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antiques&art IN VICTORIA


Old money talks. tallks. It speakss of history and rarity rarity.. Of O value that is never diminishe ed. Investment in rare coins allows you diminished. to balanc ce your portfolio for su perannuation or other balance superannuation investme nt with stability and so lid growth. T o preserve e investment solid To your wea alth now and into the fu uture. F or information, wealth future. For see coin or ph hone +61 3 9642 3133 3 phone












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, Brigitta Campbell & Kathy O’Grady

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

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.

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 2012 Booking deadline 27 June 2012. Copy deadline 4 July 2012.

NOTICE TO ADVERTISERS The Trade Practices Act 1974 imposes an obligation not to engage, in trade or commerce, in conduct that is ‘misleading or deceptive’. Apart from any penalties, an individual or corporation which commits a breach of the Act is liable to proceedings for injunction and for damage suffered by an injured party. Advertisers must ensure that the provisions of the Act are strictly complied with. In cases of doubt advertisers should seek legal advice.

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Specialising in French antiques and Art Deco Please contact us for more information


491 High St Prahran Vic 3181

Specialising in antiques and artworks

03 9510 8522

0415 929 712

Warehouse by appointment only 0412 560 371



French Antiques S

ince 1985 Leclerc Antiques has been importing French antiques and art deco objects into Australia. We have now extended our products to include original French decorative lighting. Lighting is a very important feature in any welldesigned apartment or home and should not be compromised. Leclerc now imports and stocks a range of fine quality light fittings to accommodate any period or modern home. The selection includes gothic wrought iron chandeliers, antique bronze gaslights, Napoleon III crystal chandeliers and Flemish brass chandeliers. We are now specialising in French art deco lighting. Our latest arrival is a fine collection of genuine art deco lights manufactured by Degué, Noverdy, Schneider, Muller Frères, Verlys, Leleu, Ezan, Petitot and Meynardier and other magnificent designs. Leclerc Antiques personally select every light, organises packing and the shipping out


and Art Deco

of France into Australia. By eliminating the middle men, we are able to offer quality items at a very competitive price. Our stock arrives in its ‘as found’ condition, which gives prospective buyers the opportunity to undertake the restoration themselves; a trend we have noticed that is growing in popularity. Otherwise, where necessary, we can organise restoration for you. This is done to the highest standard as we use some of the best skilled people in the business. It is our policy not to cut corners on restoring these fine pieces.

been restored and rewired to Australian and New Zealand standards. 5. Beware of cheap ‘French-looking’ chandeliers often sold at auctions or online. Many of these poorly-made lights are imported from Argentina or Egypt where they use 110 volts current, the wire not designed for 220 volts current. These fittings are best avoided. You’ll notice that serious reputable dealers do not stock such fixtures. 6. Always use a licensed electrician to install your chandelier.

TIPS on buying a chandelier 1. As a rule, buy the best you can afford. 2. Buying unrestored lighting can be a minefield! 3. Restoring a chandelier is a time consuming job so it is wise to purchase a quality light from a reputable dealer that offers service and guarantees the product. 4. When buying a chandelier, make sure it has

Not so long ago, a lady came to my showroom with a ‘French-looking chandelier.’ She had been told that she could get it rewired and restored for only a couple of hundred dollars. What she had bought was in fact a light made of different parts sprayed with gold paint. We had to break the news that it was not worth rewiring.

APPRECIATING in value I always believe that you get what you have paid for. Many people are not aware of what good value antiques are unless they walk into a good antique shop. Antiques dealers are hard-working people with many costs including stock, restoration, importing and their time spent running the shop. I have found that good pieces are becoming scarce, both here and overseas. One reason may be that banks are offering poor returns on money so people are buying antiques as investments. Another reason is that collectors are loath to part with their collections. Quality antiques are an international currency and can be traded anywhere in the world. Leclerc Antiques looks forward to welcoming you for a private viewing of our latest shipment from Europe. Pascal Leclerc ART DECO & ANTIQUES 03 9510 8522


antiques&art Editorial Content IN VICTORIA


FRONT COVER Claude Lorrain, Capriccio with ruins of the Roman Forum, c. 1634, oil on canvas. Gift of the Art Gallery of South Australia Foundation assisted by the State Bank of South Australia on the occasion of the 150th Anniversary of South Australia, 1985 Art Gallery of South Australia, Adelaide (detail) See p. 78


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Monday 7 May 2012 6.30 pm Viewing: Saturday 5 May 11 am – 4 pm Monday 7 May 12 noon – 6 pm AMANDA ADDAMS AUCTIONS Monday 4 June 2012 6.30 pm 194 Bulleen Road, Bulleen, Victoria 3105 Viewing: Saturday 2 June 11 am – 4 pm Tel: 03 9850 1553 Monday 4 June 12 noon – 6 pm Monday 2 July 2012 6.30 pm David Freeman 0419 578 184 Viewing: Saturday 30 June 11 am – 4 pm re cultu erial f mat o Monday 2 July 12 noon – 6 pm s Amanda Freeman 0419 361 753 r lecto r col

t r t a r a & s e s u e iq t n u A q i t an /12

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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


SALE DATES 2011/2012


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French Antiques and Art Deco – Pascal Leclerc French style - with class – George Manoly Special pieces at Mark Koronowicz Antiques Expressions Gallery Mariella McKinley at Veronica George Gallery Bernard Villemot (1911-1989) – Sam Johnson Malvern Artists’ Society program The Beginnings of Time in Horology – Michael Colman The Graham Geddes Collection – Guy Cairnduff Coffers in the 21st century home – Trish and Guy Page A brief history of Australian banknotes Audemars Piguet – Ron Gregor Melbourne Museum presents: The Wonders of Ancient Mesopotamia St Kevin’s College Annual Art Show Roger Kemp (1908-1987) – Jillian Holst What is old can be almost new again – David Foster Encaustic tiles at Schots Home Emporium The Victorian Artists Society’s Portrait Week A good time to collect – David Freeman Visit a real antique store – Roy Williams Displaying a collection – Dawn Davis The American clock Emil Otto Hoppé at Monash Gallery of Art Capturing Flora: Three centuries of Australian botanical art showing at Art Gallery of Ballarat Grace Kelly: Style Icon For original works and giclees visit Di King Gallery Open Studio Weekend at Sherbrooke Art Society Mid-year exhibitions at Without Pier Gallery Front doors at Schots Home Emporium Those magnificent moustache cups Sorrento and Flinders Fine Art Galleries: see one - see both – Rebecca Barbour Exhibitions at Mornington Peninsular Regional Gallery McClelland Gallery + Sculpture Park exhibition program The Barrington mug – Paul Rosenberg Autumn and Winter 2012 exhibition program at Geelong Gallery At Oakwood Restorations perfect lights create a home with pride - Peter Hames Exhibition program at Hamilton Art Gallery A rich selection of exhibitions at Art Gallery of Ballarat The Convent Gallery Bendigo Pottery adds a new antiques & collectables centre Bendigo Art Gallery Winter to Spring program Persian rugs: origins and history – Majid Mirmohamadi The art of Ships in the Field – Susan Gervay OAM VADG member profile The mysterious Monsieur Descubes: a botanical thriller The Madonna and Child in Renaissance art – Lucina Ward Gold - always an alluring commodity – Kathryn & Derek Nicholls The Australian Antique and Art Dealers Association At Geelong Gallery: In search of the picturesque - the architectural ruin in art


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UST 2012 RY – AUG 95 FEBRUA NZ $20. 82 0 ISSUE LIA $16.95 UK £7.0 50 AUSTRA RE $20.00 00 €10. SINGAPO US $13. 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.



FRENCH style – with class V

isiting Image de France is a pleasant experience for people who enjoy a beautiful piece of furniture in their home or business. The furniture gallery owner, architect George Manoly’s concept is, ‘every piece has to be unique and nothing like it.’ He selects his pieces, one by one, to reflect the class of the high quality French designs. French style classical furniture is having more and more recognition and appreciation within the Australian culture, so, it’s not entirely surprising to find many Australians are now decorating their homes in formal

exquisite French style. 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. We have something to liven up every room of your house. 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 present-day 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. 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.

MARQUETRY So come and wander through the gallery, and enjoy the most amazing marquetry commodes inlayed with exotic woods as well as brass.


The gallery will take you back in time by bringing the finest marquetry detailing, which was affected after the 1789 French revolution as the furniture makers were disbanded and the quality began to decline as a result. Furniture became simpler in design and was decorated with plain veneer rather than marquetry – but not at Image de France. Visiting Image de France is a life time experience for people who like to be different, with class. George Manoly IMAGE DE FRANCE PRAHRAN GALLERY 03 9529 5003


Special pieces at

Mark Koronowicz Antiques


SCULPTURE of Marcus Aurelius

ark Koronowicz Antiques has a fascinating array of furniture and decorative items dating from the 17th century through to the mid 20th century. Adorning the shop are mirrors, chandeliers and other interesting objects alongside selected pieces of furniture. Mark has been trading in the industry for over 20 years. Travelling overseas on regular buying trips to Europe, he has built up a great source of valuable contacts. Hunting for that special item for his customer’s needs is his specialty, whether you’re looking for a 20th century designer chair or a 17th century French tapestry.

Roman emperor from 161 – 180 AD Marcus Aurelius was a champion for the poor. He founded hospitals, schools and set up orphanages. Taxes were relaxed and he changed how masters treated their slaves. He is well remembered as a philosopher. He wrote Meditations a compendium of 12 books written in Greek while on a campaign between 170 and 180 AD. He believed in leading a moral life which in turn would lead to eternal tranquillity. Well known as one of the main characters in the film Gladiator staring Russell Crow. This is a life size adaptation with arms folded, wearing flowing robes and a stoic outlook. The sculpture is carved and painted to simulate marble, and was originally used as an internal feature in a hallway of a grand villa alongside other dignitaries. Dating from the 18th century, the statue is a stand-alone piece which could feature in an ultra modern setting.


FEATURED items Late 17th century Aubusson tapestry This tapestry, drawn from Virgil’s Aeneid, tells the story of the banquet held in honour of Aeneas who has escaped Troy after it falls to the Greeks. Aeneas (son of Venus) accepts the invitation from Dido queen of Carthage and asks if he could bring along his young son, Ascanius. On the night of the palace feast, Venus sends her son Cupid, the god of love, to the palace disguised as Ascanius. She believes that Dido will not harm Aeneas if the queen falls in love with him. So according to his mother’s instructions, Cupid sits on Dido’s lap and casts his spell. While Aeneas entertains Queen Dido’s dinner guests with the long saga of the Trojans’ journey to Carthage, Cupid makes Dido fall helplessly in love with the young Trojan. The tapestry is woven with wool and silk. It retains its original border depicting cornucopia, flower and leaf decoration. The colours are vibrant throughout, with lovely blues and browns which in tapestries of this age are usually quite faded. The attention to detail in the characters’ faces, which are woven in silk, is quite remarkable. Other tapestries I have seen over the years can vary in quality, condition and detail. Tapestries which are complete, have provenance, and importantly depict a scene that tells a story, are highly sought after worldwide. This tapestry is in an excellent state of conservation and is ready to be enjoyed.

AN ENGLISH tradition: a bacon settle dating to 18th century Bacon settles were used extensively in 18th and 19th century English country kitchens. Initially designed for curing bacon, they were cupboards fitted with internal iron hooks and fittings that were used to hang sides of bacon. The settles were usually placed in front of or on an angle to the fireplace. Another component to the design was seating, some settles incorporated shaped sides which provided protection from the drafts. The bacon settle shown dates from the mid to late 18th century. This rare piece is interesting because it is curved, again to battle the drafts. It has a panelled back and two cupboards to the front. It is made of elm with lovely figuring to the front and has a solid plank seat. It was made from a single tree probably by the local country craftsman. This fine piece of furniture has the original iron hooks and locks. MARK KORONOWICZ ANTIQUES 03 9525 0545

Above: Maker unknown, bacon settle, mid-late 18th century, elm, original fittings Above right: Unknown sculptor, Marcus Aurelius, 18th century, carved and painted, h: 200 cm Right: Inside the shop


552 High St Prahran East 3181 MELBOURNE AUSTRALIA

Ph 03 9525 0545 Mob 0417 837 755 Tapestry of the Banquet of Aenaes and Dido, c. 1680, woven at the Royal factory at Aubusson, 3.1 x 4.55 metres 7



Howard Arkley, House with Native Tree

Xianzhu Shi, Autumn Day

Gallery E

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, Jasper Knight, Margaret Olley, Helen Norton and Tim Storrier. 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.

ARTIST PROFILE: XIANZHU SHI Xianzhu Shi is a Chinese-born artist who now lives in Australia. His cross-cultural experiences have found expression in his work, which is more than the telling of his life in Australia. But this complexity is only one aspect of a profoundly rich cultural mix. Just as important, and perhaps more interesting, is the blending in his art practice of Chinese, Western, contemporary and ancient, modernist and post-modernist influences. In Xianzhu Shi’s work a subtle and individual fusion occurs, naturally, without any troubled or forced self-consciousness. EXPRESSIONS GALLERY 03 9500 0667

Expressions Gallery

Jeffrey Smart, Truck & Trail Approaching a City Right: John Olsen, Frogs & Banana Leaf

Above: John Olsen, Tropical Lily Pond

John Olsen, 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 FINE ART LIMITED EDITIONS VINTAGEPOSTER LINEN BACKING CUSTOMER FRAMING 8

Below: Jeffrey Smart, The Guiding Spheres ll


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

Mariella McKinley, Polished Bowls

Mariella McKinley

at Veronica George Gallery An emerging talent ARTIST’S statement ‘I have always been interested in design and the visual arts. I have explored architecture, drawing, painting, photography, textiles and sculpture, but only discovered my true passion for a medium when I began working with glass nine years ago. I am captivated by the qualities of glass and find great pleasure in the processes and techniques used when working with it. I have a strong interest in colour, pattern, texture and form and enjoy exploring these elements in my work. My art and glass experiences include: • Diploma of Arts – Visual Arts, majoring in painting (Northern Melbourne Institute of TAFE, 2002) • Bachelor of Fine Arts (Honours), majoring in glass (Monash University, 2006)

• Workshops with Boyd Sugiki and Lisa Zerkowitz, Katherine Gray, Dante Marioni, Tom Rowney and Alexandra Chambers, and Lino Tagliapietra • Glass Studio Associate for two years at JamFactory in Adelaide (2008-2009) and one year as an assistant to Ben Edols and Kathy Elliott in Sydney (2010) • Group exhibitions including Ranamok Glass Prize (2004 and 2010), Monash in Motion (Kirra Galleries, 2011) and solo

exhibitions including Kaleidoscope (JamFactory, 2010) • Awards including the Veronica George Gallery Award (2005) and the Italian Centre Design Award (visit to Murano in 2008). Currently, I am setting up my own coldworking studio. I hope this will enable me to be more independent, experiment with technique and develop new work.’

colour and reflected light that create wonder and beauty for the viewer. Her series called Polished Bowls is created with a focus on form, colour and the intrinsic beauty of glass.

WORKS on show

Natural Rhythms


Mariella is interested in the effects of folding and layering, and the patterns that can be created by carving into these strips. She used strips of clear and coloured glass to construct the vessel called Natural Rhythms. The Kaleidoscope series body of work is inspired by the ever changing patterns of the kaleidoscope and the sparkling fragments of

Below and right: Works from the Kaleidoscope series



BERNARD VILLEMOT (1911-1989) The painter-laureate of modern commercial art


ernard Villemot was a French graphic artist known primarily for his iconic advertising images for Orangina, Bally shoes, Perrier and Air France. He was known for a sharp artistic vision that was influenced by photography and for his ability to distil an advertising message into a memorable image with simple, elegant lines and bold colours. From 1932 to1934, Villemot studied in Paris with Paul Colin (1892-1985), who was considered a master of art deco graphic design. Colin created some 1,900 posters and hundreds of theatre sets. His Le Tumulte Noir (1929) includes the print of Josephine Baker wearing her famous yellow banana skirt.

WORKS after World War II After WWII, in 1945 and 1946, Villemot prepared posters for the Red Cross. In the late 1940s he began a series of travel posters for Air France that would continue for decades. In 1949 Villemot’s works were exhibited along with contemporary poster artist, Raymond Savignac at the Gallery of Beaux Arts in Paris. In 1953, Villemot began designing logos and posters for the new soft drink Orangina and over time these works would become some of his best known. Late in his life he was celebrated as one of the last great poster artists; many collectors and critics consider him to be the ‘painterlaureate of modern commercial art.’ He was the recipient of every award given in the field of graphic design including the Martini gold medal for his 1967 Bally poster. His work for Bally also earned him the Grand Prix of French poster designs in 1979 and 1982.


His relationship with the Swiss shoe company Bally began in 1967 and was to span 22 years. The marketing campaign to rebrand the company proved to be overwhelmingly successful. The posters designed by Villemot promoting the shoe as stylish and glamorous is a strategy continued today. His Bally Ballon poster designed in 1989, the year of his death, continued to be used until the mid 1990s. Villemot’s trademark style of using vivid colours thin outlines and abstracted forms were sought by many companies looking to revitalise their image. The poster images for the winter sports for example led to the reinvigoration of skiing and boosted winter tourism.

Since his death in 1989, his memorable images have been increasingly sought after by collectors. Vintage Posters has a large collection of Villemot posters for sale. Sam Johnson VINTAGE POSTERS 03 9500 2505 Further reading Jean-Francois Bazin, Les affiches de Villemot, 1985 Guillaume Villemot, Villemot: l’affiche de A à Z, 2005


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 11


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

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

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

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

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

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

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

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

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

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




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

Sunday 6 May Monday 7 May Thursday 12 April Wed 2 - Sat 5 May

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

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

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

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

Visit for details of all current lots


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.

SPECIAL Event: Artists at Work Saturday 16 July 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.

AUTUMN Exhibition 5 May-13 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 4 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 term-by-term basis. Non-members are very welcome, with a discount for members on each class. Term fees are from $230. Phone 03 9822 7813 to enrol in your chosen class and nine-week term. Tuesdays • Watercolour with Julien Brewer (starts Term 3) 9.30 am – 12 noon

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 16 July 2012 At the Malvern Town Hall, Banquet Room Corner Glenferrie Road and High Street, Malvern

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

ARTISTS DEMONSTRATING INCLUDE: Malcolm Beattie, Antoinette Blythe (watercolours), Carmel Mahoney (oils), Linda Robertson (life drawing), Vivi Pale George (acrylics), Jud Keresztesi (contemporary), Keming Shen (oils), Julian Bruere (watercolours), Michael Goff (open studio), Maxine Wade (pen & wash)

• Oils with Carmel Mahony 1 pm – 3.30 pm • Watercolour with Joan Richard 9.30 am – 12 noon $23/class 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: 23 April - 23 June Term 3: 16 July - 15 September Term 4: 8 October – 8 December

Come and enjoy a full day of wonderful demonstrations Admission $20 Non-members $15 Members, Students (MAS) and Pensioners Pre-booking not necessary. Tickets available at the door

Refreshments available all day

ENQUIRIES 03 9822 7813

Proudly Sponsored by the City of Stonnington

e:, w: 13


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


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

Beginnings of Time

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

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

Reconstruction of the Antikythera mechanism

Byzantine portable sundial calendar in brass c. 520 AD



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

in Horology

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

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


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

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

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

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

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

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

Byzantine portable sundial calendar in brass, c. 520 CE

the Anglo-Saxon King Alfred (848?-899). According to his biography, Alfred the Great devoted eight hours to public duties, eight hours to studying, eating and sleeping with eight hours for worship. To apportion his time, he took 72 pennyweights of wax and made 12 candles each a foot long. Each burned for four hours or, an inch in 20 minutes. One of his chaplains, charged with the keeping of the candle, reported that they burned quicker in a draft. So the king devised a lantern (lanthorn) with frames of wood and sides of horn scraped thin enough to be translucent.

Michael Colman COLMAN ANTIQUE CLOCKS 03 9824 8244

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

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

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

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

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

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

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

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

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


ANTIQUES & ART IN VICTORIA Florentine marble 19th century statue depicting Ariadne and the panther, signed F. Vichi, Firenze, after the original by Johann Heinrich Von Dannecker (17581841). Estimate: $36,000-42,000

Early 19th century Chinoiserie lacquered secretaire bookcase. Estimate: $40,00050,000

Pair of cloisonné covered censors. Estimate: $15,000-20,000

The Graham Geddes Collection of important antiques and objects An international collection with local connections


finely rendered, late 19th century statue of Ariadne resting on the back of a panther by the Florentine sculptor, F. Vichi is just one piece in the collection of Melbourne antique dealer, Graham Geddes, which resonates personally with Guy Cairnduff, head of the Specialist Collector department at Melbourne auction house, Leonard Joel. ‘I was a junior assistant in the decorative arts department when this statue was first consigned for auction. I was very lucky to be given the opportunity to see the home it came from before it arrived at the salerooms. It came out of the South Yarra property of a well-known Melbourne interior decorator, the type of unassuming house you see every so often as an auctioneer, only to find a treasure trove hidden behind the front door. The statue was stored in a glass house in the backyard of the property, covered in leaves but remarkably intact.’ Such was its weight, specialists in moving bank safes were engaged to undertake the task of transporting it from its resting place in the South Yarra backyard to Leonard Joel’s salerooms. ‘I had the job of scrubbing away years of grime with sugar soap, ready for photography. The end result was stunning.’ The Vichi statue is a copy of a piece executed by the German sculptor, Johann Heinrich von Dannecker (1758-1841) between 1810 and 1824 and is one of an anticipated 1500 lots which will be offered on behalf of Graham Geddes in a final dispersal of his stock in trade in September 2012. It has been replicated in numerous forms, including miniatures in porcelain, the panther signifying the favoured mount of Dionysus who, according to Greek mythology, took Ariadne as his lover following her abandonment by Theseus after aiding his escape from the Minotaur. Stories such as this abound in Geddes’ collection because over the past four decades he has not only travelled the world sourcing the finest quality items for his business, but has also been a key participant in the local auction market. A somewhat enigmatic figure, Graham Geddes is often the first person an auctioneer would contact when anything really special came into their salerooms. His flagship premises in Melbourne’s High Street, Armadale, encapsulates the image of what the very best High Street antique dealership should look like. However, the experience of a visit to Graham Geddes Antiques for the first time visitor can be one


of contrasts. The formality of entry to the building via security entrance is immediately contrasted with the familiarity of finding Darling the cat sound asleep on an 18th century armchair, or the sound of chirping crickets which have nested undisturbed beneath the floorboards of what is referred to as the ‘Old Shop.’ This familiarity is a reminder that above all, Graham Geddes Antiques is a family business, with Geddes’ five children involved in the day to day running of the shop and its various off-shoots. The next impression would have to be the vast scale of the Geddes’ premises and inventory. Once even larger, the business still occupies four shop fronts, extending through to the street behind and encompassing numerous separate galleries and workshops. The September auction has the feeling of a coming together of two icons of the Australian antiques industry – Graham Geddes and Leonard Joel. Over the last 40 years, the Geddes antique business has developed in tangent with the Melbourne auctioneer, now in its 93rd year of operation, with both entities enduring and prospering in spite of a series of well-documented economic recessions, a generational shift in the antique-buying audience, bringing with it changes in customers’ appetites, and the shift in the bricks-and-mortar retail buying landscape associated with the rise of on-line purchasing. Geddes attributes his longevity in the antiques trade to his ability to adapt to meet changes in the market, expanding the scope of his business beyond simply selling antiques to encompass film hire, commercial hire and high-end real estate display. Constant overseas travelling has given him the ability to quickly respond to changing tastes, sourcing stock from locations as far afield as Marrakesh, Spain, India, Britain, France, Italy and China. Similarly, Leonard Joel has responded to changing dynamics in the auction industry with the development of the Specialist Collector – a department with the specific aim of providing tailored marketing for important single owner or single category collections. The department was conceived to meet the increasing interest amongst our clients in the personal context of collections which, in some instances, was being lost in multi-vendor auctions. In most cases in a single owner auction, you can state the vendor’s name and give people an insight into the personal history behind one person’s collection, which is

Italian 18th century marble topped giltwood centre table. Provenance: formerly part of the furnishings of Mentmore Towers, Buckinghamshire. Estimate: $46,000-55,000

something our clients really respond to. Being engaged to market the Graham Geddes collection completely validates our decision to focus on regaining the single-owner collection market, which was previously dominated by Leonard Joel. Another characteristic of Geddes’ collection is a trait common amongst almost all passionate antique dealers – a reticence to let go of their most prized pieces. Such is his appreciation for the scarcity of some of the gems in his collection, Geddes quotes numerous instance of pieces in his shop that have been sold, bought back, then re-sold, only to be re-acquired years later, with some pieces changing ownership as many as five times before re-entering the inventory of Graham Geddes Antiques.

Once such example is a Louis XV period kingwood and marble commode made by the French cabinetmaker, Francois Fleury. The commode was originally sold by Geddes to a Melbourne private collector. It was then repurchased by Geddes at a Sydney auction in 2009 and is now to be offered for sale a further time in September this year. Other treasures from the Geddes collection include an extraordinary mid 19th century Italian rococo style carved giltwood and marble side table. Purchased from the sale of the contents of the impressive English country house, Mentmore Towers in 1977, the table is a reminder of a bygone era of lavish furnishing and is one of a pair, the other now in a private collection. The shared history of Graham Geddes Antiques and Leonard Joel is just one element of an international calibre auction, which will mark the conclusion of an important chapter in the history of the Australian antiques industry. Enquiries to Guy Cairnduff Head of the Specialist Collector LEONARD JOEL 03 8825 5611 Northern Wei period grey stone figure of the Preaching Buddha, c. 386-535 CE. Estimate: $110,000120,000

Pair of Italian painted terracotta allegorical figures representing Autumn and Spring, after the original models by Canova, foundry mark G.C. Estimate: $22,000-32,000


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Transcending time:

Coffers in the 21st century home C

offers are the early chests that were the principle form of storage for most people, especially for valuables. They were usually made from oak which was plentiful, hard and long lasting. They remained important until the mid-17th century and were still made in quantity throughout the 18th century. They were

the predecessors to the chest of drawers. The 13th century coffers had carved decoration and hinged lids which could be locked, and solid sides reached to the floor to serve as feet. By the 16th century there was joined frame construction with panels. Some of the old coffers have drop down fronts as well as, or instead of, opening lids.


Guy Page

PAGE ANTIQUES Formerly of High Street Armadale

DECORATION Linen fold panelling was often combined with carved decorations such as grotesque masks. In the 16th century Elizabethan period, carving included motifs, geometric and medallion panels, lozenges (diamond shaped carved decoration) and arcading and pilasters (flat faced columns). Many 17th century coffers were carved and inlaid with boxwood, bone, ivory and mother of pearl – an influence perhaps from Moors in Spain and trade with the East. Gothic style carvings were gradually superseded by Renaissance motifs influenced by Italian, French and Flemish craftsmen. Applied decoration took over from carvings. Examples include bosses (knob-like forms), mitred geometrical mouldings, split balusters and other pendant decorations – often stained black imitating ebony – applied to the plain or panelled surfaces.

DRAWERS as innovation In the late 17th century drawers were introduced into the coffer base, later called mule chests. One or more drawers were put in the top to form a half chest / half cabinet. The transformation into chests of drawers accelerated in the late 17th century, notably with the introduction of turned or bun feet and later with bracket feet (the latter more a design feature). Eventually pine or oak carcases were veneered with walnut and later mahogany.

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The monk’s seat had a back section that pivoted to create a seat or shelf, while the settle had a fixed back and coffer seat, and a few pieces had the coffer incorporated into a base stand. Trunks, those travelling chests are possibly relatives of the plain coffers. Coffer makers also made trunks, some of which were leather covered with rounded tops to protect them from wet weather. Some smaller travelling chests were referred to as trussing coffers. Military and sea chests of drawers developed from coffers and travelling chests, divided for easy transport. Side handles, as with many early trunks and coffers, provided another practical addition.

Locks on old coffers and trunks often are interesting. A reference in Mechanick exercises, or, The doctrine of handy-works by Joseph Moxon (1677) distinguished between truck locks, chest locks and padlocks, perhaps reflecting different needs for security or different constructional considerations

MODERN uses for coffers Lidded coffers are popular as blanket boxes, usually placed at the end of beds. Another practical use is for a coffee table. As there are not many early low pieces of furniture, coffers with their rustic charm, storage capability and practical sizes work well in these functions. The later coffer styles are resurging in popularity, offering a practical and ascetic companion to flat television screens. Drawers and cabinets provide storage for remotes, DVDs, CDs and the like. A screen can either sit on or hang above the coffer. Longer coffers allow garnitures, such as candlesticks or vases on either end. Pairing the old and new creates a very pleasing décor that is definitely growing in popularity. Regardless of how decorative you like your coffer, what wood or construction best suits your needs, this wonderful practical furniture will meet most needs as they have for generations and will continue to do well into the future. Page Antiques has several antique coffers for collectors. We are open seven days a week, from 10 am to 5 pm Monday through Saturday, and open on Sunday from 11 am until 4 pm. Trish & Guy Page PAGE ANTIQUES 03 9880 7433 / 0411 175 320 More reading John Andrews, British Antique Furniture Price Guide and Reasons for Values, Antique Collector’s Club 2003 LGG Ramsey & Helen Comstock (eds), ‘The Connoisseur’s Guide To Antique Furniture,’ The Connoisseur, London 1969



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Bank of New South Wales 1824, 20 Spanish dollars

National Bank of Australasia 1910 one pound note, superscribed

A brief history of Australian banknotes W

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

small change. A few years passed before the first paper money was developed.

PROMISSORY and currency notes Within the first 40 years of the colony nearly 100 traders in Sydney and Van Diemen’s Land (Tasmania) issued their own small change paper notes. Their buying power (as opposed to their face value) depended on the reputation of the issuing individual or trading house, that

is, whether the merchant could back notes by specie, higher value notes such as bills of exchange, or credit in goods. The early notes date from 1803 (M Robinson, Sydney) to 1828 (W Lamb, Hobart). Currency and promissory notes are rare and usually in poor condition. Denominations vary from Spanish dollars, shillings and pence, to English pounds sterling, shillings and pence.

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

PRE-FEDERATION or private banknotes Between 1817 and 1901 private or preFederation banks provided paper currency for the colonies, states and commerce. The Bank of New South Wales, established in 1817, was the first; by 1841 another 23 banks had been formed, including branches of some London banks. From the 1850s gold rush to 1888, a further 32 banks opened. During the 1893 banking crisis most banks collapsed, but notes from still surviving banks were legal tender and could be exchanged for gold at the bank’s head office. The New South Wales and Queensland governments issued Treasury notes. Yet only nine banks remained operating, from over 50. Most private or preFederation banknotes are rare. Ann Mash c. 1812 promissory note

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

Continues on page 48

Collins Allen 1913 ten shillings note




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Audemars Piguet T

he third of the ‘Big 3’ watch manufacturers in terms of prestige and excellence, Audemars Piguet, has probably received the least attention from dedicated collectors and enthusiasts. The biggest advantage for collectors is that of the three ‘best’ watches available, secondhand Audemars Piguet is by far the least expensive. Its very existence at the top of the tree, as far as technical excellence is concerned, should cement its place as a desirable in terms of collectability. Patek and Vacheron have been extensively discussed and debated throughout the collecting world, and this has been reflected in the prices realised for these brands at major sales throughout the world, but perhaps Audemars should be given more thought when considering the purchase of that next watch for the collection.

Audemars Piguet Tourbilloon

Ever since Jules Audemars and Edward Piguet combined their talents in 1875, and eventually formalised their association with a contract in 1881, their influence on the history of watchmaking has been astounding. Their clearly defined philosophy of innovation and their desire to manufacture top quality ‘complicated’ watches with the most modern available methods of production, was an ideal that was established at their incorporation, and has not wavered since. Audemars Piguet was and still is a unique company in that their dedication to complications meant that many of their early masterpieces were, in fact, pocket watches. Their ‘Grand Complication’ of 1889 combined functions such as minute repeater, perpetual calendar, moonphase and chronograph all together in the one watch. This

Audemars Piguet T3 Terminator

however did not stop the company from developing innovations for the wristwatch market. In 1924 Audemars developed the first wristwatch with a jump hour register. The founders’ original desires have obviously been continued by their descendants within the company, as shown by such advances in technical innovations such as the manufacture of the thinnest movement in the world (1.64 mm) in 1946. The thinnest ladies wristwatch (2.36 mm) was manufactured in 1960 and the world’s thinnest movement, with an automatic gold rotor (2.45 mm), in 1967. The smallest automatic wristwatch with a perpetual calendar was manufactured in 1989. In more recent years, the company released the first commercially available ‘Grande Sonnerie’ wristwatch grande sonnerie means grand strike, that is, striking the hours and quarters automatically, and repeating the hours and quarters when operated by a lever. The only problem about owning such a timepiece is the $280,000 asking price for a new watch.

Audemars Piguet Platinum Dress

In 1972 Audemars released the world’s first prestige stainless steel sports watch with a fully integrated steel bracelet. Some cruelly say this watch was prestigious only because of the price, but its success pre-empted the release of Patek Phillipe’s ‘Nautilus’. Even the history of this particular watch’s name, ‘Royal Oak,’ is quite interesting. In 1651 after the Battle of Worcester, King Charles II hid from his pursuers in the hollow of an ancient oak tree, the original ‘Royal Oak’. The navy adopted the name and made a series of vessels of the line (partly from oak of course) at the height of Imperial glory when Britain ruled the waves. It is this royal and naval heritage that inspired Audemars Piguet in at least the design of their sports watch. That universal symbol of the high seas – the porthole – was the starting point and octagonal bezel and hexagonal screws securing it to the watch followed as a natural development. Audemars’ success with this particular model has seen the range increase to models in 18 ct yellow gold, in a combination of steel and gold, and even in rose gold and tantalum. Movements also vary with many complications having been released over the years – and even to the extent of the availability of a quartz model. With a price of CHF 3,300 when released in 1972 in stainless steel, these watches today are worth more than that second hand and indeed one can approximately double that amount for a nice quality automatic model. It has to be said that Audemars suffers very little in comparison to the other two ‘big guns’ with a total annual production of only 14,000 pieces. This means the quality control of the company is not overburdened, thereby ensuring that the watches leaving the workshop are all worthy of bearing the logo of one of the finest watches in the world. Ron Gregeor COLLECTIONS FINE JEWELLERY 03 9867 5858



The end of the hunt: King Ashurbanipal pours wine over the dead lions, c. 645 BCE, or stone wall relief from the palace of Ashurbanipal at Nineveh, showing the king pouring a libation over dead lions at the end of the hunt. By permission of the Trustees of The British Museum

Gold spouted cup from the Royal Tomb of Queen Puabi of Ur, c. 2500 BCE. By permission of the Trustees of The British Museum

Melbourne Museum presents

The Wonders of Ancient Mesopotamia 4 May –7 October An exhibition of more than 170 stunning archaeological treasures charting 3,000 years in some of the world’s great ancient civilisations is set to open at Melbourne Museum in May he Wonders of Ancient Mesopotamia focuses on three great centres of ancient civilisation – Sumer, Assyria and Babylon – bringing their rich history to life through spectacular objects and multimedia. ‘Literally “the land between rivers” – the Tigris and the Euphrates – Mesopotamia is where civilisation began,’ explains Museum Victoria CEO and archaeologist, Dr Patrick Greene. ‘The area today is modern Iraq, northeast Syria and southeast Turkey, but its influence spread considerably further. Mesopotamia was home to a succession of great cities and empires that directly shaped contemporary civilisation – particularly in the areas of science, communication, art, literature, law and government.” Home to the world’s first city, Sumer, which emerged around 3,200 BCE, Mesopotamia had prior to this witnessed some of the


Chronicle of Nebuchadnezzar of the years 605594 BCE including his first campaign against Jerusalem in 597 BCE or Nebuchadnezzar captures Jerusalem. By permission of the Trustees of The British Museum


earliest experiments in agriculture, when the transition from hunting and gathering to cultivating crops first took place. ‘The Sumerians developed the first known system of writing, cuneiform, by pressing a reed stylus into wet clay tablets. When sundried or baked in a kiln, the tablets became the world’s first accounting records, correspondence and books,’ comments Dr Greene. ‘It was the written script of Mesopotamia for more than 3,000 years and was employed for a wide variety of subjects, from taxes to the epic story of Gilgamesh.” The Wonders of Ancient Mesopotamia, drawn from The British Museum’s extraordinary collection of Mesopotamian material, shows fascinating artefacts from Sumer and the subsequent Assyrian and Babylonian kingdoms: massive carved stone reliefs depicting scenes of battles and hunting, stunning gold jewellery, cuneiform tablets and inscriptions, along with intricately carved tiny cylinder seals used to identify individuals of importance and influence. ‘Visitors will see more than 170 objects, revealing many aspects of Mesopotamian culture,’ affirms Dr Greene. ‘Our knowledge

of this civilisation comes from major archaeological excavations from the mid-19th century onwards, which uncovered the region’s ancient wonders, lost for more than 2,000 years: from the massive Ziggurat of Ur and the palace of the legendary King Nebuchadnezzar to a vast library of more than 25,000 tablets at Nineveh.’ ‘During the 1920s, spectacular discoveries were being made. Sir Leonard Woolley found the Royal Tombs at Ur filled with exquisite artefacts of gold, silver and bronze. It’s a wonderful gift that we can still tell these remarkable stories of palaces and the power of the great kings, their religious beliefs and rituals, the invention of writing, burial practices, and the myths and legends from long ago.’ When the exhibition was announced in December, Premier Ted Baillieu said, ‘In one trip to Melbourne Museum, visitors can see everything from prehistoric fossils to Australia’s first computer. The Wonders of Ancient Mesopotamia will be another Australian first for Melbourne Museum, exploring an era that has had a profound influence on modern civilisation and is sure to be yet another great drawcard for both locals and visitors.’

Lady Layard’s jewellery. By permission of the Trustees of The British Museum Sir Austin Henry Layard married in March 1869 at the age of 52. His bride was 25-year-old Enid Guest, the daughter of Charlotte Guest, Layard’s cousin and long-time supporter. As a wedding present, Layard had a number of ancient seals made up into a necklace, bracelet and two earrings in Victorian gold settings imitating Assyrian lions’ heads and pine cone motifs. Enid wrote in her diary that when they dined with Queen Victoria in 1873 her jewellery was ‘much admired’

‘We’re delighted to be following the recordbreaking success of Tutankhamun and the Golden Age of the Pharaohs with another exhibition of extraordinary archaeological treasures – this time from one of the world’s most esteemed institutions, the British Museum,’ comments Dr Greene. ‘Mesopotamia played an extraordinary role in the development of human civilisation. The art and literature, reliefs and ritual objects recovered from the region provide a remarkable record of how great knowledge has been passed from the ancient to the modern world.’ The Wonders of Ancient Mesopotamia, 4 May – 7 October, open daily 10 am to 5 pm and until 9 pm on Thursdays. Tickets include entry to Melbourne Museum and can be purchased online at MELBOURNE MUSEUM Bookings & Enquiries 13 11 02 The Wonders of Ancient Mesopotamia is presented in collaboration with The British Museum Statue of King Ashurnasirpal II. By permission of the Trustees of The British Museum This is a rare surviving example of an Assyrian sculpture in the round. It was placed on the pedestal on which it stands in a temple dedicated to Ishtar in Nimrud. In his right hand the king carries a ceremonial sickle-sword of a type that gods used to fight monsters. In his left hand he holds the mace of authority. The inscription carved on his chest proclaims his titles and lineage and ends with the words king of the universe, king of Assyria, conqueror from the opposite bank of the Tigris as far as Mount Lebanon and the Great Sea, all lands from east to west he subdued


St Kevin’s College Annual Art Show 18–21 May 2012


he annual St Kevin’s College Art Show (SKC) is in its 42nd year. It is a celebration of art and commitment. Year after year a small group of past and present parents work together to present one of the largest group exhibits, competition and sale of artworks in Victoria. Fostering the talents of local and regional artists, this art show has something for everyone. The show opens on Friday 18 May and continues over the weekend, before culminating with Artists’ Night on Monday 21 May. Pre-payment is necessary to attend the opening night at This year the SKC Art Show welcomes Mr Jon Dwyer of Dwyer Fine Art as our honorary judge. Raelene Sharp, winner of the 2012 Archibald Packers’ Prize is a regular contributor. Participation in the show is by invitation only and every year approximately 250 artists exhibit in excess of 700 paintings. All paintings are for sale. The raffle prize, Sunset over the Seine, Paris, is kindly donated by John Di Crescenzo, winner of a SKC Art Show award in 2009.

HISTORY The art show commenced in 1970, organised by the members of the SKC Mother’s Association to raise much needed funds to provide better facilities within the College. Another goal was to heighten and encourage an awareness and appreciation of art within the College. Known then as the SKC Art Show and Exhibition it did not include a competition. Within three years of its foundation the show was a financial success and profit increased six-fold. In 1977 a competition was introduced and a policy to purchase all winning paintings for the College was adopted. The aim was to help build an art collection for the College. By 1989 the winning paintings were no longer acquired for the College but sold to the highest bidder by tender on the opening night. The tradition continues and all paintings are available for sale. Prices are as listed in the catalogue distributed at the opening night event. The development of a stronger focus on art appreciation in the school curriculum was evident in the opening of a Creative Arts Centre in 1978. There has continued to be an appreciation of art within the school with a consistently high standard achieved each year by our students. The show provides the whole St Kevin’s College community with the opportunity to work together. St Kevin’s College Art Show has always received tremendous support from the art world. Directors from the National Gallery of Victoria including Dr Gerard Vaughan, art critics, leading academics and directors of major art auction houses have given valuable time to judge the competition or to be guest speakers. Noted philanthropist Jeanne Pratt AC, former Lord Mayor Peter Costigan, Professor David Pennington, Sir William Dargie CBE and Kelly O’Dwyer MP are some of the well known identities who have opened the show.

John Di Crescenzo, Venetian Dream

Chen, John Bredl, Robert Knight, Helen Edwards, Amanda Hyatt, Barbara BeasleySouthgate, Malcolm Beattie, Caroline Sroczynski, Rosemary Todman-Parrant, Malcolm Webster, Joseph Zbukvic, Greg Allen, Angelo Quabba, Jo-Anne Seberry, Kate Smith, Kevin Taylor, Regina Hona, Gail Green, Wykeham Perry, Kim Kennedy, Helene Seymour, Do Noble, Ev Hales, Margo Vigorito, Chris Kandis, Marek Wilinski, Susan Sutton, Kerry Anne Sullivan, Josephine and Ernest Pititto, Janis Lawler, Jan Long, Glenn Hoyle, Catherine Fitzgerald, Bettina Fauvel-Ogden, John Duncan-Firth, Janine Daddo, Charles Blackman, Otto Boron, Robert Knight, Kerry Doran, William Linford, Donald Ramsay, Ross Paterson, Paul Souter, Robert Young ,David Boyd, Uma Barry, Malcolm Drysdale, Bryan Fitzgerald, Susan O‘Brien, Lyndell Price, John Di Crescenzo, Roz McQuillan, Jennifer Croom, Christine Cafarella-Pearce, Fiona Bilbrough, Jayne Henderson, Glenn Hoyle and many others.

ART prizes


Prizes are awarded in seven categories, with 2012 art show entrants to be judged by Jon Dwyer. The SKC Friends of Art would like to extend a warm welcome to all to this celebration of art.

Many artists have also benefited from their involvement in the SKC Art Show which has become a very important event on Melbourne’s annual art calendar. We have many loyal artists who have exhibited with us for over 10 years and without their support we could have not reached the high professional standard for which the show is renowned. Artists who have exhibited at the SKC Art Show include Raelene Sharp, Di King, David

For further information contact Marianne Van Schoten, Convenor ST KEVIN’S COLLEGE ART SHOW



Roger Kemp (1908-1987), Untitled, c. 1978, acrylic on paper, 150 x 260 cm

Roger Kemp AO (1908-1987)


he aim of my work has been to develop in relation to the central disciplineof aesthetic and structural balance, and from the formal plastic and creative centre, to express through a realised symbol, my experience and knowledge of humanity.’ In these simple words, Roger Kemp summed up the attitude which through constant and determined application made him a vital force in Australian contemporary painting (McCulloch’s Encyclopedia of Australian Art).1 Born in 1907 in Eaglehawk near Bendigo in Victoria, Kemp studied for a short time at the Working Men’s College in Melbourne and then from 1933 to 1935 at the National Gallery School of Art, Victoria. Kemp developed a unique style of nonrepresentational painting, which drew on both geometric abstraction and abstract expressionism. To the early moderns, the challenges of the cultural, spiritual and intellectual life brought about by the modern world left the individual with a deep sense of dislocation. To meet this challenge, Kemp attempted to bring the focus back to individual experience. Using art symbolically to restore a lost centre he laboured to evolve a symbolic language, which would effectively make his paintings revelatory. Kemp maintained a steady output throughout his life. In 1961, after winning the McCaughey prize in Melbourne, his art began to gain significant recognition. He went on to win the John McCaughey Memorial Prize, National Gallery of Victoria, 1961; Darcy Morris Memorial prize for Religious Art, 1964; Albury Prize, 1964; Georges Invitation Art Prize, 1965; Transfield Prize, 1965; Blake Prize, 1968 and again in 1970 (shared).

Travelling to London in 1970, Kemp worked at St Catherine’s Docks on the river Thames in a studio obtained through the S.P.A.C.E. program. His time in London culminated in an exhibition at the Commonwealth Institute Gallery in 1971. In the 1970s he produced over 80 etchings representing some of his finest drawing. In 1978, Patrick McCaughey organised through Monash University five simultaneous retrospective exhibitions in Melbourne to celebrate Kemp’s 70th birthday. These celebratory exhibitions were held under the name ‘Cycles and Directions’ at Exhibition Gallery, Monash University; College of the Arts Gallery; University Gallery, University of Melbourne; National Gallery of Victoria; and Realities Gallery. Kemp maintained a long association with the Victorian Tapestry Workshop. A suite of six interpretations in tapestry of Kemp’s painting, Unity in Space, now hang in the Great Hall at the NGV. Five were made possible through the generosity of Dame Elisabeth Murdoch AC. The sixth Unity in Space is part of the Tapestry Foundation of Victoria’s collection through the Sarah and Baillieu Myer Family Foundation. He received many awards: the Distinguished Artists and Scholars Award of the Visual Arts Board of the Australia Council in 1973; Silver Jubilee Medal, 25 years Reign of Queen Elizabeth, 1977; OBE, Order of the British Empire for Services to Art, 1977; Honorary Doctor of Laws Monash University, 1984; Life Membership of NGV for Service to Art, 1984; Painters and Sculptors Award for Outstanding Contribution to Australian Art 1986 and AO, General Division of the Order of Australia for services to art in 1987.

Roger Kemp (1908-1987), Untitled, 1973, acrylic on paper, 150 x 280 cm


Roger Kemp (1908-1987), Untitled, c. 1965, ink on paper, 88 x 74 cm

Jillian Holst EASTGATE & HOLST DEALERS IN FINE ART 03 9818 1656

Acknowledgement: Extract from Roger Kemp, exhibition catalogue, The Australian Club, 2009 Note 1 Susan McCulloch & Alan McCulloch, McCulloch’s Encyclopedia of Australian Art, The Miegunyah Press Vic 2006

Roger Kemp (1908-1987), Untitled, c. 1985, acrylic on paper, 22 x 20 cm


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

Antique piano, c. 1860, before restoration

What is old can be almost new again R “ ” Now the next step to consider is how to protect the newly restored finish. I would suggest that you go with a coat or two of Citrus Shield Paste Wax in a colour that best matches the colour of your piano. You simply apply a thin even coat of this buttery, woodcoloured paste wax, allow 20 minutes for it to set and then buff it to a rich shine. What will excite you is that this wood-tinted carnauba based wax will, when dry, fill those scratches that are annoying you. If applied and buffed properly, the surface will feel smooth and the appearance of those marks will be incidental, as if they are just a part of the history of that lovely old piano.

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

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

ANOTHER success story using Howard Products Have look at the photograph of a halffinished restoration on a pretty faded and knocked about baby grand piano which we found in an auction house. We astonished the management of that establishment by offering to restore the surface and about halfway through the job, we took this photograph. Can you imagine how improved the surface was after the restoration was finished? I’ll have to leave it to your imagination because a potential buyer started taking an interest in the piece, so we excused ourselves and left the manager with a tin of Restor-A-Finish to complete the job. Neville took my advice and you can see by his photo of the keyboard section how lovely that mid-19th century piano now looks. David Foster Director HOWARD PRODUCTS (AUST) 1800 672 646

1800 672 646



Add life to the instruments you love Baby grand piano halfway through restoration


ecently I received an enquiry from a gent who owns a magnificent antique piano. Here’s what he asked. ‘Can you please advise me what product would be best to use on my antique piano, dated circa 1860, which is somewhat dull and lifeless and has a few scratches and ring marks on it. A friend who uses your products suggested Howard Orange Oil and another suggested Restor-A-Finish. What would you suggest? I attach a photo of the piano in question.’ Thanks & regards, Neville This was my response: Restor-A-Finish is an excellent choice for the job you want to do. This product was actually created for the antiques trade back in 1969 and has been a mainstay for professionals in that industry ever since. It amalgamates or combines with existing finishes such as French polish (shellac), varnish and lacquer, without actually dissolving them. The way it works is that it softens an existing finish by, if you like, putting all the essential juice back into the old, rather dry surface. This allows you to move that softened finish in and around damaged areas until it gives an overall good look. After a brief minute or so you can simply wipe the surface dry. You’ll find in the case of white heat marks and cup or glass rings, that these blemishes pretty well blend away completely. Scratches are a slightly different matter; light or ‘cat’ scratches will blend out in much the same way as heat rings and water marks, but deeper cuts and large battered areas require a different approach. In this situation you take a pad of our very soft four-zero (0000) grade steel wool and saturate a portion of it with Restor-A-Finish. Then you gently rub it into the scratched area until it begins to ‘take’ and the scratch or bad blemish begins to blend out. To assist this process you can actually leave the Restor-A-Finish sitting on the surface for 15 minutes or so to ensure that it really penetrates the surface. Some scratches are too deep to actually remove but the finished job will at least give the impression that the piece has been cared for over time. Whatever marks are left become part of the patination which is in fact essential to many people as a proof of age in genuine antiques.



Schots Home Emporium Architectural hardware ENCAUSTIC TILES


n the 12th century, the monastic potters of the Cistercian order developed the production of inlaid tiles. Centuries later the Victorians and French rediscovered the techniques involved in producing encaustic tiles. These tiles adorned the corridors, entrance halls, bathrooms and service areas of well to do homes. It is these beautiful homes that we take inspiration from with Schots’ range of encaustic tiles and borders. Inspired by tradition and culture, captivating the senses and delivering a stunning visual, Schots Home Emporium’s new range of encaustic tiles mark the very pinnacle of beauty and style. They have a long history, popularised from the 13th through to the 16th century, then later in the Gothic revival era of the 19th century. The traditional method of making encaustic tiles today is a sign of the resilience of master craftsmen and their trade. Schots is proud to offer these signature tiles as part of an exclusive line-up.

PRODUCTION METHOD: how the tiles are made Where traditionally a design is applied to a tile almost as an afterthought, the encaustic tile undergoes a very different journey in its creation. From the first stage, the intricate design is established by the exacting hands of a craftsman, pouring a mineral pigment into a metal mould, before the cement base of the tile is poured. Then each tile is pressed under a ten tonne weight to permanently bond the mineral pigment to the cement biscuit. SCHOTS HOME EMPORIUM 1300 693 693



From left: Betina Fauvel-Ogden, Portrait, Nada Hunter Award 2011 Gwendoline Krumins, portraitist at People Painting People weekend



he opening of a wonderful week in our VAS Galleries for 2012 brings art and the community together

OPENING NIGHT & Nada Hunter Award 24 May 6 pm – 9 pm The opening night will feature the VAS Portrait Painters exhibition and presentation of the Nada Hunter Award. There will be demonstrations by award-winning painters Lewis Miller and Tom Alberts, and a musical recital by Stefan Cassemenos, prizes, supper and fun! • Bookings open 2 May, 03 9662 1484, 10-4 pm weekdays • Guests $40, VAS members $35.

PEOPLE PAINTING PEOPLE Afternoon Tea at the Vic’s 26, 27 May 2 pm – 5.30 pm Our People Painting People weekend is a wonderful experience for all concerned. People of all ages will enjoy a unique and memorable afternoon each day. Painters, sitters, viewers and VAS volunteers will have an exciting afternoon as they watch the ‘faces emerge’ onto blank canvasses or paper. We have invited well-known identities from arts, business, education, sport and the general community to sit for three hours for an afternoon with breaks for afternoon tea sponsored by Rowlands Commercial Catering. VAS supplies coffee, tea, a glass of bubbly or refreshing lime juice. Viewers are able to visit our other galleries during the sitting breaks. Tension is usually quite high for our talented VAS painters who produce excellent results in the limited amount of time allowed. They donate their time and expertise every year to the Society they love.

PAINTERS for 2012 PPP include Amanda Hyatt, Peter Smales, Cherry Manders, Lee Machelak, Ray Hewitt FVAS, Gwendoline Krumins, Barbara McManus FVAS, Rod Eddleston, Heather Peberdy, Michael Ashby, Ev Hales, Joyce McGrath OAM FVAS, Anne Evans, Keming Shen, Inge Englehardt, Stephen Doyle, Beverley McCathie, Bill Kerr, Noel Waite AO FVAS, Gregory R Smith FVAS.

Come alone or bring one or more guests to view our wonderful building, watch VAS portrait painters in action and learn more about what brings a face alive. • Guests $40, VAS Members $35. • Bookings open 2 May, 03 9662 1484, 10-4 pm weekdays. All proceeds above expenses will be for the Victorian Artists’ Society Development Fund.


Paul McDonald Smith: Oil Wednesday 1-3.30 pm Nell Frysteen: Watercolour Thursday 10-12.30 pm

For details regarding these and other VAS art classes please call the office between 10 am and 4 pm Monday-Friday. In a world that never seems to slow down take the time to admire the art. It doesn’t get much better!

NEW FOR TERM 3 Ted Dansey: Watercolour Monday 6.30-9 pm


2012 CALENDAR AT A GLANCE APRIL The Vas Autumn Exhibition is the first of the major exhibitions for the Society’s membership for 2012. Opening Thursday 12 April at 7 pm. This exhibition incorporates the Undine award for landscape painting. Previous winners include Clive Sinclair, Otto Boron, David Mellows and Ray Hewitt. Sheila Brennan & Friends - Cato Gallery

THINKING of having an exhibition? The Victorian Artists Society has excellent facilities and first class exhibition space in its purpose built galleries. For all exhibition enquiries contact the office between 10 am and 4 pm Monday to Friday on 03 9662 1484. Alternately, we can be contacted by email:

WORKSHOPS - mid year sessions 2-3 July Gregory R. Smith FVAS: 2 day workshop in oils Ted Dansey FVAS: 2 day workshop in watercolour Note: As space is limited it is advisable to book early. Bookings are through VAS office during business hours.

VAS art classes 2012 Barbara McManus: Portrait Monday 10-12.30 pm Christine Wrest-Smith: Drawing / Oil Tuesday 10-12.30 pm Julian Bruere: Drawing / Mixed Media Tuesday 1-3.30 pm Julian Bruere: Drawing/Mixed Media Tuesday 1-3.30 pm Ray Hewitt: Oil Tuesday 7-9.30 pm



Premier Pottery Preston, Remued vase, wheel thrown earthenware, coloured glaze, applied decorative motifs, signed ‘Remued handmade 145/9M,’ h: 24 cm. Sold $2,000

Marguerite Mahood (Australian 1901-1989) vase, c. 1932-33, wheel thrown earthenware, inscribed on base A107/MM, 1932-33, h: 6 cm. Sold $1,400

Commonwealth of Australia 1942 Armitage & McFarlane five pound note. Sold $80

Art Deco engagement ring, 9 ct gold set with .75 ct diamond, English hallmark, colour: J, clarity SI2-PI. Sold $850

Tasmanian Arts and Crafts Society pewter plates, diam: 19.5 cm (two), 16 cm. Sold $400 set


nfortunately when times get tough, some people may have to sell items that they would never part with otherwise. If you have some extra cash, now is the time to spend on antiques, art and collectables. So start hitting garage sales and auctions for selective shopping, whether starting a new collection or completing missing parts of a favourite, possibly at quite good prices.

William IV mahogany cased bracket clock with fusee movement made by Aldridge London, 49 x 33 cm. Sold $1,500

In addition to good buys, you could score great deals on items that you will enjoy owning now and maybe sell at a profit later. Quality antiques, art and collectables viably hold their value or appreciate with time. This means when the economy turns around, you could very likely sell your items for more than you paid for them. Shown are recent auction items that have passed through Amanda Addams Auctions, proof that this has never been a better time to buy. Remember that antiques don’t provide a guaranteed return. Overall, most antiques and collectables maintain value and tend to appreciate,

sometimes dramatically, over time. Compared with newly produced furniture, mass-produced art and decorative items that lose value as they leave the showroom, quality antiques, art and collectables in excellent condition have a tendency to appreciate in value. Purchasing antique, art or collectable now, you can sell later with far more potential in the long run than if you had bought new items. Buying antiques, art and collectables allows you to enjoy your tangible investments: you can literally keep an eye on your money! Besides, coming home to a warm interior seems more important than ever when times are uncertain.

David Freeman AMANDA ADDAMS AUCTIONS 03 9850 1553 0419 578 184 0419 361 753

Rolex Cellini watch, c. 1960s1970s, manual wind, 18 ct yellow gold band and case, weight: 76.2 grams. Sold $3,000

Modelled pottery, William Ricketts (Australian 1898-1993), earthenware, signed on base, h: 24 cm. Sold $800

Hagenauer (Vienna) figurine, c. 1930-49, fruitwood and gilt brass, made for Rena Rosenthal, Waldorf Astoria hotel shop New York. Sold $400

Victorian sterling silver snuff box, c. 1866-67, Birmingham England, signed RT, w: 5 cm, weight 18.2 grams. Sold $50

Frederick Woodhouse Senior (Britain/Australia 1820-1909), Portrait of a Brown Horse in Landscape, 1884, oil on canvas, 45 x 60 cm. Sold $1,500


Art glass vase by Karl Palda, hand blown etched crystal, h: 30 cm. Sold $480

Lalique Nemours bowl, crystal with floral cutwork, diam: 25 cm. Sold $800


Thinking of Selling Consignments wanted for our next important auction Antique Valuations Established 1985

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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:

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




ou’ll have to get that online,’ I am frequently told by shop assistants, usually after making a dedicated trip to the specialist shop in the CBD. Palm Court music CD? Casting resin? Aviator’s goggles? Monocles? ‘You’ll have to get that online.’ So I have had a wonderful time buying all sorts of goodies online, mainly from the impoverished USA. I have fallen for the seductive ease of typing in a credit card number and having things arrive from some remote part of the USA a week later. At least, I think they come from the USA. Round collared Edwardian style shirts, impossible to get locally, can be bought from the com.UK website, but arrive (free shipping) emblazoned with Hong Kong postage. With the joys of the internet your online shop can appear to be anywhere. I am sure the apparently British firm does not even have an office in England. An additional advantage of the online shop is the presentation. Our own website shows each piece of stock in solitary magnificence. It is true that the quality of the photography, executed by myself, is dispiriting, but the desirable object is displayed in splendid isolation, as if it were on a pedestal in a gallery.

A REAL ANTIQUE STORE However, in real life the 18th century chairs and Georgian wine tables are stacked willy nilly, in piles on each side of a small goat track that meanders through the middle of the shop. Like Tutankhamun’s tomb, there are wonderful things piled everywhere. Stuffed to the gills! Part of this is due to the fact that I

cannot help myself and am compelled to buy fine antiques when they present themselves. A more pressing reason for the inelegant stacks of museum quality furniture is the cost of Australian space. Real estate in Australia is horrifically expensive by world standards, so to have a showroom with an elegant and spare exhibition would necessitate doubling of our prices. Of course, our website only illustrates a tiny fraction of the stock in the shop. Experienced shoppers delight in the density of the stock, but lay folk sometimes come away looking quite dazed. Nevertheless, some structure prevails in the bricks-and-mortar shop where we have accumulated treasure for 22 years. The silver, porcelain and bronzes are dust free in cabinets at the front, near the welcoming fountain. The jewellery shop, Imogene, follows, with its wild ‘70s Casino’ chandeliers. This independent shop is the domain of Kathryn, a gemmologist, diamond technologist and registered jewellery valuer: carpets of diamonds, emeralds and pearls! Deeper in the shop lies the new Steampunk showroom, a riveted copper den looking like a submarine interior. Here lurk canes with telescopes in their handles, armillaries, aviator’s goggles, monocles and all the accessories a Victorian airship engineer might need. There is a large array of silver jewellery in the Edwardian and Victorian styles. Here is our exclusive Steampunk jewellery, made by Errol Pukallus. My favourite range features cogs embedded in blue ‘coral’ looking as if they were machine parts just salvaged from the Titanic or Atlantis. The Titanic having sunk 100 years ago this April,

A walnut, George II period chair, England, c.1735. Typical of our stock of British and European furniture between 1690 and 1840.

Georgian & Continental Furniture • Porcelain

Silver • Ikons • Paintings • Imperial Russian

410 Queens Parade Clifton Hill Vic 61 3 9489 8467 30

Antiques piled high inside Roy’s Antiques

we naturally have centenary commemorative brass compasses. Through the last archway opens the light and airy drawing room, with its columns, skylights and marble fireplace. Fringed leopard skin swags frame the view onto the garden, filled with marble statues disappearing under aggressive ivy. This vast room groans with 18th century English, French and European chairs, tables, cabinets, paintings, generally from 1690 to about 1840. It looks like a stately manor house after a cyclone. We can fit a lot into 200 square metres!

REAL VS ONLINE ANTIQUING As a plus, I have discovered that online shopping still allows economies of scale. The cost of postage for one monocle is $10 but the cost of postage for 10 monocles is $15 total. So I can buy ten and still retail them in Australia for less than my customer has to pay for one including postage from the USA. There are two things very obviously missing from the convenience of online shopping. One is the possibility of discovery. All the computer does is match a series of letters typed (correctly spelled or not) into the search box with the same listed elsewhere in the world. This prevents many a happy accident of discovery that browsing in a physical shop engenders. Browsers in antiques shops often find the object of their dreams was something they did not hitherto even know existed. Hard to do an internet search for that! The internet also requires you to spell. A search for ‘chest of draws’ may not reveal the chest of drawers of your dreams. A film set dresser rang me once in great distress that she could not find any ‘chaise lounge’ but after I

Roy’s Antiques on Queens Parade

directed her to search for long chairs, ‘chaise longue’ as in tongue (assuming she could spell tongue!) suddenly millions appeared, saving her professional bacon. Similarly, searching for a dresser (which lives in a kitchen) when you want a bedroom dressing table will lead to frustration and ‘webrage.’ Theatre of shopping is the other quality that can only be delivered in a three dimensional shop. Sadly, the supermarket or chain store is unlikely to deliver the joys of retail adventure. A hundred identical products on a gondola will not thrill. The baroque bar, the eccentrically decorated coffee boutique, the retro and antique stores are more likely to show you a new experience and strange undiscovered objects and refreshing ideas. In an antique shop each piece has a story, being connected with historical events and sometimes specific people. So it exists as a useful object but also as a symbol or talisman, bringing with it a seductive aura of past glamour and elegance. Google ‘magic’ and you really should get antique stores. Roy Williams ROY’S ANTIQUES 03 9489 8467

Above: Finds in the Steampunk showroom Left: Steampunk jewellery by Errol Pukallus, exclusive to Roy’s Antiques


Displaying a collection A collection is probably one of the most individual statements that a person can make verybody knows a collector and most feel an occasional urge to collect – and associated thrills in arranging, sorting, selecting and admiring of possessions. For many children, their early ‘collection’ often is their most precious possession – marbles, toy soldiers, postage stamps or tamagotchis. Antique and art collectors have been susceptible to whim and to the interests and fashions of the day. Most collectors are hooked on the joy of the objects and the thrill of the chase, even if they started out with an investment opportunity. A collection should not be hidden in boxes or behind doors, but shown in the best possible light where its importance can be viewed and appreciated. The art of collecting is linked to that of display, so ways of achieving the best display of a collection are important.


INTERIOR decorating

Displaying one’s collection is akin to interior decorating. The great collectors of the 18th and 19th century housed their collections in small rooms, often described as cabinets where the fine details of objects could be appreciated at close hand. The larger items were housed in purpose built galleries, rooms or additions. Today many collectors live with their treasures displayed in their homes. They give an insight into their unique style of interior decoration, often performed with a keen eye for texture, colour and shape. By our 21st century standards, 17th century collectors probably hung their paintings far too high than is fashionable today. Yet again, 18th century paintings were hung in asymmetrical ranks designed to be an integral part of the formal architectural scheme, rather than making a display for easy viewing. Today’s taste for minimalism is just as particular about how paintings should be hung and objects displayed. Housing styles and social changes have created open and spacious rooms, demanding that clutter is kept to a minimum. Order and tidiness are paramount and statement pieces are a focal point.

Perhaps there are no longer suits of armour standing at the foot of the stairs, or plates lined neatly above the picture rail. However, the display of a collection is still an integral part of the collecting process. The basic elements of interior decoration are still important.

Marble bust


Items of a similar type can be grouped to emphasise the cohesion of a collection. If you buy enough of any one item, even if some of them are hideous, when you put them together the effect is wonderful. A collection of glass candlesticks, for example crowded along a refectory table all at differing heights looks wonderful. If the majority of your collection is made up of single examples, each will be accentuated by grouping in a seemingly artless way, from 19th century salt glazed jugs to tightly packed displays of silver objects, tortoiseshell, bone or ivory boxes. The background is also important, such as choosing the right piece of furniture on which to display the objects.


Strong pieces that the eye is drawn to instantly are better displayed as integral parts of the room as single items within it, similar to a gallery. This allows each piece and each object to be seen as unique, viewed at leisure and appreciated in its own right, and as part of the whole collection.

Further reading Caroline Clifton-Mogg, A Passion for Collecting: Decorating with your Favorite Objects, Bulfinch USA 2002

THEMATIC display

One of the most effective ways of displaying a collection is to group by theme. This may be a period, such as all things Victorian. It might be colour, function or perhaps material.

Eaglemont Antiques


Colour is a vital key to successful interior decoration and is often the solution to displaying a collection. How effective is a ‘blue and white‘ collection of 18th and 19th century porcelain? Pieces that may otherwise pass unnoticed evolve into harmonious groups and striking individual statements. There are as many different views and ways to show a collection as there are collections. No one way is better than the other; it all depends on the size and nature of the particular collection and the personality (and time) of the collector who has brought it together. Remember that viewers must be able to perceive that they are looking at a collection that was put together for a purpose. Whether they are massed closely or scattered through a space, there needs to be a relationship between each of them. A collection is probably one of the most individual statements that a person can make, relatively untouched by fashion or contemporary enthusiasm. It speaks volumes about the person who collected it – whether artistic, creative, well read or well travelled – and a sense of humour. Collections directly reveal the personalities behind them. Dawn Davis EAGLEMONT ANTIQUES 0408 530 259

A Unique Shop in a Heritage Area Come and browse through our showroom filled with quality antique furniture: dining tables, bookcases, small occasional furniture; a wide variety of English and European porcelain and glassware; and all sorts of interesting objets d’art. We offer: ❀ Complete restoration service ❀ Valuation service ❀ Consignment sale service ❀ Home decorating service ❀ Cash for all goods purchased A pair early 19th century bronze candlesticks with lustre prisms

49 Happy Hollow Dr, Plenty 3090 Open 2nd weekend of each month or by appointment at your convenience

0408 530 259

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



The American Clock T

he American clock industry was founded by immigrant clockmakers, mainly from England, who established extensive clock-making regions in Boston and Philadelphia. The earlier clocks were usually weight-driven longcase clocks. The makers depended largely on imported metals, and the signing of the Declaration of Independence cut off supply, forcing makers to turn to wood. Around the same time there was a growing demand for cheaper and smaller clocks than the longcase timepiece.

EARLY clockmaker Eli Terry (1772-1853) Several clockmakers devised methods that attempted to satisfy this demand. Possibly the most famous of them was Eli Terry (17721853) of Connecticut who accepted an order to deliver 4,000 wooden longcase movements within three years. He exploited the French watchmaker Frederic Japy’s idea of making all the parts of the clock interchangeable. Instead of having to finish one clock before starting the next one, he was able to put any

Antique and Modern Clocks and Watches Repairs and Sales

number together from identical parts on an assembly line. His first factory was operated by a water mill. It took him one year to invent the machinery and set up the factory. Eli Terry was the first maker to mass produce a complete clock. Terry’s first clocks in 1803 were wooden, not unlike the German Black Forest clock movements. Later they were made from brass and steel, sometimes driven by wagon springs from 1825 to 1855. Weight-driven clocks were also common until the mid 1840s when the problem of producing steel springs commercially and cheaply was overcome. The factory was later sold to Seth Thomas who was largely instrumental in developing and popularising for the mass market what is now regarded as the typical American shelf clock. A shelf clock is two to three feet high, is contained in a rectangular wooden case and is weight driven.

AFFORDABLE American clocks Soon cheap American clocks flooded the European market and put many local clockmakers out of business. In Germany, in the Black Forest, the era of the wooden clock came to an end when American brass clocks were made available at prices well below local clocks. For nearly 200 years out-workers, who had specialised in different parts of the clock at workbenches in their homes, were now out of work. Erhard Junghans responded by setting up a clock factory on the American system, which was followed by a number of others.

TORSION clocks

Friendly professional service Free quotes Guarantee on major repairs Clocks bought and sold Leigh Fist 493 North Road, Ormond VIC 3163 Open: Tues – Fri 9 am - 5 pm & Sat 9 am - 1 pm Ph: 03 9578 6960 32

Another type of clock first developed in America was the torsion clock. Invented by Aaron Crane, it needed to be wound up only once a year. This invention gave rise to the mass production of the 400-day clock in Germany at the end of the 19th century.

MAIN features American clocks are known for their strong and vigorous ticking sound. They have a variety of different hourly, and sometimes half-hourly strikes, or can be timepieces only. They are of 30-hour or eight-day duration. Often a distinctive feature of the American clock is the decorated glass in the door which covers the dial and pendulum and is painted in either gold, silver or various colours with a scene, flowers or patterns. Today, there are still a great number of American clocks available. Some of the

For someone starting out as a collector, buying an American clock is one of the most affordable beginnings.

earlier models are very collectable, but they are hard to find. For someone starting out as a collector, buying an American clock is one of the most affordable beginnings.

WELL known makers The best-known American clocks are Ansonia, Sessions, Seth Thomas, E N Welch, Waterbury, Ingrams, Gilbert and Jerome. You should be able to buy a restored American clock of about 100 years old from about $400 upwards, but you could spend three to four times as much or more for the rare or earlier models, THE CLOCKWORKS 03 9578 6960


2 5




1. Eileen Hawthorne, 1931, tri-colour carbon print, 30.16 x 22.86 cm

Emil Otto Hoppé

2. Duke and Duchess of York, later King George VI and Queen Elizabeth, the Queen Mother, 1923, gelatin-silver print, 16.51 x 15.56 cm

Society, Studio and Street at Monash Gallery of Art 9 June – 29 July 2012


ecil Beaton called him ‘The Master.’ During the 1920s, he was the most famous photographer in the world The rediscovered works of E.O. (Emil Otto) Hoppé (1878-1972) come to Melbourne at Monash Gallery of Art from 9 June to 29 July. Drawn from the collections of the National Portrait Gallery, London and the E.O. Hoppé Archive in Pasadena California, this exhibition celebrates the work of Hoppé as a pivotal figure in photography in the first half of the 20th century. During the 1920s and 30s, Hoppé was one of Europe’s most sought-after photographers. His studio in South Kensington was a magnet for the rich and famous, from dancers to film stars and from royalty to leading writers and artists. As Hoppé photographed the most famous cultural identities of the era, this exhibition features remarkable portraits of most of the leading social and cultural figures of the period. They include King George V and Queen Elizabeth, Albert Einstein, Fritz Lang, Paul Robeson and Benito Mussolini. Among Hoppé’s creative subjects are literary notables George Bernard Shaw, Sir Arthur Conan Doyle, AA Milne, Ezra Pound, Vita Sackville West, Anita Loos, Somerset Maugham, Henry James, Rudyard Kipling and Thomas Hardy. Artists Jacob Epstein, Marinetti, Marsden Hartley, Katha Kollwitz and dancers Margot Fonteyn, Martha Graham and Nijinsky had their portraits taken by Hoppé. Not content to be just a celebrity photographer, Hoppé was fascinated by questions of class, race, and social mobility. With his access to ‘high’ society, he used his camera to try to understand what made people successful in the first place. Related to this, Hoppé increasingly left the studio during the 1930s to make photographs of British street life. These pictures, sometimes funny and often poignant, explored ideas about class and typology that paralleled the writings of his friend George Bernard Shaw. Using a hidden camera, Hoppé photographed people at the other end of the social spectrum: sleeping rough, living in hostels and barely getting by.

He also immersed himself in London’s growing immigrant communities. As waves of immigration from Europe, Asia and Africa turned Britain into a multicultural nation, Hoppé was making its collective portrait. His photographs show a nation with one foot planted firmly in the past and another reaching toward the future. Bringing both sides of Hoppé’s work together for the first time, this exhibition features portraits from the rich and famous through to candid pictures of street and rural life, and photographic records of a life now past. Altogether, these stunning photographs create an extraordinary record of portrait of the period. Organised by the National Portrait Gallery, London in collaboration with Curatorial Assistance and the E.O. Hoppe Estate Collection, the exhibition is circulated by Curatorial Assistance Travelling Exhibitions, Pasadena, California USA.


3. Tilly Losch, 1928, gelatin-silver print, 19.05 x 20.32 cm 4. Biddy Willoughby, 1931, tri-colour carbon print, 29.85 x 22.86 cm 5. Vita Sackville-West, 1916, gelatin-silver print, 19.37 x 13.65 cm 6. Albert Einstein, 1921, gelatin-silver print, 15.24 x 11.11 cm


7. Käthe Kollwitz, 1927, gelatin-silver print, 30.0 x 23.81 cm

Entry to Monash Gallery of Art is free. The gallery is open Tuesday to Sunday (closed Monday and public holidays).


In the waiting room at the dog hospital, Croydon, London, 1935, gelatin-silver print, 24.13 x 22.77 cm



L. Fossier, Robert Benard (author), Banksia, 1791-1834, botanical print from Histoire Naturelle, Botanique, engraving on paper. Art Gallery of Ballarat. Purchased 2012

Unknown artist (after Walter Fitch), Charles Lemaire (editor), Nymphaea gigantea W.Hook, 1852, botanical print from Le Jardin Floriste, vol. 3, engraving on paper, hand coloured, with gum arabic. Art Gallery of Ballarat. Purchased with funds from public donation, 2011

Art Gallery of Ballarat’s stunning spring exhibition

Capturing Flora:

Three Centuries of Australian Botanical Art 25 September – 2 December OVER 350 IMAGES RANGING FROM 1729 TO 2012


xplore and celebrate the art depicting Australian flora since the early 18th century up to today, through viewing over 350 images ranging from 1729 to 2012. Come on a visual journey that examines issues of aesthetics, science, exploration, horticulture and social history as they have been combined in different ways over almost three centuries. By definition, botanical art encompasses images of plants which have been created in order to identify, classify and compare plants from either a scientific or a horticultural perspective. The primary purpose of these images is functional rather than aesthetic. Regardless of this utilitarian origin, great botanical art has always had an exceptional appeal. The European discovery of the Australian continent took place during the Enlightenment, an era when time, effort and finances were put into voyages of exploration. The botanical art was art of extraordinarily high quality, as it recorded newly-encountered plants which were radically strange to European eyes. During the 19th century, the growing middle class, both in the colonies and the home country developed an insatiable interest in horticultural pursuits at the same time that scientific institutions were building knowledge of botanical resources. New printing techniques allowed prints to be coloured mechanically, resulting in a boom in botanical art which lasted into the 20th century.


The last 30 years has seen many highly talented artists emerge – so many that no one exhibition could accommodate all the major artists. Hence this exhibition makes no further claim than to show a representative sampling of great work from the 1980s to the present day including: Anita Barley, Jean Lewis, Mali Moir, Juan Pastorizza-Piñol, Jenny Phillips and Andrew Seward. This is the most comprehensive exhibition of Australia botanical art ever held in this country, the vast majority of which have been collected by the Art Gallery of Ballarat in recent years. A major publication, the first comprehensive monograph to cover this topic for over ten years will be available at the exhibition. For more information contact ART GALLERY OF BALLARAT 03 5320 5858

Unknown artist (Swan, engraver, S. Curtis,publisher), Dryandra pteridifolia, Fern-leaved dryandra, 1836, botanical print from Curtis, Botanical Magazine, engraving on paper, hand coloured. Art Gallery of Ballarat. Purchased 2012


25 September to 2 December 2012 Adult $12, Conc $8, Child/Gallery Member Free Miss Maund Telopea speciosissima (detail), 1837-1842, plate from Benjamin Maund’s The Botanist, engraving on paper, hand coloured with watercolour, Collection: Art Gallery of Ballarat, Purchased with funds from the Joe White Bequest, 2010

An Art Gallery of Ballarat exhibition

40 Lydiard Street North | Ballarat VIC 3350 T. 03 5320 5858 | Open 9am - 5pm daily






Guy Page

Persian and Oriental Carpets

PAGE ANTIQUES Formerly of High Street Armadale

“The best selection of queen-size beds”

Antique Isfehan, late 19th century



219 Canterbury Road Canterbury Vic 3126 Phone 03 9830 7755 Open Mon – Sat 10 am – 5 pm, Sundays by appointment


e Hug

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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








Por Porcelain celain and Objects of Art from from the e National Gallery Gallerry of Victoria Victoria Collection

The E. Phillips Fox and E. Carrick Fox Collection of Pictures Pictures

The Charles Ruwolt Collection of Australian Paintings

The Hans Heysen Collection

The Dame Mabel Brookes Brookes Collection

The Maharajah of Mysore Mysore Collection

Classic Radio Auction A Single Owner Collection Sunday 19 September 2010 Melbourne Melbour ne










Rupert C.W. C.W. Bunny’ ’s Bunny’s Une Nuit De Canicule

The Qintex Collection

The Rogowski Collection

The Szental Collection n of Radios

The Lieutenant Paul McGinness WW1 Medal Group Grou up

The omley David Br Bromley Collection

(The first paintin painting ng sold for mor e th an more than $1,000,000 in Australia)


333 Malver Malvern nR Road, oad, South Y Yarra, arra, Guy Cair Cairnduff, ndu uffff, Head of Specialist Collector C

Victoria V ictoria 3141, Australia

5611 (03) 8825 56 11 / 0407 828 137 www .leona guy .cair




there’s more to

299 MELBOURNE ROAD Geelong, Victoria

400 HODDLE STREET Clifton Hill, Victoria



1300 693 693 1300 774 774









‘unearth the uncommon’


Corner Elizabeth & Johnstone St, Castlemaine Victoria 3450 Phone: 03 5470 5989 Web: / Email:

OPEN 7 DAYS 9.30 am to 5 pm


An exhibition featuring over 170 amazing objects from the world-renowned British Museum, from giant stone reliefs to exquisite ivories and jewellery. Excavated from under centuries of sand and soil, these priceless artefacts tell the story of another age – a world of palaces and ziggurats, gods and lions, and firsts such as the invention of writing and the sixty minute hour. Join Museum Victoria Members and receive a free ticket to Mesopotamia.

To find out more and to book your ticket online go to








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

Cartier Gold on sterling silver quartz c. 1990 $1500

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

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

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

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

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

Moonflower, 1982

Sunbaker, 1937

Interior Elizabeth Bay House, 1978

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


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


Omega Seamaster 14 ct c. 1960s $1895

At Toowoon Bay, 1985

Blue Gum Forest, c. 1940



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

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

Victorian mahogany slat back carver chair. c. 1880

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

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

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

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



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

Exhibition E xhibition SSponsors ponsors


Media M edia Sponsors Sponsors

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



GRACE KELLY: Style Icon on show at Bendigo Art Gallery until 17 June


hen people think of Grace Kelly – one of the most photographed women of the 20th century – what they usually recall is her beauty and elegance. Kelly was born in Philadelphia on 12 November 1929 to parents John B Kelly and Margaret Majer Kelly. The son of Irish immigrants, John B Kelly had founded the company Kelly for Brickwork which ultimately made him a millionaire; he also won gold medals for rowing in the 1920 and 1924 Olympics. Grace Kelly grew up with her three siblings in East Falls, an affluent suburb of Philadelphia. A shy and introverted child, she stood out from her family of extroverted athletes and from an early age showed an interest in theatre. She rose to fame as an actress in the 1950s, starring in films by Hitchcock and others. Her image was cultivated by the movie industry, which fed cinema-goers’ growing appetite for pictures of glamorous stars through magazines and newspapers. The types varied, from voluptuous sirens and ‘sweater girls’ to the girl next door. The young Grace Kelly seemed to combine both qualities: wholesome, but distinctly glamorous at the same time.

She came to symbolise the classic, understated look she wore both on and off screen. Grace Kelly became known for her impeccable dress sense. This exhibition explores, through her surviving clothes, the story of her transformation from Hollywood actress to a princess of one of Europe’s oldest royal families. Examining her enduring appeal as a style icon, features include her costumes from films such as Rear Window (1954) and her final role in High Society with Bing Crosby. See the much-publicised dresses made for her trousseau and wedding, and the French haute couture – a different kind of costume – that she required for her subsequent role as Princess of Monaco.

Above from left: Grace Kelly and Prince Rainier III of Monaco after their civil wedding, 18 April 1956 © Snap/Rex features Grace Kelly starring with James Stewart in Alfred Hitchcock’s Rear Window (1954) © Paramount/The Kobal Collection Grace Kelly wearing pearls 1954. © Everett Collection / Rex Features

TICKETS ON SALE NOW Grace Kelly: Style Icon is a timed-ticket exhibition. Tickets have a specific entry time at one-hour intervals throughout the day (please note that this does not however limit your actual visit to one hour). This exhibition is extremely popular so we recommend purchasing tickets early to avoid disappointment.

Tickets are only available from The Capital by phone 03 5434 6100 or in person at The Capital, 50 View Street, next door to the gallery. For further information go to




Cerutty Collins 1916 five shilling note, unissued

Continued from page 20

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

STAR replacement notes In 1948 the American system was introduced of printing a hollow 5-point star after the

Armitage McFarlane 1942 ten shillings star note

serial number to indicate it was a replacement for a mistaken serial number. Pre-decimal star notes are rare with none above £5. This practice continued on early decimal notes (1966-1969) until technology could identify and remove faulty notes.

UNISSUED notes In 1916 the Australian Government prepared a 5 shilling note to counter the shortage of silver coin, but destroyed most in 1922 with only four specimen notes surviving. This occurred again in 1946. A £1,000 note ordered in 1922 languished until 1928 when the Government decided not to proceed: just one note is known, sold in 2008 for AUD$890,000. One pound notes commissioned in 1926 were destroyed because the printing was unsatisfactory – only two sheets and 12 individual notes remain of 7,000,000.

Australia led the world with the polymer $10 in 1988. The $5 followed in 1992 through to the $100 note in 1996.

” Some designs were never made: 1934 designs for £50 and £100 notes were not printed because of insufficient demand. The £1 note featuring Edward VIII remained unissued because of his abdication from the throne on 16 November 1936.

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

Fraser Cole 1991 five dollar note

Old O ld money talks. It sspeaks peaks of history and ra rarity. arity. Of value that is ne never ever dim minished. Investment in n rare banknotes allow ws you diminished. allows to balance b your portfolio for superannuation or other inve estment with stability and a solid growth. T o pre eserve investment To preserve you ur wealth now and into the future. F or informa ation, your For information, see e coinworks com au u or phone +61 3 9642 2 3133

Fraser Evans 1995 polymer fifty dollar note


POLYMER notes 1995 - to date Australia led the world with the polymer $10 in 1988. The $5 followed in 1992 through to the $100 note in 1996. Collectors of polymer banknotes can obtain yearly sets, first day of issue and collector folders.



Di King, A Touch of Modesty, oil

Di King, Early Morning Start, oil

Di King, Rocky Escarpment, oil



ORIGINAL artworks

SELECT Di King giclees

JOHN Thomas

ave you ever wished that you could take home a painting you saw and loved, but it was out of reach? Well now you have a chance to have that image on your wall.

Di King, The Small and the Mighty, oil

With great consideration, Di has reproduced some of her very sought after images. They are digitally produced at the highest quality possible. All images are reproduced on archival watercolour paper or the highest quality linen. Among the great range of her images she has chosen a select few of her award-winning paintings. Among the works is A Rocky Escarpment, for which she won the prestigious Mortimore Prize in September 2011. This national award is today regarded as Australia’s leading realist art prize. This is a first for the gallery so Di and John are very excited about offering these images at an affordable price. These giclees or reproductions will be an ongoing part of the gallery’s permanent display.

visit Di King Gallery

For clients who only wish to own an original painting, nothing has changed. There will always be new original paintings to choose from, delighting customers as per usual.

Bits and Pieces 12-20 May Plan to visit John’s exhibition which starts on 12 May, running until 20 May. John has been working on a selection of paintings in response to his travels through the country to four states and the Northern Territory. These new works from John will surprise and delight every guest to the gallery, whether new or established visitors.

Di King, A family affair, oil

The gallery will open at your convenience, so please contact us by phone or email your dates and times to DI KING GALLERY 03 5962 2557 / 0414 404 798 Di King, Tranquil Flows the Howqua, oil

Di King, Clydesdale Trio, oil

John Thomas, Moyston Farmyard, oil, 110 x 80 cm

Di King, Nature’s Reflections, oil

John Thomas, Yellow Waters, oil, 55 x 27 cm

John Thomas, The Sentinel, oil, 61 x 46 cm

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 49


Nick Costello, White Man Dreaming

Jeff Murphy, Morning search for stray cattle

Barbara Beasley Southgate, Winter landscape near Molesworth


at Sherbrooke Art Society 26-27 May


herbrooke Art Society is a nonprofit organisation run by volunteers that encourages and supports local artists. It was founded on a tradition of realist painting and seeks to encourage both traditional and contemporary interpretation of representative subjects. Always stop in to the gallery to see a diverse variety of works in various mediums on display by this large collective of artists. The Society

provides studio space, classes, paint-outs, demonstrations, exhibitions and competitions to encourage art in the local community.

HOW to find us Sherbrooke Art Society Gallery sits beside Clematis Creek at the edge of majestic Sherbrooke Forest just a few hundred metres from the town of Belgrave, which if coming from Melbourne is off the Burwood Highway.

Sherbrooke Gallery

Sherbrooke Art Society Inc Established 1966


Awards Exhibition Entries close 6 May Download Entry Form from

Exhibition 19 May –11 June Official Opening 3 pm 19 May

Di King


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

THREE studios: three artists Enjoy the open studio experience and share in the creative process of three renowned artists at work in the Sherbrooke Art Society studios. Visitors are welcome to wander in and out of the studios or stay for complete demonstrations. Artists are happy to chat about their work and Sherbrooke Art Society. Tutor Jeffrey Murphy conducts free demonstration workshops in Studio Two from 10 am until noon and again from 2 to 4 pm on both Saturday and Sunday. Nick Costello is holding DVD demonstrations which are running both days in the Mavis Hill Gallery. Nick presents at 11 am on Saturday and again at 3 pm on Sunday. The theme of his workshops is Expanding Your Vision – multimedia for painters. Artist Wendy Havard is working on her paintings in Studio 1.

Wendy Jane Sheppard, Charlotte

Sue McCall, Faces of a Nation

AT THE main gallery The Streeton, Roberts and McCubbin Awards exhibition is on display. Peruse a large variety of paintings hanging in the gallery and a display of ceramic works. As well as the studio demonstrations there will be artists painting at easels and tables in the main gallery. Visitors may choose to observe or interact with the artists. Free tea, coffee and nibbles will be available in the temporary gallery café where visitors can relax, have an informal chat with artists or with like-minded art admirers.

OUTDOOR experience Artists are painting in the garden area beside Clematis Creek, weather permitting. Freely wander around the garden and enjoy the sounds of the trickling creek in its bushland setting.

WIN AN INTRODUCTORY PAINTING LESSON Visit Sherbrooke Art Society over 26 – 27 May Dandenong Ranges Open Studios Weekend and you could win an introductory painting lesson with wellknown tutor, Jeffrey Murphy.

Wendy Havard, artist at work

PLANNING the weekend art experience Plan your visit by using the free guide available in advance from Sherbrooke Art Society, complete with the studio descriptions, locations, examples of artists’ work and a very helpful map.

33 PARTICIPATING art studios See works in various mediums by sculptors, painters, woodworkers, glass artists, ceramicists and photographers. This annual open studio weekend is a great opportunity to gain insights into the thriving Sherbrooke Art Society and to meet participating artists including: Kaye Caldwell, Robin Dawson, Michael Freshwater, Robert Gerber, Peter Goodman, Maureen King, Pat Ostroff, Agnes Parcesepe, Gordon Richardson, Molly Roche, Lois Bannister and others. For more information about this special weekend arts event contact SHERBROOKE ART SOCIETY 03 9754 4264


Sara Paxton, Buttercup, oil on canvas, 92 x 92 cm

GROUP SHOW - NUDES Pete Groves, Tree Visiting, acrylic on canvas, David Chen, Near the Window, 102 x 152 cm oil on canvas, 91 x 122 cm

Mid year exhibitions at GROUP SHOW Boats

6 – 20 May at Cheltenham ara Paxton, a British-born artist living on the Bellarine Peninsular in Victoria has captured an energetic spontaneity in her new exhibition entitled Wild at Heart showing at the Cheltenham gallery. Known traditionally for her love of vibrant colour and wonderfully expressive style, Sara works primarily in oil on canvas, sometimes using strong brush strokes and slabs of paint, and at others, gentle luminous washes. The aim is always to create an emotional connection. Sara‘s wild imagery landscapes, flowers, still life and for the first time, cows, emerge onto the canvas through the use of more graphic, more intense and more powerful visuals.

14 – 30 June at Hampton Gallery artists who specialise in boats will exhibit their works in mediums including painting and sculpture.

GROUP SHOW Nudes 17 May – 2 June at Hampton This exhibition involves our Gallery artists who specialise in nudes. Mediums include painting and sculpture.

Pete Groves 27 May –10 June at Cheltenham Creating an atmosphere, a world, where harmony exists between nature and the manmade, Pete Groves’ paintings have a lyrical quality that conjures a reality far from the austerity of the everyday. On initial analysis some elements may seem implausible, but somehow realism exists within fantasy. His idiosyncratic, contemplative figures and animal life blend magically with their surrounds. Melbourne-born, Peter completed a Bachelor of Arts in Graphic Design at Swinburne Institute of Technology. He began making his living from painting while living for several years in Mexico. His work is represented in private collections in Australia, USA, Japan and London, including the BHP Billiton London collection.

Conchita Carambano, Approaching Storm, mixed media, 122 x 122 cm

Without Pier Galleries

SARA PAXTON Wild at Heart


GROUP SHOW - BOATS Craig Penny, Resting, acrylic on canvas, 120 x 120 cm

Stewart Westle

Conchita Carambano 17 June – 1 July at Cheltenham Conchita’s work is abstract mixed media on canvas as well as beautiful works in mixed media on paper. She uses a strong palette, overlaid with gold and silver leaf foil. Her work has a positive honesty about it reflecting her personal values and philosophy. She has won four significant art prizes. ‘Being an artist is my life, and in no way could I imagine being or doing anything else.’ Conchita is in numerous national and international collections, including the National Library of Australia collection in Canberra.

GROUP SHOW Works on Paper 6 – 21 July at Hampton This show is by Gallery artists who specialise in works on paper. There will be many limited edition prints such as etchings, linocuts and lithographs.

8 – 23 July at Cheltenham Stewart is one of our most popular artists. Westle’s enthusiasm for the Australian landscape and seascape is evident in the colour, freedom of application and raw energy emanating from his paintings, through which he has evolved a distinctive language for landscape. ‘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.’

Steve Harris 26 July – 9 August at Cheltenham ‘Steve Harris was born in Dunedin, New Zealand in 1953 and is a self-taught artist. He moved with his family to Australia in 1991 and now resides here permanently. Harris has become well known for his impeccably painted still life compositions, his skilful use of light, shadow and space being a hallmark of his approach. He generally tends to depict objects which have an everyday function or perhaps have even been discarded, but the work is about much more than simple representation.’ – Neville Drury ‘I very much enjoy the luminous time of day,

those moments between night and day or day and night. When the light is dancing, shimmering and racing through the hues, behind and upon a subject that has been touched in some way by humanity. Light also giving us a perception of something that is much more eternal and majestic, as our minds focus on ourselves and creation, and the light that beautifies it.’

Jackson Rowe 12 – 26 August at Cheltenham Born into an artistic family in Melbourne in 1986, Jackson is the grandson of renowned artist Roger Kemp AO. Jackson is a graduate of the Victorian College of the Arts and recently worked as exhibition curator at the Convent Gallery in Daylesford, Victoria. He has immersed himself in the Melbourne art world as he passionately embraces his love of art. This will be Jackson’s third solo exhibition with us. ‘This is a discipline and a tradition that I share with my generation of painters in the lineage of Australian art. I am not a picture maker, I am a painter!’ For more about the shows and the artists contact WITHOUT PIER GALLERIES 03 9583 7577 From left: GROUP SHOW WORKS ON PAPER Anne Smith, The Magic Flute, Pagagena 2, hand coloured etching, 20 x 25 cm Stewart Westle, Albany Arch, oil, 120 x 120 cm Steve Harris, Asparagus, acrylic on canvas, 40 x 30 cm Jackson Rowe, The Shrine, acrylic on linen, 127 x 82 cm

Established 1994 - Galleries in Cheltenham and Hampton City of Bayside

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

SARA PAXTON- WILD AT HEART 6 – 20 May Cheltenham

GROUP SHOW – WORKS ON PAPER 5 – 21 July Hampton

GROUP SHOW - NUDES 17 May – 2 June Hampton

STEWART WESTLE 8 – 23 July Cheltenham

PETE GROVES 27 May –10 June Cheltenham

STEVE HARRIS 26 July – 9 August Cheltenham

GROUP SHOW – BOATS 14 – 30 June Hampton

JACKSON ROWE 12 – 26 August Cheltenham

CONCHITA CARAMBANO 17 June – 1 July Cheltenham



Schots Home Emporium Architectural Hardware Point of arrival – Front doors First impressions count IRON DOORS Welcome your guests with an elegant iron door from this exclusive Schots collection. These handmade doors and frames add a timeless dimension to the entry of any home. Designed with aesthetics, energy efficiency and security in mind, this collection of feature pieces add value and panache whilst giving you piece of mind. Every door in this exquisite collection is handcrafted from marine-grade stainless steel (2.5 mm thick) and sealed with three layers of zinc-based paint, which inhibits rusting and corrosion. Featuring double-glazed, insulated tempered glass (18 mm thick) and the highestquality door sweeps and seals, every door in


the collection is insulating, weatherproof and energy-efficient. This collection has been created with meticulous attention to detail. Durable and rustproof grade 304 stainless steel mesh is used for the flywire. Strong hinges are carefully selected to hold the weight of each door. Scrapes and scratches are quickly forgotten with easy-to-apply touch-up paint. All hardware is included, and every door comes with a five-year warranty. To experience the look, feel, and quality of these beautiful doors, call in to Schots Home Emporium in Melbourne, open seven days, or visit our website.

SCHOTS HOME EMPORIUM 1300 693 693 Clockwise from right: Capri wrought iron door, Metro entry door, Sardinia entry door, St Moritz door, Valencia entry door


MENTONE BEACH ANTIQUE CENTRE ‘ 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 ’



20% OFF


Your chance to buy good quality Antique Furniture at greatly reduced prices Come along and see if the antiques you are looking for are in our showrooms 68 Beach Road, Mentone Vic 3194 • 03 9583 3422 Email:


ictorian gentlemen were much concerned with sartorial elegance with the moustache cultivated in all shapes and sizes. In England, men began to sport a ‘Napoleon’ shortly after the Franco-Prussian War. In America, the handlebar moustache appears to have followed close after the war with Mexico (1846-1847) and the gold rush soon after. Without moustaches, there would have been no moustache cups to admire, collect, display, and treasure. The magnificent Victorian moustaches were pampered. They were trimmed, brushed, combed, dyed and curled at the ends with wax. Therein lay a problem – a debilitating problem – as when steaming cups of coffee or tea were carried to the mouth for sipping, steam melted the wax and it drizzled down the chin, often streaked with dye, and the moustache drooped. In addition, moustaches often became stained when sipping hot tea or coffee. Harvey Adams (born 1835), potter in Longton Staffordshire invented the moustache cup, c. 1860s, with a semi-circular opening to allow the passage of liquids and to serve as a moustache guard. Soon many famous manufactories were making moustache cups including RS Prussia, Meissen, Royal Crown Derby, Imari, Royal Bayreuth, Belleek, Limoges and soon in America. The early moustache cups and saucers were known as ‘Napoleons and saucers,’ due to the nickname for moustaches and beards fashionable in England at that time.

A VICTORIAN era favourite Most moustache cups were Victorian massproduced gifts with painted messages such as ‘Forget Me Not,’ ‘A Present’ and ‘Love the Giver.’ His and hers cup sets were an innovation, one with the moustache guard; these expanded into wedding sets, some engraved ‘Husband’ and ‘Wife,’ these are quite scarce today. Authentic Victorian lefthanded moustache cups are extremely rare and competitively sought after by collectors.

DECORATIONS and motifs Hand painted and applied decoration includes portraits and figural decals along with seasonal scenes featuring flora and fauna, but more rarely dogs, horses and deer, or butterflies and exotic birds. Moustache cups with decal and transfer designs frequently have hand painted borders and designs. Roses, a Victorian favourite, appear on many cups. Lavish gold applied designs and gilding were widely used and the interiors of many cups gleam with gold – very few cups are found without some gold representation: Victorians did know how to gild the lily.

SHAPES and sizes Sizes range from miniature to very large. Rare shapes include seashell, kettle, square, octagonal, hexagonal, brandy snifter and thunderjug, all of which command higher prices than more common shapes. Some are

footed and rarely pedestalled. Unusual handles include butterfly, open or closed fan, insect, rope, cherub and half-scissors.

LOOK for the saucer At first moustache cups had matching saucers, the earliest with deep saucers for sipping hot beverages. Many saucers are lost due to breakage or misplacement, but a moustache cup is a still collectable even on its own. The large mugs, steins and possibly a few large kettle-shape cups did not have saucers.

FASHION and popularity After WWI moustaches went out of fashion and moustache cup production reduced, yet the contemporary Susie Cooper (1902-1995) moustache cup commands a very high price.

OTHER moustache accessories Portable moustache guards made of silver or tin by American inventors were carried in small cases that fit into a pocket and could be quickly attached to a regular cup. The first patent was issued in 1885, under ‘cutlery.’ Moustache spoons, also known as etiquette spoons first graced American homes with the earliest patent in 1868 by Solon Ferrer of New York. They were soup spoons with a moustache guard, helpful in keeping food from moustaches. There were also portable moustache guards for spoons.

These timeless treasures of Victorian elegance are coveted and collected by a growing number of enthusiasts. Mentone Beach has a very large Moustache cup collection in stock for sale. Ring Barbara on 0437 121 040 for information regarding this very interesting subject. MENTONE BEACH ANTIQUE CENTRE 03 9583 3422 Acknowledgement Extract from original article by Pauline C Peck (1927-2010)




ANTIQUES AND ART on the Mornington Peninsula




1. MENTONE MENTONE BEACH ANTIQUE CENTRE 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.’



1 7


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 5. RED HILL art by Australia’s leading artists, together with MONTALTO VINEYARD & acclaimed exhibitions focusing on the Mornington Peninsula’s rich cultural life. OLIVE GROVE Recent memorable exhibitions have reflected 33 Shoreham Road, Red Hill South Vic 3937 on the work of the Boyd family, Arthur Mel Ref: 256 B2 Streeton and Fred Williams. 03 5989 8412 Open 7 days 3. TYABB Montalto Vineyard & Olive Grove's 50 acre TYABB PACKING HOUSE amphitheatre property is the ideal setting for wine, food, nature and art. Awarded the Top ANTIQUES Winery Destination in Victoria 2006. The Mornington-Tyabb Road, Tyabb permanent outdoor sculpture collection can (opp Tyabb Railway Station) be enjoyed throughout the year with 03 5977 4414 additional exhibitions. Open 10 am - 5 pm, Thursday - Sunday An acclaimed restaurant overlooks the This unique complex is Australia’s largest collection of antiques and collectables. Spend property. Award-winning estate wine and olive oil for tasting at the cellar door. the day browsing, talk to the dealers, most have over 20 years experience. Visit the tearooms then take a ride to the working WHITEHILL GALLERY craft village, art gallery and kiosk. Whitehill Rd Redhill / Dromana. Wheelchair and pushers available. 03 5931 0146 Coaches welcome. Open weekends and Thursday, Friday , Monday 4. MT MARTHA Summer: 7 days a week. MEADS ANTIQUES Peninsula Showcase & COLLECTABLES Regular exhibitions, featuring prominent artists in painting and sculpture. Carole Foster, The Clock Tower Arcade Fiona Bilbrough, Glenn Hoyle, Rosemary Shop 3, 34 Lochiel Avenue, Mt Martha Todman Parrant, Josephine Pititto, Do Noble, 03 5974 8577 Hans Werner and Malcolm Beattie. Open 10 am - 5 pm, Wednesday - Sunday We have an eclectic selection from the 1800s Sculpture Walk featuring Robert Ford, Caroline Graley, Matt Langlier. to the 1970s including unusual and Beautiful jewellery, ceramics, woodwork and interesting glass, china, toys, pictures, small wearable art. furniture and jewellery. We buy and sell.




6. TOOTGAROOK GAGA GALLERY Gaga Gallery ‘Where chickens can cross the road and not be questioned about their motives.’ 1947 Pt Nepean Rd, Tootgarook Vic 3941 0423 089464 or 03 5985 6947 Open Monday, Friday, Saturday, Sunday10 am-4 pm. Possibly other days but ring prior. Modern, quirky original artwork. paintings, portraits, caricatures, jewellery, gifts & much more! Come and see our famous ‘Chicken Walk’ PARKING AT REAR.

7. 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.

MARLENE MILLER ANTIQUES 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.

8. FLINDERS THE STUDIO@FLINDERS GALLERY 65 Cook Street Flinders, Vic 3929 03 5989 0077 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, Point King

Chris Kandis

David Brayshaw

Sorrento and Flinders Fine Art Galleries See one – See both


orrento and Flinders Fine Art Galleries are two long standing, reputable galleries on the Mornington Peninsula. Owned and operated by Rebecca Barbour, the two galleries exhibit the finest quality paintings by local and interstate artists.

FLINDERS Fine Art Gallery’s 10th anniversary Proudly operating since June 2002, Flinders Fine Art Gallery is celebrating its tenth year this June. Marking this milestone is an exhibition by all the artists who have shown here since the beginning, with a few of our more recent artists.

See works by David Brayshaw, John Bredl, David Chen, Craig Davy, Sian Dodd, Jim Van Geet, Gail Rutland Gillard, Ron Hancock, Regina Hona, Ivars Jansons, Brett Jarrett, Chris Kandis, Kendall, Lyn Mellady, John McQualter, Rodney Symmons, Jo-Anne Seberry, Tamara Sewoff, Judy Talacko, Rosemary Todman, Robert Wade, John Whitelaw, John Young and other distinguished artists. To receive an invitation to opening night, please contact the Flinders Fine Art Gallery on 03 5984 3880 or go to the website

Judy Talacko

POWER of two galleries We are proud to provide our clients with quality original, traditional and contemporary Australian art. New works can be viewed at either gallery as well as online. Both Flinders and Sorrento offer commissions, lay by, registers, gift certificates, home viewings and local and international shipping.

For more information contact Rebecca Barbour 03 5984 3880 (Sorrento) 03 5989 0889 (Flinders)

Gail Rutland Gillard

Ron Hancock, Tranquil Waters, oil under glass, 22 x 32 cm



Francesco Goya, Y no hai remedy (And There’s Nothing to Be Done), 1810-23, Plate no. 15 from Los Desastres de la Guerra, etching on paper

Exhibitions to visit at MORNINGTON PENINSULA REGIONAL GALLERY ROY LICHTENSTEIN: Pop Remix 19 April – 11 June A National Gallery of Australia exhibition oy Lichtenstein’s name is synonymous with Pop Art. As a master of appropriation, he applied a refined strategic approach to his creative energies and constructed his entire body of work following a sophisticated process of image selection, reinterpretation and reissue. Lichtenstein developed a central creative principle that became a potent formula: an ability to identify cultural clichés and to repackage them as monumental remixes. His works stand today as icons of 1960s and 1970s America with his characteristic comic strip and Benday dot imagery continuing to inspire contemporary visual culture. Tracing the artist’s print projects from the 1950s to the 1990s, this exhibition explores how the artist appropriated, transformed and remixed numerous art-historical sources including Claude Monet’s impressionism, Salvador Dali’s surrealism and Willem de Kooning’s abstract expressionism. Lichtenstein reinterpreted the work of these artistic giants and significant art movements using an instantly recognisable graphic aesthetic, effectively branding his art with a signature Lichtenstein ‘look’ to secure his place alongside those masters he so admired. Slick, intelligent and humorous, Lichtenstein’s remixes of romance and war comics, brushstrokes and nude girls are among the best-known Pop prints. MPRG is proud to be the sole Victorian venue for this major touring exhibition.

R Russell Drysdale, Seated Girl, 1942, pen, ink, charcoal. Private collection

CONTROVERSY: The power of art 21 June – 12 August An exclusive Mornington Peninsula Regional Gallery exhibition by our guest curator, Dr Vivien Gaston, this explores the social and cultural impact of art through examples that have provoked intense response and controversy. Beginning with key works that redefined the nature of art itself, including abstract art, Dada and art that provoked public outcry in the history of the Archibald Prize, the exhibition charts the involvement of art with salient social and political issues including social injustice, violence, refugees and the homeless. Controversies over lifestyles and critiques of bourgeois values are considered, alongside the importance of the human body and the volatile re-interpretations that have provoked controversy on several levels, including sexuality, gender and the representation of


children in recent art. This timely exhibition includes works from the late 19th century through to the present. It represents major works by Australian and international artists working in painting, photography, print-making, video, sculpture, installation and video.

RUSSELL DRYSDALE: The drawings 26 June – 5 August This Carrick Hill exhibition, curated by Lou Klepac marks the centenary of the birth of Sir Russell Drysdale AC (1912-1981), one of the greatest Australian artists of the 20th century. Coming into prominence during the 1940s, amid the cultural and social changes precipitated by World War II, Russell Drysdale initiated a new vision of Australian landscape. Together with Sidney Nolan, Drysdale transformed Australian painting to reveal the vastness, emptiness and dryness of the landscape and its effects on the people who survived in those sparse, arid conditions. Drawing has been vital in Drysdale’s career, forming the basis for many of his most celebrated paintings, including The Drover’s Wife and The Cricketers, West Wyalong. Bringing together works from across the nation, this marks the first re-assessment of Russell Drysdale’s drawings in 30 years and includes up to 40 examples ranging across his career. The exhibition considers the nature of drawing and the far-reaching changes that this discipline has undergone during his time. MORNINGTON PENINSULA REGIONAL GALLERY 03 5975 4395

Russell Drysdale, Study for Maria, 1950, pen, ink, watercolour. Monash University Collection. Gift of Emeritus Professor R R Andrew 1980


Jose LEGASPI (Philippines) Self portrait 2010 Pastel on paper 99.0 x 70.0 cm Courtesy of The Drawing Room Contemporary Art, Manila

Beyond the Self Contemporary Portraiture from Asia 1 April – 15 July 2012 A National Portrait Gallery touring exhibition



Exhibitions program BEYOND the Self: Contemporary Portraiture from Asia 1 April – 15 July


orks by artists from India, Indonesia, Malaysia, Pakistan, the Philippines and Thailand in this National Portrait Gallery touring exhibition reflect recent directions in contemporary self portraiture in Asia, drawing on the rich and complex histories of representation of these various regions of Asia. Accompanying local influences are broader international conventions that impact on the artists’ work. The use and manipulation of the self image has afforded an avenue for many artists to interrogate their locations and aspirations in recent years. The artists in this exhibition use their objective selves – personal faces and bodies, or those of close family – to speak not only about themselves but also of larger issues and ideas. The artists operate in spaces of imaginative invention and intervention. Through their personal perspectives and redefinitions of various cultural and historical landscapes, the artists attempt to alter the audiences‘ customary parameters – probing, pushing and extending imaginations. Artists offer alternative ways of operating in and imaging our world and suggest a future of undefined possibilities. Homi Bhabha,

writing on internationalism suggests that ‘the ... space “beyond” becomes a space of intervention in the here and now.’ Artists in this exhibition create work that reflects that intervention into the here and now, to explore beyond the self.

CLIFFORD Last & Vincas Jomantas Awakening Forms 29 July – 28 October Two pioneering Australian sculptors, Clifford Last (1918-1991) and Vincas Jomantas (19222001) played pivotal roles as founding members of the highly influential Victorian Centre 5 group, whose lasting impact on Australian sculptor can still be felt today. With works drawn from McClelland’s extensive collection, this exhibition follows the journey of these two post-WWII immigrant Australian sculptors, from the influence of their respective British and Lithuanian backgrounds to their invigoration of Australian sculpture from the 1950s onwards. From the early compositional figurative forms to the accomplished cool geometric and machine like sculptures that would mark their later works, both artists demonstrated a lifelong experimentation and passion for sculpture.

Atul Bhalla (India, b. 1964), Submerged Again, 2005, archival pigment print, photo diptych, 126 x 182 cm. Courtesy of the artist

CLIVE Stephens 29 July – 28 October See website for details.

MCCLELLAND Sculpture Survey & Award 2012 Announcement of finalists Congratulations to the following artists who are finalists in the 2012 McClelland Sculpture Survey & Award: Emma Anna, Alfredo and Isabel Aquilizan, Matt Calvert, Bozo Ink: Cameron Bishop and David Fitzsimmons, Daniel Clemmett, Ewen Coates, Augustine Dall’Ava, Robert Delves, Damien Elderfield and Lani Fender, Troy Emery, Antonia Goodfellow, Matthew Harding, Will Heathcote, David Jensz, Greg Johns, Chaco

Kato, John Kelly, Chris Langton, Michael Le Grand, Ian Loiterton, Lucas Maddock and Isaac Greener, Gerard McCourt, Anton McMurray, Karleena Mitchell, James Parrett, Terrance Plowright, Charles Robb, Andrew Rogers, Kate Rohde, Robbie Rowlands, Faustas Sadauskas, Benjamin Storch, Marcus Tatton, Vince Vozzo and Jud Wimhurst. This year’s Sculpture Survey exhibition shows from 18 November 2012 through to 14 July 2013.




The Barrington mug It is not very often we find an 18th century piece of Australiana. This recent discovery in the form of a pottery mug has a fascinating story to tell


llustrated on the mug is George Barrington, a complex man whose colourful life led to his being accorded celebrity status and ironically having his name appropriated as author for works that became best sellers. Following the published newspaper stories and court reports of the day which gave him legendary status as the ‘Prince of pick pockets,’ Barrington is shown dressed as a gentleman of fashion in the act of picking a pocket.

WHO was George Barrington? Born George Waldron in 1755 to a well-to-do family in County Kildare, Ireland, in 1771 at the age of 16 he ran away from grammar school after stabbing a fellow student in a fight. He became a local pickpocket, but when the gang he worked with was arrested, he slipped away to London in 1773 where he changed his name to Barrington. Here he resumed his ‘career’, and achieved notoriety when dressed in the finest garb, he was caught in the front boxes (best seats) of Covent Garden theatre pinching a diamond encrusted snuff box from the Russian Prince Orlow said to be worth £30,000. At his trial, he pleaded his case with such theatrics that the Prince refused to press charges. Caught 14 more times, he used connections and rhetoric each time to great advantage. He was a fine orator and manipulated the jury and the public with well written letters to the press. Such was his notoriety that the press dubbed him the ‘Prince of pickpockets.’ This ended in 1790 when he was caught pinching a gold pocket watch, and while he should have been sent to the vile prison hulks moored in the Thames as he had been previously, he used his skills to ensure sentencing to ‘Transportation to Botany Bay.’

LIFE in New South Wales He arrived on the convict transport Active in 1791. His conduct and charm worked well. He was sent to Parramatta where he was made a watchman, then a constable, followed by Officer of the Peace to Superintendent of Convicts at Parramatta. In 1792 he received the first Warrant of Emancipation ever issued in Australia. This amazing life of a reformed convict led to numerous publications about Barrington, reigniting the public’s interest in him. His celebrity status was widespread, the first ‘star’ for Australia. There are nearly 100 books and publications which bear his name. However, he was not the author of any of them. In an age without copyright, the publishers of the day capitalised on his popular appeal, overnight, multiple editions were created, plagiarising more mundane accounts of the new colony, but expanding and enhancing according to the publisher’s whim. Some were ‘Memoirs’, others fictional accounts of ‘Voyage to Botany Bay’, while one work titled ‘Barrington’s Annals of Suicide, or Horrors of Self-Murder’ included the ‘Dreadful History of Anaboo, a Native of New Holland Who Killed Herself Through Love,’ the tale of a tragic liaison between an Aboriginal woman and a convict – all total fabrication. These fictional works were created for the Georgian public’s taste for the exotic, and a model for the redeemed sinner who found a new life and identity in New South Wales. Sadly, he died insane at the age of 47.

Sir William Beechey, Portrait of George Barrington

Maker unknown, Barrington mug, c. 1790

Creamware MUGS These printed creamware mugs are an interesting social documentation of the Georgian period, and are collected for the often humorous nature of the prints. The source for this print is the frontispiece of a book titled The Memoirs of George Barrington, published in 1790. When David Drakard’s reference book Printed English Pottery: History and Humour in the reign of George III 1760-1820 was published in 1992, the author obviously had read one of the fictional accounts, but had not picked up on the deception as he describes the supposed fascinating life of Barrington as fact – Barrington the con-man would be most impressed at the deception still taking place to this day! Another myth relates to Prologue, a poem said to have been written by Barrington for the opening of a Sydney theatre in 1796, and subsequently published in various ‘memoirs’, beginning around 1802, also attributed to him. However, research has shown it to belong to another colonial author, Henry Carter, and to relate to an 1801 Sydney theatre opening. The 1802 poem supposedly by Barrington is subtly

George Barrington as he appeared at the Bar of the Old Bailey, c. 1788

altered to make it appear earlier! Regardless of its origin, it is well worth repeating in part, as it reflects perfectly the place of these new immigrants in their society: From distant climes, o’er wide-spread seas, we come, Though not with much éclat or beat of drum, True patriots all: for, be it understood: We left our country for our country’s good.

Detail of the mug. The source of the image is this print, the frontispiece from Memoirs of George Barrington, c. 1790, before he was transported to Botany Bay

George Barrington, A History of New South Wales

This mug is part of our 2012 Catalogue’s offerings, see for more details. Paul Rosenberg MOORABOOL ANTIQUES 03 5229 2970 Further reading Australian Dictionary of Biography Suzanne Rickard (ed.), George Barrington’s Voyage to Botany Bay, Leicester University Press, London, 2000

A ‘ticket of leave’ was issued to convicts after they completed their sentences


A print of ‘The Gentleman Pickpocket at work stealing the snuff box from the Russian Count at Covent Garden, and being caught in the act,’ 1775


Geelong Gallery Exhibition program Autumn and Winter 2012 THE COLIN AND ELIZABETH LAVERTY COLLECTION A selection of Indigenous and non-Indigenous works of art until 15 April


ee this selection of works from the extraordinary collection of Colin and Elizabeth Laverty, showcasing some of their holdings of contemporary Indigenous and non-Indigenous Australian art. The exhibition includes works by Paddy Bedford, Rosalie Gascoigne, Louise Hearman, Emily Kame Kngwarreye, Richard Larter, William Robinson, Aida Tomescu and Ken Whisson. Nikki Toole, ‘Daniel Whitechurch and Laura McKellar, Fitzroy, Melbourne, Australia,’ 2009, digital print. Reproduced courtesy the artist

Unknown photographer, Untitled (Arch of Septimius Severus, Roman Forum, Rome), c. 1890, black and white photograph. Geelong Gallery. Gift of Patrick Curtis-Lyon, 1986

IN SEARCH OF THE PICTURESQUE The architectural ruin in art 21 April – 24 June This exhibition takes as its subject ruins of ancient Roman monuments to contemporary Australian structures and includes works from the 17th century to contemporary times by international artists Claude Lorrain, Rembrandt van Rijn, JMW Turner, Giovanni Battista Tiepolo, Bernardo Bellotto, Salvator Rosa and Giovanni Battista Piranesi, to early 20th century Australian artists Victor Cobb, Lionel Lindsay, Russell Drysdale and Adrian Feint. Sponsored by the William Angliss (Victoria) Charitable Fund

Hanks and Heather Shimmen, the exhibition celebrates the 50th anniversary of Geelong Gallery print prizes and the 30th anniversary of the establishment of the Grasshoppers, one of the institution’s key support groups

SKATER Portraits by Nikki Toole 30 June – 9 September Since July 2009 Nikki Toole has been making photographic portraits of skateboarders around

Rosalie Gascoigne, Legend, 1988, sawn and painted hardboard. Laverty Collection, Sydney

the world. Her subjects are photographed in the spaces they inhabit, captured in still frontal pose against the textured backdrop of the urban environment or in landscapes at the edge of cities. Toole’s portrait project is driven by the desire to understand and commune with her subjects. She is interested in the forces of identity that define the lone skateboarder. This is a National Portrait Gallery touring exhibition. The Geelong Gallery is open daily and entry is free. GEELONG GALLERY 03 5229 3645

Little Malop Street Geelong VIC 3220 03 5229 3645

©Rosalie Gascoigne. Licensed by Viscopy 2011-11-11

FRESHWATER SALTWATER Aboriginal and Torres Strait Islander prints until 15 April Works by Indigenous artists who have used printmaking techniques to record their traditional stories, designs and clan totems are the focus of this exhibition. The participating artists express the rich living relationship between Indigenous people and water in Australia in linocuts, screenprints and lithographs. Australian National Maritime Museum travelling exhibition.

Geelong Gallery’s outstanding collection of paintings, sculpture and decorative arts spans the art of Australia from the colonial period to the present day and includes such masterpieces as Eugène von Guérard’s View of Geelong (1856), Frederick McCubbin’s A bush burial (1890), and the newly acquired Arthur Streeton’s Ocean blue, Lorne (1921).


Heather Shimmen, She can skip, 2002, handcoloured linocut and organza. Geelong Gallery. Geelong print prize, 2003. Reproduced courtesy the artist

GEELONG GALLERY PRINT PRIZES A Survey 30 June – 9 September

Dennis Nona, Naath (Dugong hunting platform), 1993, hand-coloured linocut. Reproduced courtesy the artist and Australian Art Print Network

This exhibition brings together winning works from the early years of the Geelong Gallery print prize – the earliest prize for Australian printmaking staged by a public gallery – from 1962 to 1974 and its later permutation sponsored by the Geelong Gallery Grasshoppers from 1997 to 2011. Including works by Tate Adams, George Baldessin, Roger Kemp and Bea Maddock, as well as Ray Arnold, Rew

The Colin and Elizabeth Laverty collection – a selection of Indigenous and non-Indigenous works of art until 15 April Freshwater saltwater – Aboriginal and Torres Strait Islander prints until 15 April In search of the picturesque – the architectural ruin in art 21 April to 24 June Geelong Gallery print prizes – a survey 30 June to 9 September Skater – portraits by Nikki Toole 30 June to 9 September FREE ENTRY Open daily 10am to 5pm Closed Christmas Day, Boxing Day, New Year’s Day and Good Friday Guided tours of the permanent collection Saturdays from 2pm



At Oakwood Restorations perfect lights create a home with pride


ights are as important as pieces of art in your home. Your lighting will set the mood but your lights will define the character both of the house and of the inhabitants. Just like jewellery, your lights will either enhance the style of the room or create it. The subtle elegance of the 1930s school house shade will set an ambiance of stability and old fashioned values. Originally used as the only light in the room, it casts no shadows and has an even warm glow. The school house shade is not an upturned bowl, so it won‘t collect bugs, making it wonderfully serviceable for busy people.

CHANDELIERS The flirty chandelier was reinvented in the very naughty 1920s, reaching the peak of its popularity in the 1940s, always playing with the light in a room casting shadow and rainbows. A large chandelier in a small space can create a sense of childish nostalgia whereas in a larger space a chandelier will promote a feeling of royal elegance. A bowl chandelier for understated opulence and an armed chandelier with candle sleeves for a more extroverted statement that is beautiful always. On a modern chandelier there are a lot of plastic finishes and like so many things are only created for the now. My personal favourite job in the shop is to restore chandeliers. I feel as though I am making jewellery as I carefully repair the links and shine the crystals. We have often found the links, body and even the crystals in better condition on a chandelier that is 100 years old, than on a modern copy. To clean, repair and rewire often takes very many hours and sometimes we need an engineer, and then it is ready to go for another 100 years. The older chandeliers have glass or crystal so they won’t rot like the plastic ones and they keep their finish better. Can anyone really go past French crystal? It is very hard to come by and when we have one in our shop it only lasts a couple of days before someone snaps it up. We’ve even sold them before we have even had a chance to display them! Left: Restored chandelier

Meet Peter Hames from OAKWOOD RESTORATIONS Peter Hames is well known in Newtown, Geelong and for good reasons. He is an expert in authentic renovations to period homes and has an eye for the contemporary as well. Peter is creatively passionate about homes, inside and out. He has been offering amazing service and knowledge for ten years; indeed, he is regularly called for advice and products from all over Australia and abroad.

If you are prepared to clean your lights every few months, you can’t go past a beautiful float light. Delicate and practical, the reproductions are of course modified from the original gas versions. They are a class of their own. Being transparent they equally compliment the modern industrial look as they do their Victorian origins. Keep an eye out for Edwardian bowl shades as they offer so much fun in a contemporary setting. They appear sedate in their original environments where a small amount of decoration was all that was needed to uplift the limited tones of pre-war Australia.

OAKWOOD RESTORATIONS 331 Pakington St NEWTOWN VIC 3220 03 5229 9547

OAKWOOD RESTORATIONS sells only the best door furniture: hinges, taps, cabinet ware, fretwork, light switches, signs, window fittings, fireplaces, mantle pieces, hearth tiles and decorative tiles, brass letters and numbers, letterboxes, ceramic nameplates, pressed tin, screen doors, fancy hooks, exterior lights and of course, original and reproduction lights… and much more for restoration projects. Peter’s original lights are expertly restored and rewired ready to bring class and elegance to any period or modern home. Operating out of a tiny Aladdin’s Cave, Peter is always friendly, helpful and informative. This family business easily competes with bigger companies by providing valuable personal service, professional expertise and human values.

Reproduction art deco style Diana lamp

TRENDS in lighting For the last couple of years there has been a wonderful resurgence of art deco as the clean lines and chrome finishes compliment our fashionable modern finishes. We are seeing people renovating contemporary architectural buildings and finishing them off with traditional deco door ware, cabinet ware, sinks, taps and of course lights; just as we find Californian bungalows being fitted out with contemporary fittings with equal beauty as if each era belongs to each other. What has been a surprise to us is the increasing demand for 1950s or retro lighting. These unusual space age lights make a fun statement in a modern surround and we have been busy re-wiring and restoring neglected lights with stunning results. We have found the experience very enjoyable. The sleek George Jetson lines and bold colour are so very different to our more traditional pieces. For the purist who wants to restore their home authentically to its origins, the perfect lights and fittings are of utmost importance as are the type of wood and stain of the mantelpiece, the hearth tiles, the fireplace, the cabinet ware, the door furniture, the window fittings, the air vents, the fretwork, to pressed tin. Renovation projects are wonderful challenges and completely change the mood of your home. Many people are choosing to renovate because it is cheaper than moving and often redesigning is a way of keeping your financial investment manageable in your biggest asset.

PETER’S shop


LIGHTING options

In Australia, original lights are hard to come by as there were not enough of us in the early 1900s. Peter from Oakwood Restorations regularly goes overseas on buying trips returning with beautiful pieces. Often needing to be re-wired, cleaned and restored, these pieces are amongst the most gorgeous lights on the market and Peter has acquired quite a few devotees who eagerly await his next trip. Peter Hames is well known in Newtown, Geelong. His shop, Oakwood Restorations, specialises in original lights from the 1850s onwards and also has a host of reproductions on offer to complement and promote any style. At the end of the day, it’s important that you love your space and that your space reflects the things you love about you. Whether you like industrial, contemporary, traditional or a bit of whimsy and fun, your lights will be either a focal point or finishing touch to any project. For more information or advice call Peter Hames OAKWOOD RESTORATIONS 03 5229 9547

1950s retro shade

School house shade dating to1940s

1930s glass bowl shade

Edwardian bowl shade

Chandelier wall light made in 1920s, featuring French crystals, under repair



See the incredible Meccano Titanic

Avoca Antiques fair 23-24 June 2012 30 Exhibitors from across Australia showcasing their finest wares Function Centre Avoca Racecourse Gala Charity Preview ~ All proceeds donated to Avoca Preschool Friday 22 June 2011 6pm to 9pm - Entry $25.00 Bookings essential phone Avoca Information Centre (03) 54 651 000

General Admission

Admission Prices

Saturday 23 June & Sunday 24 June 10am to 5pm both days

Adult / Senior $10 Concession $8 Children U/16 Free (accompanied by an adult)

Door prizes Refreshments available & local wineries in attendance

Enquiries P: 1300 303 800 M: 0428 384 133



Hashimoto Meiji (1904-1991), Cherry Blossoms, 1976, Mineral pigments on paper

Sidney Nolan (1917-1992), Crucifix, 1956, Ripolin on board

Graeme Finn (b. 1966), Sleeping with the lights on, 2005, crushed lava rock and acrylic paint Left: Dohachi V (1869-1914), decorated by Chokunyu (1814-1907), Sencha set, c. 1900 porcelain with underglaze blue decoration

Exhibition program at

Hamilton Art Gallery WINE labels from the Cassidy collection Showing until 3 June Collector Anne Cassidy donated her collection of silver wine labels to the collection in 2011. Mostly of English origin and ranging from early 1700 onwards, many of these small works were made by women silversmiths. The size of this collection gives a clear image of the evolution of wine and sauce labels in an era when we no longer use or make this staple of the silversmith’s production.

THIS single feather of auspicious light Showing until 15 July One of the great publications of the 20th century, Paul Moss’ publication, This single feather of auspicious light is a catalogue of every small and medium-sized work of old Chinese painting and calligraphy. Hand scrolls, albums and fans are reproduced to actual scale and are virtually perfect for colour and tone, hence the six years to produce. Consisting of four volumes and three concertina reproductions, this gift to the collection goes on display as an exhibition as its large size and format makes reading this book something of a challenge.

The works are Western in style but Japanese in production and subject. These works were a gift to the Australian people by the International Culture Appreciation and Interchange Society of Japan in 1977 and have only infrequently been exhibited as a complete collection. The exhibition is a rare opportunity to experience an unfamiliar art form where beauty remains the criterion for success.

GRAEME FINN: Paintings 6 June - 26 August Abstract paintings by an internationally significant local artist, Graeme is better known to our audience as a video maker, although his initial training was as a painter. This exhibition brings together some of his works on canvas, displaying yet another facet of his skills.

TOOTH and Nail 13 June - 12 August Organised by RMIT this exhibition features sculptural ceramics from contemporary Australian and Chinese makers and reflects upon the contrasts and similarities of ceramics from recent and ancient traditions. Consciously selected as non-functional or sculptural works, this exhibition also shows the versatility of the ceramic medium.

NIHONGA / Japanese painting


9 May - 1 July Nihonga translates as ‘Japanese painting’ but refers to specific style of painting from Japan.

4 July - 19 August Organised by Wollongong Art Gallery this exhibition features contemporary paintings

Nihonga = Japanese Painting 9 May - 1 July

OGURI Ushio (b.1921) Irises 1976 Mineral pigments on paper


107 Brown Street HAMILTON Victoria 3300 T: (03) 5573 0460 E: W:

from Chinese artists and Australian artists of Chinese descent, or for whom Chinese related subject matter has been a large part of their practice. Over the past ten years or so Chinese painting has been achieving greater prominence in the world of international contemporary art and this will be its first exposure in Hamilton.

TREASURES from the Trust: Major acquisitions during the first 50 years 11 July - 2 December For the past 50 years the Hamilton Art Gallery Trust Fund has been the great source of acquisition funds. A selection of work ranging from major paintings to small decorative arts acquired by the trust fund over this period will feature in this exhibition. These acquisitions are among the 780 items from the Gallery’s foundation bequest provided by Herbert and May Shaw.

DILETTANTI aquatints: Paul Sandby 18 July - 28 October In the late 18th century Paul Sandby was commissioned by the Dilettante Society to reproduce paintings for one of their publications on the classical world. This collection draws Sandby’s reproduction aquatints and contextualises their production. The Dilettante Paul Sandby (1731- 1809) after Pietro Fabris (1740 – 1792), Ruined Temple, Sepia aquatint

Robyn Phelan, Depleted, 2009, southern ice porcelain with kiln tears

Society was a group of dedicated noblemen who sponsored the study of the ancient Greek world and were instrumental in the establishment of neo-classicism as a style in art and architecture in England.

SENCHA: tea of the literati 22 August - 4 November Today’s green tea (sen cha meaning steeped tea) was the focus of celebrations in the past by Japanese scholars interested in Chinese culture. In contrast to the better known and more serious tea ceremony where matcha tea is drunk, adherents to sencha pursued their Sinophile interests and celebrated life in relaxed gatherings focused around tea drinking. This exhibition displays the accoutrements of sencha tea, many decorated by major artists of the Meiji period. For more information contact HAMILTON ART GALLERY 03 5573 0460


ANTIQUES AND ART in Central Victoria


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.




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.

ANTIQUES AND COLLECTABLES CENTRE BALLARAT 9 Humffray Street, Ballarat 03 5331 7996 Colin Stephens 03 5332 4417 Open 7 days 10am - 5pm Specialising in a wide range of antiques and collectables. 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.

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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.

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 stall holders, 2.5 acres, all under cover with a café serving homemade food and a variety of hot and cold drinks.


5. 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.

6. 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.

7. TRENTHAM GOLD STREET STUDIOS WORKSHOPS AND GALLERY 700 James Lane, Trentham East Vic 03 5424 1835 Hours by appointment. 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. Check the website for workshops in these processes.

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



At Art Gallery of Ballarat a rich selection of exhibitions


here’s a rich selection of exhibitions for the visitor to the Art Gallery of Ballarat, ranging from complex and intriguing prints based on the life and death of the tragic French Queen Marie Antoinette to stunning Aboriginal bark paintings from the Top End to aspects of transgender identity to wind turbines in the landscape.

MARION MANIFOLD Through the Notebook of Marie Antoinette On show until 6 May Western Victorian printmaker Marion Manifold’s exhibition started with the artist’s fascination with the French Revolution and research she undertook into Marie Antoinette’s Notebook of Ladies’ Attire held in the Archives Nationales, Paris. The book has fabric samples which were presented to Marie Antoinette who chose from the range by pricking the pages with a pin. Using a facsimile of the book and researching places and images of Marie Antoinette’s life and era, including the revolution, Marion Manifold has created works that are richly beaded and/or embroidered, or painted, some with silk appliqué, in keeping with Marie Antoinette’s lifestyle as French queen.

KERRIE LEISHMAN The new beauty? On show until 13 May Kerrie Leishman was born in Creswick, near Ballarat, studied Fine Art at the Ballarat

College of Advanced Education and has been employed for many years as an illustrator for the Sydney Morning Herald as well as painting in oils. Her latest exhibition is inspired by wind turbines in the landscape, addressing the question of how an artist might create landscapes which incorporate these relatively new additions to the Australian countryside. She says, ‘We have to share the land with man-made structures whether we like it or not, the traditional pumping windmill, concrete silos, transmission lines, and the structures associated with mining and drilling. We have come to accept these objects in the landscape as no doubt future generations will with the wind turbines.’

RICK AMOR DRAWING PRIZE 28 April – 24 June One of Australia’s leading contemporary artists is sponsoring a drawing prize at the Art Gallery of Ballarat in a bid to increase the practice of drawing among Australia’s artists. Rick Amor is known for paintings and drawings which convey a sense of poetic mystery and menace. He often uses the figure of a solitary watcher and figures dominated by the empty urban spaces or quiet mysterious interiors they are found in. His landscapes are very atmospheric, with objects bathed in half light and shadows. In sponsoring the prize Amor says, ‘I hope that this prize gives people one more reason to keep drawing on paper… the most direct and intimate expression of an artist’s sensibility.’

CATH JOHNSTON Missconceptions 12 May – 30 June Catherine Johnston’s sculptures comment on the contemporary human condition using repetition, scale and respect for the technical process. In this selection of installation, sculptures, and photographs she delves within the fragile shell of an innocuous exterior form to comment on the hidden personal experiences beneath. These highly polished recent works shine with the artist’s sardonic insight and confronting humour, exploring themes of fertility, mental health, social disconnection and objectification.

GARETH SANSOM Alternative persona 19 May – 30 June Gareth Sansom has been a major contributor to the art scene since the mid-1960s, with almost 50 individual exhibitions and participation in over 170 group exhibitions to his credit. His work is like a theatre of the absurd, with a motley cast of manic and macabre characters drawn from the world of the artist’s fertile imagination as well as from religion and history, pop culture, street art, underground comics and cinema. The latest exhibition examines one of the long-running themes in Sansom’s work, the transvestite, having as its centrepiece Samson Agonistes, a major 2007 work which the artist donated to the Art Gallery of Ballarat.

MARION EAST AND LARS STENBERG 7 July – 5 August Two painters respond to the Victorian landscape. Marion East grew up near the Brisbane Ranges and the passion in her work is underpinned by decades of familiarity and understanding. Lars Stenberg arrived in Victoria from Scotland in 2002 and his response is shaped by the contrast of the Victorian light to the muted colours of his native Scotland. Both artists’ works communicate a love of the unique light and patterns of the environment of central Victoria.

Lars Stenberg, Daybreak, Mount Buninyong, acrylic on canvas. Courtesy the artist

RON QUICK Seeking Nirvana

See 72 w See works orks shor shortlisted tlisted from from over over e 600 submissions in this prize prize for for small drawings. drawings. I n sponsoring In sponsoring the prize, prize, Amor says says “I hope that this pr prize ize gives gives people one more m e reason mor reason tto o kkeep eep dra drawing wing on paper… paper… the most m direct dir ec t and intimate intimate expression expression of an artist’s ar tist ’s sensibility”. sensibilit y ”.


Sat S at 28 8 Apr Apr - Sun 24 Jun Art Gallery y of Ballarat 40 LLydiard ydiard Str Street eet Nor North th Ballaratt Victoria Victoria 3350 T: T: 03 5320 5858

her love of Japanese wood block prints, Ukiyo-e, but using contemporary materials. Gypsy Pennefeather has long been fascinated by Japanese art and culture and has modelled her work on masters of Japanese art: Hiroshige, Hokusai, Utamaro, Kuniyoshi and Sharaku. Her early copying of their work has been the basis of her photography, painting and drawing. It is evidenced by a love of line, colour, diagonals, people doing everyday things and in the details of their tools of trade, clothing and collections of objects.

7 July – 17 September Seeking Nirvana explores two forms of human movement: the still moment within a dynamic vigorous dance and the moment where body weight is transferred while walking. Both represent a momentary state of equilibrium which simultaneously anticipates a dynamic tension. Artist Ron Quick has a long term interest in the poetic relationship that exists between opposites and the transitions that occur as they meet and merge to become luminous.

Attributed to Makani Wilingarr, Djarrapung rarrk (Monsoonal cloud design), 1937, natural pigments on eucalyptus bark. Donald Thomson Collection, The University of Melbourne and Museum Victoria

ANCESTRAL POWER AND THE AESTHETIC Arnhem Land paintings and objects from the Donald Thomson Collection 11 August – 16 September This remarkable exhibition puts on show for the first time the bark paintings collected by Donald Thomson in the 1930s and early 1940 – some of the oldest and rarest examples of these works in existence. These extraordinary paintings and other painted objects illustrate differences in painting styles between Dhuwa and Yirritja clans and between those of central and eastern Arnhem Land. The paintings include rare works depicting body designs on a human scale or larger and as a group reveal the diversity of madayin minytji or sacred ancestral clan designs from across Arnhem Land. The works on display are powerful examples of a rich Yolngu artistic heritage with their extraordinary combinations of bold designs, patterns, and colour; and extremely rare items like the painting that depicts an image of one of the Djan’kawu Sisters ancestors in human form. The Art Gallery of Ballarat is open 9 am to 5 pm daily and is disability accessible. ART GALLERY OF BALLARAT www.artgalleryofballarat

GYPSY PENNEFEATHER Joyful Harmony 11 Aug – 9 September This exhibition explores aspects of Japanese daily life in a series of painted photographs in a technique invented by the artist, drawing on

Gypsy Pennefeather, Washing Work, inkjet print, watercolour and ink on watercolour paper


The Convent Daylesford

described as the ‘most beautiful gallery in Australia’


stablished in 1991, The Convent is a major regional gallery situated in Daylesford, Victoria. With a reputation as a significant Australian gallery exhibiting both contemporary and traditional artwork, with exhibitions changing every six to eight weeks, there is always something in the gallery to please. Dating to the 1860s gold rush era, The Convent, once known as the Holy Cross Convent and home of the Presentation Sisters, has always been a place of creativity, learning and reflection. Tina Banitska, owner and managing director continually reinforces this purpose. She says, ‘I believe in the need to promote the visual arts and to expose everyone to the work, inspiration and talent of the artists in our wider community. Many people feel very attached to The Convent. Past students and nuns return to relive part of their history, whilst many art lovers attend our exhibitions regularly. Visitors enjoy the gift shops and café, and I am constantly delighted by people’s warm response to this special place.’

MAJESTIC galleries Boasting seven individual galleries, as one room merges with another you will encounter displays of traditional and contemporary paintings, prints, glassware, pottery, sculpture, jewellery, furniture, ceramics and textiles. The ongoing exhibition program is dedicated to promoting the work of renowned local, interstate and international artisans.

RETAIL heaven Winner of five national retail awards and represented in the hall of fame for tourism retailing, the retail areas are laden with unique

pieces of jewellery, exclusive gifts, individually crafted items and much more.

FOR DIVINE tastes – Bad Habits Cafe Situated under a high, glass-encased atrium, surrounded by pleasant aromas and the anticipation of the stunning galleries, you will find the Bad Habits Cafe. Serving breakfast, lunch and afternoon tea the café gives visitors a break from their wanderings with an exceptional meal.

HEAVENLY scents No visit to The Convent is complete without a stroll through the six acres of picturesque and fragrant gardens and Sculpture Park, reminiscent of the Versailles gardens in France.

THE ALTAR, Daylesford’s first world-class lounge bar

Central Highlands, The Convent is the perfect place to experience a truly distinctive wedding. With access to our beautiful gallery, you and your guests will be treated to a unique wedding celebration; voted in the top 10 wedding venues in Australia. Photographs can be taken throughout the building and grounds. The sunsets over the central highlands are superb and the photographic opportunities endless. The combination of historic features, modern architecture, magnificent views, art and natural light create an unforgettable atmosphere for your wedding. When comparing the original derelict building and overgrown unkempt gardens with the majestic building of today, we can see how

hard work and dedicated passion can lead to the creation of something very special. Tina Banitska has created an icon. A visit to the Convent Gallery is a special and meaningful experience, enriched by the mix of history and contemporary culture. Come and share in this totally unique experience.

OPERATING hours The Convent is open daily 10 am-4 pm, closed Christmas Day. The Altar Bar & Lounge open weekends. Bad Habits Café is open daily 10 am-3 pm. For more information contact THE CONVENT 03 5348 3211

Stylish and contemporary, the Altar Bar and lounge serves a wide selection of light refreshments, cakes, cocktails and local Central Victorian wines. Whether you’re after an intimate rendezvous or a vibrant get together, the Altar Bar provides a seductive backdrop for any occasion.

STAYING over in Daylesford in the New York style penthouse Experience our luxurious loft-style penthouse apartment, featuring a boudoir style bed, hydrotherapy spa, living area, private balconies, and impressive 360-degree views of The Convent gardens, Daylesford and beyond.

FOR THAT SPECIAL DAY: The Convent’s original chapel Offering an exquisite private chapel, spectacular views of Daylesford and the



Catherine Brennan of Salt & Pepper Gallery

Tulip vases, c. 1940s, made by Bendigo Pottery

Yvonne George sculpture in Artizen Gallery

Bendigo Pottery

adds a new Antiques & Collectables Centre


n Antiques and Collectables Centre has opened at the iconic Bendigo Pottery. With over 30 individual stall holders, there is depth in the range available including ceramics, Australian paintings, glassware, jewellery and books. The Centre is open daily from 9 am to 5 pm, the same hours as the Bendigo Pottery.

Collectors have many choices among the fresh stock, much of it not seen on the market until this new centre opened. This exciting venture complements the historic ceramic manufacturing and retail outlet, museum, artists’ galleries and café on this historic site. After you have made your purchases, explore this nationally important complex and its galleries.

Contemporary tableware decorated with Red Japonica pattern

AUSTRALIA’S oldest working pottery First registered in 1858 this is Australia’s oldest working pottery and has been operating continuously on the current site since 1863, and now on the Victorian Heritage Register. The Scottish potter, George Duncan Guthrie began supplying the goldfields with ginger beer bottles, then the lovely majolica ware of the late 1800s including the famous bread plates, cheese dishes and decorative jardinières. The potters have adapted to social, economic and technological changes to survive for over 150 years. The large collection of bottle shaped, circular and rectangular, wood fired, down draught kilns and their associated chimneys is internationally significant. The extensive brick floors, paths and stables form a richly textured back drop as you meander around Bendigo Pottery.

Heritage kilns

BENDIGO Pottery Gallery



NEW – Antiques & Collectables Centre Now open and featuring over 30 individual sites

Known for its high quality, Bendigo Pottery is still made on site and includes table ware, cookware and decorative vases. See experienced potters hand-throwing pieces on their wheels while other craftspeople prepare the clays and create the rest of the range in the extensive pottery. Many pieces are skilfully hand decorated.

Throwing on the potter’s wheel – just watch or learn the technique


SALT & Pepper Gallery

The museum explores 150 years of history through soundscapes, displays, ceramic collection and a unique theatre inside an historic kiln. Views into the factory areas give an insight into current production methods.

Experience the working gallery run by Catherine Brennan. Her work includes textiles, paintings, drawings, ceramic sculpture, photography and jewellery. Art classes are offered in this gallery.

HANDS-ON experiences


Under the guidance of a skilled potter you can learn new skills on the wheel. Lessons run daily. Come to paint your own plate during school holidays. Details are kept up to date on the website

This incorporates several studios. These are new artist’s spaces for painters, sculptors and lamp work glassmakers.


Bendigo Pottery also includes a retail gallery, museum, and café plus individual galleries of artists and sculptors Open daily from 9am to 5pm Ph 03 5448 4404 146 Midland Hwy, Epsom Victoria 66

This gallery, named after the French term for a large porcelain jar or vase, features the works of regional Victorian potters. Currently on show are Sue James, Graham Masters, Tony Barnes and Kaye Poulton. In addition, artists Terry Jarvis, Ellen Osterfield, Robyn Clarke and Gail Tavener are exhibiting.

YVONNE George Sculpture Studio and Artizen Gallery Specialising in metal design, see Yvonne George creating her well-known works. Here in this metal working studio are her water features, garden sculptures and large scale projects suitable for public and private spaces. The gallery also shows works of other sculptors working in many mediums.

PAYNTER Gallery Short term exhibitions include. Robert Logie paintings showing until 31 May. My Amazing Collection running 28-29 April, includes oil lamps, teddies and canes.

OPEN seven days Antiques, collectables, pottery and art are all at the Bendigo Pottery at 146 Midland Highway, Epsom which is 6.5 km north of the centre of Bendigo, and an easy 1 1/2 hour drive from Melbourne. The pottery is open daily from 9 am to 5 pm. A relaxing café offers a break when exploring the new Antique & Collectables Centre and the various galleries at Bendigo Pottery. BENDIGO POTTERY 03 5448 4404


Belinda Fox, Monument, 2008-2010, painting, drawing and collage on paper. Courtesy of the artist and Niagara Galleries. Winner inaugural Paul Guest Prize 2010

Ian Hill, Leeton, 2000-04, gelatin silver print. Courtesy of the artist

Ian Hill, Tootool, 2000-04, gelatin silver print. Courtesy of the artist

Bendigo Art Gallery Winter – Spring Program for 2012 PAUL GUEST PRIZE 14 July – 26 August he Paul Guest Prize has been developed to highlight the best of contemporary drawing practice in Australia. Held every two years, it has a nonacquisitive cash prize of $12,000 awarded to a single winner. The Honourable Paul Guest QC, former Family Court Judge and Olympic rower, initiated this prize. It encourages artists from across Australia to engage with the important medium of drawing and to create challenging and unique art works. Director of Bendigo Art Gallery Karen Quinlan comments, ‘Drawing has a special interest for artists and audiences alike. We hope for audiences that the prize will inspire interest in the development and expression of this medium in contemporary art. For artists, we hope the


significant cash prize, donated by Paul Guest, will encourage entrants to celebrate and push the boundaries of this form.’ The 2010 winner of the inaugural Paul Guest Prize was Victorian artist Belinda Fox with her work Monument. A graduate of the Victorian College of the Arts as a printmaker, her handdrawn watercolour was extraordinary for its textural qualities. The judge, Roger Butler, Senior Curator, Australian Prints and Drawings National Gallery of Australia selected Monument from the shortlist of 36 works. Bendigo Art Gallery is pleased to offer this drawing prize as one of two major prizes. The other is the Arthur Guy Memorial Painting Prize, an acquisitive prize of $50,000 initiated by Mr Allen Guy CBE, in honour of his late brother Arthur Guy, with equal assistance provided by the R.H.S. Abbott Bequest Fund.

The judge for 2012 is Cathy Leahy, Senior Curator, Prints and Drawings at the National Gallery of Victoria in Melbourne.

IAN H HILL The Riverina Series 21 July – 2 September Ian H Hill The Riverina Series considers how we define the monument in the Australian landscape. These large-scale, black and white analogue prints intersperse images of towering concrete grain silos with small rural churches built in the 20th century. The images reflect on the place of design and siting in the landscape of these functional buildings with each building revealing differing types of monumentality and aspiration. The series also includes photographs of people at work, single figures framed in the seemingly silent, timeless spaces they occupy. These figures

come to represent a humanity outside the specificity of time and physical location. Based in central Victoria, Ian H Hill has been exhibiting across Victoria for more than a decade. Working within the black and white documentary tradition, Hill has undertaken commissions to record many of Melbourne’s significant building and development projects, including the refurbishment of the Royal Exhibition Buildings (1996), the removal of the Gas and Fuel Corporation buildings and the subsequent development of the Federation Square site (1996-2000) and the construction of the City Link road works. BENDIGO ART GALLERY 03 5434 6088

At the Post Office Gallery Hidden Worlds: Glimpses From Bendigo’s Forest Street Archaeological Excavation On show until 24 June


ituated in the former post office building on Pall Mall, Bendigo’s Post Office Gallery is a satellite gallery of Bendigo Art Gallery offering a changing exhibition program that explores the region’s long and proud history. The current exhibition at Post Office Gallery offers a peek into recent archaeological excavations undertaken in Bendigo with the focus on the 2009 dig at 1016 Forest Street. The site was investigated due to corporate redevelopment by RSD Chartered Accountants and Haven (formally known as Loddon Mallee Housing Services). Intensively occupied since the first gold rush, the site yielded a wealth of buried archaeological evidence offering great insights into the public and private lives of past generations who inhabited the site.

John Gosnell & Company, London, Cherry tooth paste jar and lid, c. 1790-1850, earthenware. Courtesy Heritage Victoria. Photography: Ian Hill

More than 4000 artefacts were unearthed and preserved

Beneath layers of dusty soil, archaeologists came upon a complex layering of timber, brick and stone building foundations. As they continued to dig, they uncovered vast amounts of whole and broken domestic items lost and forgotten by their owners. Over the course of the five week excavation, more than 4000 artefacts were unearthed and preserved for posterity by Heritage Victoria. Focusing on the earliest inhabitants of the site, this exhibition includes crockery, bottles and glassware from the public rooms of the site‘s hotel accommodation and boarding houses. There are personal items such as tea sets, chamber pots, ointment jars, hair combs and children‘s toys, hinting at the domestic and private lives of 19th century Bendigo citizens. This exhibition also includes other recent archaeological digs in Bendigo. One is the unique Chinese Brick Kiln at Emu Point, and both a house and a Chinese market garden site at Golden Gully.

Grace Kelly: Style Icon Organised by the Victoria &Albert Museum, London and the Grimaldi Forum, Monaco 11 March – 17 June

Paul Guest Prize 2012 14 July – 26 August




Above: Persian Bijar, designs in vegetable dyes, c. 2000

Persian nomadic Kashkuli

Right: Revival Pazyryk design

Persian rugs

Far left: Persian Qum, silk decorated with vase design

origins and history PART I


ersian rugs have been hailed as the finest and most exquisite rugs in the world for thousands of years. They are renowned for their craftsmanship, elaborate designs and remarkable weaves. Hand-woven carpets and rugs are a staple to today’s Iranian economy where millions of rugs are produced annually. While the carpet weaving industry began as a minor yet productive market, it expanded by incorporating a number of unique weaves and patterns that make Persian rugs still some of the most outstanding in the world.

ANCIENT persian rugs The earliest identified Persian rug dates to c. 500 BCE. The Pazyryk carpet was unearthed from the grave of a chieftain in the Pazyryk Valley in icy Siberia in 1949. Archaeological findings indicate that the gravesite had been closed for centuries. Radiocarbon dating sets its age to about 2500 years. Since the rug was preserved in ice, the remnants give observers a startling glimpse into the intricacy of a Persian rug woven 2500 years ago. Because of their use and material for their creation, carpets are far more perishable than other art forms and so there are far fewer surviving examples. There is much early documentation of Persian rugs. There are references in Chinese texts from the Sassanid period (c. 200-600 BCE). Historical accounts indicate that the court and palace of Cyrus the Great (c. 600-529 BCE), the ‘father of the Iranian nation,’ were decorated with elaborate carpets and rugs, vast in size and piled deeply. Such rugs were well woven with beautiful materials and designs, illustrating the importance and early evolution of Persian rugs.

NOTABLE rug production centres Prominent rug production centres in Persia performed an integral role in their development. During the early Islamic period (c. 8th century CE) a number of different carpets were used as traditional floor coverings. Others were prayer mats, small squares of fine carpet used by people during their daily prayers. Several regions were instrumental in the development and production of Persian rugs. Each area produced unique and distinctive types of rugs that illustrate their exclusive artistic themes and ornamental designs. Azarbaijan, the northwest province of Iran


was distinguished as one of the largest epicentres of rug production in the region. Another great weaving centre was Tabarestan. Among city centres, Tabriz was one of the most prominent cities for the production of rugs. Many of the rugs found in this region are inlaid with medallions that depict scenes of animals with vines spread throughout the rug. Kashan was best known as a city producing silk carpets and rugs. These rugs often symbolise the significance of hunting with mounted hunters shown launching an attack against their animal prey in these beautiful silk carpets. Preserved Kashan silk carpets are held in museums around the world, including the Museum of Fine Arts in Boston and the Vienna Museum of Applied Arts. Since these carpets are constructed of fine silk with dynamic patterns and designs, they are exceptionally valuable. While the silk carpets from Kashan are the most valuable, the carpets from Herat are the most plentiful. Herat carpets generally incorporate a red centre with blue or verdant green borders, as well as palmettos and sprawling vines. Kerman carpets are also varied and abundant. They usually feature a unique and elaborate design. The two most prominent types of Kerman carpets are the garden carpets and the lattice carpets. Their ‘gardens’ are imbued with rich flowing water and beautifully decorated gardens. During the Islamic period, textiles became one of the most substantial export industries. Carpets were traditionally used in prominent homes and places of worship. However, Persian carpets were also used to adorn walls and other areas in mosques and other significant buildings. Looms were often used during this period to create the fine textiles and Persian rugs; looms became more widely used with the advancements of time.

Left: Persian Qum, silk decorated with hunting design

Additionally the elegance and the fine craftsmanship used in Persian rugs are two more reasons that they are so highly regarded in the carpet industry. Persian rugs often display the most enticing artistic designs that are representative of the nation and the people who created them. The design quality and the unique links to the artisans set them apart from many other producers of textiles. Finally, these rugs provide a sense of utilitarian functionality since they are crafted from resilient materials that last for many years. This usefulness is representative of Persians and their enduring emphases on two defining elements: design and functionality. Part 2 Persian carpets: Traditional techniques and structure appears in the next issue of Antiques & Art in Victoria

FEATURES of persian rugs In ancient times, Persian rugs and carpets were artistic and refined from which there are seven main focuses: • bright contrast of colours • rich symbolism • elegance • fine craftsmanship • enticing artistic designs • representative of their creators • utilitarian functionality. There is both the bright contrast of colours as well as the rich symbolism of the region. Qum silk based, wool pile

Pazyryk carpet, c. 500 CE. St Petersburg Museum

Majid Mirmohamadi THE MAJID COLLECTION 03 9830 7755


The art of Ships in the Field A

newly-released book, Ships in the Field is the collaborative work of awardwinning artist Anna Pignataro and awardwinning author Susanne Gervay OAM. Both personal and universal, Anna Pignataro and Susanne Gervay translated their families’ experiences of migration into their art and words. Their book is deeply embedded in the struggles of Susanne’s family’s wartime, human rights violations and the refugee experience. Her parents carried their small son but left all they knew to escape across noman’s land minefields in the dead of night for freedom. Her mother’s Hungarian world was no longer the same with its operas, balls, visiting the health spa on Lake Balaton; her father’s world had been at the university as a Professor of Engineering. Her mother’s world of running a household with servants and afternoon teas on Margarita Island on the Danube had ended. Susanne’s father’s world was taken too: his land stolen; his white horse disappeared and his way of life gone. The Austrian refugee camp was crowded and difficult, but from here Australia selected them to go as bonded migrants on a battered WWII warship. Her parents didn’t know what Australia was, but they knew they could rebuild their lives offering their children a future. Like other refugees they worked long hours. Life in Sydney began in one room with the family sleeping on mattresses on the floor. But there was a belief in their new country and the future. Susanne’s family’s stories are in Ships in the Field. Her father made hats from the serviettes at dinner time for the family’s amusement. Her mother cooked chicken soup every night. Her father worked in a factory and mother sewed dresses both in a factory and at home. Their trips into the country were happy family times and a celebration of being safe and here. Her father did see the ships (sheep) in the field! Anna Pignataro was waiting to illustrate a story that touched her. When she read Susanne’s draft, she responded with, ‘It’s my story.’ Her parents were Italian migrants who made a new home in Australia. Her watercolour washes with the soft lines and palette capture the character and love of her family as they struggle with the past to make a future. Anna’s daughter became the natural model for the girl in Ships in the Field. Francine Sculli writes, ‘Joining the mastery of award-winning author, Susanne Gervay and award-winning illustrator, Anna Pignataro – Ships in the Field is an (illustrated) book filled with significance, beauty and rich subtext.’

Narrated through the simple but intuitive eyes of a little girl, Ships in the Field tells the story of life for a refugee family who have fled from their war-torn country and started a new life in a foreign land. The little girl shares heart warming family moments with the reader. Images of her father splashing her with water from the laundry tub, making hats for the whole family from paper napkins, promising her a puppy that she so longs for, or sitting on top of trees that give a view of the whole world. All of these provide a safe and comfortable foundation for her to share other images of her family’s life that are far deeper and more complex. We see her mother crying in the hallway as she sleeps, we hear of how the night scares her, we hear of the loss of their previous life, and the complexity of mistaking ‘ship’ for ‘sheep.’ These images are delicately interwoven in a way that brings hope and understanding. The intricate images from Anna Pignataro are wonderfully complementary and equally telling. She captures the warmth, solidarity and strength of the family through her soft watercolour images. However the double-page image spreads also provide the subtext for what is left partially unsaid in the narrative – the gloom, loss, fear and devastation of war. Colour is a significant part of the illustrations: the sense of hope overcoming loss and devastation is depicted through the changing colours, as the darker and more neutral tones are slowly replaced with brighter and more vibrant colours towards the book’s close. Through its imagery, clever word play and warmth, Ships in the Field has created a thoughtful and touching insight into the world of a child whose life has been shredded by war. The cover encapsulates the universal nature of this book, ‘Everyone has the right to a nationality’ from Article 15 (1) of the Universal Declaration of Human Rights: • German: Jeder hat das Recht auf eine Staatsangehörigkeit. • Bosnian: Svako ima pravo na državljanstvo. • Hungarian: Minden személynek joga van valamely állampolgársághoz. • Indonesian: Setiap orang berhak atas sesuatu kewarga-negaraan. • Sudanese: Sing saha bae boga hak dina nangtukeun kawarga-nagaraanana. • Turkish: Her ferdin bir uyrukluk hakkı vardır. Susanne Gervay was deeply moved for herself and for her parents and all those who make the journey to find a home, when Governor Marie Bashir presented her with a Medal of the Order of Australia in 2011. She

is always moved when giving an address in her role as an Australia Day Ambassador. The Hughenden hosted an exhibition of the art in Ships in the Field that was very wellattended in February, visitors snapping up limited edition prints and copies of the book.

Susanne’s conversation with Richard Fidler is part of the journey – /3066754.htm

Moya Simmons THE HUGHENDEN Freecall 1800 642 432

For more about Susanne Gervay – and Anna Pignataro – Ships in the Field by Susanne Gervay, illustrated by Anna Pignataro is published by Ford Street Publishing.






The Hughenden c. 1870, associated with Australia’s first philosopher Barzillai Quaife, is home to literature & the arts. Discover the works of Archibald artist Wendy Sharpe; 1930s Laurent works; c. 1850 painting of the Victorian girl, artist unknown. Jazz & musical evenings, art exhibitions and books are part of Hughenden life. *Not valid Friday and Saturday nights. Valid until 30 November 2011

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

Free Call 1800 642 432 69


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 Guy Page, Page Antiques Barbara Thomas, Mentone Beach Antique Centre Alastair Wilkie, Marquis Antiques Graham Pavey, Pavey Collectable Antiques Diana Brady, Circa Antiques, Tanya Gale, Camberwell Antique Centre

Ph: 03 9874 4690 or Ph: 03 9880 7433 or Ph: 03 9583 3422 or Mob: 0402 888 439 Ph: 03 9596 1602 or Mob: 0438 048 260 Ph: 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 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 Camberwell Antique Centre 25 Cookson Street, Camberwell, Vic. 3124 Phone: 03 9836 2301 Mob: 0418 373 940 Circa Antiques & Collectables Dianna Brady 126 Mollison Street, Kyneton, Vic. 3444 Mob: 0404 650 667 Email: Dalbry Antiques & Collectables at Mentone Beach Antique Centre 68 Beach Road, Mentone, Vic. 3149 Phone: 03 9583 3422 at Camberwell Antique Centre 25 Cookson Street, Camberwell, Vic. 3124 Phone: 03 9882 2028 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 Antiques at Camberwell Antique Centre 25 Cookson Street Camberwell, Vic. 3124 Mobile: 0421 270 835 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 Bendigo Pottery Antiques Centre Midland Highway, Epsom, Vic. 3550 Mobile: 0402 888 439 Email: Pretty Old Collectables at Camberwell Antique Centre, Tanya and Doug Gale 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 Lese and Richard Worboys 147 Hume Highway, Holbrook, NSW 2644 Phone: 02 6036 3122 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 The Time Gallery John Allott 129 View Street, Bendigo, Vic. 3550 Phone: 03 5441 1998 Mobile: 0405 210 020 Email:

Direct enquiries to any of the Guild Committee Members


Guy and Trish Page

In this edition the VADG profiles members

Guy and Trish Page of Page Antiques Starting out: when did it begin? Guy has been dealing in antiques for over 30 years. He started the business for his mother Kathlyn in 1980, but soon found that it became both his career and his passion. Later, his father, Adrian, and wife Trish became part of Page Antiques. Over the years there have been outlets in High Street Armadale, North Melbourne, Hampton, Tyabb and Caulfield. The business is now solely based in Canterbury, with their main showroom/ warehouse at 323 Canterbury Road and a small area in the Maling Road Market. What sparked your interest? From an early age Guy was influenced by his grandmothers. One had an Edwardian home in Hobart and the other a Victorian/Queen Anne guest house in Elsternwick, and both furnished them lovingly with antiques and art. Trish’s interest came via Guy’s passion (for antiques)! What area of antiques do you most enjoy? We both love Georgian furniture. Although today we sell mainly decorative and provincial French furniture with an emphasis on beds, clocks and sculptures. What is your favourite piece in stock at the moment? Our favourite pieces are a magnificent walnut

bed and bedside in the Gothic revival style, which is dated to circa 1890, a beautiful Renaissance style alabaster figure signed L. Greroire, and an exquisite French ormolu empire mantle clock of circa 1810. What antique piece can’t you live without? Guy has a pair of bronze figures – Mercury and Venus, and I love a marble medieval lady seated on a throne chair. What is your antique tip for the future? Buy what you love and when dealing with quality do not be afraid to mix old with modern. What is the best piece of advice you have received over the years? This is hard to answer specifically, but our goal is to sell quality pieces at affordable prices. We also encourage customer input into the restoration of their selected items. What advice would you pass on to others? To always be enthusiastic, helpful and honest. Any other comments you would like to add? Love what you do, learn about your stock, and be happy to turn it over!


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


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

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

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

GOWRIE GALLERIES Pty Ltd 02 4365 6399

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


1486 Ptolemy Ulm world map in fine original colour

Latest catalogue

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

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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




Giovanni Bellini, Madonna and Child (Alzano Madonna), c. 1488, oil on wood panel, 84.3 x 65.5 cm. Accademia Carrara, Bergamo, bequest of Giovanni Morelli 1891

Ambrogio Bergognone, Madonna lactans, c. 1485, oil and gold on wood panel, 61.6 x 44.6 cm. Accademia Carrara, Bergamo, legacy of Guglielmo Lochis, 1866

The Madonna and Child in Renaissance art


he Madonna and Child, alone or surrounded by saints and adoring angels, is one of the most constant images in Western art. The cult of the Virgin in the 12th and 13th centuries saw Mary cast as the Queen of Heaven, the personification of the Church, the bride of Christ. In the Renaissance period such formal, hieratic depictions of the Madonna as the Queen of Heaven are gradually replaced by more naturalistic images of a mother and her baby. The Madonna is shown with the Christ Child in a landscape setting, or within a domestic interior, often with everyday objects. Neroccio de’ Landi’s Madonna and Child, c. 1470-75 straddles the Gothic and Early Renaissance periods and is, to a certain extent, a product of both. The painting retains its original carved frame, an intrinsic part of the work. Neroccio’s rich materials – the gold ground and mineral pigments used to convey flesh – remain largely as when the work was

produced more than 500 years ago. Mary’s robe, on the other hand, has faded and her once blue mantle now looks almost black. This Madonna and Child was probably commissioned for private devotion and, by placing the figures at the front of the picture frame, physically close to the viewer, the artist suggests a sense of immediacy and a direct connection to the sacred. Neroccio, working in Siena, painted his Madonna and Child in tempera on a wood panel, but artists soon began to use oil paint to achieve a greater level of realism. In the Renaissance new forms such as the Madonna of Humility and the Madonna lactans, or nursing Madonna, emphasised Mary’s humanity and bodily form. Images of the Virgin breastfeeding the Christ Child were popular. The Piedmont painter Ambrogio Bergognone’s Madonna lactans, c. 1485 is highly informal and naturalistic. The artist combines a vignette of a mother

Lorenzo Lotto, Holy Family with Saint Catherine of Alexandria 1533, oil on canvas, 81.5 x 115.3 cm. Accademia Carrara, Bergamo, legacy of Guglielmo Lochis, 1866


Neroccio de’ Landi, Madonna and Child, c.1470-1475, tempera and gold on wood panel, 58.0 x 43.5 cm. Accademia Carrara, Bergamo, bequest of Giovanni Morelli 1891

breastfeeding her child with the topography of a rural setting. A wealth of detail demonstrates the influence of northern European art: the drapery of the Madonna’s robe, her enamel-like skin and the rather strangely shaped Child are reminiscent of Flemish and French painting. Many Italian artists in the second half of the 15th century adopted the new medium of oil paint, a technique learnt from Flanders and Germany. The glorious Madonna and Child (Alzano Madonna), c. 1488 demonstrates why Giovanni Bellini was one of its earliest masters. Like other Venetian artists, Bellini is renowned for his brilliant use of colour. His tender Virgin is draped in folds of gorgeous blue, the yellow of the fruit below providing a counterpoint. A highly detailed landscape populated with pilgrims, horsemen and gondoliers, with distant castles, is seen either side of the Madonna and Child. An ornate tabernacle frame suggests that we are looking at the vista from a window. Bellini emphasises this pictorial illusionism by painting a ‘label’ on the marble ledge and signing it with his name in the Latin form: ‘IOANNES BELLINVS.’ This type of halflength Madonna and Child was one of the artist’s most successful subjects, and a number of variant types were produced by Bellini’s large workshop in Venice, a city that claimed the Virgin Mary as protector. Bartolomeo Vivarini also ran a large workshop. An exceedingly grand and fine work is his Polyptych of the Madonna and Child, Saints Peter and Michael, the Trinity and angels (Scanzo polyptych) of 1488. Polyptychs, the spectacular multi-panelled altarpieces commissioned by the Church or private donors, were designed for elaborate architectural settings, located behind the altar or in special chapels or niches. Centred on the Madonna and Child, Vivarini’s is the type of public work intended to convey the Christian stories to a largely illiterate parish. Many altarpieces also included episodes from the lives of Mary or Jesus on the side

panels or lower registers. Some incorporated sculptural figures or hinged panels with images on both sides so they could be opened for special feast days. The Scanzo polyptych suggests something of the impact the altarpiece might have had in its original setting in the church just outside Bergamo. In late Medieval and Early Renaissance art saints are usually accommodated on the wings of an altarpiece or in the predella below, separated from the main figures by the frame. From the mid 1450s, however, they become incorporated into the scene. In Lorenzo Lotto’s Holy family with Saint Catherine of Alexandria, 1533, Joseph lifts a pure white cloth to reveal the sleeping Infant. The Virgin, who holds an open book and appears distracted, turns back toward the scene. Saint Catherine of Alexandria is depicted with hands held in prayer – rather than the more traditional Mystic Marriage pose in which she accepts the ring from the Christ Child. Framed by the landscape, the figures are bound together by masses of twisted cloth and united by their speculation on the Christ’s future suffering. Lotto captures mood and gesture with the quiet intensity of later portraitists in Bergamo. Indeed, the Bergamasque painters, as well as the quality of the collections later donated to the Accademia Cararra, encapsulate the importance of the city of Bergamo and the rising merchant class in Italy at the end of the 16th century. Lucina Ward Curator, International Painting and Sculpture NATIONAL GALLERY OF AUSTRALIA 02 6240 6411 Note Adapted from an article first published in Artonview no 69 © National Gallery of Australia, Canberra, 2012


11 May – 22 July 2012 GOVERNMENT PARTNERS




Michael Cook Broken Dreams #3 2010 (detail), National Gallery of Australia, Canberra, purchased 2011



GOLD:always an alluring commodity I

n the 1850s, the first gold rushes attracted to Australia an influx of immigrants sharing a common goal of instant wealth. The next century, the rugged, tenacious character of ‘the digger,’ exemplified by the courageously independent behaviour of the Australian Diggers in WWI would indicate how gold rushes shaped Australian history and the national character.

LIFE on the goldfields M Gaunt described in Cassell’s Picturesque Australasia (1889) that ‘A “rush” on the early goldfields was like nothing else in the world. One day the lovely gully, the wild dense bush land, untouched by the hand of man, and in less than a week a place thronged with busy life. Rushes varied in size, sometimes consisting of a few hundred men, while at

others there were thousands in the field. [As] if by magic, in less than a week a large canvas-and-bark town had sprung into existence. A somewhat ramshackle and tumble-down town it was, certainly, for each man was in haste to be rich and gave little thought to his personal comfort meanwhile.’ Frugality and endurance characterised life, with typical digger’s possessions comprising mining implements, a couple of blankets, a billycan and a frying pan. Tents and huts were furnished with upturned crates. Panners and miners sacrificed comforts for the hope of gold, and their wives and children were subjected to the extremes of scorching summers and cold winters, fluctuating prosperity and a fairly squalid existence. Despite the hardships, hundreds of thousands sailed to colonial Australia – on 5

July 1851, there were 800 people on the road from Bathurst to Ophir NSW. The Illustrated London News reported that huge nuggets of gold had been found after only four days in the new colony in October 1851: ‘The yield of gold in the diggings, both of Victoria and New South Wales, is indeed immense. Five new gold-fields have been discovered in the two colonies, and the intelligence has been received from New Zealand of extensive gold discoveries in that province.’

SHOPPING & entertainment According to the success of their enterprises, settlers’ moods fluctuated wildly. Besides an occasional butcher shop patronised by the successful, in the middle of every camp was the inevitable grog shanty and general store where anything could be bought, from a needle to a tent anchor or a tent, and a chamois leather bag to carry gold. The sale of bad liquor at exorbitant prices was a surer road to wealth than any goldmine. Of course where there was money to be made, there was also money to be lost. Gambling was an everyday part of life on the gold diggings, from impromptu cockfights and dogfights, to boxing matches in the back alleys away from the eye of the law. Those who struck it lucky were usually obliged to share their good fortune in the local public bar and it was there that ‘shouting’ became an entrenched Australian tradition and a way of showing one’s comradeship, by buying drinks for companions.

S.T. GILL eminent illustrator of life Engravings and lithographs were commissioned to add ‘colour’ to newspaper and journal reports on life on the goldfields. S.T. Gill became the best known as a prolific and skilled artist of colonial Australia. He showed the gold diggers’ existence and emotional experiences – whether fortunate or not. Gill combined humour in his titles with singular observation in his sketches. His lithographs and engravings are a graphic historic summary of life on the diggings. Samuel Thomas Gill was born in Devon England in 1818 and immigrated to South Australia with his family in 1839. Trained as

an artist in London, in 1840 Samuel set up a studio in Adelaide and for the next ten years established his reputation as a portraitist and illustrator. Declared bankrupt in 1851, Gill left South Australia in 1852 for the Victorian goldfields. During his months at Castlemaine, Mt Alexander and Bendigo, Gill sketched life on the goldfields. His sketches of the Victorian gold rush were characterised by their spontaneity, realism and humour. He lithographed many at his Melbourne studio. In 1856 he travelled to Sydney where he lived for eight years. When Gill returned to Melbourne in 1864, it was to a very different city. He failed to recapture the success that he had achieved in the mid-1850s. In 1869 the Melbourne Public Library commissioned a set of 40 watercolours after his earliest goldfields sketches, but when he died in 1880 he was penniless. The demand in England for information on the goldfields resulted in engravings on wood being made from Gill’s hand-coloured lithographs. These excellent representative images of Gill’s work, were published in London in 1853, for John Sherer’s The GoldFinder in Australia - How he went, How he fared, How he made his fortune. Appearing the same year as the Sydney publication of Gill’s lithographs, the London-published engravings had additional captions, adding further to the historic interest and humour of Gill’s captivating images of the gold rushes in colonial Australia. Today, investment in antique lithographs and engravings of such unique situations offers long-term enjoyment that should never be underestimated. Every generation relates to the hardships, challenges and humour represented in these wonderful images. They are part of the current exhibition at the Antique Print ClubHouse at Neranwood in the Gold Coast hinterland. Kathryn and Derek Nicholls ANTIQUE PRINT CLUB 07 5525 1363

Thousands of antique prints & antique maps. Treat yourself, family, friend or associate...


Visit the Club House at Neranwood


Phone 07 5525 1363 • Mobile 0412 442 283


S.T. Gill, Butcher’s Shamble near Adelaide Gully, Forrest Creek, c. 1853, hand-coloured lithograph depicts an opportune (self-satisfied?) well-fed butcher with his gold-rocking cradle ‘For Sale’


The Late Bill Parker Collection

Friday 1st June 2012

(Coolangatta, QLD) An important collection of: Vintage motorcycles, sidecars, wheels, tyres, frames etc. Stationary engines & more

(Please note amended date) For more details visit us @ Online catalogue and photos available early May 2012

To be held at the Toowoomba Showgrounds

Contact Graham Lancaster 0418 730 904 or


Indian 8 Valve Racer

1916 Indian Feather Weight

1924 Douglas

Harley Davidson Peashooter

1917 Henderson 4 Cylinder

1938 AJS Girder

Indian Daytona ‘Altoona’



The Australian Antique and Art Dealers Association The premier organisation for antique dealers and commercial art galleries in Australia


passion for collecting, whether it is fine paintings, wonderful artefacts or everyday ephemera, is about the search and the satisfaction of tracking down the perfect object to enhance your life. For many, the desire to collect is instinctive, a habit that never leaves but that pushes on from one great find to the next, and often one collecting enthusiasm to a new one. The 2012 AAADA Show in Melbourne at the Royal Exhibition Buildings allows collectors to view and purchase almost everything from fragments of ancient art to shiny neo-classical pieces, from stuffed animals to 20th century designed furniture, antiquarian books to miniature replicas.

AAADA MELBOURNE 2012 ANTIQUES SHOW 3–6 May Members, collectors and the curious all look forward to the 2012 Melbourne antiques and art show at the Royal Exhibition Buildings. The gala preview is on Thursday 3 May evening. The show continues daily until Sunday 6 May, closing at 5 pm.

An emphasis on making antiques relevant to today’s life style will appeal to younger buyers. Members from all over Australia will bring together the equivalent of more than 40 specialist shops where visitors can peruse the highest quality items sourced in Australia and abroad – view in one visit at one venue in a few hours. Enjoy a complimentary return visit for any missed items. This year’s antiques show has new features: • The National Gallery of Victoria and decorative arts societies have displays and information on joining. • AON Risk Services helps with insurance for antiques and art • Guest displays from selected dealers • A specialist group of exhibitors with an Asian collecting focus • Internationally renowned interior designer, Barbra Brownlow lends her expertise at putting antiques into a contemporary context. The Show Café offers a selection of the finest hot and cold dishes, from 11 am to 7 pm each day. Book for the sumptuous High Tea on Sunday. Park in the conveniently located and reasonably priced Melbourne Museum Car Park with wheelchair accessibility. There is limited parking within the grounds and on surrounding streets.

2013 AAADA SYDNEY SHOW AT ROYAL RANDWICK The next AAADA Sydney Show is in 2013 after the major renovations and refurbishment at Royal Randwick. Who is a qualified, independent valuer? A valuer is qualified either through formal valuation qualifications or by being considered to have specific knowledge, experience and judgment by their particular professional community. This is best demonstrated by being a current member of a relevant professional body or trade association such as Australian Antique and Art Dealers Association or the National Council of Jewellery Valuers. Need assistance? AAADA Members and Service Providers Directory For assistance with your insurance claims due to flood, fire or other issues, AAADA Members and Service Providers Directory is a comprehensive guide to members’ locations, specialities and opening hours. Obtain a copy by phoning the Executive Secretary on 03 9576 2275.

FIND US ON THE WEB The AAADA website – – is the definitive guide to buying, collecting, selling, valuing and restoring antiques and art with confidence, from Australia’s leading antiques and fine art dealers and their approved service providers. This site lists our expertly vetted members who uphold the principles of the Association and adhere to its Codes of Practice. There are other service providers who are recommended by our members for their proven abilities to provide various categories of restoration, valuations and ancillary services. Join AAADA Facebook page today for a chance to win a free subscription to World of Antiques and Art magazine. AUSTRALIAN ANTIQUE DEALERS AND ART DEALERS ASSOCIATION 03 9576 2275

AUTUMN/WINTER SEMINAR SERIES 2012 Hands up for hands on! If you have a hankering to know more about antiques or you simply want to know what it‘s like to hold a fortune in your fingers, book now to learn the same way the experts do, by having and holding. The first lecture by a specialist in Chinese art is on Friday 3 May at the Royal Exhibition Buildings during the Melbourne AAADA Show. Information about this lecture can be sourced at or by phoning the Executive Secretary, Keren Lewis on 03 9576 2275. Subsequent lectures are every Thursday evening in May and June with a member of the Victorian chapter of AAADA hosting a 90-minute seminar on a specialist subject at their premises. Practical sessions are for anyone interested in jewellery, silver and furniture. Insiders’ insights will help you be more discerning and a better collector. • Each session is limited to 10–20 people • Sessions run from 6 until 7:30 pm • Ticket price is $25 for each seminar • Book five seminars and enjoy a complimentary sixth • Find all the details at or phone 03 9576 2275.


AUTUMN/WINTER SEMINAR SERIES 2012 BOOKING I/we Postal address Telephone Daytime


Wish to attend the following seminars: (1) (2) (3) (4) (5) (6) Quantity tickets = __________ Total $ ___________ Payment attached (1) 10 May Kathryn Wyatt

The secrets and allure of heirloom jewellery – discover why and how people have adorned themselves with beautiful gems and jewellery, fulfilled their need for style, investments and legacy for their families

(2) 17 May Jamie Allpress

Understanding styles and construction of 18th century furniture

(3) 24 May Chris Snook

Antique clocks and barometers – making them tick and putting them under pressure

(4) 31 May Paul Rosenberg

An introduction to antique ceramics covering the development of ceramic technology and looking at the different kinds of pottery and porcelain

(5) 7 June Roy Williams

The marks on silver: their secret language

(6) 14 June Doug Stewart

The printed page – rare books and ephemera


The e Second Australian A Aus t li tralian A Antique ti & Art A t Dealers Dea alers Asso Association ociation

Melbourne M elbourne Show S how w 3–6 Mayy 2012 Royal Ro oyal E Exhibition xhibition Building Carlton Car lton n Gardens Gardens Melbourne, Melbou urne, Victoria Victoria

Melbourne’s Melbou rne’ ne s only only international internatio onal quality, qualitty ty, fully ful ly vvetted eettted ant antiques iques & fine arts a ts show. ar show.

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

Exclusively at Geelong Gallery In search of the picturesque – the architectural ruin in art 21 April – 24 June


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

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

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

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

GEELONG GALLERY 03 5229 3645

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


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

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

Roger Kemp, Untitled, c. 1972, ink and pastel on paper, 27 x 54 cm

Dealers in Fine Art

Les Kossatz - The Artists Personal Collection 12 May - 9 June Acting for the Executors of the Les Kossatz Estate

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

Fred Williams, Acacias, 76 x 57 cm A/P

Fred Williams, Waterfall, 76 x 57 cm A/P

Roger Kemp ‘Drawing’ Exhibition

Antiques & Art in Victoria  
Antiques & Art in Victoria  

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