1600 info@brisbaneantiqueemporium.com.au

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BRISBANE

A milestone for the community as Karuna Art & Jewellery Market

celebrates its 10th anniversary C

ome along and join the Karuna family at Karuna’s Art & Jewellery Market which is celebrating its 10th year of fantastic support. If you haven’t been to the market before, this year on Saturday 4 August, is the perfect opportunity to come and experience an event for everyone. Most importantly, funds raised go towards providing essential services to the community.

ABOUT Karuna Karuna is an organisation dedicated to providing palliative care to people in the community diagnosed with a life-limiting illness. The wonderful team are involved with people of all ages and circumstances. Illness can strike anyone at any age, from the very young to the elderly, single or with partners, perhaps with a young family, or someone’s sibling or parent – all are dealing with a terminal illness. When confronted with the diagnosis and not sure where to go, families contact Karuna.

KARUNA’S services: free to the community Karuna provides nursing services, information, counselling and spiritual support

support

karuna’s

Art & Jewellery Ar fro t m $5 ea ch

Des igne and r Vint a Clot ge hing

Market

Tras Trea h n inclu sure boo ding ks a n cds d

Jewellery from $3 each

Bric-à-Brac from all over the world

Silent s Auction h for hig t end ar

Perfect Cup Cakes

a un s r Ka ook B

When: Saturday 4 August 2012 Time:

8am - 3pm

Where: Karuna House 27 Cartwright St Windsor QLD 36

for the whole family. Karuna also steps in when grief takes over. It is a service that we need to provide for so many more families. These services are offered freely thanks largely to the generosity of the broader community, from donations and funds raised through annual appeals and events.

THE MARKET is a vital fundraiser As part of the fundraising for Karuna, each year we have an art and jewellery market. Last year this event raised over $30,000 – a great contribution to our fundraising needs. This event is really important because 50 percent of our funding comes from Queensland Health and the remaining money must be raised through donations.

COMMUNITY support The market is made possible by generous donations from the community. We have volunteers who come in and sort, clean and price the art, jewellery and bric-à-brac, and on the day over 100 volunteers donate their time manning the stalls. As well as supporting this vital community service, the market is a day filled with fun for the family whether searching through the trash and treasure, affordable jewellery, bric-à-brac, or the many books and cds on offer. For the textile collector and lover of retro there is designer and vintage clothing, or why not visit the stand selling irresistible cup cakes? Take time out and sample the delectable food or if a serious art collector take part in the silent art auction. Held at Karuna House, 27 Cartwright Street, Windsor, this year, the market is on Saturday 4 August, from 8 am until 3 pm. For more information contact Sharon Wood KARUNA HOPSICE SERVICE 07 3632 8325 www.karuna.org.au


ALBION

Museums, art galleries and antique dealers Australia-wide are finding Pack & Send’s service truly valuable because we take care of all the details

” Pack & Send

art and antique specialists

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 ask us to take care of the entire logistical process – from pick-up to packaging to 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, dealers 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.

PROFESSIONAL Packing Service Pack & Send is the only packaging and freight company that has access to Instapak Foam-inPlace 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, but Foam-in-Place is highly cost efficient

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 cover even the most fragile art or antique item. Protection against loss and 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 Albion is open 5 days a week, from 8.30 am to 5.30 pm Monday to Friday and by appointment 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 Stephen & Janet McCartney PACK & SEND 07 3262 9742 albion@packsend.com.au www.packsend.com.au

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WOOLLOONGABBA

New ‘Ilja Grawert’ bridge achieving optimum acoustics for string instruments Now the real sound work starts. Every step from now on is very important for the beautiful sound of your instrument. I next mark the bridge thickness on top of the bridge. Then I start working on rounding the chest, first with a knife, then with a fine file and finish it off with sandpaper. (Photos 9-12) After the chest is done, the bridge needs to be shaped for beauty and for optimal

1

B

ridges that come with new string instruments always need to be replaced or at least have to have extensive adjustments done to them. A bridge is not only there to be beautiful and to hold the strings up, it is supposed to be a piece of sound art. The bridge I make gives me the flexability to adjust the sound in many ways. This is because I choose the wood and cut the bridge in a way that each piece will have a major impact on the sound quality of the finished instrument. Every instrument has to be looked at dynamically as an individual, like we do with fellow humans. What is good for one instrument may not necessarily be good for another. By adjusting the way I work perfectly to each individual instrument, I can make sure that I facilitate the best possible final result in its unique tone and playability. (Photos 1-2)

ILJA GRAWERT Violin Maker Freecall 1800 882 468 ilja@grawert.com.au www.grawert.com.au

2 MAKING a bridge Cutting a new bridge involves many steps. After checking the instrument to find the right matching piece of wood, I start fitting the bridge feet to the surface of the round top plate. They have to fit perfectly. The way to see if they are fitting is by placing them only by their own weight on the top plate and then looking at them on a very flat angle so you will see the reflection of a gap on the varnish of the top plate. By following this procedure you can make sure that the bridge fits perfectly. Fitting the bridge is done with a very sharp carving knife. (Photos 3-4) After the feet are perfectly fitted, I need to determine the height and the curve of the bridge. This is done using a template. I will then cut the bridge down to the right height. (Photos 5-6)

Tuesday~Friday Tuesday~Friday 10 10 am~5 am~5 pm pm Saturday Saturday 10 10 am~2.30 am~2.30 pm pm

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acoustics. Every cut with my knife is well thought through, to achieve the best result. (Photos 13-16) If I am happy with the end result, I will put the bridge aside until it is time to assemble the instrument. (Photo 17) Apart from selling the full range of string instruments, strings, accessories and print music, I do repairs, restorations, making of new instruments and setups in my Woolloongabba workshop.

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WOOLLOONGABBA Clarice Cliff, bowl, c. 1927

René Lalique, Peach St Odile glass box, c. 1932

Clockwise from top right: Bronze lamps; Art Deco ring; Deco cabinet

Art Deco mantle clock

René Lalique, pin tray, c. 1925

Clarice Cliff, Coffee pot, c. 1929

Loving Art Deco A

rt Deco is the fashionable style of the inter-war period, 1918-1939. It grew out of the anti-historical, modernist elements in Art Nouveau and so it can be stated that its origins can be traced back to the early years of the 20th century. French architect and furniture designer Hector Guimard (1867-1942), a leader of the Art Nouveau movement designed forward looking furniture for his own home. The style was a response to the developments of mechanisation and increasing industrialisation and the name is derived from the first decorative arts exhibition to be held after the First World War. L’Exposition Internationale des Arts Décoratifs et Industriels Modernes was held in Paris in 1925. Practitioners were found in all branches of the decorative arts as well as the disciplines of architecture, industrial design and graphic arts. It also translated into the fine arts. Art Deco had a big influence on daily life especially as big manufacturers of household and decorative objects took up the style. It also became the style of choice for fashion houses and jewellers. By the 1930s, the Art Deco style was everywhere. Animal skins were all the rage as was ivory, mother-of-pearl and even tortoiseshell. It has a very distinctive look. Bold geometric and angular shapes and the use of materials such as glass, mirrors, chrome, shiny fabric, marble and highly polished wood and glossy black lacquers. Important ceramic designers of the period include names such as Clarice Cliff (1899-1972). She started work at the Staffordshire pottery of A.J. Wilkinson Ltd from about 1916 and in about 1925 began to do experimental work at their Newport factory, becoming art director in 1930. Her now famous ‘Bizarre’ wares

began in 1928 and at the time of their inception, management was stunned by the boldness of her designs. They where further astonished by how quickly they sold. In 1999, centenary celebrations of Clarice’s life and work was held. One of the main events was an exhbition titled the ‘Bizarre Art of Clarice Cliff’ held at the Wedgwood Visitors Centre, Barlaston, near Stoke-on-Trent. Susie Cooper (1902-1995) was another great artist from this time. She joined A.E. Gray & Co in 1922 and was among the first to promote ‘rustic’ hand-painted designs. During her time at A.E. Gray she introduced abstract geometric patterns, but these did not last long. In 1929, she left the firm and set up her own business at Burslem buying earthenware made for her by Staffordshire potteries and decorating it. She started with five artists and soon increased to 40 within a couple of years. Her work is highly sought after. Raymond Templier (1891-1968) came from a family of jewellers. His designs were very bold and distinguished by an uncompromising geometry. His brooches, pendants etc were scattered with diamonds against dark platinum fields. He used silver and mixed it with onyx and other dark stones. A highly innovative designer he was a founding member of the Union des Artistes Modernes. When it comes to furniture, architect Eileen Gray (1878-1976) is one of those designers who never received the credit she deserved. She was one of the finest lacquer artists and designers of her day. Eileen used reddish browns, brilliant reds and striking blues. She developed methods of rugged and subtle textures on lacquered surfaces by using materials such as gravel and sand. She also used silver, gold leaf and mother-of-pearl in her designs. Her furniture designs became more austere, more clean lined and practical. Her works are sought after by collectors and galleries all over the world.

René Lalique (1860-1945) was a leading French Art Nouveau jeweller. He then turned his attention to designing glass in the early 1900s. Lalique then pioneered the way of mass producing art glass in his factories. He designed a large range of items including tableware, lamps, vases, perfume bottles, statues, and jewellery. His glass designs found their way into furniture, ocean liners and buildings. The company he founded still operates today. However, his most valuable and sought after pieces, signed R. Lalique, are from during his lifetime.

I have only mentioned a small handful of Art Deco artists but they are some of my favourites. The Art Deco style is loved and collected by many people today and will always be remembered for its bold and witty designs. So, if you have a love for Art Deco pieces, whether it be jewellery, furniture, ceramics, glass etc, there is always plenty of beautiful things to choose from in this period. Jason Bridge COLONIAL COLLECTABLES 0431 403 897 colonialcollectables@msn.com

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COLONIAL COLLECTABLES

ANTIQUES • JEWELLERY • OLD WARES BOUGHT & SOLD

Eileen Gray, Chair, c. 1928, wood, nickle plated

Raymond Templier, Clip and pin, c. 1925, silver and paste

9 Logan Rd Woolloongabba 4102 M: 0431 403 897 email: colonialcollectables@msn.com 39


WOOLLONGABBA

Moorcroft: W

illiam and Walter are the names synonymous with Moorcroft – decorative art pottery known for its unique, magnificent, distinctive designs and craftsmanship. It all started in the late 1800s, when William Moorcroft (1872-1945), then in his early twenties, was employed by James Macintyre & Co as a designer. His first range of innovative pottery was called Florian ware, which won the company a gold

The Art Pottery

medal at the St Louis International Exhibition in 1904. At this time William was in charge of the company’s art pottery studio and signed his name or initials on most of the pottery he designed, which was a most unusual practice at that time. He was so successful that his designs overshadowed Macintyre’s other manufacturing, which resulted in resentment from his employers and consequently in 1912 his studio was closed and he was made redundant.

TWICE UPON A TIME Never Knowingly Undersold Superb range of restored English, Australian & Continental furniture Porcelain and ceramics, clocks & collectables

Queensland’s largest display of Royal Worcester

31 Logan Road, Woolloongabba (Adjacent to the cricket ground)

Tel 07 3891 7735 Mobiles - 0412 764 699 & 0414 240 281 Email: twiceuponatime@bigpond.com Website: www.twiceuponatime.com.au We also undertake restoration of antique furniture & supply leather desk inserts

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The following year, 1913, he formed his own company and with his former employer’s staff set up a factory close to Macintyre’s at Burslem, Stoke on Trent, England. The new company produced a range of moderately priced everyday domestic and tableware items as well as the now famous pottery, which was sought after by Queen Mary who was a keen collector of his works. In 1928 the company was appointed Potter to HM The Queen. Walter, William’s eldest son took control of the company shortly before his father’s death in 1945. He continued to expand and develop the company, which received a second Royal Warrant in 1946. During the period of William’s reign the famous store, Liberty’s of London, invested in the business and effectively held control for a long period, their interest was bought out by the Moorcroft family in 1962. As with most companies who produced high quality articles, high labour costs with its intensive techniques brought the company into financial trouble and part of the business was sold to the Roper Brothers in 1984. The majority of the Moorcroft family shares were also placed on the open market at that time. An effort to mass produce and streamline the manufacturing process was unsuccessful and in 1986 Roper Brothers sold their share to

Hugh Edwards and Richard Dennis. Richard Dennis’s wife Sally Tuffen, a renowned pottery designer, achieved acclaim for her input into Moorcroft wares over the period they were involved with the company. Her designs are sought after and will definitely grow in value. In 1992 they left the company, leaving the Edwards family as sole owners. Walter Moorcroft retired as the director of design in 1987, but continued with the company on a limited basis until 1999. His last design was titled ‘Rock of Ages.’ Echoing history, Rachel Bishop, a 24 year old, took over as senior designer from Sally Dennis in 1993, only the fourth in almost 100 years. Today, Moorcroft leads the world of art pottery with its distinctive designs. Their dedicated workforce employs the same skills and craftsmanship handed down for over 100 years. More Moorcroft is sold today than in the company’s heyday in the mid 1920s. Today’s pieces will one day become highly sought after antiques, just as the earlier examples, which are appreciated by knowledgeable collectors and continue to grow in value ■ Michael Belham TWICE UPON A TIME ANTIQUES 07 3891 7735 twiceuponatime@bigpond.com www.twiceuponatime.com.au


WOOLLOONGABBA

WOOLLOONGABBA ANTIQUE CENTRE & CAFÉ is a unique design destination oolloongabba Antique Centre has become a haven for interior designers, architects, decorators and collectors. These savvy buyers appreciate a store chock full of inspiration. Here on display is a vast selection of collectables, furniture, home wares, vintage fashion and decorative pieces in a 1500 square metre showroom. Our range is so massive that initially you may well be overwhelmed by the choice, but that’s a good thing as our friendly staff will help you negotiate the centre. With over 60 dealers working alongside us the centre is a great place to spend many hours, with so much to see. We are located in a superb handy location, and housed in wonderful restored character industrial building.

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utilitarian lines of these ‘found’ objects make them eminently suitable for 21st century interior design. They were crafted and built to last in an age when that mattered, and which is at the heart of these unique home wares. Luckily WAC houses one of Australia’s most dedicated dealers of these industrial objects in Lisa De Martini of Industrial Revolution. As well as importing pieces from Europe, Lisa regularly travels across Australia scouring backlot workshops, university labs, scrap metal yards and factory workshops to locate and then beautifully restore her finds. Lisa also has a love of smaller objects so expect vintage fabric off cuts, scissors and cabinetmaker tools together with vintage ceramics and craftsmen knick-knacks

THE FABULOUS Bare Bones Barber Boys are on their chopping blocks at WAC

WAC Café: the mid-shop pit-stop

The last Sunday of every month you can come on down, hop in the barber’s chair and let the best barbers in the country work their magic. In all their clippering, coiffering, pomading glory the boys will be working out of a popup barber store set up in our cinema. Of course they will be bringing their full range of Uppercut hair products, potions, T-shirts and knick-knacks. The pop-up barbershop will also feature two classic Bally brand pinball machines. Come and enjoy free live music from bands playing Rockabilly to Country in the barbershop. So grab a milkshake or BYO and come get that haircut.

INDUSTRIAL Revolution Call it up-cycling. Once regarded as scrap metal, these pieces of industrial design now repurposed, are commercial and industrial objects that are highly sought after for the home. The resurgence owes much to an appreciation of the elements used in these pieces: thickset timbers, heavy-duty steel and industrial grade glass and ceramic parts. All these features contained within the shape and

It can be exhausting shopping here, so right at the heart of the centre is our café. If you need to mull over that purchase or spend time with your family and friends, we have a great spot for you in one our 1950s inspired booths. We take great pride in our coffee and service, and our tasty snacks, juices, cakes and sweets are first class. As we roll out our winter menu expect hot soups and crusty bread to help warm up on a chilly day.

jewellery, industrial design and up-cycled antiques, French brocante, rural antiques and shabby chic, rockabilly, kitsch and collectables such as militaria, ceramics, glassware, toys, kitchenalia and garagenalia. Prestige vintage fashion labels from Chanel, YSL, Hermes, Dior and Valentino are a must see. The centre has become a jazz ‘destination’ with the Butter Brothers drawing a growing group of appreciative and loyal admirers on the weekends they play out smooth tunes in the foyer. The Wellington Road edifice which now houses the Woolloongabba Antique Centre was for 30 years occupied by Copeland & Pickers and prior to that housed Humphries Gun Shop. The building has recently undergone an impressive $1million renovation bringing it back to its original saw toothed industrial glory. The centre is open every day from 9 am to 5 pm and for the convenience of patrons there is plenty of parking in our car park found at the rear of our building.

For more information contact WOOLLOONGABBA ANTIQUE CENTRE 07 3392 1114 info@wolloongabbaantiqucentre.com www.woolloongabbaantiquecentre.com

MODERN mix in a nostalgic setting Woolloongabba Antique Centre is a thoroughly modern approach to an old idea of presenting antiques, collectables, jewellery, furniture, clothing and kitchenalia in an airconditioned and vibrant space. The centre’s diverse range of ‘shops’ will see surprise sit next to nostalgia, style next to kitsch. And the same goes for the tunes you will hear, with the likes of Dolly Parton, Etta James, Muddy Waters and some good old fashioned Slim Dusty weaving their magic in your ears. In snapshot, some items of provenance may include an exciting range of modernist midcentury furniture and home wares. Vintage fashions of the Hollywood glamour genre, a fine collection of Australian antiques, estate

Australian and European antiques, mid century modern, art deco, art nouveau, ceramics, pottery, jewellery, vintage bric- a ` - b rac, Hollywood glamour, industrial and up-cycled, 50s kitsch, quirky collectables, rural, shabby chic, militaria, glassware, kitchenalia, pinball machines, vinyl records 60+ dealers over 1500 sq m - fully air conditioned - free events off street parking - 50s style milkbar - vibrant atmosphere 22 Wellington Road (cnr Nile St) Woolloogabba QLD 4102 Ph 07 3392 1114 | info@woolloongabbaantiquecentre.com woolloongabbaantiquecentre.com | Open 9am-5pm 7 Days 41


ANNERLEY

More to glass

a project from City Hall which is very exciting. As mentioned in the March edition this is a huge project involving restoration and newly constructed panels.

at Annerley Glassworx

THE CITY Hall project

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ell, our state of ‘busy-ness’ has not altered one little bit since the last issue of Antiques and Art. Not only do we have lots of leadlight orders, but we are inundated with repairs that will take weeks to complete. Adding to the mix is

To date we have repaired approximately 80 small panels all incorporating a repetitive crisscross pattern. Additionally, as required in the brief, we have made 40 new panels. Much as we love the idea of restoring the City Hall leadlights we are well and truly over that particular design! The next step is all onsite as the door panels are at least three metres high and way too cumbersome to remove to our workshop – not that we have a 3.5 metre long work bench! And I use the word leadlight rather loosely too as all the panels in City Hall are copper. These are beautifully enduring but difficult to work with in situ. However, I do love my new steel cap boots. I didn’t know they made them in such small sizes.

IN THE workshop So, apart from all that the shop has been frantic. This is fantastic except we are trying to cover all bases simultaneously – busy repairing, drawing and answering the phone! What a wonderful complaint to have. It’s all fun and games here at the moment which means I can’t see myself retiring for quite a while!

POSTSCRIPT to our resin sow A fine shade of smoker’s yellow. Working on the City Hall project we were asked to match the colour of a glass ceiling. When we explained that it was clear glass stained yellow by 100 years of indoor smokers, we were asked to prove this. Here is the proof!

By the way, the Miss Piggy series that takes pride of place on our footpath (pictured below) is still selling like hot cakes...or should that be bacon muffins?

Annerley Glassworx LEADLIGHTS, LAMPSHADES, TUITION, SUPPLIES, REPAIRS 770 IPSWICH RD ANNERLEY QLD 4103 PH: 07 3892 5352 www.glassworx.com.au

OPEN 7 DAYS 42

OUR showroom As well as repairing, restoring and making new glass features we also have a showroom. Here are traditional and amazing pieces to accessorise your home. Besides the decorative ornaments we carry an extensive range of lampshades; choose from locally made and imported designs. Additionally, there is furniture, both contemporary and of earlier make from Australian makers together with pieces from India, Indonesia and Africa. We also stock gift items including original works made by talented local artisans. So do stop in and visit us, we are open every day and easy to find – just look for our topical piece strategically positioned on the footpath outside our shop, it will add a smile to your day. Denise Allen ANNERLEY GLASSWORX 07 3892 5352 www.glassworx.com.au


CLEVELAND

Pointers to collecting old hand tools at Bayside

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ooking for something to collect outside the boundaries of ceramics, glass, silver or jewellery? Think about old hand tools. Hand tools have been a part of civilisation since the beginning of human history as evidenced by archaeological explorations that have found crudely shaped stone tools used by the very first hunter-gatherers.

ORIGINS of wooden tools and devices Research on the Stone Age has led academics to theorise about cavemen and their tools as there are no known surviving wooden tools and devices. Tools made in later eras have survived and these are records of how necessity shaped their design and are testament to the inventiveness of their creators. Not everyone wants to go back that far in history for their collections, but hand tool collectors of the more modern eras recognise the contributions of their ancestors to a product that is both a work of art in its own right, and useful.

WHY collect old hand tools Old hand tools are collected for a number of reasons. Some people collect purely to display them, for the visual experience. There are collectors who acquire these tools for practical purposes as they consider early hand tools to be better made than modern tools and perform better. No doubt, there are many reasons that all collectors share, such as an appreciation of the workmanship that went into making these tools, the rarity of some pieces, aesthetic appeal, and their appreciating value when investing in a piece of history.

WHO is collecting? It is probably fair to say that although tool collectors are mostly men, we have noticed enough interest by women to know that it is not exclusively a man’s domain. We have also found that there is a lot more interest from younger people, particularly those in woodworking trades such as cabinetmaking. They are collecting and using old hand tools, which is a whole new experience and different to the current manufacturing methods using machines or electrical tools. These old tools offer a different dimension to the craftsman who finds they are more suited to a job than a newer version of the same tool. Hence craftspeople and hobbyists prefer working with them.

COLLECTING themes Those who choose to build a collection purely for display purposes are quite discerning in their choices yet may accept into their collection an item with minor flaws or faults. These pieces are included because they do not detract from the overall visual appeal.

Collectors who use their hand tools will seek out items that are flawless. To the woodworker, the tools need to produce a finely crafted piece. Collectors may assemble their collections across a broad spectrum or may narrow their collections to individual themes such as a specific type of tool, a particular brand or manufacturer, only brass and timber tools, a specified timeframe, place of origin, tools relating to a specific occupation.

TYPES of tools to collect There is a broad range of tools to choose from: planes, chisels, screwdrivers, hand drills, plumb bobs, hammers, spanners, saws, axes, hatchets, adzes, anvils, braces, vices, spanners, wrenches, callipers, levels, rules, and many more. Another category relates to occupations requiring hand tools. These occupations include agriculture, carpentry, blacksmiths, boatbuilding, mechanical engineering and repairs.

BRANDS There are endless manufacturers and brand names but some of the most popular for collectors are Stanley, Record, Marple, Falcon, Pope, Plumb, Disston and Dawn.

COLLECTING a type of tool A collector may choose to follow the development progress of a specific tool over time, or how an early patent evolved. Following the progress might include the design being bought and developed by another company. This is very important when collecting made by a specific brand.

PERIPHERALS

Over 30 shop spaces catering for a wide range of antiques, collectables and old wares, including furniture, ceramics, glass, silver, decorative arts, jewellery, books, coins, medals, ephemera, art, toys, photographics, militaria, tools and much more. Includes a mezzanine floor dedicated to vintage, retro, pre-loved and labels fashions and accessories.

A collection could also include or specifically focus on various forms of media such as advertisements, manuals and catalogues.

VALUE of restored pieces Another factor to consider is the level of restoration applied to tools in their collections. Some prefer to collect restored tools, some prefer to find them in original condition and enjoy the challenge of bringing them back to life. As with most collections, there is the debate revolving around the opinion on how much restoration is too much. Some may restore tools to an as new appearance; others opt for minimal work to retain the original used character. For more information and to view the many hand tool collecting options visit BAYSIDE ANTIQUES & COLLECTABLES CENTRE 07 3821 0936 baysideantique@optusnet.com.au www.baysideantiqueandcollectablescentre.com

BAYSIDE ANTIQUE & COLLECTABLES CENTRE 162 Bloomfield Street, Cleveland Queensland 4163 (UBD map 185 p.18) Open 7 days 10 am - 5 pm • Ph: 07 3821 0936 • Mobile: 0419 671 279 • Like us on Facebook • Email: baysideantique@optusnet.com.au • www.baysideantiqueandcollectablescentre.com • On site and street parking • Approx. 30 mins from Brisbane CBD • Complimentary tea and coffee • Easy access for wheelchairs, mobility scooters, prams • Dealer enquiries welcome re spaces and cabinets

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1

2

1

Paddington Antique Centre

2

Commercial Road Antiques & Decorative Arts

3

Brisbane Antique Emporium

4

Woolloongabba Antique Centre

5

Bayside Antique & Collectables Centre

6

Nudgee Road Antiques & Design Centre

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5

167 Latrobe Tce (Cnr Collingwood St), Paddington 7 days a week 10 am to 5 pm P: 07 3369 8088

85 Commercial Road, Newstead 7 days a week 10 am to 5 pm P: 07 3852 2352

Cnr Junction and Sandgate Rds, Clayfield 7 days a week, 10 am to 5 pm P: 07 3862 1600

22 Wellington Road, Woolloongabba (Cnr Nile St) Tues to Sat 9 am to 5 pm, Sun 10 am to 5 pm P: 07 3392 1114 F: 07 3392 1116

162 Bloomfield Street, Cleveland 7 days 10 am to 5 pm P: 07 3821 0936 277 Nudgee Road, Hendra, Queensland 4011 Mon-Fri 9 am to 5 pm, Sat 10 am to 4 pm P: 07 3268 2869

Commercial Road Antiques & Decorative Arts

MANSON FRAMERS

PATSY

KIMBELL ANTIQUES 184 Mooloolaba Road Buderim QLD 4556

07 5445 4033

DAZE

MFG PTY LTD

• RESTORATION OF OILS, PAPER ART AND FRAMES • CONSERVATION FRAMING • TAPESTRY AND ART SUPPLIES • CUSTOM MADE STRETCHERS • SPECIALISED MATT CUTTING

Mon-Fri 8.30 am - 5 pm • Sat. 8.30 am - 12 pm

ANDREW & RONALD STS WYNNUM QLD 4178

07 3396 4251

CHAMBERS & CROSTHWAITE ANTIQUES 26 Nudgee Road (cnr Stevenson) Hamilton, Brisbane Antique and estate jewellery, porcelain, linen, silver, silver plate, glass, crystal, collectables and furniture bought and sold Shipments of sterling silver constantly arriving

Phone 07 3268 6778 Member of QADA

GONE BY

Australis of Montville Antiques

OF GYMPIE

We buy & sell quality antiques & collectables including a large range of • jewellery • fine china • silver • pottery • furniture • investment pieces

The largest range on the sunshine coast 2 MINUTES OFF THE BRUCE HIGHWAY, 15 CALEDONIAN HILL GYMPIE 07 5482 4571 Open Wed-Sun 9 am-4 pm www.dazegoneby.com.au 44

162 Main St, Montville, Qld 4560 Ph: 07 5442 9400 shireantiques@bigpond.com Days of business: OPEN 6 DAYS • CLOSED TUESDAYS


BRISBANE

‘NEW’ KID ON THE BLOCK Brisbane Antique Centre

nature of the function. There will be a complimentary professional photo session available for those wishing to have a photograph with Eric. More details of this function can be obtained on our web site www.brisbaneantiquecentre.com.au and we look forward to hearing from you. Become part of something exciting, with much more planned in the immediate future to absolutely solidify Brisbane Antique Centre as a favourite destination of collectors and enthusiasts. Eric Knowles

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s you read this article, Brisbane Antique Centre will either be close to, or have opened their doors to the general public. The concept and business plan had several facets that needed to be offered to both dealers and general public alike, to be an ongoing success.

HOW the centre will work • A very spacious (over 1600 square metres) and completely level concrete floor area upon which to paint a kaleidoscope of dealer and stock diversity, combined with more than 100 dedicated off-street car parks. • An auction centre to host regular estate auctions on site, as well auctions for the more specialised interests. • A glorious French themed café to rest your weary bones. • A five-metre roller door to allow very easy stock movement in and out, especially more bulky goods. • The all important 24 hour on site security for complete peace of mind. • Not forgetting fantastic freeway visibility and very easy access located at Loganholme on the M1 between Brisbane and the Gold Coast. All of this under the one roof, open 7 days a week and with more than 140,000 cars going past every day! What more could you ask for? Regardless of the current economic climate, we firmly believe and observe that the antiques trade is very much alive and well and that Brisbane needs a one-stop antique centre of this scope and diversity. While much might be said about the nature of the range of stock being offered in an antique centre today, one thing is for certain – the general public want it and are prepared to make a specific trip to come and get it! The very nature of how an antique centre is run allows dealers to have a physical shop space that they can maintain and stock, while still having the freedom to not be tied to being behind a shop counter every day. Many dealers prefer this freedom over operating their own premises and all the challenges that are

associated with this. Brisbane Antique Centre welcomes all enquiries from those that may be interested in becoming a dealer with us.

BRISBANE ANTIQUE CENTRE 0449 977 442 admin@brisbaneantiquecentre.com.au www.brisbaneantiquecentre.com.au

DIVERSITY for collectors We will be offering a wide range and diversity of stock including fine china, glassware, decorative items, vintage and retro furniture, many types of ephemera (postcards, early photography, vintage stationary, postal history, estate jewellery, eclectic pieces, vintage fashion, war memorabilia, Australian pottery, collectable bottles, garagenalia, advertising pieces and the list goes on and on. The friendly staff at Brisbane Antique Centre have a wealth of knowledge of the many facets of all things antique and collectable. As a dealer in the centre, you can have the confidence and reassurance that all stock is properly identified before any customer purchase to avoid any post sale confusion.

AN INVITATION to prospective dealers We will also be hosting a very special event on the evening of Wednesday 25 July where we are very pleased to announce that Eric Knowles (BBC Antiques Roadshow) will be in attendance. This wonderful evening will take place at Brisbane Antique Centre and only be open to those who are prospectively looking at becoming dealers with us. General public will not be invited on this occasion due to the

Exit 30 (M1)

|

Brisbane QLD

|

OPENING SOON

◊ 1600+ sq m level dealers floor ◊ Dedicated antiques auction centre ◊ French themed cafe ◊ 140+ dedicated off-street car parking ◊ 24hr on-site security ◊ Great freeway visibility and easy access (140 000+ vehicles / day)

admin@brisbaneantiquecentre.com.au

0449 977 442

www.brisbaneantiquecentre.com.au 45


Howard Products for that wonderful finish in 4 easy steps

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he encrusted dirt that builds up on varnished furniture surfaces can be really quite astonishing. Environmental grime or organic matter that tends to cling to furniture is really a build-up of fatty deposits from our skin and other material that we or our guests have been handling, mixed with dirt, dust and moisture. Mildew is another huge problem on furniture, and it’s caused by fungi feeding on the nutrients contained in the varnish film or on the aforementioned dirt adhering to the surface. Because moisture is the single most important factor in its growth, mildew tends to thrive in areas where dampness and lack of sunshine are part of the immediate environment. Chalking or powdering of the varnished surface is caused by the gradual disintegration of the resins in the vanish film. Crazing, those fine, jagged interconnected breaks in the top layer of varnish, results when the layers of varnish become excessively hard and brittle with age and can consequently no longer expand and contract with the wood in response to changes in temperature and humidity. All of these problems are easy to eliminate by using Howard Restor-A-Finish as directed. Take a look at the dining room chair in these pictures. The top picture shows a chair looking a bit dull from a distance, but a closer look at the top rail in the second shot reveals

the chair is in a neglected state. The chair needs a good clean and it is best to avoid heavy duty chemical cleaners as these will strip the natural oils out of furniture leaving the wood desperately dry and prone to even worse damage. To achieve the best result, use Howard Restor-A-Finish which will easily remove the accumulated build-up. Essential oils will be replenished later with a coat of Feed-N-Wax as recommended. For really stubborn grime, saturate a pad of four zero grade steel wool with Restor-AFinish and gently but firmly rub that into the grime. This treatment is highly effective and the end result will be just as you see in pictures four and five.

FROM grimy to great As the camera pulls back you can see that the dark gunk has been totally removed from the varnish, revealing once again the beauty of the wood grain as it would have been seen when this chair was sitting in a furniture showroom in the 1970s. By the way, the textured vinyl upholstery was also really filthy. Again we did not need to resort to harsh chemicals, we used Howard Clean-A-Finish, a natural soap based wood and upholstery cleaner that will gently but thoroughly clean almost any grimy surface, including leather. The now superclean

NO VARNISHED WOOD SURFACE IS BEYOND REPAIR

2. Showing chair rail – note the build-up of grime indicated by the darkened shellac surface

1. Dining chair before treatment

upholstery was easily achieved using this wonderful product. We gave the chair’s wood its ultimate glow of good health with a coat of Howard Feed-N-Wax. This brilliant liquid wood wax squeezes out, applies like a gel, and provides a level of protection and beauty that is simply amazing. To dust and polish all that is needed is a dab of Howard Orange Oil or new Howard Lemon Oil on a cloth and wipe over the surface. Restor-A-Finish, Feed-N-Wax, Clean-A Finish plus of course Howard Orange Oil or Lemon Oil for extra power over grimy buildup, are just what you need to keep your beautiful furniture surfaces looking beautiful for years to come. See all these products on the Howard Products website.

1800 672 646 www.howardproducts.com.au

A&AQ-JULY-NOV12

Order online or locate a stockist

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4. Effective and gentle removal of dirt and grime

David Foster Director HOWARD PRODUCTS (AUST) 1800 672 646 advice@howardproducts.com.au www.howardproducts.com.au 6. Job done – the chair once again in pristine condition

With this amazing product…

3. Effect of Restor-A-Finish on the dirty surface

5. Chair rail completely cleaned and restored


RICHLANDS With changes in the weather, moisture must not be allowed to become trapped inside air-tight plastic wrapping. The results will be a mould problem, that will likely next become dry-rot and finally, you may find irreversible damage to your rug. It is important that the integrity of the package is intact. Avoid storing wrapped rugs directly on a floor. Always keep them elevated, at least on a very low shelf or rack to allow better access to air circulation. Should there be a flood or unnoticed leak, this elevation will keep your rug sitting above a puddle, avoiding the risks of slowly absorbing water. Finally, it is wise to open your wrapped rugs once a year or so, just to enjoy a look and to run a vacuum over them. Check both the front and back sides. You don’t need to have them re-washed. Stephen Muncey RUGWASH QUEENSLAND 07 3375 9896 stephen@rugwashqueensland.com.au www.rugwashqueensland.com.au

Beautiful rugs deserve the best care

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areful maintenance of your rugs is essential. At RugWash we are experienced in this work and encourage discussion to reach a clear understanding of what can be expected to keep your rugs in the best possible condition.

CHOOSING a rug cleaner isn’t easy Whether you bought a rug, kilim or carpet for decorative, practical or investment purposes, cleaning begins with finding the right rug cleaning company. At RugWash we all share a common love for the pieces of woven art that clients bring through our doors. Weavers have spent months and sometimes years to weave that rug that you have placed in your home, so we continually hone our skills and knowledge to ensure that we provide the very best services to protect these textiles. We are regarded nationally as one of the premier rug cleaning and repairing facilities in the country. At RugWash, cleaning a hand-woven rug is a multi-step process from vacuuming, to washing and drying. Care is taken in every step to ensure your investment is maintained and your rug is brought back to its original beauty. As not all rugs are woven identically, different weaves and dyes require custom cleaning techniques – but sadly, not all rug cleaners know these important differences. We recommend having your rugs professionally cleaned by an experienced rug cleaner.

yearly cleaning. Rugs in other areas can wait several years for professional cleaning. To judge how dirty a rug is, pick up a corner and while holding it, kick the back of the rug sharply. If a cloud of dirt flies out of the pile, the rug is dirty and is begging for a good cleaning. Take heart, some loose dust and wool fibres are normal. RugWash offers a pickup and delivery service throughout the Brisbane metropolitan area. We are open every Saturday morning from 8:30 to 11:30 am for convenient drop off and pick up of your rugs.

It is so important that each rug be wrapped in material that allows air to pass through, but nothing else. Cotton or linen is recommended. Avoid plastic at all costs.

As not all rugs are woven identically, different weaves and dyes require custom cleaning techniques

” Est. 1957

REPAIRS and restoration Rugs often lead a very tough life. Pets, insects, flower pots and the wear of daily use all take their toll. There are always times when something has to be done to maintain your rugs. Many different stabilisation, repair and restoration techniques are available to treat these weavings done by hand. Likewise it requires skill, experience and the right materials to repair and restore your rugs. • Holes and damage can be rewoven with nearly undetectable results, or simply sewn to prevent further loss • Fringe repair and edge repair is one of our frequent minor repairs • Worn areas can be restored, though extensive overall wear can be cost-prohibitive to treat. Good results require materials with the closest match of colour, fibre, and spin. We dye the majority of our materials ourselves, using both synthetic and natural dyes. Yarns are spun, or re-spun to provide the best match.

KEEP it clean!

STORAGE tips

The best way to keep a rug clean is to keep it from getting dirty in the first place. If everyone removes outdoor shoes when entering the house, as people do in most rugweaving countries, it will save your rugs from most dirt, provided this practice accords with your lifestyle. Bare-foot or sock-foot traffic is much gentler to a rug than a hard outdoorshoe sole or spiked heels. Have your rug cleaned only when really necessary. Rugs in main areas may need a

The first and most important piece of storage advice is to always store rugs clean. Have them washed properly and then prepared for storage. We highly recommend applying our moth-repelling agent which makes the wool less appetising by changing the taste of the wool. Otherwise there’s a chance you’ll wrap hungry little rug-snacking insects in with your rug in a nice protected environment, and a year or more later when you open it up again you could be in for an ugly and expensive surprise.

• Immaculate traditional rug washing • Expert repairs • Restoration • Conservation • Custom cut non-slip underlay • Moth repellent

Unit 24-315 Archerfield Road, Richlands Qld 4077

Phone: 07 3375 9896 Email: stephen@rugwashqueensland.com.au www.rugwashqueensland.com.au

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BIRKDALE

The experts at F.J. Mole-Silversmiths talk about antique metal ware restoration and the question of value

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ntique dealers and restorers are often asked whether repairing or restoring an item will reduce its value. Some repairs are just common sense – a teapot without a handle, a vase that leaks or a crushed trophy cup are usually of little usefulness or value. Properly restored, such items will be usable for their intended purposes and the repairs should not be noticeable. We offer our thoughts on restoration of antique metal wares, based on our collective 70 years’ experience.

SILVERPLATING Early plating is often in good condition, especially when compared to more recent pieces. For instance, most early Elkington and Co table centrepieces have only minor signs of wear, so we only undertake cleaning and polishing. Replating could reduce its value, as most collectors would prefer the original plating. For items made of nickel silver, brass or copper it is unlikely that they will corrode to an unrecoverable state if they are not replated. Replating more modern table ware or anything made in the 20th century is unlikely to reduce an item’s value. However, it is possible that the costs of replating an item may be higher than its intrinsic value. The majority of items brought for silverplating are being restored for sentimental reasons, to be cherished by another generation. If the plating

on a 1930s tray is heavily worn, it will become both unsightly and difficult to maintain. Replating the surface will return it to serviceable condition and ensure that it provides many more years of service. Worn cutlery will taint food with a metallic taste, as will any vessel whose protective layer of silver has worn off. We also see a lot of silverplated Britannia metal or pewter made by companies such as WMF. These pieces are normally highly decorated and very collectable. Most purist collectors want pieces in original condition, which means that replating should be avoided. However, pieces suffering extensive corrosion should be replated or they will continue to corrode and eventually fall apart. Whilst the restoration of these items will certainly reduce their value in the eyes of collectors, it does ensure preservation for the future.

BRONZES Bronze repairs should be minimal, limited to fixing damage from abuse, not simple ageing. For example, a bronze statue that shows signs of wear in the patina where it has been rubbed over the years as people pass would normally be left alone. If it was dropped and an arm cracked or broken off, then repair is necessary. We can make repairs while minimising effects on the existing patina, so our repair blends with the old finish.

F.J.MOLE – SILVERSMITHS EST. 1913

Also trading as Silversmiths and Platers F.J.Mole-Silversmiths continues their tradition of nearly 100 years of silversmithing in Brisbane. Manufacturers and Restorers of Silverware, Trophies and Churchware SPECIALIST RESTORERS OF ANTIQUE METALWARE Sterling Silver Items • Brass and Copper Wares Pewter • Bronze Figures • Silverplated Items BRASS AND IRON BEDS RESTORED AND FOR SALE

WE HAVE MOVED TO BIRKDALE Free Pickup and Delivery throughout Brisbane and on the Coast

Please see www.silversmithsandplaters.com.au for details Phone 07 3822 8563 • Mobile 0403 052 402 sales@silversmithsandplaters.com.au • www.silversmithsandplaters.com.au

PLEASE RING US BEFORE COMING IN Mail Orders welcome to PO Box 3088, Norman Park 4170

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This 19th century candlestick has been cleaned and polished rather than replated

BRASS and copper polishing Brass and copper items will oxidize unless they are either regularly polished or coated with a clear protective coating. If previously coated, then we are of the view that the intention was for the item to be preserved in a polished condition. Stripping an old coating, polishing the surface and then recoating it will provide the necessary protection. Sometimes the only way to repair a badly damaged surface involves soldering, hammering, filing and other mechanical means. An 1830s tea urn had been dropped, was torn in one spot and required extensive dent removal. Polishing was required to facilitate repairs, but this 1830s piece will be left un-lacquered, to allow the development of the more natural patina of aged brass and copper. Some people also prefer the lovely green look of aged brass, and we can often maintain this finish when undertaking repairs. We can even age the repair to match your old brass piece. The beauty of restoring brass and copper is that it is generally reversible. Polished surfaces can age, while aged surfaces can be polished. Unless the item is of historical or collectable significance, the surface treatment or repair is unlikely to affect its value.

BRASS and iron beds We always recommend either clear coating brass bed parts, or replating them with nickel if this was the original finish. We also recommend sandblasting and powder coating the paintwork. In recent months we have converted several iron and brass beds from double to queen size. We design the extension carefully to ensure the original style of the bed is not compromised and any additions are inkeeping with the original parts. Converting antique double beds to queen can actually enhance their value, as more and more people today want a queen size bed and demand is certainly greater than for double beds.A warning about ironwork on a bed: they were often painted with paints that contain lead, which is no longer acceptable for use in the home. The proper stripping of these paints removes the harmful lead, while powder coating protects and preserves the iron. Our main point in bed restoration is to ensure that genuine old parts are used. We are often called to repair a bed previously restored, finding that the genuine old porcelains or other parts had been replaced with modern ones. We always have an excellent stock of genuine antique bed parts available to maintain the value of the beds we restore.

The brass plate from this box is missing, so a replacement will be made, attached and aged to match the other brass fittings

OTHER metal wares Notice the wear and damage of the small box whose timber has a patina commensurate with its age, and the brass fittings are also nicely aged. Unfortunately, the brass plate which would have sat in the middle of the lid is missing, seriously detracting from the appearance of the box. We will cut a piece of brass to fit and age it to match the patina of the other pieces of brass. Repairs such as this will actually enhance the value of the item and make it considerably more desirable. Sterling silver repairs need to be carefully carried out. We pay attention to the hallmarks and select the correct solders and tools for each item and its period. To properly repair an item, our silversmith needs to understand the way the item was made in the first place. With a company history of manufacturing and repairing stretching back nearly 100 years, F.J. Mole – Silversmiths are ideally placed to assist you with any restoration you commission. We are always happy to provide free advice on whether or not an item should be restored, and the alternatives ways of undertaking restoration. David Bissett and Kevin Eager F.J.MOLE – SILVERSMITHS 07 3822 8563 / 0403 052 402 sales@silversmithsandplaters.com.au www.silversmithsandplaters.com.au

The tea urn was badly damaged, so to ensure an even finish it has been polished and will be left without lacquer to develop a mellow patina


KILKIVAN

A brief look at the history of the

Worcester Royal Porcelain Company A

ccording to the Worcester Porcelain Museum the origins of the famous Royal Worcester manufactory is unclear. What is known is that Dr John Wall (1708-1776) and William Davis, an apothecary, discovered a method of making a porcelain type material. They convinced a group of 13 business men to back a venture and in 1751 the 15 partners signed a deed officially establishing the Worcester Tonquin Manufacture. They leased Warmstry House, on the banks of the River Severn. The period 1751 to 1783 is known as the ‘Dr Wall’ or First Period. Initially the business did not do well and so early in 1752 they bought the Bristol factory of Benjamin Lund. He brought to the business valuable technical knowledge, evident in the decorations on the early pieces. By late 1752 the business was prospering. Worcester’s early production was mainly confined to functional items including tea wares – for example, cream jugs, coffee cups and cream boats – as well as cider jugs, sauceboats and tankards. The designs and shapes were influenced by imported Chinese wares, and to some extent Japanese wares. The pieces featured chinoiserie scenes of figures in loose robes, crane-like birds, miniature islands and meandering blossoms. The tendency to make elaborate bodies with exaggerated rococo handles gave way to more practical simple forms in around 1755, at

which time Worcester was held to be the leading English manufacturer of blue and white porcelain tea wares. An advantage Worcester had over other English manufacturers was their soapstone body did not crack when subjected to having boiling water poured into it. Adding to the strength of the body was the introduction of a tough and durable glaze. Worcester developed the transfer printing over the glaze in the years 1753-54. Credited with introducing the printing on porcelain are brothers Josiah and Richard Holdship. From the years 1751 until 1776, the year Dr Wall died, the company prospered, due to the huge demand for tea wares. However, competitors in Staffordshire began producing inexpensive wares and soon the company’s revenue was affected. The company was taken over by William Davis in 1774 until 1783, during which time the porcelain body was improved and decorative forms were inspired by Classical Italian antiquity. In 1783 Thomas Flight, who had worked as a company agent from its very early years, bought Worcester for the sum of £3000 for his two sons Joseph and John. A surviving diary entry from John Flight reveals that quantities of French porcelain were bought for resale in the showroom and that in 1789 there were problems in firing his wares correctly. Earlier, in 1788 George III and Queen Charlotte placed several orders and from this time the firm was granted permission to add ‘Royal’ and a crown to their stamp. Following the death of John Flight in 1791, Joseph (John’s son) brought Martin Barr into the firm; the partnership resulted in the company trading as Flight & Barr (1792-1803). In 1804 Martin’s son joined the firm, becoming a partner in 1807, which became Barr, Flight & Barr. The death of Martin Barr Snr in 1813 saw the name change to Flight Barr & Barr (1813-1840). The porcelain made was hard and compact, and free from crazing, which meant the decoration did not suffering from discoloration, as seen in surviving services. In 1840 Worcester became partners with Chamberlain Pottery Company, trading under the title of Chamberlain & Co. It was not a happy merger and the standard dropped. In 1852 the Chamberlain Company was wound up. The name of Worcester Porcelain was

acquired by W H Kerr and R W Binns to become Worcester Royal Porcelain Company in 1862, at which time the company became known as Royal Worcester and is still in production, now owned by the Portmerion Group. Today, Royal Worcester is amongst the most collected of English porcelain because there are collecting opportunities at all levels, from the rare to the affordable.

KILKIVAN FINE ARTS AND ANTIQUES 07 5484 1602 info@kfaa.com.au www.kfaa.com.au Further reading Geoffrey A Godden, British Pottery and Porcelain 1780-1850, A.S. Barnes & Co USA, 1967 www.worcesterporcelainmuseum.org.uk

CK O T S L F AL F O % E 20 L A S R WINTE OPEN Thursday to Sunday 10 am to 5 pm 6 Bligh Street, Kilkivan, Queensland 4600 Ph: 07 5484 1602 Fax: 07 5484 1603 Email: info@kfaa.com.au Website: www.kfaa.com.au

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CROWS NEST

SALTS AT CROWS NEST Phone 07 4698 1266 Mobile 0438 469 812 0408 989 032

OPEN Wed – Sun 9 am – 4 pm Please ring first

STILL THE BIGGEST AND BEST ON THE DOWNS www.saltsantiques.com | rogersalt@bigpond.com Heavy Art Deco carved oak sideboard; 75 more in stock

Carved oak German bookcase. Lots of good carved oak

Georgian mahogany arch dial grandfather clock; 20 + to choose from

Belgian marble top sideboard Dozens of fine French clocks

Salt’s at Crows Nest celebrates 30 years of progressive trading

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alt’s at Crows Nest is a huge Edwardian housed antique store. They have traded continuously in the same family name for over 30 years at this one location. Step inside past the impressive facade of this grand building to discover an array of stock that will impress the most discerning of antique collectors to the humblest novice. Salt’s are proud to offer over 400 individual pieces of furniture including more than 50 china cabinets, 25 bureaux, 75 sideboards, 75 gate leg tables, over a dozen big mahogany chests and dozens of dressing tables, washstands, hallstands, bookcases, tables, sets of chairs, clocks, lamps, etc. The list is so massive it is not possible to list all the items, and makes them the most impressive display around. This year alone they have already imported three containers of stock totalling over 35 tons. It is no wonder people believe Salt’s Crows Nest is the largest antique store on the Darling Downs. It is well known that owners Roger Salt and his wife Natasha are always happy to help and advise visitors and clients, answering any question, whether about the stock they carry or just having a chat about antiques. As second generation dealers their knowledge on antiques is extensive and they are experts in many fields. As their 12,000 square feet store is stocked to the roof allow for many hours of browsing pleasure. A question often asked when faced

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with this seemingly daunting huge display is ‘Where does it all come from?’ The answer is that the goods are sourced from around the globe. This is what gives Salt’s the most delicious array of unusual styles and varied goods not always found in Australia. So, why not enjoy a visit to the Salt’s at Crows Nest? I’m sure you will enjoy yourself as I have and remember, Roger and Natasha are always approachable; happy to negotiate a deal on that special piece.

SALT’S newest line Salt’s have just started importing a stylish range of cast iron garden furniture and architectural goods. Roger told me that he saw a need for someone to stock a range of quality garden features. He is now importing pieces that include impressive cast iron garden gazebos, lace work garden benches, heavy tables and chairs, fountains, Victorian style street lamps and half a dozen different types of large and ornate garden urns. Being the direct importer means bypassing the middle man and passing on the savings to clients. With 30 tons of cast iron garden wares on hand you won’t be disappointed. Remember, spring is just around the corner so, if wanting to recreate that French or English summer garden now is the perfect time to come and source those unique pieces at Salt’s.

OPENING hours Roger says that the store is open 9 am to 4 pm Wednesday through to Sunday, but advises if

travelling from a long way to ring ahead first. Roger believes that the forward planning will avoid disappointment in case the shop’s operating hours have been amended due to unforeseen circumstances. Both Roger and Natasha look forward to welcoming you soon. For more information contact SALT’S at CROWS NEST 07 4698 1266 0438 469 812 rogersalt@bigpond.com


TOOWOOMBA

Lancaster’s Toowoomba Antique Centre 18 years old and going strong L

ancaster’s Toowoomba Antique Centre is now celebrating its 18th anniversary. Located in Queensland’s garden city, nestled on the Great Dividing Range, Toowoomba is one of Australia’s leading centres for antiques and is home to more than a dozen antique shops. Lancaster’s Antique Centre is a must see when visiting the Darling Downs. After 17 years of trading from their Railway Street address, Lancaster’s has never been more progressive. The Christison family have owned and operated the antique centre since June 2002 when Jan and Barrie purchased the business from Graham and Gary Lancaster, the original owners who traded for the first five years.

Since then, Jan and Barrie’s daughter, Sharon, and her team have successfully managed and orchestrated the workings of this bustling centre. Located opposite the historic Toowoomba Railway Station, it is easily reached from Brisbane or the Gold Coast, both less than an hour and a half away. Lancaster’s has certainly come of age and is regarded as one of the leading Australian antique centres with fourteen dealers displaying their wares; a showcase for the best of what southeast Queensland has to offer. Toowoomba, the gateway to the golden west, has always boasted a relatively large and wealthy population. This is reflected in the quality antiques and

collectables this city continually yields. Whether you are looking for Australian furniture, cedar, pine or silky oak, or even that one-off piece in English oak or mahogany – Lancaster’s always has an excellent range to choose from. But the real ‘jewel in the crown’ of this centre is the myriad of showcases and cabinets housing thousands of small antiques and collectables. There is fine china, quality glassware, jewellery, sewing paraphernalia, blokey stuff, metal ware, coins, medals, militaria, books, ephemera, toys, dolls, teddies, pottery, the list goes on. Whether you are an established collector, a beginner or just a browser, you are sure to enjoy the enormous range. There is a definite

leaning to Australian and locally found pieces, a trend that has emerged and replaced the shiploads of antiques imported in the 1980s and 1990s. Lancaster’s is always buying and paying top prices for antiques and collectables. Whether you are a local or a visitor to Toowoomba, appraisals and valuations are most welcome. Lancaster’s is open seven days a week, 10 am to 5 pm. Come and enjoy the huge range and fantastic display. LANCASTER’S TOOWOOMBA ANTIQUE CENTRE 07 4632 1830

Lancaster’s

TO OWO O M B A

ANTIQUE

CENTRE

Australiana, Books, Collectables, Dolls, Ephemera, Furniture, Glassware, Hatpins, Inkwells, Jewellery, Kitchenalia, Linen, Metalware, Noritake, Oriental, Pears prints, Qld pottery, Royalty ware, Shelley, Toys, Unique pieces, Venetian glass, Wembley Ware, Xylonite,Yo-yos and Zithers

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With 14 specialist dealers under one roof, we carry a full range, from A–Z, of antique and collectables, with fresh stock arriving daily. Drop in for a browse, or chat with our friendly staff.

OPEN 7 DAYS 10 am - 5 pm

3 Railway St,Toowoomba Queensland 4350 Phone: 07 4632 1830 Mob: 0403 372 054

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TOOWOOMBA

Timeless Antiques tribute

Titanic bedstead artisans

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MS Titanic was designed to be the ultimate 1912 experience of luxury travel and was one of the most majestic ships of the time. Constructed by Hardland and Wolff, Titanic was built to impress the passengers travelling on the liner. Had Titanic survived until today, the vessel would be one of the greatest floating showcases of early 20th century artisan skills ever created. One hundred years later, Titanic continues to fascinate people around the world. Timeless Antiques would like to pay tribute to those who created and built Titanic, sailed on the liner, and especially to those who lost their lives and lie buried on the ocean floor with Titanic. One century later, it is the ship of dreams to many people who have dedicated part of their lives trying to unravel the many secrets that went with the vessel to the ocean floor on the night of 15 April 1912. Titanic remained a ship of intrigue with the exact location unknown for 73 years, until 1985 when Jean-Louise Michel and Dr Robert Ballard located the wreck using a remote operated vehicle at a depth of 2.4 miles and

approx. 13 nautical miles from the last recorded position relayed by the Titanic’s Fourth Officer – Joseph Boxhall – together with the new distress Morse code signa – SOS. Wreck images, at last came to the surface and were viewed across the world. Amongst the Titanic debris on the ocean floor and scattered through the rusting hull are dozens on brass bedsteads. Many were found standing upright in their original staterooms, although the timber walls and timber furniture were destroyed by the sea. How proud the original brass bedstead artisan would be to know that after all that happened on the night of the sinking and despite decades of darkness, their fine workmanship remains. During our restorations we often marvel at the skill of the original bed artisans, the strength and endurance of their raw material over time, and their completed bedstead design. When working with and restoring these old cast iron and brass bedsteads, we believe we are helping preserve them for future generations to enjoy. Today we use original bedstead and mail order catalogues to assist with our restorations ensuring the bedsteads maintain their original design.

BEDSTEAD recollection When James Cameron, director/writer of the 1997 film Titanic, personally witnessed the wreck, clearly the brass beds left an impression on him, and in turn his recollection has impacted on us and we thank him for taking the time to write about something others may have left unsaid and would be unknown to us. ‘Moving forward into first-class staterooms on the port side, the wooden walls between the rooms, as above on the Boat Deck, have

TIMELESS

Antiques

Mark & Lynne Bennett Specialists in Original Brass Bed Restorations

Phone: 07 4633 1195 Mobile: 0412 071 160 117-119 McDougall St Toowoomba QLD 4350 Email: timeantq@bigpond.net.au www.timelessantiques.com.au

Taking care of furniture for generations of tomorrow 52

virtually deteriorated to nothing. However, many, if not all, brass beds are still standing in place, upright. The beds in the region of room A-30 are of a pattern seen in 1911 Shipbuilder (p. 95). The same design was found opposite on the starboard side. The small finial “urns” at the top of the bedposts are still brightly gilt as are the head and footboard bas-reliefs, which depict sacrificial ox skulls decorated with garlands. A plated gimbal lamp lies across the top of one headboard, fallen from where it had been hung the night of the sinking when the wood wall behind it crumbled away. To the left of the lamp is an electrical outlet and switches, just as in the Shipbuilder photo, the lamp still plugged in. I was particularly struck by the number of brass beds we saw on the starboard side. The stateroom walls might be gone, but it was easy to tell we were entering another room when we passed two beds end to end. Brass bed after brass bed could be seen off into the darkness, their gilded details reflecting back the lights of our ROV. They almost invariably looked in perfect condition. The only damage I ever saw was a missing finial and one or two footboards canted one way or another, not perfectly vertical. On the starboard side, some cloth lies draped over one of the brass footboards. No colour is apparent; the fabric just looks black. I recall seeing a similar cloth fragment in another stateroom, perhaps on D Deck. It seems that, once again, contact with the metal has protected it. http://marconigraph.com/titanic/cameron/cameron3.html

The curator of the exhibition 1912: A Titanic Odyssey – A Centenary Exhibition at the Avery Historical Museum, Soho Foundry spent 30 years researching the Midlands connection to the Titanic. His research revealed that approximately 70 per cent of the ship interior was made in the Midlands including all the brass beds, which were manufactured by the Hoskins and Sewell of Bordesley. At the turn of the century, Birmingham was a major industrial hub with many bedstead manufacturers based there, including Hoskins and Sewell, whose beds are documented to the Titanic. A publication of the time, The Shipbuilder in 1911, states that Hoskins and Sewell were known for their ‘Varnoid’ process, which resulted in giving brass work a lustre and finished that was unequalled by any other lacquer of the period. They also guaranteed this process to withstand the forces of sea air and sea water. Our restoration process also includes the use a modern-day lacquer to retain the polish and finish of our work and we are impressed with the durability of the Varnoid process, whatever it might have been. As hard as we have tried, locating original records is an extremely difficult task. Many records were destroyed when companies closed and many others were destroyed during the bombings in World War II. No doubt there are records safely tucked away in archives, libraries and private collections and we hope someday these might come to light so we can learn more about our brass bedstead artisan forebears. Without a doubt, the RMS Titanic reflected the skill of thousands of tradesmen and craftsmen (and women). Today, although there are no living survivors, Titanic’s story continues to be retold in books and movies and since the discovery of the ship many artefacts have been recovered, including brass bed ends. These are now cared for in the numerous Titanic museums around the world. During our many years of association and restoration of antique brass beds we have often said to clients, one of the greatest attributes of a brass bed is that it is stable and solid, and ultimately will stand the test of time for later generations to enjoy. When reading James Cameron’s recollection and on viewing Titanic wreck photographs our statement was truly validated. Can you imagine personally seeing the brass bedsteads reflecting eerily back out of the interior darkness, standing fully upright in almost perfect condition, sharing their beauty again, despite their dark,

Titanic bedstead design. James Cameron noted, ’This is the pattern of brass bedstead we found in all A-deck staterooms explored. The brass appears a dull tone today, not shiny, but looks to be completely free of corrosion. The finials and decorative elements on the headboards and footboards are gilded and are as bright as ever.’

wet and salty tomb? We certainly now have documented proof of our often used statement – brass bedsteads can stand the test of time for future generations. Timeless Antiques salutes the Titanic’s master bedstead craftsmen and acknowledges the sources which enabled us to write our RMS Titanic tribute, remembering those 1517 souls who tragically died on that fateful voyage, may they all Rest in Peace. Mark and Lynne Bennett TIMELESS ANTIQUES 07 4633 1195 / 0412 071 160 timeantq@bigpond.net.au www.timelessantiques.com.au

Bedstead design in early 20th century catalogue


TOOWOOMBA

Toowoomba Regional Art Gallery’s

exhibition of selected textile artworks from emerging and prominent textile artists throughout Australia.

PROGRAM FOR OCTOBER

winter-spring exhibition highlights

Sense of Place – Matured

17 October – 25 November A ground-breaking exhibition that highlights the work of eight progressive Australian artists who have made work that breaches the traditional ideas, methods and materials of glass making. Curated by renowned glass rebel Megan Bottari, Tour de Force is not for the faint of heart. This exhibition is a project developed by artisan and Wagga Wagga Art Gallery, curated by Megan Bottari and toured by Museum & Gallery Services Queensland. The exhibition tour is supported by Visions of Australia, an Australian Government program, and the Visual Arts and Craft Strategy, an initiative of the Australian Government and state and territory governments.

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here are many highlights in the winter to spring exhibition schedule at the Toowoomba Regional Art Gallery with the gallery presenting a diverse range of exhibitions featuring Aboriginal landscape interpretations, children’s works and comic strips through to video art. Other displays will feature bookplates, textiles and selections from various city collections, including maps and topographies from the early 1600s to the late 1800s.

PROGRAM FOR JULY

75 Until 22 July Join a special celebration for Toowoomba Regional Art Gallery’s 75th birthday. This exhibition features 75 important artworks and cultural items from the City’s historical and contemporary collections; one representative of each year from the establishment of the gallery in 1937 to the present day.

Mapping Earth and Empire Until 22 July Drawn from the Lionel Lindsay Gallery and Library Collection, the exhibition features specially selected maps and topographies from the early 1600s to the late 1800s.

Bookplates, marbled papers and printed treasures Until 22 July See beautiful rare books and Ex libris artworks held in the Lionel Lindsay Gallery and Library Collection, complemented by bookplates donated by Patrick Corrigan AM to the Toowoomba City Collection in 2004.

A Collaboration Until 28 July A collaborative exhibition of artworks and textile designs by John Weeronga-Bartoo fashioned into unique garments by dressmaker Annie Coy.

PROGRAM FOR AUGUST

The Strong Children’s Project 7 August – 2 September This group exhibition features Japanese children from Fukushima Prefecture in collaboration with English artist Geoff Read and children from the Toowoomba region in collaboration with established artist Damien Kamholtz. Children explore what it means to be a ‘Strong Child’ in the context of their own lives. Some children have lived through unprecedented disasters in their regions in the form of floods, earthquakes and nuclear disaster.

24 September – 28 October View a new annual screening program of contemporary Australian video art. Artist Laith McGregor builds on his interest in biography, portraiture and the semiotics of the beard. He uses his own face as the ground on which to launch a witty investigation into the imaginary and preposterous dimensions of masculinity.

Sense of Place – Bogan Proof Fences

Sense of Place – I Was The Last in The Carpenters’ Garden

14 August– 23 September This display highlights a new annual screening program of contemporary Australian video art. Bogan Proof Fences is the title of a series presented by featured artist Brendan Lee as a continuous, non-linear work. Central to Lee’s work is the exploration of the evolutionary nature of Australian cultural identity.

30 October – 9 December In this video installation, Darren Sylvester recreates Karen and Richard Carpenter’s Japanese style garden in Downey, Los Angeles, from fans’ video footage posted on YouTube.

PROGRAM FOR NOVEMBER Comic Strips in Uniform

Bouquet 29 August – 18 November Oil and watercolour paintings drawn from the Fred and Lucy Gould Art Collection that demonstrate European and Australian artists use of gardens and flowers as subjects of their practice. Includes works by Albert Proust, Harold Foster, Kate MacAuley and Estelle Thompson.

PROGRAM FOR SEPTEMBER

Lindsay women 1 September – 16 December Depictions of women by the siblings Lionel, Norman and Daryl Lindsay and Ruby Lind (Lindsay), selected from the Lionel Lindsay Gallery and Library and City Collections.

Tour De Force: In Case of Emergency Break Glass

Irene Mbitjana Entata, Hermannsburg Potters 2002, terracotta and underglaze, 29 x 19 x 19 cm. Image courtesy of the artist and Museum & Gallery Services Queensland

Hermannsburg Potters 19 September – 28 October An exhibition of significant work by 10 Hermannsburg potters, a group of unique and talented artists that celebrate the diversity of art practice in contemporary Indigenous communities. A Redcliffe City Art Gallery exhibition toured by Museum and Gallery Services Queensland.

6 November – 2 December An exhibition of original comic strips capturing the lighter side of national service written and drawn by local artist, Ron Parsons. Reproductions of the comics regularly feature in several RSL and National Servicemen’s Association of Australia magazines and newsletters. For more details about the programs contact TOOWOOMBA REGIONAL ART GALLERY 07 4688 6652 art@toowoombaRC.qld.gov.au

NAIDOC Expressions – through our eyes Until 29 July In celebration of NAIDOC week, this exhibition includes Aboriginal artists from the Toowoomba region and their cultural expression of today’s landscapes using traditional, contemporary and modern interpretations. Facilitated by the Toowoomba NAIDOC Committee.

Sense of Place – Strangelands Vol I: The Miner Until 12 August This exhibition is a new annual screening program of contemporary Australian video art. It features the work of eight artists unified by their investigation of cultural identity. Featured artist John A. Douglas’s work uncovers images of ideology and Strange Land Vol 1 continues this ongoing exploration. Note: From 23 July to 22 August the first floor of the Toowoomba Regional Art Gallery will be closed for renovations.

g.w. bot: the long paddock, A 30 YEAR SURVEY 25 July – 9 September This is a touring exhibition developed by Goulburn Regional Art Gallery and curated by Peter Haynes. The exhibition showcases prints, paintings, artist’s books and sculptures. The works will appeal to artists, students, printmakers and art collectors as well as the general public. While Bot’s earlier works contained motifs and symbols, her recent work has evolved from the more literal figurative representations of the 80s to the almost pure ‘glyph-marking’ that we see now. This exhibition is supported by Visions of Australia, an Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia.

Ruby Lind (Lindsay), Untitled (girl and elf) [‘The little man sat down upon a rock’] n.d., ink on paper, 29.9 x 23.1 cm. Lionel Lindsay Gallery and Library Collection 306

Podz 4 September – 30 September An exhibition of textile installations by local artist Suzanne Bauer inspired by internal and external textural elements of seed pods. She also explores the pod as a metaphor for the uncorrupted.

Imagine You Know 12 September – 14 October Toowoomba Regional Art Gallery’s biennial emerging artist award, Imagine you know, will showcase creative artworks that explore how we look at things rather than what things look like. This exhibition will explore ways of making, forms of representation, the necessity of searching knowing and doubting within the creative act.

Progressions 19 September – 4 November Staged by Darling Downs Textile Art Group, Progressions is the seventh biennial juried

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IPSWICH

THIS LAND OUR LAND the artwork of Sally Harrison, Dale Weston & Annie Clarke until 2 September at Ipswich Art Gallery

A

rt has always played an important role in the life of Indigenous Australians, connecting the people with the land, the past with the present, and passing on stories and traditions of one of the world’s oldest continuing cultures. Similarly, art has been a major force in the lives these three Indigenous artists now resident in the Ipswich area. Each artist has a unique story which they tell through their paintings. Using nature, family, traditional stories and the land itself as inspiration these artists draw upon their Indigenous heritage to celebrate the resilience of their culture and to preserve their traditions for the future.

SALLY Harrison One of the stolen generation, Sally was taken from her mother at just 18 months old and placed at the United Aborigines Mission at

Bomaderry, south of Sydney. She remained there until adopted by a white couple when she was almost seven years old. Sally has been painting since she was ten but it was only during a trip to Carnarvon, Western Australia in 1992 that she began to explore her Aboriginal heritage. After this she started to incorporate Indigenous symbology into her work. In 1993 she journeyed to the Pilbara where she was taught language by an elder of the Chedeetha community at Rowburne who also encouraged her painting. She has continued to paint since returning to Ipswich in 2000. Sally’s works often feature realistic representations of the Australian landscapes which she overlays with a veil of monochrome dots expressing both her connection with the land and the reintegration of her Indigenous heritage.

‘In this painting I’ve captured a rock cutting of huge slabs of orange and blue stones. This was on the road from the Burrup Peninsula to Karratha in the Pilbara region, 1600 km north of Perth,’ said Sally of one of her works.

DALE Weston Dale was born in the back of a utility on the Mutarnee-Ingham rail line in 1955 and is a descendant of the Wadyigny and Gayiri peoples of the Northern Territory and central Queensland. His early life was spent helping his stepfather, an itinerant stockman, shearer and cane cutter, while his mother often found work as a domestic servant on the various stations. A serious accident in the late nineties prevented Dale from continuing his boiler making trade. With assistance from the Commonwealth Rehabilitation Service Dale taught himself to paint as a way of forging a new career while also reconnecting with his Indigenous roots. He first exhibited his work as part of a NAIDOC exhibition with Sally Harrison at the Ipswich Art Gallery in 2004. Dale often incorporates stories from the Dreaming into his paintings, crafts and design work. In his painting Spirit light (Min Min)

Left: Sally Harrison, Rock cutting, The Burrup, 2011 Below: Dale Weston, Spirit light (Min Min), 2010-2011 Right: Annie Clarke, Ocean Life, 2012

Dale retells the story of one jealous old man who wanted to become the leader, back when the ancient people walked the land. In order to create and lead his own mob, he stole young women and children at night and hid them in the bushes. In the morning the ancient ones woke to find the women and children gone. Once they found the old man and discovered what he had done, they turned him into the Min Min light. To this day it is said that the Min Min light floats along the ground looking for children to join his own mob. ‘When I was growing up I’d go off on walkabout with my friends for days without telling the adults. One day the elders got us together and told us about the Min Min light, how the spirit light would travel low to the ground to hypnotise us and take us away. After hearing this story I never went walkabout alone again,’ Dale said.

ANNIE Clarke Born on Wiradjuri land and raised in the small town of Nyngan in central New South Wales, Annie is the youngest of the three artists. Wiradjuri means ‘people of the three rivers’ as the Wiradjuri people are originally from the land that is bordered by the Lachlan, Macquarie and Murrumbidgee Rivers. While Annie has been raised as an urban Indigenous woman, it is only recently that she has taken up painting and has been inspired by the traditional stories of her people, and her experiences with her immediate family. ‘My first visit to the ocean at the age of eight was an unforgettable experience. I wanted to do a painting that captured that wow factor I felt whilst swimming and snorkelling above rocks filled with fish and turtles,’ explained Annie. For more information about the exhibition contact IPSWICH ART GALLERY 07 3810 7222 info@ipswichartgallery.qld.gov.au www.ipswichartgallery.qld.gov.au

THIS LAND OUR LAND the artwork of Sally Harrison, Dale Weston & Annie Clarke

Annie Clarke Life (2012) Acrylic on canvas 76 x 50 cm

Sally Harrison The magic carpet (2012) Acrylic on canvas 120 x 150 cm

12 June - 2 September 2012 Nicholas St, Ipswich CBD | T: 07 3810 7222 | www.ipswichartgallery.qld.gov.au | Free Entry | Open 7 Days 10AM–5PM

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Dale Weston Spirit man (2012) Acrylic on canvas 70 x 50 cm


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

Cartier gold on sterling silver quartz c. 1990 $1500

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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.

Max Dupain, Sunbaker, 1937

Max Dupain, Moonflower, 1982 Max Dupain, Interior Elizabeth Bay House, 1978

Max Dupain, At Toowoon Bay, 1985

Max Dupain, Blue Gum Forest, c. 1940

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NEW SOUTH WALES

Art Gilding Academy German Master Gilder reveals the secrets of this ancient craft Learn professional gilding in a 9 day hands-on course Master Gilding class 2012

Brigitte with the weekend class project

WEEKEND Classes

H

ave you ever wished to have the skills to apply gold and silver leaf to your furniture, frames, and artwork? Or embellish your cornices, columns, walls and ceilings with metal leaf? Work for yourself from home at your own pace? Master gilder Karl Eggert can make your dream come true – and you need no prior knowledge of gilding. In the past, this ancient craft with all its secrets was passed from father to son. But in

1999, Karl Eggert, together with his wife Brigitte, founded a unique teaching establishment to make the wonderful craft of gilding available to anybody who wants to learn in Australia. Learning in Germany from master gilders the art of framing, and church restoration, Karl has a broad knowledge and more than 45 years’ experience in gilding. This knowledge and experience is reflected in his teaching program at the Art Gilding Academy. Class sizes are kept to

Golden Opportunity Learn gilding the easy way No prior knowledge nessary

MASTER GILDING CLASS Professional course over 9 days straight GOLDEN WEEKEND Sat & Sun 10 am – 4 pm

Only 6 places per class For friendly advice and to check availability Call Brigitte on 02 9310 3007

Art Gilding Academy 99-101 Buckingham St Surry Hills NSW 2010 (5 minute walk to Central Station)

Watch the gilding video on our website

www.artgilding.com.au 56

a maximum of six students to ensure the best learning experience.

MASTER GILDING CLASS FREEDOM TO BUILD UP YOUR OWN BUSINESS AND WORK FROM HOME The Professional Master Gilding class is fully hands on and runs over a 9 day period. Starting Saturday and finishing on the following Sunday from 10am to 4pm daily. 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. After the end of a day’s class there is plenty of time in the evenings to enjoy what beautiful Sydney has to offer with restaurants and entertainment to suit every budget. 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.’

HANDS-ON EXPERIENCE FOR STUDENTS This year, Master Class students were invited to join the Art Gilding team on a number of gilding projects. Translating theory to practice under the watchful eyes of experts was a valuable learning experience for students as they applied their newly learned skills to practical situations. This is a win/win situation for everybody concerned. Master Gilding Class schedule for 2012 July

14th - 22nd

August

18th - 26th

September

22nd - 30th

October

20th - 28th

November

10th - 18th

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-by-step, 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. Weekend Gilding Class schedule for 2012 July

7th/8th

August

4th/5th

September

8th/9th

October

13th/14th

November

3rd/4th

December

1st/2nd

Art Gilding is based in Sydney and today’s readily available cheap air fares create a ‘golden’ opportunity to combine a weekend away or holiday with learning the art of gilding. We can recommend quality accommodation close by from $35 per night. For students wanting to stay longer, I have arranged a special low rate in a lodge nearby, two minutes walk from the academy.

For more information contact Brigitte at ART GILDING ACADEMY 02 9310 3007 artgilding@artgilding.com.au www.artgilding.com.au


NEW SOUTH WALES

Alison Mutton

Laura Wood

Sue Rawlingson

Andrea Edmonds

From The Riviere College to The Hughenden

Marjorie Crosby-Fairall

and home to the Society of Children’s Book Writers and Illustrators

T

he home of the Society of Children’s Book Writers and Illustrators (SCBWI) Australia and New Zealand is aptly located at the literary and arts hotel The Hughenden in Queen Street, Woollahra, NSW, formerly The Riviere College (1877). The Riviere College offered young women educational opportunities with a focus on music, literature and painting. Established by Professor and Mrs Goergs in a turn of the century building in Wallis Street, Woollahra, The Riviere College relocated several times until it found its final home at The Hughenden until 1920. Georgs who was a Professor of Music, adapted the German motto Des Fleisses Lohn for his college: Rewards of Work and Diligence. The young ladies studied Geography, History, English General Knowledge, Composition, Arithmetic, Art, German and Music. The Riviere College logo is etched in the glass plate alongside cabinet containing school girl memorabilia at The Hughenden. Many of Australia’s renowned women attended The Riviere College including Lillian de Lissa (1885-1967), a pioneer of the kindergarten movement. Musically gifted, Lillian became an accomplished pianist but on seeing the transformation of slum children by the Woolloomooloo free kindergarten, she dedicated herself to the education of young children. Using Froebelian methods, with its focus on play, creativity, storytelling and the arts, Lillian de Lissa worked for improved child welfare and education with the disadvantaged as the basis of social reform.

ABOUT SCBWI The Society of Children’s Book Writers and Illustrators (SCBWI) was founded in 1971 by US children’s film makers and writers, Steve Mooser and Lin Oliver. SCBWI is a world-wide organisation with over 24,000 members and chapters in 20 countries, making it the world’s largest professional organisation of writers and illustrators of children’s literature. The Australian and New Zealand chapter of SCBWI includes branches in all states of Australia. The International Biennial Conference to be held in June at The Hughenden includes a showcase of original illustrators from New Zealand, USA, every capital city in Australia and regional districts. Among the many artists will be works by Laura Wood, Jo Thompson, Lesley Vamos, Andrea Edmunds, Sue Rawlinson, Alison Mutton, Andrea Edmonds and Marjorie Crosby-Fairall.

SHOWCASING the illustrators LAURA WOOD was born and raised in Italy. After completing a Bachelor of Cinema and Multimedia, she moved to Australia. Today Laura is a Melbourne-based freelance

illustrator. It was amongst eucalyptus trees that she started dedicating all her energy to illustration. Her illustrations combine digital and traditional dry media to created colourful and quirky artwork. JO THOMPSON is an award winning illustrator, artist and graphic designer; and is passionate about picture books. Her first picture book, The Glasshouse written by Paul Collins, was selected as an Outstanding Book for Young People with Disabilities and included in IBBY’s permanent exhibition in Norway. LESLEY VAMOS having grown up in Australia, studied at the College of Fine Arts, graduating with a Bachelor of Digital Media degree (Hons in Animation). She works as a freelance illustrator, artist and designer and creates vibrant, humorous, narrative illustrations. ANDREA EDMONDS has a BA in Visual Arts, and her experience includes illustrations for greeting cards, stationery, commissioned paintings on canvas and animation. SUE RAWLINSON is a painter, psychologist and psychotherapist. As a mother, she found her way back to her childhood passion for drawing and painting with her daughter. What started as a creative pastime became a committed creative pursuit. She studied at the National Art School and later was awarded a Masters of Art in Painting from the College of Fine Art, University of NSW. After a number of solo and group exhibitions of representational as well as abstract paintings, Sue is now focused on exploring the world of illustration of children’s books. ALISON MUTTON is an illustrator based in Perth. She graduated from Curtin University in 2008 with a BA (Hons) in design, majoring in Illustration. Her Honours project focused on combining modern picture book techniques with the Golden Age of Illustration. Able to work both traditionally and digitally, her clients include ReadyEd Publications, Burswood Health Professionals, and the Kelmscott Agricultural Society. Sydney based artist MARJORIE CROSBYFAIRALL was very young when she decided she wanted to be an illustrator. She gained a Bachelor of Fine Arts in Illustration from Northern Illinois University. Following her move to Australia, she worked in many areas of illustration, including picture book illustration. Her picture book My Little World was shortlisted for the Wilderness Society’s Environment Award for Children’s Literature. Her book Killer Plants was awarded the CBCA Eve Pownall Award for Information Books. She illustrates an eclectic range of projects including work for publishers such as Dorling Kindersley, Reader’s Digest and Australian Geographic. Marjorie experiments with new techniques for her illustrations, but

always seems to return to her loved and wellused colour pencils. There is a permanent exhibition of Australian artworks and illustrations including the works of SCBWI illustrators Sarah Davis, Nina Rycroft, Stephen Axelson and Serena Geddes hanging in the Reading Room of The Hughenden.

Lesley Vamos

For more information contact Susanne Gervay OAM THE HUGHENDEN Freecall 1800 642 432 reservations@thehughenden.com.au www.thehughenden.com.au

The Biennial SCBWI conference is being held at The Hughenden 29 June to 2 July. More details at www.scbwiaustralia.org. For more about Susanne Gervay OAM visit www.sgervay.com.

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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

W

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)

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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 information@nga.gov.au www.nga.gov.au This article was first published in Artonview, no 68, National Gallery of Australia, Canberra, 2011


CANBERRA

17 A August – 11 November 2 2012

MAJOR P PARTNER AR A TNER

SUPPORTING SUPPOR RTING P PARTNER A ARTNER

ACCOMMODATION ACCOMMODA AT TION P PARTNER A AR RTNER

Nation National nal Gallery Galler y of Australia Australiia Council C oun ncil Exhibitions Fund Fund

Sydney Long Flamingo Flamingoes oes c 1905–06 (detail), National Galle Gallery ry of Australia, Canberra, acquir acquired ed w with the assistance of the n Fund 2006. Repr oduced with the ki ind permission of the Ophthalmic Re esearch Institute of Australia. Masterpieces for the Nation Reproduced kind Research

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VICTORIA

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 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

Exhibition and Auction The 1810 ‘Hannibal Head’ Holey Dollar is regarded as the most famous of all Holey Dollars. It is a tantalising example of the riches soon to be released for collectors and investors at the Coinworks’ ‘Eminent Colonials’ Exhibition and Auction. For information, or to receive a catalogue, see coinworks.com.au or phone 03 9642 3133

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COINWORKS AUSTRALIAN RARE COINS AND NOTES 03 9642 3133 info@coinworks.com.au www.coinworks.com.au


VICTORIA

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Oriental Antique Gallery welcomes collectors and purveyors of fine furniture to their new Brisbane store

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riental Antique Gallery, a family business, was established in 1997 and is a specialist importer of Chinese furniture. The first store was in Armadale, Victoria, and from there the business grew, opening showrooms in New South Wales and Queensland. Our exclusive antiques are sourced from all parts of China including major cities such as Shanghai and Beijing, and outer provinces such as Ningbo, Shanxi, Mongolia and Tibet. Each piece is hand selected with particular attention to its design, character and quality. Our stores carry a wide range of Chinese furniture, from antique and restored pieces to custom designed items with new shipments coming from China every eight to ten weeks.

TRADITIONAL designs adapt well to contemporary settings Qing period (1644-1912) furniture is a popular choice for enhancing homes, offices and public buildings. The designs – including lacquered, natural finish, carved and painted exterior scenes – are easily adapted to a multitude of uses. They come in a range of forms from wardrobes to trunks, chairs, tables and desks. If looking for entertainment units, bedside tables, coffee tables, etc, we carry modern solid timber pieces specifically designed to meet these functions. To complete a room’s design there are ceramics, carved wood, stone and bronzes – wonderful accessories for that decorative element.

REVITALISING the family business From 2005 to 2009 Oriental Antique Gallery ran a very successful store in Newstead. After the shop’s closure Queensland customers patronised the NSW and Victorian shops for their oriental antiques and furniture. This continued support has led to Phillip Guan, brother-in -law of founder Wen Qing Li to re-open a showroom in Queensland, choosing a Brisbane location – 41 Brookes Street in Bowen Hill. The celebratory opening event attracted many registered customers to the store. We invite you to visit our Brisbane showroom and browse through our extensive range of traditional Chinese furniture. Here

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you will find furniture that evokes the timelessness of fine antiques combined with contemporary convenience, creating the perfect blend of East meets West.

For more details contact Phillip Guan ORIENTAL ANTIQUE GALLERY phillip_kwan@hotmail.com 07 3257 3889


Oriental Antique Gallery Fine Chinese Antique Furniture Porcelain and Bronze Pieces, Chinese Jade through the ages, Temple Statues, Decorative Objects

41 BROOKES STREET, BOWEN HILLS QLD T 07 3257 3889 F 07 3252 1889 SHOP 1, 479 PACIFIC HIGHWAY, CROWS NEST NSW T 02 9906 8588 F 02 9906 1788

OPEN: 10am – 5pm 7 DAYS email: phillip_kwan@hotmail.com www.orientalantiquegallery.com.au


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