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antiques & art IN VICTORIA APRIL - AUGUST 2011

DIVERSIFY YOUR INVESTMENT STRATEGY. (Coin pictured) 1813 Madrid Holey Dollar

VALUE 1995 $57,000. VALUE 2011 $650,000. Looking for an investment option with a history of delivering growth? Look no further than Australian rare coins and banknotes. In 2010, top quality numismatic rarities enjoyed another year of solid growth (average 11 per cent). Coinworks commitment

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Antiques & Decorative Arts 612 High Street, East Prahran, Victoria 3181 Tel and Fax: 03 9510 3754 Mobile: 0407 831 424


By appointment


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

Condition of all items guaranteed

Specialist dealer in Australian Colonial Furniture (c. 1830-1950) and Australian Decorative Ceramics including works by Remued, the Boyd family, McHugh, Melrose, Campbell, Douglas, Seccombe, P. James, Perceval, Ricketts, Jolliff, Klytie Pate.


Contact us to be included on our Mailing List and to receive detailed illustrated catalogues



ABN 39 945 398 132

JQ Pty Ltd Suite 1b, 10 Spring Street, Bondi Junction NSW 2022 PO Box 324, Bondi Junction NSW 1355

ADVERTISING SALES André Jaku 02 9389 2919 / 0412 229 117 Fax 02 9387 7487 Harry Black 03 9813 8585 / 0418 356 251

MANAGING EDITOR Eva Jaku 02 9389 2919

COPY EDITOR Dr Margaret McNiven

DESIGN AND PRODUCTION Brian Cass, Kylie Kennedy, Jonathon Schneider & Kathy O’Grady

PRINTERS Rural Press Bells Line of Road, North Richmond NSW 2754 Caxton Web 45 Huntingwood Drive Huntingwood NSW 2148

NOTICE TO DEALERS Please send us any articles for publication in Antiques & Art in Victoria. Length up to 1,000 words, preferably typed on disk, or email with accompanying captions. Mail pictures as prints, transparencies or digital images on CD. Article is conditional on advertisement being taken. Next issue will be distributed in August 2011 Booking deadline 27 June 2011. Copy deadline 4 July 2011.

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

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PHOTOGRAPHY RUSSELL WINNELL Specialising in antiques and artworks


Specialising in French antiques and Art Deco Please contact us for more information 491 High St Prahran Vic 3181

03 9510 8522 Warehouse by appointment only 0412 560 371 3




rends in interior decorating go in and out of favour all the time – antiques do not escape these trends either! The heavy furniture made popular during the Victorian era found a fresh audience with Australia in the 1980s. These dark pieces so appropriate for large colonial and Victorian styled homes have given way to pieces designed for a more casual lifestyle found in the 21st century home, which do not generally feature formal rooms and big dining rooms. There is the increase in city apartment dwellers who are opting for small-scale

furniture pieces, as in every major city, from Melbourne and Sydney, to London and New York.

FRENCH furniture revival The revival of interest in French furniture is because it is lighter, easy to move around, more delicate and is functional. I believe that a piece of furniture has to be beautiful as well as useful, and classic French furniture never goes out of fashion. Small apartments are not a recent invention. When the French court moved to the palace at Versailles, the aristocracy living in the palace


had compact apartments. Furniture designers developed new furniture concepts, with various uses and serving several purposes, and especially made for small rooms. A lady’s poudresse table was a dressing table, writing desk and a breakfast table. Another space saver was the bureau d’abattant, a compact upright writing desk.

VANGUARD of fashion France became the vanguard of fashion to the world since the Renaissance. As the arbiter of styles and tastes, especially in furniture and fashion designs, the world quickly either copied or wanted to imitate. Many styles originated in France, from the heavily carved medieval furniture to the splendour and grandeur of the Louis XIV style; from the graceful and asymmetrical curved lines of the Louis XV style to the softer lines and colours of neo-classicism or the Louis XVI style. The majestic First Empire style is grand and architectural in proportions. The light wood and beautiful clean lines of the Charles X style inspirited Biedermeier, followed by the simpler, more restrained rounded lines of the Louis Phillipe period. The eclectic Napoleon III or second Empire style came into fashion, followed by ornate and heavily carved Henry II or Renaissance revival. Early in the 20th century, the French art nouveau style with its flowing lines, asymmetric design and nature-inspired curves enjoyed a short-lived popularity. The art deco style, with its elegant, bold and geometrical features is again very popular. For your home to look fantastic, add a few antique pieces such as a crystal chandelier, a gilded chair or an occasional table that all successfully blend in a modern house or apartment. The diversity of styles and materials as well as the accompanying history of French antiques add sophistication and charm to any interior.


Fine French Antiques 859 High Street Armadale Victoria 3143 Phone 03 9576 1282 4

There are quality antiques to suit all budgets. Some wonderful 19th century French antiques are less expensive than massproduced imitations. Antiques are also an investment that gain value with time and can be handed down the generations. Enjoy the aesthetics of beautiful woods and decorations. Appreciate an antique piece that has survived and still displays the skill and patience of the original cabinetmaker. If you are new to antiques, I recommend starting with small genuine items of quality that are of interest to you. Many collectors

have found that what was originally thought to be an extravagant purchase at the time is now a sound investment. Some people buy an antique piece just to look at, but that is not the point. You should be able to use it, as was the intention when made.

L’IMPERIALE treasures At L’Impériale, we pride ourselves on a sound knowledge of antiques and happily share our knowledge, expertise and guidance when clients come to buy antiques. Our stock is imported directly from European sources that have acquired distinctive antiques pieces for many years. Fresh stock arrives several times a year, a boon to collectors from all over Australia and overseas. Our focus is on the furniture, lighting and decorative arts of the wonderful periods of the Napoleonic Empire, Charles X, Louis Phillipe, the Second Empire or Napoleon III and also on the revivals of the Louis XIV, XV and XVI styles. We have a broad range of stylish and beautifully sophisticated furniture, as well as gold leaf mirrors, bronze statues, objets d’art and chandeliers. Our lighting fixtures range from magnificent six-foot tall bronze chandeliers; Versailles style chandeliers draped with finely cut Baccarat crystal to simpler dressings. Many of the lighting fixtures were made for candles and later converted to electricity. We also have a beautiful selection of girandoles or table candelabras featuring Baccarat crystal with original candleholders or electrified. Complementing the range is a selection of 18th and 19th century fine art and the finest French and continental porcelains including Sèvres and Vieux Paris. All of our pieces are authentic antiques, made with the finest materials and rare woods, displaying excellent artisanship, rarely paralleled today. We are providers to designers, decorators, architects, contractors, and collectors in Australia as well as overseas. We take personal pride in our ability to quickly respond to and satisfy requests for unique pieces, so we save you hours spent searching for a desired item. In addition, we can arrange for packaging and delivery in Australia and worldwide ● Mario Dominguez-Gorga L’IMPERIALE FINE FRENCH ANTIQUES 03 9576 1282


Editorial Content


Auctioneers and Valuers

FRONT COVER Grace Cossington Smith (Australian 1892-1984), Interior onto a garden, 1960, oil on board, 91.2 x 62.1 cm. Art Gallery of Ballarat © The Estate of the late Grace Cossington Smith See p. 38 04 06 08 09 10 11 12 14 16 17 18 20 21 23 24 25 26 28 29 30 31 32 33 34 36 37 38 51 52 53 54 55 56 58 58 59 61 62 63 64 66 67 68 69 73 74 75 76 77 78 79 80 83 84 86

The art of collecting fine antiques – Mario Dominguez-Gorga Vintage Posters: some frequently asked questions answered – Sam Johnston The art of French clocks at Leclerc Antiques Expressions Gallery Silver K Gallery presents The Swinging 60s, the art of Ronnie Wood and images of rock ‘n roll François Jaggi sculpture at Veronica George Gallery The creative legacy of Marguerite Mahood The beginnings of time in horology – Michael Colman The Hagley proof 1930 penny Malvern Artists’ Society exhibitions, workshops and classes Cold buying in France – Trish & Guy Page Graham King AM (1915-2008): dedicated to the art of printmaking – Jillian Holst Be inspired at Image de France – George Manoly The which and what of wristwatches – Ron Gregor Toorak Village Sculpture Exhibition: a decade of sculpture – Malcolm Thomson Pack & Send’s global challenges Meaningful valuation of jewellery = CSi + forensic analysis Schots Home Emporium for Portuguese and handmade Italian tiles It’s all about the coin – or the note The Melbourne Society of Women Painters and Sculptors 102nd annual exhibition The Victorian Artists Society Autumn-Winter program Annual Kenneth Jack memorial award and watercolour exhibition – Glyn Clarke Lewis Vampires, steampunk, Goth and the antiques renaissance – Roy Williams Art Deco Nubians and Hagenauer bronzes – David Freeman Anton Bruehl (1900-1982) at the Monash Gallery of Art in Melbourne Collecting portrait miniatures – Dawn Davis Mid-year exhibition program and events at Art Gallery Ballarat American Dreams: 20th century American Photography from George Eastman House The evolution of time Di King Gallery – John Thomas Stamp collecting – where do I begin? – Gary Watson Sherbrooke Art Society Gallery exhibitions, classes & artists’ studios Without Pier exhibition program Schots Home Emporium where you can unearth the uncommon Stylish accents for your home, Bently Chair, Atlanta Desk and Tacoma Trunk Maling pottery 1762-1963 – Barbara Thomas Sorrento and Flinders Fine Art Galleries Cheryl Peterson Galleries contemporary to figurative – and everything in between McClelland Gallery + Sculpture Park exhibition schedule What’s on at Hamilton Art Gallery Ceramics: a question of restoration – Paul Rosenberg Geelong Gallery’s exhibition program, April-September The diversity of art celebrated at Eagles Nest Gallery At QDOS Prue Kirkcaldie’s progressive thinking The White Wedding Dress: 200 years of wedding fashions Ballarat 2011 Collectables Fair The gallery shop and café at the Art Gallery of Ballarat Adventures and stories from Shiraz in southern Iran – Majid Mirmohamadi The Victorian Antique Dealers Guild member profile Dealing with water damaged precious family heirlooms – David Foster The Riviere College at the Hughenden a Queen Street college for girls, with a focus on the arts National Gallery of Australia: Art and agression: Varilaku – Crispin Howarth Australia, with reindeer and elephant – Glen Marguerite Ricketts Inaugral AAADA Melbourne Show Robert Baines: Metal at Geelong Gallery

ADVERTISING RATES Colour gloss advertisers receive 1,000 run–ons of their advertisement with our compliments for use as flyers, posters, invitations etc Advertising rates include design & production (excludes photography)

1 unit 2 units (vertical) 2 units (horizontal) 1/4 page 1/2 page (vertical) 1/2 page (horizontal) Full page Double page

Size (hxw) 67 x 65mm 134 x 65mm 67 x 130.5mm 168.5 x 130.5mm 337 x 130.5mm 168.5 x 261mm 337 x 261mm 380 x 552mm

B&W $132 $264 $264 $544.50 $1045 $1045 $1980 POA

Colour News $187 $374 $374 $764.50 $1375 $1375 $2420 POA

Colour Gloss N/A N/A N/A $990 $1925 $1925 $3289 $5920

All rates are inclusive of GST



Jeffrey Smart (Australia 1921- ), The Bather Bondi, oil on board, 48 x 76 cm, signed lower left. Exhibited South Yarra Galleries 1962 Catalogue Number 7 – Estate of Jean Ramsey, Toorak, in the collection since 1962. Illustrated in The Beach by Geoffrey Dutton, 1985. Illustrated in Jeffrey Smart Unpublished Work, 1940-2007 April 2008. Illustrated cover Amanda Addams Auction catalogue 13 April 2008. Sold for $336,255, a new Australian record for an early 1960s Jeffery Smart

SALE DATES 2011 Monday 2 May 6.30 pm Viewing: Saturday 30 April 11 am – 2 pm Monday 2 May 10 am – 6 pm Monday 6 June 6.30 pm Viewing: Saturday 4 June 11 am – 2 pm Monday 6 June 10 am – 6 pm Monday 4 July 6.30 pm Viewing: Saturday 2 July 11 am – 2 pm Monday 4 July 10 am – 6 pm Monday 1 August 6.30 pm Viewing: Saturday 30 July 11 am – 2 pm Monday 1 August 10 am – 6 pm

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


AMANDA ADDAMS AUCTIONS 194 Bulleen Rd, Bulleen, Victoria 3105 Tel: 03 9850 1553 Fax: 03 9850 1534 David Freeman 0419 578 184 Amanda Freeman 0419 361 753 Member of the Auctioneers and Valuers Association of Australia

VALUE ADDED NOW ONLINE Australia’s foremost magazines on the decorative arts antiques, art & collecting vintage & retro Need to contact your local dealer but don’t have a copy of your state’s Antiques & Art? Problem solved – log on and read online. Peruse World of Antiques & Art – the most authoritative magazine on the decorative (antiques) and fine arts in Australia. A portal to national and international collecting trends, subscribe to the online edition and SAVE! Check out Collectables Trader – subscribe to the online editions and save! Australia’s only bi-monthly magazine on vintage, retro and collectables.

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



VINTAGE POSTERS: some frequently asked questions answered WHAT is an original poster?


n original poster, quite simply, is the first printing of a graphic promotion. Later reproductions, although decorative, have no real value.

DO YOU sell reproductions? In a word, no. Vintage Posters Only deals only in original posters. As stated above, reproductions have no intrinsic value and therefore of no real interest.

CAN you tell me where I can find a reproduction? Once again, the answer is no. Since we do not deal in reproductions, it is not something that we try to keep current. It is not an issue of snobbery; reproductions are just not our business.

WHY should I be interested in purchasing an original poster? • Because it is the world’s most popular art form • Its documentation is exceptionally diverse – at once historic, artistic, graphically wideranging and nostalgic • In addition, posters are decorative • Some of them are stunning and imaginative • Others are just downright pretty • Their appeal is timeless. They strike a chord • They are rare


• Plus, above all, they are original • They can be vintage or they can be contemporary. Remember that today’s latest advertising graphics are the classics of tomorrow.

HOW many copies of a poster were printed? In all honesty, we do not know. It is impossible to say how many copies were made for pasting on the walls of any given city.

THEN why are the remaining posters valuable? In fact, the quantity of the original run of the poster does not relate to its value – the quantity printed does not really matter. What does matter is how many copies were saved on the day that it was printed. There is no ‘Day 2’ for original posters. During the height of the poster craze in the late 1890s, printers would overrun an edition of a design and sell these extras to poster clubs, advertisers, individual collectors, etc. These are the copies that have come down to us. They are the very few posters saved from the original overrun.

WHAT is a maquette? A maquette is the original artwork from

which a poster is taken. A majority of the time, this artwork is used to create the finished poster. However, there are cases where incredibly beautiful artwork is never used to create a printed poster. The precise reasons for the absence of artwork are among the mysteries of vintage posters.

WHAT are the most popular themes in vintage posters? Whatever turns you on: art, cars and bikes, cinema is big, events, food and beverage, fashion is major, health and safety, political, sport and of course travel are all popular subjects of fantastic original vintage posters.

WHEN is Vintage Posters Only open? I’m open seven days a week, between 10 am and 5 pm.

CAN you help me find a particular poster? Ring me Sam Johnson at VINTAGE POSTERS ONLY 03 9500 2505 / 0419 588 423


VINTAGE POSTERS ONLY Wanting to buy original lithographic posters from the turn-of-the-century to 1970. Condition not important! Paying Australia’s best prices.

Contact: Sam Johnson 03 9500 2505 Email:

1136 High Street Armadale Victoria 3143 7




r over 20 years, Leclerc Antiques has imported fine quality timepieces from France and Belgium. French-born Pascal Leclerc, a dedicated clock collector, has long been fascinated by the beauty and intricate mechanisms of French clocks, and this passion inspires his search for beautiful items to bring to Australia. The best European horologists were revered artists. Their creations required the skill of many master craftsmen such as sculptors, casters, chasers, engravers, gilders and porcelain dial makers and painters. France has produced some of the greatest horologists. Among the most famous are JeanAndre Lepaute (1709-1789), Swiss-born Abraham-Louis Breguet (or Bréguet) (17471823), Basile-Charles Leroy (1765-1828), Isaac II Thuret (1630-1706) and his son Jacques III Thuret (1669-1738), and Jean Antoine Lépine (1720-1814).

FRENCH clocks Ormolu clocks were produced as early as 1750 under the reign of Louis XV. Romantic, oriental or mythological subjects appealed to the court’s fascination with refined taste and exotic tales, and often inspired their adornment.


Beautifully executed porcelain clocks were also produced in the 18th century, with some French makers importing cases from renowned German artisans in centres like Dresden and Meissen. Decoration of clocks using models of animals such as dogs and horses was popular. Decorating with more exotic animals, for example, lions, elephants, rhinoceros and camels, became fashionable in the mid-18th century. These pieces are very sought after by serious collectors. A typical French movement runs for eight days, striking the hour and half hour on a bell. Some more complex mechanisms also strike the quarter hour. The early pieces employed silk suspension before steel suspension was invented. The late 19th century saw the introduction of more affordable decorative clocks, often constructed in marble and white metal that was a metal alloy containing silver and pewter, commonly called spelter. These clocks were frequently designed as a decorative set, comprising a timepiece and matching candelabra.

BUY quality Leclerc Antiques imports a broad collection of clocks to Australia, along with objets d’art, lights and furniture, in a range of styles and materials that appeal to our diverse and discerning clientele. In the case of clocks, we aim to acquire the highest standard examples from late 1700s to 1940s. Quality antiques offer privileged investment, as you use and enjoy the beauty of the object every day. It is not only in the field of clocks that buying the very best has proven most sensible. Fine quality 19th century furniture has significant interest and growth in value, notably as increasing global wealth introduces new buyers into the market for rare pieces from countries such as China and Russia.

Quality antiques are an international currency and can be traded anywhere in the world. Anyone considering acquiring antiques would be well advised to buy the best they can afford, as they will never regret purchasing a top-quality piece. Aside from the pleasure of living with the item and admiring it each day, its beauty and value are enduring. In contrast to contemporary purchases that have short-term fashion appeal and falling worth, antiques are appreciated and treasured for the long term and increase in value. Caution should be taken when considering unrestored or non-functioning clocks, as restoration of an antique clock (assuming it is restorable) can be an expensive exercise. When you purchase from a reputable antiques dealer, a clock’s authenticity and working order is guaranteed. At a time when discussion in the media constantly reminds us of the planet’s dwindling resources, contrasted with ready availability of dull mass-produced objects, we realise the preciousness of unique handcrafted pieces that bring beauty and value to our lives. Not only is the acquisition of antiques potentially lucrative, but also a responsible choice for our environment and the benefit of future generations. If you are interested in exploring options for acquiring a fine European clock or other antique, visit Leclerc Antiques at their Prahran showroom or Williamstown warehouse where you have a superb range of items and expert advice to draw upon. Pascal Leclerc looks forward to assisting you with all your enquiries ●

PASCAL LECLERC ART DECO & ANTIQUES 03 9510 8522 / 0412 560 371


John Olsen, Frogs & Banana Leaf

JK, Cuban Missile Crisis

Jeffrey Smart, The Guiding Spheres ll

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


Our high quality fine art limited editions are available at an affordable price. A pleasure to own, they will hold their value and brillance for many years to come. Expressions Gallery also offer high quality framing in their onsite studio workshop ● EXPRESSIONS GALLERY 03 9500 0667

John Olsen, Tropical Lily Pond

Expressions Gallery offer a wide range of fine art limited editions from leading Australian artists.

John Olson, Sydney Sun, 1965

1110 High Street, Armadale Vic 3143 Australia Tel/Fax 03 9500 0667 also at 332 Malvern Road Prahran Vic 3181 • Mob: 0413 992 501

Howard Arkley, House with Native tree



SILVER K GALLERY presents The Swinging 60s: THE ART OF RONNIE WOOD AND IMAGES OF ROCK ’N ROLL Showing until 10 July


onnie Wood is one of rock’s true originals. He toured the world with numerous bands including The Birds, The Jeff Beck Group, The Faces and of course, the Rolling Stones. Today he is both an internationally acclaimed musician and a recognised artist. Wood grew up on a working-class English council estate. He was the first generation of his water-gypsy family to be born on dry land and his greatest loves from a young age were music and art. He was born in Middlesex in 1947 to an artist family and his artistic ability became very evident in his early years. As a child his drawings were featured on a BBC television program, Sketch Club, on which he won one of its competitions. He refers to this early achievement as his ‘awakening to art.’

PORTRAITURE He received formal art training at Ealing College of Art in London. While his musical career progressed, Ronnie continued his painting and drawing. His subjects ranged from musicians he admired, knew and sometimes played with, to family and close friends, and self-portraits. The mixing of art and music has been part of his life from his musical beginnings. It was only natural from those early years onwards to find Ronnie with a pencil or with a guitar, drawing portraits of contemporaries and finding inspiration from his musical influences.

PRINTMAKER In the early 1980s in the USA, Ronnie produced his first prints – three woodcuts and a series of monotypes. His art works up to then were always one off originals. At that


time he was not an experienced printmaker, so with great enthusiasm he seized the opportunity in 1987 to spend several months working in a professional print making studio in London. This was really the launching pad of his international art career. Since those early days, Ronnie has devoted a considerable amount of time to printmaking and has produced many stunning images using various techniques – etching, dry point, screen print and digital. With his journey into printing and creating limited editions, the international world of art collectors has opened to Ronnie’s own art world. He is an artist with great dimension. One of his great gifts is capturing his musical mates and his paintings, drawings and prints frequently feature icons of the pop culture at the time. Keith Richards, his great mate is one of his favourites. In a recently released image, we are taken on a wonderful journey in the development of a Ronnie Wood art piece. This painting is from life, started as a study sketched during rehearsal. He remembers this particular moment vividly, as he was taken by how lost in deep thought Keith was – Ronnie never knew what Keith was thinking about that evening. Whatever it was, Keith was obviously offering it great thought. So Ronnie gave a title to reflect most exactly where Keith was, that had to be Pensive. Besides Ronnie’s great gift for capturing his musical mates, he has also ventured to capture the many other subjects that collectively construct his passionate life. His love for wild life is reflected in many works. He is a traditionally trained artist, so life drawing and rendering of the human form are included in his art portfolio. He has also created beautiful

landscapes, some based on the rich green hills of his home in Kildare Ireland.

MAJOR Australian exhibition Ronnie Wood has exhibited all over the world and Silver K Gallery is delighted to be presenting the largest show of his art ever seen in Australia. Ronnie is a true journeyman in the world of art and several of his paintings, including a work commissioned by Andrew Lloyd-Webber, are displayed at London’s Drury Lane Theatre. As an artist, he continues to go from strength to strength. As a true reflection of his standing in the international art world, in September 2010 Ronnie was honoured by a show at the Butler Institute of American Art in Ohio, his first museum-based exhibition in the USA. That show was five years in the making and filled three galleries with 30 original paintings, 22 pen and pencil drawings and seven works in mixed media. Australian fans and collectors should not miss this rare opportunity to view one of the finest collections of Ronnie’s art presented worldwide. Complementing the art are original photographs by Dezo Hoffman, Robert Freeman and Astrid Kirchherr. A special highlight is the first ever showing in Australia of original photographs featuring the Rolling Stones and The Beatles taken by Phillip Townsend – all hand signed by the photographer ●

SILVER K GALLERY 03 9509 5577

This exhibition of over 160 works is a must for rock ‘n ‘roll fans. A small admission fee (adults: $10, children: $5) includes the catalogue.


The Veronica George Gallery represents a large number of leading Australian glass artists and showcases many of their complex glass techniques.

Gordon Glass

In addition to the wide selection of tasteful gifts and special pieces for the interior, we have unique works of art for the collector. As well as the magnificent variety of original hand-blown glass, there is a fine collection of contemporary jewellery by well-known Australian artists.

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

Phil Stokes Amorphous Drip Bottle

François Jaggi sculpture at VERONICA GEORGE GALLERY


eronica George Gallery is located in the heart of Melbourne’s arts and antiques precinct in High Street Armadale. The site was purpose-constructed to serve as a showcase of the gallery’s everchanging art glass pieces, stunning handmade jewellery and new exhibitions. The gallery celebrates its 10th anniversary in September 2011. Art glass and jewellery draw almost every passer-by into the gallery, attracted to the collections of unique pieces crafted by wellknown Australian artists. From one-of-a-kind art glass to studio glass and collectables, there is something for every collector. The gallery offers creative gift-giving options. When looking for those significant gifts such as wedding, graduation, anniversary or company achievement awards, your search will succeed at the Veronica George Gallery where well-informed staff assists in sourcing an appropriate piece for your occasion.


ARTIST’s statement

François Jaggi was born in Saint-Loupd’Ordon in Burgundy, France, migrating in childhood with his family to Switzerland. After finishing school, he completed his jewellery apprenticeship and diploma at the School of Arts in Geneva. François worked as a freelance jeweller for Rolex, Cartier, Boucheron and Audemas Piguet in Switzerland. François eventually moved to Australia where he began to sculpt, finding it more exciting with limitless possibilities. Exhibiting since the mid1990s, his work is admired and is represented in Australian and overseas collections. He is a member of the Sculptors Society. Look for François’ commissions and public sculptures when visiting Wollomombi and Armidale’s Civic Park in NSW. Notable early commissions include a 1999 gift for the Governor General of Australia, with others for Prime Minister’s Department and the Victorian Racing Club.

Australia gives me exciting and limitless possibilities in sculpture, giving me the opportunity to work full time as a sculptor. First working with drawings; representing with different mediums, returning them to idealised form, giving them light and graceful movement.

From left: François Jaggi, Bird of Paradise, bronze, 180 x 380 cm, edition of 30 François Jaggi, Mare and Foal, bronze, 2010, mare edition 55/80, foal edition 55 /80 François Jaggi, Leap For Freedom, bronze, 60 x 30 cm, edition of 30 François Jaggi, The Stallion, bronze, 25 x 26 cm, edition of 80

THE PROCESS In the 2010 works inspired by a mare and foal, these graceful animals are given a powerful presence transforming the space surrounding them. Their creation involved several steps. First, Jaggi created a mould from wood. Then using the sand cast method, the forms were cast in solid bronze. After the casting process, he finely sands the sculptures, applying a patina and polishing them. There is no maintenance required as a lacquer coating is applied to the sculpture. Please do not use any cleaning products or polishing cloths, as these will affect the surface finish.

Conveniently, Veronica George Gallery is open seven days a week. Another advantage is that the gallery arranges safe delivery of purchases. If destined out of Australia, purchases are sent taxfree and insured – worldwide ● VERONICA GEORGE GALLERY 03 9500 9930 veronica@



Marguerite Mahood (1901-1989), Lap of Luxury, linocut, with applied watercolour, 23 x 30 cm (image), 43 x 50 cm (framed)

Marguerite Mahood (1901-1989), Native Possum, linocut with applied watercolour, 19 x 20 cm (image), 39 x 39 cm (framed)

Marguerite Mahood (1901-1989), vase, c. 1936, hand modelled glazed earthenware decorated with applied fantastical dragon, 16 x 11 cm, signature inscribed in base

Unknown photographer, Marguerite Mahood, c. 1940s



or many, the tactile quality of ceramics gives a very personal dimension to collecting. Items can be held, moved around and displayed in a variety of ways to capture natural or artificial light. But most importantly, they are distinctive insights to an owner’s personality. In the history of Australian ceramics, Marguerite Mahood is at the forefront in terms of originality, variety, taste and technical skill.

Early Years Born in Richmond in 1901, Mahood attended Presbyterian Ladies College prior to beginning art classes in 1915 at the National Gallery School, Melbourne, under the guidance of Frederick McCubbin. Showing early promise she exhibited successfully from her mid-teens at major Melbourne and Sydney galleries. Marguerite Mahood was a significant public figure in the Australian arts scene. Her weekly radio broadcasts for the Australian Broadcasting Commission were a first for an Australian female artist. The broadcasts covered a wide range of her interests from the history of art to interior design.

Mid Career

Marguerite Mahood (1901-1989), Puppet, hand modelled ceramic head, hand stitched velvet clothing. Made for members of her immediate family. Private collection


From 1934 to 1950 she exhibited regularly at the prestigious Sedon Galleries in Collins Street, Melbourne and the art gallery in David Jones, Sydney. Her significance as a sculptor was recognised in William Moore’s The Story of Australian Art (1934), the first major published history of Australian art, and her work featured in the 1956 Melbourne Olympic Games Arts Festival. An established and respected artist she played an influential role in the Melbourne Society of Women Painters and the Arts and Crafts Society. Mahood was also a founding member of the Australian Ceramics Society and the Victorian Sculptors’ Society. A person of great energy, enterprise and skill she taught pottery, managed a textile firm and published widely in the popular and specialised press on art and sculpture. Her younger contemporary, the distinguished ceramicist Klytie Pate (b. 1912), was an inspired admirer and like Marguerite was interested in feline images.

Many of Mahood’s paintings, drawings and linocuts illustrate her interest in Art Nouveau and all things feline, which was a particular feature of that art movement. Another influence was the large-scale ceramic sculptures of William Ricketts (1898-1993) working at Mt Dandenong in Victoria from 1934.

Shifting interest In the 1930s and 1940s her interests broadened, producing cartoons for children and writing and illustrating two books. In the 1950s she returned to study and developed a heightened interest in politics. Along with her husband she became a member of the Communist Party of Australia and opposed fascism and all forms of racism. At the age of 69 Mahood was awarded a PhD at the University of Melbourne; her thesis – the history of Australian political cartoons. Unusually, her choice of subject did not follow the social realism of others with similar political interests. Rather, her interest in Art Nouveau, Pre-Raphaelite and neogothic styles and in fantastical grotesques both set her apart from others and have been the basis of her continuing wide appeal to successive generations of Australian collectors. The success of her objects is enhanced by her use of vibrant glazes and the range of carefully applied colours.

Creative process Mahood was personally involved in all stages of ceramic production; beginning with selecting and digging the clay through to stoking the kiln – a task that could take up to 10 hours. Her pieces are noted for their high level technical skill. The double walled pierced work vessels continue to arouse enthusiasm from practicing potters. Commentators on her work have stated that Marguerite’s keen sense of balance, proportion and scale derives from an innate ability to compose a piece using a subjective form of mathematics. Similar attention to detail and skill is shown in her preliminary drawings. These trace an initial idea through successive stages into final images. Of extraordinary fastidious detail, they are executed in mixed mediums of either watercolour, Indian ink, pencil, crayon or hand-coloured linocuts.

Value Along with other prominent Australian

ceramicists, the value of Marguerite Mahood’s ceramics has soared over the past two decades. Because of the variety of her work, ranging from small objects to stunning complex pieces, prices range from hundreds of dollars to well in excess of $20,000. Limited supply has meant that new works coming on the market have aroused keen interest and competition.

Collections Marguerite Mahood is held in all major Australian public collections and is well represented in private collections. Holdings of note include the National Gallery of Australia, Canberra; National Gallery of Victoria; Art Gallery of New South Wales; Shepparton Art Gallery, Victoria; Powerhouse Museum, Sydney. The forthcoming exhibition of works by Marguerite Mahood at Hurnall’s Decorative Arts offers a unique opportunity to review her place at the centre of the development of Australian arts and crafts. New and interesting material sourced from the Mahood family archives and collection will be on show together with fine and rare examples that she modelled. This comprehensive exhibition of over 200 items includes 50 ceramic objects comprising highly desirable examples of face masks, characteristic winged dragons, pierced pots and figurines, all dated from 1931 and incised with Mahood’s personal code, which provides the strongest provenance. All items will be illustrated in the printed catalogued and on ●

The exhibition commences 26 April to 2 May, 12 noon to 5 pm at Hurnall’s Decorative Arts 612 High Street East Prahran, Melbourne.

Hurnall’s Decorative Arts 03 9510 3754 0407 831 424


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1. Victorian miniature secretaire cabinet, c. 1860. Sold $2328

6. Brass telescope made by E.G. Wood (London), c. 1850. Sold $815

2. Large Chinese famille jaune floor vase bearing Guangxu mark (1875-1908). Sold $1398

7. IWC Novecento Perpetual Calendar wristwatch. Sold $10,485

3. Meiji period (1868-1912) Satsuma koro. Sold $2796; Meiji period (1868-1912) Satsuma vase. Sold $2563; Meiji period (1868-1912) Satsuma tea caddy. Sold $1398

8. Emerald and diamond line bracelet. Sold $2077

4. Bohemian art glass vase, attributed to Loetz, c. 1900. Sold $369; Tiffany Favrile iridescent glass trumpet vase, c. 1910. Sold $1384 5. Le Verre Francais ‘Charder’ glass cameo vase, c. 1925. Sold $2538; Le Verre Francais ‘Lauriers’ cameo vase, c. 1925. Sold $1154; Legras glass vase, c. 1910. Sold $1154

9. Claret jug, c. 1905. Sold $461l; Silver tea caddy made by Theodor Hartmann (Augsburg, Germany), c. 1904. Sold $634; Sterling silver salver made by Hawksworth Eyre & Co Ltd (London), c. 1917. Sold $577 10. Patek Phillipe ‘Caltrava’ Pp 1741, c. 1960. Sold $5126 11. Bonheur du jour, c. 1860. Sold $6347



Fine and Decorative Arts Modern and Antique Jewellery Viewing a week prior to sale


Fine and Decorative Arts Modern and Antique Jewellery Viewing a week prior to sale


Fine and Decorative Arts Modern and Antique Jewellery Viewing a week prior to sale Fine and Decorative Arts Modern and Antique Jewellery Viewing a week prior to sale



Visit for details of all current lots



The BEGINNINGS OF TIME in Horology FROM 1000 – 1300 CE The mechanical clock, considered by many as the greatest turning point in the history of science and technology, has no defined beginning or single stroke of genius but rather appears as a gradual evolution with defined periods of further development. Chinese recording of events was further advanced than in the West. The early invention of printing in China (8th-9th century CE) and better attention to record keeping have given us faithful reproductions of original texts of early horology work in China, even when time keeping was secondary to the device’s original purpose. Possibly the first timepiece with a better performance level than the clepsydra was the remarkable water-driven astronomical clock designed by the monk Su Sung in 1088 and completed in 1094. His clock has not survived, but a description by its inventor has. Models have been made from these documents. The mechanical improvements of this instrument took it way beyond anything previously made, possibly only passed 600 years later with the invention of the pendulum. The essential feature of this clock was a link work escapement quite different from the

foliot escapement invented later in Europe. Water poured from a reservoir into a constant level tank, then into one scoop after another of a large waterwheel with a controlling device, which would not release until each scoop was full. As the scoop filled, the weight tipped the lever, allowing the main wheel to ‘escape’ its position. In effect this astronomical instrument recorded the number of scoops filled with water, which was then converted into time elapsed. Producing an effective escapement action, between the scoops and levers, this was more than a clock. It was over 11 metres tall, with wheels 1.5-2.5 metres across, with five halfstoreys. It was calibrated by a sighting tube pointed at a selected star and was far more accurate than anything before. It had a celestial globe, an armillary sphere, gave hours of the day and quarters on bells and drums and struck the night watch on gongs. China used an equal 2 x 12 hour cycle for the day with 100 minutes and had done so since about 500 CE. During the Middle Ages the significance of time recording was not appreciated, possibly as they were ill equipped to measure it. Water clocks were rare and expensive. Sundials were cheaper to manufacture but were generally

Su Sung’s water clock c.1088-1094, miniature reproduction


inadequate in Europe, as skies were often cloudy. During the Middle Ages time was not that important to people, except for the Church. In 1220 in Cologne there was a special street called Uhlogengasse, or Clockmakers Street. This is the first evidence of a professional Guild of Clockmakers, making water clocks. Imagine their frustration in winter! Guild Craft Associations were for journeymen, apprentices and employers, who formed to set working conditions, apprenticeships, prevent unfair practices and maintain high standards of craftsmanship, and date from the 12th or 13th century. It is feasible that many of the Chinese instrument ideas had made their way from China, through India, into Islam and finally Europe. The origin of the mechanical clock remains a mystery, but it probably occurred towards the end of the 13th century. The incentive to develop it possibly came from the medieval monastery, where punctuality was a virtue that was rigorously insisted on, and late arrival at divine service or meals was punished. Clocks were useful to regulate the strict monastic life. At this time, remember that the church controlled education. The word ‘clock’ is related to the medieval Latin word clocca and the French word cloche, meaning bell. The first clocks did not have dials and these clocks had clock makers whose sole job was to mind, watch the wheels and as certain parts of the wheels went past, strike a bell to indicate time elapsed. An early treatise on astronomy, written about 1271 by Robert the Englishman, states that ‘clockmakers are trying to make a wheel

turn controlled, for one equal circle, (constant equal speed) … and if they could, they would make an instrument better than any available’. The text describes how they were using a weight suspended by a rope, looped around an arbour to friction-control the rate of a wheel turn. A similar device in an architectural drawing of 1240-51 by Wilars de Honnecourt resembles this description. The descending weight would turn the figure of an angel on the roof of a church. This would point to follow the Sun, even when the sun could not be seen, indicating the time of day. Such angel devices were installed on the roofs of Chartres Cathedral and old St Paul’s, London. No definitive link has been found between the first mechanical clocks and the earlier geared astronomical instruments. Perhaps the lack of a dial on these early clocks indicates part of another instrument as the origin. Another outstanding clock designed was the Astrarium (astronomical) clock by Giovanni da Dondi (1318-1389) of Padua. This is the earliest drawing of a clock escapement known as a ‘crown wheel and verge.’ This type of escapement was regulated, with difficulty, by adjusting the weight supplying the power. The Italian brass clock was far finer than the clumsy English forged iron clocks. The clock was incidentally made for time keeping, which it did with the start of the day at sunset, called Italian hours. This was truly a kind of planetarium and much more elaborate than similar clocks like the Strasbourg clock. Da Dondi describes his clock as ‘a common clock’ with the ‘usual’ beat.

Wilars de Honnecourt, middle of picture left, 1240-51

Drawing crown wheel, verge and foliot

Su Sung’s water clock escapement


Salisbury Cathedral clock of 1386

The invention of the hourglass or sandglass had required a form of breakthrough in technology

” FROM 1300 – 1400 AD The mechanical clock appeared around 1280-1300, along with the crucial invention of the ‘crown wheel and verge’ escapement. This device requires a crown wheel, with an odd number of teeth to the side, like a hole-cutting saw blade mounted vertically. Across the crown wheel is a vertically mounted arbor or shaft, with a balance wheel on top. Two small projections of steel called pallets are mounted on this arbor (the verge). Each pallet face meets a tooth of the crown wheel alternately spinning the balance wheel each way, allowing the crown wheel to escape (release) one tooth at a time. The regulating of this escapement was controlled by adjustable driving weights, and required frequent adjustment to time. The crown wheel was held, the verge lifted out, the train let run freely to the desired time, stopped on crown wheel and verge replaced and set going. This required an attendant of some skill; considering that the clock may have taken two years to make, a mistake would be costly. The basic crown wheel and verge escapement lasted with several improvements for almost 500 years. An alternative soon appeared to the crown wheel and verge. A horizontal bar was attached to the arbor in place of the balance wheel and suspended by pig or horsehair. At each end of the bar were notches where weights could be moved in for faster or out for slower. The new escapement was a ‘crown wheel and verge foliot’, known as a verge foliot. It worked the same way as the verge balance but was able to be regulated independently. This system was very robust, would tick away almost forever as long as its moving parts were kept oiled. However it was still a very poor timekeeper, but better than the crown wheel and verge. The oldest surviving clock in England is in Salisbury Cathedral. It was verge foliot, has no dials but strikes the hour. It was made about 1386, for historical accounts show that in 1386 provision was made for a house for the use of the clock keeper. Ralph Erghum was bishop of Salisbury and was a regular visitor to the court of King Edward III. He later moved to Wells Cathedral in Somerset and commissioned

Wells Cathedral clock outer dial

Hourglass or sand-glass held by figure at right, shown in an early fresco

another clock in 1388, having it installed in 1392. Both these clocks are the oldest surviving clocks in England and have been found in more recent times to be made by the same craftsmen. These two clocks have now been attributed to Johannes Lietuijt, or the brothers Johannes and Williemus Vrieman, a group of three clockmakers invited to England in 1368 by King Edward III from the Low Countries (Holland). The Salisbury clock was replaced by a new mechanism in 1884. It was saved from oblivion in 1929 when TR Robinson drew attention to its great antiquity. As can be seen, the wrought iron clock frame is held together with wedges. These earlier clocks were ground-mounted like the water clocks. The weights were suspended from pulleys higher than the clock. Eventually these clocks were put in a tower with weights hung below, becoming known as Turret or Tower Clocks. In 1931 the original mechanism was cleaned up and put on display, and finally in 1956, with the help of Rolls-Royce, certain parts were X-rayed to see what was original. By using original parts and some new, it was restored back to verge foliot from a previous pendulum alteration. The restored Salisbury clock is probably the oldest clock in the world today still running. The Wells Cathedral clock of 1392 strikes the quarters as well as the hours. It has two dials, one astronomical and three separate automata. The original movement now resides in the Science Museum in London, having been replaced in 1835 and that movement in turn replaced c.1890. The original astronomical dial at Wells Cathedral is the finest still preserved in England. Around the early 14th century the hourglass finally appears to have been developed. The first known illustration of the hourglass is in an Italian fresco painted between 1337-1339 in the Palazzo Pubblico in Siena; the sandglass is held aloft formally indicating something of great or of new importance. The invention of the hourglass or sandglass had required a form of breakthrough in technology. Not in the glass, but rather in the need for an alternative to sand. Sand, because of its abrasiveness, would soon grind and enlarge the hole thus destroying the time keeping. The introduction of the hourglass required a man-made medium, and this was finally overcome with the use of evenly crushed eggshell. The hourglass was used widely for timing at sea where it was not affected by the sway of

the ship, often used to set the four-hour watch. In industry, it was used as a timer in manufacturing. On Sundays it was used to time the sermon, where it was also known as a sermon or pulpit glass. If the clergy were so inclined they would say ‘Brethren, we will take another glass’ and turn the glass upside-down to continue the sermon for another hour ●

Further reading Joseph Needham, Wang Ling & Derek J. Price, Heavenly Clockwork, Cambridge University Press Eric Bruton, The History of Clocks & Watches, Little, Brown & Company, 1979 Colin Wilson, The Book of Time, Jacaranda Press G. J. Whitrow, Time in History, Oxford University Press Kristen Lippincott, The History of Time, Merrell Holberton

Michael Colman COLMAN CLOCKS 03 9824 8244

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

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

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

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

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

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

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

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

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



The Hagley proof 1930 penny, one of only three in private hands

THE HAGLEY PROOF 1930 PENNY Australia’s most famous coin sold by Coinworks


are coin investors will be excited to hear that the Hagley proof 1930 penny has established a new record price for an Australian coin. They will not be surprised for the coin is truly spectacular, more than worthy of its legendary status. The details are confidential, but with its current market valuation of $1.65 million, Coinworks confirms that the sale price is definitely a new record for an Australian coin.

THE KING of rarities Named after Sydney Hagley, a former owner and a pioneer of the Australian rare coin industry, the Hagley proof 1930 penny has often been called the king of rarities because of its special place in Australian coin history. As a proof coin, it was never intended for circulation. It was created as a museum piece, a work of art to be held as a perfect example of the circulated coin. The quality is simply beyond comparison – it is absolutely stunning, as befits an object of art. The striking is razor sharp and the colours are magnificent. Under lights, you can see the brilliance of the original copper from which the coin was struck. It is also incredibly rare. Just six proof examples were ever struck, and of those only three are in private hands.

VALUE that keeps growing and growing The ongoing and almost meteoric increase in value of the Hagley proof 1930 penny has ensured that it is regularly in the headlines. In a recent interview, a colleague of Sydney Hagley recalled being offered the coin for just £300 in 1964. He declined the offer simply because he could not afford it at the time. His misfortune became clear in 1974 when the coin sold at auction in Los Angeles for $16,000. That under bidder in 1974, now retired rare coin dealer Laurie Nugent, still recalls his bitter disappointment at missing out on the famous penny, but he eventually acquired it in 1981. In 1982, the proof 1930 penny’s star status was confirmed when Australian nursing home magnate Doug Moran bought it for a reported $100,000. For Moran, it was a matter of national pride – he declared that the coin was so important


it should never leave Australian shores. The new owner is a collector from Melbourne, so Moran’s wish continues to be granted. Until 2011, the previous recorded private sale of a proof 1930 penny was of a specimen held by the British Museum. Coinworks sold that example in 2005 to a Sydney family for $620,000.

THE COIN that captivated a nation

The sale of these magnificent coins demonstrates the ongoing strength of the Australian rare coin industry. Coinworks is proud to be leading the way ●

COINWORKS 03 9642 3133

Type 1 1920 square half penny. Value $725,000

The three privately owned proof 1930 pennies are clearly the top of their class. Even non-proof examples of the 1930 penny – those that went into circulation – have always held a special place in the imagination of the Australian public. Only a small number went into circulation, and those were by accident, so the 1930 penny became a popular talking point as well as a valuable collector‘s item. Right up until the arrival of decimal currency in 1966, Australians would check the dates on their pennies in the hope of finding that one in a million coin that could be worth – even then – a small fortune. It still does not quite explain the mystique of the 1930 penny. In many ways, Australians always loved their copper coins, perhaps because – unlike the early gold sovereigns – they were accessible to the average person. So the thought that a common penny might be highly valuable was sure to spark the imagination.

TOP END rare coins creating new records The record sale of the Hagley proof 1930 penny is yet another example of how classic coin rarities at the top end of the market have risen above the economic turmoil of the last few years. Coinworks has already set new price records in 2011 with these other recent record breakers: • 1920 Type 1 square penny, for $725,000 • 1852 cracked die Adelaide pound (Australia’s first gold coin), a premium example, for $550,000 • 1899 Perth Mint proof half sovereign, for $450,000.

The cracked die 1852 Adelaide pound, Australia‘s first gold coin. Value $550,000


Penny Pihan

Craig Penny

MALVERN ARTISTS’ SOCIETY Exhibitions, Workshops and Classes


alvern Artists’ Society was founded in 1957 as a non-profit self-supporting organisation whose prime aim is the promotion, enjoyment and teaching of art. The Society was a forerunner in providing Melbourne suburban art classes, which continues today offering day and evening art classes in a variety of media over four terms each year. Over the years, the Society has been home to many of Victoria’s prominent artists. Malvern Artists’ Society’s premises, about eight kilometres from the city, are centrally located in the City of Malvern. The building includes a well-equipped two-room modern gallery, a well-lit studio for art classes, a kitchen and an office. Recent renovations include a new hanging system, which almost doubles the hanging capacity of the gallery, studio extensions and a reception foyer. Throughout the year there are frequent exhibitions of members’ work in addition to a number of private shows by artists who hire the MAS gallery. The Society offers a variety of day art classes on a term-by-term basis.

term-by-term basis. Non-members are very welcome, with a discount for members on each class. Term fees are from $225. Phone 03 9822 7813 to enrol in your chosen class and nine-week term. Mondays



• Watercolour with Julien Brewer (starts Term 3) 9.30 am – 12 noon


Wednesdays • Oils with Don James 9.30 am –12 noon • Open studio (acrylic, oil & pastel) with Michael Goff 12:30pm – 3 pm Thursdays • Oils with Ke Ming Shen 10 am – 12.30 pm • Acrylic with Craig Penny 1pm – 3.30 pm Fridays • Mixed media (pastel, watercolour & acrylic) with June Woods 10 am – 12.30 pm

SPECIAL Event: Artists at Work

• Oils with Carmel Mahony 1pm – 3.30 pm

Saturday 25 June Malvern Town Hall, 10 am - 5 pm The City of Stonnington proudly sponsors Artists at Work, the annual full day of live demonstrations by some of Melbourne’s leading artists. You will enjoy seeing many artists at work in the Banquet Room. Tickets are available at the door. The gallery is open seven days each week during exhibitions.

• Watercolour with Joan Richard 9.30 am – 12 noon $22/class

AUTUMN Exhibition 6 May-15 May Tuesday– Friday: 10 am-4 pm, Saturday – Monday: 11 am-4 pm An exhibition of selected members’ artwork executed in oil, watercolour, pastel, drawing media and mixed media. The official opening is on Friday 6 May at 7.30 pm. Proudly sponsored by Senior Art Supplies of Malvern.

ART Classes The Malvern Artists’ Society Studio hosts all classes at 1297-99 High Street Malvern. Each term is nine weeks, with enrolment on a

Ke Ming Shen

• Pastels with Marlene Frances 4.30 – 7 pm

MAS provides easels and tables. Some classes provide a model for several lessons. Please bring your own art materials (list available upon enrolment). Term 2: 2 May – 2 July Term 3: 18 July – 17 September Term 4: 3 October – 3 December For full exhibition, class list or gallery hire information please phone MAS office between 10 am and 2 pm, Tuesday to Friday or leave a message outside these hours ●

ARTISTS AT WORK Full Day of Art Demonstrations 10 am – 5 pm

Saturday 25 June 2011 At the Malvern Town Hall, Banquet Room Corner Glenferrie Road and High Street, Malvern

ARTISTS DEMONSTRATING INCLUDE: Julian Bruere (watercolour), Joan Richard (watercolour), Michael Goff (pastel), Paul Margocsy (watercolour), Maxine Wade (watercolour), Keming Shen (oil), Alan Rawady (pen & wash), Craig Penny (acrylics), and many more! Come and enjoy a full day of wonderful demonstrations with us Admission $20 Non-members $15 Members, Students (MAS) and Pensioners Pre-booking not necessary. Tickets available at the door

Refreshments available all day MALVERN ARTISTS’ SOCIETY 03 9822 7813

ENQUIRIES 03 9822 7813

Proudly Sponsored by the City of Stonnington

e:, w: 17




age Antiques has been trading for 30 years and is still going strong. Another important milestone was reached last December with Guy and I celebrating our 25th wedding anniversary. Consequently, we decided to complete our overseas buying trip in Paris to celebrate in style. What we had not counted on was a blizzard, with snow and ice in abundance. This European trip started in late November when it should not be too cold. However, in only a couple of days, the first snow fell and the local dealers were as surprised as we were. Even though this first lot of snow did not settle, from then on it would be a different story. Apart from European dealers being obsessive buyers and hoarders, they are also extremely frugal when it comes to basic comforts like heating and floor coverings. My feet felt frozen so buying warm boots and socks was a priority. Their answer to the cold

was drinking endless cups of coffee, that was always brewing and the first word after every greeting was… café? An early drama was trouble hiring a car and finally we found one in a neighbouring village. So we ventured to collect it, only to find a mix up as we were not expected until the following day. Luckily, a very goodnatured friend used his French and humour to win over the attendant, and miraculously a car was available! With temperatures continuing to drop, Guy who normally does not feel the cold needed a warm jacket that he purchased in a nearby store. Pleased that we had bought well, soon we were deflated by a finding a parking ticket. The saga continued with our attempt to pay the fine at the town hall. I directed Guy into a cobbled courtyard where cars were parked with no restriction signs, and went to pay the fine.


Guy Page

PAGE ANTIQUES Formerly of High Street Armadale

“The best selection of queen-size beds”

ded a o unl e Hug

ust j t en m ship

PAGE ANTIQUES WAREHOUSE 323 CANTERBURY RD, CANTERBURY VICTORIA 3126 PH 03 9880 7433 10 AM – 5 PM 7 DAYS (SUN 11 AM - 4 PM) Email: 0411 175 320


On returning, we found our exit blocked by another car that turned out to belong to the town’s mayor. The staff seemed horrified at the thought of asking the mayor to move and pointed out that we should not have been there. Luckily, the mayor saw our predicament and returned to let us out. We definitely made an impression. Another town we visited was in the past famous for manufacturing shoes, and the dealers we bought from lived in the large impressive house that had belonged to the man who had run the shoe business. It brought to mind the employees of the shoe company in the Robin Williams film, Jumani (1995). The temperatures kept on dropping and the snow kept falling as we travelled north, so the supposed 45 minute trip (according to the GPS) took two and a half hours. Along with driving in snow conditions that we were not used to, we also had to contend with driving on the other side of the road and entering roundabouts in the reverse of how we drive in Australia. In addition, the GPS did not always work on the motorways as they had altered since the GPS was programmed. Consequently, getting about was a challenge: looking through smudged windows and falling snow, lanes disappearing before our eyes and the GPS giving wrong directions. Fortunately Guy’s previous knowledge of areas and great sense of direction got us through. Freezing temperatures were another test. When Guy stopped to get petrol he lasted only a few minutes at the bowser, hopping back into the car and declaring that it was too cold to stand and read the instructions. The petrol would have to wait as it was minus 18 degrees Celsius! Heading south again, at times we followed the dirty tyre tracks in the snow, or the rear lights of the car ahead for guidance. By the time we reached Paris it was a barmy plus two degrees Celsius. But the next day snow began to fall, deteriorating into blizzard conditions. The footpaths and roads merged under a white covering of snow. Cars were sliding and streets became impassable. Luckily, we had booked a taxi to the airport, as they were otherwise impossible to get. Waiting anxiously for our taxi to arrive, we offered to share with another guest and after several attempts to find streets that were open, we were on our way. Snug in our taxi, we had two concerns: would we be on time for our flight and would it depart? In a last minute attempt to show us Paris’s beauty, out came the sun with beautifully clear blue skies. The good weather meant runways could be cleared and we would be able to return home, even though many flights around Europe were cancelled due to snow in other countries. On the plane we could finally relax, or could we, as it was a 380 airbus! Happily we made it home and our fresh stock is available for collectors to preview and purchase. As the exchange rate was kind to the

Australian dollar, we bought at good prices and plentifully. In our showroom you will see some fantastic bedroom furniture, dining room and study pieces, along with numerous clocks and statues. So visit us soon in Canterbury or contact us via phone or email, or check some of the stock on our website ● Trish & Guy Page PAGE ANTIQUES 03 9880 7433




ANTIQUES & BEDS Thirty Beds. All Restored. All sizes including QUEEN SIZE and also KING Half Canopies and Lace Canopies, Furniture, Collectables, Kitchenalia, Dayton Shop Scales, Linen, Photographs and Bookroom

245 CANTERBURY RD (opposite Canterbury Station)

CANTERBURY, VICTORIA Established 40 years Open Tues/Frid 11 am - 4 pm, Sat 11 am - 5pm, Sunday 12 -5 pm or by appointment

Ph: 03 9836 8014 Mob: 0407 548 116

Watchmakers and Jewellers Est. 1947 • Largest watch repair centre in Melbourne • We repair all brands of quartz automatic and mechanical watches and clocks


• We do pressure testing to all brands of watches • We have the biggest range of watch bands and batteries in Melbourne, custom fitted • Expert restoration to all vintage wrist and pocket watches

ANTIQUE CENTRE 25-29 Cookson Street Camberwell VIC 3124

Tel 03 9882 2028 or 03 9813 1260 OPEN 7 DAYS








• Valuations and deceased estates a speciality




Antique Restorations French polishing Upholstery

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

• Will buy old watches and jewellery in any condition • We have the largest range of pocket watches in Melbourne • We stock vintage watches • Expert jewellery repairs • Seiko Repair Centre • Premier stockist of Thomas Sabo in Melbourne • Stockist of Swiss Military Hanowa watches


Luminox watches – Swiss made IN STOCK NOW

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


Dookie Art Attack 28th, 29th & 30th May Dookie Campus University of Melbourne North East, Victoria

Ron Muller: Romance of watercolour Terry Jarvis: Passion with watercolour Regina Hona: The magic of water in pastel John Wilson: Masterclass in oils Glenn Hoyle: Getting started with oils Janet Matthews: Drawing nature Anne Randles: Excite your creativity Helen Cottle: A fresh approach with acrylics David Reynolds: Botanical art Accommodation available if required.

For prospectus contact

Seanic Antiques has relocated to a new larger showroom 673 Whitehorse Road Mont Albert Vic 3127

Glasson’s Art World 03 5822 0077

P: 03 9899 7537 M: 0418 326 455 View all current stock online 19


Open hearth, 1960, oil on hardboard, 90 x 130 cm

Italian landscape with lake, 1948, oil on canvas, 45.5 x 58 cm

Men by a ship in dock, 1943, charcoal, 28 x 38 cm

Untitled, c. 1960, oil on hardboard, 61 x 68 cm

Two men, 1943, charcoal, 29 x 37 cm

Two men, 1943, coloured crayon, 29 x 44.5 cm

Fantasia, 1995/96, acrylic on canvas, 80 x 171 cm

GRAHAME KING AM (1915-2008): Dedicated to the art of printmaking


n the years between 1935 and 1945 there were a number of artists in Australia producing work which was different both in kind and quality. There had been an artistic revolution hitting Europe since the World War I, but it had not reached Australia with any impact until the mid 1930s. The centre of this movement was to be found in Melbourne, largely due to the influence of one art teacher of genius, George Bell. Bell was an academic painter in the classical mode who was one of the few artists to appreciate and fully understand what had been and was happening in Europe. He had formed, with fellow artist Arnold Shore and then on his own, a school where students could not only gain knowledge of preparing the groundwork for their art, but the appreciation of form and formal values. His home in Toorak became the centre for the modern movement. Reproductions of Cézanne, Matisse, Picasso and other greats were discussed at length. In 1938 Bell, with a great deal of support and enthusiasm from artists and friends, founded the Contemporary Art Society. In 1939 The Melbourne Herald had an exhibition of French and English art shown in Melbourne. For the first time students and followers could actually see original work by some of the great modern European masters. It affected everyone who saw it, particularly those students and colleagues of George Bell. Melbourne at this time was also home to many intellectual groups – there were the teachers such as Bell, William Frater, Max Meldrum, George Lambert and Rupert Bunny. There were the immigrant artists from England and Europe such as Yosl Bergner, Sali Herman, Desiderius Orban and Ian Fairweather and there were also those very well-known patrons of the arts such as the Caseys, Sir Keith Murdoch and John and Sunday Reed – all of whom added their personal enthusiasm, talents and abilities to this new movement. It was during these heady days that Grahame King entered the George Bell School to learn painting and drawing. In the 1930s


Grahame had worked as a lithographer in Melbourne learning the then newly introduced technique of photo-lithography. Between 1934 and 1939 he studied at the National Gallery School of Art. It was during this time that World War II broke out and in 1942 he was seconded to be an illustrator of technical handbooks. This must have been a very frustrating time for Grahame having to suppress so much of his natural ability that the experience of studying with Bell must have come as a great relief. In 1945 he exhibited in a group show in the Myer gallery. His paintings drew comment from art critic Clive Turnbull ‘... their experiments in form lead one to look on him as one of the coming painters.’ In common with many other artists of this period, Grahame had turned to social realism, drawing his subjects from shearing sheds, wharves and mining operations. In 1946 he became secretary to the Victorian Artists Society. In this capacity he developed the skill of organisation, planning and management, which would keep him in good stead in his future years as one of the founders of the Print Council of Australia. In 1947 he left for England. At the London Central School he studied drawing with Bernard Meninsky and experimented with etching and lithography, but was frustrated through the lack of equipment. He turned back to the production of monotypes which were sent back to Melbourne for an exhibition in 1949. The years between 1947 and I 951 were tremendously important to King. He travelled through Europe and England meeting, working and observing other artists. It was during this time that he met the sculptor, Inge Neufeld, who was to become his wife. They returned to Melbourne in 1951 and over the next 10 years there were several joint exhibitions – Inge showing her sculpture, reliefs and jewellery and Grahame exhibiting his paintings. It was not until 1962 that Grahame’s interest in lithography was revived. The RMIT had opened up their printmaking facilities to artists. Grahame joined with Fred Williams,

Tale Adams, Barbara Brash, Herta Pott and Jan Senbergs in the use of the print room. Grahame was at this stage a highly recognised and respected artist in non-representational (abstract) work. The exciting days spent at RMIT exploring and expanding his knowledge made it possible for Grahame to further his ‘excursion into colour, the form, the mark.’ Grahame’s decision to pursue lithography enabled him to travel vast distances freely and without constraint. He used his great love of music and nature to create imagery that did not attempt to give form to external appearances. His work strikes at the senses, sometimes dramatic with great curving lines, others showing glimpses of dancing light forms that are elegantly poetic. These moods may intermingle to create hints and suggestions that will be interpreted differently by individual viewers of his work. In 1965 he, with other like-minded artists, decided that printmaking as an art form needed promotion. They decided to ‘promote the production and enjoyment of hand-printed graphics in Australia.’ They founded the Print Council of Australia. Their plans were very modest: an annual print exhibition for Australia, a quarterly bulletin and limited edition prints commissioned for distribution to a membership drawn from all sections of the community. As secretary, Grahame worked tirelessly carrying much of the responsibility for the society alongside his teaching at RMIT which he had begun in 1964. What little free time he had, was spent in his studio working on printmaking and painting. The members of the Print Council, much of it through Grahame’s hard work, were able to exhibit in prestigious exhibitions overseas and around Australia. Grahame’s work was receiving critical acclaim in these exhibitions and many found their way into public collections including the Smithsonian Institute, USA and the Victoria and Albert Museum, London which acquired Prelude of 1968. Within Australia, the National Gallery of Australia, Canberra has approximately 158 of his works and all state galleries together with

Three men weighing goods, 1943, charcoal, 35 x 43 cm

Phoenix, 1995/96, acrylic on canvas, 171 x 112 cm

many regional galleries in Australia purchased his beautiful lithographs. In 1974 Grahame decided to concentrate more time to his printmaking so he stepped down as secretary. He continued to maintain a close association with the council and it was only in the early 1990s that he resigned from his position as president. Grahame King’s contribution to printmaking in Australia and his promotion of the medium as an art form is immense. Lithography dominated his artistic output, it was the vehicle used to explore closer textures, forms and patterns to create artistic statements. His extreme technical skills matched with his complex and elegant expression found expression in his powerful works and his services to art in Australia earned him the title ‘Patron Saint of Printmaking.’ ● Jillian Holst EASTGATE & HOLST 03 9818 1656




ustralians have an enduring love of beautiful homes and quality design. In terms of furniture, French antiques are unparalleled in the world. It is not surprising to find many Australians exquisitely decorating their homes in formal French style and constantly searching for a new experience that triggers the Australian love affair with Paris.

FRENCH-style patisserie Look no further than in the heart of Prahran; immerse yourself in the essence and beauty of French furniture, lifestyle, art and décor. Enjoy our new French-style patisserie all in the one location at 317 High Street Prahran, the Image De France Gallery and Café. The quintessential French appreciation for beauty and fine art perhaps has been perceived as overly formal. However, the move towards French style shows recognition that some of the rich shapes are actually filled with warmth that adds to the casual elegance for which we strive.

WONDERFUL atmosphere Throughout Image De France galleries, delicate porcelain Sèvres, antique clocks and bronze figurines rest upon intricately hand carved cabinets while classical paintings line the

walls. The ceilings are filled with beautiful chandeliers and the atmosphere is truly amazing. Customers and visitors are invited to enjoy a hot or cold drink with the owners in this wonderful atmosphere. Browse through one of the many furniture books in the galleries while looking at the pieces on hand. Many pieces within the galleries have a story that stretches from one of the most artistic and opulent periods in French history, to presentday Australia. The sense of occasion that this creates within the gallery is met with an appreciation for the commitment required in sourcing and bringing the pieces together. Architect George Manoly started his business to fulfil his passion for high quality handmade French style reproduction furniture. He recognises high quality furniture and good artisanship when he sees it. Meet George at the gallery and he will take you on an educating journey through European and especially French history. So come and wander through our gallery of French furniture, oil paintings, bronze statues, chandeliers, clocks, Sèvres vases and glassware. We have something to liven up every room of your house ●

George Manoly IMAGE DE FRANCE PRAHRAN GALLERY 03 9529 5003 HAWTHORN GALLERY 03 9815 1922






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

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

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

The WHICH AND WHAT of wristwatches The idiotic fashion of carrying one’s clock on the most restless part of the body, exposed to the most extreme temperature variations, on a bracelet, will, one hopes, soon disappear. — Prof. H. Bock, Hamburg, 1917


n Elizabethan England, the Queen decorated her wrist with an ornamental watch, heavily encrusted with jewels and gold. While no one is sure who invented the wristwatch, David Rousseau made a watch that was 18 mm in diameter in the late 1600s, a marvel of miniaturisation. And while ornamental watches wandered in and out of fashion for a time, nothing serious became of the wristwatch for 300 years. In 1880 Girard-Perregaux, among other Swiss firms, provided wristwatches for the German Navy. They were round watches made of gold and the cases were worn on a metal chain band. These were presumably the first wristwatches in series (and serious) production. The wristwatch first proved itself as a practical military device during the Boer War. This experience had a positive effect on the civilian market. Wristwatches gained worldwide use in World War I. Soldiers on both sides realised that modern warfare no longer allowed one the luxury of unbuttoning an overcoat and uniform jacket to look at one’s watch. But the first significant success of the wristwatch was before 1910 among women who were both style conscious and employed. Women’s pocket watches were often converted to wristwatches but after 1910, the wristwatch, as opposed to these ornamental watches, became an important product for Swiss manufacturers. Many turned back to the pocket watch after the Armistice for it had become a symbol of the

‘good old days’. The younger generation, though, held on to the more practical wristwatch. Concepts such as modern, sporting and progressive were now linked to the wristwatch, while the pocket watch attracted the more conservative buyer. In 1904 Cartier made a special model wristwatch for Brazilian air pioneer Santos Dumont (the original ‘Cartier Santos’) while Charles Lindbergh relied on a wrist chronograph by Longines for his 1927 trans-Atlantic flight. When in 1927 Mercedes Gleitz swam the English Channel with a Rolex Oyster on her arm, the advertising success impressed many. In 1928 for the first time wristwatches outsold pocket watches, and by 1935 over 85% of watches produced were wristwatches. Early in 1930 the Rolex Watch Co introduced the Rolex Oyster Perpetual – the first waterproof and self-winding wristwatch. By 1940 wristwatches came in all shapes and sizes. After years of neglect and ignominy, including having movements cannibalised for spare parts and their cases melted down for gold and silver content, old wristwatches, particularly models from the early 1920s-40s, have come into their own. Vintage Rolex and collectable Cartier, etc are achieving record prices. It is eloquent testimony to the persistent high stylishness of premium wristwatches that jewellers in Rome and Paris will display a 1920s Patek Phillipe right next to a new model. Antique stores in London will sell a Reversible Jaeger LeCoultre, or a vintage Audemars Piguet as decorative jewellery like a piece of Fabergè. Right now Australia is the cheapest place in the world for quality vintage wristwatches. The number of shops building up a decent collection and providing a full restoration and repair service

is growing. But this is not going unnoticed by overseas dealers and tourists. The number of good watches sold in this country but ending up on lucrative markets overseas is staggering. To today’s collector, these older watches have appeal. They are hand-made wonders of technical mastery that, while less accurate than quartz watches, satisfy a deeper need than perfection. Watches from the 1920s-40s are the most popular. They are attractive investments because they are portable wealth of intrinsic value. People buy and wear them because they have technical features of interest. When choosing a vintage wristwatch, buy what you like to look at. But consider other factors, especially condition. A good watch will have had a good caretaker in years gone by. The dial should be original, not repainted. Check the case for signs of repair or wear. Are the movement and bracelet (if permanently attached) the same make as the case? Brand names are important. The most sought after is Patek Phillipe; other top names include Audemars Piguet, Vacheron & Constantin, Cartier, Tiffany and Universal Geneve. With the top collectors specialising almost exclusively on these names (and a few

others), there are thousands of watches of lesser known names out there. These watches are not necessarily lacking in style, charm or technical reliability. The increase in popularity of Art Deco wristwatches has rendered the less trendy older watches better buys. It is not unusual to find a solid 9 ct gold lady’s 1920s wristwatch in some bric-à-brac shop or market for around $100. With a little restoration from a reputable restorer, these will become valuable antiques in the future. For the serious collector, the joy of finding say a 1930s Rolex Oyster or an original Patek Moonphase is unimaginable. The range and diversity of the early wristwatch is mind boggling: silver and gold half-hunter wristwatches, Longines cushion shaped or chronographs, Jaeger Reversos, Rolex Prince Doctor’s watch, Junior Prince or Sporto models, hooded bubble backs, military watches, aviators models, etc. Whatever you to buy and wear, will be a constantly ticking reminder of a time gone by ● Ron Gregor COLLECTIONS FINE JEWELLERY 03 9867 5858



Martin Hodge, Turret 1

Lucy McEachern, Australian Pelican

Anthony Vanderzweep, Cat on Stand

Petra Svoboda, Gokko-Inu



ow in its 10th year, the Exhibition of Sculpture held in Toorak Village is showing 99 sculptures displayed in the shop windows and bolted to the sidewalks of the Toorak Village precinct. Created in 2002 by Ken Scarlett AM and the coordinator of the Toorak Village Traders Association Xenia Holt, it is a unique collaboration between artists and businesses and has been a consistent and important event in the City of Stonnington. The exhibition has given many new artists their first opportunity to exhibit work, as well as being a constant exhibition location for many established and successful sculptors. Over the years, many works have been sold to collectors. This exhibition is also a resource for schools and educators to learn about developing trends in sculpture.

The Toorak Village businesses are congratulated for staging this show. Every year in May they turn over their very valuable window space for sculptures that create so much interest and curiosity. The support of all sponsors and the City of Stonnington has been important in the history of the exhibition. The Council’s tri-annual financial support has given the exhibition the stability that is required in the organisation of this exhibition. This year many new sculptors have come from interstate and Victoria. Some prior winners of the award over the last ten years are showing new works. These sculptors are Faustas Sadauskas, Roman Liebach, Brigit Heller, James Cattell and Fatih Semiz.

EXTERIOR sculptures Fifteen works will be exhibited outside on the street including:

 John Gardner, a well-established sculptor from NSW with Starship at Mercedes-Benz Toorak  Roman Liebach at the entrance to the Trak Centre  Lucy McEachern’s perfect and beautiful life size bronze Australian Pelican  Damian Vick’s Crash a rusted steel crashed aeroplane is at the entrance of Toorak Village  Moz Moresi’s 2-metre tall, green praying mantis will be in the atrium of the TOK H Shopping Centre.

Faustas Sadauskas, Weather Vane 111

SCULPTURE in the shops Selectors chose 81 works for exhibition in shop windows. Anthony Vanderzweep, Michael Meszaros, Gael O’Leary, Craig MacDonald, Julia Anderson and Neil Barker exhibit works in bronze all using the material in different ways to bring out their passion for that material. Found objects give sculptors the opportunity to reuse and recycle materials and objects to create innovative and powerful works. Examples include works by James Cattell, Anna Robertson, Robert Waghorn, Robbie Rowlands and Brigit Heller. Carved sculptures by Brian Paulitz, Faustas Sadauskas and Anthony Syndicas indicate that carving stone is still an important method of expression.

Neil Barker, In Anticipation of Spring

MAY exhibition Visit Toorak Village during May and enjoy the many sculptural works and the trader’s hospitality in the 10th year of this exhibition. Allow plenty of time to view all the works, and visit the fabulous shops hosting this exhibition. Obtain your catalogue from any of the shops and remember that all sculptures are for sale. To come and view the sculptures, catch the number 8 tram from Federation Square along Toorak Road to stop number 35 ●

Robbie Rowlands, State

Malcolm Thomson, Curator TOORAK VILLAGE SCULPTURE EXHIBITION 0438 542 713 Moz Moresi, Praying Mantis


Anna Robertson, Commedia dell’Arte


PACK & SEND’S GLOBAL CHALLENGES Challenge # 1 A taste for the arts 1 Transport 12 large pieces of Colourbond® steel to prominent artists throughout Australia and abroad 2 Await their transformation into artworks, 3 Promptly collect each when finished and return the 12 new artworks to Sydney 4 Deliver 12 artworks on time for installation and display at The Rocks, Sydney


ituated close to their advertising agencies and corporate clients of North Sydney, Kathy and Brian Goodwin of Crows Nest NSW Pack & Send were used to handling the large and the unusual. However, nothing prepared them for the surprise of this recent call. About to celebrate the production of its one-millionth tonne of Colourbond® steel, BHP Billiton decided it would use Australia’s most lauded artists to create artworks out of the steel itself, after which it would celebrate in style with an extravaganza art exhibition. The only problem was finding a logistics expert to help make it happen smoothly and on time. Who better to call but the Goodwins’ Pack & Send. Twelve large pieces of steel were to be collected, professionally packaged and sent to 11 famous Australian artists around the country. The twelfth would need to fly across the globe, a hop, skip and a jump over to world-famous Aussie singer and painter, Rolf Harris, currently residing in London. Trying out the Pack & Send ‘no limits’ policy for size, Brian decided this was just the job for him. Once the artists completed their projects, Brian’s custom-designed travel crates returned to North Sydney with transformed artworks of steel.

For a while it seemed the storeroom became an impromptu art gallery, all of our own, said Brian. ‘I even have a signed package from Rolf Harris in my store as a memento

‘For a while it seemed the storeroom became an impromptu art gallery, all of our own,’ said Brian. ‘I even have a signed package from Rolf Harris in my store as a memento. Once all had returned, the artworks were sent to The Rocks in Sydney for installation and the great unveiling by the manufacturer.

Challenge # 2 Determination pays off 1 Urgently deliver a passport from Melbourne to the New Zealand Consulate in Sydney 2 Overcome bureaucratic rules to cut waiting time from 14 days to half day for visa 3 Chase the passport to Sydney near deadline 4 Return the passport to client in Melbourne in time for departure

passport back to Melbourne on time for the client to fly on Saturday. However, when Jenny arrived in Sydney she found the Consulate had already sent the passport to Melbourne with a slower courier service. There was no way the courier would be able to deliver the passport to Melbourne by Friday afternoon. How would the client depart on Saturday? ‘I’ll track it down,’ said Jenny. Finally she did, first racing to Sydney airport to catch a plane back to Melbourne. Did we mention the bad weather? Like it or not, Jenny flew over the storm clouds and landed first in Canberra, before continuing on to Melbourne.

Arriving late in Melbourne, the chase was on to deliver the passport to the client. Jim collected Jenny (her fourth airport in one afternoon) and fought the Friday night Melbourne traffic to reach the client, reuniting the passport with the woman. A few days later Jim received a note of thanks from the Consulate General of the United States in Melbourne, from its visa section. It thanked the team at Pack & Send Tullamarine for performing an ‘absolute miracle’ ● PACK & SEND 1300 668 000

Jim Blamey from Pack & Send Tullamarine received a request from the USA Consulate General in Melbourne to expedite a passport to Sydney and return it quickly to the client in Melbourne. Pack and Send was to transport a passport from Melbourne airport to the New Zealand Consulate in Sydney and after the visa processing, return the passport safely to Melbourne. Sending and returning the passport by Friday would be a routine Pack & Send job. The passport in question was for the Russianborn travel companion of an American aviation engineer who travelled to air shows all around the world. ‘Consider it done,’ Jim thought, setting the wheels in motion. On the customer’s arrival at Melbourne airport, Jim sent her passport straight to the New Zealand Consulate-General in Sydney. By Thursday, Jim had no news or return confirmations as to whether the visa would be completed in time, so he decided to check with Sydney. The office of the ConsulateGeneral told him that the visa would take a minimum of two weeks to process. ‘Not on my shift!’ was Jim’s response. He knew the customer needed it no later than Saturday morning or she could not fly anywhere. On behalf of his client, Jim persisted and his determination paid off. On Friday afternoon, at 12.45 pm, the New Zealand Consulate-General notified Pack & Send that the passport was ready to be picked up in Sydney. The Blameys kept the pace rolling. Jim flew his daughter, Jenny, to collect the passport in Sydney before the New Zealand Consulate-General office closed at the end of business, as that was the only way to get the



MEANINGFUL VALUATION of jewellery = CSi + forensic analysis


n expert valuer requires many basic qualifications, commencing with knowledge in all of gemmology, diamond grading, jewellery manufacturing techniques, antique and period jewellery, wristwatches and pocket watches, hallmarking of jewellery and precious metal testing. In addition to all of the above, many years of experience are required. The most essential skill is the ability to translate all the technical, design, historical and provenance data into what is relevant in the current marketplace. Only then can one arrive at a ‘value’ that is meaningful for the end users of a written valuation, whether owners, insurers or probate.

VALUATIONS have many interesting challenges One of the problems facing a practising jewellery valuer is that any imaginable (and never imagined) item can appear before you for valuation: you are required to use a broad range of skills. For example, when identifying a gemstone, a loose gem is much easier to identify than a gem that is set, as testing procedures are limited once set. Frequently a valuer needs to decide if an item of jewellery is a genuine antique or a modern reproduction. A valuer often does not know the history of the jewellery and so has no information to start with. It can be likened to CSI and forensic analysis, so assumptions and identifications are determined by examination and testing. In order to identify the origin of the gemstone and metal mount a logical sequence of examination and testing needs to occur to arrive at the correct answers. 1. The gemstone must be identified, whether natural or synthesised in a laboratory. 2. The precious metal needs to be tested and identified, such as the grade of silver, whether sterling (.925 pure) or other grades (Scandinavian silver is frequently .800). 3. What about the method of manufacture – is it handmade or cast or a combination of both?

A GEMMOLOGICAL challenge The jeweller may be asked to value a necklace set with a multitude of cut gemstones, which could be a mixture of amethyst, citrine, zircon, garnet, iolite, topaz, peridot, emerald and synthetic ruby. Imagine the challenge from a large pearl necklace – are they from the South Seas or are they freshwater pearls? They

look very similar to one another, but have totally different values. There are now rubies on the market that are of really very low quality. They have been treated by heating and the addition of molten glass to fill the cracks in the stones which increases clarity. The value of this type of ruby is extremely low and can be very misleading for the purchaser. There are other treatments of rubies, so depending on the treatment, a wide range of values can be attributed to each gemstone sold as a ‘ruby.’ This has the potential to defraud prospective buyers. An interesting valuation was that of a lovely sapphire and diamond ring with a series of English hallmarks on the band. A closer examination revealed that the stamps were fake. The marks were actually cast into the ring and therefore clearly a modern reproduction, and of course fraudulent. The other sign that the ring was not antique was that modern diamonds that were set in the ring did not occur until at least the 1950s. Another challenge was with a blue stone and diamond ring. The blue stone looked exactly like a blue Ceylonese sapphire – testing proved that it was an unusual blue stone called kyanite. This is a fragile stone and so the wearer has to be very careful not to crack it. New deposits of the mineral have recently been discovered, so it will be seen more frequently on the market, yet few will know its true (low) value. The above examples show just the tip of the iceberg of this vast subject. When seeking advice or valuations, a qualified and experienced person is obviously required to unravel the science and complexities of jewellery, watches and other items of personal adornment. The best thing about using a professional valuer is that you will get a precise description of the article along with an accurate current replacement price. A valuation is a legal document: it validates the existence of the items should either damage or loss occur ● NATIONAL COUNCIL OF JEWELLERY VALUERS


REGISTERED VALUERS IN VICTORIA John Adam Michael Albrecht James Alfredson Mary Alfredson Sarah Alaysh Larissa Baker Ronnie Bauer David Benjamin Anne Berry Peter J. Bird John Bourke Jessica Bowen Laura Brehaut Leigh Brimley Jane Bulmer Amanda Catanach Leon Corn Monica Crofts Marlene Crowther Claire Cutrupi Chantelle Denbrok Bronwyn Dunn Elise Dunn Barry Ensil Bronwnyn Evans Geoffrey Farmer Denise Farrell Frank Fedele Bradley Finn Michael Glendenning David Grounds Rebecca Gruber Perry Hannah Chris Holdsworth Clinton Hosking Michael Ivanyi Stephan Jenkinson Greg John Amira Kay Pauline Kushnir Antony Lane Lesley Longmuir Darren Lucas Stewart Lynas Daniel Madia Paul Mahajan Katrina Marchioni Lisa Masciovecchio Rikki McAndrew Alison Mills Paul Minzenmay Robyn Montrec Stevan Morrow Claire Oriander Neil Rickard Morry Rubenstein Bernie Santen Lynda Scott Patricia Sedgwick Rox Yogendran Selladurai Lora Shen David Smith Emile Snare Neeraj Sood Cliff Stephens Melanie Sykes Chey Tenenboim Alan Thomas Jamie L Thomas Jeremy C Thomas Maria Torres Glenn Travaglini Mark Trickey Mike Walsh Mary-Lou Walsh Paul Whittaker Brett Wood Kathryn Wyatt

03 9885 6847 03 9670 8384 03 9509 0311 03 9671 3955 0438 070 909 0417 540 584 03 9654 1501 03 9670 9416 03 9509 0311 03 9650 3830 03 9663 2658 03 9593 1385 03 9654 1550 03 9593 1590 03 9761 1119 03 9509 0311 03 9650 3830 03 9654 2057 03 9500 9659 03 9827 0229 0403 147 568 03 9728 6646 0408 303 408 03 9830 0199 03 9583 9299 03 9431 5478 03 9580 1867 03 9525 0987 03 9497 2993 03 9702 3365 03 9465 6677 0401 374 258 03 9523 6603 03 9827 2747 03 6324 2355 03 9822 5957 03 9650 7221 03 9650 3830 0411 566 027 03 9602 3712 03 9654 0531 0412 327 536 0409 616 669 03 5821 4679 03 9654 1866 0430 448 833 0419 937 885 03 9650 3371 03 9867 3827 03 5975 0467 03 5975 2439 0412 687 604 03 9826 1835 0411 512 652 03 9663 9002 03 9848 4428 03 9557 9555 03 5223 2800 03 9508 9901 03 9533 0601 0430 081 708 03 9663 2658 03 9465 6677 0420 400 903 03 9882 3906 0427 524 130 03 9530 3260 03 9593 1385 03 9650 5555 03 5331 1311 03 9663 5088 03 9469 2205 03 9878 7459 03 9873 5121 03 9654 1585 03 5222 2044 03 5223 2800 03 9569 5391

John Adam Jeweller Albrecht Jewellers

Julavou Klepner’s Jewellers & Valuers Benjamin’s Jewellery World Catanach’s Jewellers Pty Ltd Abrecht Bird Jewellers NatLab

Autumn Gallery Catanach’s Jewellers Pty Ltd Abrecht Bird Jewellers I Crofts Pty Ltd Catanach’s Jewellers Diamond Consulting Australia Chantelle Jewel Pty Ltd B.E. Dunn Jewellery Valuation Services

AGR Matthey Little Gem Valuations Fedele Jewellery Pty Limited Bradley Finn Jewellers Gilbert & Jones Grounds Jewellers All Gem Jewellers Holdsworth Bros Jewellers Stuart Master Jewellers - Armadale Australian Gem Testing Laboratory Abrecht Bird Jewellers M Kamin & Co Simons Prestige

Purdeys Hourglass Jewellers Grounds Jewellers A Wiener & Co Robert H Parker & Sons Pty Ltd

Minzenmay’s Jewellers Imp Jewellery Hollowoay Diamonds Wesselton Fine Jewellery David East Jewellers Bentleigh Jewellers Brett’s Artworks Pty Ltd Sothebys Australia Jewel Testing Lab Gem Trade Laboratory Australian Gemological Laboratory Stephens & Miller

Precious Metals Fine Jewellery Thomas Jewellers Thomas Jewellers Torres Jewel Co Pty Ltd Paton Place Jewellery B & VO Trickey The Jewellery Valuers The French Jewel Box Brett’s Artworks Pty Ltd Imogene Antique & Fine Jewellery



Consignments wanted for our next auction

Early Australian Prints & Paintings, Natural History Prints, Etchings & Linocuts of the 1930s, Chinese Porcelain and other Oriental Works of Art. Kangxi period 1662-1722, large Chinese porcelain dish, bold aster design in underglaze blue, diam. 38.7

Be part of our success in 2011. Contact our Sydney office (02) 9223 4578 or our Melbourne office (03) 9600 0244 for a free, confidential valuation.


15 Collins Street, (2nd Floor) Melbourne 3000

03 9654 5835

ground floor 169 macquarie street sydney level 7 / 350 collins street melbourne









Over 60 dealers from all over Australia selling VINTAGE & ANTIQUE CLOTHING & ACCESSORIES


Parade of Vintage Fashions ■ Guest Speakers ■ Prizes to be Given Away for Best Dressed in Vintage ■ & Other Entertainment Lucky Door Prizes & Raffle ■ Cafeteria Open

Fri 27 May 2011 5.30 pm - 9.00 pm Sat 28 May 2011 9.30 am - 5.30 pm Sun 29 May 2011 10.00 am - 4.00 pm Exhibition Hall Melbourne Showgrounds, Ascot Vale NEW STALLHOLDERS WELCOME

SYDNEY VINTAGE CLOTHING SHOW held twice a year in April and October for details see or phone 02 6628 6688 Tickets available at the door 27




atest additions to Schots Home Emporium’s ever increasing lineup of tiles are Portuguese and hand-made Italian tiles. They encapsulate the serenity of a perfect finish with the character of handmade ceramics.

RUSTIC range These new tiles come in two ranges. Together they bring a rustic charm with an impressive gloss for easy cleaning and continuity among a range of wall tiles. Designed to build a feature of your bathroom or kitchen wall, the stylish hay-coloured tile with an embossed olive design sits with a subtle majesty against its surround of plain tiles. The 15.4 x 7.7 cm (6 x 3 inches) tile is available in

white, ivory and hay, with a 15.4 x 15.4 cm (6 x 6 inches) olive feature tile, in hay. In contrast, the classic style of the Natura range of square white and ivory tiles stands with an understated rustic form, which forges a timeless ambience. They are 13 cm2 white and ivory tiles with 13 x 6.5 cm capping tiles. Completing your arrangement of tiles, the white and ivory capping tiles, again handmade to continue the rustic charm, deliver a complete and finished effect with a fine bull nose moulded edge. Amazingly, these tiles sell from just $2.80 each. Schots Home Emporium will deliver a lasting effect, a timeless character and an investment in your home and lifestyle.

PORTUGUESE inspiration The equally inspired Porto wall and border tiles deliver a Portuguese inspiration, bringing artisan skills to a classic design. The midnight blue repeat pattern reflects a traditional Delft inspiration drawn from the traditional English and Dutch crafts of the 17th century. Celebrating the rustic, the distressed repeat presents a preaged effect to mirror the expected crazing of a natural glaze. Appointing a feature with the Porto tiles from Schots will create your world of classic timeless design, priced from only $2.50 for border tiles and $4.50 for wall tiles.

DAZZLE your senses Adding to an impressive array of flooring

and wall tiles, Schots presents an exclusive and unique range across classic and contemporary styles in natural textures, including marble, travertine, limestone and ceramics. This impressive selection of quality will dazzle your senses. View our complete array of bathroom furnishings and accessories as well as three floors of amazing home and architectural furnishings at Schots Home Emporium, open seven days ●


They encapsulate the serenity of a perfect finish with the character of handmade ceramics.

” 28




n 2002, a 1916 specimen proof set became available for sale at auction. The catalogue value was $30,000, while the pre-auction estimate was just $25,000. We acquired the set for $60,000. Our winning bid drew gasps from the auction audience and set a new record. The question is: were we foolish to pay over double the auction estimate? Our answer is very simple. It’s all about the coin. The auction item was a cased presentation set of four silver coins – one of only eight original sets known. It had been created by the Melbourne Mint in 1916 to commemorate the inaugural striking of Australian silver coins at the Mint and presented to politicians and other dignitaries. This particular set came from the Royal Australian Mint archives. It had accompanying documentation and was considered to be the finest known – a status it still retains. Today, we estimate the set’s value to be $275,000.

PURCHASE decisions need to reflect the coin – and its potential The set, which is still held by a Coinworks client, has clearly achieved an outstanding increase in value. But that wasn’t our primary focus. At Coinworks, our mantra is: it’s all about the coin – and, naturally, the banknote. In a nutshell, we believe that if you acquire a high quality piece at a fair market price, growth – over a reasonable time frame – will follow. However, in recent years it seems like almost all we’ve heard across the industry are cries of ‘the return, the return, the return.’ In fact, we regularly take calls where the very first question is, ‘So what level of return can you deliver?’ It’s almost as if the coins themselves are an afterthought. Of course, whether someone pays $5000 or $100,000 for a coin, they should expect value for money. They should also expect that, given time, their investment will grow in value. But the starting point must always be the coin itself.

IT’S all about the coin – quality We believe that quality must always come first. Prime quality is the best insurance against market fluctuations and importantly, high quality pieces are always highly liquid. Quality isn’t just about price. While it’s true that Coinworks is associated with high value pieces, we guide clients at all dollar levels. In January, we sold a choice uncirculated 1918 Perth half sovereign for $15,000. We also had a very fine 1956 proof Perth penny on the

web priced at $13,000. We had an amazing response when we posted this coin finding our office inundated with calls. The key is to look for genuine quality in an area of the market that suits your budget. That is why we advise against purchasing a coin that has been discounted because of damage, like edge knock.

IT’S all about the coin – rarity Although we place a higher priority on quality, we obviously also look for rarity. Rarity is an important consideration in any coin or banknote purchase because, with fewer specimens available, there will be a higher comparative demand, and less likelihood that a price will be challenged in the market. That helps insulate the coin against downward price pressures.

AN important part of a balanced investment strategy We would never suggest that our industry can guarantee the best returns, or that our clients should place all their funds in numismatic investments. But we do believe that rarities can and should form part of a balanced investment strategy. Naturally, consideration must always be given to your overall financial goals. Many of our clients take a high risk position in shares, but balance that with a low risk numismatic investment portfolio. The benefits of this kind of thinking were there for all to see in 2009 when share prices plummeted. It is important to remember coins and banknotes need to be thought of as a genuine

investment, not a short term speculation. The owner of the famous Madrid Collection was always more interested in steady growth than spectacular overnight returns. He showed no concern if his valuations did not alter greatly over a 12 month period, instead looking for growth over several years. His patience was handsomely rewarded. In the end, it is about understanding the market and knowing the direction the market is heading – and that is Coinworks strength ●

COINWORKS 03 9642 3133

IT’S all about the coin – history The other characteristic we look for in a coin is history. By that we mean both the historical significance of a coin and its history of ownership. Specimens that are historically important will almost always be in continuous demand. In a supply and demand market like the numismatic investment market, that is critical to sustaining growth. Highly historical pieces, such as holey dollars and dumps, are the showpieces of the industry. It is their history that underpins their continuity of demand, and that in turn ensures an ongoing increase in value.

QUALITY and price – a critical relationship Of course, buying quality doesn’t mean buying at any price. The balance between quality and price needs to be carefully considered to maximise the investment opportunity. Buying a house in Toorak or Cottesloe for $10 million probably means you have purchased quality, but if the market value of the house is only $5 million you may have to wait many years before going into profit. With a good property, it will happen eventually. But it will take a long time. When deciding on a price for a coin or banknote, we take account of all the key factors. After quality and rarity, we look at market movements and current price guides. We also do extensive historical research. The extra yards we put in are the key to the results we deliver for our clients. Our purchase of the 1916 specimen proof set in 2002 is just one example of those results.



Fiona Bilbrough, Packem Pears

Gwen Krumins, Inta

Ev Hales, Stretch marks

The Melbourne Society of Women Painters and Sculptors

102nd ANNUAL EXHIBITION at VAS Galleries 23 June–12 July Helen Carter, Light of the silvery moon

Gillian Lodge, Realms of Fin and Feet and Wing

Melbourne Society of Women Painters & Sculptors 102nd Annual Exhibition 23 June - 12 July 2011 Official opening on Thursday 23 June at 7pm Judged by Andrew MacKenzie

The Victorian Artists Society Galleries 430 Albert Road East Melbourne Gallery hours 10-4pm weekdays 1.30-4.30pm weekends

For information on exhibition events 30


t is over ten years since the Melbourne Society of Women Painters and Sculptors (MSWPS) exhibited at the venerable Galleries of the Victorian Artists’ Society. Returning to this venue enables a small historical display to pay homage to the significant heritage of our Society. This will be in the Cato Gallery, giving context to the four galleries of works by current MSWPS members. Over 100 women artists have been selected as full members of The Melbourne Society of Women Painters and Sculptors (MSWPS). Most will exhibit two recent works in this prestigious annual exhibition. The diversity of art works range from skilful traditional paintings to innovative contemporary approaches. Three-dimensional works and sculptures will be alongside paintings, drawings and printmaking in a variety of media and approaches. All art works are for sale. Note that before exhibiting with MSWPS, members must have clearly demonstrated artistic integrity in their chosen style and genre. This thorough process secures the ongoing reputation of the Society achieved over so many years. We are proud of this high standard, which will be apparent to all viewing the 102nd annual exhibition.

ACTIVE art history Dr Juliet Peers, art historian and author wrote in the commemorative catalogue, In Celebration of the 100th Annual Exhibition (2009), ‘At least with the MSWPS, artists’ societies can no longer be dismissed as a backwater cut off from the mainstream art world. Members are increasingly being shown in public galleries, including in major art competitions, selected for exhibitions organised by professional curators and organising painting and cultural tours to Europe, as well as teaching and exhibiting widely. Therefore the future is more dynamic and diverse, promising expansion and further development for MSWPS.’

This fine landmark catalogue presents images of works by all the MSWPS artists exhibited in the centennial exhibition as well as Peers’ scholarly essay. The personal, social and artistic history of the Melbourne Society of Women Painters and Sculptors, More than just Gumtrees, also written by Peers, is a delightful read. Both publications will be for sale at this exhibition.

OFFICIAL opening invitation 23 June at 7 pm We invite you and your friends to join us at the official opening of our 102nd annual exhibition. We are delighted that the Deputy Lord Mayor of Melbourne, Susan Riley, will officially open the exhibition. Susan Riley is a highly regarded businessperson with a career in publishing and media spanning at least 25 years. She is a dedicated community member and a passionate supporter of women in business. At the opening, the artists and Dr Peers will be available to sign your catalogues and books. Andrew Mackenzie, leading art historian, heritage consultant, art judge and generous supporter of the arts will judge this exhibition and present the Annie Davison Oliver Award. Later in the year, another award will be presented to the artist whose work receives the most votes from her peers exhibiting in this show.

SPECIFIC exhibition information Refer to MSWPS advertisement on this page for exhibition information. Details of other events associated with this annual exhibition will be on our website, We look forward to sharing this exhibition with art lovers from all over Victoria and Australia ● THE MELBOURNE SOCIETY OF WOMEN PAINTERS AND SCULPTORS


Triptych landscape by Christine Wrest-Smith was an entry in the Undine Award in 2010

THE VICTORIAN ARTISTS SOCIETY Autumn-Winter program THE VICTORIAN ARTISTS Society Autumn Exhibition Showing until 6 May Undine Award for Landscape Painting he Undine Award was established by one of our most respected sponsors, Mr Colin Jones, in memory of his late wife, Undine Padoms who was a distinguished oil painter and had a great love of the landscape. One of her works forms part of our permanent collection. Mr Jones wished to honour his wife’s approach to painting and to encourage landscape painting. The award is incorporated into the Society’s autumn exhibition and is open to all members wishing to participate. Colin devised a simple set of conditions for artists to comply with in order to win the award, as follows: • Subject matter must be landscape • Medium is to be oil or acrylic • Painting size to be 61 x 91 cm or larger • The award is acquisitive and carries a prize of $2000 A few noted past winners are Pauline Cross, Ray Hewitt, David Mellows and Clive Sinclair.


artists will be demonstrating onsite for visitors on the weekend of the exhibition, Saturday 22 and Sunday 23 May. Visitors warmly welcome.

MAI Maddisson 18-24 May With a modernistic approach and a story to tell, Mai’s work is always interesting, colourful and honest with a quality only gained by dedication.

MELBA Exhibition

Bookings open 23 June at the VAS office: 03 9662 1484 (10 am – 4 pm, Monday – Friday) ● VICTORIAN ARTISTS SOCIETY 03 9662 1484

Peter Smales, Portrait of Anthony Warlow

27 May – 4 June Celebrating the 150th anniversary of the birth of Dame Nellie Melba (1861-1931), this exhibition features works by invited and guest artists. It is a premier event on the calendar of Victorian Artists Society. The two parts of the exhibition features a selection of portraits by leading portrait artists and paintings depicting Melbourne and all things ‘Melba.’

AUSTRALIAN LINGNAN Chinese Art Association 16-23 May See at least 100 paintings by the Australian Lingnan Chinese Art Association, established in Melbourne in 1992 by renowned artist Patrick Lam. It will be an exquisite show and Joseph Edelman, Still Life

JOSEPH Edelman 7-15 June A retrospective exhibition that covers prominent artist Joseph Edelmans’s earliest Russian works and his imagination works on arrival in Australia.

PORTRAIT week Gwendoline Krumins displays her talents during the People Painting People weekend 2010

21 July

Grand opening

23-24 July People Painting (weekend) People Afternoon Tea at the Vics 2 – 5:30 pm

21 July – 2 August July will once again see the Society host its Portrait week. The first weekend has annual special events that sell out quickly, so make your plans and make your bookings soon.

Cocktail party and demonstrations by many award winning artists

VAS members $30 and guests $35

VAS portrait painters will be painting Book from 23 June self-sponsored prominent men Daily fee: VAS members and women achievers. $30 and guests $35 Scrumptious home-cooked treats and silver service

Included in daily fee



Kenneth Jack (1924-2006), Hotel of the far inland Gwalia WA, 2005, watercolour

Julian Bruere, Snow Gums, 2010, watercolour. Winner 2010 Kenneth Jack Award

Kenneth Jack (1924-2006), Opal Diggings, White Cliffs NSW, 1997, watercolour



he art of watercolour painting has enjoyed a worldwide resurgence in popularity over the past two decades. Enthusiasm has spread from Europe and England in particular to Singapore, Malaysia, the USA and Australia. The epicentre of this renaissance, it has been said, is in Melbourne. This city has more watercolourists of international standard than any other single location. At the recent celebration of the watercolours of Hans Heysen at Hahndorf South Australia, many of the artists were Melbourne-based, with featured artists including Greg Allen, Amanda Hyatt, Terry Jarvis, Lorraine Lewitzka, Ross Paterson, Herman Pekel and David Taylor.

Other notable Melbourne watercolourists are Reg Cox, Jan Martin, John Orlando Birt, Ev Hales and Walter Magilton.

ANNUAL Kenneth Jack Memorial Award After a void of 25 years, in 2007 the first major watercolour exhibition in Melbourne was held at the Victorian Artists Society. The State Governor, Professor David de Kretser AC, opened the first annual Kenneth Jack Memorial Award and Watercolour Exhibition and Robert Wade OAM was judge of almost 200 works. Peter Perry, Director of the Castlemaine Gallery, opened the second successful award exhibition. In 2010, the newly formed Watercolour Society of Australia partnered the Jack family

and held the third annual Kenneth Jack Memorial Award and Watercolour Exhibition at historic Montsalvat – the artists’ mecca of the 1950s and 1960s. Ballarat Fine Art Gallery Director, Gordon Morrison, judged the 250 hung works. The winner of the Kenneth Jack Memorial Award was Julian Bruere (Snow Gums) who received a magnificent bronze plaque generously donated by the Jack Family and presented by Betty Jack. He joined David Taylor and Ross Paterson to be the third artist to receive the most prestigious watercolour award in Australia. The Graeme Clark Foundation Award As part of 2010 exhibition, the Graeme Clark Foundation instigated the Graeme Clark Foundation Award, with the criteria for judgement being ‘Dare to be Different.’ The first winner of this prestigious award was Kathlyn Ballard OAM in 2010. On the opening night, Professor Graeme Clark AC spoke about his invention of the bionic ear implant and his friendship with Kenneth Jack, both professional and personal. The Jack family very kindly donated four of Ken’s works to sell during this exhibition to raise money for the Graeme Clark Foundation. The exhibition was opened by Dr Jerry K Ellis, a director of the Graeme Clark Foundation, past CEO of BHP Minerals and a company director.

2011 KENNETH Jack Memorial Award Watercolour Exhibition and Watercolour Festival The Watercolour Society of Australia and the Jack Family are proud to announce that the Kenneth Jack Memorial Award Watercolour Exhibition and Watercolour Festival 2011 will be held in the Great Barn Gallery and the Long Gallery at Monsalvat in Eltham. This year, interstate watercolourists are strongly encouraged to enter as well as the Melbourne coterie, to ensure a truly Australian representation.

Invitation to gala opening night soirée The gala opening night soirée is on Tuesday 31 May. This elegant black tie and formal dress evening features music and supper, from 6:30 to 9:30 pm. Tickets will be available through the contacts at the end of this article. Presentation of the 2010 Kenneth Jack Award (left) Glyn Clarke Lewis, Gordon Morrison, Betty Jack, Kathlyn Ballard OAM, Julian Bruere (winner) and Professor Graeme Clark AC


ARTIST Profile - Kenneth Jack AM MBE RWS (1924–2006) Kenneth Jack’s career as an artist really commenced during his military service when he created more than 500 drawings and watercolours in the islands north of Australia from 1943 to 1945. Most of these works are part of the collection at the Australian War Memorial in Canberra. Trained as an art teacher after the war, Ken became involved in setting up printmaking and painting departments at Caulfield Institute. He departed teaching in 1968 to become a full-time artist. Drawing and draftsmanship were the hallmark of Ken’s art and he expounded the importance of these elements as the proper grounding and equipping for artists. He excelled in calligraphy, signwriting, pen, ink, pastel, gouache, oil painting, acrylic painting and watercolour for which he is widely recognised as a master. Ken mainly concentrated on his watercolours over the last 15 years of his career. Many of his works were large with the pinnacle of his watercolour art achieved in his triptychs, which measured at least four metres across. Ken was represented by galleries across Australia, is now represented in all Australian state gallery collections and widely overseas including the British royal collections. Ken was President of the Watercolour Society of Victoria 1979-81, Patron from 1981 and Honorary Life Member of Australian Guild of Realist Artists. In 1983, he became the only Australian-born artist to be a full member of the Royal Watercolour Society in London (RWS). Ken was an elected member of Australian Watercolour Institute from 1955 to 2006. The award of an MBE in 1982 and an AM in 1987 recognised his significant contribution to Australian art ● For updates and entry forms for the 2011 competition, exhibition and gala bookings, please contact the Watercolour Society of Australia Glyn Clarke Lewis, President THE WATERCOLOUR SOCIETY OF AUSTRALIA 03 9876 0700


Vampires, steampunk, Goth AND THE ANTIQUES RENAISSANCE just trains and choking Boomerang shaped coffee table with three cigar shaped pollution. Think of Jules splayed legs Verne’s Nautilus, a submarine with velvet and bullion fringe curtains and carved mahogany and brass fittings. Steampunk, Goth and Vampire subcultures and their influences impinge on the antiques industry as they are symptomatic of the general zeitgeist of fascination with the past. Subculture specialist shops stock girls’ corsets, Edwardian collars and Victorian hats, canes, pocket watches and goggles for the boys. These are just three conduits to the Romantic past that cannot help but reinvigorate the antiques industry, and I mean antiques, not vintage, here. Even within the mainstream, shopping malls are filled with Victorian style clothes, typically jackets with bias binding edges and military frogging, a harkening of the Regency period is also popular. So history repeats, finding fresh expressions with each passing generation ●

Roy Williams ROY’S ANTIQUES 03 9489 8467

Antelope chair designed by Ernest Race for Festival of Britain, 1951. Plywood moulding was used for the seat

Steampunk enthusiasts from New Orleans, 2010 Steampunk computer Georgian & Continental Furniture • Porcelain

make endless badly potted wine goblet sets. Bio-organic forms in furnishings, now associated with the Festival of Britain, were also popular in the reaction against post-war ‘clean lines.’ Notable was the kidney or boomerang shaped coffee tables with three cigar shaped splayed legs. Most excitingly, by 1970 the beginning of the antiques and heritage boom that was to become a frenzy in the 1980s was afoot. In 1970 there were comparatively few antique shops. Most people were just discovering the pleasure of ‘antiquing’ in op shops and junk stores. Wooden furniture, including Victorian and Edwardian era pieces, was cheap and one could sand it down and do it up as oiled wood like new Scandinavian or teak furniture. Gradually, people buying cheap old Edwardian hallstands for $15 and Victorian teapots for $1 became curious about these objects, and over the next decade there was an explosion of books about all kinds of antiques. It became fashionable to furnish with antiques and to be able to talk about them competitively after dinner. By the 1980s Victorian suburbs like Melbourne’s Fitzroy and Carlton were gentrifying. Neo-Victorian clutter was embraced and every credenza sparkled with silver plate and crystal. Antique shops proliferated. After the 1989 crash people could not afford this abundance and minimalism was the rationale for the six pieces of chipboard furniture that occupied space in homes. My theory is that so much time and emotional energy was consumed by keeping up with rapidly changing technology that few had any energy left for a complex environment. A simple empty space provided welcome relief from the demands of technological upheaval. Fortunately, since minimalism in Australia was a particularly bleak experience, it is now quite dead. Happily, we find ourselves in a remake of 1970. Once again there is a reaction against simplicity and ‘clean lines.’ This seems to be as much due to generational change as any other stimulus. While Generation X (roughly, people in their 30s and 40s) continues to be mesmerised by technological gadgetry, Gen Y is quite a contrast. There are a number of subcultures experiencing a renaissance at present, principally, but not exclusively, with Gen Y. The most obvious of these is the vampire craze. This is not a morbid craze. For centuries parents told their children cautionary tales, such as Little Red Riding Hood (originally Red died!) and Hansel and Gretel (who escaped, but others had not!). In the days when children grew up in a safe environment where everyone in the village nurtured the children, infants had to be warned that not everyone was kind, safe and trustworthy. In our age of helicopter parents and television, contemporary children must learn the opposite lesson: that not all people outside the nuclear family are wicked and dangerous. Hence the upbeat, celebratory vampire tale which explores the concept that some strangers are actually kind and good. Apart from this there is the traditional appeal of being able to live forever, stay young and beautiful and be able to wear fabulous clothes while having superhuman powers. Steampunk, so named in 1979, is rejuvenating. It proposes an alternate history where the technological developments of the Industrial Revolution delivered a more positive effect: flying machines rather than

Silver • Ikons • Paintings • Imperial Russian


hose who cannot remember the past are condemned to repeat it,’ said noted Spanish philosopher George Santayana (1863-1952). However, I propose that since the past will repeat itself regardless, those who remember the past or study history can predict the future. There was a lot of 1970 in 2010. This will not surprise anyone with an eye on the cycles of fashion, be that clothing, interior decoration, music, or whatever. Fashion can be followed through the centuries as a wave graph, moving between two aesthetic extremes. One extreme embraces geometric, architectonic forms, and is generally seen as cerebral, disciplined, ‘masculine’ and scientific. Its corollary is characterised by curves and irregular organic shapes. Is lush, ‘feminine’ and celebrates the emotive and spiritual. Our fashion pendulum swings regularly as clockwork from one to the other. Examples of the former style include Sheraton, Empire, early Biedermeier, Arts and Crafts, Art Deco, early modern and minimalism. Opposing styles include Rococo, mid-Victorian Rococo revival, Art Nouveau, 1960s bio-organic and contemporary maximalism. At this point it is useful to look at Australia’s unique experience. The advent of the World War I (1914-1918), the Great Depression (1929-1934) and World War II (1939-1945) meant that very little influence of Art Deco or modernism reached Australia until the 1950s. Many designs of Art Deco Europe were not readily available in Australia until the 1960s. It will disappoint those collectors that have very romantic ideas about fashion that most new styles are the direct result of changes in legislation, advances in technology or availability of new materials. Chromed tubular steel and plywood contributed greatly to the look of European Art Deco furnishings. After World War I many tubular steel factories remained, but the need for the bicycle – that essential of Edwardian wartime life, military and civilian – had diminished. Similarly, the war-time demand for plywood with which to make airplanes had diminished. The material was used to other purposes, developed for affordable mass produced furniture – designs by Alvar Aalto and Marcel Breuer for example. However, it was after World War II that major technological breakthroughs resulted in plywood being moulded into inexpensive organic sculptural forms – such as the celebrated designs of Arne Jacobsen. However, it would not be until the 1950s that Australia would embrace a domestic sphere of modernist tubular steel, flecked Formica, and textured vinyl with contrasting piping. Naturally, after five decades of poverty from the 1890s recession to the end of WWII, making do with hand-me-down furniture, Australians wanted nothing to do with wood furniture in general, and Victorian in particular. These were burned or given away. Brass beds were used to reinforce concrete driveways for the prized new family car. Baby Boomers who grew up in hygienic plastic and metal streamlined lounge rooms were as contemptuous of tubular steel and vinyl as their parents had been of old wooden furniture. By the end of the 60s they demanded the warmth of Scandinavian oiled wood furniture, and factory made brown glazed pottery that looked hand crafted. Regrettably, the ‘Earth Mother’ stage also compelled many to take up macramé and

410 Queens Parade Clifton Hill Vic 61 3 9489 8467 33


Art Deco Nubians and HAGENAUER BRONZES


rt Deco items are highly collectable but not many collectors know about Hagenauer. As a collector of Hagenauer pieces for many years, I want to share the Hagenauer history, introduce its sculptures and busts, and provide hard-learned cautions to new collectors. Austrian designer Carl Hagenauer (18721928), established Hagenauer Werkstatten in 1898 and produced works designed in the modernist and Jugendstil styles. His factory also manufactured pieces by outside designers such E J Meckel, Josef Hoffmann and Otto Prutscher. The firm exported its wares worldwide, while many of the other smaller factories produced the so-called Vienna bronzes. Hagenauer entered many exhibitions in London, Paris and Berlin where their innovative designs won numerous awards. His son Karl Hagenauer (1898-1956), joined the firm in 1919. After Carl’s death in 1928, Karl, together with his brother Franz (19061986), managed and expanded the workshop’s output to include furniture and domestic


accessories in a variety of materials. Responding to the impact of African American jazz singer and dancer Josephine Baker, Hagenauer expanded its sculpture section producing African-inspired works that were lithe and elegant with elongated limbs and faces, their European interpretation of Africans. Hagenauer produced a wide range of figures that are considered either African or western. At the entry level are African figures modelled as stick figures, typically in tribal costume and may be carrying metal or wood implements; they also made African animals. Most were produced in the 1930s and again after World War II in the late 1940s and early 1950s, reflecting the popular fascination with colonialism. More desirable are the larger wood and metal African figures and busts, with stylised bodies and sculptural poses. The most valuable are distinctly art deco style designs of African inspiration, this includes masks, some on a scale similar to authentic African masks. They consist of multiple elements and materials and are reminiscent of Picasso.

Hagenauer western subjects are less common, including figures in stylish costumes, mainly in sheet metal or brass. These were often on a large scale as they were used in shop displays.

COLLECTOR cautions Fake reproductions originating in South America and Switzerland entered the market in the 1980s. Many are made in sheet metal and there are brass figures and large African busts in chrome and gilt brass. Even major auction houses have sold fakes, confusing the purported authenticity for a later buyer. RR on the base stands for Richard Rohac who left Hagenauer after World War II to start up his own factory producing a range of designs identified with his stamp. It may confuse the collector with Hagenauer’s production for Rena Rosenthal’s exclusive gift shop at the Waldorf Astoria in New York. These pieces made from the mid-1930s to the early 1950s are always impressed Rena on the base. Seek professional advice and only afterwards purchase any rare items, even

though they may be accompanied by impeccable provenance.

FAMILY tradition Although the Hagenauer workshop officially ceased production in 1956 the family continued to cast a selection of Hagenauer forms from original moulds. These are acceptable to Hagenauer collectors. Smaller forms such as animals and figures are affordable costing several hundred dollars while larger Hagenauer reproduction figures and busts can cost up to $30,000 as these were cast from rare models. Ron Hagenauer, Karl’s grandson, sells Hagenauer items in his Vienna shop, ranging from about 5 cm to 180 cm in height. He hopes to publish a book and organise a retrospective exhibition of Hagenauer Werkstatten. If you were planning to collect Hagenauer items, now is the time to start ● David Freeman AMANDA ADDAMS AUCTIONS 03 9850 1553 0419 578 184



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Antiques & Collectables Fair

July 2011


Fri 15th Sat 16th Sun 17th

6 pm - 9 pm 10 am - 5 pm 10 am - 4 pm

Williamstown Town Hall 104 Ferguson St


Many of our most respected dealers presenting a wide range of antiques and collectables priced to sell

Enquiries: Trevor Jago 03 9748 6437 0408 486 432 Admission $9.50, children free

How much is this art deco figure worth? $12,000, $15,000, $18,000

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

Approved to value Australian paintings and prints after 1850 for the Australian Government's Cultural Gifts Program



Anton Bruehl among studio spotlights, Manhattan, c. 1932

Anton Bruehl, Esquire Canteen: Puerto Rican singer and rumba dancer Marga and accordionist puppeteer Bil Baird of the Ziegfeld Folies, 1944, published Esquire February 1944

Anton Bruehl, Harlem number, Versailles café, 1943, colour photograph, colour print, dye imbibition (Kodak dye transfer) print made after 1946. Image courtesy of George Eastman House, International Museum of Photography and Film

Anton Bruehl, Model Ruth Curlett in red sun hat, 1936, colour print. Published Vogue 1 July 1936,

IN THE SPOTLIGHT: ANTON BRUEHL at Monash Gallery of Art in Melbourne A National Gallery of Australia Exhibition, 23 June – 11 September


onash Gallery of Art presents In the spotlight, Anton Bruehl photographs 1920s-1950s an exhibition of the first Australian photographer to make it big in New York. A major retrospective of the photographs of Anton Bruehl, an Australianborn photographer whose work was seen by millions over four decades, will be exhibited at Monash Gallery of Art, Melbourne from 23 June to 11 September 2011. Anton Bruehl (1900-1982) was one of the most successful celebrity portraiture, advertising and fashion photographers in New York from the 1920s to the 1950s, retiring in 1966. His photographs appeared on front covers and in advertisements for publications such as Vogue, The New Yorker, Vanity Fair and House & Garden. As curator of the exhibition Gael Newton says, ‘A generation of Australian photographers such as Max Dupain and Athol Shmith admired his work and dreamed of his success.’

PHOTOGRAPHER to the stars


The exhibition includes a who’s-who of screen and stage, from Marlene Dietrich, Gene Tierney and James Cagney to Katherine Hepburn. There are images from stage shows as diverse as Carousel, Porgy and Bess to the Ballet Russes of Monte Carlo. Gael Newton explains, ‘Bruehl also mastered the art of high quality colour photography three years before Kodak released the Kodachrome colour film in 1935. In partnership with photo technician Fernand Bourges, he pioneered a new colour separation process and produced hundreds of colour photographs for magazines such as Vogue and Vanity Fair’. These elaborately staged, densely coloured advertisements and theatrical tableaux lead American photographer Ansel Adams to describe his work as being ‘entirely contrived, and yet absolutely sincere’.

Bruehl was born in the rural town of Naracoorte, South Australia in 1900. He trained and then worked as an electrical engineer in Melbourne until 1919, when he and his brother Martin immigrated to New York to work for Western Electric Co. Bruehl changed direction after four years at the company, to pursue his passion for photography. He studied and later taught at the renowned Clarence H White School of Photography where he explored the creative possibilities of commercial photography. In 1926, Bruehl opened his photography studio and his brother Martin later joined a year later. He remained at the top of his profession for 40 years, regularly producing work for the top Condé Nast publications and photographing the stars of stage and screen. The exhibition displays Bruehl’s impressive portfolio of still-lifes and portraits from his

trips to Mexico, which show a deep affinity with his subjects. Shaune Lakin, MGA Director states, ‘We are thrilled to be exhibiting this major retrospective of Anton Bruehl, arguably one of this country’s most successful international photographers. Although remarkably littleknown in Australia, Bruehl was a photographer to the stars and was hugely influential: for decades, other fashion and glamour photographers borrowed his bold use of colour and striking design sense.’ In 2006, Anton Bruehl Jr presented over 100 of his father’s photographs and extensive archival material to the American Friends of the National Gallery of Australia Inc, New York. This touring exhibition introduces Australian audiences to an outstanding but formerly unfamiliar figure in the development of photography in the 20th century. Enjoy free entry to MGA. We are easy to find on Ferntree Gully Road (#860) in Wheelers Hill (Melways 71 J10). MGA is closed on Mondays and public holidays, open Tuesday to Friday, between 10am and 5pm, and weekends from 12 Noon to 5pm ●


All photographs courtesy National Gallery of Australia, Canberra. Gift of American Friends of the National Gallery of Australia Inc., New York NY USA, made possible with the generous support of Anton Bruehl Jr, 2006. The National Gallery acknowledges funding support from the Australian Government through the National Collecting Institutions Touring Outreach program. Anton Bruehl, Portrait of Marlene Dietrich, Hollywood, 1935, direct positive colour photograph


Anton Bruehl, swimsuit advertisement, 1951, dye-transfer colour photograph

Anton Bruehl, Knitted-to-order sport clothes, 1932, gelatin silver photograph. Advertisement for Bonwit Teller department store


From left: Miniature portrait of gentleman, 19th century

Miniature portrait of King George III by Richard Cosway (English, 1742–1821)

French oil on card miniature Miniature portrait, French, oil on card

Miniature portrait of a bourgeois gentleman



mall portrait images known as portrait miniatures have a passionate following among collectors and museums due in some part because these personal and intimate paintings have their own unique qualities. Portrait miniatures evolved from manuscript illumination. The word ‘miniature’ came from the Latin minium meaning the red lead pigment used in manuscripts. There is no reference to the size of the painting. There are several key identification points for a true portrait miniature. First, it is a very specific art form defined by its medium. Initially, a tiny portrait is only a true miniature if painted in watercolours on vellum, just like a manuscript. From the early 18th century these portraits were executed in watercolour on ivory. This was the preferred support until the end of the 19th century. Unlike oil portraits hung in public galleries, miniatures were always private portraits intended for a specific recipient. Their purpose was intentionally quite different to that of the large oil paintings that could be used to inspire awe in a number of spectators, and so they were real to life, making them invaluable historical records. In 16th century England miniature painting was considered a higher art form than easel painting. The most famous artist working in

the genre at that time was Nicholas Hilliard (1547-1619) who was chosen by Queen Elizabeth I to paint her in miniature from 1572 until her death in 1603. During the reign of Charles I Peter Oliver (1589-1647) was the artist chosen by the monarch to paint miniatures after the masters in his painting collection. An examination of a later original signed 18th century miniature portrait is of a Countess shown in a powdered wig and large plumed hat. She wears a beautifully draped gown holding a rose and floral nosegay. The exquisitely detailed portrait on ivory measures almost 9 cm high. It is framed in a heavy bronze ormolu period 18th century frame with French bowed ribbon. The signature is of Richard Cosway, one of the most highly collectable miniaturists of the 18th and early 19th centuries.

Prince of Wales. Cosway enjoyed continuous patronage from the Prince. As these miniatures were often exhibited and engraved, Cosway had considerable influence over the official image of the Prince. He married the Anglo-Italian artist Maria Hadfield in 1781 and together they influenced London’s fashionable elite and the art world. He painted many European royals including Madam du Barry, mistress of King Louis XV of France. Collecting miniature portraits is sometimes like a lucky dip, as one never knows who will show up next ●

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Richard Cosway (1742–1821) The leading portrait miniaturist of the Regency era, Cosway’s success derived from his ability to enhance the beauty and elegance of all his sitters. Cosway exhibited his first works in London in 1762, aged just 20 and was quickly in demand in fashionable circles. He painted his first portrait of George IV in 1780; in 1785, he was appointed Painter to the

Miniature portraits come in a wide variety of subjects and frames

Miniature portrait of a Countess by Richard Cosway (English, 1742-1821)

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MID-YEAR EXHIBITION PROGRAM AND EVENTS AT ART GALLERY OF BALLARAT Local Treasures On show until 13 June elebrating the collecting by past and present citizens of the gold rich Ballarat community is an exhibition titled Local Treasures. The show combines two groups of objects. The larger component comprises works of art and artefacts from private collections currently in Ballarat and surrounding regions. To these have been added a select group of items that were formerly in local collections but which have – largely through the generosity of the original owners – passed into the collection of the Art Gallery of Ballarat. Important and fascinating works from present day private collections abound: a splendid group of early 19th century English agricultural prints including the ‘original’ Durham Ox, paintings by George Bell, William Dargie, Ian Armstrong and Roland Wakelin and drawings by Thea Proctor, Russell Drysdale, James Wigley and Weaver Hawkins. Contemporary art is well represented with paintings by Shay Docking and Gareth Sansom, George Tjapaltjarri and timeless images of Wandjinas by Ignatia Djanghara. Local citizens have been extraordinarily generous to the Gallery since its establishment in 1884. The first regional gallery in the country, Ballarat Art Gallery has occasionally celebrated the activities of local collectors. The last time such an assemblage of works was brought together was in 1970. Some of the paintings that are on display here now also featured in that exhibition. In the collection are two magnificent grotesque alabaster ewers from Ercildoune Homestead, donated by Lady Currie in 1949 along with many of the other items of furniture and art that graced the Scottish baronial homestead just outside Ballarat. However, they came into the collection in fragments, and until a member of the public ‘adopted’ them in the Gallery’s recent drive to secure public funds for conservation of the collection, they were not fit to be displayed. Colonel Richard Crouch was the major benefactor of the Gallery in the first half of the 20th century. Representing his collecting and generous benefactions is a beautiful watercolour by French artist Paul Signac of the Breton fishing port Lomalo, which he gave to the Gallery in 1944.


Laurene Vaughan, Craft Exchange 1, 2009, cloth, digital print and embroidery. Courtesy the artist

The Stony Rises Project 7 May – 26 June During May and June, the Gallery will present The Stony Rises Project which brings together ten contemporary artists and designers in an investigation of the rich, layered histories of the western district of Victoria, in an exhibition developed by RMIT Design Research Institute managed by National Exhibitions Touring Support (NETS) Victoria. Following a four-day artists’ camp in April 2009, works were made in response to the area to the southeast, south and southwest of Lake Corangamite distinguished by the basalt rocks erupting from the landscape forming Stony Rises, as well as volcanic cones and crater lakes. Designers, artists, curators and community members were able to interact with and learn from each other in order to create informed works. The resulting exhibition focuses on the histories of the area, the intricate relationships of people with place, foreigners on new lands, and colonial and Indigenous narratives. This exhibition has facilitated a unique collaboration and intersection of creative practices – the artist, the designer, the architect, the landscape architect, the historian, the geologist, and the landscape archaeologist.

Let it all hang out – the art of the 70s 18 June – 7 August The 1970s were a time of enormous social and political change, internationally and locally.This is reflected in the art of the

period. Personal had become political and suddenly, any statement, whether overtly political or not, was measured in terms of its political implications. Apolitical works were regarded as naively conservative. The Gallery has dug into its stores to mount a selection of works from that era. This is an intriguing and sometime challenging show, including works that are confronting, unusual, often humorous but always political in some shape or form. The period saw a move from abstraction to figurative art, and figurative art which clearly took on big issues of personal and other politics including sexual liberation. It was a time of challenges and a re-evaluation of what art meant, what it stood for, even what it was.

Australian Modern Masterpieces from the Art Gallery of New South Wales

30 September – 4 December Art Gallery of Ballarat will be one of only two galleries around the country to host a touring exhibition Australian Modern Masterpieces from the Art Gallery of New South Wales. This touring exhibition features iconic works from the 1920s to the 1960s which have come down from display to allow the New South Wales gallery to be refurbished. More details in the next issue ●


Eugene von Guérard: Australian landscapes

Unknown maker, garden ornament from Ercildoune (detail), not dated, alabaster. Art Gallery of Ballarat. Gift of Lady Currie in memory of Sir Alan Currie, 1949


On show until 13 June Eugene von Guérard (1812-1901), the German artist who spent many years working and teaching in colonial Victoria, is the subject of a major exhibition at the National Gallery of Victoria. The Art Gallery of Ballarat complements that display by featuring a series of large prints which von Guerard published in 1866/67. Australian Landscapes comprises 24 magnificent lithographs featuring some of the most remarkable and spectacular parts of New South Wales, Victoria and South Australia and Tasmania which von Guérard had encountered up to that time. The prints are remarkable for the meticulous attention to detail which von Guérard prided himself on and the high quality of the lithography and production.

Eugene von Guerard, Hamel & Ferguson Castle Rock. Cape Schank (detail) 1867. Colour lithograph on paper. Art Gallery of Ballarat. Purchased, 1987


Let It All Hang Out Australian Art of the 70s Sat 18 Jun - Sun 7 Aug 2011 Image: Frank Littler, Pro News (detail), circa 1975, oil on composition board. Collection: Art Gallery of Ballarat, 1977

Art Gallery of Ballarat 40 Lydiard Street North Ballarat Victoria 3350 Telephone: 03 5320 5858






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WORLD PREMIERE Bendigo Art Gallery 1 August – 6 November

Exhibition organised by the Victoria and Albert Museum, London

Media Partner

Tickets on sale now – Call 03 5434 6100 For more event information and accommodation packages, freecall the Bendigo Visitor Centre on 1800 813 513 or visit SASI 201270:8B





Early Victorian oval toleware tray – Greenwich Palace Georgian walnut 3 drawer lowboy

Georgian mahogany slope front fitted sewing cabinet Early Victorian 4 tier what-not Georgian mahogany tilt top breakfast table

French walnut cylinder top desk with ormolu mounts

Georgian mahogany 4 drawer drum table

William IV mahogany 2 drawer partners desk

Please refer to our website: for a full listing of new stock

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

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




BENDIGO ART GALLERY 16 APRIL – 10 JULY 2011 20TH CENTURY PHOTOGRAPHY FROM GEORGE EASTMAN HOUSE Walker Evans Torn Poster, Truro, Massachusetts 1930 gelatin silver contact print Purchased with funds from National Endowment for the Arts Collection of George Eastman House, International Museum of Photography and Film


Bendigo Art Gallery


This exhibition is supported by La Trobe University

This exhibition is indemnified by the Victorian Government through Arts Victoria



Gertrude Käsebier The Sketch (Beatrice Baxter) 1903 platinum print. Gift of Hermine Turner. Collection of George Eastman House.

László Moholy-Nagy Laboratory 1938 gelatin silver print. Purchased from Sybil Moholy-Nagy with funds provided by Eastman Kodak Company. Collection of George Eastman House.

EXCLUSIVE to Bendigo Art Gallery AMERICAN DREAMS 20th century American Photography from George Eastman House 16 April – 10 July


he 20th century witnessed dramatic changes in art – and equally dramatic advances in photography. Photographs from the important archive of the George Eastman House, International Museum of Photography and Film highlight some of the remarkable moments that occurred in photography over this dynamic period. American Dreams shows the work of 35 of the most influential American photographers

of the 20th century. Their photographs track the crucial aesthetic and technological advances in the medium that occurred over this time when photography came of age, as it transitioned from being a purely mechanical process for documenting or recording important events to becoming a major player in contemporary art. It was also during this time that photography – like other visual art forms – became a vehicle for the expression of the

preoccupations and concerns of the maker. Each of the artists exhibited made a profound contribution to the photographic canon, imparting crucial insights into the aesthetics of photography and the social and political circumstances of the era. See more than 80 significant photographs by some of America’s most influential photographers, such as Ansel Adams, Diane Arbus, Walker Evans,

Gertrude Käsebier, Dorothea Lange, Edward Steichen, Cindy Sherman, László MoholyNagy and Alfred Stieglitz. American Dreams is the first exhibition in Australia drawn entirely from the collection of George Eastman House. Bendigo Art Gallery is the exclusive venue for this exhibition. Admission fees apply ● BENDIGO ART GALLERY 03 5434 6088 Dorothea Lange, Kern County California, 1938, gelatin silver print. Exchange with Roy Stryker. Collection of George Eastman House

eorge Eastman (1854-1932), the founder of Eastman Kodak Company, is regarded as the father of modern photography and the inventor of motion picture film. His stately house, contents and gardens in Rochester, upstate New York became the world’s first photography museum in 1949, one of America’s oldest film archives. The not-for-profit museum is a leader in film preservation and photograph conservation, educating archivists and conservators from around the world. The collection includes more than 400,000 photographs and objects. See






rom an early age, mankind tried to divide time into segments that all could agree upon. For this there are few given divisions: the day – one complete turn of the earth; the month – one revolution of the moon around the earth; and the year – one full circle of the earth around the sun. The obvious division for the day is sunrise, high noon and sunset. Someone noticed that the shadow falling from a tree points to different directions during the progression of the day and so the day could be broken down into further segments – consequently, a stick in the ground became the first clock.

The stick in the ground was greatly improved some 4,000 ago by the Chaldeans, the first people to divide day and night into twelve hours each. However, the length of the day was measured from sunrise to sunset, so the length of an hour could differ considerably from day to night. There are a variety of shadow clocks, portable or stationary, but as the sundial is rather useless on a cloudy day and at night, other means of measuring time had to be developed. Egyptians also measured time by how much water escaped from a vessel with a small hole. Since there is greater pressure in a full vessel compared to an empty one it became apparent

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‘Time is man’s angel’, Schiller

that the amount of water flowing through the hole varied in a vertical container. A container with 70° tapered sides allowed the water to flow at an even rate. The Chinese developed some very intricate water clocks. One such clock was made by a monk in the 7th century. It had an escapement that allowed small amounts of water to drive a gear. But in winter, water clocks might freeze. In Europe during the Middle Ages, candle and oil lamps were used in monasteries to tell the time for morning prayer. In China, fire clocks using incense were burned through a maze or along a circular pyramid. These incorporated little metal balls which would fall onto a metal dish as the incense burned along its path. The hourglass was known in the 14th century but used only widely in the 15th century, especially by mariners at sea. The best hourglasses were made in Nurnberg, Germany. Between the late 13th and early 14th century the mechanical clock was invented. No one really knows who developed the first mechanical clock and exactly when it was made. The mechanism was completely made of iron and weight-driven, working on the same principle as a bucket going down a well and forcing the handle around. To prevent the weight from running down faster and faster, a device called the escapement was developed to allow the driving force of the weights to escape only bit by bit. These clocks had no case or a simple case. In Italy by the 15th century, and shortly after in southern Germany, weights were replaced by springs. Initially these clocks were shaped like a drum and had the face on the top and were small enough to sit on a

table. A development of these drum-shaped clocks was the addition of an alarm mechanism. Eventually, in Augsburg, Germany, upright clocks were made. Since the spring driven clock was more compact than the weight-driven, clockmakers started to put more and more emphasis on the cases as well. Medieval clocks were luxuries and though a source of pride to their owners, they were not at all accurate and for this reason they mostly had an hour hand only. In 1582 Galileo Galilei, watching the toand fro- swing of a lamp in Pisa Cathedral, discovered that the time of a pendulum’s swing depends only on its length, and foresaw its use as a timekeeper. In 1657 Christiaan Huygens, a Dutch scientist, realised Galileo’s dream, inventing the pendulum clock. This improved the accuracy to such a degree that minute hands became the rule and later, second hands were added. Creating mechanical clocks not only began the Machine Age but also began our dependence on clocks, leading to the increasing demand for clocks, as well as the development of different shapes, sizes and kinds. But not until the 20th century with the electric clock, and later use of quartz crystals in clocks and watches, did the basic application of weight, spring and pendulum almost disappear, bringing the evolution of the timekeeper towards today’s accuracy ● THE CLOCKWORKS 03 9578 6960




here is always a wide selection of fine art for sale at all times. Although there is not a current exhibition, on entering the gallery and seeing Di’s diverse artworks, one could be excused for thinking it was a major art exhibition. As previously written in Antiques & Art Victoria, Di is such a versatile artist and brings to the gallery at all times the on-going reality of excellent craftsmanship and enjoyable viewing.

ABOUT Di King Being the master artist that she is only comes about by sheer hard work and absolute dedication, and those close to her (including myself) are always in awe of her ability to balance her work and her leisure. She is one of the finest oil painters in this wonderful country of ours. One could ask of someone so industrious, ‘Do you ever get to do the normal things, like family matters and a home life, etc?’ Di is equally loved and admired as a wonderful mother to her two beautiful daughters and as the most devoted grandma to her three loving

grandchildren, her personal friends and all who associate with her. All of these things together and much more are what makes Di King – Di King. Call in and say hello. The gallery is open for viewing at any time – just ring on the numbers listed below to check that we are home and visit to suit your schedule ● John Thomas DI KING GALLERY 03 5962 2557 / 0414 404 792

She is one of the finest oil painters in this wonderful country of ours

03 5962 2557

32 Maroondah Hwy, Healesville 3777

0414 404 798 - 0414 404 792 Corporate and private viewings can be arranged OPEN ANYTIME BY APPOINTMENT 53


STAMP COLLECTING – WHERE DO I BEGIN? Collecting is an individualistic pursuit. What you collect should reflect your personal interests and temperament.

Postage due stamps with attractive and legible postmarks are highly sought after Between 1911 and 1924, Australian letter cards had a photo on the reverse. These often have thematic interest; in this case, railways and waterfalls


hile the philatelic (stamp) market tends to be less driven by the herd mentality than, say, art or fashion, most people concentrate on stamps of their own country. However, there is no reason why you should not collect anything that appeals. Perhaps you have affection for Asia or are fluent in a foreign language. This could provide an ideal starting point for a philatelic collection. An entomologist might collect stamps featuring insects, while a professional soldier could pursue wartime mail.

SEEK knowledge Philately is a knowledge-based discipline. A good way to get a ‘feel’ for the market is to

attend stamp shows in the major centres. Ask questions of appropriately qualified people and there are a number of general reference works that can be accessed through public libraries. For Australian stamps there are a couple of useful general catalogues, and a fantastic multi-volume specialised work. The best guide to prices is results from public auctions, especially for non-traditional areas such as postal history and postal stationery. In these areas there are often no up-to-date reference works and auction catalogues may be the best, perhaps the only useful guides to these subjects. Most auction firms will send you catalogues free of charge for a year or so.

A beautiful example of a printed illustrated envelope, flown on the 1926 Pacific Survey flight

BE QUALITY conscious In all fields you will start to recognise the good from the bad, and the expensive from the run-of-the-mill. Care taken in this area from the outset will be handsomely rewarded as you develop your collection. Pay particular attention to issues of quality, such as perforations, centring and cancelling. With envelopes, look for repairs, enhanced postmarks and stamps that don’t belong. Regardless of the field you decide to pursue, you will need some basic tools. Most of the better retail dealers can provide you with accessories such as albums, tweezers, perforation gauges, mounts, magnifiers, etc. You can buy a quality stock book, a reference catalogue and the basic gadgets for less than the cost of a good tennis racquet or your golf club membership. Ask the dealer for his advice, but be mindful that it is false economy to skimp in this area. To contact leading dealers and auctioneers consult the industry website

COLLECTING suggestions New clients often ask what they might consider collecting. The number of possibilities is limited only by your imagination, so here are a few ideas that may appeal. Australia 1901-1912. Even after federation, the six states issued their own stamps until 1913. These are properly Commonwealth issues but most collectors have treated them as the tail-end of the colonial period. Very few have made a serious assault on this area and it remains significantly undervalued. Destination mail. It is easy to obtain covers from Australia to Great Britain, New Zealand and Germany. Try finding covers from Australia to Colombia, Tunisia or Mongolia. A collection of such material would provide a significant challenge without putting a great strain on the budget. Postage dues. This is one stamp area where anyone has the chance to own items nobody else has ever seen. One routinely hears of the discovery of previously unrecorded watermark and perforation varieties. Many of these have literally been found in bundle ware or junky collections. Scenic letter cards. From 1911 until 1924, Australia issued postal stationery with views from around the nation on the reverse. A basic collection can be put together without much effort. Many of the views are rare, others are common but rarely seen on particular issues, and of some scenes, two or more versions exist. Blocks of 4. Most collectors want only single stamps, resulting in sheets and blocks having


State issues from 1901-12 are Australian stamps. This shows the South Australian EIGNT error

been destroyed to supply this demand. Multiples of many stamps are now very elusive. Despite this, many dealers sell such items without adding the significant premium that they deserve. Apart from being scarce, blocks are obviously more visual than single stamps. Illustrated envelopes. You may collect printed or hand-painted envelopes, humorous types, advertising or political subjects. This is an area where art and philately truly meet. Fine used stamps. Most used stamps are poorly cancelled or have faults, but fine used stamps are a different matter. Well-centred, neatly cancelled stamps are, to me, far more appealing than mint. Plus, they are usually available for a fraction of the prices of their unused counterparts. You will need to learn about non-contemporary cancels and other dodgy markings but that’s half the fun.

NO limits Finally, I recommend that new collectors avoid the limits imposed by catalogue listings, printed albums, and so on. Be bold in your collecting. Buy things because you like them, not because they may increase in value (though they very well may). Above all, enjoy the pursuit of new material and relish the challenges of developing something from scratch. Who knows? You may end up with a collection of great merit and value ● Gary Watson PRESTIGE PHILATELY 03 9762 6009


Di King, ‘An Early Autumn’. Winner Streeton Award 2011 Barb Beasley, Thornton, Pastel

Di King, An Early Autumn. Winner Streeton Award 2011

Barbara McManus, Gypsy. Winner Roberts Award 2011

SHERBROOKE ART SOCIETY Gallery Exhibitions, Classes & Artists’ Studios

GALLERY The Sherbrooke Art Society Gallery sits at the edge of majestic verdant Sherbrooke Forest beside Clematis Creek at 62 Monbulk Road, Belgrave. The spacious main gallery adjoins two smaller spaces and three working studios. Visitors are always welcome to browse an exhibition of members’ paintings; watch artists at work in the gallery; or attend a free demonstration or workshop in one of the studios.

OPEN Weekend – 28 & 29 May Sherbrooke Art Society has its open weekend in the final weekend of May, in association with Dandenong Ranges Open Studios. The gallery will be open from 10:30 am until 5 pm on Saturday 28 and Sunday 29 May. You will see a working art society in action with artists demonstrating and free workshops. Sit and chat with artists over a cup of tea or coffee.

LEARN art techniques Sherbrooke Art Society has long maintained a strong focus on teaching, with three teaching studios and classes conducted by professional artists across all mediums. Current classes in traditional painting include: • pastel • oil • watercolour • acrylics • children’s classes • life study • portraiture

MEET the Society’s tutors The Society has range of tutors catering to all levels of experience in all mediums.

Jeffrey Murphy will be conducting a paintout in the lovely gardens beside the creek. Nick Costello will be conducting a free studio demonstration. More details on or phone the gallery on 03 9754 4264, between 11 am and 4 pm. See for details of the Dandenong Ranges Open Studios. Book for our next artist demonstrations. May John Duncan-Firth: Landscape in pastel June Joanne Seabury: A Venice scene in pastel

Janet Matthews, Morning Meeting. Winner McCubbin Award 2011

Sherbrooke Gallery

Sherbrooke Art Society Inc Established 1966

BARB BEASLEY-SOUTHGATE: Retrospective exhibition September 2011 Barbara’s dynamic yet restful paintings are full of freshness, energy and movement, inviting all to share her enthusiasm and insights into the nature of things. She has travelled extensively, exploring her inner vision and redefining her spiritual relationship with the Australian environment, and recently the British, European and New Zealand environments, and most recently that of the USA. Barbara has held regular solo exhibitions including her 1998 and 2000 very successful solo exhibitions in England. Our relationship goes back 40 years, when she won the 1971 Annual Award of the Sherbrooke Art Society, the first of her over 100 awards and prizes.

Cherry Manders


herbrooke Art Society, a respected institution in the traditional art world, always welcomes new members. Throughout the year, the Society hosts monthly social painting programs including ‘paint outs’ (or a paint-in if weather is not suitable) and another in the studio. At monthly meetings invited special guest artists demonstrate their technique.

Open Studio Saturday 28 and Sunday 29 May 2011

CONTACTS The Sherbrooke Art Society Gallery is located at 62 Monbulk Road, Belgrave and is less than 1 km from the Belgrave Township on the right. For any inquiries, please phone during Gallery hours: 11 am to 4 pm, Wednesday to Sunday. ●



Free Painting Workshops and Demonstrations Relax and take in the artworks for sale with a free tea or coffee

62 Monbulk Road, Belgrave 3160 Tel: 03 9754 4264 Gallery Hours: Wednesday - Sunday 11 am - 4 pm Blog:

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



Sara Paxton, Yellow, 92 x 92 cm

Chris Seater, One of the Dogs, mixed media on canvas 100 x 100 cm

Conchita Carambano, Steps to the Nest, mixed media on canvas, 112 x 112 cm

WITHOUT PIER Exhibition program SARA Paxton: Love Colour

CHRIS Seater

Opening 1 May at Cheltenham Gallery f you love colour, Sara’s new works are a must see. Her ability to explode colour off the canvas and into the hearts of those who view her work is most powerful. This, combined with an expressive contemporary style, provides a dramatic convergence for an exciting new visual experience. Love Colour brings together Sara’s latest oil on canvas works which show a new higher level of energy and intensity with a distinctive edgy feel. Sara grew up in an environment of a creative and artistic family. She moved to Sydney from the UK and then to the Bellarine Peninsular where she has continued to study and develop her unique style.

Christopher Seater has focused his attention on the purity of the unquestioning devoted companion the dog, the hound of our affections with a series of semi-abstract emotive caricatures. His captures the essence, that feeling we have when face to face with man’s best friend, the canine that holds our affection and amusement with unconditional trust and love.


‘Outside of a dog, a book is probably man’s best friend, and inside of a dog, it’s too dark to read.’ Groucho Marx ‘He is your friend, your partner, your defender, your dog. You are his life, his love, his leader. He will be yours, faithful and true, to the last beat of his heart. You owe it to him to be worthy of such devotion.’ Unknown

CONCHITA Carambano After a very successful first show with us in 2010, we are delighted to have Conchita back in May. Conchita’s work is abstract mixed media on canvas as well as beautiful works in mixed media on paper. Her multi-layered and richly textured paintings reflect both the scale and antiquity the Australian landscape. She uses a strong palette, overlaid with gold and silver leaf foil. Her paintings express a mythical presence about the land that imbues them with metaphysical as well as personal meaning. She is currently represented in the National Library of Australia collection and has won four significant art prizes. Conchita is in numerous national and international collections. Conchita says, ‘Being an artist is my life, and in no way could I imagine being or doing anything else.’

DONAL Molly-Drum Artist’s statement

Regina Noakes, The Linen Hat, oil on canvas, 122 x 92 cm

‘These new works began with a series of pen and charcoal drawings of iconic retro caravans. Their shapes inspired in me further probing and a concentration on form, volume and balance. From chalk drawings on my workshop floor

these shapes are fabricated into metal sculptures, often working on three or four pieces at once. I am enjoying the recycling of steel while working, many of these works evolving from an off cut of a previous piece, the negative space of one becoming the positive space of another. This group of sculptures is part of a stream, related to past works and pieces yet to be made. Recurring symbols are a part of this stream and will travel with me and continue to reflect my life view. So too, the landscape in which I live, the vast sky and plains of the Wimmera and the crispness of reflection and silhouette.’

REGINA Noakes After a long spell we are very happy to reintroduce Regina Noakes. Her paintings can be categorised into observed and imaginative works. They convey a considerable range of emotions and complex psychological states in figurative compositions that are notable for their pared down power. Often there is a sense of drama emanating from an interior space. The figures in her painting look out at the world with stares that seem to reach beyond the viewer into some other and much greater space. The quality of the gazes contributes to the spiritual power of the works. They are hypnotic and at the same time contain a sense of reverie. Her paintings are as much about looking away from something, and trying to retain its reality in the mind’s eye, as they are about actually looking.’

TONY Sowersby Tony Sowersby has been a professional artist for nearly three decades but it is only in recent years that he has turned his attention to exhibiting. From the early 80s to the present day he has worked continuously in the fields of both community and public art most often as a muralist, but also as a cartoonist and comic book writer and artist. His first exhibition with us in 2010 was a great success and we are thrill to show his work again this year.

Artist’s statement ‘The works in my upcoming exhibition continue my fascination with the particular and sometimes ominous beauty of the city and suburbs at night. I enjoy the way even the most mundane street can be transformed on a wet night into a world of neon reflections. However, rather than just a recording of lighting effects, I also try to imbue these works with social comment or humour or pathos. This is also true of my other paintings that portray both historical and contemporary scenes.’

ROSS Wilsmore Even though the majority of his career was as a graphic artist, from the beginning, Ross Wilsmore always dabbled in art. Now he is a sophisticated emerging collectable artist whose work is instantly recognisable and is held in corporate and private collections. He takes simple locations such as an outback air strip or seaside dock and builds a powerful landscape image. Ross paints with acrylics, accentuating the mood with colours, perspective, angles and the composition. His images are thought provoking in their simplicity, the colours and mood often surreal. Through the juxtaposition of elements of art in the landscape, he points to the character in both and that in turn, becomes a piece of art. ‘Sometimes,’ he says, ‘the result is art within art.’

STEWART Westle Stewart is one of our most popular artists. His work this year will cover the vineyards of the Mornington Peninsula and Western Port. He is revisiting the land he is so familiar with as he lives on the Peninsula and its terrain is etched into his memory. Westle’s enthusiasm for the Australian landscape and seascape is evident in the colour, freedom of application and raw energy emanating from his paintings, though which he has evolved a distinctive language for landscape. From left: Donal Molly-Drum, Funkytown Three, mild steel, 24 x 44 x 14 cm Tony Sowersby, August in Acland Street, acrylic on canvas, 152 x 240 cm Left: Stewart Weslte, Western Port, oil on linen, 122 x 122 cm



David Beaumont, Cape, oil on linen, 102 x 101 cm

Artist’s statement ‘My aim as a landscape painter is to express what being in the bush means to me. I hope to paint the joy, excitement and wonderment of the natural world. Of course it’s great when these emotions are shared with the viewer.’

DAVID Beaumont: Land and Sea Artist’s statement In this recent body of work I am continuing to explore my love of the maritime environment. I continue to be interested in textural surfaces and illuminating use of colour. The suggestion of a pier or perhaps the hull of a boat or maybe an approaching storm, my work leaves much opportunity for ambiguity and interpretation. This is important – I want someone who looks at my work to be able to go back again and again as the painting reveals itself. The often subtle multi layering can only best be captured in the “flesh” so to speak. My landscape works are heavily influenced by many outback painting trips, in particular the Gammon Ranges, just north of the Flinders Ranges. This wonderful place is best captured as the sun comes up or sets with an intensity of red that seems to glow on the picture surface. This landscape deeply resonates with me and I find myself being constantly drawn to this magical place.

DARREN Doye Melbourne artist, Darren Doye, has told many an historical tale through the portrayal of Melbourne landmarks, some famous and others known only to true locals. Darren watches keenly as the urban sprawl swells into townships, providing a lively impetus for his paintings that often depict the theme of country versus city. In his latest instalment, many of the current Melbourne icons that generations of Melbournians have grown up with are featured. These nostalgic images adorn iconic international vehicles like Kombi vans and Vespas, hinting at the European

Darren Doye, Urban Kombi with 6 boards, woodcut & oil on canvas, 92 x 92 cm

influences that Melbourne is famous for. This rich imagery is then juxtaposed within idyllic rural landscapes describing the contention and rivalry that exists between the city and the country. This exhibition encourages the viewer to question Australian’s identity, with a particular focus on Melbourne and references multicultural influences that continue to define our diverse society.

MICHAEL Jenkins Michael Jenkins sources his ‘art’ materials from the most unusual of places. His collections of recycled goods encompass much time searching for materials that represent aspects of his modern world and that of a bygone era. A natural affinity with the notion of recycling helps his creative ability to complete assemblages in wide range of mediums incorporating the colours of time, movement and textures. Each piece of artwork created is an expression of individuality where material composition enables a stylised unique perception of a cutting edge art form that challenges the notion of what is art. In a relatively short time as an exhibiting artist, there has been a rapid appreciation of his work which is now showing in galleries throughout Australia as well as being sold internationally.

Michael Jenkins, Assemblage, metal number plates

Robyn Rankin, Come Back Peter, acrylic on canvas, 132 x 100 cm

place of childhood naivety. For this collection, I want to reflect on childhoods past, as if reminiscing through an old family album. Each painting needs to stand alone, to be its own memory. I hope that every visitor to this exhibition will find one moment that is part of their own story.’

She says that the thin gauge wire allows her to build movement and character into the pieces. Many actually sway in the breeze or bounce when the viewer walks near them.

ANNIE Glass: Steel wire sculptor Showcasing in August Glass has been producing her whimsical creations for over ten years since graduating with a Fine Arts degree at Monash University in 1998. Having studied under some of Australia’s great sculptors such as Peter Corlett and Les Cossats, the young artist moved through various media into bronze before finding a unique way of shaping galvanized steel wire into incredibly lively and engaging pieces. Annie’s subject matter ranges from Hills Hoists bearing pregnant ladies and children to pier scenes where diving youths and their pets invoke memories of carefree holidays and endless summer days. ‘The spirit of fun and adventure form the basis of the quintessential Australian way of life,’ says Glass.

ROBYN Rankin Artist’s statement ‘Children at play have been an enduring theme of my work. I have been inspired by observation of my own two young ones as they explored their world, expressing joy and wonderment, and reflecting on fragmented memories of my own childhood, old fashioned, simple pleasures. My passion for recording my children at play in photographs became enhanced by a new outlet, paint! It seems I have not strayed far away from this special place myself, taking delight in representing that childhood world and its delights, its unguarded reveries, its reverence for simple joys, its lack of self consciousness. My style has evolved from a

PETER Ferrier: The Club Peter Ferrier’s The Club is an exhibition of paintings celebrating the spirit of football. Explored in the works is not only the physical action of the game but rather the camaraderie and mateship that uniquely defines Australian Rules Football. Having exhibited solo regularly since 2004 Ferrier’s latest offering promises to be his best! Artist’s statement ‘As an immigrant from Scotland 22 years ago I was completely awe struck at the passion displayed by the “barracking” fans. Then as a father watching my son play his first club footy I realised how good this game really is. The Club exhibition is my interpretation of what evokes these emotions in the great Australian game!’ ●

WITHOUT PIER GALLERY Cheltenham 03 9583 7577 Hamilton 03 9598 5006 From left: Annie Glass, A Dog’s Life, steel wire sculpture Peter Ferrier, The Club, mixed media on canvas

Established 15 years, now in two prominent locations

1/320 BAY ROAD CHELTENHAM 3192 VICTORIA p: 03 9583 7577 417 HAMPTON STREET HAMPTON 3188 VICTORIA p: 03 9598 5006 e:

MANSFIELD EASTER SHOW 22 – 26 April Masonic Hall Highett Street Mansfield SARA PAXTON 1 – 16 May Cheltenham Gallery CHRIS SEATER 6 – 21 May Hampton Gallery CARAMBANO & MOLLOY-DRUM 22 May – 5 June Cheltenham Gallery REGINA NOAKES 5 – 18 June Hampton Gallery TONY SOWERSBY & ROSS WILSMORE 19 – June – 3 July Cheltenham Gallery STEWART WESTLE 6 – 20 July Cheltenham Gallery DAVID BEAUMONT 24 July – 7 August Cheltenham Gallery DARREN DOYE & MICHAEL JENKINS 7 – 20 August Hampton Gallery ROBYN RANKIN & ANNIE GLASS 21 August – 4 September Cheltenham Gallery PETER FERRIER 26 August – 10 September Hampton Gallery 57




where you can Unearth the Uncommon Luna Pendant Lamps

Five finishes


The neutral tones of the antique silver and nickel options deliver an unsurpassable statement within a contemporary industrial inspired interior. In contrast, the earthy tones of the antique brass, antique copper and dark bronze generate a feature demonstration of a true homely charm. Each lamp is ready for installation by your electrician, complete with a one-metre (fully adjustable) chain to suit a range of ceiling heights. Dressing an area with light, forging a point

eaturing rustic industrial charm, Schots Home Emporium announces the new and exclusive range of Luna pendant lamps. Luna pendant lamps are available in four sizes and five unique finishes. They range from 23 cm, 28 cm, 36 cm and 46 cm. These lamps represent a perfect reflection of an agrarian landscape perfectly nesting in today’s urban interiors.

of interest and generating a lasting effect of timeless contemporary design is realised in each unit. With 20 options in this range, you’re sure to find something perfect to illuminate your interior and to bring a sense of homely comfort. To see an entire range of these hand-crafted, solid brass Luna pendant lamps as well as a complete array of home and architectural furnishings, call into the Clifton Hill showroom, open every day, or visit us online.

STYLISH ACCENTS FOR YOUR HOME Bentley Chair, Atlanta Desk and Tacoma Trunk


imeless design arrives in many shapes and sizes, derived from the influences of history and a demonstration of both time and lifestyle. Celebrating an industrial aesthetic and revisiting the golden era of mechanical progression, Schots Home Emporium invites you to savour our new range of furnishings that offer iconic statements. Combined, the Atlanta desk, Tacoma trunk and Bentley forge a unified and striking gesture, while separately, each make their own character known in a striking yet subtle contrast to the norm.

Bentley club chair The Bentley club chair embodies the essence of old and new, delivering the natural tone and durable finish of black top-grain leather, encased within the neutral chrome finish of aluminium.

Atlanta aluminium desk The Atlanta aluminium desk forges a striking gesture while reflecting the classic through its aluminium plates on a sturdy wooden frame. Bentley club chair, aluminium and leather on hard wood frame, 72 x 87 x 72 cm

Tacoma trunk coffee table The Tacoma trunk coffee table provides a subtle contrast to the norm and evokes classic designs, notably its aluminium plate exterior.

This new range is already available at Schots Home Emporium. Each is an immaculate reflection of old and new, with a brilliant gleam and a subtle hue. See these new additions to an increasing range of home and architectural furnishings at Schots Home Emporium located at 400 Hoddle Street, Clifton Hill, Victoria or online at ● SCHOTS HOME EMPORIUM 1300 463 353

Celebrating an industrial aesthetic and revisiting the golden era of mechanical progression, Schots Home Emporium invites you to savour our new range of furnishings that offer iconic statements

Atlanta desk, aluminium plates on wooden frame, 36.5 x 80 x 150 cm


Tacoma trunk coffee table, aluminium plates on wooden frame, 75 x 36.5 x 120 cm


French Heritage Antiques


The French Fur niture Specialist Established 1984

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

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

The best and most interesting selection of: • Antique furniture from France - England - Europe

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

• Art Deco Figures and Clocks • Antique Ceiling Lights - Lamps • Mirrors - Paintings • English & Australian Silver & Silver Plate • Art Glass - Collectables • Estate and Costume Jewellery • Doulton - Beswick - Shelley • Wedgwood - Limoges Porcelain

• Murano Glass

• Royal Winton - Carlton Ware

• Men’s and Ladies’ accessories


68 Beach Road, Mentone, Vic 3194

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

(opposite Mentone Life Saving Club)

03 9583 3422 Open: Thur-Fri-Sat-Sun-Mon 11 am - 5 pm

Maling vase


• French Clocks - Prints

Maling tablewares



Front and reverse of a Maling decorated dish



or 201 years, Maling pottery produced good quality functional wares for British domestic customers, European markets, and for trading companies that exported their wares. Early 19th century creamwares and 19th and 20th earthenwares by Maling pottery are regarded of particular significance in the Laing Art Gallery in Newcastle, managed by Tyne & Wear Archives & Museums. The Victoria and Albert Museum holds a Maling piece, c. 1817-1840. This decorated plate of lead-glazed earthenware with a naïve design hand-painted in enamels, shows a cottage with trees and a border of formal flowers with green foliage. It was made at the factory of Robert Maling in Ouseburn Bridge, Newcastle-on-Tyne that operated from 1817 to 1840. Maling is notable for having produced the largest volume of earthenware jam jars in the 19th century and up to the 1930s, these were synonymous with Rington’s tea and Keiller’s marmalade. It was replaced by glass jars

which were more cost-effective and more popular with consumers.

BUSINESS model This pottery was distinguished by its modern manufacturing techniques that enabled high volume production. These built on the traditions of the founder, William Maling, who in today’s language achieved ‘integration’ of his business interests in coal, timber and shipping. Founded in 1763, his Hylton Pot Works on the banks of the Wear near Sunderland fitted well as pots fired in his kilns used his local coal. These wares were then sent to markets in his ships, which brought timber back from Europe for domestic markets. After the pottery moved to Newcastle in 1815, there were increasingly larger works, the final that began in 1878 eventually occupying a vast 5.7-hectare site. Christopher Thompson Maling’s initials formed an early factory mark – CTM inscribed vertically inside a triangle – and inspired a later trade name, Cetem Ware.

FEATURES of Maling pottery Most Maling pottery was plain, although customers could ask for decorative features, such as a company and/or product name. It was the first northern county pottery to produce transfer-decorated earthenware. In the first half of the 19th century, it was celebrated for its pink lustre ware. In the late 19th century, more attention was given to design and decoration. In 1908, the successful Cetem Ware range was introduced as ‘semi-porcelain,’ in table and toilet wares. In the 1920s, highly decorative designs on a black background were released to great success, their popularity boosted by the fashion for Oriental wares. In 1926, a Staffordshire designer, Lucien Boullemier joined Maling to improve designs and introduced lustre glazes, gilding and gold transfer prints.

DECLINE of Maling The last of the Maling family involved with the business died in 1937. As with many potteries, WWII was a force of change, from

the shortage of factory workers due to military efforts, through to wartime restrictions on production. New owners gradually lost the contracts that built the Maling pottery and it closed in 1963. Today, Maling is collected all over the world ●

Barbara Thomas MENTONE BEACH ANTIQUE CENTRE 03 9583 3422

Further reading R. C. Bell, Maling and Other Tyneside Pottery (Oxford: Shire Publications, 2010) G Bernard Hughes, Victorian Pottery & Porcelain (London: Country Life Limited, 1965) Steven Moore, Catherine Ross, Maling The Trade Mark of Excellence (Newcastle: Tyne & Wear Museums, 1998)




Antiques & art on the Mornington Peninsula



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



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



33 Shoreham Road, Red Hill South Vic 3937 Mel Ref: 256 B2 Tel: 03 5989 8412 Email: Web: Open 7 days Montalto Vineyard & Olive Grove's 50 acre amphitheatre property is the ideal setting for wine, food, nature and art. Awarded the Top Winery Destination in Victoria 2006. The permanent outdoor sculpture collection can be enjoyed throughout the year with additional exhibitions. An acclaimed restaurant overlooks the property. Award-winning estate wine and olive oil for tasting at the cellar door.

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



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


6. SORRENTO SORRENTO AND FLINDERS FINE ART GALLERY 3301 Point Nepean Rd Sorrento (Opposite Rotunda) 10/33 Cook St Flinders (Opposite Hotel) Winter Hours: Friday - Monday 10.30 am - 5.30 pm Summer Hours: Sorrento: Open daily; Flinders: Open daily, closed Tuesday Other times by appointment. The finest selection of paintings by recognised Australian and international artists including David Chen, Robert Wade, Ivars Jansons, Charlie Tong, Lyn Mellady, John Bredl, Cathy Hamilton, Rodney Symmons, Ron Hancock, Craig Davy, Lyn Mellady, Robert Knight and more.

120 Ocean Beach Road, Sorrento 03 5984 1762 or 0438 537 757 Open 10 am - 5 pm, every day except Christmas Day and Good Friday Established in 1986, this unique antique shop is set in an historic limestone building and houses an amazing amount of beautiful furniture, china, bronzes, lamps, books and interesting bits and pieces. The shop is renowned for its jewellery as well as Georgian,Victorian and Art Deco antiques. We have top quality Melbourne jewellers Stephen Pascoe, Simon Prestige, Armon Donald O’Grady, Monique Bijoux and others. All items available at reasonable prices.

7. FLINDERS THE STUDIO@FLINDERS GALLERY 65 Cook Street Flinders, Vic 3929 03 5989 0077 Email: Web: Open 10 am - 5 pm. Closed Tuesdays. Closed Mondays. Mid June – mid September. An artist run gallery promoting quality Australian work. We have three major exhibitions a year where participating artists have the opportunity to be creative. Exhibitions run for approx three weeks over Easter, mid June and mid September.


Craig Davy, Edge of the Green

David Chen

Ron Hancock, Minnamurra Falls, 100 x 100 cm

Sian Dodd

Jansons Ivars

Gail Rutland Gillard



ornington Peninsula’s major classic and contemporary fine art galleries are the Sorrento Fine Art Gallery and the Flinders Fine Art Gallery. Both display only the highest quality paintings from the Peninsula, including seascapes, landscapes, still life, figures and wildlife in traditional to contemporary styles, providing works to suit everyone. More than paintings, our galleries promote local jewellers with beautiful handmade sterling silver and gold jewellery with pearls, silver, beads, glass beads, precious and semiprecious stones.

STAY up to date You can stay up to date on our easy to remember website, Vast collections of works from all the artists represented are updated regularly. Better still, add yourself to the VIP invitation list for opening nights for the first chance to by emerging and established artists – email your details to to receive invitations to meet the artists.

2011 AT SORRENTO and Flinders Galleries Sorrento and Flinders Fine Art Galleries will be taking our artists’ works to Melbourne mid-year for a massive group exhibition. Keep in touch by our website and Antiques & Arts Victoria for details. Craig Davy, a local artist is making an impact in the art world and winning major art awards. He is having his first exhibition at Sorrento Fine Art Gallery in January,

exhibiting landscapes, seascapes and works just a little different. Gail Rutland Gillard also had a fabulous exhibition with the majority of her works sold and many commissions arranged. Now Gail is back at the easel and busy creating, so look on the web or visit either gallery to see Gail’s newest works. Flinders and Sorrento are the only galleries to exhibit Gail’s works in Victoria. John Stroomer’s unique crystalline ceramics offers vases, ovoids, urns and jugs. John has now expanded to jewellery to offer individual design of rings, necklaces, pendants and bangles.

SERVICES by Galleries Sorrento and Flinders Fine Art Galleries offer lay-by, home viewing, gift vouchers, commissions and transport worldwide. Purchases may be made over the phone as well as by visiting the galleries. All artwork is professionally packages and fully insured. The Galleries also offer: • Private viewing appointments • In-home art placement • Collector consulting about our artists. Our proud support for Australian artists, jewellers and potters makes Sorrento and Flinders Fine Art Galleries the places to find unique, individual and quality Australian fine art and objects ● SORRENTO FINE ART GALLERY 03 5984 3880 FLINDERS FINE ART GALLERY 03 5989 0889



Cheryl Peterson, Autumn Landscape

Cheryl Peterson, Spring Landscape

Cheryl Peterson, Purr-Fect

Cheryl Peterson, Flame Tree

CHERYL PETERSEN GALLERIES Contemporary to Figurative – and everything in between


efore Cheryl Peterson fulfilled her dream of opening her own gallery in 2007, she worked as a book and magazine illustrator and also a jewellery designer. Since then, Cheryl has worked tirelessly to establish herself and now has a thriving business.

A GALLERY in Somerville Open every day, Cheryl Petersen Galleries lies in the heart of the beautiful Mornington Peninsula, just over one hour’s drive from Melbourne CBD and only 11 km from Frankston. Cheryl Petersen Galleries is shop 7 at 8 Edward Street in picturesque Somerville (Melways 107 E12), right in the thriving hub of creative activities. A wander through her gallery is a marvellous experience that is highly recommended, with works by over 40 artists on view in rotating exhibitions.

Over the past four years, Cheryl has gradually developed and extended her gallery. It is now the light-filled spacious home to over 200 works displaying a diverse range of painted artwork, ranging from contemporary to figurative – and everything in between. Take a sneak preview of available works on Cheryl will arrange purchases that you choose from the website as well as when you come to the gallery to make your final choice. Importantly, a valuation certificate comes with every piece of artwork purchased, for peace of mind. Cheryl Petersen Galleries is happy to offer a lay by system, by which your artwork can be paid off gradually over three months.

develop and grow… I have never been disappointed.’ Brilliant colour is a trademark of her paintings together with uplifting, positive themes. The broad range of styles and subject matters on display demonstrate this artist’s versatility. Her gallery features canvases adorned with birds, owls, dragonflies and contemplative girls. She also paints bright abstracts and stunning beachscapes. As the resident artist, visitors to her gallery have a unique opportunity of seeing her create original artwork. Commissions are welcome and Cheryl regularly paints specific works to cater for client’s special tastes, subjects and colour themes.

EVERYTHING is an inspiration

CLASSES for artists

Cheryl’s inspiration stems from a purely intuitive source. ‘I paint according to my mood. Just letting the colours and theme

Cheryl shares her knowledge and experience with budding artists. She conducts weekend workshops each month that allow

potential artists to create and to complete a finished painting. Her inspired teaching provides fantastic motivation to all participants. Class themes cater for a wide range of artistic interests, such as birds and swirls, funky animals, poppies and a class on modern art for beginners. Adult art classes are held throughout the year. Many collectors have asked Cheryl to show her work more widely. Her works can now be viewed at Gallery Sorrento at 141 Ocean Beach Road in Sorrento. Handy for city viewers, Cheryl’s work is at the Suburban Gallery at 312-318 New Street in Brighton.

Cheryl Peterson Galleries is open daily at shop 7, 8 Edward Street in picturesque Somerville, one block off the FrankstonFlinders Road (Melways 107 E12). Trading hours are Monday & Thursday (9:30 am – 9 pm); Tuesday, Wednesday & Friday (9:30 am – 6 pm); Saturday (9:30 am – 5 pm); Sunday (9:30 am – 4:30 pm) ●

CHERYL PETERSEN GALLERIES 03 5977 8724 0408 833 260

Cheryl Peterson

Cheryl Peterson, Girl and Bird

Cheryl Peterson, Happiness #2


Commissions available Over 200 artworks on display Painting Lessons


MCCLELLAND GALLERY + SCULPTURE PARK Exhibition Schedule McClelland Sculpture Survey and Award 2010 Until 17 July 2011 he McClelland Sculpture Survey 2010 is the fourth in the series of sculpture biennales. It is the most influential and prestigious exhibition of outdoor public sculpture in Australia, surveying a wide range of styles from emerging to mid-career through to established sculptors. The judge of the McClelland Award 2010 was Tony Ellwood, the Director of Queensland Art Gallery and Gallery of Modern Art. The recipient of the McClelland Award for 2010, valued at $100,000, was Louise Paramor with Top Shelf. The Frankston City People’s Choice Award 2010, sponsored by Frankston City Council and valued at $20,000, goes to an artist whose work is voted the most popular by visitors to the 2010 McClelland Sculpture Survey. This will be awarded on 18 June 2011. The McClelland Sculpture Survey & Award 2010 is presented in equal partnership with the Elisabeth Murdoch Sculpture Foundation and The Balnaves Foundation. The McClelland Sculpture Survey 2010 has been open since 21 November 2010.


David Wadelton: Icons of Suburbia Until 15 May David Wadelton’s vibrant techno-pop

inspired paintings use contemporary cultural icons drawn from everyday life and mass media. He is fascinated with creating playful visual puns using a variety of images amassed into dramatic tableaux which are encapsulated by his comment, ‘I went out of the museum and down to the news stand.’ Parallel with the evolution of his paintings, David Wadelton has conscientiously photodocumented the changing world of inner suburban Melbourne. His photographs, which have been a source of inspiration for his paintings, range from black and white images of the 1970s and 1980s to contemporary digital suburban snapshots. They record the ephemeral culture of everyday life, from visual anomalies and puns to cultural incongruities and consumer clichés. Over 300 photographs, initially published online under the banner of the Northcote Hysterical Society, are exhibited together for the first time in a gallery context. They complement a selection of paintings from the 1980s to the present.

Simryn Gill: Inland Until 15 May This is the first survey of photography by this Singapore-born artist, who currently works in both Australia and Malaysia. It broadly draws upon works created over the past two decades. While photography forms a significant part of her practice, the artist does not consider herself a photographer.

Simryn Gill embraces this conundrum as a way of considering her artistic practice, and as to how photography might function more broadly as a way of engaging with the world. Her work is an intimate series of hand processed Cibachromes that emerged out of a journey from northern New South Wales across to Western Australia, surveying interior images of homes she visited, while eschewing the predictable images of representing rural Australia. This is a NETS Victoria touring exhibition developed by the Centre for Contemporary Photography, presented in association with the Melbourne International Arts Festival.

Your Move: Australian Artists Play Chess A Bendigo Art Gallery Travelling Exhibition 29 May – 7 August Inspired by the international exhibition The Art of Chess, Bendigo Art Gallery commissioned 13 of Australia’s leading artists to respond to the notion of the game of chess. The resulting exhibition, Your Move: Australian Artists Play Chess brings together an intriguing range of works that highlight the exceptional skills and dynamism inherent to Australia’s contemporary art scene. This exhibition includes the artistic competitiveness of artists Benjamin Armstrong, Lionel Bawden, Sebastian Di Mauro, Michael Doolan, Emily Floyd, Claire Healy and Sean Cordeiro, Robert Jacks, Danie Mellor, Kate Rohde, Caroline Rothwell, Sally Smart and Ken Yonetani.

The hand and shield have been dominant and reoccurring motifs within Nicholls’ sculpture. This exhibition aims to uncover the genesis of these motifs and the personal significance they continue to play in his work. Nicholls has continued to work with immediacy in the chosen medium of wood. His works are often determined by the inherent form, grain and line within the timber, with the surface of the sculptures revealing the trajectory of chisel and chainsaw. These textured surfaces are often heighted by the application of muted blacks and white pigments. Nicholls has developed his work into a highly personal vocabulary that speaks with a resounding authority and strength ● Open between Tuesday and Sunday, from 10 am until 5 pm, entry is by a donation. Ten minutes drive from Frankston Station (buses and taxis operate) the grounds are perfect for a picnic or plan a luscious lunch or afternoon tea at McClelland Gallery Café. MCCLELLAND GALLERY + SCULPTURE PARK 03 9789 1671

Mike Nicholls: Primitive soul 29 May – 7 August Best known as a sculptor, Mike Nicholls creates powerful, expressively carved forms in wood that share characteristics with tribal art and reductive, semi-abstract figuration.

David Wadelton, Starcrazy, 2002, oil on canvas, 91 x 198 cm. Collection McClelland Gallery + Sculpture Park. The Fonari Bequest, 2003 ©The artist



Eileen Gordon, Leaf vase

Edward Heffernan, Nude

Paul Sandby, South Gate of Cardiff Castle, Glamorganshire



njoy the diverse exhibitions of silver, porcelain and glass, paintings and prints from our rich permanent collection and visiting exhibitions at the Hamilton Art Gallery. Current highlights include art deco from private collections, contemporary Australian video and glass artists, while Imagining the Orient focuses on the exoticism and romanticism of the old Orient for 19th century Europe and British travellers.

FRIENDS Art Deco loan exhibition Until 15 May Art deco style items from private collections of members of the Friends of Hamilton Art Gallery are on loan for this exclusive exhibition of classy art deco – today’s vintage and tomorrow’s antiques. A wide range of decorative arts items in silver, ceramic and glass represent art deco styles in their earlier forms and some later interpretations.

IMAGINING the Orient National Gallery of Victoria touring exhibition Until 1 May An evocative exhibition of paintings, prints and drawings as well as artefacts, explores the Orient’s mystery and fascination. Oriental tracery inspired European design and decorative motifs on all kinds of objects including ceramics and glassware. In the 19th century, when the exhibited works were created, the Orient was a collective name for today’s near and Middle East.

JAPANESE prints First public viewing Until 22 May The Japanese woodblock print, so

influential in Western art, started as the common person’s theatre souvenir or poster. In 2009, the gallery received a generous gift of Japanese prints that are on public display for the first time; this exhibition explores their subtle variations.

‘THERE’S something in this and I think you know’ Graeme Finn Videos Until 5 June Six short text-based videos created in Europe by Graeme Finn (b. 1966) are themed around his impressions of six European cities, the result of his recent three years in Europe. The Hamburg Contemporary Art Museum purchased the full series. Graeme trained as a painter at the Victorian College for the Arts (1994-1996) and now lives near Hamilton.

(Sir) Sidney Nolan (1917-1992), John Olsen AO OBE (b. 1928), Lin Onus (1948-1996), Rover Thomas (c. 1926-1998) and Fred Williams OBE (1927-1982).

CONTEMPORARYAustralian glass 24 May – 31 July Works by the masters of contemporary Australian studio glass, on loan from a private collection and from Hamilton’s permanent collection, draws the work of these artists together. Australian artists have excelled in glass production in recent years and gained an international reputation for their production.

AUSTRALIAN Drawings 31 May – 24 July Drawings by various artists are on show from our permanent collection. This exhibition celebrates the art of the pencil!

THE SPIRIT in the Land

ACCA Artists in Residence

McClelland Gallery + Sculpture Park travelling exhibition & NETS Victoria touring exhibition 19 May – 10 July The landscape has been an enduring subject in the history of Australia art and vital to the ongoing formation of images of our national identity. Within this tradition, Spirit in the Land explores the connection between 11 Australian artists, historical and contemporary, Indigenous and nonindigenous, and their respective special appreciation of and engagement with the spiritual ethos and power of the land. The more than 40 works are by Lorraine Connelly-Northey (b. 1962), John Davis (1936-1999), Russell Drysdale (1912-1981), Rosalie Gascoigne (1917-1999), Emily Kame Kngwarreye (c. 1910-1996), Dorothy Napangardi (b. c. 1952),

Australian Centre for Contemporary Art (ACCA) Project 4 July – 18 September As part of its program of extending contemporary art to regional Australia, the Australian Centre for Contemporary Art, Melbourne is organising artists to work in regional areas and show their works in the associated galleries. Installation artists Alex Pittendrigh and Kate Daw will work at Hamilton Art Gallery and in the local community, exploring themes related to the Gallery’s collection and its connection with the community. Similar

programs are at Horsham and Warrnambool Art Galleries, all sites recommended to visit.

Sandby’s Tours in Wales 18th century prints from the permanent collection 2 August – 2 October Paul Sandby, the ‘father of English watercolour,’ visited Wales a number of times and inevitably, these tours were explored in picture books depicting scenic landscapes and buildings he visited. His famous aquatints from these tours trace Sandby’s journeys and explain the technical and artistic significance of the aquatints he completed as a record of his journeys.

On permanent display Taylor Gallery: Australian art from the permanent collection Gaussen Gallery: 18th century landscapes by Paul Sandby, the ‘father of English watercolour’ Barber Gallery: Oriental ceramics and Asian artefacts Hamilton Art Gallery is open 7 days a week: Monday to Friday 10 am to 5 pm, Saturday 10 am to 12 noon and 2 to 5 pm, and on Sunday between 2 and 5 pm. Admission is by a donation. ● HAMILTON ART GALLERY 03 5573 0460

Russell Drysdale, The crow trap 1941, oil on fibro-cement panel. Newcastle Region Art Gallery, Gift of Dr Roland Pope, 1945



This vehicle is a replica of the 1886 Benz patent motor car, the world’s first car. It was built recently in Avoca by Dudley Townsend taking 3000 hours to complete. The original is housed in Germany and there are only a few other examples in the world. It will be one of the highlights of the Avoca Fair.



Chinese Neolithic pottery bowl, c. 2,600 BCE

Greek Attic pottery bowl, black glaze, 550 BCE

Japanese bowl, 18th century

Chinese mug, c. 1750

CERAMICS: A question of restoration


eramics are vulnerable things. They are also often valuable, as a decoration or a useful object and for sentimental reasons. If the inevitable happens and a piece is damaged, then a decision is made as to the course of restoration to be undertaken. Value plays an important role in determining how this is to be undertaken. Restoration has been a focus of collecting in the Lorraine Rosenberg Reference Collection of Ceramics. Often, a seriously damaged piece is unsellable, but it has a lot to contribute as a reference. Cost is another factor, as the rarest ceramics are often far too valuable to consider purchasing and keeping just for study purposes. A damaged piece for a fraction of the market price can fulfil the purpose of a study piece just as well as a costly perfect piece and be available to many more scholars than insulated private collections.

INGENIOUS recycling BCE The earliest piece in the collection that shows restoration is a remarkable Chinese Neolithic bowl, c. 2600 BCE that was cracked. Rather than throw it out, pairs of holes were drilled either side of the crack and a cord was obviously threaded through, binding the piece tight and making it usable.

Fast-forward 2,000 years and a Greek black glaze cup from c. 550 BCE had a handle knocked off. Obviously valued at the time, holes were carefully drilled into each join from the inside of the cup. Into this, a clever craftsman inserted a bronze rod, the ends of which can still be seen. Both examples show the ingenuity of people using primitive technologies.

REWORKING pieces in the 18th century Some other types of repairs extended the life of a useful vessel in the 18th century. During this era, vast quantities of porcelain were imported to Europe and of course, some broke on the long sea journeys from the Far East. Heaped together and sold off cheaply on arrival, such broken items engaged the ingenuity of the local artisans who achieved some fascinating restorations. In Bristol, a technique known as glassbonding was developed which involved fusing together the two sides of a cleanly broken vessel. They used a glass frit, which once fired became a superb join – it was unmatched until modern glues were invented. The only giveaway is a slight crease in the glaze and a line when you hold it to the light. A large Chinese mug, c. 1750 was broken in two and missing its handle. A cunning restorer probably purchased this straight off the dockside, crafted a beautiful hammered bronze handle which was covered in woven cane and used the glass frit technique to fuse

the sides back together. It is still watertight, over 250 years later. He has even signed his work ‘Turner’ to the base.

MASTERFUL restoration techniques The rivet or staple was the traditional bonding method. In 18th century Japan, the use of the rivet was an art in itself. Valued pieces that unfortunately had a break were repaired and enhanced by a procession of bronze butterfly rivets, each engraved as a miniature piece of art. In Europe, the travelling tinker would do any patching jobs. To fix a broken ceramic piece, he would start by drilling pairs of holes, delicately drilled at slight angles on either side of a break. Then iron or brass rivets were heated to expand them and they were carefully inserted into the drilled holes and allowed to cool in place. The result was a tight, clean restoration that was watertight. Often it is not apparent until you turn the piece over and see the rivets. In some cases, small missing segments were made from tin or lead, inserted and then coloured to disguise the insert. A remarkable Chinese piece in the collection is an ornate dish, c. 1750. It was obviously from a dinner service, as a corresponding piece from the rim of another dish has been sliced off and riveted into place. The clue is in the mismatch of the pattern. Some repairs of missing parts are remarkable creations worthy of study in their own right. A Chinese teapot, c. 1760 with an

ornately moulded spout was quite probably a casualty of the long trip from China. Rather than discard it, an ornate replacement was created and carefully fitted. This restoration resulted in an item of beauty that continued to serve its practical purpose. The use of silver indicates that a high value was given to the piece, while the sophistication suggests a silversmith rather than a tinker was responsible for this creative restoration. The teabowl alongside is from the same period. It had been broken in two, with a single rivet keeping the base together. The rim has a collar of brass, which when polished looks just like the gold rim that is undoubtedly beneath. Once again, here is a beautiful and usable restoration.

CURRENT restoration practices In recent decades, restorers would deconstruct prior restorations with rivets and then re-assemble the piece in a way to cover up any evidence of damage. Modern restoration thought is that rivet repairs are a part of the story of the piece. A modern trained restorer will attempt to keep the evidence of riveting visible to respect the earlier restorer’s skill – of course, most clients would rather see them gone! In an age where everything is disposable, this collection of carefully restored usable items is testament to the possibility of restoring and reusing rather than replacing. It is nothing less than 18th century environmentalism, although they did not realise it at the time ● Part 3: In the next issue of Antiques & Art Victoria I will be discussing decorative repairs – the art of ceramic restoration. Paul Rosenberg MOORABOOL ANTIQUES GALLERY 03 5229 2970

Chinese dish, c. 1760



From left: Les Walkling, In my garden, 2010, pigment print. Courtesy of the artist Lesley Duxbury, Available light (detail), 2010, inkjet print. Courtesy of the artist and Galerie Düsseldorf, Perth Stephen Wickham, Blackish by reasons of ice #1, 2010, E-type print. Courtesy of the artist and Stephen McLaughlan Gallery, Melbourne

Geelong Gallery’s EXHIBITION PROGRAM April – September ROBERT BAINES: Metal 7 May–3 July Robert Baines is one of Australia’s most prominent and influential jewellers and goldsmiths with a career spanning more than 30 years. This internationally respected goldsmith creates jewellery and large, complex wire works. He often combines precious metals gold and silver with plastic and powder coated elements, frequently referencing archaeology and the abstract. This is an Object Gallery touring exhibition, part of Living Treasures: Masters of Australian Craft series.

Exclusive to the Geelong Gallery, the exhibition includes works by nine leading contemporary Chinese artists working in the genre. They explore themes as widely ranging as city and suburban life, landscape and atmospheric impressions, the world of dreams, historical allusion and the relationship of Chinese opera and painting.

SHELL ARTS – GEELONG REGION ARTISTS PROGRAM Christopher Heathcote: When lights are low 23 April–5 June Recent abstract paintings by Christopher were inspired by the geometry of urban architecture and music.

Barry Gillard: The Ulysses series 11 June–24 July See Barry’s recent large-scale charcoal drawings on paper ●

For more details about the forthcoming exhibitions contact GEELONG GALLERY 03 5229 3645

BEYOND Big Land Penny Byrne, War on terror waltz, 2009, porcelain figurines, vintage action man accessories, miniature service medal, retouching medium, powder, pigments. Deakin University Art Collection. Image reproduced courtesy of Sullivan and Strumpf Fine Art and the artist. Photographer: Jeremy Dillon, The Photography Department

PENNY BYRNE: Commentariat Deakin University touring exhibition 23 April–26 June escribed as a political cartoonist working in the ceramic medium, Penny Byrne’s work deals with various contemporary issues, from the environment, to Australian and American politics. Originally a specialist ceramics conservator, Byrne’s artistic practice sees her remodelling ceramic figurines to create works notable for their confronting, witty and unapologetic imagery. Penny Byrne coined ‘commentariat’ for the exhibition title as a combination of commentator and proletariat.


7 May–3 July Four artists explore their interpretation of the notion of ‘Australia Felix’ by alluding to different aspects of the contemporary landscape. Topics range from the impact of the mining boom in Western Australia to the romantic pictorialism of the high country. The exhibition includes photomedia-based works by Christine Adams, Lesley Duxbury, Les Walkling and Stephen Wickham that address issues of environmental conservation, land-use on an industrial scale and the altered landscape since European settlement.

MODERN ink wash painting from the National Art Museum of China 16 July–11 September In recognition of 2011 as the Year of Chinese Culture in Australia, this special exhibition from the National Art Museum of China, illustrates modern interpretations of the venerable Chinese tradition of ink and wash painting.

Geelong Gallery’s outstanding collection of paintings, sculpture and decorative arts spans the art of Australia from the colonial period to the present day. SPECIAL EXHIBITIONS 23 April to 26 June Penny Byrne – Commentariat A Deakin University touring exhibition 7 May to 3 July Robert Baines – Metal An Object Gallery touring exhibition and part of the Living Treasures: Masters of Australian Craft series 7 May to 3 July Beyond big land 16 July to 11 September Modern ink wash painting from the National Art Museum of China SHELL ARTS – GEELONG REGION ARTISTS PROGRAM 23 April to 5 June When lights are low – Christopher Heathcote 11 June to 24 July The Ulysses series – Barry Gillard Guided tours of the permanent collection Saturday from 2pm FREE ENTRY Open daily 10am to 5pm Closed – Christmas Day, Boxing Day, New Year’s Day and Good Friday

Little Malop Street Geelong VIC 3220 03 5229 3645

Liu Qinghe, Wind and water, 2010, ink. Collection of the National Art Museum of China, Beijing



Peter Day

Pat McKenzie

Eddy Warhurst

Jeff Raglus



he town of Aireys Inlet, on the spectacular Great Ocean Road is known for its wealth of writers, musicians and artists. Following on from successful writers and music festivals over the last few years, we are excited to showcase our artistic talents. Eagles Nest Gallery is thrilled to be able to exhibit the works of 15 artists in an exhibition titled The Art of the Aireys. These artists draw their inspiration from and live in this vibrant, eclectic seaside town. The display will include paintings, etchings and sculptural pieces ranging in style from the traditional to the more contemporary.

The Art of the Aireys Susan Romyn is considered one of the best artists in the district. Trained as a printmaker, she has progressed to vibrantly coloured canvases which reflect her place in this seaside

town. The layers and textures used on each painting reflect the layers and textures of our personalities. This, with a sense of whimsy and often tongue in cheek social comment is the essence of her work. Her extraordinary talent and creativity has extended to vintage button jewellery and more recently to beautiful handcrafted silver jewellery. Bill Jackman’s is artwork reflects the everchanging nature of the seascape and bushland. Bill has produced many beautiful watercolour paintings, but his sculptural pieces are what make him a much sought-after artist. Bill uses local wood and metal to create special pieces that include the fauna of the area. Dianne Leslie usually starts with a subject, often derived from music, poetry, books or aphorisms and then developed by experimenting with different materials. She loves textures, shapes, colour and the contrasting tactile aspects of ceramics and sculptures both modern and ancient.


Exhibitions: 1 – 30 April 9 – 30 April

Contemporary Works

Lindy Banner

The Art of Aireys

Group Exhibition

Champagne Opening: Saturday 9 April, 3pm

1 – 31 May


Philip Kininmonth

1 – 30 June

Contemporary Works

Amanda Fraser

Open: 10 am – 5 pm Friday - Monday

P: +61 03 5289 7366 E: 50 Great Ocean Road Aireys Inlet 3231


Since moving to Aireys Inlet, Dianne has been exploring offset printing combined with pen work, acrylics and joss paper on canvas. Her ‘pot’ paintings have evolved from all these influences. Pat McKenzie’s painting is greatly influenced by the beautiful surroundings of the Great Ocean Road and Otway National Park. The subject usually dictates which medium she will use, whether watercolour, pastel, pencil or oil. The Australian bush, boats, rocks, reflections and buildings are amongst her favourite subjects. After leaving his native Czechoslovakia, Jiri Tibor Novak’s discovery of Australia helped to re-invent his own sensibility with new colours and new shapes. In his work he is inviting you to share in his powerful magical landscapes. Jeff Raglus is living proof that success is not determined by how well one performs at school. High school did not suit Raglus who left early and chose to follow an alternate artist’s life. He bought an airbrush and spraypainted surfboards. As a musician he went on to play trumpet in many bands and maintained his artistic skills by printing t shirts and posters. He joined the iconic Sydney based graphic company Mambo, working there for most of the nineties during which time he developed his signature ‘Surf-Folk-Pop’ style. Raglus has gone on to have many sell-out shows around Australia. He has written and illustrated several children’s books, of which Schnorky is Raglus’ most well known work. More recently, Raglus is working as a singer song writer, playing the trumpet in several musical ensembles. Although his career has taken fresh directions he continues to paint. After a life of teaching in Victorian state secondary schools and at Trinity Grammar School, Kew, Ray Woods took up painting as a full-time activity. The influence of landscape is evident in his watercolour paintings and etchings. The subject matter – landscapes and mountains bathed in soft hazy light – seem to best suit his style. Ray has won many awards for painting and printmaking and is represented in collections in Australia, United Kingdom and the USA. Catherine Morgan has been painting for several years. Having grown up in the eastern suburbs of Melbourne, recently she underwent a sea change and now lives with her family at Aireys Inlet. Her style is modern with a vibrant and colourful edge. Circles are a feature of her work; she loves the texture and feels that circles in motion give to her art. Peter Day has lived on Victoria’s west coast for over 30 years. He works in environmental education and makes furniture and sculpture. He is also a seasoned surfer and his recent artwork is a culmination of these passions. Peter’s affinity with land and sea country is the inspiration for over two decades of furniture making and artwork using driftwood and found objects. Fish Project is a series of assemblage and ephemeral sculptures of marine life. Peter sources the materials from Victoria’s rugged coast. The driftwood,

plastics, flotsam and jetsam take days to find. To find these materials requires local knowledge and an understanding of the ocean’s moods. Peter’s work tells of the wonder and mystery of the unseen creatures which inhabit the sea and estuaries found along this coastline. Born and raised in Mildura, the Mallee has been the home of Eddie Warhurst for the greater part of his life. Many of his expressive landscapes are descriptive of this arid, semidesert region. Trained as a secondary school art teacher, he has held a number of successful solo exhibitions in regional galleries. He has also painted extensively for clients on a commission basis. Eddie does not see himself as a realistic painter of birds, but acknowledges that they are an integral part of the environment. Having permanently relocated to Aireys Inlet, Eddie is looking forward to the challenge of capturing the surf coast environment in his canvases. John Wilcox lives amongst the rawness of nature in Aireys Inlet, and so his work is influenced by the natural flow of the weather and its effects on the sea. Years of surfing have reinforced the ingrained understanding of the strengths of simple line and flow, its ability to move the eye and reflect movement. Working with rocks, wood and steel, Johns’ work merges elements of found objects with hand-formed shapes to create pieces that have a simple yet strong flow and design. The piece for the Lorne sculpture trail, titled Crescent reflects a powerful shape in nature; tidal, lunar, repetitive, and flowing with movement. Made from steel and standing approximately 3.6 metres tall, Crescent is a small vignette of a larger scape taking the viewer through a journey in five phases. Laurie Adamson has enjoyed painting for a number of years, beginning with oil painting under the tutelage of Bernice Ireland and Brian Nash. He progressed to watercolour under Bruno Callori and more recently with Ray Woods. Laurie draws his inspiration from the beauty of the surf coast as well as country Victoria and his landscapes and work on native fauna are rich in colour and texture. Lisa Simmons says that living in Aireys Inlet you can’t help but be inspired by the beauty and nature of the coastal environment. Discovering my passion for sculpture about 12 years ago, my focus has mostly been on the human element, though I have always had a special interest in the role and history of the Split Point Lighthouse. Currently I am enjoying experimenting with abstract forms influenced by the sea and its surrounds. My works included in the Aireys by Aireys exhibition are a portrayal of the ebb and flow of coastal life ●



Prue Kirkcaldie, Move over, 200 x 80 cm

Prue Kirkcaldie, Immigration, 120 x 100 cm

AT QDOS PRUE KIRKCALDIE’S PROGRESSIVE THINKING exhibition explores bush fragility as a human metaphor 23 April – 15 May


rtist Prue Kirkcaldie is holding a major exhibition of her work at Qdos Arts in Lorne, opening at 3 pm on Easter Saturday, 23 April, and running for three weeks. Her work looks deeply at the connection between Australians and the bush, and the impact that an expanding population is having on our fragile environment as more bushland falls prey to the ceaseless march of urban sprawl. The exhibition contains a diverse array of paintings that demonstrate Kirkcaldie’s keen observations on humanity and its relationship to nature. The works are rich in the detail and complexities of their messages, and enlightening in the way they connect the viewer to the landscape. However, the word ‘painting’ fails to capture the full extent of Kirkcaldie’s art, as her unique technique is powerfully intelligent with a scope that bridges into sculpture. To express her ideas, she works with thousands of mass-produced, equal-sized balsa sticks, which she glues to a base. She then individually sculpts each stick into its desired state, and paints and treats them in a variety of ways to create her sought-after, often threedimensional result. Her striking visual language comes from using a combination of tools and application methods, involving oils, wood and canvas enhanced by photography, and computer graphic programmes.

ARTIST’s statement The balsa sticks are my metaphor for the human race – for people as individuals, as groups and as parts of society as a whole. By using the sticks individually or in numbers, I can tell stories about the human condition and its relationship to the natural world. I’ve called this new exhibition ‘progressive thinking’ and used the bush as symbolic iconology to explore Australia’s unprecedented population growth and our collective perceptions of permanence. This has contemporary echoes of what Henry Lawson wrote in his famous poem, The Roaring Days, where he said, ‘The flaunting flag of progress is in the West unfurled; the mighty bush, with iron rails, is tethered to the world.’

Kirkcaldie chooses to convey the narrative embodied in her works. They carry clear signals that can be immediately grasped, as well as ambiguities that raise questions in the viewer’s mind. This exhibition is an impressive body of work by an artist whose practice, already held in some significant collectors, is just now being exhibited for a wider audience of collectors and admirers.

SCULPTURE Park When you visit Qdos on Allenvale Road in Lorne, allow time to visit our Sculpture Park in three acres of thick towering eucalypts. It features a decorative pond surrounded by works of our leading sculptors, perfect for a picnic ● For more information contact Graeme Wilkie, Director QDOS ARTS 03 5289 1989

IMPRESSIVE body of work There is more to Kirkcaldie’s work than this suggests. It is not merely a simple lamentation about the effects of society’s intrusion into the natural world – it is a complex reflection on the natural cycle of destruction and rebirth that we all recognise as being a part of the Australian bush. Floods, fire and human infrastructure will continue to come and go, but in Kirkcaldie’s world, there is still a slender chance for both the survival of the mighty bush and the survival of humanity. Her work is filled with this undercurrent of hope, which is reflected in the energy of the forms and colours

Prue Kirkcaldie, Captured torchered ,120 x 80 cm



ANTIQUES AND ART in Central Victoria


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

ANTIQUE EFFECTS 110 Urquhart Street, Ballarat Phone/Fax: 03 5331 3119 Open Monday to Saturday in the restored old co-op store building A range of antiques, collectables, jewellery, bric-à-brac and restored products as well as direct importers of mahogany, teak and pine furniture.

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

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

2. BENDIGO BENDIGO ART GALLERY 42 View Street, Bendigo 03 5443 4991 Fax: 03 5443 4486 Entry by donation Open daily 10am - 5pm Except Christmas Day Gallery Café/Gallery Shop One of the oldest and largest regional galleries in Australia, Bendigo Art Gallery has outstanding permanent collections of 19th century European art, Australian art from the 19th century to the present and a diverse temporary exhibition program.




3. CASTLEMAINE XXXX ANTIQUE COMPLEX (THE BOND STORE) 5-9 Elizabeth Street, Castlemaine Corner Midland & Pyrenees Highways, next to Carrier’s Arms Hotel 03 5470 5989 Open 7 days 9.30am - 5.30pm One of the largest independently owned selections of quality antiques and collectables. Thousands of items on display to suit either the collector or the connoisseur.

CASTLEMAINE COLLECTORS CENTRE Inc 71 Forest Street (Melbourne Road), Castlemaine 03 5470 6968 Open 7 days 10am - 5.30pm 12 stallholders present an interesting and varied selection of antiques, old wares, collectables, furniture, glassware, pottery, jewellery, lamps, artwork, handcrafted teddies, dolls, garagenalia etc, books, records and comics.

4. DAYLESFORD EX LIBRIS 89 Vincent Street, Daylesford 03 5348 1802 Open every day 10am - 5pm Great selection of antique European prints, mostly 18th and 19th century, focused on architectural, botanical, topographical and early Australian engravings. New and exciting prints by Australian artists also featured. Other decor lines include Italian cushions, photo frames, Victoria Spring jewellery and homewares.

MILL MARKETS ANTIQUES AND COLLECTABLES CENTRE 105 Central Springs Road, Daylesford 03 5348 4332 Open 7 Days 10am - 6pm Superb display of Victorian and Edwardian furniture, collectables, clocks, vintage clothing, porcelain and china. Over 100 stallholders, 2.5 acres, all under cover with a café serving homemade food and a variety of hot and cold drinks.

4 8


5. MARYBOROUGH MARYBOROUGH STATION ANTIQUE EMPORIUM, LICENSED CAFE AND REGIONAL WINE CENTRE Railway Station 38c Victoria Street, Maryborough 03 5461 4683 Open 10 am to 5 pm Sunday, Monday & Wednesday, Thursday & Friday 10 am to 11 pm, evening meals available until 9 pm. Saturday evenings by appointment (closed Tuesday) Group bookings and functions welcome. An 1890 National Trust classified building. Quality antiques, collectables, wine, food and art. The wine bar has selected regional wines at cellar door prices. Homestyle meals and cakes prepared and baked on premises

6. MALDON BEEHIVE OLD WARES & COLLECTABLES 72 Main St, Maldon 03 5475 1154 A/H: 03 5475 1300 Open 6 days - 11am - 5pm (closed Tuesdays) We buy, swap and sell old wares, antiques and furniture. Various traders providing a good selection including furniture, china, collectables, books and records.

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


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

7. AVOCA – 15 minutes from Maryborough McMURRAY GALLERIES 103 High Street, Avoca 03 5465 3060 Hours: Open most days from 10.30 am - 5 pm Please ring if travelling a long distance Collectable artworks from the late 1800s to the present day by local, national and international painters and sculptors. Nude and portrait artworks by resident classical realist artist Laurie McMurray.

WESTBURY ANTIQUES 119 High Street, Avoca 03 5465 3406 Fax: 03 5465 3455 English and Continental 17th and 18th century furniture and decorative arts, also valuation services.

8. TRENTHAM GOLD STREET STUDIOS WORKSHOPS AND GALLERY 700 James Lane Trentham East Vic 03 5424 1835 Director Ellie Young Representing photographers Bob Kersey, Karl Koenig, Hans Nohlberg, Chia N-Lofqvist Tim Rudman, John Studholme, Steve Tester, Mike Ware, Gordon Undy Ellie Young including albumen, carbon, gum bichromate, gum oil, lithograph, chrysotype, new cyanotype, photogravure, platinum/palladium, salt, silver gelatin and ziatypes photographs. Hours: by appointment. Check the website for workshops in these processes.


Set of three 19th century Mason’s ironstone graduated jugs, $695

M A R Y B O R O U G H R A I L W AY S TAT I O N Fine regional wines, antiques, quality food, art & Market Affair

Market Affair

Lacquered Chinese c. 1840s sewing box, $795

Market runs from 8 am till 4 pm Over 50 stalls For dates and more details contact Glenda 03 5461 4683

Maryborough Railway Station Antique Emporium & Cafe

Desk lamp made by Eller, original shade and base, $735

Tourist Complex, Antique & Collectables & Licensed Restaurant

STATION ANTIQUE EMPORIUM LICENSED CAFE & WINE CENTRE Old wares • Collectables • Regional wines Open 6 days • 9.30 am to 5 pm Sunday, Monday, Wednesday 9.30 am till 11 pm Thursday, Friday and Saturday,

For details of next Market Affair contact

Maryborough Railway Station in Central Victoria is a major tourist attraction. Restored to its original beauty by Victrack, the Grand Station built in 1892, is steeped in history. Marvel at the workmanship of 118 years ago. Station Antiques & Cafe – operating for the past 15 years – offers fine dining, relaxation, a extensive selection of local wines, quality antiques and art for your perusal. Enter via the main foyer into the large dining room, originally the first class silver service dining room. The ceiling is crafted of kauri pine and there is a centre lightwell. Experience the magnificent original fireplace with a roaring open fire in winter months whilst enjoying a great selection of fine foods and superb local wines. Wander through the large display of antiques and find a bargain. Further on is the formal dining/sitting room featuring antique furniture and gallery of Phillip Adam’s paintings. Come with friends or arrange a bus group. Live entertainment every Friday evening featuring local artists and on Sundays listen to the live harp music of Carolyn Brophy. Enjoy excellent food, coffee, teas and wines, a perfect place to relax. Weddings, large and small functions welcome.

Glenda James

Ph: 03 5461 4683 • Fax: 03 5460 4988 RAILWAY STATION, 38C VICTORIA ST MARYBOROUGH VIC 3465

Email: • Website:

American Sessions clock, working, $445

Vintage Beswick (England) camel, $375

The Railway Station Market is a terrific experience. Enjoy the ambience of the grand Victorian station with warm friendly hospitality.

Shelley Moonlight vase c. 1910, $195

Button base ladies chair, $550

Original Art Nouveau amber lamp, $75 Edwardian tub chair, $195

Three-handled sterling silver vase, $395





WORLD PREMIERE AT BENDIGO ART GALLERY The White Wedding Dress: Two Hundred Years of Wedding Fashions From the Victoria and Albert Museum, London 1 August – 6 November


rawing on the V&A’s outstanding collection of wedding gowns from the early 1800s to the present, the exhibition traces the history of the wedding dress. Individual garments and their histories are used to illuminate ways in which society has responded to economic, cultural and technological change, expressed in wedding fashions.

WHY white? Exquisite gowns have represented the single largest investment in clothing in a lifetime for many. However, why did the white wedding dress became the garment of choice for fashionable brides in the early 1800s? See how designers and couturiers interpreted the tradition from the late 1800s through to today. Investigate why the public has such an enduring fascination with society and celebrity weddings.

The exhibition encompasses historical bridal dresses, veils, corsetry, millinery, shoes and other accessories. There are gowns by couturiers and designers including Charles Frederick Worth, Norman Hartnell, Charles James, Zandra Rhodes, Vivienne Westwood, Vera Wang, Christian Lacroix, Lanvin, Philip Treacy and Stephen Jones. Edwina Ehrman, curator of the exhibition says, ‘This exhibition presents the most romantic, glamorous and extravagant wedding dresses from the V&A’s superb collection and highlights the histories of the dresses, revealing fascinating details about the lives of the wearers and offering an insight into their circumstances and fashion choices.’

Wedding dress by Charles James (Engish), worn by Miss Baba Beaton on 6 November 1934. © Victoria and Albert Museum/V&A Images

AUSTRALIAN wedding fashions Bendigo Art Gallery will curate an additional section for the exhibition highlighting wedding costume in Australia from colonial settlement to contemporary wedding fashion. Make your plans to visit Bendigo Art Gallery for this and other outstanding exhibitions. Tickets on sale now, visit the Gallery's website for further information ●


American Dreams: 20th century photography from George Eastman House 16 April – 10 July The White Wedding Dress: 200 years of wedding fashions organised by the V&A, London 1 August – 6 November

Silk wedding dress, over-sleeves and pelerine, trimmed with blond silk lace, British, 1828. Worn by Eliza Larken for her marriage to William (later 6th Baron) Monson © Victoria and Albert Museum/V&A Images



Tin toy plane. Childhood toys bought for pennies – now worth many dollars

Collectable cartoon character figurines



raham and Pearl Rose have plans well in hand for this year’s Ballarat Collectables Fair to be held on Saturday, 2 July. Well known for the successful collectables fairs they run in Geelong and in Melbourne, Graham and Pearl

organised their first Ballarat Collectables Fair in 2009. Ballarat is a popular collectors’ stop, and the fair is offering more in one place on one day than collectors could find on their own. This year’s fair is in the modern and spacious Wendouree Sports and Events Centre.








For further details and bookings: Graham & Pearl Rose on 03 9585 6567 or 0428 394 249 74

The Roses have over 40 years of involvement as collectors and traders in antiques and collectables and their well respected fairs attract strong support from the antiques industry. Regular patrons acknowledge that they attract diehard collectors – and courteous traders. The Ballarat fair is filled with many familiar faces from a long list of regular and private sellers coming from metropolitan and regional Victoria.

Adult admission is only $5 and children under 14 years of age accompanied by an adult will be admitted free of charge. New traders are most welcome. For further details on the fair, ring Graham or Pearl Rose ● BALLARAT COLLECTABLES FAIR 03 9585 6567 or 0428 394 249

Stock galore There will be the usual special collectables such as fine English pottery from Royal Doulton, Beswick, Shelley, Clarice Cliff and Carlton ware. This year there will be many different types of collectable glassware, kitchenalia, ephemera, antique prints, vintage toys and die cast models and dolls. Tiny collectables, suitable for travelling collectors without much spare space, will include swap cards, football cards, stamps and coins, jewellery, tins, badges and watches. Popular stock includes Coca-Cola memorabilia, sporting and advertising memorabilia – and racks of vintage clothing and linen. With literally thousands of items on offer, whatever your special interest, you are sure to find something to satisfy your collecting passion at this fair.

At the Ballarat Collectables Fair, you find a great selection of fine china and other collectable ceramics from renowned English firms such as Royal Doulton, Shelley, Royal Winton, Beswick and Carlton Ware

Early bird collectors

Items of interest will include china, silver, swap cards, linen, glass, toys, stamps, coins, medals, antique prints and much more


Meet the organisers

To take advantage of the early starting time of 9 am sharp arrive early, as there will be an orderly queue to enter with the opportunity of first pick of the goods. As this is a one-day event closing at 3 pm, there is only six hours of browsing and collecting. Keen collectors know this is the ultimate one-stop fair for all types of popular collectables.

Getting to the fair Ballarat is linked with a dual highway all the way from Melbourne and is easily reached from many regional centres. The fair venue is easy to access from the Midland Highway exit on the M8 Western Freeway, with plenty of free parking on site. When you work up an appetite for food, catering will be offered all day.

Royal Doulton figurines




hen you visit the Art Gallery of Ballarat, include time to explore the gallery shop, which not only stocks a range of gallery souvenirs, including postcards and exhibition catalogues, but an extensive selection of art books and designer gifts including jewellery made by local artisans and accessories. Brand names you’ll find at the shop include Elk, Me Olde China, Angus & Celeste, Kai Kai, Ruby Pilven, Mattt, Mekko, B.Sirius, and D/Lux. The gallery shop also specialises in works by local ceramic artists. The Ballarat region has a long tradition of producing high quality ceramics and some of the artists whose work you’ll find in the shop include Peter Pilven, John O’Loughlin, Barry Wemyss, Kath Wratten and Koji Hoashi.

For young visitors is a fantastic range of children’s toys and books in the children’s corner, which is supplied with pencils and paper so children can have fun while parents can browse at their leisure. Scholarly and informative catalogues from current exhibitions and earlier shows are available for purchase. Exclusive to the shop are those catalogues published by the gallery. Among the interesting titles available is Highlights Of The Collection, published in 2006, which gives a brief history of the gallery and shows the range and strength of the collection. It makes a wonderful present for art lovers or guests from overseas.

Sweet Decadence at the Gallery Take time out to indulge your senses at Sweet Decadence, the gallery’s new café,

which is fittingly named after the first coffee shop at Locantro in Daylesford, and the first handmade chocolate shop in country Victoria. In the café are the same quality produce, coffee and chocolates as well as delicious food made from locally sourced ingredients. Whether a local or visitor, the culinary experience promises to be different to what would see and taste anywhere else. Take home the special handmade chocolates. Made on the premises are chocolates for all occasions, from gift boxes to specialty packs for corporate and private events. Using chocolate, fresh cream, dried fruits, nuts, flavourings and alcohol, the ingredients are stirred in a heavy pan over heat. Each mixture is poured into a stainless steel

tray to set. Then it is turned out onto a bench and cut with a large knife. The chocolates are individually dipped in and decorated with melted chocolate. For coffee aficionados, Sweet Decadence is the first café in country Victoria to serve Belaroma coffee – 100% Arabica beans roasted in Australia and packed within minutes, guaranteeing freshness, flavour and aroma. Together with the gourmet treats, this café is the perfect place to take time out during your visit to the Art Gallery Of Ballarat ● ART GALLERY OF BALLARAT 03 5320 5858



Adventures and stories from SHIRAZ IN SOUTHERN IRAN


here is a measure of anxiety in this era of globalisation that traditional cultures, like the nomadic groups of Iran, are endangered and will soon be lost. However, these vibrant cultures are adapting their traditional lifestyles to fit the demands and conditions of a contemporary urban society. On a buying trip I saw that trucks were replacing animals for transport, woven saddlebags had given way to sewing together pieces of fabric, crops were being cultivated in rented plots and, best of all, children were attending schools in towns and cities. Such innovations were in tandem with traditional cultural expressions of the nomads, whose stories I share with readers.

QASHQAI nomads and rug making For the past few decades, nomads have had less access to the plants from which to make vegetable dyes, as they grow more rarely in the wild and nomads are not travelling as widely. To address this decline in raw materials merchants began to buy natural dyes to sell or give to nomads who had settled, to weave specifically ordered carpets. This has proved to be very helpful for the Iranian carpet industry and has been replicated in other countries. Nomadic women now weave as contractors and their products for sale rather than for their own use. Rugs still feature traditional designs although some have been varied for customers.

Merchants like Zolanvari have asked for landscape designs featuring animal figures with vibrantly coloured vegetable dyed wool, to achieve a bold and modern effect. These so-called Gabbeh rugs have quickly become very popular in the western market, little knowing that they functioned as mattresses in presettlement nomadic times. Traditionally they were made with uncoloured wool, had very coarse knots, unshaved pile and minimal designs.

DONKEYS and Qashqai tents Qashqai tents in a summer camp are traditional, but the donkeys’ saddlebags are now made of fabric. Sewing up fabric is faster than weaving a khorjeens for months. ‘We have no time to make one, this bag does the same job anyway,’ one girl explained. Western clothing has replaced the riders’ colourful traditional dress. They live in Shiraz during the school term and in tents only for summer.

SADAT Khanoom, Afghani refugee weaver

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Ph: 03 5659 4215

CARRINGTONS OF LOCH VICTORIA ST LOCH VILLAGE Visit historic Loch Village and browse through Carringtons’ unique range of antiques, art, fine English bone china, old wares, lamps & reproduction mahogany furniture We are open from 10am to 5pm Thursday to Sunday and Public Holidays Ph: 03 5659 4215 Mob: 0412 459 260 Email: 76

The woman whom I call Sadat Khanoom (which means a woman deserving of great respect) is a refugee from Afghanistan and now lives among the Turkish-speaking Qashqai people near Shiraz. She wears less traditional clothing and her method for spinning wool differs slightly from theirs. Her spinning ball is more spherical, and she doesn’t have a stick protruding from it. In Sadat khanoom, Afghani culture and textile techniques negotiate with Persian nomadic surroundings. I encountered this combination of tradition and adaptation repeatedly in my time with the nomads.

A NOMADIC child’s life Shahin, a twelve-year-old boy, has a bike which he uses to help care for livestock. It is his job to take them to higher ground in the morning and bring back before nightfall. He shoulders this responsibility easily, with a maturity beyond his years, tempered by a child’s laugh. He spoke of the effect of the drought that requires the livestock to make increasingly lengthy journeys up the mountain for green fodder. When I asked if he is involved with carpet making, he answered that it is women’s work, for his sister. I encountered children on their way to the nearest cheshmeh (stream) to wash dishes left dirty from the funeral ceremony of a family member. Now cars are used for journeying, so for these children, the idea of traveling with horses and camels has become the stuff of stories from the past. When I was near Shiraz I encountered Fatimeh and her younger sister busily weaving a Qashqai kilim for winter. There was only two months left of the summer camp before their

From left: Qashqai rug, 226 x 150 cm Khamseh family picking green beans for the market near Shiraz, to pay for their winter migration Fatimeh and her younger sister weaving a Qashqai kilim under the shade of trees near Shiraz Shahin, a young shepherd talks with Majid Qashqai rug, tree of life design in Majid’s collection

family migrated to warmer areas for winter so they wanted to finish it and take it from the loom. Fatimeh had spun and dyed the wool from the spring shearing. She said most dyes were purchased because plants for natural dyes such as madder and jasheer (a fennel-like plant), were rarely found in the mountain. Fatimeh’s design was created as she wove and her younger sister mirrored her sister’s work.

CULTURAL shifts On the edge of a dried lake I saw black tents of Khamseh nomads (Arabic-speaking nomads) who were farming on rented land. Sunflowers were in full bloom and family members were picking green beans to sell at the market to fund their winter migration. Non-traditional modes of production, such as the cultivation of crops, have been incorporated here with the nomadic cycle.

MAINTAINING links Nine-year-old Yasaman and 13-year-old Maryam moved to the city where their father now works at building sites and their mother weaves carpets in their front yard. They enjoy staying with relatives who live in tents in the mountains, yet are happy living in the city and going to school. Maryam wants to weave her own design one day. Their grandmother is unhappy living in the city, but is pleased that the girls are staying at home and weaving carpets in their leisure time. Women seemed to maintain links with their nomadic lifestyle even in the city, through their clothing and carpet weaving. However, city boys have less tangible connections with nomadic gender-based roles. For Qashqai women spinning wool in their tent is a typical afternoon activity for nomadic women. Almost every woman I saw was sitting in the black tent, leaning against their bedding bags and chatting away while they all spun wool. Women appeared to relish being photographed, while nomadic men were less pleased by our presence.

CULTURAL resilience These examples of combining tradition and adaptation assure us that some of the best parts of the nomads’ cultural traditions will survive in a changing globalised urban society ● Majid Mirmohamadi MAJID PERSIAN & ORIENTAL CARPETS 03 9830 7755



VICTORIAN ANTIQUE DEALERS GUILD INC. Six excellent reasons to buy with confidence from a member of the Victorian Antique Dealers Guild Incorporated, knowing your antique is genuine. ■ Guild members guarantee the description of the antiques and collectables they sell ■ Guild members must meet requirements of integrity, experience and knowledge of the goods and services they provide ■ Guild members must be professional in both their displays of goods and dealings with the public ■ Guild members are required to have been trading, in a professional manner, for a minimum of three years ■ Guild members must be registered second-hand dealers ■ The VADG Customer Protection Policy covers a purchase from a Guild member Guild Committee members you can contact for expert advice and where to buy antiques: PRESIDENT: TREASURER: SECRETARY/EDITOR: COMMITTEE:

Alan Duncan, Donvale Antique Clocks, Donvale Ph: 03 9874 4690 or Guy Page, Page Antiques, Canterbury Ph: 03 9880 7433 or Barbara Thomas, Mentone Beach Antique Centre Ph: 03 9583 4322 or Alastair Wilkie, Marquis Antiques, Daylesford Mob: 0402 888 439 Graham Pavey, Pavey Collectable Antiques Ph: 03 9596 1602 or Diana Brady, Circa Antiques, Kyneton Mob: 0438 048 260 Tanya Gale, Camberwell Antique Centre, CamberwellPh: 03 9882 2028 or

Mob: 0409 744 690 Mob: 0411 175 320 Mob: 0437 121 040 Mob: 0411 437 511 Mob: 0418 586 764

VICTORIAN ANTIQUE DEALERS GUILD INC. MEMBERS More than 26 Years Service to Antiques Collectors

Graham Pavey, VADG Member

Meet Graham Pavey of Pavey Collectables & Antiques Starting out: when did it begin? Graham has been a dealer for nearly 20 years, trading through antique centres and fairs. He registered his business, Pavey Collectables & Antiques in 1990. He is currently at Camberwell Antique Centre.

What sparked the interest in antiques? Graham’s interest in antiques and collectables started over 40 years ago when purchasing for private and domestic use. After a 35-year career in advertising and marketing, he decided to fulfil his passion and become an antique dealer.

What is the most enjoyable area of being an antiques dealer For Graham, it is the researching of items, finding out all about the maker, period and social context of objects. His profile of stock is primarily that of interesting and different smalls. The range is eclectic and diverse, covering categories including Georgian glass, small tureen items, interesting metal objects, boxes, ceramics and ephemera.

Favourite piece in stock at the moment A pair of English wax figurines of a fisherman and fisherman’s wife, dated 1804.

Graham’s antiques tip for the future There will always be a market for antiques.

What’s the best advice received to date Everything is saleable; it’s just a matter of the price and time.

What advice would you pass on to others Knowledge is power, so learn as much as possible about all aspects of the antiques that interest you.

Any other comments you’d like to add Being an antique dealer is the best fun you can have with your clothes on.

Where to find Graham Pavey Collectables & Antiques is at Camberwell Antique Centre, 25-29 Cookson Street in Camberwell. Visit Graham in shop 11 or phone him before visiting on 03 9596 1602 / 0411 437 511 ● Victorian Antique Dealers Guild Established in 1982, the Guild’s motto is ‘Service and Protection.’ A member of the Victorian Antique Dealers Guild, Graham maintains a professional standard and a code of ethics by which all members abide. To take pride in presentation and the proper identification of antiques and collectables. To foster interest in collecting antiques. To display professional conduct at all times. To generate the honesty and integrity of guild members towards clients.

A.B. Furniture 630 Glenhuntly Road, South Caulfield, Vic. 3162 Phone: 03 9523 8050 Mobile: 0407 822 115 Antik@Billy’s Mailing Road Antique Centre, Canterbury, Vic. 3126 Mentone Beach Antiques Centre, Beach Road, Mentone, Vic. 3149 Maryborough Station Antiques Centre, Maryborough, Vic. 3465 Mobile: 0402 042 746 Armstrong Collection 42 Station Street, Sandringham, Vic. 3191 Phone: 03 9521 6442 Mobile: 0417 332 320 Dalbry Antiques & Collectables at Mentone Beach Antique Centre Beach Road, Mentone, Vic. 3149 Camberwell Antique Centre Cookson Street, Camberwell, Vic. 3124 Phone: 03 9836 2301 Mob: 0418 373 940 David Freeman Antique Valuations 194 Bulleen Road, Bulleen, Vic. 3105 Phone: 03 9850 1553 Mobile: 0419 578 184 Diana Brady at Circa Antiques Mollison St, Kyneton Vic. Stall 7, Dalysford Mill Market, Vic. Mobile: 0438 048 260 Donvale Antique Clocks 12 White Lodge Court Donvale, Vic. 3111 Phone: 03 98744 690 Mobile: 0409 744 690 Email: Ern Opie Valuer 3/1 47 Roslyn Road, Belmont, Geelong, Vic. 3216 Phone: 03 5244 4521 Mobile: 0417 575 484 French Heritage at Mentone Beach Antique Centre 68-69 Beach Road, Mentone, Vic. 3194 Phone: 03 9583 3422 Mobile: 0437 121 040 Email: Imogene 410 Queens Parade, Fitzroy North, Vic. 3068 Phone: 03 9569 5391 Mobile: 0412 195 964 Irene Chapman at Irene Chapman Antiques 126 Bay Street, Brighton, Vic. 3186 Phone: 03 9505 0032 Ivanhoe Collectibles Corner Tearoom 231 Upper Heidelberg Road, Ivanhoe, Vic. 3079 Phone: 03 9497 1935

Julian Phillips at Tyabb Packing House 14 Mornington-Tyabb Road Tyabb, Vic. 3913 Phone: 03 5977 4414 Mobile: 0438 086 708 Kilbarron Antiques & Collectables By appointment only: 1 Laurel Grove Blackburn, Vic. 3130 Phone: 03 9878 1321 Mobile: 0417 392 110 Marquis Antiques 105 Central Springs Road, Daylesford, Vic. 3460 Phone: 03 5348 4332 Ah: 03 5474 2124 Mobile: 0402 888 439 Email: Tanya Gale at Camberwell Antique Centre 25 Cookson Street Camberwell, Vic. 3124 Phone: 03 9882 2028 / 03 9882 2091 Mobile: 0418 586 764 Page Antiques Warehouse 323 Canterbury Road, Canterbury, Vic. 3126 Phone: 03 9880 7433 Mobile: 0411 175 320 Email: Pavey Collectables – Antiques at Camberwell Antique Centre 25 Cookson Street, Camberwell, Vic. 3124 Mobile: 0411 437 455 Seanic Antiques 419 Melbourne Road, Newport, Vic. 3015 Phone: 03 9391 6134 Mobile: 0418 326 455

REGIONAL AND INTERSTATE MEMBERS Baimbridge Antiques 64 Thompson Street, Hamilton, Vic. 3300 Phone: 03 5572 2516 Email: Glenross Antiques 147 Hume Highway, Holbrook, NSW, 2644 Phone: 02 6036 3122 Mobile: 0408 363 122 Morrison Antiques 55 Carey Street, Tumut, NSW, 2720 Phone: 02 6947 1246 Mobile: 0408 965 336 Neville Beechey’s Antiques & Fine Furniture 208-210 Murray Street, Colac, Vic. 3250 Phone: 03 5231 5738 Mobile: 0418 523 538 Selkirk Antiques 29 Summerland Circuit, Kambah, ACT, 2902 Phone: 02 6231 5244 Mobile: 0418 631 445

Direct enquiries to any of the Guild Committee Members



Water damaged dressing table

Water damaged china cabinet

China cabinet after treatment

DEALING WITH WATER DAMAGED precious family heirlooms


he flooding in regional Australia, in particular Queensland and its capital city Brisbane, has destroyed or badly damaged many homes and their contents. No photograph, item of memorabilia or piece

of furniture is as precious as human life and that is a given. However, those who have survived intact but who have had their homes and possessions badly damaged face a dreadful clean-up.

Water damage, rings, heat marks, scratches… not a good look! But these blemishes are easy to get rid of. Let me share my secret with you.

Restor-A-Finish, simply miraculous

For some people the loss of links to their lives, such as furniture that has been passed down through generations, is a real body blow. There is a way to restore badly water damaged furniture – as long as the wood and the basic construction of the piece are sound. Murky, polluted flood water will strip away furniture surfaces and leech out all the natural protective oils and resins that the wood may contain. This leaves good furniture looking worn and stippled with white, blotchy water marks. Howard Restor-A-Finish – a product well known to restorers and fine furniture enthusiasts around the world – has the ability to penetrate the surface, going into the wood itself and resurrecting old shellac and other materials from previous coats hidden below the actual surface. These elements, once released to the surface, are worked until they re-set as a light coating. Making it relatively easy to repair the worst problems in furniture by yourself for relatively little cost. Have a look at these photographs of seriously smoke and water damaged furniture in a house

Restoring-A-Finish on grandma’s bridge chair


Dressing table after treatment

which was saturated by high pressure fire hoses. The proof is in these genuine before and after shots. These repairs were carried out by one lady using Howard Restor-A-Finish, four zero grade steel wool, Feed-N-Wax, Howard Orange Oil and Restor-A-Shine. The work was done virtually unaided. If any reader of this article has been caught in this horrendous flood situation and needs advice, please email us at or ring 1800 672 646 and we will get you the information and products you need at the cheapest price we can. Alternately, I can be contacted direct on 0419 403 627 if you prefer ● David Foster HOWARD PRODUCTS


THE RIVIERE COLLEGE AT THE HUGHENDEN A Queen Street college for girls, with a focus on the arts


iviere College was ahead of its time with a syllabus focusing on music, literature, painting, and offering young women important educational opportunities. Subjects studied included geography, history, English general knowledge, composition, arithmetic, German and music. The school was established by Professor and Mrs Georgs, circa 1877, and initially housed in an imposing two-storey, turn of the century building with lawned surroundings in Wallis Street, Woollahra. Professor Georgs, a professor of music, adapted the German motto for his college: Des Fleisses Lohn (Rewards of Work and Diligence). Some of Australia’s leading women were educated at Riviere College including Lillian De Lissa, a pioneer in early childhood education who later founded and was principal of the Adelaide Kindergarten Training College (1907); Dr Dame Constance D’Arcy nee Stone who the first woman to be registered as a doctor in Australia and pioneered antenatal care; and Dr Margaret Estelle Barnes one of Australia’s first two female dentists (1906). In 1888, the college moved to the gracious ‘Esher’ on the corner of Nelson and Queen Street where the Misses Hall ran it until 1895. The next headmistress appointed in 1890 was Edith Emily Dornwell, Adelaide University’s first woman graduate who received first class honours in physics and physiology. The following headmistress was Matilda Meares in 1896, a woman pioneer graduate of

Sydney University, awarded honours in geology and French and later earned a Master of Arts in classical philosophy and history. In 1912, Riviere College found its final home at The Hughenden where it operated until 1920 by the now married Mrs Mitchell-Meares. The logo of Riviere College can be viewed in the Riviere wing of The Hughenden, etched in the glass plate along with a cabinet containing student memorabilia.

TRADITIONS continue In the tradition of education, literature and the arts, many of Australia’s renowned writers and illustrators frequent The Hughenden. It is home to the Society of Children’s Book Writers & Illustrators Australia & New Zealand (SCBWI). The Reading Room exhibits the works of some of the illustrators who stay at or visit The Hughenden. Special works include illustrations by multi award-winning artists such as Nina Rycroft, Sarah Davis, Pixie O’Hara, Donna Rawlings and Shan Tan. Discover in corridors and rooms their autographed prints by much-loved Diary of a Wombat duo – Jackie French and Bruce Whately – and those of I Am Jack duo – Susanne Gervay and Cathy Wilcox ●

More information on Susanne Gervay’s latest children’s book, Always Jack (Sydney: HarperCollins, 2010) is found at:

In the tradition of education, literature and arts, many of Australia’s renowned writers and illustrators frequent The Hughenden

” THE HUGHENDEN Free call 1800 642 432 02 9363 4863






major exhibition of over 60 works from the Solomon Islands can be seen at the National Gallery of Australia – Varilaku: Pacific Arts from the Solomon Islands until 29 May in the Orde Poynton Gallery. The nation of the Solomon Islands consists of a chain of mountainous islands that stretch in a south-easterly direction from its northern tip near Papua New Guinea towards Vanuatu in the south. At first glance the Solomon Islands have a long history of conflict. These have ranged from the inter-tribal skirmishes associated with head-hunting practices, to conflicts with colonial powers that enforced spiritual conformity through the advent of Christianity and the cessation of head-hunting through naval might. By the 20th century, the islands endured warfare on a massive scale during World War II. Tens of thousands of foreign troops brought different goods and technologies that markedly affected the local communities. Aspects of traditional culture (Kastom) were abandoned through foreign influence. It is this period of history for the Solomon Islands distinguished by the great changes that the works showing in Varilaku: Pacific Arts from the Solomon Islands are drawn from. Each work was selected from collections held in Australia, museums, heritage centres and private collectors. Through Australia’s long relationship with the Solomon Islands a surprisingly great number of cultural arts have found their way into this country. Aspects of both beauty and aggression can be found in the works on show, with each surprisingly connected in many ways. Both Effigy of Paruvu and Portrait bust of a young man hold in their gaze a much admired personal quality called varilaku in the Marovo Lagoon area. It is perhaps best defined as a calm but aggressive confidence warriors drew upon for their courage. Warriors may have prepared for headhunting raids by calling upon magic, but varilaku was more important than any rifle, axe, spear or magical assistance. In Solomon Islands art certain physical traits were represented in sculpture. The exaggeration of the human nose into a narrow, lineal form with an upwardly pointing top and the reduction of lips into a thin line, were but two admired biological features. There was much a Solomon Islander could do to affect their appearance. Neatly cropped hair was bleached and lightening with applications of lime. The ear lobes of both men and women would be pierced and stretched to accommodate large decorative ear plugs. The adornments featured in this exhibition include marvellous works of clam shell, woven orchid fibre and tiny glass trade beads worn for all sorts of events, from marriage to celebrating victories in warfare. In the Solomon Islands men lived in a constant state of maintaining an air of hostility and antagonism to outsiders with the


practice of head-hunting being the most remarkable element. Head-hunting was a practice particularly common to the Western Solomon Islands. Head-hunting was both a social and religious practice. The communities of the Marovo Lagoon, and to a greater extent Roviana Lagoon of New Georgia, spent a great part of their time building special canoes, making alliances, planning raids, observing rituals and organising celebratory events around this practice. Each warrior would wear special protective amulets and their finest adornments, paint their faces and ensure their hair was looking its best before joining a headhunting expedition. Even the canoes used in warfare were decorated; small carved figure heads were placed near the waterline of the war canoe looking outwards. Commonly called Nguzu nguzu these miniature masterpieces have prognathic, dog-like, faces that jut forwards and a piercing gaze intended to intimidate the spirits of the seas and seek out the warrior’s quarry. Varilaku concentrates arts related to the human form created between 1860 to around 1940. The exhibition showcases compelling works in fibre, stone, giant clam shell, turtle shell and wood. There are intriguing abstractions of the human form found in the work selected from the northern islands. Ancestral figures from Buka with bulbous heads and bodies of concise angular symmetry reflect different sculptural approaches within the northern islands when compared to the Urar of Bougainville, whose forms follow the natural twisting inclinations of mangrove wood. In the south-eastern Solomon Islands the sculptural arts are more reliant upon pure form. Here, the intricately cut and positioned inlay of iridescent sections of nautilus shell common to art from the western Solomon Islands becomes larger and is applied across entire surfaces. Artists eschewed incised surface embellishments and opted for the power of sheer clean plains as can be seen in the Adaro spirit figure and the Centre post from a ceremonial house. These works are the creations of artists who, in most cases, remain unknown. Indeed, which exact village or community an object originated from is often lost to us due to the nature of acquisition through trade and barter, collected by missionaries as examples of heathen idolatry, or simply as souvenired curiosities by early travellers. Those objects over time changed hands and have found their way into Museum and Art Gallery storerooms or private hands during the 19th and 20th century. Melanesian arts, particularly those of the Solomon Islands, have not received the attention they deserve here in Australia, yet we hold some of the greatest reserves of these arts in the world. Varilaku: Pacific Arts from the Solomon Islands is a fantastic opportunity to encounter first hand some of these remarkable works ●

New Georgia Group, Western Province, Solomon Islands, Mother and child, 19th or early 20th century, wood, paint, fibre, shell, glass, 30 x 23 x 11 cm. Australian Museum

New Georgia Group, Western Province, Solomon Islands, Seated woman, 19th century, wood, fibre, shell 65 x 38 x 65 cm. Australian Museum

Crispin Howarth Curator, Pacific Arts NATIONAL GALLERY OF AUSTRALIA 02 6240 6411

Roviana Lagoon, New Georgia Group, Western Province, Solomon Islands, Portrait bust of a young man, 1870-1900, wood, paint, shell, hair, 33 x 26 x 22 cm. National Gallery of Australia, Canberra

Marovo Lagoon, New Georgia Group, Western Province, Solomon Islands, Effigy of Paruvu, 1910-1930, wood, paint, 45 x 13 x 14 cm. The South Sea Islands Museum






Vincenzo Coronelli, Isole Dell’ Indie, South-east Asia c. 1696

Vincenzo Coronelli, Mare del Sud – the Pacific, c. 1696

Vincenzo Coronelli, Three gores from Terrestrial Globe including the map of Australia with reindeer and elephant (right, centre), c. 1696

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


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

Definitions Calotte: literally a skullcap, especially worn by priests; thence the caps at the poles of a globe. Cartouche: literally a structure or figure, often in the shape of an oval shield or oblong scroll, used as an architectural or graphic ornament or to bear a design or inscription. Gore: one of usually twelve printed sections

of a celestial or terrestrial map which when laid to a sphere, join to form a complete globe ● Glen Marguerite Ricketts GOWRIE GALLERIES PTY LTD 02 4365 6399


1486 Ptolemy Ulm world map in fine original colour

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

For orders 02 9387 4581

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

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

EMAIL: • WEBSITE: Vincenzo Coronelli, Asia Divisa – double page map of Asia, c. 1696



Edwardian diamond bow brooch with central knot and articulated ribbon swags, total weight of diamonds 17.3 ct, H-J colour

Double faced jar, made by Robj (active Paris, late 1920s-early 1930s), signed, c. 1930



he premier prestigious antique show on the Victorian calendar comes to the Royal Exhibition Buildings in Carlton this Mother’s Day weekend. Only a venue of this calibre can match the quality of fare on display and for sale under the banner of Australia’s leading art and antiques dealers, the AAADA.

NEW FEATURE: guest exhibitors The 5-8 May show will debut special guest displays. Jo Archibald, Arabella Tremlett and Deirdre Douglas Leijten of Decollo Interior Design will present a showcase of antique and modern furnishings and accessories as a tangible lesson on complementary styles. Dr Genevieve Cummins, author of How the Watch was Worn: A Fashion for 500 Years, is another guest presenter. Watches will be attached in the styles of the eras to mannequins dressed in original 18th and 19th century outfits. Examples include chatelaines, guard chains, vest chains and brooch watches, with original engravings and photographs. Genevieve will be signing her book.

The National Trust and decorative art societies have exhibitions, such as the Furniture History Society and the Silver Society. AON Risk Services will be onsite to help you with insurance for antiques and art.

MEMBERS exhibiting Only Australia’s leading dealers can become members of the Australian Antiques and Arts Dealers Association. The standards are evident by three of Australia’s finest textile and rug dealers exhibiting at this show. There are stands from internationally recognised dealers in antique jewellery. Specialists in art from the 15th to the 21st centuries, as well as experts in 17th to 19th century copper-engraved, hand-coloured botanical engravings mounted in modern frames are present. Also attending are authorities on the best English and European town and country furniture from the 16th to mid 19th century, Georgian, Regency and topline Victorian furniture and rare art deco pieces and sculptures.

MOTHER’S Day treats The AAADA Melbourne Show will be a feature of Mother’s Day in Melbourne from 2011 onwards. Celebrate your Mother’s Day with an extraordinary day exploring the wonderful treasures and perhaps buy her a special and memorable gift. On Sunday 8 May, entry will be free for all mothers. The first 250 mothers to enter the show will receive a canister of fresh tea as a gift from Wedgwood. Treat your mother to a special afternoon tea under the grand dome of the Royal Exhibition Building.

CHOOSING antiques and art The objects and works of art sold by members of the AAADA represent all times and all cultures. These items are stylish, life giving and beautiful. Whether wearable, as with jewellery, an antiquity from the most far-


flung reaches of human artistry, superb 18th century furniture, rare Chinese textiles or an investment quality Australian banknote, the choice is enticing and the collecting endless. Speak and meet with dealers and discuss your needs or dreams. Their advice may range from an excellent new area to collect; how to rationalise your current items; or start new fields of collecting. Other guidance may include how to live with style and how to spend wisely. You may meet or be recommended to one of the AAADA Service Providers, chosen and recommended by our members for their abilities to provide ancillary services and specialised skills for maintaining, repairing and safekeeping of your treasured objects.

BUY well Find a dealer, such as at the AAADA Melbourne or Sydney show, or in the 2011 Essential Buyers Guide for Antiques & Art. Visit to identify a business that deals in your chosen area or respond to an item in a member’s gallery. As a new buyer of antiques and art, the AAADA allows you to buy well, accurately and with purpose. There is no other way to purchase antiques and art where the object is guaranteed, the transaction of the highest professional standard, with a worldwide access to specialists in all fields. Members of the AAADA represent the peak in their field in Australia. All members of the AAADA are also members of CINOA, the Confédération Internationale des Négociants en Oeuvres d’Art, founded in 1935, representing 28 art and antique associations from 19 countries and at least 5,000 affiliate dealers worldwide. CINOA membership is limited to associations which require their members to adhere to extremely strict quality and standards of expertise. Explore purchasing a wonderful object from a member. Look for the AAADA logo in

AAADA, The Essential Buyers Guide For Antiques & Art

galleries, antique shops and centres as your guarantee of quality, expertise and good service. Contact AAADA for your free nationwide list of members, services and educational workshops ● AUSTRALIAN ANTIQUE & ART DEALERS ASSOCIATION 03 9576 2275




ROBERT BAINES: METAL At Geelong Gallery 7 May–3 July


ustralian metalwork and jewellery has long been a feature of the decorative arts and design collections at Geelong Gallery, with a particular focus on the achievement of leading 19th century silversmith, Edward Fischer. Now, recent work by Robert Baines, one of Australia’s most prominent and influential contemporary jewellers and goldsmiths, takes centre stage in Geelong’s exhibition spaces from 7 May until 3 July. Baines is widely acclaimed for his multifaceted practice that embraces his work as an artist-goldsmith, critic and commentator on contemporary craft. He is a lecturer in gold and silver smithing and researches historical techniques and archeometallurgy, a highly specialised field of research that has informed Baines’ own work. He makes complex, colourful and intricate objects – brooches, neckpieces and bracelets. His breathtakingly original compositions assimilate influences as disparate as Etruscan gold ornament and the ubiquitous soft drink can. Frequently his works incorporate small found objects and are as notable for their masterly precision of technique as for their abiding wit and humour. The Robert Baines exhibition is the sixth in a series mounted and toured under the

Baines is widely acclaimed for his multifaceted practice that embraces his work as an artist-goldsmith, critic and commentator on contemporary craft


rubric, Living Treasures: Masters of Australian Craft. In Victoria, Geelong Gallery is the exclusive venue for this exhibition. A significant 120-page monograph on the artist and his work with essays by Sophia Errey, Rudiger Joppien and Judith O’Callaghan will be available for purchase. Baines is represented in prestigious public collections here and abroad and he has won various major national and international prizes. It has been observed that his painstaking historical research into early manufacturing techniques imbues his own work with a sense of ‘continuity with (the work of his) ancient colleagues and (provides) a platform to toy with the mythology of our own culture.’ ● GEELONG GALLERY 03 5229 3645

This touring exhibition is part of the Living Treasures: Masters of Australian Craft series. Robert Baines: Metal 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.

Right: Robert Baines, Wreath, copy – Funerary wreath from a tomb in Armento (South Italy), silver, powder coat, electroplate collected object. Photographer: Jeremy Dillon Below right: Robert Baines, brooch, Bloodier than black, 2008, silver, powder coat, electroplate. Photographer: Jeremy Dillon Below: Robert Baines, Disc, circa 4th century BCE Greek, 2008, gold, enamel. Photographer: Jeremy Dillon

Dealers in Fine Art

Tree and the City, 1958, oil on hardboard, 61 x 92 cm

April to May

GRAHAME KING ‘Selected Works’ 1938-1996

Beach Totems, 1963, oil on board, 60.5 x 68 cm

July to August

RICHARD CRICHTON – Works from the Studio 158 Burwood Road Hawthorn 3122 03 9818 1656 Monday to Friday 9 – 5 Saturday 10 – 4 Directors: Jillian Holst and Rod Eastgate

Antiques & Art in Victoria  

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

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