antiques IN VICTORIA
APRIL – AUGUST 2013
IN & PR S P MA A
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Fine original bronze and ivory figure clock on South American onyx signed Demetre Chiparus, France 1930
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Specialising in French antiques and Art Deco Please contact us for more information
491 High St Prahran Vic 3181 • www.pascalleclerc.com.au
Specialising in antiques and artworks
0415 929 712
03 9510 8522 Warehouse by appointment only 0412 560 371
QUALITY WORK • COMPETITIVE RATES Antiques and
ART DECO FURNITURE he term ‘Art Deco’ is used widely and incorrectly to describe anything from a 1950s office block to a tiny piece of jewellery or kitsch. ‘Modern’ furniture in wood, metal or synthetic material is lumped together as ‘Art Deco’. Yet Art Deco and other contemporary styles, especially Modernism, are quite distinct. The term ‘Art Deco’ was coined in the 1960s, a contraction of the full title of the celebrated 1925 Exposition Internationale des Arts Decoratifs et Industriels Modernes held in Paris, where the style dominated the show. Art Deco furniture drew its inspiration from the French ancien régime, particularly from the styles and techniques adopted by the late 18th century ébénistes or cabinetmakers, such as Paul Reisener. Although World War I is generally seen as separating the Art Nouveau style from Art Deco, many pieces of furniture from before the War show some of the classic features of art deco, especially pieces by Ruhlmann and others. By the mid-20s, Art Deco reached maturity. Its primary tenet – that form follows function – remained unaltered by all succeeding 20th century design schools, but its second tenet, which related to decoration, was soon abandoned. Proponents of Art Deco who had recoiled against the superfluous florid ornamentation of Art Nouveau, and who enjoyed rich, lozenge-patterned veneers, marquetry, carved and cast bas-reliefs and contrasting parquetry panels in the best materials that money could buy, eventually came to reject decoration. Though different from Art Nouveau, decoration remained an integral part of Art Deco. Paul Follot defended this in a speech at the opening in Paris in 1928 of an exhibition by the London firm Waring & Gillow: ‘We know that the “necessary” alone is not sufficient for Man and that the superfluous is indispensable for him ... or otherwise let us also suppress music, flowers, perfumes ... and the smile of ladies!’ Art Deco furniture was quintessentially French and specifically Parisian. Almost nothing of comparable design or quality was produced in the 1920s outside France. London retailers Heal & Son and Waring & Gillow offered a range of lightly-decorated imitations. In the USA, there was no identifiable furniture style until the late 1920s, when department stores introduced a spare Modernist style in response to the Depression. Germany’s Bauhaus, founded in 1919, had limited popular influence. Only a handful of the major Art Deco furniture designers in Paris were qualified cabinetmakers. The traditional furniture
designers of the period were still located in the Faubourg Saint-Antoine quarter and inherited France’s 18th and early 19th century cabinetmaking heritage. This legacy inspired many 1920s designers, particularly Ruhlmann and Follot, but many cabinetmakers in the same district were still making Louis reproductions. The modernists brought a degree of individualism and often favoured metal. Architects such as Le Corbusier and his followers moved increasingly into the field of furniture design, extending their architectural designs to the building’s interior space and furnishings. Ebony was Art Deco’s premier wood, but profligacy soon led to a shortage which persisted into the 1920s, so cabinetmakers had to make do with ebony veneer. Cabinetmakers could draw on a wide range of sumptuous veneers, many of them exotic including: ebony, palmwood, jacaranda, zebra wood, alamander, amaranth, sycamore, maple, ash, amboyna and mahogany. The bright, tactile finish of Japanese lacquer brought opulence to the timbers. Applied in a time-consuming technique of 22 stages to build up a lacquered surface, by 1930 lacquer, like wood, faced the challenge of mass production and modernisation. Industrial synthetic varnishes were developed which gave a high-gloss finish. Lacquer became a relic of a bygone era, its onerous method of application anachronistic in the new age. Other materials were explored, often
revived after being discarded centuries before: ivory, shagreen and snakeskin, wrought iron and straw marquetry. Conceived as early as 1907, the Exposition Internationale des Arts Decoratifs et Industriels Modernes, was deferred during World War I. Planning recommenced in 1919 to eventually open in 1925. The exhibition was a high point with a major impact on the public, architects and critics. The Musée des Arts Decoratifs in Paris and the Metropolitan Museum of Art in New York snared some of the best pieces for their collections. But by this time, the pure Art Deco style had nearly run its course. Pascal Leclerc ANTIQUES – ART DECO 03 9510 8522
References Ghislaine Wood, Essential Art Deco, V&A, London, 2003 Alastair Duncan, Art Deco Furniture, Thames & Hudson, London, 1992
Editorial CONTENT FRONT COVER
Tillya Tepe (0-100 CE), One of a pair of gold hair pendants Photo by Thierry Ollivier See page 26
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Art deco furniture – Pascal Leclerc Traditional retail still favoured by collectors observes Fabrile French style – with class – George Manoly Expressions Gallery Veronica George Gallery showcases Norm Borg’s Tallon Glass Console tables, a charming example of form following function Measuring time in horology 1650-1700 – Michael Colman Jenny Phillips at Contemporary Botanical Art Gallery in South Yarra The which and what of wristwatches – Ron Gregor Toorak Village’s 12th annual sculpture exhibition on show in shop windows & on sidewalks – Tracey Cammock Nouveau-Bisgrove Furnishing continues a tradition of quality restoration & upholstery – Denny Toffoletti Amanda Addams Auctions & David Freeman Antique Valuations – Amanda Addams A misadventure leads to creative output – Mike Gleeson Artist Profile: Marisa Avano Bedside cabinets and pot cupboards beautiful, functional and versatile – Trish & Guy Page The Victorian Artists Society 2013 program Afghanistan treasures revealed at Melbourne Museum Schots Home Emporium rejuvenates classic vintage pieces Following the trail of finely crafted furniture beginning in ancient Egypt – Roy Williams Collector proof coins 1955 – 1963 The English longcase clock Maintaining the high-gloss look on modern furniture – David Foster Autumn show at Di King Gallery, new exhibition for a new season Sherbrook Art Society: a community of artists Featured artists at Without Pier Gallery Robert Clinch retrospective reflections on the common man at the Art Gallery of Ballarat Bendigo Art Gallery photography, moving images & installations expose the intensity of the Aboriginal experience The Emily Museum, the first dedicated to an Aboriginal artist Schots Home Emporium showcases stylish leather giftware Antiques by the sea at Mentone Beach Antiques Centre Australian art featured at Sorrento & Flinders Fine Art The traditions and types of Tabriz rugs – Majid Mirmohamadi Mornington Peninsula Regional Gallery hosts the Archibald Exhibitions to view at McClelland Gallery+Sculpture Park Brialyn Boathouse Gallery upcoming exhibitions Identifying early Meissen figurines – Paul Rosenberg Impressions of Geelong – a portrait of the city and its region Welcome to the workshop – Joel Duggan Featured artists and exhibitions at Eagles Nest Gallery What’s on at Hamilton Art Gallery Art Gallery Ballarat’s autumn – winter exhibitions celebrate tradition Bendigo Pottery for collectors of Australian pottery Post Office Gallery mapping great change: the landscape of central Victoria Bendigo Art Gallery contemporary Australian Silver & Metalwork Award 2013 Shepparton Art Museum, Namatjira & other Indigenous master painters’ use of colour Meet VADG member, Garry Mathewson of Antik@Billy’s Antiques of the future made at French Farmhouse by Sally Beresford A reflection in time finding Victoriana, arts & literature in Sydney’s Queen Street Woollahra – Susanne Gervay Australia, with reindeer and elephant At the National Gallery of Australia, Tate’s Turners: an unrivalled collection – Christine Dixon A different perspective to collecting antique maps and prints – Kathryn & Derek Nicholls The Australian Antique and Art Dealers Association Monash Gallery of Art, Carol Jerrems photographic artist
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SALE DATES 2013 Monday 6 May 2013 6.30 pm Viewing: Saturday 4 May 11 am – 4 pm Monday 6 May 12 noon – 6 pm Monday 3 June 2013 6.30 pm Viewing: Saturday 1 June 11 am – 4 pm Monday 3 June 12 noon – 6 pm Monday 1 July 2013 6.30 pm Viewing: Saturday 29 June 11 am – 4 pm Monday 1 July 12 noon – 6 pm
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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. Antiques and
Vase by André Delatte (1887-1953) with Du Bois frame, Daum (France) art glass vase with majorelle frame, bronze moth Henri Wolf candelabra
Art deco ceramic wall mask made by M. Bever
Alabaster polar bear lamp, c. 1930s
Traditional retail still favoured by collectors
OBSERVES FABRILE hank you to all of those people who commented upon our first article in the last edition of Antiques and Art. Your positive feedback was much appreciated and Fabrile does intend to remain loyal to the concept of interactive retail and personalised service. As a result of the article, many asked how Fabrile had thus far survived the Global Financial Crisis and ensuing economic slump. This is a reasonable question as two things are plainly evident to our readers. The first is that antiques and collectables on the scale of discretionary spending are at the end that people can forego. The second is that retail may be the collateral casualty of an election year.
CLIENT CARE There are several measures we have taken to try and remain relevant in these difficult times. Firstly we appreciate that people still like to have and to give nice things. We try very hard to stock a range of quality items and a pricing structure to accommodate every need or occasion. Secondly, we are aware that there is a continued demand for new and interesting things. To address these interests we travel extensively and go well beyond the local auction rooms and online sites to source our wares. A worldwide network of contacts helps keep our stock fresh and unique.
Pair French art deco crackle glaze lamps
Thirdly – and most importantly – is value for money. While this is in part about price and the goods purchased, it is also about service: the quality of advice, after sales service and certainty that a gift you select will be appropriate. A pleasant, successful and rewarding shopping experience supported by after sales service is our first priority.
ART DECO AND MORE: EXPANDING OUR RANGE The inspiration behind Fabrile is the art deco period: the glamour, elegance and style that the period evokes. However, although the inspiration of the period is the driving force for the business, we understand that it is not imperative for each and every client to understand the art deco period in order to enjoy the shop. The fact of modern retail is the emerging trend for people to be seeking a ‘look’ rather than a period. As a retailer you ignore this trend at your own peril; the client brief is more important than ever before. We routinely source objects, furniture or jewellery that will satisfy a client need regardless of the period. Some items such as industrial lamps are highly sought after and fashionable irrespective of their provenance or age. Old is preferred over new but, provided it has the desired impact, whether the lamp is
1920s, ’30s or ’50s may be irrelevant. Today, retail competes with the Internet and the possibility of instant gratification. This brings us to a very important aspect of traditional retail. It is a great pleasure getting to know and being acquainted with our clients over time. It is very rewarding for us to follow the lives of our clients and their families as they grow and call in to give their updates. Part of this process is recognising that needs change and that upsizing and downsizing are all part of the cycle. As we register clients’ upcoming furniture requirements and changing tastes in jewellery, we also acknowledge that art deco may not be the answer hence the introduction of pieces from more recent eras. The challenge is to respond to changing needs while at the same time preserving the essence of your business.
POSITIVE FEEDBACK There is nothing more satisfying than a client declaring a past purchase or gift from Fabrile is their absolute favourite. Over 20 years Fabrile has been the source of many favourites. Usually favourites have sentimental memories attached and have very little to do with monetary value. They are not negotiable in the upsizing or downsizing transition and transcend time and generations. Favourites are
Ceramic figure designed by M. Guiraud-Rivière (1881-1947) placed on an art deco ivory inlay and marble cabinet
tangible connections to memory as well as giving pleasure. As long as there are favourites we can be reassured the role of the traditional retailer is still relevant. FABRILE 03 9824 8826 / 0438 248 826 www.fabrile.com.au
Boch Frères La Louviere (Belgium) vase with ivory polar bear brooch
FRENCH STYLE – WITH CLASS 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 email@example.com www.imagedefrance.com
Xianzhu Shi, Autumn Day
Jasper Knight, The Italian Job
EXPRESSIONS GALLERY xpressions Gallery offer a wide range of fine art limited editions from leading Australian artists including John Olsen, Jeffrey Smart, Howard Arkley, Lin Onus, Sidney Nolan, Arthur Boyd, Charles Blackman, Fred Cress, Garry Shead, Frank Hodgkinson, David Boyd, Jason Benjamin, Melissa Egan, Clifton Pugh, Jasper Knight, Margaret Olley, Helen Norton, Tim Storrier and Brett Whiteley.
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.
Howard Arkley, House with Native Tree
EXPRESSIONS GALLERY 03 9500 0667 firstname.lastname@example.org
His cross-cultural experiences have found expression in his work
Margaret Olley, Basket of oranges lemons
1110 High Street, Armadale Vic 3143 Australia Tel/Fax 03 9500 0667 email@example.com also at 332 Malvern Road Prahran Vic 3181 • Mob: 0413 992 501 FINE ART LIMITED EDITIONS VINTAGE POSTER LINEN BACKING CUSTOMER FRAMING 8
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.
Harlequin series vase
veronica george G A L L E RY 1082 High St, Armadale Melbourne 3143 Ph: 03 9500 9930 Fax: 03 9500 9125 firstname.lastname@example.org www.veronicageorge.com.au Murrine series strap cane vases in cone and teardrop shapes
Open 7 days Mon to Sat 10 am to 5.30 pm and Sun 11 am to 5.30 pm
Veronica George Gallery showcases
NORM BORG’S TALLON GLASS n 1993, Norm Borg began working in glass, assisting his partner Tricia Allen. However in 2006, Tricia was diagnosed with Motor Neurone Disease, which progressively restricted her ability to physically work as a glassblower. For a time, daughters Esther and Grace assisted Norm in completing Tricia’s designs but the studio was closed in July 2007 and Norm became Tricia’s full-time carer until she passed away in September 2010. In February 2012 Norm reached a personal and artistic watershed when he fired-up the glassblowing furnaces in Nungurner once again and resumed work as a glass artist trading under the name of Tallon Glass: ‘Tallon’ being the heartfelt acronym for ‘Tricia Allen Legacy Lives On’. Enjoyed for its peace and beauty, Nungurner is a small community set in bushland on the shores of Gippsland Lakes. Appropriately, Norm describes his distinct glass art style as ‘drawing inspiration from the diversity of textures, colours and shapes found in the Australian bush... focussing on organic shapes and surface manipulation...’ and his recent works of bold contemporary shapes and organic forms draw on the patterns and colours of eucalyptus bark. Focussing on his new challenge in life as ‘keeping art glass alive in Nungurner’, Norm draws on 'a kaleidoscope of endless inspiration from his memories of Tricia and her work’. In that regard Tallon truly is a legacy of art and love.
ABOUT THE GALLERY The Veronica George Gallery showcases a wonderful and diverse collection of art glass by well-known Australian artists. This ranges from one-of-a-kind art glass to studio glass and collectables as well as jewellery and bronzes. Located in the heart of Melbourne's arts and antiques precinct, at 1082 High Street Armadale, the gallery is open 7 days a week for your shopping pleasure, and can deliver items worldwide.
Murrine bowl decorated in hexagone pattern
For more information contact VERONICA GEORGE GALLERY 03 9500 9930 http://veronicageorge.com.au
Fan shaped vase decorated in 5 colour strap canes
Murrine series pod shaped vase
Harlequin series torso shape vase Antiques and
CONSOLE TABLES a charming example of form following function form of side table, the console table was introduced in the early Georgian era and became popular as a decorative furniture item in early 18th century France. The term console is used to describe a variety of table whose top is supported by one or
more brackets or consols. They were used to decorate entrances, hallways and passages. As they are usually the first item of furniture viewed when entering a home, they make strong visual statements by adding life and colour to an area, often serving as a lynch pin
ENGLISH, FRENCH & EUROPEAN DECORATIVE FURNISHINGS
Italian Walnut Renaissance Cabinet. c.1580
552 High St Prahran East 3181 MELBOURNE AUSTRALIA
P 03 9525 0545
M 0417 837 755
for the interior design. As console tables were without legs in the back, they were fixed to the wall and so were designed to sit against them with mirrors or artwork usually hung above. With its oblong marble top and elaborate carving, the gilded console table harmonised with the richly carved and pierced gilded mirror beneath which it was placed. In accordance with the general tendency of the time to make everything lighter and more graceful, tables had gradually became less massive. Straight legs and stretchers were discarded, replaced with cabriole legs or mounted on scrolled or carved supports, generally connected with a stretcher. As referred to previously, French console tables of the 18th and 19th centuries usually incorporated a marble top as exemplified in the Louis XV style gilt wood console table featured, from the mid 19th century. It retains its original water gilding and has a thick bevelled marble top. The table has a serpentine shaped front extensively carved with flower and leaf decoration. A typical example of the time, it stands on two cabriole
legs connected by an ornately carved stretcher. Another representative example pictured is the freestanding Louis XV style console table from the late 18th century which showcases a lovely rouge marble top. This table is also extensively carved and water gilded. It has four reverse scroll legs connected by a central stretcher with a carved basket of flowers. This carved and polychromed Baroque architectural feature, which now can be used as a console table, dates from the early 1700s. It formed part of the interior of a large French chateau, used above a doorway or column. It depicts a winged putto surrounded by garlands and scrolls. A useful as well as important piece of furniture, console tables still provide a perfect place upon which to place lamps and other decorative items. For such a charming item that would proudly feature as part of any dĂŠcor and on which to showcase some of your favourite pieces, drop by and view the variety we have on display. MARK KORONOWICZ ANTIQUES 03 9525 0545 www.markkoronowiczantiques.com.au
1. 5. 6.
1. Rolex Sea-Dweller stainless steel wristwatch, c. 2003, automatic movement, ref no: 16600T, serial no: F862063, with fold over clasp. Sold $6490 2. Royal Worcester reticulated double-walled vase, 1902, gilt decoration on ivory ground, printed mark and painted gilder’s initials HH, h: 10.5 cm. Sold $1416 3. Victorian enamel and 15 ct yellow and rose gold bracelet set with four rose-cut diamonds, red paste and seed pearls. Sold $1770 4. ‘Cave de Liqueur’ in the Boulle manner, c. 1880s, ebonised, brass and tortoiseshell, lift-out tray fitted with four square decanters and eight wine glasses, all with conforming etched foliate decoration, 26 x 32.5 x 24 cm. Sold $2242 5. Mourning jewellery, rose gold panel pendant, 6.5 x 5.3 cm, inscribed ‘Will Smith, 4th Oct 1800, 52’ to reverse, under glass a small woven hair panel with deceased’s initials in seed pearls, fitted with bail. Sold $590 6. Art Nouveau silverplate table centrepiece made by Würtemburgische Machin Fabrik, Geislingen (WMF), c. 1900, marked no 452 to underside, 72 x 61 cm. Sold $2124
7. Radiant cut 1.23 ct claw set diamond ring set in platinum, flanked by four brilliant-cut claw set diamonds, total 0.60 ct. Sold $8732 8. Baluster-shaped pair of Chinese Export polychrome-decorated porcelain vases, 19th century, h: 34.5 cm. Sold $1180 9. Pair of emerald and diamond claw set cluster earrings set in 18 ct white gold, emerald 0.80 ct, ten brilliant-cut diamonds, total 1.20 ct, pierced posts and sprung clips. ATDW: 2.4 ct. Sold $5428 10. Goldscheider figure of Pierrot, c. 1910, impressed 3133/202/11, no XII/D4, h: 28 cm. Sold $1829 11. Swedish marquetry-inlaid mahogany drinks cabinet, mid-20th century, 120 x 88 x 42 cm. Sold $1652 12. Mahogany library drum table, c. 1840s, gilt-tooled leather, four drawers divided by blank sections and acanthus-carved tablets, on a turned and lappet-carved pedestal set on concave-sided quadripartite platform base with paw feet, 75 x 106 cm (diam). Sold $2950 13. Regency mahogany bow-front sideboard, c. 1810, with original fitted cellarette drawer, raised on turned supports, the front banded and string-inlaid throughout, 93 x 168 x 69 cm. Sold $2360
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Horology 1650-1700 T he pendulum, first used around 1657 by Salomon Coster and made after the drawings of the Dutch scientist Christian Huygens, had found its way to England via John, son of Ahaseurus Fromanteel, a renowned London clockmaker. Clocks became more accurate; accurate enough for government, the law and trade to move away from temporal hours into structured 12 hour, 60 minute timeframes. The quest was established: it was to win accuracy in horology; the science of time. The wealth of talent chasing accuracy goes from Galileo of Italy, through Pascal of France, Hooke and Newton of England, Huygens of The Netherlands and Leibnitz of Germany, along with clockmakers Salomon Coster in the Hague, Isaac Thuret in Paris, to John Fromanteel and Thomas Tompion, among others, in London. Several things fell into place for London to lead the way into this golden age of horology.
HOROLOGY IN LONDON Christopher Gould, Grande Sonnerie
Thomas Tompions Greenwich regulator, c. 1676
The establishment of the Worshipful Company of Clockmakers in London, which achieved a royal charter in 1631, led to the control all things horological in London. It was known officially as ‘The Master, Wardens and Fellowship of the Art or Mystery of Clockmaking of the City of London’. Nobody in the kingdom was allowed from then on to make or sell in watches or clocks without approval of this body. Horology became a protected industry; this allowed potential clock and watchmakers of good work, both English and alien, to establish a united craft of clock and watchmakers with their influence spreading outward into the provinces. This development prompted English horologists both to no longer follow continental work and designs and encouraged open dialogue within their own ranks and the refinement of a
national character within clockmaking, both in mechanism and design. They were ready and waiting for the next step in horological evolution.
CASED CLOCKS Ahaseurus Fromanteel (1607-1693) and his son John Fromanteel (1638-1680), who had studied under Salomon Coster just after their release of the pendulum, moved to London about 1658 – they advertised their first sale on 27 October 1658 – and, soon after, produced a case to hide the unsightly weights needed for the pendulum movement and so initiated the tradition of the English tall or long case clock. The description ‘grandfather clock’ is not correct and first appears around 1876. During this period cases were normally made or designed by the clockmakers themselves. This meant that the Clockmakers Company of London also influenced design and some believe that the clocks made during this period are the best designed and balanced clocks. Over the next century, as cabinetmakers began designing and manufacting cases, a marked degradation in style and quality of cases can be discerned. The first cases made by Fromanteel were architectural, tall and slender with pitched roofs, brass and silvered dials with ormolu spandrels and mounts with, in the fashion of the period, the best being made in ebony. The movements were verge with a short pendulum inside the hood. In provincial areas these cases were copied normally in oak of similar style, most likely after drawings by potential owners seeking to have made what they saw in London. Often these cases are slightly wider than the originals, but still more slender than later case styles. This modification was perhaps caused by the technology in movement design advancing faster than case design with the later long pendulum requiring a wider case as clocks became taller.
These provincial oak cases, again as with the furniture of the period, were ebonised and are mostly seen today as rich dark oak decorative furniture, produced 10 to 20 years after the fashionable London decorative styles.
ANCHOR ESCAPEMENT Around 1670 an important technical change appeared in London with the invention of the anchor escapement, the name being derived from its shape. There was no apparent single person responsible for this amazing advance although the names linked to this discovery are the scientist Dr Robert Hooke and the clockmakers William Clement and Joseph Knibb. John Smith recorded in 1694 that clockmakers were trying to solve the shortcomings of the short pendulum and that William Clement had the good fortune to give it the finishing stroke.
IMPROVING PENDULUM DESIGN Part of the pendulum can be attributed to Dr Hooke for, in 1666, he demonstrated the suspension – a thin short length of spring steel supporting the pendulum – to the Royal Society; this development dramatically increased the accuracy of the existing escapement. With this escapement and suspension, the arc required for tooth release from the escape wheel was reduced and it was possible to produce a ‘Royal’, a one-second pendulum with amazing accuracy. Cases became wider but mostly still in balance to allow the swing of the longer pendulum. Along with this escapement came the ability to produce a sub-dial, normally below the 12, indicating the seconds.
LONGITUDE AND NAVIGATION Another critical development in the evolution of horology occurred in 1675 when Charles II established the Royal Observatory at Greenwich for ‘The finding out of longitude of places for perfecting navigation and astronomy’ three years after the French had completed their observatory in Paris. Earlier, Charles II had appointed a committee that included a member of the Royal Society, Dr Robert Hooke, to look into the French idea of using the heavenly bodies as an aid in navigation.
Joseph Knibb Bracket clock, c. 1675
ASTRONOMER ROYAL John Flamsteed (1646-1719), a man of singularly exact and business-like habits, was appointed the first Astronomer Royal. Flamsteed appreciated the importance of the science of horology as an effective timer for the meridian transit of stars to determine precise location and engaged an outstanding London clockmaker, Thomas Tompion (16391713), to make a pair of observatory clocks. Unfortunately the royal purse was kept tight; the construction of the observatory and Flamsteed’s salary were dependent on the sale of spoilt gunpowder. Flamsteed’s astronomical almanac was not published until after his death. The astronomical figures determining location, as requested by Charles II, were eventually produced by the fifth Astronomer Royal, Nevil Maskelyn (1732-1811), and published around 1763.
INVENTION OF BALANCE SPRING The next notable breakthrough in horology and specifically watchmaking was the invention of the balance spring in its spiral form. The spiral spring applied pressure to the balance wheel causing a powered return to a central position, improving timekeeping. The inventor is uncertain, but Hooke was working on a balance spring before 1660, lectured on it in 1664 and demonstrated an example in 1668. It seems that, soon after this demonstration, Hooke put his work on the spring aside leaving Huygens to bring this development to a successful conclusion with the help, in absolute secrecy, of Isaac Thuret. In 1675 Huygens wrote to Oldenburg in London offering him the English rights to his pirouette watch; this Huygens-Thuret watch was eventually presented to Charles II, who nonetheless preferred Hooke and Tompion’s hastily made up and presented watch. But there were obviously some problems and to the benefit of English horology, no patent was granted.
ACCURATE WATCHES Soon after, along with inventions designed by Hooke in tooth cutting, Thomas Tompion began producing watches capable of keeping time accurate to a minute or two a day that were unsurpassed in any country. These watches were not based on the Huygens pirouette designs but on a verge balance with spiral balance (hair-) spring incorporating a specially designed regulator, a mechanism that continued in use well into the 1800s. For a short period these watches did away with the fusée as it was thought that with the isochronism advantages of the balance spring, it was not necessary. This notion was very
The camera stellata at the Royal Observatory, Greenwich during Flamsteed’s time as Astronomer Royal; to the left of the central door are the two Tompion regulator dials.
soon dispelled and with this final advantage England and, more importantly, London led the way in horology.
NOTED ENGLISH CLOCKMAKERS There were many great clockmakers in late 17th century London; much of their work is still around and still able to function after over three centuries. Besides Ahaseurus and John Fromanteel there was Edward East, Joseph Knibb, William Clement, Christopher Gould, Daniel Quare and others, along with possibly the most celebrated of them all, Thomas Tompion, often referred to as the father of English horology. Moreover, there were many gifted provincial makers of note such as John Williamson from Leeds, who made a year running long case clock with strike and quarter repeat in about 1690.
EXPLAINING THE STRIKE SYSTEM From about 1330 a strike system called a locking plate or countwheel strike was available, where a wheel is moved with sequential cut outs to allow a stop lever to drop after the next series struck. This was an effective system with the simple advantage that the strike could be stopped while the time mechanism continued to run. Annoyingly, the strike could go out of sequence, that is, where the hands do not match the strike number. In about 1675, the Rev Edward Barlow invented rack striking, a mechanism that gradually superseded the countwheel system. Most rack strike systems were front plate mounted but, occasionally, internal racks are encountered despite the fact that they were more difficult to make. The rack invention was a great leap forward but there was more to this invention, for it allowed new and wonderful strike systems to be made. These included the repeat strike, the grande sonnerie (great strike) and the musical chime all available automatically or on command. The countwheel strike was still seen in the British provinces until after 1750. Continental and American horologers continued to use the countwheel system as the principal means of strike in the clock mechanism, probably from ease of manufacture in France, well into the 20th century with some exceptions: Austrian horologers began using the rack strike as their normal strike after 1800; the French in the mid 1870s; and the Germans in the 19th century for high quality productions. From being an exclusive curiosity in 1650, timekeeping had improved considerably to become an accurate necessity in government, the law and trade. By 1700, clocks were at the forefront of contemporary technology.
Michael Colman Colman Antique Clocks 03 9824 8244 www.colmanantiqueclocks.biz References F J Britten, Britten’s old clocks and watches and their makers: a history of styles in clocks and watches and their mechanisms [9th ed.], (London, Methuen, 1982) Herbert Cescinsky, English domestic clocks. (Woodbridge, Suffolk Chancery House Publishing Co. for the Antique Collectors’ Club, 1976) R W Symonds, Thomas Tompion: his life and work, (Feltham, Spring Books, 1969)
Edward East architectural wall clock, c. 1665
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: firstname.lastname@example.org Website: www.colmanantiqueclocks.biz Member of the Watch and Clock Makers of Australia (formerly HGA) and the BHI
JENNY PHILLIPS at Contemporary Botanical Art Gallery in South Yarra A HISTORY OF VILLA MULBERRY
t the corner of Punt Road and Shipley Street, between Toorak Road and Domain Road, where the Villa Mulberry sits, this little pocket of South Yarra has been an artists’ enclave since Frederick McCubbin lived opposite (now a public car park), Arthur Streeton lived on the diagonally opposite corner, and Ellis Rowan lived in Tivoli Place, across the road. World-renowned botanical artist Jenny Phillips has been living and working here for 17 years, painting and teaching botanical art in her studio, known as the Botanical Art School of Melbourne. Her private gallery will now be open to the public two days a week, on Tuesdays and Thursdays from 11 am – 4 pm.
Jenny named the property ‘Villa Mulberry’ after the 160-year-old mulberry tree which was planted here by the first owner, Farmer Browne. This historic cottage, which has an imposing Italianate façade with a tower, was then bought and extended by Mr G D Carter, MP – Lord Mayor of Melbourne, and Treasurer at the time of Federation. It was later purchased by Helen Sexton who was famous for campaigning to have women accepted to study medicine at the University of Melbourne. Following her graduation, she helped establish the Royal Women’s Hospital where she was the surgeon. In 1992 Jenny left rural Victoria to go to
JENNY PHILLIPS’ CONTEMPORARY BOTANICAL ART GALLERY You are invited to the Official Opening
TUESDAY 18 JUNE 2013 6PM – 8PM
Europe on a private study tour of botanical art. On her return she established her own teaching institute, which was unique in the world, being dedicated to teaching drawing and watercolour skills in botanical art. The purchase of Villa Mulberry in 1996 enabled Jenny to pursue both her passions – for painting and for teaching artists in the discipline of accurate and scientific botanical watercolour – leading to the creation of an Australian collection of fine botanical art.
CONTINUING THE BOTANICAL ART TEACHING TRADITION When Jenny was exhibiting at the National Art Gallery of Edinburgh in 1995, Dr Shirley Sherwood – internationally acclaimed author and founder of the gallery dedicated to botanical art in Kew Gardens – invited her to teach master classes at the Orient-Express Hotels in Charleston, Venice, Cape Town, Johannesburg, Sydney and Lilianfels, Blue Mountains. Jenny has also been invited to teach at numerous botanical gardens, both here and abroad, including the English Gardening School at the Chelsea Physic Garden, London; The Denver, Pittsburgh, New York, Canberra, and Melbourne Botanic Gardens; Huntington Gardens, Los Angeles and Filoli Gardens, San Francisco. Working with Jenny is a team of dedicated exceptional botanical artists who also have had many years specialising in teaching tertiary art. Jenny also invites teachers from interstate and overseas to give the students the best access to knowledge and experience.
EXHIBITIONS VIEWED WORLDWIDE
AT VILLA MULBERRY 1A Shipley Street South Yarra (Cnr Punt Road and Shipley Street) LIMITED EDITION BOTANICAL PRINTS Featured exhibitions throughout the year April – May Natural History Art
June – July Jenny Phillips’ botanicals
Open Tuesdays & Thursdays 11am – 4pm or by appointment 03 9820 3331 or 03 9830 2012
Since first exhibiting with Joan McClelland in Melbourne in 1978, Jenny has exhibited regularly in Melbourne, Sydney, London and New York. At the famous Arader Galleries in New York – where you can view work by all the old masters including botanical artists Pierre Joseph Redouté and Maria Sibylla Merian – Jenny is the only living artist ever to have had her work selected and hung there. On three occasions, Jenny has been invited to paint flowers from the gardens at Highgrove House in Gloucestershire. These works are published in the two volumes of The Highgrove Florilegium for the Prince of Wales’ Charitable Trust. The Government House Florilegium, Victoria which is a collection of flower paintings by the artists from the Botanical Art School, was published in a beautiful book format. The original artworks are now in the State Library of Victoria. Her recent exhibitions include a major retrospective and solo show at Mornington
Peninsula Gallery, The Hidden Meaning of Plants, 2010-2011, and Capturing Flora – 300 years of Australian botanical art at the Ballarat Art Gallery in 2012.
RECOGNITION AND AWARDS Jenny has been awarded a gold medal by the National Print Awards, Australia and the Royal Horticultural Society, London, and was presented with the Celia Rosser Medal by the Friends of the Royal Botanic Gardens, Melbourne. For her contribution to botanical art, Jenny has been appointed a fellow of The Linnean Society, London, and been made an honorary director and member of the Botanical and Florilegium Societies in the UK, USA, France and Australia.
A LONG HISTORY Botanical art has a long history, from early herbal drawings and woodcuts, which enabled people to identify medical plants, to the magnificent flower paintings of the Renaissance, commissioned by wealthy patrons. Many of the vast collections held in the royal courts of Europe have been broken up and sold or donated, meaning that more galleries have begun collecting and showing fine quality work. As a result, there is now a greater appreciation of and recognition for this art form. Fortunately, printing techniques and the quality of paper and inks now available have greatly improved and archival-quality prints are available at affordable prices.
NATURAL HISTORY ART COLLECTION Jenny now feels there is enough quality work to enable the Contemporary Botanical Art Gallery to be open each week. This will enable collectors to view and purchase both original drawings and watercolours, and fine world class archival limited-edition prints here in Melbourne. Beverley Ednie, Jenny’s long-time friend and advisor, will be acting as her art consultant and gallery curator. Her collection of natural history art will be on show each Tuesday and Thursday until 20 May. With the opening of this gallery on Punt Hill, visitors will be able to view, collect, or simply enjoy world-class botanical paintings and limited-edition prints.
For more information contact Beverley 03 9830 2012 or Jenny 03 9820 3331 CONTEMPORARY BOTANICAL ART GALLERY email@example.com www.jennyphillips.org
NOW BUYING $$ CASH PAID $$ FOR YOUR UNWANTED GOLD JEWELLERY Chains, bracelets, rings, pendants, fob chains, cufflinks. Also buying gold coins, ingots, bullion, sovereigns
WATCHES WANTED PATEK - ROLEX - OMEGA - IWC Collections Fine Jewellery will consider any wrist or pocketwatch. Cash paid for Cartier, Breitling, Tudor, Jaeger-LeCoultre, Vacheron Constanin, Tag Heuer, Chopard, Panerai, Audermars Piguet, Breguet, Chronoswiss, Girard-Perregaux, Glashutte, A. Lange & Sohne, Longines, Piaget, Zenith, Rolex, to name a few
COLLECTIONS FINE JEWELLERY • Tel 03 9867 5858 148 Toorak Rd, South Yarra • www.collectionsfinejewellery.com Open Hours Monday-Friday 10am-5.30pm, Saturday 10am-4pm because they are portable wealth of intrinsic value. People buy and wear them because they have technical features of interest.
The which and what OF WRISTWATCHES The idiotic fashion of carrying one’s clock on the most restless part of the body, exposed to the most extreme temperature variations, on a bracelet, will, one hopes, soon disappear. — Prof. H. Bock, Hamburg, 1917 n Elizabethan England, the Queen decorated her wrist with an ornamental watch, heavily encrusted with jewels and gold. While no one is sure who invented the wristwatch, David Rousseau made a watch that was 18 mm in diameter in the late 1600s, a marvel of miniaturisation. And while ornamental watches wandered in and out of fashion for a time, nothing serious became of the wristwatch for 300 years. In 1880 Girard-Perregaux, among other Swiss firms, provided wristwatches for the German navy. They were round watches made of gold and the cases were worn on a metal chain band. These were presumably the first wristwatches in series (and serious) production.
FROM MILITARY TO CIVILIAN The wristwatch first proved itself as a practical military device during the Boer War. This experience had a positive effect on the
civilian market. Wristwatches gained worldwide use in World War I. Soldiers on both sides realised that modern warfare no longer allowed one the luxury of unbuttoning an overcoat and uniform jacket to look at one’s watch. But the first significant success of the wristwatch was before 1910 among women who were both style conscious and employed. Women’s pocket watches were often converted to wristwatches but after 1910 the wristwatch, as opposed to these ornamental watches, became an important product for Swiss manufacturers.
POCKET WATCHES Many turned back to the pocket watch after the Armistice for it had become a symbol of the ‘good old days’. The younger generation, though, held on to the more practical wristwatch. Concepts such as modern, sporting and progressive were now linked to the wristwatch, while the pocket watch attracted the more conservative buyer.
MODELS FOR ADVENTURERS In 1904 Cartier made a special model wristwatch for Brazilian air pioneer Alberto Santos-Dumont (the original ‘Cartier Santos’) while Charles Lindbergh relied on a wrist chronograph by Longines for his 1927 trans-Atlantic flight. When in 1927 Mercedes Gleitze swam the English Channel with a Rolex Oyster on her arm, the advertising success impressed many. In 1928 for the first time wristwatches outsold pocket watches, and by 1935 over 85% of watches produced were wristwatches. Early in 1930 the Rolex Watch Co introduced the Rolex Oyster Perpetual – the first waterproof
and self-winding wristwatch. By 1940 wristwatches came in all shapes and sizes.
VALUING VINTAGE WATCHES After years of neglect and ignominy, including having movements cannibalised for spare parts and their cases melted down for gold and silver content, old wristwatches, particularly models from the early 1920s-40s, have come into their own. Vintage Rolex and collectable Cartier, etc are achieving record prices. It is eloquent testimony to the persistent high stylishness of premium wristwatches that jewellers in Rome and Paris will display a 1920s Patek Philippe right next to a new model. Antique stores in London will sell a Reversible Jaeger-LeCoultre, or a vintage Audemars Piguet as decorative jewellery. Australia continues to be the cheapest place in the world for quality vintage wristwatches. The number of shops building up a decent collection and providing a full restoration and repair service continues to grow. But this is not going unnoticed by overseas dealers and tourists. The number of good watches sold in this country but ending up on lucrative markets overseas is staggering.
WHAT APPEALS To today’s collector, these older watches have appeal. They are hand-made wonders of technical mastery that, while less accurate than quartz watches, satisfy a deeper need than perfection. Watches from the 1920s-40s are the most popular. They are attractive investments
When choosing a vintage wristwatch, buy what you like to look at. But consider other factors, especially condition. A good watch will have had a good caretaker in years gone by. The dial should be original, not repainted. Check the case for signs of repair or wear. Are the movement and bracelet (if permanently attached) the same make as the case? Brand names are important. The most sought after is Patek Philippe; other top names include Audemars Piguet, Vacheron Constantin, Cartier, Tiffany and Universal Genève. With the top collectors specialising almost exclusively on these names (and a few others), there are thousands of watches of lesser known names out there. These watches are not necessarily lacking in style, charm or technical reliability. The increase in popularity of Art Deco wristwatches has made less trendy older watches better buys. It is not unusual to find a solid 9 ct gold lady’s 1920s wristwatch in some bric-à-brac shop or market for under $100. With a little restoration and care from a reputable restorer, these will become valuable antiques in the future. For the serious collector, the joy of finding say a 1930s Rolex Oyster or an original Patek Moonphase is unimaginable. The range and diversity of the early wristwatch is mind boggling: silver and gold half-hunter wristwatches, Longines cushion shaped or chronographs, Jaeger Reversos, Rolex Prince Doctor’s watch, Junior Prince or Sporto models, hooded bubblebacks, military watches, aviators models, etc. Whatever you buy and wear will be a constantly ticking reminder of a time gone by. Ron Gregor Collections Fine Jewellery 03 9867 5858 www.collectionsfinejewellery.com Antiques and
Anthony Vanderzweep, Hare Totem Oleg Zakomorny, Vakhanka
Ivan Lovatt, Sir Edmund Hillary
Ben Fasham, Encompass
Daniel Worth, Cormorant
TOORAK VILLAGE’S 12TH ANNUAL SCULPTURE EXHIBITION
Lucy McEachern, Alcoa Australasian Gannet
on show in shop windows & on sidewalks 1 May – 16 June he 2013 Toorak Village Sculpture Exhibition is an innovative and annual event where the arts are linked with business to form a unique cultural experience. During the entire month of May and two weeks of June, contemporary sculptural works will be exhibited in the shop windows and on the sidewalks of Toorak Road in Toorak Village. As well as showcasing new concepts, ideas and materials to the public, this exhibition will once again deliver some surprises. Presented by the Toorak Village Traders, directed by Tony Fialides and curated by Malcolm Thomson, the sculptures will be judged and prizes awarded at the opening event.
OVER 90 ARTISTS The 2013 Toorak Village Sculpture Exhibition is the 12th year of the exhibition where 90plus Australian artists will display their sculptures in Toorak Village shop windows with large sculptures bolted to the sidewalks of Toorak Road. This year the selection process was again difficult due to the volume of entries and the high quality of works, curator Malcolm Thomson observes. Commenting on some of the works by new and emerging artists, Thomson says of Lucy McEachern’s Alcoa Australasian Gannet: ‘The modelling of the bird and her mastery of casting and the patination gives her work such a lifelike quality. Also working in bronze the Manrabbit by Judy Warne has a simple earthy quality, her work drawing inspiration from Lewis Carroll and making comment about the ‘rabbit invasion’ of Australia. Daniel Worth has presented Cormorant a work made entirely from found objects. It is simple, elegant and fun.’ Humour is evident in NSW’s Rhys Davis’ Cattle Dog. Her background in graphic design and her apprenticeship as an artificial eye maker has brought an exciting and intuitive approach to her work, Thomson observes. Forest by Owen Hammond, appropriately created from recycled timber, is a comment on the urbanisation of our land and our hopeless attempt to protect its forests.
An artist whose work continues an ongoing development process is Lorretta Quinn, a sculptor that Thomson has followed throughout her career. Little Fossil is about a girl who had a tough life, a tribute to Quinn’s mother who lived off the east coast of Tasmania on Maria Island. ‘Loretta’s commitment to her art and her use of materials make her one of the most interesting and inspiring sculptors of today’, Thomson believes. On the sidewalks, and complementing the four permanent sculptures purchased by the Toorak Village businesses from previous shows, are the 11 large works chosen for this year’s exhibition. These include Happy Girl by Issa Ouattara who emigrated from the Ivory Coast and is now settled in Central Victoria. ‘His life is a story of hardship but his work celebrates optimism and demonstrates a generosity of spirit that is hard to resist. This work of welded steel was inspired by his young daughters and brings back memories’, Thomson says. David Doyle’s The Cockies’ Ute is a humorous look at the life on the farm while Chris Vassallo’s Social Collider Theory is a powerful and inspiring work.
ABOUT THE VILLAGE
Norian Paicu, Hope (detail)
Loretta Quinn, Little Fossil
Toorak Village is located between Wallace Avenue and Grange Road, just east of Williams Road. To get there simply catch the number 8 tram from Federation Square, along Toorak Road to stop number 35.
SCULPTURES FOR SALE To view this exciting display of sculptures, enjoy great shopping and take advantage of the warm hospitality of our traders, you are invited to visit our Toorak Village in May and June. All sculptures are for sale and can be conveniently purchased at Toorak’s Terry White Chemist. This is a free event and catalogues will be available from any of the shops. For more information contact Tracey Cammock TOORAK VILLAGE TRADERS ASSOCIATION INC. 0438 542 713 firstname.lastname@example.org www.toorakvillage.com.au Patrick Delbosc, Yo siempre (Rabbit)
Faustas Sadauskas, Grid
FULL CIRCLE 59 Church Street, Hawthorn VIC 3122
Lithographs from John Gould’s The Birds of Australia 1840-1848 • Specialising in antique, mainly Australian natural history prints. Current stock includes approximately 500 plates from John Gould’s The Birds of Australia (1840-1869), The Mammals of Australia and The Macropodidae (1841-1842) • Botanical: fish, insects, mammals, reptiles etc. prints • Maps: historical topographical views (including First Fleet and early colonial material) • Architectural and interior decoration prints
Open: Tuesdays to Fridays 10 am - 5 pm, Saturdays 10 am - 2 pm, closed Sundays and Mondays
Tel: 03 9819 4042
Fax: 03 9819 9219
Visit our website: www.fullcircle.com.au 18
NOUVEAU-BISGROVE FURNISHING continues a tradition of quality restoration & upholstery e are not just an upholsterer! Nouveau-Bisgrove Furnishing offers a one stop shop service for all furnishing needs. We can assist with every aspect of your interior design vision. As expert craftsmen we can custom make furniture, carry out repairs and restore unique furniture pieces. As specialists we know and use the best of old and new upholstering techniques to remake furniture to your specifications.
LONG-ESTABLISHED One of the oldest upholstery businesses in Melbourne, Nouveau-Bisgrove Furnishing, originally known as Richard Bisgrove Art Upholsterer, was established in Hawthorn East in the early 1900s. Although the business changed hands over the years, it has maintained its expert reputation with current owner Denny Toffoletti taking over in the mid 1990s. In more recent years Denny extended the business to include polishing, with brother Eddy Toffoletti adding his expertise as a professional French polisher. Together they produce the finest quality restoration and upholstery work.
RANGE OF EXPERTISE As furniture restorers we have worked on many antique pieces including Victorian chaise lounges, lady’s chairs, gent’s chairs, carver chairs and dining chairs, as well as modern and contemporary furniture such as ottomans, stools, day beds and outdoor furniture. Other items we have restored and French polished include Victorian and modern chests of drawers, credenzas, side tables, toiletry mirrors, dining chairs, juke boxes, leather in-lays and gold tooling. We have custom made a range of pieces that were strategically designed with our clients to suit their requirements including loose covers, scatter cushions, bench seats, panels, bed-heads, bean-bags, large floor cushions, ottomans, sofas and chairs.
Auburn chair Victorian Partner’s desk
ONE-STOP SERVICE SHOP As our upholstery team and polisher work side by side under the one roof, the furniture can be fully restored from start to finish. Our highly-skilled craftsmen strip the piece down then re-build its insides, polish and repair the wooden areas, then upholster the piece, thus eliminating the stress of transporting furniture to different tradesmen.
TIME HONOURED TECHNIQUES Upholstery and recovering a piece of furniture begins with restoration of the framework and insides of the piece, then upholstering with fabric or leather and finishing with piping, studs or braid. Detailed upholstery includes the art of precision diamond buttoning, detailed pattern matching, making loose covers and recreating furniture, duplicating its original state. The elegance and couture of antique furniture is revived through upholstery. Furniture restoration is the art of repairing and restoring a piece back to its intended form, allowing the natural grain of the timber to shine through. Timber needs to be stripped, sanded, buffed, polished or French polished or painted. Our work includes removing scuff marks, scratches, burns, repairing broken timber legs and re-polishing whole table surfaces and leather inlays. As timber furniture is produced from a natural product it requires care and attention to detail during restoration. Our dedicated staff can assist with any queries so visit our boutique showroom for assistance in selecting fabric, leather, vinyl and outdoor fabrics, view our past and current workmanship, and browse through our furniture and accessories for sale.
Diamond buttoned and pattern matched setting
Denny Toffoletti NOUVEAU-BISGROVE FURNISHING 03 9882 5824 email@example.com www.nouveaubisgrove.com.au
One-and-a-half seater Antiques and
Julian, David, Amanda and Juliana Freeman
David and Amanda Freeman
Kathy Mc Mahon, Amanda Freeman and Michael Sirakoff
AMANDA ADDAMS AUCTIONS & DAVID FREEMAN ANTIQUE VALUATIONS Kew to new and better digs
Amanda Freeman and Jared Shaw
through the auction business makes it extremely rewarding for us on a personal basis. And there is always something new and interesting – and often exciting – that wanders in for sale and the history related is fascinating. Auctions are held the first Monday night of each month so come in and have a look during viewing times. It does not matter if you have never been to an auction before or have nothing to sell or are not interested in buying – it’s always very interesting to view and our experienced staff are always willing to help and explain. The items on offer vary greatly from auction to auction as items are from private individuals and collections or deceased estates. The auctions will contain a vast range such as the following: art works; silver – both antique and modern; gold; jewellery; ceramics and pottery; Japanese ivory; boxes; miniature portraits; antiques; Art Deco; retro and vintage furnishings; inkwells; decorative wares; bronze sculptures; chargers; vases; clocks; boxes and tea caddies; lamps; snuff bottles and perfume bottles; glass and crystal; designer wares by the likes of Christian Dior, Gucci and Yves St Laurent; collectable wines, stamps and coins.
FREE APPRAISALS INSTORE & ONSITE
fter 11 years working and operating in Bulleen we have moved to 344 High Street, Kew. Already we have established our popular regular auctions as well as our equally in-demand valuation services.
MONTHLY AUCTIONS Meeting different kinds of people from all walks of life and from all over the world
HIGHLY QUALIFIED TEAM We are a family business and, between the two of us, we have over 50 years of experience in numerous aspects of valuing and selling prized possessions. Amanda Freeman is a qualified auctioneer and auction room manager while David Freeman is a qualified valuer as well as auctioneer. Amanda’s ability to organise, promote, and conduct auctions at times of extreme difficulty – whether this arises from contents, location, or private vendor circumstances – continues to earn her the high regard of colleagues and clients alike. Her ongoing ‘hands on approach’ and empathy with people in times of distress and bereavement has gained her respect with vendors who continue to benefit from her dedication and personal input. She has also taken great care in procuring the services of those who are reliable and excel in their area of expertise including bookkeeping, data input, furniture handlers, sales assistants, auction room staff and security, which complement the range of services offered by the business. David covers the range of valuation areas: all contents, art, collectables and decorative wares; insurance, deceased estates, family law division; as well as investment and market
realisation. He is an approved Australian Commonwealth Government Valuer for the Cultural Gifts and Cultural Bequests Programs (Australian paintings, drawings and prints after 1850), and is a member of the Auctioneers & Valuers Association of Australia (AVAA), Victorian Antique Dealers Guild, Victorian Artists Society, Watercolour Society of Australia, Gallery Society of Victoria, Museum of Modern Art (Heide), Australiana Society, National Trust of Victoria, Society Art Deco Victoria, and the Antique Collectors Club of Victoria. Often writing valuation columns for collecting magazines and related publications, David is also in demand as a guest speaker. His best tip for those interested in investing in art is: ‘Do your research as well as enjoy the works. Make sure it fits your lifestyle – after all, you are not buying shares to leave in a drawer – art is an investment for enjoyment by you, your family and friends.’ We are excited about moving into Kew and look forward to meeting our new neighbours and community while continuing our relationships with long-established customers and clients. Amanda Addams AMANDA ADAMS AUCTIONS & DAVID FREEMAN ANTIQUE VALUATIONS 03 9855 2255 or 0419 578 184 / 0419 361 753 www.aaauctions.com.au
An appraisal is a brief verbal description of the item and an estimated auction selling range. It is often the case that what someone thinks is valuable is in fact ordinary and what they think is ordinary turns out to be valuable. For free market appraisals, come in any Thursday between 3 pm and 7 pm with items (or images of furniture and larger items on your phone or camera). However if an onsite
Melbourne dealers Chris Ogden, Alastair Ingles and Jon Davies
valuation is more convenient, please phone to set up an appointment in your home for all types of valuations – we travel throughout Victoria.
Entrance to the new rooms of Amanda Addams Auctions and David Freeman Antique Valuations
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John Rogers, Off Little Bourke Street, 1948, oil on canvas, 50 x 66 cm
How much is this worth? $6,000, $8,000, $10,000
David Freeman knows... David Freeman Antique Valuations is Melbourne’s largest independently owned valuation service. Founded in 1985, we have vast experience with art, antiques, china, collectables and general household contents. David Freeman Antique Valuations delivers expert valuations, on time, every time, all at extremely competitive rates. Whether you require valuations for insurance, market, family law, company divisions, or deceased estates, David Freeman can help you with experience, total confidentiality and personal service. David Freeman can also advise you on purchasing, disposal, placement and restoration services. David Freeman is approved to value Australian paintings and prints after 1850 for the Australian Government's Cultural Gifts Program. We can supply you with excellent references from some of our many satisfied clients, if required. Call David for your next valuation. Phone: 03 9855 2255 Mobile: 0419 578 184 Fax: 03 9855 2244 344 High St, Kew Victoria 3101 PO Box 21, Balwyn North, Victoria 3104 Visit our website: www.aaauctions.com.au
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Approved to value Australian paintings and prints after 1850 for the Australian Government's Cultural Gifts Program
A MISADVENTURE LEADS to creative output
n 8 August 2012, at around 4.30 pm my life, as I knew it, all changed. Since starting work at the age of 15 as an apprentice painter and decorator, and having run an antiques and mirror business for nearly 40 years, I had been up and around ladders nearly every day without a care. I was up an extension ladder at my business as part of the preparations for moving premises when the ladder slipped and I came down feet first on to the concrete. This on its own would not have been so bad, but my right foot landed on the rung of the ladder and shattered my heel into many fragments. It has been six months since my accident and I now have a heel made up of titanium screws and brackets. I still can't walk unaided and it has been a sharp learning curve in safety and forced rest. I have been telling people that I now have enough metal in my foot to build a Toyota and I am seriously looking forward to going to the airport just to see what happens!
CUSTOM MADE STICKS The changed circumstances to my life have resulted in my developing an appreciation for the various aids that have helped me achieve some degree of mobility. The forced leisure time together with the dependence on these medical aids opened an unexpected window of creativity. It gave me the idea to create\my own exclusive range of custom-made walking sticks. Now back at work, though in a limited capacity, this idea of making walking sticks came to me when one night, while I was going through the rigmarole of locking up and putting alarms on etc. I realised that I had left my borrowed walking stick inside the premises found the effort too hard to go back inside and retrieve it.
I hobbled to the car and was able to drive home, but knew I would need help in the morning when my foot would not work again. So when I got home I grabbed a garden stake from the garage and set to it with my trusty tomahawk! This roughly created stick got me through the next day at work.
FANTASTICAL DESIGN IDEAS I don’t know what exactly inspired me to modify or put a handle on the garden stake but having several drawers of old fittings proved to be providential. The more I looked the more ideas began to flow and, before I knew it, I had five made and now its eight and the ideas keep coming. I am finding that there is no limit as to what can be made. Some have lights built in with a laser pointer, one has a compass and four have 100year-old metal brackets as handles. I haven’t even gotten around to the gilded models yet! It seems the more weird the idea, the more people like them. I have even had an idea of building a USB into a stick which could store the owners name and address, medical history and perhaps a Google map of how to get home. This would really make it a ‘memory’ stick or ‘USB’ stick. The idea seems to have merit but this would require plugging one’s walking stick into a computer to retrieve the information. One thought is this could well be done by ambulance paramedics if they happen to be in attendance.
NAMING RIGHTS The other thing which has been playing with my mind is the number of possible business names. Should it be Qwick Stix, Stix Ahoy, Stix R Us, Stickman, or The Memory stick (taken)?
Now that we are in the new shop and everything looks great, I just want everybody to be super careful around ladders because, as I have found out the hard way, in the blink of an eye your whole life can change so dramatically that you won't know what hit you. Stick to what you know is safe! Meanwhile, if you do require a walking stick, all in the range are for sale at $150 each. By the way, am thinking of donating most of the proceeds to Cara a not-for-profit
community service organisation providing specialist accommodation, care and support for vulnerable children and young women. Mike Gleeson Giltwood Photographic Services GILTWOOD 03 9889 6543 firstname.lastname@example.org www.giltwoodps.com www.giltwood.com
CAMBERWELL / CITY / SURREY HILLS / MOONEE PONDS / YARRA GLEN
THE 21ST ANNUAL ROTARY CLUB OF HOPPERS CROSSING INC.
Antiques & Collectables Fair
July 2013 Fri 19th Sat 20th Sun 21st
6 pm - 9 pm 10 am - 5 pm 10 am - 4 pm
Werribee Civic Centre 45 Princes Highway PLEASE NOTE
CHANGE OF VENUE
Many of our most respected dealers presenting a wide range of antiques and collectables priced to sell
Camberwell VIC 3124
2, 3 or 4 DAY ART RETREAT
• Expert restoration to all vintage wrist and pocket watches • Valuations and deceased estates a speciality • Will buy old watches and jewellery in any condition • We have the largest range of pocket watches in Melbourne • We stock vintage watches • Expert jewellery repairs • Seiko Repair Centre • Premier stockist of Thomas Sabo in Melbourne • Stockist of Swiss Military Hanowa watches
25, 26 & 27 May
Tel 03 9882 2028 or 03 9813 1260
Plein Air option 28 May – suitable for day groups
OPEN 7 DAYS
Dookie Campus, Uni of Melb. Nth East, Vic
ARTIST PROFILE MARISA AVANO Savour the Moment - an attitude to life Y
Curated by Savaad Felich, the exhibition runs from 12 April to 19 May. As well as artworks on display, allow time to explore Yering Station, renowned for its quality wine and dining. Surrounded by gardens and breathtaking views, Yering Station is a perfect opportunity for an unforgettable experience..
• We have the biggest range of watch bands and batteries in Melbourne, custom fitted
209 Elizabeth Street, Melbourne 3000 (Opposite GPO) Ph 03 9670 5353 Fax 03 9670 4236
DOOKIE ART ATTACK
For the artist, each painting is simultaneously a journey along the road to self discovery; an observation into the world around her and a way of translating her experiences so that there is a connection with the viewer. Each discovery brings Marisa Avano back to the canvas one more time.
• We do pressure testing to all brands of watches
IN STOCK NOW
25-29 Cookson Street
ering Station, Matt’s Bar Gallery at Yarra Glen is hosting Savour the Moment, an exhibition of works by Melbourne artist Marisa Avano. As the title suggests, the artworks relate to an attitude to life – that of appreciating transient moments; how we view things and how we relate to them. The artworks include the artist’s response to a range of experiences and themes explored including landscapes, figurative works and still lifes.
• We repair all brands of quartz automatic and mechanical watches and clocks
Luminox watches – Swiss made
Admission $10.00, Seniors & Health Card discounts apply
• Largest watch repair centre in Melbourne
EXCLUSIVE FOR MELBOURNE
Enquiries: Trevor Jago 03 9748 6437 0408 486 432
Watchmakers and Jewellers Est. 1947
John Orlando Birt Watercolour Ross Paterson Watercolour John Wilson Oils Glenn Hoyle Oils Janet Matthews Coloured pencils Paul Margocsy Wildlife Art
David Reynolds Botanical Art Regina Hona Portraits Judith White Mixed Media Charles Sluga Watercolour/mixed media Robert Knight Charcoal, Landscapes Helen Cottle Acrylics
Accommodation available if required. Send for a prospectus or view on website
For more information contact YERING STATION Matt’s Bar 03 9730 0100 www.yering.com www.marisaavano.com Fathers and Sons
EXHIBITIONS IN OUR GALLERY 1 March –13 April More women with Cocks Lynne Hume and Kathryn Carroll 15 April – 1 June Japanese Influence Karin Bosman
RESTORING ANTIQUES OF TODAY
Antique Restorations French polishing Upholstery
glassons art world Phone/Fax 03 9372 0850 0418 458 420
151 High St Shepparton Vic 3630
P 03 5822 0077 email: email@example.com
6 Hinkins Street Moonee Ponds 3039
YERING STATION – MATT’S BAR GALLERY 12 APRIL – 19 MAY 2013
savour the moment Exhibition of figurative works, still lifes and landscapes
MARISA AVANO 38 Melba Hwy Yarra Glen
Savour the Moment, 91 x 122 cm
BEDSIDE CABINETS AND POT CUPBOARDS beautiful, functional and versatile T he antique bedside cabinet or pot cupboard is a very handsome and versatile piece of furniture that will happily fit into almost any room in both modern and traditional homes. In the 19th century, the bedside cabinet was an integral part of the early bedchamber. It served a very practical purpose as it housed the chamber pot, thus enabling its owners to stay within the confines of a warm bedroom rather than venturing outside when nature called. These cabinets were often lined with marble or porcelain to allow for easy cleaning and hygiene. There was generally only the one cabinet for all users in the bedroom, not one each. In the illustrations of bedroom furnishings
found in early catalogues, washstands, towel rails, chairs, dressing tables, etc accompany the bedside cabinet. Rather than being placed next to the bed head as is done nowadays, the cabinet was located more centrally in the bedroom. As a single cabinet was the norm, pairs of cabinets are quite difficult to find today and will fetch a higher price than two single cabinets. Remember that in paired cabinets, the doors open in opposite directions. It is possible to match very similar bedside cabinets, creating a functional set at a more reasonable price. Bedside cabinets came in a variety of designs of which some are in the
HUGE RANGE OF QUALITY FRENCH BEDS
PAGE ANTIQUES Formerly of High Street Armadale
“The best selection of queen-size beds”
W E N
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: firstname.lastname@example.org 0411 175 320 www.pageantiques.com.au
accompanying photographs. One type had one drawer plus a full cupboard (once popular for telephone cabinets); another style had one drawer and a small cupboard that might have a shelf at the base but not always. Another design had a drawer at the top, columns and a small cupboard at the base; while one cabinet appeared to be all drawers, but actually had a chamber pot cupboard discretely hidden behind two of the drawer fronts. The decorative styles matched the bedroom suites of the period, making use of elaborate carvings, inlays of various exotic woods and often featured brass, bronze or ormolu mounts. The tops were usually of marble or occasionally polished wood while a few had a gallery, which is a low back with a shelf. The legs could be straight with turnings, reeded or cabriole in shape. Bedroom furniture was functional and included objects of great pride. People received social visitors in their bedrooms, so bedroom furniture was made to be seen, used and enjoyed. In the 20th century, as indoor plumbing became the norm, waterproof linings disappear. Therefore, styles that were open cabinets or alldrawer pieces become possible as the size and door of the cupboard was no longer essential. Further, pairs of bedside cabinets become the norm without their ‘water closet’ function, and there was a drop in the height. Consequently, today we need to think laterally and consider that these sturdy and beautiful bedside cabinets have a place and function outside the bedroom as well as within it.
Bedside cabinets are not just for the bedroom. The cabinets from the 19th and 20th centuries look fantastic on either side of a couch. They are great for holding lamps, a book or a teacup. A single cabinet is an interesting feature in an entrance or a room. They can fill a narrow space near a door or stairway with, perhaps, a painting or a mirror above. The marble tops and linings ensure these cabinets are extremely functional. Think about placing one in an en-suite for storage and display. They are sturdy and have some weight, so they can replace pedestals in supporting a precious clock, bust, porcelain figure, lamp or vase. One can be very creative when placing pieces together. People occasionally use the sidepieces of cheval-style dressing tables, pedestal desks or sideboards to create a pair of bedside chests or cupboards. These adaptations give a larger surface area and often a greater height. The dilemma of where to put the chamber pot is no longer an issue. If you are downsizing to a smaller house or unit, do not forget the handy and attractive bedside cabinet; its beautiful details can provide a touch of class and give much pleasure. Trish & Guy Page PAGE ANTIQUES WAREHOUSE 03 9880 7433 email@example.com www.pageantiques.com.au
THE VICTORIAN ARTISTS SOCIETY 2013 program W ith two big awards on offer this year, the program for the Victorian Artists Society is set to be a major drawcard for the 2013 art calendar.
PORTRAIT WEEK & EMERGING FACES 11 – 28 July The annual Portrait Week at the Victorian Artists Society again promises to be an exciting event, bringing art and the community together for an educative and fascinating experience. Watch VAS portrait painters in action as they paint 10 of Victoria’s leaders. This is for artists, art lovers and viewers of all ages. People Painting People 20 – 21 July An inspiring and exciting afternoon experience will be held on each day of the winter weekend. From 2 pm to 5.30 pm on Saturday 20 July and Sunday 21 July, people of all ages will enjoy watching our VAS experienced painters using their talents to bring Emerging Faces into being on canvas or paper. We have invited well-known identities from the worlds of art, business, education, sport and community affairs to sit for us for three hours each day with breaks for rests and afternoon tea. VAS will supply coffee, tea, a glass of bubbly or refreshing juice. During these breaks, viewers will be free to move through the galleries. Tension is usually quite high for our talented VAS painters who produce excellent results in a limited time. They join us every year to contribute to the Society they love. Painters for 2013 include: Amanda Hyatt, Peter Smales, Lee Machelak , Ray Hewitt FVAS, Gwendoline Krumins VAS, Barbara McManus FVAS, Rod Eddleston, Michael Ashby, Joyce McGrath OAM FVAS, Anne Evans, John Xiang Wu, Keming Shen, RaffaellaTorresan, Inge Engelhardt, Stephen Doyle, Nell Frysteen, Lyndel Thomas, Beverley McCathie, Bill Kerr, Noel Waite AO, FVAS Convenor, and Gregory R Smith, FVAS President. Join us for one or both afternoons, bring guests to view our wonderful building, watch VAS painters in action and learn more about what brings a face alive! Bookings are essential and will be open from 11 June. Cost: $40 guests, $30 VAS members, $20 students (each afternoon). Opening night 11 July Portrait Week and People Painting People will be opened on Thursday 11 July at 6 pm by a leading identity from the art world and will feature the VAS Portrait Painters Exhibition, Nada Hunter and Norma Bull Awards. Talented award-winning artists Lewis Miller, Tom Alberts and Gwendoline Krumins VAS will choose three people from the audience to paint. The night will run until 9 pm featuring music, light refreshments and fun – not to be missed! Bookings open 11 June, 10 am – 4 pm weekdays. Cost: guests $40, VAS members $30, students $20. Ghosts of the Past & Smike Night 14 July Anne Scott Pendlebury and Oliver Streeton will present pen pictures of famous ancestors and a slide show featuring works from the brilliant VAS artist, Arthur Streeton, known also as ‘Smike’. Join us for High Tea at the Vic’s on Sunday 14 July, from 2 pm to 5 pm and bring your friends along to enjoy what will be a nostalgic winter’s afternoon treat.
All Portrait Week events will be held at the Victorian Artists Society Galleries, 430 Albert Street, East Melbourne. There is no designated access for the disabled. All proceeds above expenses will be for the Victorian Artists’ Society. Bookings open 11 June. Cost: guests $10, VAS members and students – just a gold coin at entry.
all students working in the field of Naturalistic Portraiture, also to the value of $5,000. To be announced during Portrait Week on the opening night of 11 July at 7 pm, tickets are essential and it would be wise to book early. Closing date for applications is 14 June. Also to be announced on this night is the Nada Hunter Award for Best Portrait in Show, sponsored through the generous bequest of the late Nada Hunter.
AUTUMN EXHIBITION 8 – 22 April The Victorian Artists Society’s inaugural Autumn Exhibition runs from 8 – 22 April. The official opening night is Thursday 11 April at 7 pm. There will be live music and the presentation of the Undine Award for a landscape in acrylic or oil, proudly sponsored by Colin Jones, with award-winning artist Do Noble as guest judge.
For information about the programs and events contact THE VICTORIAN ARTISTS SOCIETY 03 9662 1484 firstname.lastname@example.org http://victorianartistssociety.com.au Artist: Stephen Doyle
ARTIST OF THE YEAR AWARD Celebrating the 40th Artist of the Year Award, this year an acquisitive prize of $5,000 will go to the member most voted for during the seasonal exhibitions. The winner must have entered at least two exhibitions to be eligible and will be voted on by other members during the year. The final exhibition is by invitation of the President and Council by way of the most votes.
PORTRAITURE SCHOLARSHIP AND PRIZE The Norma Bull Portraiture Scholarship is another fabulous award on offer and open to
Clive Sinclair, winner of the Undine Award, Autumn Exhibition 2012
Cherry Manders, winner of the Norma Bull Portraiture Scholarship 2011
Artist: Judith Leman
Artist: Gwendoline Krumins Antiques and
Enamelled glass beaker from Begram imported from northern Egypt 0-1st century CE. Photography: Thierry Ollivier
Tillya Tepe (1st century BCE-1st century CE), Collapsable nomadic crown
AFGHANISTAN TREASURES REVEALED
at Melbourne Museum 22 March – 28 July ncient, rare artefacts from the National Museum in Kabul are being shown for the first time in Australia. Melbourne Museum is playing host to this exhibition which features over 230 precious objects from archaeological sites along the ancient Silk Road. For decades these treasures were thought to have been lost or destroyed during years of conflict in Afghanistan, but in 2003 they were unexpectedly recovered from vaults where they had been hidden for safekeeping by museum staff. The objects being showcased in Afghanistan: Hidden Treasures from the National Museum, Kabul, include gold jewellery, bronze and stone sculptures, ivories, painted Roman glassware and other ancient works of art, all excavated in the 20th century. Ranging in date from 2200 BCE to the second century CE, the objects are drawn from four major archaeological sites in Afghanistan – the ancient city of Fullol where gold bowls from the Bronze Age were unearthed; the former Greek city Aï Khanum, founded in the wake of conquests by Alexander the Great; treasures from what is thought to be a merchant’s storeroom in Begram; and lavish gold jewellery and ornaments found in the graves of six nomads in Tillya Tepe. ‘These beautiful treasures are testament to the rich cultural heritage of Afghanistan, once at the heart of the Silk Road and an historic link between China, India, Persia, the Middle East and the West,’ said Dr Patrick Greene, CEO, Museum Victoria. The National Museum, Kabul housed many precious artefacts from Afghanistan’s cultural history. After more than 10 years of war, in 1989 thousands of artefacts from the collection were hidden in a Kabul bank vault by a small group of courageous museum staff to protect them from bombing and looting. Known as the ‘key-holders’, these brave men ensured that these priceless treasures remained safe for 14 years before they were again revealed to the world, as some of the only remaining artefacts from ancient Afghanistan.
‘The National Museum in Kabul proudly states that a nation stays alive when its culture stays alive, and nothing demonstrates this more than these treasures, connecting us to Afghanistan’s cultural history when so many other artefacts from this time have been destroyed or lost,’ observed Dr Greene.
The cost of the exhibition includes entry to Melbourne Museum. Adults $24, concession $16, children $14, MV members $14. For further information and tickets contact MELBOURNE MUSEUM 13 11 02 www.museumvictoria.com.au/melbournemuseum
Tillya Tepe (1st century BCE-1st century CE), Hair piece in the form of a mountain goat
Photography by Thierry Ollivier
This exhibition is organised by the National Geographic Society and Museum Victoria, in association with the Queensland Museum, Art Gallery of New South Wales and the Western Australian Museum. Afghanistan: Hidden Treasures from the National Museum, Kabul exhibition is supported by the Australian Government International Exhibitions Insurance (AGIEI) Program. This program provides funding for the purchase of insurance for significant cultural exhibitions. Without AGIEI, the high cost of insuring significant cultural items would prohibit this major exhibition from touring to Australia.
Begram (0-1st century CE), Large ivory figure of a woman, probably a table leg
NOW W SHOWING S BOOK O NLINE ONLINE
Low Ottu chair in suzani tribal fabric Develi Suzani armchair in suzani tribal fabric
SCHOTS HOME EMPORIUM Rejuvenates classic vintage pieces W hen Heather and Neville Schot began trading in antiques over 35 years ago, they readily developed an appreciation for fine furniture and quality workmanship. Schots Home Emporium then progressed into reproduction furniture, during which they never lost their appreciation for such craftsmanship and attention to detail. A tribute to their antiques background, Neville and Heather insist on only featuring furniture and fittings for the home that display ageless craftsmanship and functionality. Each piece is imbued with its own distinct personality, patina and character. At Schots, having two huge showrooms in two stores means you can combine an eclectic mix of fine furnishings to make a truly individual statement.
FABRIC ARMCHAIRS – TRADITIONAL LINES REVAMPED FOR A MODERN TOUCH Schots Home Emporium has taken classic ornate armchairs and revitalised them with modern fabrics and finishes to create the perfect centrepiece for any room. These will make a stylish addition to either a traditional or contemporary setting, perfect for a bedroom or lounge area and ideal for High Tea.
THE DEVELI AND LOW OTTU
These stylish armchairs showcase upholstery which has been hand-embroidered in various wools and silks, making each piece an individual endowed with its own distinctive character. The colourful suzani fabrics used on both the Low Ottu and Develi chairs are all vintage pieces sourced mainly from Afghanistan and Uzbekistan and are sometimes up to 80 to 100 years of age. Other features of these pieces include high comfort, thick-layered leather cushioning, and a solid hardwood timber frame. These armchairs
speak of individuality as well as class and refinement, and are sure to bring a sense of charm to any setting.
THE LINCOLN The Lincoln armchair features a genuine weathered oak frame construction and is upholstered in comfortable natural linen. One of Schots’ most comfortable lines, the Lincoln features stylish carved legs and stands out from other pieces. Such flourishes make this piece quite unique and help it retain a refined sense of class. The Lincoln is a great addition to any home.
Striking a regal silhouette is the Helsinki club armchair in red jacquard. Constructed from 100 per cent weathered oak, the stunning, beautifully carved legs have been finished with a clear varnish allowing the natural hues of the wood grain to accentuate and complement the burnished red-washed pigments of the chair’s jacquard tapestry upholstery. For more information contact SCHOTS HOME EMPORIUM 1300 774 774 – Clifton Hill 1300 693 693 – Geelong email@example.com www.schots.com.au
Low Ottu chair, black and white patterned fabric
Helsinki club armchair, weathered oak and red jacquard
Lincoln wingback armchair, mocha linen and Newton ottoman in linen
Following the trail of finely crafted furniture BEGINNING IN ANCIENT EGYPT T
QUALITY THROUGH THE AGES
VALUE IN THE ARTISANAL ancient world in stone, particularly marble, metals such as bronze and silver, and exotic materials such as ivory and animal horns. Quantities of stone and metal furniture still survive. We know a great deal about Greek and Roman timber furniture from drawings and paintings on walls and pottery, without having the physical object surviving. Identical woven wicker chairs to those recorded on Roman walls are readily available new today.
IMPACT OF MECHANISATION Until the Industrial Revolution of the 19th century, very little changed in the world of the furniture maker. The ancient Egyptian cabinetmaker could walk into an 1840s furniture workshop and recognise most tools and techniques, if not the materials. The mortise and tenon joint was still standard. He would be delighted with the American timbers: mahogany and rosewood. Egyptian saws, like current Japanese ones, cut on the pull rather than the thrust, as modern Western saws do. Metal screws date only from the early 15th century. Nailed-on padded upholstery is a modern, 16th century development. Glass doors, also, would surprise our time traveller. These do not generally appear until the 17th century. This seems a short list for an artisan tradition spanning at least 5000 years. Hence the rapid development and decline of the timber furniture tradition since 1800 seems all the more surprising. The Industrial Revolution brought machines: steam powered circular and band saws, lathes, drills, carving machines and rotary peeling of veneers. None of these things in themselves were directly detrimental to the furniture trade, but the immovable, huge, expensive machines needing constant fuel, demanded structural change in all industries. Until 1800 furniture was mostly made for a specific client, to their specifications, by a team of craftsmen who made the product from scratch and delivered it to the client, with all the pride the artisan undoubtedly feels. By 1850 most British furniture was made in large, anonymous urban factories. A nearby river or canal was essential for the delivery of fuel and dispatch of product. Gas lighting allowed the expensive machines to operate non-stop, 24 hours a day. Mass production required that each worker produced endless multiples of single components: chair legs turned on a lathe with a pattern shaped blade, for example. When finished the furniture was then displayed in shops, in the contemporary fashion, to be seen
and selected ‘ready-made’. Couture had given way to prêt a porter! Since the mid-19th century our reliance on increasing mechanisation has meant a decline in timber furniture. Timber has to be carved to the desired shape, so this means much of the expensive material is wasted as sawdust. There is no waste in materials that can be cast – such as metal, glass, and plastics. Chipboard is an inelegant hybrid solution to this problem, basically making wood able to
To display the best of timber furniture that is both practical for contemporary living and available, Roy’s Antiques chooses to stock pre-industrial, artisanal furniture made before about 1840. Fortunately, old artisanal furniture glows in the company of Philippe Stark plastic, Marc Newson aluminium, as well as vintage Italian marble and glass coffee tables, and Chuck Close paintings. Roy Williams ROY’S ANTIQUES 03 9489 8467 www.roys-antiques.com.au
This rare and important ladies’ pocket watch, c.1910 formerly the property of a Russian aristocrat, is by the watch supplier to the Russian Imperial Court, Pavel (Paul) Buhre. Beautifully enamelled, the 18ct gold case is enriched with diamonds. The guilloche enamel is in mauve, the favourite colour of Empress Alexandra Feodorovna, and no doubt intended as a compliment to her. The enamel is further enriched with painted flowers, and with a 1911 presentation date within the case, diameter: 3cm. $5,500
Georgian & Continental Furniture • Porcelain
Even as long ago as 3100 BCE, wooden furniture had already reached the quality it was to retain until the recent past. Unfortunately, the 5000-year-old furniture survives only in fragments, such as the odd carved chair leg. Furniture excavated from the tomb of the mother of Cheops, c. 2600 BCE, was also found in scattered fragments. However enough of the gold casings existed, filled with powder, where once the wood formed the structure of the furniture, to reconstruct the luxurious furniture. While we have several examples of humble, white painted, rush seated wooden stools and a chair from the workmen’s village and cemetery at Deir el Medina, the royal furniture shows many techniques that an 18th century French royal furniture maker would have known. The furniture of Tutankhamun (c. 13701352 BCE), is probably the oldest example of wooden furniture with which most people are familiar. There is nothing primitive about his famous gold encrusted throne and there are chests which showcase skilled marquetry decoration, a pictorial decoration made up of pieces of different veneers, structured like a jigsaw puzzle. Parquetry relies on the same techniques but rather than showing a picture, it is a pattern of geometric shapes. There are hundreds of complete pieces of ancient Egyptian wooden furniture still standing, thanks to the dry, hermetically sealed tombs and dessicating desert sands. However from Ancient Greece, only a single piece of timber furniture has survived. This spectacular circular small table is supported on three finely carved legs. Most ancient tables were made with three rather than four legs to create a better sense of balance. Made in the 3rd or 2nd century BCE means the table is comparatively ‘new’ and it was preserved in Egypt, possibly made in Alexandria by Greek craftsmen rather than an import from the Greek mainland. Furniture was also made throughout the
be cast, but removing its advantages of tensile strength, lightness, and the beauty of the figure. Inexorably, from the 1920s the best furniture comprises glass, metal and plastic. Timber-looking furniture today is often ‘cherry wood foil wrapped chipboard’, a pathetic residual memory of the halcyon millennia from Lebanese cedar to satinwood.
Silver • Ikons • Paintings • Imperial Russian
he oldest practical wooden furniture surviving today is around 3400 years old! They are chairs that can be comfortably sat upon, beds one could lie on and hinged chests for storage. As these are safely locked in glass cases in museums, their practicality cannot readily be put to the test. However this is just as well, as to demonstrate the strength of the 3400-year-old rush seat, one stool was sat upon at so many lectures in the late 19th century that it eventually gave way! Hundreds of such ancient Egyptian timber furnishings still exist. The tomb of Yuia and Thuiu, for example, which dates from the 18th Dynasty c. 1400 BCE, was excavated in the 19th century wherein several pieces of very advanced furniture were found. The boxes, stools, chairs and chests show as much sophistication and refinement as any wooden furniture produced in recent centuries. This wooden furniture was carved, leaf gilded, enriched with metal mounts, and veneered in costly imported timbers, as well as ivory, faience, and coloured glass. Paint was also used to decorate the timber furnishings. Plywood, an extension of veneer technology, was also used in ancient Egypt, as evidenced in a 2700 BCE coffin. Egyptian plywood, like that of the 18th century and of today, has the grain of each laminate laid at 90 degrees to the last, so that the result exceeds the strength of solid wood of the same dimensions. Drawers were also created, as were copper hinges.
410 Queens Parade Clifton Hill Vic 61 3 9489 8467 Antiques and
COLLECTOR PROOF COINS 1955 – 1963 struck at the Melbourne and Perth mints are Australia’s most affordable rare coin investment series t is a fact that the mints in Canberra and in Perth are today prolific producers of proof coins specifically designed and marketed to collectors on a commercial basis to generate profits. Consider that in the year 2010, the Royal Australian Mint in Canberra produced more than 17,000 proof sets. And that’s just one product out of hundreds. It is a natural assumption that Australia’s pre-decimal proofs were struck on a similar basis. The reality is that this is far from the truth.
DEBUNKING A MISCONCEPTION In 1955 Treasury bowed to collector and dealer pressure and sanctioned the striking of proof coins as part of an on-going commercial venture. The ‘collector’ proof coin series, launched in 1955 to the delight of the collecting public, came to a conclusion in 1963, just prior to the decimal currency changeover. Government intervened in just one aspect of the program – only those coins being struck for circulation were to be issued as proofs.
STRUCK PROOF COINS The Melbourne Mint was striking both silver and copper coins for Treasury which meant that it could strike both silver and copper proof coins: florin, shilling, sixpence, three pence, penny and half penny. For the Perth Mint, operating as a copper producing mint, this meant the striking of penny and half penny proofs only. The coins were released annually with an
official issue price of face value plus a premium of one shilling per coin – mintages averaged around the 1,500 mark. Each piece was minted to exacting standards – from the selection and polishing of blanks, the preparation of dies and ultimately the actual striking. The result is a coin that is pleasing to the eye, well struck with strong designs and superb smooth background fields. It is an important series in our currency heritage for it represents Australia’s very first annual proof coining program: the pre-cursor to the series introduced by the Royal Australian Mint in 1966.
Right: 1956 Perth proof penny. Valued at $7,500 in 2006; 2012 value, $16,000 Below: 1955 Perth proof penny & half penny. Valued at $14,500 in 2006; 2012 value, $30,000
TRACING THE GROWTH IN VALUE The demand for premium quality examples in this series has far outstripped supplies, underpinning considerable growth. The complete set (of 54 coins) in perfect quality was selling for $50,000 in 2006. In 2012 the collection was valued at $100,000. One of the greatest advantages of this series is that the coins can be acquired progressively one year at a time.
WHAT IS A PROOF COIN? To anyone with some industry savvy, the word ‘proof’ grabs attention. It equates to rarity and exclusivity – qualities that are attractive to both collectors and investors. A proof coin is special and the following text will help to explain why.
1956 Melbourne five coin proof set. Valued at $1,900 in 2006; 2012 value, $3,700
As a general statement, coins are minted in two distinctly different styles and for two distinctly different purposes. 1. Coins are struck for circulation so that you and I can use them in everyday commerce – buying a loaf of bread, the newspaper or a bottle of wine. They are struck in a factory environment in their millions. 2. Coins are also struck to proof quality. A proof coin is a display piece (showpiece) of its circulating counterpart and was never intended to be used as currency. It is considered a ‘piece of art’. That is, coinage in its most elegant and artistic form and because of the lengthy time involved in its production, proofs are struck in restricted numbers – usually less than 20.
PREPARING THE PROOF DIES A lot of preparation goes into the striking of a proof coin. The dies are hardened and brushed to ensure that the design will be sharp and almost three-dimensional in its appearance. The blanks are hand-picked and highly polished to produce a coin with a mirror shine and smooth fields. The dies are struck twice to create a sharp, well-defined design. The rims encircling the coins are high, creating a picture frame effect encasing the design. The pristine nature of the striking is particularly evident in the denticles. They are crisp and uniformly spaced around
the circumference of the coin. COINWORKS AUSTRALIAN RARE COINS AND NOTES 03 9642 3133 firstname.lastname@example.org www.coinworks.com.au
1955 1956 1957 1958 1959 1960 1961 1962 1963 1955 1956 1957 1958 1959 1960 1961 1962 1963
Perth Mint Proof Coin Sets 1d & 1/2d 1d 1d 1d 1d 1d & 1/2d 1d & 1/2d 1d & 1/2d 1d & 1/2d Melbourne Mint Proof Coin Sets 1d & 3d, 6d & 1/1d & 3d, 6d, 1/- & 2/3d, 6d, 1/- & 2/1d & 3d, 6d, 1/- & 2/1d, 1/2d & 3d, 6d, 1/- & 2/3d, 6d, 1/- & 2/3d, 6d, 1/- & 2/3d, 6d, 1/- & 2/3d, 6d, 1/- & 2/-
1959 Melbourne six coin proof set. Valued at $3,000 in 2006; 2012 value, $6,000
Mintage 301 417 1112 1028 1030 1030 1040 1064 1100 Mintage 1200 1500 1256 1506 1506 1509 1506 2106 5042
THE ENGLISH LONGCASE CLOCK he development of the pendulum clock meant that the clockmaker designed a long wooden case to protect the pendulum and conceal the unsightly weights, pulleys and lines (ropes). Since the pendulum was still short, swinging behind the clock movement, the case was not very tall, usually about 1.9 m high with a small dial and a narrow trunk.
ANCHOR ESCAPEMENT The search for more exact timekeeping led to the development of the anchor escapement and a longer pendulum. This new escape wheel with a longer pendulum meant that the pendulum moved from one side to the other in one second intervals. From that time on clockmakers were not only able to manufacture a clock that kept very good time (as close as a minute per week) but also could fit a second hand to the clock. The long pendulum was ideal for the long case clocks that at once became the most accurate clock of its time and the first clock with a hand showing the seconds. Because of the wider swing of the pendulum, the case had to be wider. To maintain an aesthetic proportion the case became taller, averaging between 2.1 and 2.26 m. The dial, also increased in size from 25.4 cm (10 inches) to finally reach 30.5 cm (12 inches), which was to become by far the most popular size. One feature of earlier longcases was an oval-shaped glass in the door and a glass window on each side of the hood that allowed the movement to be seen.
DIALS In the first quarter of the 18th century, the dials were square and a common size of twelve inches (30.5 cm) was established. In the second half of the century, it became increasingly common to produce the clock with a break-arch dial, adding a half circle to the top of the dial. This break-arch usually accommodates a moon dial, a calendar, or other features such as a nameplate or a strike
The dial of a George III musical clock by Samuel Smith of London
silent control. Later the top of the case also was made in break-arch style. While about 95 percent of the clocks made in London feature the break-arch, the square dial never went completely out of fashion, especially in the country where it was still made well into the 19th century.
STYLES The longcase clock was not just a clock but also a fine piece of furniture made by cabinetmakers and following furniture styles in wood. The early ‘plain style’ was followed by a Jacobean pattern with twisted wooden pillars on each side of the hood and a flat top with carved crest instead of the triangular top used in the earlier pieces. In keeping with the Puritan influence the early clocks were black and made of ebony veneers or ebonised wood. Around 1690 ebony was no longer fashionable and walnut became the most popular wood for veneering clock cases. Sometimes olivewood, veneered to make it look like oyster shells, was used. At the same time, a form of parquetry was introduced and veneers of different woods and colours were laid in the corners of the cases, forming geometrical patterns of fans and stars. Later patterns of foliage, flowers and birds appeared on the panels and base thus becoming more elaborate and sometimes covering most of the case. This all-over covering pattern, called marquetry, quickly went out of fashion and plain veneering returned to vogue. As well as using marquetry, the clockmakers decorated their cases with Chinese scenes painted in lacquer on gesso, so that the patterns were raised. Primary colours were used for the scenes on either a black, red or blue background.
MAHOGANY Around 1720, due to the decreasing supply of walnut wood and England’s growing trade with the West Indies and America, mahogany became the most popular wood for furniture. The advantage of mahogany was that it was not subject to attack by worms, that it was available in long wide boards, and had natural patterning ideal for veneers making it very attractive to the clockmakers. By 1760, virtually all other wood and finishes were disregarded for the production of clock cases except for oak, which was used to produce simple low cost clocks.
Antique and Modern Clocks and Watches Repairs and Sales
TIPS A valuable guide to the age and authenticity of a longcase clock are the dials and hands. The dials were usually made of brass with a silver chapter ring. Engraved in the chapter ring are Roman hour numerals and Arabic minute numerals. Clocks made after 1750 were usually without quarter-hour divisions on the inner side of the chapter ring. At first, the ornaments in the corners of the dials were very simple; showing winged cherubs’ heads but became more floral later on. A general rule to follow is, the smaller the dial, the narrower the chapter ring, and the smaller the minute numerals, the older the clock. The hands were made of blued steel, the minute hand being a pointer and the hour hand-carved and pierced. With time, they changed and different styles were favoured by different clockmakers. In the 18th century they were more or less standardised and supplied by craftsmen who specialised in making hands for clocks. By the last quarter of the century, painted dials on an iron sheet replaced the engraved brass dial. Simpler matching hands, one bigger than the other was used. English Longcase Clock, Benjamin Bold, London, c. 1770
A clock by William Holloway of London, c. 1710
The Clockworks 03 9578 6960
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
Pre-treatment with Restor-A-Finish
Maintaining the high-gloss look ON MODERN AND TRADITIONAL FURNITURE F urniture surfaces featuring a high shine have been popular down through the ages. Although a large number of people have been experimenting with matte or low-sheen finishes since the 1980s, many have found that these surfaces are very difficult to maintain as it is almost impossible to find waxes or cleaners that will work on such surfaces. The high gloss look has returned in a big way which can be seen in new-look kitchen surfaces right through to recently designed tables and chairs. When dealing with these super hard and glossy finishes, firstly clean away any dust or build-up with Howard Wood
Cleaner & Polish, which is perfect for dusting, cleaning and polishing modern surfaces. Then, using a soft T-shirt like material, apply Howard one-step Restor-A-Shine to polish the surface to an amazing high shine. It may take a little extra elbow grease and if any residue remains, it can be easily polished away with a little more Wood Cleaner & Polish. Both the Restor-A-Shine and the Wood Cleaner & Polish are non-chemical and non-toxic. In this article I describe the ‘one-step solution’ then touch on the need for combining Restor-A-Shine and Restor-AFinish when dealing with antique or retro furniture surfaces.
ONE-STEP SOLUTION Restor-A-Shine was originally designed by the technical team at Howard Products to achieve French polish-style sheen on traditionally shellacked surfaces. Originally it came in two separate containers, one called Polishing Compound and the other called Burnishing Cream. These products worked amazingly well but needing two products to get the right finish was a bit too complicated and a tad too costly for some. That situation has now changed with the introduction of One Step Restor-A-Shine Polishing Compound – and it is truly amazing!
This new one-step compound has been created for both single and two pack polyurethane surfaces. To demonstrate, I located a very dull and damaged laminated wood dining table which would have originally been presented in the 1990s with a glossy finish. See pictures at top of the page.
A new lease on life for your faded furniture
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The first step was to bring some colour back to the extremely hazy and lifeless surface by rubbing some Restor-A-Finish lightly onto the surface and going with the grain with saturated super soft steel wool as my applicator. • After wiping the surface completely dry I waited for a couple of hours before the next step. • I then applied the new one-step Restor-AShine by hard burnishing it into the finish using a soft, clean cloth. • Once this was done the shine was finessed by polishing out any residue or unevenness by using a little Wood Cleaner and Polish sprayed onto a cloth. The final result… brilliant! • By the way, it may be helpful to know that Restor-A-Shine renews the look of guitars, violins, high gloss pianos… and yes… floors. As far as I can tell, Restor-A-Shine is the only product of its kind on the market which does not contain silicone. My advice? Get some! David Foster Director HOWARD PRODUCTS (AUST) 1800 672 646 email@example.com www.howardproducts.com.au
Di King, After the rain
John Thomas, Rock pool at Pt Flinders
Di King, Gum tree
Di King, Howqua crossing
AUTUMN SHOW AT DI KING GALLERY New exhibition for a new season 15 – 23 June utumn is upon us bringing with it new happenings in the air. It’s been a long time since Di and John have had an exhibition together so they have decided that an excellent time would be the middle of the year. What better time to brighten up one’s walls than in the middle of winter. After such a long hot summer and so close to the end of the financial year, why not give oneself a treat with something special. There will be some paintings that you may have seen before mixed in with a variety of new and fresh works. This variety will give anyone the opportunity to be able to choose a work to suit most pockets. All too often we miss an opportunity to purchase something that we would love to own. If this has happened to you when visiting the gallery, maybe this is the time to re-visit. That special painting may still be available.
be made to suit your budget, so there is no reason to miss out on treating yourself.
PLAN A VISIT TO THE GALLERY The exhibition opens on Saturday 15 June and will be shown until Sunday 23 June. The formal hours are 10 am to 4 pm daily. If these times do not suit, the Di King Gallery will always open its doors to visitors whenever anyone calls. So many times Di and John are
working away in their studios when the phone rings and are asked by the caller if they can visit the gallery, and so many times the caller is sitting in the driveway! It may be that the caller is just visiting the Yarra Valley for many of the activities in the area and stumbles upon the gallery sign. Whatever the reason, John and Di are always happy to open up.
Saturday 12 October running until Sunday 20 October. Di will have all new work, so put this event in your diary. In between these two exciting exhibitions, general works by both artists will adorn the walls, so there is always something to see at the Di King Gallery.
DI’S ANNUAL EXHIBITION 12 – 20 October
To find out more contact DI KING GALLERY 03 5962 2557/0414 404 798 firstname.lastname@example.org www.diking.com.au
The next event at the gallery will be Di’s annual exhibition, which is always held in October. This year the opening date will be
FRIENDLY LAY-BY SYSTEM These days, there is the perception that laybys belong to the past; well not so at the Di King Gallery. John and Di have a very friendly lay-by system. Any arrangement can
Di King, Pt Flinders
John Thomas, Strezleki vista
Di King, Wall shadows
John Thomas, The Prowler
Di King, Corinne
03 5962 2557 0414 404 798 - 0414 404 792
Corporate and private viewings can be arranged
OPEN ANYTIME BY APPOINTMENT 32 Maroondah Hwy, Healesville 3777 email@example.com
Always available at the Gallery… Original works by Di King and John Thomas And Digital Reproductions by Di King Antiques and
Annee Kelly, Autumn afternoon, Swanston Street, Melbourne
Above: Lee Machelak, Mary, a sketch Above left: Pete Marshall, Ethereal dances - Great Egrets Jill Rietmeyer, Moonless night, Holland
Right: Christine Cafarella Pearce, High Country gums
Jo-Anne Seberry, Portofino
SHERBROOK ART SOCIETY a community of artists non-profit organisation run by volunteers, Sherbrooke Art Society, was set up to encourage and support local artists. It was founded on a tradition of realist painting and seeks to encourage both traditional and contemporary interpretation of representative subjects. On display are a diverse variety of works in various mediums from this large collective of artists. The Society provides studio space,
classes, paint-outs, demonstrations, exhibitions and competitions to encourage art in the local community.
DEMONSTRATION PROGRAM OF MEDIUMS AND STYLES The Society holds demonstrations covering a specific art technique and subject. They take place on the first Saturday or Thursday of the month.
Painting by Ern Trembath
Sherbrooke Art Society Inc Established 1966
Tuition • Workshops • Demonstrations at Sherbrooke Gallery See website for details or view new works on display from established and emerging local artists
FREE ENTRY To Monbulk
62 Monbulk Road, Belgrave 3160 Tel: 03 9754 4264 Gallery Hours: 11 am - 4 pm, closed Tuesdays www.sherbrookeartsociety.com
Monbulk Rd Sherbrooke Gallery Puffing Billy Belgrave Station Burwood Hwy to Melb Melway Ref 75 F8
Watercolour: street scenes 4 May Annee Kelly will be demonstrating how to paint a street scene using watercolour. A graduate in Arts from Monash University and a qualified secondary teacher, Annee has been teaching watercolour since 1992 in addition to conducting demonstrations and workshops at various art groups and societies throughout Victoria. She has held 12 solo exhibitions in addition to numerous joint exhibitions since 1986, including a number of overseas ones in China, Canada, the United Kingdom, Greece and Italy. Watercolour: figures 1 June Jill Rietmeyer will demonstrate methods and techniques of painting figures in water colour. Jill is a long standing member of Sherbrooke Art Society who has taken many trips overseas in pursuit of subjects to paint. She has conducted painting tours to the Greek Isles and currently runs plein air paint outs for the society. Jill says, ‘I prefer to let my art speak for itself.’ Pastel & charcoal 6 July Dr Pete Marshall will be sharing her travel experience and demonstrate using pastel and charcoal. Born from years of study and observation, Pete is a dedicated environmental artist who uses knowledge from her veterinary background to create striking artistic works of wildlife and its environment in an empathetic and perceptive manner. Pastel: European landscapes 3 August Jo-Anne Seberry will demonstrate how to execute a European landscape using pastels. Jo-Anne is a Melbourne artist and is well known for her unique interpretation of colour and light as well as her technical expertise. Her subjects vary but are all depicted with love and sensitivity; they range from local Sorrento beach scenes to Venetian canals, Tuscan landscapes, portraits and nudes. Bold pastel: dramatic seascapes 7 September Pamela Pretty’s inspiration stems from the amazing environment that surrounds her in the Yarra Valley: ‘I am a passionate plein air painter spending every opportunity I find exploring my surroundings and trying to capture the light, mood and atmosphere unique to each location.’
Oil: outback landscapes 3 October Multi award-winning Healesville artist and Fellow of the Australian Guild of Realist Artists, Christine Cafarella Pearce paints with distinctive technique, colour and design. Her Yarra Valley paintings display great understanding and familiarity with her subject. Workshop tutor, judge and demonstrator, Christine won the Australian Art Excellence Award Gold Medallion 2010, Best Painting at St Kevin’s Art Show 2009, and Deans Oil Award, Camberwell Rotary Art Show 2009. Oil: Traditional portraits 7 November Lee Machelak will be demonstrating traditional portrait from life in oils. Lee’s love of tonal realism is conveyed in her penetrating portraits reflecting time’s ephemeral moments and life’s little theatre of richly patterned objects complemented by sumptuous fabrics staged in precise compositional arrangements. Lee is a member of The Twenty Melbourne Painters Society. For more on demonstrations and workshops, go to our website www.sherbrookeartsociety.com
LEARN TO PAINT Sherbrooke Art Society has three studios and caters for a range of different mediums and styles for students of all levels. Our experienced tutors are all professional, awardwinning artists. Contact the gallery or see the website for more details. Classes fill fast so early enrolment is essential.
MEMBERSHIP ADVANTAGES Become a member of Sherbrooke Art Society and be part of our community of artists. As a member you can participate in group paint-ins and field painting trips, discounted entry to demonstrations and workshops, and exhibition of your paintings in one of our three gallery rooms. For more details contact SHERBROOKE ART SOCIETY GALLERY 03 9754 4264 www.sherbrookeartsociety.com
Pamela Pretty, Silver lining
William Ferguson, For the Song Leader
Bill Linford, The Alchemist’s Vacation
Featured artists at
Concita Carambano, Corridors Secret
Above: Craig Penny, Walking the Dog Below: Jud Keresztesi, Arctic Storm
WITHOUT PIER GALLERY E stablished in 1994, Without Pier Gallery specialises in contemporary Australian art and offers an eclectic range of art and artefacts from renowned and rising Australian and Indigenous artists. A selection of the gallery’s featured artists include the following. William Ferguson Artist’s statement: ‘The pastel colours of the clays in this country, especially in the early morning and twilight, evoke a haunting concept of space – an ‘elsewhere’ which is immensity itself, almost an immensity that is within us. I was alone in this landscape but not alone.’ William (Bill) Linford Bill’s work has been inspired by his life experiences. His unique style, incorporating powerful images is unmistakably Australian. Bill has won various art prizes and awards including Warnambool, Werribee and the prestigious Bayside Art Show. Craig Penny Craig pursued a successful career as an illustrator in the advertising industry and became a member of the Illustrators Association of Australia. Since becoming a full-time artist he specialises in watercolour and acrylic painting and illustrations. He teaches art both in Melbourne and overseas. Conchita Carambano Having had numerous highly successful solo and group exhibitions throughout Australia, Conchita is also represented in the National Library collection in Canberra and has won four significant art prizes. Her work is held in many corporate and private collections both in Australia and overseas. Donal Molly-Drum Artist’s statement: ‘Living under the vast sky of the Wimmera, my sculptures and medium have become lighter and more refined. The open space and quality of light give a crispness to shadow and silhouette. A tree at dusk, a shadow on a wall or a passing raven – become part of the passage of time and the imagery conveyed through my sculptures.’ Jud Keresztesi Artist’s statement: ‘Now more than ever I am attracted to the peace I find within nature. The landscapes I evolve from photographs take on a life of their own as they become my “mind”. Colour is one of my most powerful tools in my quest to create a sense of peace.’ Claude Ciccone A masterful impressionist painter, Claude’s work is sublime. He has won numerous awards including the Tom Roberts Award – Sherbrooke Artist’s Society, and award for the best urban landscape – Herald Sun Camberwell Rotary Art Award.
Herman Pekel Recognised as one of Australia’s most prominent landscape painters, Herman has won many of the major art prizes in this country. He is a member The Twenty Melbourne Painters Society, Australian Guild of Realist Artists, and the Victorian Artists Society. Lisa Wang Lisa works as a full-time artist, painting beautiful Australian landscapes. She is a member of several art societies including the Australian Guild of Realist Artists, and the Victorian Artists Society. She completed a Bachelor of Fine Arts in China in 1996. Brian Kewley Brian has been painting for more than 50 years. He paints vigorous oils, gouaches and enamels, and is well known for his colourful panoramic paintings – mainly landscapes and seascapes. Robyn Rankin Robyn’s bold, figurative interpretations of childhood transport the audience into an exuberant yet introspective world. The journey explores the idea that children are at once totally self-absorbed and private in their play, and yet so innocently and publicly on view. Rachel Rovay Artist’s statement: ‘My artwork, thematically deals with the urban environment, the everyday and the passing of time. The expressive element in my work relies on colour relationships, contrasts between warm and cool colours, a rapport of tones and spatial organisation. The use of spectral colours is the object of the work.’
Above: Claude Ciccone, Looking Up Russell Street Right: Robyn Rankin, I Can Sing a Sunbeam Below: Rachel Rovay, And the pillars rise like strange trees
WITHOUT PIER GALLERY Cheltenham 03 9583 7577 firstname.lastname@example.org www.withoutpier.com.au
Above: Donal Molloy-Drum, A Few Thoughts
Right: Herman Pekel, Martin Street – Gardenvale Below: Lisa Wang, Bottleneck
The Grand Reading Room, 1998, egg tempera on panel. Ian Potter Museum of Art
Lot’s Wife, 1992, gouache, watercolour & dry brush. Private collection
ROBERT CLINCH RETROSPECTIVE reflections on the common man at the Art Gallery of Ballarat 13 July – 8 September ell-known Melbourne artist Robert Clinch will be the subject of a major mid-career retrospective at the Art Gallery of Ballarat between July and September this year. The architecture of the inner city, buildings, laneways, docklands, high-rise apartments and lowly Victorian terraces are the stuff of Robert Clinch's art. Although people seldom appear in his paintings and prints, he is very interested in humanity and loves portraiture. People are the springboards of his art – ‘I paint the world people have made to discuss what I feel about them, their lives, and the issues in their lives. My paintings are about the problems people face today’. Robert Clinch was born in Cooma, New South Wales. Although he received no formal art training, his childhood was filled with drawing, painting and making things out of cardboard. For his 16th birthday, his parents gave him a copy of the book, Outlines of Australian Art: The Joseph Brown Collection. Clinch was greatly impressed by Brown’s view of art as expressed in the book. Eventually Clinch visited Brown, armed with a large gouache and a portfolio of other works. Prior to this, one of Brown’s influential clients, Lindsay Fox, asked Brown to get Jeffrey Smart to do some paintings. As Smart could not undertake the work, Fox told Brown that when he found a young artist whom he thought was good enough, to offer him the work instead. While Clinch waited, Brown rang Fox, returning to say that Fox was expecting him in ten minutes. The result was an immediate six months’ work. Joseph Brown remained Clinch’s Australian dealer for the next 13 years, until retirement, and they stayed good friends until Brown’s death in 2009. Clinch’s 1991 portrait of Brown is in the Hamilton Art Gallery, one of
Brown’s numerous gifts to Australian public art galleries. Clinch’s representation in private collections outrates the slower public galleries. Nevertheless, these include the prestigious Art Gallery of New South Wales, Art Gallery of Ballarat , Geelong Art Gallery, National Gallery of Victoria, National Library of Australia, and the Ian Potter Museum of the University of Melbourne.
HUMAN ENDEAVOUR REFERENCED The buildings, city and industrial architecture refer to human endeavour, to literature, music, crafts, and sport. The Grand Reading Room, for example, shows the dome of the State Library of Victoria rising grandly above a back lane of the now characteristic red bricks. The small figure of a girl, almost centrally placed, can be easily overlooked – incidental? No! Seated reading, at the top of a fire escape, she is a metaphor for the ascent of learning. References to music occur throughout his art, a fine example being the tempera painting, Fanfare for the Common Man of 2003. Inspired by the American composer Aaron Copeland’s composition of the same name, it is a celebratory commentary on the rights of all people. A pendant to The Grand Reading Room, it again includes the lone figure, the artist’s son Allan. Although only 17 at the time, he was tall and athletic of build, providing the ideal heroic image. Moreover, he is a talented trombone player. Clinch grew up with classical and stage music. His father loved Rachmaninov. His mother was a fine mezzo-soprano; and the piano and gramophone records filled his home. Later, when listening to Emerson, Lake and Palmer’s electronic version of Copeland’s Fanfare for the Common Man Clinch returned to his earlier interests. Copeland’s philosophy of wanting his music to be accessible to all people appealed to Clinch. The painting became its visual expression, a painting about the idea of trumpeting the achievements of the everyday.
Dovetailed, 2001, egg tempera on panel. Private collection
TRANSLATING MUSIC INTO ART Rhythmic repetition is another feature of Clinch’s art. In the egg tempera painting Dovetailed, 2001, the repetition is again architectural, of blocks of high-rise buildings. The wasteland foreground expresses Clinch’s concern about planet earth, overwhelmed by the consumptive and wasteful ways of man. The mood is brooding, the impending threat in heavy skies aligned with the architecture, whose paralysed forms are sliced by knife-edged shadows. Roads are empty, factory chimneys smokeless, as all has become a still of life. Everything is dehumanised. Even the tall, slender light posts seem drawn from science fiction. Full of layered meaning, it is enlivened by the touch of folly, the dovecote prominent in the immediate foreground. It is a beautiful exercise in joinery – devoutly dovetailed. The apartments are close together, as are their human occupants, like the doves in their cote,
locked in, unable to flee or fly. Lot’s Wife (1992) is a major work in Clinch’s oeuvre. The subject is man-made environmental pollution. The cement silo is the metaphor for Lot’s wife (cement sets solid!), who looks back to the city skyline of Melbourne. Between the silo and the city lies the man-made wasteland. The sky is full of airborne pollution portrayed in the heavy, dark clouds contrasting with the acrid, orange strips, threatening and giving profile to the city scrapers – Sodom and Gomorrah. Imagination and invention wedded to a brilliance of technique are his hallmarks. Mix in the visual puns and metaphors and a concern for his fellow being, and you have the art of Robert Clinch. The gallery is open daily from 10 am to 5 pm and entry is free. For more information about the exhibition contact ART GALLERY OF BALLARAT 03 5320 5858 email@example.com www.artgalleryofballarat.com.au Article adapted from ‘d’ART, The Art of Robert Clinch’ by David Thomas.
Study for portrait of Joseph Brown, 1991, pencil and chalk on grey paper. Private collection
Robert Clinch: Fanfare for the common man A mid-career retrospective | 13 July to 8 September 2013 An Art Gallery of Ballarat exhibition Open daily 10am - 5pm. Admission free Robert Clinch Fanfare for the Common Man (detail) 2003, egg-tempera on panel 107 x 105 cm. Private collection.
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AUCTION 9 JUNE 2013 ABORIGINAL GALLERY OF DREAMINGS our times a year over two decades Aboriginal Gallery of Dreamings, Melbourne featured Aboriginal masterpieces in their full-page advertisements, followed by a related article for F clarification and education. Some of the masterpieces reproduced in the posters forming the border are now in local and international museum collections. Most notable is Clifford Possum’s Warlugulong, which continues to hold the record price at auction when it was sold to the National Gallery of Australia, Canberra for $2.4 million in 2007. Not all our paintings were sold however when we closed the city gallery in Bourke Street in 2008 and moved to Cheltenham. With more than 3500 handpicked and commissioned paintings in storage at our factory/warehouse/museum complex in Cheltenham, retirement was not an option. All Aboriginal Gallery of Dreamings stock is listed at
www.aboriginalgalleryofdreamings.com In the past 12 months we have held three in-house auctions from the Cheltenham warehouse with great results; prices ranged from $100 to $1million. Details of the works and results of all three sales can be found at www.agodauctions.com.au If you missed the first three auctions, our fourth sale is on 9 June. We offer huge savings on stunning works of art as there are no add-on charges: buyer’s premium of up to 25% is not charged and GST is included in the hammer price. Even our unique exchange policy applies to auction purchases (conditions apply). So don’t miss this one! Auctions are planned to help fund the Emily Museum. Twice a year, over the next five years, works from the Nangara exhibition will be offered for sale at auction. To view these paintings visit www.nangara.com and www.agodauctions.com.au Our major project, the Emily Museum, is unique. This is the first museum ever, dedicated to a single Aboriginal artist. The museum, dedicated to the brightest star in the art cosmos, Emily Kame Kngwarreye, is to be officially opened by the Hon. Richard Alston, Minister of Communications, Information Technology and the Arts (1996 – 2003), Australian High Commissioner to the UK (2005 – 2008), on 6 May. For more details visit www.emilymuseum.com.au or see our feature article on pages 46-47
• NO BUYER’S PREMIUM • HAMMER PRICE IS GST INCLUSIVE • UNIQUE POST AUCTION EXCHANGE POLICY • GALLERY PROVENANCE • PRICES RANGING FROM $100
Auction is on Sunday 9 June from 4pm Hard copy and online catalogue available from 1 May
Auction viewing from 5 June daily 10am – 4pm THE ABORIGINAL GALLERY OF DREAMINGS 11-15 Christensen Street Cheltenham Vic 3192 P: 0457 005 000 or 0419 329 886
www.agodauctions.com.au email@example.com Antiques and
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Valentine’s Antique Gallery IMPORTERS OF FINE QUALITY ANTIQUES ESTABLISHED 1947
Impressive French rosewood Louis XV style queen size bed, c.1880, with ornate rococo scrolls, professionally extended for new mattress
Rare 19th century satinwood double bed made by Alex Mackenzie (Glasgow UK), c.1880, with cartouche initials ‘R.D.’ to foot; fine ebonised inlays, newly upholstered head & foot
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Valentine’s Antique Gallery 369 Hargreaves Street, Bendigo, Victoria 3550 Phone: 03 5443 7279 Mobile: 0418 511 626 Fax: 03 5442 9718 Email: email@example.com www.valentinesantiques.com.au
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
Fiona Foley, Bliss, 2006 (still), digital video with sound 11 minutes. Courtesy of the artist, Andrew Baker Art Dealer, Brisbane and Niagara Galleries, Melbourne
BENDIGO ART GALLERY Shadowlife
13 April – 28 July 2013
Photography, moving images & installations expose the intensity of the Aboriginal experience hadowlife brings together the work of nine renowned contemporary Australian Indigenous artists and one non-Indigenous collaborator. This exhibition showcases an outstanding collection of contemporary Indigenous photography, moving image and installation; Shadowlife’s artists employ the directness and theatricality of film and photo to address stereotypes and act out scenarios. Curators Natalie King and Djon Mundine commented: ‘Dreaming tells us that the shadow is your soul. A person can never desert its shadow and a shadow cannot leave its human cast … Aboriginality is only seen and recognised at certain fleeting moments of intense emotional, social and spiritual exposure. Australia is full of ghosts and shadows honeycombing the historical, social and physical landscape. Shadowlife addresses these moments of intensity through the photo/filmic practices.’ The exhibition includes works by artists Vernon Ah Kee, Bindi Cole, Brenda L Croft, Destiny Deacon and Virginia Fraser, Fiona Foley, Gary Lee, Michael Riley, Ivan Sen and Christian Thompson. Vernon Ah Kee explores rap as a linguistic tool for free form poetry that is direct and political. Whitefella normal, blackfella me (2004) deploys language and chanting in a short rap song featuring himself. Biting and black, Ah Kee aerates concerns and emotions from the streets. These issues are expressed aurally with phrases that are profoundly beautiful, pithy and poetic. Bindi Cole’s new film Seventy Times Seven (2011) explores how the personal and societal converge. In a contentious work, Cole filmed Aboriginal participants willing to say ‘I forgive you’ on camera to white Australian society. For Cole, a personal forgiveness allowed her to move on. Can this be applied to society’s wider historical crimes in the Aboriginal context?
Destiny Deacon and Virginia Fraser’s collaboration enacts urban domestic stories with dolls and everyday objects configured into hilarious yet grim soap operas deftly uncovering stories of racism and persecution.
The title, Forced into images (2001), is derived from a quote by African American author Alice Walker. A silent video captures Deacon’s niece and nephew role-playing and acting out with masks. The improvised play by
these young relatives reminds us to be cognisant of the simple yet profound exchanges between children. Reinterpreting the history of enforced opium addiction within the Queensland Aboriginal community in the 1850s is Fiona Foley’s poetic video of swaying poppies. Foley traces the ongoing significance of Australia’s colonial histories with uncompromising directness. The notion of bliss or euphoria questions how Australians can live in a dreamlike state ignoring the reality of history. Luscious and hypnotic, the video Bliss (2006) of colourful flowers belies the insidious history that Foley has uncovered. Ivan Sen’s Dust (1999) navigates the contested physical, social and historical landscape in western New South Wales. A landscape colonised in the fullest sense, in economic and agricultural terms through cotton farming and the social displacement of the original inhabitants. But the land is full of shadows and ghosts that lie just below the surface of everyday life. Christian Thompson’s video Gamu Mambu (Blood Song) (2010) shows a group of Dutch baroque singers singing in Bidjara, the language of his heritage. Through dress, song, photographic and video images, Thompson harnesses iconographies from completely different times and cultures, blending them into magical hybrids. By integrating stories of many differing, small ethnic groups, Thompson values their individual expression. ‘Shadows, like photographic and moving images, follow us and infiltrate our daily lives but are now the expression we control and project. They comfortingly hover around us and return us to our past and point to our future,’ commented curators Mundine and King. Shadowlife is presented by Asialink and Bendigo Art Gallery to assist in the development of a deeper understanding of contemporary Australian art and the multiplicities of Indigenous culture in Australia. BENDIGO ART GALLERY 03 5434 6088 www.bendigoartgallery.com.au Bindi Cole, Seventy Times Seven, 2011 (still), digital video with sound 10:21 minutes. Courtesy of the artist and Nellie Castan Gallery, Melbourne
Ivan Sen, Dust, 1999 (still), digital video with sound 25 minutes. Courtesy National Film and Sound Archive, Australia Antiques and
THE EMILY THE FIRST DEDICATED TO AN ABORIGINAL ARTIST
THE EMILY MUSEUM WILL BE
OFFICIALLY OPENED ON 6 MAY by
the Hon. Richard Alston Minister of Communications, Information Technology and the Arts 1996 – 2003 Australian High Commissioner to the UK 2005 – 2008
8 May until 2 June the museum will be open free of charge Monday to Friday 10am – 4pm and Saturdays 11am – 3pm
4th AGOD Auction on 9 June 2013 Auction viewing Wednesday 5 June – Sunday 9 June 10am – 4pm Session 1 starts 4pm Session 2 starts 7pm
www.agodauctions.com.au For museum hours from 11 June see www.emilymuseum.com.au The Emily Museum is fully sponsored by the Ebes Collection and the Aboriginal Gallery of Dreamings magine Amsterdam without the Van Gogh Museum. Established in 1973, it is dedicated to arguably Holland’s most famous artist, and instantly recognised by his first name only. Imagine Paris without the Picasso Museum, which opened fairly recently in 1979. Imagine Nice without Matisse? World famous museums dedicated to an individual artist, synonymous with the country of their birth, are major attractions to locals and tourists alike. The Van Gogh Museum alone attracts more than 1.5 million visitors annually.
Recessions come and go; however culture, art and music, literary masterpieces, architecture and history are what make us identify with the countries in which we were born or choose to live.
EMILY KAME KNGWARREYE (1910-1996) Aboriginal art is to Australia what Impressionism is to France, and the New York School of the 1950s is to the USA. From the formative days in the early 1970s when this oldest uninterrupted visual communication system was translated onto movable surfaces, it was recognised worldwide as a major art movement that put Australia firmly on the international art map. Of the many highly acclaimed superstars of the Aboriginal art movement, now 40 years old, none shine as brightly as Emily Kame
Kngwarreye. Volumes have been written by academics, art critics, curators and historians about her genius and uniqueness. The first solo international exhibition of Emily’s works was in my birth city of Amsterdam. Held in the 13th century Oude Kerk (‘Old Church’), Amsterdam’s oldest church, the exhibition was hailed as a blockbuster and worthy of being exhibited in the city’s world famous Stedelijk Museum of Modern Art. Similar sentiments were expressed by the international press after
Emily represented Australia at the Venice Biennale in 1997. Emily died in September 1996. Six years later in 2002 The Emily Museum was registered, the first museum to be dedicated to an individual Aboriginal artist and, another decade later, in 2012, we opened the doors to the public for a preview at our factory / warehouse in Cheltenham, Victoria, where the Ebes and Nangara collections (comprising over 800 Aboriginal art works) are stored when they are not travelling or being exhibited.
MUSEUM EMILY KAME KNGWARREYE 1910 - 1996 for more information visit www.emilymuseum.com.au
Above: The Emily Museum mezzanine
INTERNATIONAL ACCLAIM Emily’s last major exhibitions were in 2009, instigated by the Japanese Museums of Osaka and Tokyo where 106,000 visitors in Tokyo saw the show in six weeks. Emily’s arguably most acclaimed work and one of the last she made in a series radically different from previous styles, known as the Last Series, featured on the front cover of the sold-out catalogue. After returning from Japan in 2010, the series was shown at the National Museum of Australia in Canberra. I spent a couple of weeks travelling throughout Tasmania with the then Director of the Rijksmuseum and former Director of the Van Gogh Museum, Professor Ronald de Leeuw and Dr Simon Levie, former Director of the Rijksmuseum. Both prominent figures of the international art world, they were in
Australia as a result of their involvement with the legendary Rembrandt exhibition of 1997/98 and were guests of Art Exhibitions Australia. Both had visited Australia several times, loved the country and especially Aboriginal art following an initial introduction to it at the National Gallery of Australia. Dr Levie has acquired around 24 outstanding Aboriginal works over the years that we worked together, starting in 1987 during the organising of a number of exhibitions planned around the bicentenary in 1988. Their fascination with Aboriginal art was an unexpected surprise and the catalyst for lengthy conversations about art in general and the place of museums in society. Levie’s memorable speech at the opening in Amsterdam in 1999 was a highlight in one of the first chapters of the Emily saga.
Below: Emily 1994, painting The Wall
LARGE WORK FETCHED OVER $1M
INVITATION TO SPECIAL PREVIEW
The universal reaction was of awe and appreciation from every international museum curator, director and collector exposed to Aboriginal art. Most specifically the response was to Emily’s work featured in the many international travelling exhibitions we held of Nangara. The 5 x 15 metre Emily Wall (comprising 53 panels) and the Last Series convinced me to collect as many of her works as possible to form the basis of a dedicated museum in her name, before the cost of the works escalated and made the project prohibitive. Emily is the only female artist who received the Keating award in 1992 and one of her large works sold at public auction for a record $1,056,000 in 2006.
The official opening of the museum in Cheltenham will be in early to middle 2013 as we are refitting the exhibition space and producing a catalogue of the museum collection. While all this is happening we are open to the public for a special preview of approximately 200 of Emily’s wonderful paintings including her monumental Emily Wall. The museum has onsite parking and admission is complimentary.
THE EMILY MUSEUM
ustralia without the art of Emily…
Ahard to imagine!
Hank Ebes Director THE EMILY MUSEUM 0457 005 000 / 0419 329 886 firstname.lastname@example.org www.emilymuseum.com.au
The Emily Museum® and The Aboriginal Gallery of Dreamings
are located at
COMPLIMENTARY ON-SITE PARKING
11 – 15 Christensen St Cheltenham VIC 3192 For visiting hours see
www.emilymuseum.com.au Antiques and
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ARRAY OF OPTIONS To display this fine giftware, as well as desks, Schots offers a breadth of furniture options including display cabinets, side tables, extension tables, filing cabinets and coffee tables. You will find such items amongst a large array of other furniture as well as lighting, hardware, doors, fireplaces and bathrooms at Schots Home Emporium in Hoddle Street, Clifton Hill and at its Geelong store on Melbourne Road.
SCHOTS HOME EMPORIUM 1300 693 693 - Geelong 1300 774 774 - Clifton Hill email@example.com www.schots.com.au
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The French Fur niture Specialist Established 1984
‘ W h e re a t re a s u re i s w a i t i n g t o b e f o u n d ’
We have a good selection of French antique furniture at the best prices in Victoria
The best and most interesting selection of: • Antique furniture from France - England - Europe • French Clocks - Prints • Art Deco Figures and Clocks • Antique Ceiling Lights - Lamps • Mirrors - Paintings • English & Australian Silver & Silver Plate • Art Glass - Collectables • Estate and Costume Jewellery • Doulton - Beswick - Shelley • Wedgwood - Limoges Porcelain
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FRENCH HERITAGE ANTIQUES 03 9583 3422
68 Beach Road, Mentone Vic 3194
NOW TRADING FROM Mentone Beach Antique Centre 68 Beach Road, Mentone Vic 3194 Email: firstname.lastname@example.org Open: Thurs-Fri-Sat-Sun-Mon 11 am - 5 pm
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French Heritage Antiques
ANTIQUES BY THE SEA AT Mentone Beach Antiques Centre ur business run by Barbara and Michel has grown to become Mentone Beach Antiques, which now incorporates French Heritage Antiques, the French furniture specialists. Michel comes from Toulouse in the south of France and has been around French antiques for all his life. Michel and Barbara go to France each year to buy fresh stock. If you are a regular customer with a piece in mind, Michel will keep an eye open just for you. Barbara is a committee member of the Victorian Antique Dealers Guild Inc and regularly writes articles on aspects of antiques for trade publications. The double fronted shop is gloriously located directly opposite Mentone beachside, a bay side suburb 20 km south-east of Melbourne city with easy access by the Nepean highway in a
car. Train travel is relaxing for a day collecting trip taking in the seaside over summer and we are only a 15 minute walk from the Mentone train station on the Frankston line.
MORE DEALERS AT MENTONE BEACH ANTIQUES Mentone Beach Antiques houses several rooms of antiques and collectables. In addition to French antiques, several other dealers are now in the centre bringing in a wide range of antiques and collectables for collectors. Current furniture includes dining tables, sideboards, chest of drawers, beds, desks, and small occasional tables perfect for apartments. The styles and periods range from 18th, 19th and early 20th century, art nouveau and art deco, and come from French, English,
European, oriental and Australian sources. Suggestions for small items for travelling collectors to select are clocks, porcelain, silver and silver plate, jewellery and old ivory pieces. For the home, there is a wide selection of styles and sizes of mirrors and lighting. Art lover will be drawn to the array of paintings, prints, art glass and objets d’art. Select gifts from the wide range of jewellery, bags, compacts, perfume bottles and textiles such as fine old shawls that are now back in fashion. If you are downsizing, consignment goods are taken at very reasonable rates. We pride ourselves on giving the best price and service.
ESCAPE THE CITY
wares at Mentone Beach Antiques Centre. This is a gem of a shop and well worth an excursion. Open five days, from Thursday to Monday, 11 am to 5 pm. Michel and Barbara will be only too willing to help you find the specific item that you seek to collect.
An ideal way to spend a sunny afternoon is driving along Beach Road, stopping for lunch or afternoon coffee and cake at one of the excellent bayside restaurants, gazing at the deep blue sea and inspecting the fascinating
MENTONE BEACH ANTIQUES CENTRE 03 9583 3422 email@example.com www.antiquecentrementone.com.au
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, 11 am - 5 pm. Specialising in fine quality antique furniture, collectables and objets d’art. ‘Where a treasure is waiting to be found.’
2. MORNINGTON MORNINGTON PENINSULA REGIONAL GALLERY
Civic Reserve Corner of Dunns and Tyabb Road, Mornington 03 5975 4395 Open 10 am - 5 pm, Tuesday - Sunday Closed Mondays and some public holidays The region’s premier art gallery offers a dynamic program of nationally significant exhibitions of contemporary and historical art by Australia’s leading artists, together with acclaimed exhibitions focusing on the Mornington Peninsula’s rich cultural life. Recent memorable exhibitions have reflected on the work of the Boyd family, Arthur Streeton and Fred Williams.
6. SORRENTO SORRENTO AND FLINDERS FINE ART GALLERY
3. TYABB TYABB PACKING HOUSE ANTIQUES Mornington-Tyabb Road, Tyabb (opp Tyabb Railway Station) 03 5977 4414 Open 10 am - 5 pm, Thursday - Sunday This unique complex is Australia’s largest collection of antiques and collectables. Spend the day browsing, talk to the dealers, most have over 20 years experience. Visit the tea rooms then take a ride to the working craft village, art gallery and kiosk. Wheelchair and pushers available. Coaches welcome.
4. MT MARTHA MEADS ANTIQUES & COLLECTABLES The Clock Tower Arcade Shop 3, 34 Lochiel Avenue, Mt Martha 03 5974 8577 Open 10 am - 5 pm, Wednesday - Sunday We have an eclectic selection from the 1800s to the 1970s including unusual and interesting glass, china, toys, pictures, small furniture and jewellery. We buy and sell.
5. RED HILL MONTALTO VINEYARD & OLIVE GROVE 33 Shoreham Road, Red Hill Mel Ref: 256 B2 03 5989 8412 firstname.lastname@example.org www.montalto.com.au Open 7 days Montalto Vineyard & Olive Grove's 50 acre amphitheatre property is the ideal setting for wine, food, nature and art. Awarded the Top Winery Destination in Victoria 2006. The permanent outdoor sculpture collection can be enjoyed throughout the year with additional exhibitions. An acclaimed restaurant overlooks the property. Award-winning estate wine and olive oil for tasting at the cellar door.
WHITEHILL GALLERY Whitehill Road Red Hill / Dromana 03 5931 0146 email@example.com www.whitehillart.com.au Open daily 11.00-5.00 Peninsula Showcase Regular exhibitions featuring prominent artists in painting and sculpture, Angelo Quabba, Fiona Bilbrough, Carole Foster, Glen Hoyle, Annee Kelly, Rosemary Todman Parrant, Josephine Pititto, Malcolm Beattie, David Minton, Jessie Mclennan, Robert Ford, Caroline Graley, Rodney Symmons, Geoff Harrison, Susan Fisher. Sculpture Walk and Coffee Shop
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.
Gail Rutland Gillard
AUSTRALIAN ART FEATURED at Sorrento and Flinders Fine Art linders and Sorrento Fine Art promote Australian art. At both galleries a superb collection of local and interstate artists can be viewed, featuring those who have been painting from three to 50 years. Some of the artists have had sell-out exhibitions in Australia and overseas. Some have numerous publications while others teach, judge, hold workshops, and take tours overseas teaching art. Many have had successful exhibitions at these two beautiful peninsula galleries. Some of the artists shown at the galleries include: Fiona Anderson, David Brayshaw, John Bredl, David Chen, Craig Davy, Jim van Geet, Gail Rutland Gillard, Ron Hancock, Regina Hona, Ivars Jansons, Kendall Perkins, Chris Kandis, Annee Kelly, Lyn Mellady, JoAnne Seberry, Tamara Sewoff, Rodney Symmons, Rosemary Todman Parrant, Charlie Tong, Robert Wade, Linda Weil, John Whitelaw, and John Young. Both galleries showcase beautiful handmade Australian jewellery, along with a wide range of crystalline ceramic vases and platters by John Stroomer. To receive invitations to upcoming events and exhibitions as well as to find out what’s on and what’s new at these two prestigious galleries, get on the database.
FEATURED ARTIST: CRAIG DAVY Craig Davy started exhibiting at Flinders and Sorrento Fine Art Gallery three years ago. At this time Craig had only been painting for one year. With his first show he won a major award, and up till today Craig has received a total of 35 awards. His awards have come from notable judges including Jon Dwyer, Colin Johnson and Raelene Sharp. He has also held two successful exhibitions. Craig’s work is now held in many private and overseas collections. Painting the local peninsula, Craig captures the beauty of the sea in his unique style. Painting in oils he applies big broad brush strokes. His paintings feature bold colours and minimal subject matter so the viewer’s eye is drawn in, slowly exploring his painting. The finished result is a painting which flows beautifully and has a certain calm yet confidence. However, Craig’s talent is not limited to seascapes and landscapes alone; he has also exhibited some figurative works which have been very well received. Craig showcases new works at Sorrento and Flinders Fine Art Gallery on a regular basis.
next door. Found at the beginning of the shopping strip, the gallery offers parking all around. Flinders Fine Art Gallery is situated opposite the Flinders Hotel at 10/33 Cook St and has parking out the front. Both galleries offer home viewing, layby, wedding register and commissions as well as Australia and worldwide shipping. Please phone for opening hours, and keep up to date with what is happening by visiting our website.
PENINSULA GALLERIES Sorrento 03 5984 3880 Flinders 03 5989 0889 firstname.lastname@example.org www.peninsulagalleries.com.au
DIRECTIONS TO THE GALLERIES Sorrento Fine Art Gallery is easy to find. Located at 3301 Pt Nepean Rd, it sits opposite the bay beach and Koonya Hotel, with a café
Craig Davy Antiques and
Late 18th century Tabriz, 297 x 260 cm, not a complete rug. This rug was found in Iran. Private collection
Restored antique Tabriz rug, c. 1900, 510 x 320 cm
THE MAJID COLLECTION CONTINUES THE SERIES ON PERSIAN CARPETS The traditions and types of Tabriz rugs Silk Tabriz, c. 1940. Private collection
With Tabriz rugs, the word ‘raj’ is used instead of KPSI. This is the number of knots across 6.99 cm (2.75 inches) of a rug. Rugs found in Tabriz markets start at 35 raj or about 162 KPSI, and the best Tabriz rugs go up to an astounding 110 raj.
IDENTIFYING TABRIZ CARPETS Carpet making is a prized tradition in Tabriz, with weaving techniques passed on from one generation to the next. Common colours of Tabriz rugs are cream tones contrasted with red and navy blue. Their designs range from ornamental patterns to images of magnificent animals like birds and lions, to inspired renditions of history such as battles and other momentous events. Tabriz rugs boast a wide range of other interesting subjects including that of medallions, figures and pictures. Indeed, each Tabriz rug has a beautiful story to tell. It is no wonder the rugs are such prized possessions.
Another famous type of Tabriz rug is the Dord fasil which translates to four seasons. Thus these rugs depict the four seasons of autumn, winter, spring and summer in their design and tell the story of how peasants live and work during each of them. Dord fasil rugs are known for their independent yet harmonious designs, tied together by a beautiful story in red and gold hues.
THE GOLDEN ERA
It was during the 12th to the 16th centuries that the art of the Tabriz rug reached its peak. During this time, Tabriz rugs reflected excellent standards in craftsmanship. The golden era produced almost 200 masterpieces that reflected a consolidation of weaving techniques and renditions of small paintings. hey say that no two finger prints are the same. Each print is unique and different from those found in the billions of hands around the world. Just as each hand is different, so is the magic it makes when creating art. Indeed there is a unique quality to all things handmade. Even if a design may look the same, a closer view will reveal differences in a multitude of ways. Since ancient times, Persian rugs have been valued commodities. Each one is a handknotted piece of art that tells the story of a time, season, and history. Depending on certain elements, a high-quality Persian rug can go for thousands of dollars.
HISTORIC CITY OF TABRIZ Thousands of years ago, a city in Iran was hailed as the rug-making centre of the world.
This place is Tabriz, one of the largest and most historical cities in Iran and the capital city of the east Azerbaijan province. It has kept this tradition continuing. Tabriz is still one of the world’s leaders in the production of Persian rugs – renowned for quality, design and excellent craftsmanship.
UNDERSTANDING QUALITY A photo taken with a digital camera will obviously be of better quality than a photo taken with a mobile phone. The more megapixels, the clearer and more defined an image will be. The same goes with rugs. KPSI or knots per square inch is the measurement of how finely woven a rug is. You can see the number of knots simply by turning the rug over. The more knots there are, the more intricate the rug is.
crafts, designs and talent of its people. The people of Herez began weaving in an unusual carpet pattern that is almost jagged and dotted, different indeed from the lachak turanj. Some say that the pattern is made from weavers’ memories rather than copied from a sketch which is how other Tabriz rugs are made. Herez carpets, which feature a medallion pattern and dominantly red hue, are popular today. However older rugs are known to carry blue, beige and turquoise tones. All the Herez varieties are distinguished by excellent craftsmanship and fine knots.
MOST POPULAR TABRIZ RUG DESIGNS To understand Tabriz rugs fully, it’s worth reviewing some of its most popular types. First is the lachak turanj, a harmony of patterns and curves. In Persian, lachak means triangle and turanj means citron. These rugs are characterised by the turanj in the middle which symbolises the moon, while triangles mark the corners of the carpet. From the image of the moon, grid-like patterns called lozenges extend out to symbolise fish that seem to reach out to the glory of the moon at midnight. This beautiful rendition took inspiration from Oriental poets during the ninth and tenth centuries.
HEREZ PATTERNS From the village of Herez in the north east of Tabriz come carpets which represent the rich
FOUR SEASON PATTERN
Some types of Tabriz rugs feature trees and bushes at the centre of the carpet. The trees are each woven with a distinct appearance and incorporated with designs that depict poetry, love scenes and wide range of events.
OWNING A PIECE OF ART The art of rug-making in Tabriz is truly a prized tradition. Tabriz rugs are usually woven with wool, while very fine rugs are made from strong cotton thread or silk thread. Each one is hand-knotted, adding a unique and distinct value to each beautiful piece. One can expect that each design comes with history, carefully made by the craftsman while preserving the patterns passed on by his or her mentors. Tabriz rugs make elegant additions to any home. Each Tabriz rug, whether antique or newly made, is like owning a piece of art. But instead of brush strokes, you have handmade knots that are part of the rich culture of Persia. Majid Mirmohamadi THE MAJID COLLECTION 03 9830 7755 email@example.com www.majidcarpets.com
Mornington Peninsula Regional Gallery
HOSTS THE ARCHIBALD 8 June – 7 July ne of Australia’s most highly profiled events in the art calendar, the Archibald Prize exhibition is coming to the Mornington Peninsula for the first time. The Mornington Peninsula Regional Gallery will be the only venue in Victoria to present this popular exhibition in both 2013 and 2014.
debate have focused on the evolving definitions of portraiture. The exhibition continues to attract record audiences and once again will showcase a roll-call of emerging and established artists and their newly-created depictions of renowned Australians.
Below left: Ben Quilty, Margaret Olley, 2011. Archibald Prize Winner. Image courtesy Art Gallery of NSW Below right: Raelene Sharp, A strength of character, 2012. Packing Room Prize Winner. Image courtesy Art Gallery of NSW
SPECIAL EVENTS During the showing of the Archibald Prize 2013, there will be refreshments in the chic marquee, special viewing opportunities and lots of fun events for the broader community. For priority entry, tickets can be prebooked online at MORNINGTON PENINSULA REGIONAL GALLERY 03 5975 4395 firstname.lastname@example.org http://mprg.mornpen.vic.gov.au
PRIZE HISTORY Commencing at the Art Gallery of New South Wales in 1921, the current prize of $75,000 is awarded annually to the best portrait, ‘preferentially of some man or woman distinguished in art, letters, science or politics, painted by any resident in Australasia’. Often controversial but never dull, this iconic award has been awarded to many of Australia’s most prominent artists including George Lambert (1927), William Dobell (1943, 1948 and 1959), Brett Whiteley (1976 and 1978), William Robinson (1987 and 1995), Ben Quilty (2011) and Tim Storrier, with his 2012 winner, The histrionic wayfarer (after Bosch). The Archibald Prize was established to give portrait artists an opportunity to have their work shown in a major gallery thereby fostering portraiture as well as perpetuating the memory of great Australians. While chronicling the changing face of Australian society, numerous legal battles and much Antiques and
EMMA ANNA MATT CALVERT BOZO INK: CAMERON BISHOP & DAVID FITZSIMMONS DANIEL CLEMMETT EWEN COATES AUGUSTINE DALL’AVA ROBERT DELVES DAMIEN ELDERFIELD & LANI FENDER TROY EMERY ANTONIA GOODFELLOW MATTHEW HARDING WILL HEATHCOTE DAVID JENSZ GREG JOHNS CHACO KATO JOHN KELLY CHRISTOPHER LANGTON MICHAEL LE GRAND IAN LOITERTON LUCAS MADDOCK & ISAAC GREENER
McCLELLAND SCULPTURE SURVEY & AWARD 2012 18 NOVEMBER 2012 – 14 JULY 2013
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 JUD WIMHURST
Exhibitions to view at McCLELLAND GALLERY + SCULPTURE PARK MCCLELLAND SCULPTURE SURVEY & AWARD 2012 Until 14 July cClelland is pleased to announce that the McClelland Award 2012 acquisitive prize – valued at $100,000 – was awarded to Greg Johns for his work At the centre (There is nothing). The McClelland Award 2012 was judged by Deborah Edwards, senior curator of Australian art at the Art Gallery of New South Wales. The McClelland Achievement Prize (MAP) was awarded to Christopher Langton for Away with the fairies. Valued at $30,000 (non acquisitive) MAP includes a solo exhibition of the artist’s work at McClelland during the time of the subsequent McClelland Sculpture Survey in 2014. The Frankston City People’s Choice Award – valued at $20,000 – will be announced in June 2013 and will be awarded to the artist who receives the most votes from the public.
MADE IN CHINA, AUSTRALIA 17 March to 9 June Presenting the work of 16 Chinese Australian artists, Made in China, Australia brings into discussion ideas that surround the meeting of these different cultures and how these experiences have impacted and shaped the work of each artist. This exhibition presents the work of contemporary artists across a range of mediums and disciplines, genders and generations. Some of the artists in the exhibition were born in Australia, others have travelled here in the past while some are recent arrivals. This exhibition
highlights the subtle differences that arise in each artist’s work due to their unique relationship with both cultures. A Salamanca Arts Centre exhibition on the CAST Touring program, Made in China, Australia includes the work of Tony Ayres, Shuxia Chen, Clara Chow, Lindy Lee, Kevin Leong, Owen Leong, Pamela Mei-Leng See, Chen Ping, Jane Quon, Aaron Seeto, Jason Wing, Liu Xiao Xian, Zhou Xiaoping, William Yang, John Young and Tianli Zu. It has been curated by Greg Leong. This exhibition is supported by the Contemporary Touring initiative, an Australian Government program, and the Visual Arts and Craft Strategy, an initiative of the Australian Government and the state and territory governments. The project is also supported by the Australia Council and through Arts Tasmania by the Minister for the Arts.
MOMENTUM 17 March to 9 June This exhibition explores artists’ use of the body in various states of action and transition. Caught between real and imagined worlds, figures are held aloft in a moment of time and space while others are captured in curious states of motion and play. Mass crowds represented in Simon Terrill’s Swarm and Anne Zahalka’s Cole Classic II break down the boundaries that exist between individual identities, leaving transitory patterns of movement in shared social spaces. These works are drawn from McClelland’s permanent collection and highlight some of its recent acquisitions including the intriguing
and humorous Cottage Industry:Bawdy Nights by Callum Morton. Commotion and drama take centre stage in this work through the raucous sounds of partygoers emanating from within a miniaturised version of Captain Cook’s cottage. This exhibition also features works by contemporary Australian artists who utilise in situ performance, photography, soundscapes and sculpture as agencies to explore the body in motion.
AIR BORN 23 June – 6 October Air born brings together a vibrant collection of contemporary artists’ work who, through their varying artistic disciplines, are inspired by birds, either as a subject or who emulate through their work aspects of avian habitats and rituals. Birds have played a vivid role in the conceptual and spiritual life of many cultures. Air born inspires an exploration of these cultural traditions and symbology by unravelling varying ideas surrounding birds and our interaction with them. The themes presented in these works traverse art and cultural history as well as ideas of adornment, volatility, migration, environment, place and identity. This exhibition accompanies Nest: The Art of Birds to celebrate the importance of birds and revere the often overlooked marvels of their intricate and beautiful existence.
NEST: THE ART OF BIRDS 23 June – 6 October What are nests if not art created by nature? Guest curator Dr Janine Burke has devised an exhibition which explores the beauty, ingenuity and originality of birds’ nests – from
magpies to honeyeaters, from chaffinches to parrots, from hummingbirds to African weavers. Sourced from the collections of the Melbourne Museum and the London Natural History Museum, these exquisite constructions reveal the lives and habits of our closest wild neighbours. They tell the story of birds’ survival and adaptation to our ecologically fragile planet. Nest displays the architectural skill of birds, their consummate ability to make work that is both delicate and durable, as well as the astonishing array of materials they use. This exhibition invites audiences to connect with nature in a new way – to observe nests in all their resourcefulness, diversity and elegance. For more information contact MCCLELLAND GALLERY + SCULPTURE PARK 03 9789 1671 www.mcclellandgallery.com
FRANKSTON Hona (Alice Bale Best Work on Paper 2011) and the superb works of Rosemary Todman Parrant (Royal Overseas Open Award, Alice Bale Oil Painting award, Alice Bale Best Work on Paper, Best Pastel at the Camberwell Rotary Art Show), Dawn Stubbs (Black Swan Portrait Prize 2012), Shelea Neighbour, Cherry Mandis and several others. The accent will be people, not all portraits, although it would be an excellent time to check out the artists who do commissioned portraits. The artists may feature the people as larger than life, an integral part of a landscape or however the artist wishes to integrate their subject.
Vivi Palegeorge, Cyclists Rendezvous, oil
Terrianne Murray, Mitch, wax and charcoal
Robert Knight, Oceanside, oil
BRIALYN BOATHOUSE GALLERY upcoming exhibitions I
FRESH VISION This opened the way for a completely fresh start. Brian and Lyn Mellady took on the challenge and re-opened the gallery as Brialyn Boathouse Gallery in 2011.The Kananook Creek Boathouse Restaurant, now beautifully refurbished, has also re-opened. Originally from Sydney, Lyn was aware of leading artists who had not yet put their work into Melbourne galleries. A quick trip north up the eastern seaboard, then across to the open plains of Hay in NSW secured these artists before locating this wonderful site closer to home. You can now enjoy the work of 50 nationally acclaimed artists including Raelene Sharp, Robert Knight, Regina Hona, Bill Caldwell, John Bredl, Michael Goff, Glenn Hoyle, Angelo Quabba, Julie Goldspink, Di King, Hans Van Vlodrop, Elena Kolotusha and many more. Also get to know the work of Gary Laird, Grace Paleg, Metka Skrobar and Chris McClelland. Lyn chooses each artist carefully. The gallery is an extension of her way of life and Lyn brings knowledge from both the art studios and the gallery walls. For 12 years she has been invited to judge art shows across Victoria. You may know of her as she has been a professional artist herself for over 20
years and she still shows her work. Lyn has taught art and given workshops across Australia, worked with galleries in Sydney and in Melbourne and is an ex-president of the Australian Guild of Realist Artists (AGRA). To become a member of this art guild, artists have to be of exhibition standard and are challenged to develop and promote their art in a professional and ethical way. Brialyn Boathouse is a features gallery where the visitor will be treated to both an indepth look at an artist’s latest work or see the different responses that artists have on a similar topic, however this approach doesn’t relegate other artists to lesser showcases.
JUNE – JULY – People in Art With the Archibald visiting the Mornington Peninsula this year, the Brialyn Boathouse Gallery will extend the awareness of the impact of people as an integral part of the art landscape. People in Art will bring a superb line-up and eclectic mix to the walls. We feature nationally celebrated artists. Raelene Sharp, who won the 2012 Archibald’s Packing Room award and in 2007 won the $30,000 Shirley Hannan Portrait prize. Joseph Attard, Terrianne Murray and Di King (Mortimer Award winner 2012) each of whom has won the Australian Art Excellence Medallion together with Regina
This is art to enjoy now as well as heirlooms for the future. For more information contact BRIALYN BOATHOUSE GALLERY 03 9770 6119 / 0405 654 110 www.boathousegallery.com.au
EXHIBITIONS AT A GLANCE APRIL showcases the impressionistic oils of Robert Knight, winner of multiple awards including the Australian Art Excellence Medallion. Robert’s control of focus and lost edges satisfies the viewer yet leaves space for one’s imagination to explore. He is an example of an artist who has control of the traditional skills of an artist, who chooses just what he needs to bring a fresh, bold work to life. MAY shows the world as seen by Vivi Palegeorge. Her degree and work in microbiology and immunology has been left far behind. Her proximity to the sea and natural beauty of Bayside inspired Vivi to consider her primary passion – to paint. Working in watercolour, acrylic and oil, be it Bayside and water, city and streetscapes, rural or flowers, it is the play of light that is her inspiration.
9 – 28 APRIL
People in Art
18 JUNE – 14 JULY Julie Goldspink
Brialyn Boathouse Gallery 368 Nepean Hwy Frankston Raelene Sharp, The Red Sash, oil
6 – 25 AUG
Elena Kolotusha & Grace Paleg 20 AUG – 8 SEPT
Vivi Palegeorge 7 – 26 MAY
Lesley Barrett, Under Savannah Sky, scratchboard
SEPTEMBER will feature the stunning works of Julie Goldspink.
Elena Kolotusha, Shells of the Day, pencil and pastel
t is rumoured that this 1930s house was once a house of ill repute. It closed. It then became a thriving art gallery in front of the Boathouse Restaurant in Frankston. In June 2011 both closed.
AUGUST – Lesley Barrett Lesley Barrett has foregone sales to gather together her first exhibition of incredibly intricate scratchboards. This has been a difficult task. Although Lesley has been an artist for many years, when she discovered scratchboard, the world discovered Lesley. Scratchboarding is a painstakingly slow process so it will be a privilege to see the resultant exhibition. This will be overlapped by works from this year’s Medallion exhibition by the current Medallion winners Elena Kolotusha and Grace Paleg. This is work that has to be seen to really appreciate the super realism that Elena presents and the prismic light and shadows that feature in Grace’s pastels and oils.
17 SEPT – 6 OCT
Tues to Sun 10am – 5pm
03 9770 6119
www.boathousegallery.com.au Antiques and
IDENTIFYING EARLY MEISSEN FIGURINES n the first few years of the fledgling Meissen factory, a crisis emerged; their amazing new discovery, porcelain, was a very valuable product both in the marketplace for luxuries, and as a prestigious gift to buy political influence for the patron, Augustus the Strong, Elector of Saxony and King of Poland. However, what were they to make?
MEISSEN PORCELAIN FACTORY On 15 January 1708, Johann Friedrich Böttger (1682-1719) fired the first successful samples of true white porcelain and the Dresden porcelain factory was established in 1709 and was then moved to Albrechtsburg in Meissen. The earliest pieces were simple: small tea bowls very similar to the highly desirable Chinese porcelains imported at great cost. Very soon, non-Chinese elements crept in, such as applying acanthus leaf moulding to the outside. Larger vases were attempted, as well as shapes such as teapots and jugs, and they all had a common theme: they echoed the German taste for the Baroque, that northern European taste for the dramatic and exotic.
EARLY FIGURES Into this period fall a group of figures we have assembled over the years. Known as Böttger figures due to the distinct porcelain body they are made from, they are extreme rarities, dating from 1715-20. Meissen had an interest in producing figures from the very beginning, as a part of the decoration for the lavish table settings typical of the 17th and early 18th centuries. These were traditionally made from sugar, which didn’t last for many uses; porcelain was the perfect replacement. Table settings often had themes. Our figures appear to belong to three distinct themes: first, and most interesting, is a tall man in a broad brim hat. He bears a very rare early version of the famous crossed swords mark of Meissen, which first appears shortly before 1725 and was quickly discarded, allowing us to date this figure to circa 1725. Very few of these figures exist; when described, they are often called ‘beggars’.
GYPSY FIGURE However, a recent discovery reveals a probable graphic source for the figure which removes him from the dubious world of begging and places him into the romanticised world of the Gypsies – a much more
appropriate theme for the table of the gentry! The source is by the esteemed French engraver and etcher, Jacques Callot (1592/31635). He was a fascinating character of the early 17th century, and is said to have run away at a young age with a band of ‘Travellers’ – the nomadic gypsies who roamed as they wished through Europe. He created a series of four prints on the subject in around 1621, titled Les Bohémiens, and in one, the first figure in the long procession of travellers on the road is very similar to our porcelain figure. The boots, the long hair, and the hat match; his left hand, which was always assumed to be a beggar’s plea, suddenly makes sense, as it supports a long thin barrel of a gun hefted over the gent’s shoulder – an impossible feat to produce in porcelain at this time, so they have left it out.
RARE EARLY COMMEDIA DELL’ARTE FIGURE
DWARF FIGURE This discovery came about while researching the next figure for our 2013 catalogue. He represents our second theme – a previously undescribed set of the continents. He is a dwarf, of a type often called Callot figures, as once again a series of engravings dating to the early 17th century were the source for both painted and moulded productions. However, after an exhaustive search of the recorded Callot engravings (there are literally thousands of them!) we were unable to find a suitable source to which to attribute this particular figure. The first unusual feature you notice is his skin. It’s a pale reddish colour, giving a strong clue to his identity. We know this shiny surface from early Meissen teawares, which we call Böttger lustre. Identical figures exist with thick black enamel to the skin, representing Africans; our figure, therefore, is surely a redskin Indian, representing the Americas. Interestingly, a female example exists and curves in a complementary direction making a perfect pair, perhaps from a long-divided set of the continents. An interesting clue comes from the factory records, which in around 1725 refer to ‘nationen’ – people of different nationalities – and includes Zwergnationen, dwarfs of different nationalities. Very few seem to have survived. There is a figure representing Africa in the Blohm Collection (1953, #129). The figurine has black enamel skin colour and stands on a Right: Meissen mark in a pale Böttger lustre
Meissen figure of a Gypsy, c. 1715-20
interesting Meissen Böttger pagod figure with the same pale lustre to the face exists, and is attributed to the workshop of Johann Aufenwerth of Augsburg.
Meissen commedia dell’arte figure, c. 1720
hexagonal base. The dwarf as an American Indian is also set on an octagonal base and a perfect partner for this African figure. Another unusual feature is the odd trace of a painted surface. High magnification reveals traces of colourful enamels, with a yellow ground to his cloak painted with scattered red flowers, the feathers in the headdress alternating yellow and red, and bright yellow boots. As a fragile lacquer surface put on cold, such a surface was easily removed by merely washing, and so rarely survived. Underneath is a mark, a large ‘G’ in a pale Böttger lustre. A number of such letters have been recorded and are linked to the decoration, often of simply gilding. Older books describe this as a ‘fired ink’ mark, which is wrong. It is actually a lustre, achieved by firing massively diluted gold. Such a mark also puts it into an interesting category of products, pieces that were sold by the Meissen works in the white and decorated in workshops in nearby Augsburg. Many of the beautifully gilded teawares from early Meissen were decorated there, the gold significantly enhancing their value. An
Meissen dwarf figure of an American Indian, c. 1725
Our gypsy figure has escaped this fate and remained white; the next figure has not. He is from a third theme, that of the commedia dell’arte. This very popular entertainment was widespread through Europe for much of the 18th century, and was varied and evolving in its nature. We know it best by its English descendant, the Punch & Judy show, but in the European courts, it had many more characters and themes played by actual characters, not puppets. This figure is the earliest porcelain example from this theme, and has been variously described as Harlequin, Scaramouche and Beltrame, but is most probably The Captain. His extremely baroque pose is most probably the work of a sculptor outside the Meissen factory, and researchers have pointed out the similarity to ivory carvings produced in Augsburg. Intriguingly, a reference in the factory records for 1725 refers to 161 plaster models being purchased from an Augsburg studio, and this figure could be from this source. Unmarked and dating to the early 1720s, it has left the factory in the white, and travelled to Augsburg where it has been gilded to enhance its value. These figures represent the first endeavors of the Meissen firm to produce figures, something they were to become very famous for within a few decades. At this early period, however, they were not the ‘pretty’ figures we think of when we speak of Meissen figures – but they are most definitely the rarest, representing the pioneering years of the first porcelain factory in Europe. Paul Rosenberg MOORABOOL ANTIQUE GALLERIES 03 5229 2970 www.moorabool.com
Jacques Callot (1592/3-1635), Les Bohemiens, c. 1621, engraving
William Duke, Geelong from Mr Hiatt’s, Barrabool Hills, 1851
S.T. Gill, Market Square, North side, Geelong, 1857
Arthur Streeton, Ocean blue, Lorne, 1921
Impressions of Geelong – a portrait of the city and its region 18 May – 25 August rawn largely from the extensive holdings of the Geelong Gallery collection, this exhibition presents over 150 years of artistic interpretations of the historic port city of Geelong and its surrounding districts. Through paintings, drawings, prints and photographs Impressions of Geelong surveys the development of the city from the period soon after European settlement to more contemporary times, while also highlighting the natural beauty and geographical diversity of the surrounding region that has long been an inspiration for artists. Deriving from the names originally assigned by the region’s indigenous inhabitants – Jillong and Corayo – the township of Geelong was surveyed in 1838. Several of the earliest images on display dating to within a decade of this significant milestone, record the progress of the resulting settlement nestled on the foreshore of Corio Bay. The exhibition encompasses five themes: sweeping vistas from afar; the city, its buildings, gardens and waterfront; the Barwon and Moorabool Rivers; the distinctive profile of the You Yangs; as well as the picturesque bay and nearby coastal locations. Eugene von Guérard’s View of Geelong of 1856 is the focal point of the display. The panoramic vista captures in minute detail an historic view of the township from the Barrabool Hills, taking in the distant You Yangs, a steamer on the bay, the bullock team in the foreground, the deeply-cut valley of the Barwon River, and fields under cultivation. All are represented in a manner that recalls
the German Romantic approach to art. A similarly elevated vantage point was adopted by William Duke some five years earlier in his painting Geelong from Mr Hiatt’s, Barrabool Hills (1851). Indigenous figures in the foreground are an acknowledgement of the traditional owners of the land, although seemingly displaced from the progress below. Artists including John Skinner Prout, Henry Winkles and Edmund Thomas also created early views that were reproduced in printed formats for wider circulation. S.T. Gill was a prolific chronicler of activities in the colonies of South Australia, New South Wales and Victoria. A number of his published lithographs and engravings of the mid-to-late 1850s depict daily life in the township of Geelong and outlying areas. The city’s formative streets, buildings, gardens and port were the subject of watercolours by Alexander Webb and William Tibbits as were the early photographs by Fred Kruger and the Brookes’ Photographic Union. The Barwon River and Moorabool River provided inspiration for a number of early works, the most significant of these in the gallery’s collection being Eugene von Guérard’s painting of 1860, Mr Levien’s hut on the Barwon in which the golden glow of morning light casts across the fertile landscape adjacent to the Barwon’s banks. Images by Geelongbased photographer Thomas Washbourne, taken only a decade after von Guérard’s interpretation of the landscape, handsomely complement the painter’s artistic vision. The geographical landmark of the You Yangs has been an enduring subject for artists as evidenced in the range of works in the exhibition. A rare and newly-acquired
watercolour by the 19th century surveyor Robert Hoddle, depicts the unmistakable profile of the land formation in the distance. Closer representations of the topography are by RW Sturgess, Fred Williams and Laurie Wilson. Aerial perspectives by Lina Bryans and Margot Smith-Armstrong offer a different view. Described in a 1930s promotional poster by James Northfield as ‘The city with a holiday charm’, the waters of Corio Bay feature in many depictions of Geelong as both a site of industry and leisure. Similarly, the surrounding coastal townships of Queenscliff, Clifton Springs and Lorne have been depicted
by many artists. A recent acquisition, Arthur Streeton’s Ocean blue, Lorne (1921) is a stunning example of the coastline’s natural beauty and appeal. Images inspired by Geelong and the region from the Gallery’s collection are complemented by a range of rare photographs from the Geelong Heritage Centre and select works from private collections. Geelong Gallery is open daily from 10 am to 5 pm. Admission is free. GEELONG GALLERY 03 5229 3645 www.geelonggallery.com.au
Miles Mason Urn c.1810 hand-painted and gilded porcelain Collection: Geelong Gallery Dorothy McAllister Bequest Fund, 2012
Painted porcelain— decorated British ceramics 1750 –1850
27 April to 8 September
Free entry Open daily 10am – 5pm Guided tours of the permanent collection Saturday from 2pm
Richly-decorated forms featuring traditional floral and fruit motifs, landscapes, mythological scenes and rural vignettes, from well-known producers such as Worcester, Coalport and Derby, along with rare works from smaller potteries. Drawn from the Gallery’s permanent collection this exhibition also includes a selection of recent acquisitions.
Little Malop Street Geelong 3220 T +61 3 5229 3645
Eugene von Guérard, View of Geelong, 1856 Antiques and
WELCOME TO THE WORKSHOP Sharing in a special day at Pegasus Antiques with the arrival of a fresh container egasus Antiques is a family owned and operated antique business that was established by my father Ken Duggan in 1983. For over 30 years Ken has worked tirelessly with great vision to be one of Australia’s largest sole antique furniture dealers and, without doubt, oversees the most amazing showrooms, featuring a Tudor style village housed in one of Geelong’s historical woollen mills. I would like to invite Antiques and Art readers to share a very special day at Pegasus Antiques. After months of organising, we received our first container for 2013 of antique furniture from our last buying trip in southern Scotland and northern England.
EXCITING TIMES The week leading up to receiving the container was such an exciting time at Pegasus. We spent days moving furniture around our huge warehouse and showrooms to make way for the new items. I was particularly impatient because I only saw photos of the furniture that my dad Ken had taken. He printed out the photos shot on film – I am sure the last man on earth to use film rather than a digital camera! I had heard so much about the furniture that I couldn’t wait to finally unload it and discover it for myself. The container was set to arrive on a Tuesday, predicted to be 35 degrees, so it was going to be pretty warm in the container by the end of it. We have an experienced team to help us
unload, with wonderful friends and colleagues, and any family we can talk into helping us. Unloading a container is incredibly physically demanding, but also requires a great degree of delicacy as our packer in the UK is the very best and packs it so fantastically tight that nothing moves (or breaks) on the long journey over. However, this creates difficulty with knowing where to start. Slowly, slowly we made our way through and all were enthralled by each piece that was unwrapped, and discovered new favourites in the process. As the exchange rate was incredibly good, Dad was able to buy some of the finest furniture we have ever been able to purchase, including quite a lot of Georgian pieces that would have previously been beyond our budget.
PEGASUS ANTIQUES GEELONG COME AND SEE OUR COMPREHENSIVE WEBSITE
WWW.PEGASUSANTIQUES.COM.AU PHONE 03 5221 8290
CONTAINERS JUST ARRIVED 58
The moving continued with a lot of groaning and moaning, but we were all swept aside by Dad who was reinvigorated on sighting one of his clocks. With each piece that was moved out, we were told by Ken to ‘be careful’, delivered with a quick story of where he bought it and how rare the piece is. Of course the last piece of furniture in the container proved to be the heaviest and took all six of our tired and sore team to lift out. After that the real fun began – putting all the pieces back together again – an exercise in logistics. We matched up tops to bases, carvings to furniture, doors to cupboards, etc. Most are labelled when they are loaded in the UK, however we also have to go through the giant box of ‘bits’ that includes screws, keys, handles, moulding – and the list goes on. That easily took the rest of the day. The remainder of the team called it a welldeserved end to a long day and Dad and I shut the doors and then walked around and talked
about every individual piece: where it came from, how we were going to restore it, who we had in mind for it, and of course each the very best one dad had ever seen. In the coming weeks and months, we look forward to French polishing and waxing all our new magnificent finds, piece by piece. We are now eagerly awaiting the arrival of two containers from France due to arrive in mid April. We invite all readers to our shop to come and explore our new arrivals and to share in the delight we experience with these wonderful pieces – it is truly infectious. For more information please contact Joel Duggan PEGASUS ANTIQUES 03 5221 8290 email@example.com www.pegasusantiques.com.au
From left: Craig Penny Lucyna Opala Jan Woodman Jacki Burke
Featured artists and exhibitions
AT EAGLES NEST GALLERY LOCAL ATTRACTIONS he seaside town of Aireys Inlet on the Surf Coast has become an important destination for tourists looking for something a little different. It offers spectacular natural features including sandy beaches, a picturesque river valley and the Great Otway National Park as a backdrop, all mostly within walking distance. This pristine environment is not the only attraction. A vibrant and exciting arts scene has attracted more and more visitors over the last few years. Aireys Inlet has also become known for its live music scene, flourishing literary hub and wonderful array of artists.
ABOUT THE GALLERY The Eagles Nest Fine Art Gallery is proud to showcase an ever-growing number of established and emerging artists mostly from the GeelongOtway Region. The eclectic collection includes: original contemporary and traditional paintings in oil, acrylic, pastel and watercolour; sculpture; woodwork; ceramics; studio glass; and stunning hand-crafted jewellery. The artworks often reflect the local area, portraying seascapes, the Surf Coast and the Otways. Small works of art are great for that special gift or souvenir of your visit. The gallery building itself is a testament to innovative architecture. Set in a beautiful garden surrounded by huge ironbark trees, the internal spaces take you on a journey, exploring aesthetically pleasing images and objects of art.
CRAIG PENNY: GREAT SOUTHERN LAND 23 March – 20 April ‘I like to think that to paint a successful painting is not so much to have tamed the beast, rather to have been taken along for the ride and still be
there at the end of the experience. For me painting is like life … giving yourself enough skill, knowledge and integrity and then letting yourself free to take what is thrown your way. You don’t need to tame and control it for magic to happen ... you just need to be there at the end.’
LUCYNA OPALA: DAY DREAMINGS: UNFRAMED 3 – 31 May Following a series of venerated works featured in local and international galleries, festivals and media, Igora Design presents an anthology of felt designs. Day Dreamings: Unframed expresses the physical/spiritual dimension through a looking glass of eclectic and illusory pieces. With each work representing a dream – whether lucid and intentional or beautifully haunting – viewers are invited to discover their own meaning and interpretation. Lucyna Opala, the artist of Igora Design, describes the inspiration behind this collection as a dynamic dreamscape of past, current and future memoirs, at times shifting and blurring between real and imagined states of being. ‘These are the places I have been, places I have seen from a bird’s eye view in a dream, and memories of my journey between the Polish highlands and the Australian outback,’ she states, ‘the felt acting as the connective tissue translating my own realities’. Made from the finest Australian Merino wool and silk fabric, every unique work is richly interwoven with colour, texture and form. Physically light and floaty, all pieces can be worn in an assortment of ways, moulded by the owner’s own psyche.
FEATURE ARTISTS MARCH: JACKI BURKE Jacki is a Melbourne artist who draws her inspiration from everyday surroundings as well as the environment, dreams, colours, experiences, music and people. Using a variety of subjects and mediums, she produces beautiful works of art. She particularly enjoys working with resin which reflects light and gives a feeling of space. Most of her pieces are seductive to the eye, allowing views into different dimensions and the inner spaces of shadow, secrets or mirroring one's thoughts and emotions.
APRIL: ONDRA GANDELL Having a great love of nature, Ondra hopes that, through her paintings, others are reminded that
we all have a role to play in taking care of it. Her art is sourced from the beauty of her surroundings and, living around the coastal areas, there is much from which to choose.
MAY: BROOKE CUNNINGHAM Brooke’s passion for Australian themes and icons is evident in her quirky rendition of local birds and other fauna. Big, brightly coloured parrots or a kangaroo skipping along the bush often feature in her gorgeous paintings, capturing the essence of Australia.
EAGLES NEST GALLERY 03 5289 7366 firstname.lastname@example.org www.eaglesnestgallery.com.au
CONTEMPORARY AND TRADITIONAL PAINTINGS, GLASS, CERAMICS, SCULPTURE AND JEWELLERY
JAN WOODMAN: BOTANICALS 3 – 31 May Providing a lovely backdrop to Lucyna’s stunning textiles will be the beautiful work of Jan Woodman, an accomplished painter and embroiderer from South Australia. Best known for her botanical rendition of Australian wildflowers, Jan has perfected the technique, producing stunning watercolours of flowers from the Australian bush. Her work can be seen in collections at botanical gardens around Australia and in many private collections. We are delighted that Jan has agreed to participate in our May exhibition alongside Lucyna.
EXHIBITIONS 3 - 31 May
Day Dreamings: Unframed Botanicals
FEATURE ARTISTS April May
Lucyna Opala Jan Woodman
Ondra Gangell Brooke Cunningham
March - April Open daily 10 am – 5 pm May - June Open Friday to Monday 10 am – 5 pm 15 July - 20 September Saturday & Sunday 10 am - 5 pm
P: 03 5289 7366 E: email@example.com 50 Great Ocean Road Aireys Inlet 3231 www.eaglesnestgallery.com.au B Cunningham
Anakie Grass Trees Antiques and
Avoca Antiques fair 22-23 June 2013 30 Exhibitors from across Australia showcasing their finest wares Function Centre Avoca Racecourse Gala Preview Friday 21 June 2013 6pm to 9pm - Entry $20.00 Bookings essential phone Avoca Information Centre 03 5465 1000
Saturday 22 June & Sunday 23 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
Above: Wedding portrait of signalman Claude McDonald and aircraftwoman Alice Lovett, 1944. Courtesy Australian War Memorial
Nicholas Chevalier [after] (1828-1902), The Wannon Falls, c.1865, chromolithograph
Lin Tianmiao (b.1960) & Wang Gongxin (b.1961), Here or There? #2, 2002, chromogenic print
Right: Seven piece garniture made by Bow Factory (London, England), c. 1750, bone china with overglaze gold decoration. Herbert and May Shaw Bequest
What’s on at
HAMILTON ART GALLERY local treasure for over 50 years, Hamilton Art Gallery presents a range of exhibitions, programs and events that stimulate understanding, awareness and enjoyment of the visual arts. Enjoy exhibitions selected from over 7,000 items in the collection covering silver, porcelain, glass, Asian ceramics, and European and Australian paintings and prints.
INDIGENOUS AUSTRALIANS AT WAR Until 28 April It is not well known that from the Boer War (1899-1902) onwards, Indigenous Australians fought valiantly as part of the Australian troops committed to these battles. The local Lovett and Saunders families, among others, were part of this history. This exhibition, first shown at the Shrine of Remembrance in Melbourne in 2010, unearths new and important stories about the bravery and commitment of Indigenous men and women from regional Victoria who served their country during times of conflict.
KEN KNIGHT: WESTERN DISTRICT PAINTINGS Until 5 May Australian landscapist Ken Knight has mastered the depiction of the hot, dry Australian summer, among his many subjects, and over the years has spent time in Western Victoria depicting its pastoral subjects that feature in this exhibition. First travelling through the Western District in 1977, Ken became inspired by the landscape it presented. He describes the land as ‘majestic,
proud and beautiful in all her moods’. Ken’s paintings have won him international acclaim and success in Britain, Europe and the United States and have earned him the role as one of Australia’s important landscape artists.
VICTORIAN GUILD OF CHINA PAINTERS 10 April – 14 July This will be the first exhibition in a public gallery of the work of the Guild of China Painters, giving us a chance to see their beautiful work. In an era when most porcelain is transfer printed, the art of hand-painted porcelain is kept alive by this dedicated group.
THE HAMILTON CONNECTION III 8 May – 4 August This exhibition features the work of local artists Angus Christie, Trevor Flinn, Ron Penrose and Graeme Tresidder. Showcasing the active artistic talent present in our community, the third installment of this series of exhibitions showcases the diverse set of skills presented by these artists with delightful results. The works are often insightful and, on occasion, experimental, compelling us to think outside of the everyday. Each artist addresses their subject matter with both passion and thought, resulting in a truly wonderful collaboration of works.
1957). This generous bequest of 781 items reflects the collecting interests of Herbert and his wife May who lived at ‘Kiama’, a homestead near Hamilton. The Riches of the Shaw Bequest, displays the foundations of this generous gift as well as items of porcelain, silver and glass, and looks to emphasise the great value of this wonderful bequest.
Gill and Eugene Von Guerard were called upon to produce prints depicting colonial Australia. This exhibition features colonial prints from the gallery’s permanent collection and coincides with the display of colonial paintings by Thomas Clark.
HISTORIC AUSTRALIAN PRINTS
An interesting selection of our permanent displays is always showcased. Australian art from the collection is featured in the Taylor Gallery; Paul Sandby – 18th century landscapes – is in the Gaussen Gallery; and oriental ceramics and metalwork is on display in the Barber Gallery. Hamilton Art Gallery is open seven days a week, Monday to Friday from 10 am to 5 pm, Saturday from 10 am to noon and 2 pm to 5 pm, and Sunday from 2 pm to 5pm.
8 July – 24 November Prints from the colonial period were the most common way of informing the world about the new Australian colony. Consequently major artists such as Nicholas Chevalier, S.T.
For more details HAMILTON ART GALLERY 03 5573 0460 firstname.lastname@example.org www.hamiltongallery.org
CHINESE PHOTOGRAPHS 12 August – 3 November The flowering of the arts in modern China has had many expressions and this has included the medium of photography. A recent gift of large-scale Chinese photographs features in this exhibition.
THE RICHES OF THE SHAW BEQUEST 22 July – 6 October Hamilton Art Gallery was established in 1961 following a large bequest of an outstanding collection of art works left to the City of Hamilton by Herbert Buchanan Shaw (1882Left: Ron Penrose, Self-Portrait, 2012, oil on board Below: Evelyn Hales (b.1949) Hard Yakka, 1995, porcelain
Ken Knight (b.1956), Gums on dam embankment, Western District, 2009, oil on board
ANTIQUES AND ART in Central Victoria
AVOCA MARYBOROUGH 3
1. BALLARAT ART GALLERY OF BALLARAT 40 Lydiard Street North, Ballarat 03 5320 5858 email@example.com www.balgal.com 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.
GALLERY ON STURT 421 Sturt Street, Ballarat 03 5331 7011 firstname.lastname@example.org www.galleryonsturt.com.au www.accentframing.com.au Open Mon-Fri 9am - 5.30pm, Sat 10am - 2pm Director: Leigh Tweedie Spacious art gallery located in Ballarat CBD. We exhibit a selection of notable and award winning Australian artists and emerging artists. On show are original works and limited edition fine art prints and you will be pleasantly surprised at our realistic prices. Accent Framing at Gallery on Sturt offers custom framing and wide format giclee printing onsite. We extend a warm invitation to come and enjoy our gallery and our friendly professional service.
2. BENDIGO BENDIGO ART GALLERY 42 View Street, Bendigo 03 5443 4991 Fax: 03 5443 4486 email@example.com www.bendigoartgallery.com.au 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.
BENDIGO POTTERY ANTIQUES & COLLECTABLES CENTRE 146 Midland Hwy, Epsom 0478 435 885 firstname.lastname@example.org www.bendigopottery.com.au Open 7 days 9am - 5pm With over 40 sites including glass, ceramics, furniture, vintage clothing, jewellery & all manner of interesting collectables, the new centre complements Bendigo Pottery’s retail gallery, individual artists’ studios & cafe on this historic site.
VALENTINE’S ANTIQUE GALLERY 369 Hargreaves Street, Bendigo 03 5443 7279 Mob: 0418 511 626 email@example.com 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.
THE AMAZING MILL MARKETS 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.
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.
THE AMAZING MILL MARKETS IN DAYLESFORD
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.
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.
For advertising on this map please phone Harry Black on 0418 356 251
5. AVOCA – 15 minutes from Maryborough WESTBURY ANTIQUES 119 High Street, Avoca 03 5465 3406 Fax: 03 5465 3455 www.westburyantiques.com.au English and Continental 17th and 18th century furniture and decorative arts, also valuation services.
ART GALLERY OF BALLARAT’S autumn - winter exhibitions celebrate tradition LIVING TRADITIONS: THE ART OF BELIEF 27 April - 30 June Through May and June, the Art Gallery of Ballarat will be presenting a fascinating exhibition of cultural treasures which relate to or have been created by the range of religious traditions found in today’s community in Victoria. This National Gallery of Victoria Touring Exhibition draws on diverse material from across all areas of the NGV’s extraordinary collections. Over 50 works of art, many rarely exhibited before and dating from the mediaeval period to the contemporary, will look afresh at religious practice and belief as seen through the eyes of artists past and present. Manuscripts of sacred texts, ritual vestments, objects employed in worship and images of divinities reveal the rich diversity and common threads of spiritual practice and belief in contemporary Australia. At the heart of every religious tradition lies ‘the divine’ or ‘a reality greater than the human’. Art associated with belief addresses questions that arise from humanity’s attempts to comprehend and engage with this ultimate reality.
In some religious traditions, artists create images that are visual responses to the core questions of their particular faith, while other traditions reject pictorial representations of the divine, and artists honour the sacred through the beautification of script and ritual items. Although each tradition approaches these questions differently, their answers have many points of similarity. A particular highlight is one of the NGV’s mediaeval treasures, The Man of Sorrows in the arms of the Virgin by leading Flemish painter of the Bruges School Hans Memling (c. 1433-1494). It will be displayed alongside a series of smaller images on a similar theme in illustrated mediaeval manuscripts from the Art Gallery of Ballarat’s collection. The indemnification for this National Gallery of Victoria Touring Exhibition is provided by the Victorian Government.
GOLDFIELDS PRINTMAKERS: BORDER AND CROSSINGS 25 May – 7 July
James Pasakos, Dennington Way, 2011, drypoint on paper. Courtesy of the artist
Hans Memling (Flemish c. 1433-1494), The Man of Sorrows in the arms of the Virgin, 1475 or 1479, oil and gold leaf on wood panel, 27.4 x 19.9 cm. National Gallery of Victoria, Melbourne. Felton Bequest, 1924
art from the State museum’s seldom seen collection of artworks and rare books and stunning images produced with microscopes, macro-lenses and computers. The exhibition is the brainchild of John Kean who, for many years, was an exhibitions producer at the Museum and had an intimate acquaintance with the extraordinary array of drawings, prints and other illustrations in the various collections. He was able to draw on his incredible storehouse of knowledge about all those items that fall between disciplines. In studying the origins of the museum’s collections he discovered many scientific illustrations hidden in drawers, folders, storerooms and the extensive rare-books library. He says: ‘It has some of the best and most important books on natural history ever published, since 1700 to the present. It is an immense resource. There are hundreds of thousands of illustrations in books of animals around the world. And because they are books and they are closed, the plates are extraordinarily brilliant. They are like they were painted yesterday.’ Advances in imaging technologies have been rapid in recent years and the macro-photo images in this exhibition show that the art of science is very much alive: the vivid colours and extreme detail of creatures lead us inevitably into imaginative realms. New technology has made it possible to look deeper into natural forms. ‘These same images can communicate the wonder and diversity of life. We understand and learn from images
Arthur Bartholomew, Brown tree frog, 1860s, watercolour. Museum Victoria
Rhyll Plant, Plaice Mat (Platessa vulgaris), 2004, woodblock, ink on paper. Museum Victoria
intuitively. Unlike dense scientific text and tables, illustrations provide a way into scientific thought for a general audience,’ Kean says. This exhibition is supported by the State Government of Victoria and Visions of Australia.
ART GALLERY OF BALLARAT 03 5320 5858 firstname.lastname@example.org www.artgalleryofballarat.com.au
Travellers of the past brought a rich culture with them to the goldfields, which in turn shaped the collective identity of the region. This group exhibition showcases the work of a range of printmakers across the region, each of whom brings their individual perspective to the experience of living on the goldfields. The exhibition is one of the first projects of a collective of regional printmakers who have come together to share ideas and opportunities, run workshops, put on exhibitions and engage with local communities in an effective and positive way. The aim of the group is to embark on their own journey, telling stories through print and leaving a legacy for new printmakers who come through the region. In its many guises the group can engage, stimulate and provide a valuable contribution – to not only the artists themselves but to the wider regional audience. After being shown at Ballarat, Borders and Crossings it goes on an international tour to Dunedin in New Zealand and Dundee in Scotland for the IMPACT8 International Printmaking Conference.
THE ART OF SCIENCE: SCIENTIFIC ILLUSTRATIONS FROM MUSEUM VICTORIA
Chinese (Dehua ware), Guanyin, 17th century, porcelain. National Gallery of Victoria, Melbourne. Felton Bequest, 1951
1 June – 21 July Whether they fly, swim, crawl, wiggle or walk, the creatures of our world endlessly fascinate and inspire us. The Art of Science showcases the uncommon beauty produced from 300 years of exacting scientific observation and illustration. As exploration and science have expanded our horizons across time and space, the ability to capture and communicate the truths held in nature have become increasingly important. Scientific artwork is as important and astonishing today as it was in the 18th century. In this exquisite exhibition, Museum Victoria presents the development of scientific Antiques and
BENDIGO / EPSOM
Bendigo Pottery Waverley Ware bookends, c.1930s 13 x 13 cm
MCP Art Deco vase, late 1940s-early 1950s, 22.5 x 24 cm, with Mingay sticker
Hoffman (Brunswick, Melbourne), jardinière, 1925, earthenware, majolica glaze, 14.5 x 15 cm
Vase made by Una Deerbon, decorated with applied fruit and leaves, 9 x 8 cm, inscribed on base
BENDIGO POTTERY for collectors of Australian pottery endigo Pottery not only makes and sells its own range of ceramics, but is a source of a wide range of Australian pottery in the new Antiques & Collectables Centre.
of Remued, John Barnard Knight, Melrose, Harvey School and many others. For the discerning collector, there are some rare and interesting pieces as depicted here.
ANTIQUES AND COLLECTABLES CENTRE
Located on a historic 4.5 hectare site, Bendigo Pottery, Australia’s oldest working pottery, comprises manufacturing and a retail shop, the Interpretive Museum, five individual artists’ working studios, function centre, an olive shop, a café, and an Antiques and Collectables Centre with over 40 sites. Still manufacturing ceramics after 155 years, there is an extensive range of decorative and functional tableware and cookware. The pottery also makes bespoke dinnerware for
Established a little over one year ago at the historic Bendigo Pottery, there are now 35 individual dealers with a broad offering, including furniture, glass, ceramics and jewellery. This new centre also features a very good variety of Australian pottery, ranging from the colonial potteries of Bendigo, John Campbell, McHugh and Stones through to the art pottery
Bumblebee, attributed to Charles Stone (Coorparoo, Brisbane),18 x 25 cm
restaurants, promotional products and a variety of clays for schools and potters. Hands-on clay experiences are held daily for all ages.
ARTIST STUDIOS The merit of working studios is seeing the various mediums come to life. Studios onsite include metal sculptor Yvonne George, lamp work glass beads and jewellery by Raelene Schmidt, printmaker Cherryl Fyffe, painter and textile artist Catherine Brennan and art jewellery by Sharon Donaldson.
Bendigo Pottery has one of the most significant collections of ceramic wood fired kilns in the world. There are 10 kilns in total which are all listed on the Victorian Heritage Register. No longer in use, the old kilns now
NEW – Antiques & Collectables Centre
McHugh tobacco jar, early 1900s, majolica glaze, 16 x 12 cm
form part of the Interpretive Museum with one of the circular kilns having been converted into a theatrette.
LATEST POTTERY PUBLICATION If you are a collector of Australian pottery, you will appreciate the wealth of historical and pictorial detail in the recently published 430 page book A Selection of Wares from 1858 – 1990 by well-known Bendigo author Ken Arnold. The book is available Bendigo Pottery and from the author. BENDIGO POTTERY 03 5448 4404 email@example.com www.bendigopottery.com.au
Now open and featuring over 40 individual sites
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 www.bendigopottery.com.au 64
Melrose gum tree vase, made at Hoffman Pottery, 1930s, rare toffee coloured glaze, 15 x 7.5 cm
Vase made by John Campbell, signed & dated 1935, 34 x 25 cm. After serving an apprenticeship with George Guthrie at Bendigo Pottery, Campbell set up his own pottery in Launceston, Tasmania, in 1880
POST OFFICE GALLERY Mapping great change: the landscape of central Victoria A focus on the area’s transformation following European occupation he shape and composition of the landscape of central Victoria has set the parameters and provided resources for human life for thousands of years. This rich and fertile land is the backdrop for a layering of culture, society, economy and industry and is steeped in complex human stories; stories that are integral to local identity. The Post Office Gallery exhibition Mapping great change: the landscape of central Victoria explores significant historical and cultural changes occurring upon and
within the landscape of this area, with a particular focus on the great transformations that followed the advent of European occupation in the early 1800s. The exhibition is grounded in an understanding of the specific geological structure of the area and its rich resources. It begins with the ‘deep time’ story of the land evolving slowly over millions of years. Acknowledging the Dja Dja Wurrung, Traditional Owners of Country in the central Victorian area, it looks at their deep
BENDIGO ART GALLERY Contemporary Australian Silver & Metalwork Award 2013 29 June – 28 July his year Bendigo Art Gallery is pleased to host the 12th Contemporary Australian Silver & Metalwork Award in partnership with Buda Historic Home and Garden, Castlemaine. The Contemporary Australian Silver & Metalwork Award is a unique national biennial exhibition with multiple acquisitive and nonacquisitive prizes, showcasing contemporary silver and metalwork practice in Australia. As well as celebrating the art form and to provide encouragement to both established and emerging artists, this award exhibition was established by Buda Historic Home and Garden in 1988 to commemorate the significant contribution to Australian silversmithing by the noted colonial silversmith, Ernst Leviny (18181905). The Leviny family lived at Buda for over 118 years.
NATIONAL FINALISTS & JUDGES From 150 entries across Australia, 57 works have been selected for the award exhibition.The finalists include Helen Aitken-Kuhnen, Justine Austen, Angela Bakker, Sylvia Ballerini, Carolyn Barker, Emily Becher, Vito Bila, Safira Blom, Rose Boddam-Whetham, Robin Bold, Sean Booth, Olivia Boyle, Ximena Briceño, Melissa Cragg, Julia deVille, Joung-Mee Do, Mark Edgoose, Marcus Foley, Robert Foster, Allona Goren, Wayne Guest, Jo Hawley, Jill Hermans, Annelies Hofmeyr, Sarah Johnston, Kate Jungwirth, Soo Been Kim, Saori Kita, Wendy Koral, Carmen Lam, Bethamy Linton, Danielle Lott, Trephina Mackay, Caroline McQueen, Lindy McSwan, Karl Millard, Rei MinoharaStarke, Christopher Mullins, Sarah Murphy, Maria Natoli, Danae Natsis, Asha Nicholas, Larah Nott, Tracy Pateman, Ellen Pittman, Nicole Polentas, Jessamy Pollock, Stephen Robb, Jana Roman, Beatrice Schlabowsky, Vicky Shukuroglou, Janine Tanzer, Blanche Tilden, Katherine Wheeler and Katherine Yaroslavceff. The 2013 judges include Tim Fisher (Senior Curator, Arts Centre Melbourne) Emma Goodsir (Director, e.g.etal, Melbourne) Daniel McOwan (Director, Hamilton Art Gallery), Clare Needham (Curator, Bendigo Art Gallery) and Professor Ray Stebbins (Former Professor of Gold & Silversmithing, RMIT University). The award has multiple prizes in both professional and student award categories, the largest being an $8000 cash prize sponsored by Arts Centre Melbourne. In 1998 Arts Centre Melbourne received a bequest via Perpetual Trustees from the Estate of Maxwell and Merle Carroll. The Carrolls were a prominent Melbourne couple with an interest in the future of the performing arts and the bequest comprised a collection of domestic silverware, known as ‘The Maxwell and Merle Carroll
Silver Collection’, along with a generous annuity to ‘preserve and extend’ the collection.
ARTS CENTRE SILVER ACQUISITIVE AWARD The Arts Centre’s own collection development policy for the art collection aims to acquire works by subject matter that focuses on representations of the performing arts. The Arts Centre Silver Acquisitive Award was therefore initiated to augment the Maxwell and Merle Carroll Silver Collection and the requirements of the Arts Centre’s development policy. The Acquisitive Award ‘recognises excellence in silver design, craftsmanship and originality by an artist inspired by, or interpreting, any branch of Australian performing arts’, and provides an opportunity for the Arts Centre to develop a new direction in their collection. The award has itself been strengthened by a program of commissions in silver which have been sought from leading artists and metalworkers who have gained inspiration from the performing arts collection. In the student and recent graduate award category, the e.g.etal Design and Development Award encourages and supports students starting out in professional careers. The aim of this award is to provide students with tangible assistance to make the transition into a professional and, hopefully, income-earning studio practice. By offering a financial contribution, mentoring and representation in the e.g.etal gallery space, the artist has a real opportunity to begin a career in their chosen field. There have been several successful past award winners to attest to this. Emma Goodsir, Director of e.g.etal explains: ‘As a graduate of the RMIT gold and silversmithing course, I am fully aware of the obstacles to starting out in this area. I see this mentoring role as one of the main ways I can give back to the industry. I see this as very important so I was happy to get involved with BUDA.’ The Award finalists will be exhibited at Post Office Gallery, a satellite space of Bendigo Art Gallery, from 29 June to 28 July following which selected works will be chosen to go on display at Arts Centre Melbourne.
connection to and understanding of the land, the technical skill and creativity involved in their use of the region’s natural resources and careful land management over tens of thousands of years; management that created the rich open grasslands and healthy streams that Europeans coveted upon their arrival to the area in the 1830s and 40s. Through several short films directed by Gerry Gill (lecturer, Sociology and Aboriginal History, La Trobe University, Bendigo) we gain a deeper understanding of this landscape. Complex relationships between people, cultures and the land are explored through the centre piece of the exhibition – a unique map made in 1852, which shows the landscape as it was before European occupation and charts the rapid changes brought about by this invading force. Extending upon this, the exhibition explores the role of surveyors and maps in the process of unfolding European occupation and comprehension of the land. Historical maps and artworks on display tell of a landscape transformed by agriculture, mining and mass settlement, and thus further illuminate layers of social history stories. Mapping great change: the landscape of central Victoria also touches upon the environmental changes brought about by European settlement: the loss of habitat through vegetation clearance for agriculture, mining and industry; the introduction of hard hooved animals and carnivores such as foxes; and the devastation of native species. While evolutionary change is slow and occurs over millions of years, in recent times, humans have proven to be a powerful force in
Above: Troughton & Simms (Britain early 1800 – early 1900) Wye Theodolite, c. 1885, metal, glass Right: Maker unknown, Theodolite tripod, c. 1885, metal, wood. The Bendigo Trust. Donated by the Jorgensen Family
transforming the land. As briefly explored in this exhibition, climate change is a pressing issue of our time. Thinking about the impact humanity has on the earth causes us to consider our collective and individual actions and draws us back to look at our history. The decisions made and pathways taken by those who came before us shape the frameworks by which we exist today. Clare Needham Curator, City History and Collections POST OFFICE GALLERY 03 5434 6179 firstname.lastname@example.org
S.T. Gill (England/Australia 1818-1880), Stockman, 1864, lithograph. Bendigo Art Gallery
Shadowlife An Asialink / Bendigo Art Gallery exhibition 13 April – 28 July 2013
Contemporary Australian Silver & Metalwork Award 2013 Post Office Gallery 29 June – 28 July 2013
Arthur Guy Memorial Painting Prize 2013 3 August – 6 October 2013
BENDIGO ART GALLERY 05 5434 6088 www.bendigoartgallery.com.au Antiques and
Carrillo Gantner, with artwork by Julie Dowling, The Gift, 1999, acrylic on canvas, 120 x 100 cm. Image courtesy Art Collector magazine, where this was first published in Issue 64 (April-June 2013) and Kirstin Gollings
SHEPPARTON ART MUSEUM Namatjira & other Indigenous master painters’ use of colour
Connections to country
21 June - 25 August hepparton Art Museum (SAM) presents Speaking in Colour, opening on Friday 21 June. This exhibition showcases for the first time the extraordinary Indigenous Australian art collection of Carrillo and Ziyin Gantner. The exhibition features paintings from the Central Desert, barks from Arnhem Land, and works from northern Western Australia and Queensland. Exhibited across five galleries, the exhibition presents the work of Albert Namatjira and his family, bark paintings from 1968 to today, master painters from Papunya, Turkey Creek, Balgo Hills and Utopia amongst many other artists. Speaking in Colour provides a wonderful insight into a wide range of approaches to the use of colour in the expression of connection to country and in telling the important stories that emanate from the land. In the mid 1990s Carrillo Gantner and his uncle Baillieu Myer AC developed an important collection of Indigenous art that toured in 1999 to the United States of America, Japan and China, published in the book Spirit Country (1999) by Jennifer Isaacs. At the same time, Carrillo began his own personal collection, which has been a passion shared with Ziyin ever since. The private collection of Carrillo and Ziyin Gantner has continued to grow in number, diversity and strength, now spanning many significant works and representing a very wide breadth of artists. This exclusive exhibition and exemplary collection will be published by SAM in a full colour catalogue, with new writing by author Jennifer Isaacs.
SAM SPECIAL EVENT 20 June ‘SAM Out Late!’ covering this exhibition will be held at 6 pm on Thursday 20 June. The featured talk is titled ‘In conversation with Carrillo Gantner’. A range of such special events as well as
John Mawurndjul, Mardayin Designs, 2005, natural earth pigments with PVC fixative on eucalyptus bark, 178.5 x 65 cm (irregular). Collection of Carrillo and Ziyin Gantner. Photograph: Andrew Curtis © the artist
public programs will take place alongside this exhibition. Please visit the SAM website for more details.
OTHER EXHIBITIONS Also on display at SAM Occasional Miracles: Contemporary Artists Respond to the SAM Ceramics Collection until 30 June Drawing Wall #11 – Arts Project Victoria 3 May – 28 July Crawling Through Mud: Australian Ceramics and the Japanese Tradition until 19 January 2014
ABOUT SAM Shepparton Art Museum is located at 70 Welsford Street, Shepparton and is proudly provided by Greater Shepparton City Council. Entry to the SAM is free and it is open every day, 10 am to 4 pm; public holidays 1 pm to 4 pm; closed Good Friday, Christmas Day and New Year’s Day. SHEPPARTON ART MUSEUM 03 5832 9861 email@example.com www.sheppartonartmuseum.com.au You can also join SAM on Facebook and Twitter
VICTORIAN ANTIQUE DEALERS GUILD MEET A GUILD MEMBER
Garry Mathewson of Antik@Billy’s
VICTORIAN ANTIQUE DEALERS GUILD 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 Warehouse Barbara Thomas, French Heritage Antiques Tanya Gale, Pretty Old Collectables Graham Pavey, Pavey Collectables & Antiques Alastair Wilkie, Marquis Antiques & Collectables
Ph: 03 9874 4690 or Mob: 0409 744 690 Ph: 03 9880 7433 or Mob: 0411 175 320 Ph: 03 9583 3422 or Mob: 0437 121 040 Ph: 03 9882 2028 Mob: 0411 437 511 Mob: 0402 888 439
VICTORIAN ANTIQUE DEALERS GUILD MEMBERS 2013 Established in 1982
WHEN DID YOU START DEALING IN ANTIQUES?
WHAT IS YOUR FAVOURITE PIECE AT THE MOMENT?
I first started dealing in antiques about eight years ago, so I’m very new to the trade. I started selling from one cabinet at the Maling Road Antique Market. Within a short time, the business grew to having two large stalls and one cabinet at three locations around Victoria.
I don’t have any one favourite piece in stock at the moment but do like some very early Carlton Ware pieces I recently found on my last weekend away. I will be showing them as soon as I have completed my research on the pieces – all this takes time.
WHAT STARTED YOUR INTEREST?
WHICH ANTIQUE PIECE CAN’T YOU LIVE WITHOUT?
I was given a part Royal Doulton Orchards Hill dinner set by an old family friend who had purchased it from a door to door salesman for five shillings a month. From this I set about adding to the dinner set, making a complete setting for six people. Visiting antique shops all over Melbourne and regional Victoria became something I enjoyed doing when I wasn’t at work and I still, to this day, own the dinner set. It is used when having friends and family over for a meal. The only disadvantage is having to wash it by hand after guests have gone home, as putting it in the dishwasher is out of the question.
My collection of Royal Doulton ‘Poppies in the Cornfield’ from the 1930s. I have over 70 pieces and am still looking for more.
WHAT PART OF ANTIQUE DEALING DO YOU ENJOY MOST?
WHAT ADVICE WOULD YOU PASS ONTO OTHERS?
I enjoy driving around to various countryside towns and staying overnight when it is too late in the day to drive home. Part of the pleasure is waking up to a nice breakfast the next morning and then back into hunting for different pieces of porcelain to sell in my stands.
WHAT’S YOUR BEST TIP FOR BUYING ANTIQUES? I think it’s simply to buy the best quality you can afford.
WHAT’S THE BEST PIECE OF ADVICE YOU’VE RECEIVED? If you see something of quality you like and you are happy with the price – buy it!
Knowledge is the key to collecting. Buy books and read about the area you are collecting and don’t be afraid to ask questions.
A.B. Furniture Alex Buth 630 Glenhuntly Road, South Caulfield, Vic 3162 Phone: 03 9523 8050 Mobile: 0407 822 115 Antik@Billy’s Garry Mathewson Mobile: 0402 042 746 Eric Pardede Mobile: 0422 762 975 Mailing Road Antique Centre, Canterbury, Mentone Beach Email: firstname.lastname@example.org Armstrong Collection Ian & Mary Armstrong 42 Station Street, Sandringham, Vic 3191 Phone: 03 9521 6442 Mobile: 0417 332 320 Dalbry Antiques & Collectables Brian Dalglish 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 Donvale Antique Clocks Alan Duncan 12 White Lodge Court Donvale, Vic 3111 Phone: 03 98744 690 Mobile: 0409 744 690 Email: email@example.com French Heritage at Mentone Beach Antique Centre Michel & Barbara Camboulive 68-69 Beach Road, Mentone, Vic 3194 Phone: 03 9583 3422 Mobile: 0437 121 040 Email: firstname.lastname@example.org Web: www.mentonebeachantiquecentre.com Imogene Antique & Contemporary Jewellery Kathryn Wyatt 410 Queens Parade, Fitzroy North, Vic 3068 Phone: 03 9569 5391 Mobile: 0412 195 964 Irene Chapman Antiques at Camberwell Antique Centre Irene Chapman 25 Cookson Street Camberwell, Vic 3124 Mobile: 0421 270 835 Julian Phillips at Tyabb Packing House 14 Mornington-Tyabb Road Tyabb, Vic 3913 Phone: 03 5977 4414 Mobile: 0438 086 708 Kilbarron Antiques & Collectables David & Elaine Atkinson By appointment in Blackburn Phone: 03 9878 1321 Mobile: 0417 392 110 Email: email@example.com Web: www.kilbarron.com.au Page Antiques Warehouse Guy & Trish Page 323 Canterbury Road, Canterbury, Vic 3126 Phone: 03 9880 7433 Mobile: 0411 175 320 Email: firstname.lastname@example.org
Pavey Collectables – Antiques at Camberwell Antique Centre Graham Pavey 25 Cookson Street, Camberwell, Vic 3124 Mobile: 0411 437 511 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 Email: email@example.com Seanic Antiques Mark Seaton & Maxine Nichol 673 Whitehorse Road, Mont Albert, Vic 3127 Phone: 03 9899 7537 Mobile: 0418 326 455 Web: www.seanicantiques.com.au Vintageonline at Camberwell Antique Centre Norma Hawley 26 Cookson Street, Camberwell, Vic 3124 Mobile: 0414 768 758 Web: www.vintagonline.com.au REGIONAL AND INTERSTATE MEMBERS Baimbridge Antiques Ruth & Rhys Colliton 64 Thompson Street, Hamilton, Vic 3300 Phone: 03 5572 2516 Email: firstname.lastname@example.org Web: www.baimbridgeantiques.com.au Frivolities Coralie Davidson NSW Antiques Fairs St. Leonards NSW 2065 Mobile: 0414 607 136 Marquis Antiques Alastair Wilkie Antiques & Collectable Centre at Bendigo Pottery 146 Midland Highway, Epsom, Vic 3551 Phone: 03 5348 4332 Ah phone: 03 5474 2124 Mobile: 0402 888 439 Email: email@example.com Morrison Antiques Ron & Pat Morrison 55 Carey Street, Tumut, NSW 2720 Phone: 02 6947 1246 Mobile: 0408 965 336 Neville Beechey’s Antiques & Fine Furniture Neville Beechey 208-210 Murray Street, Colac, Vic 3250 Phone: 03 5231 5738 Mobile: 0418 523 538 Selkirk Antiques Les Selkirk 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: firstname.lastname@example.org Web: www.timegallery.com.au
www.vadg.com Direct enquiries to any of the Guild Committee Members
ANTIQUES – ULTIMATE RECYCLING Antiques and
The Toulouse table
The Picardi table
The Basque table
ANTIQUES OF THE FUTURE made at French Farmhouse by Sally Beresford SOURCING TIMBER n earlier times, in France when a family needed furniture, an appropriate tree – usually oak – in close proximity was selected, felled, debarked then cut and allowed to dry out naturally. Today at French Farmhouse, when sourcing timber in the form of whole trees, I inspect the tree in France in its cut form, but still complete. When they cut it into slabs, they do so in a way that retains the boule. This is a woodworking term relating to the grain where the slices of a sawn log are stacked in the order and orientation before being cut. It is important to select trees as straight as possible with little or no splitting at the base. A slow growing tree will have a more stable grain than that of a fast growing tree. For this reason, I often have to inspect 30 or more trees before finally deciding on only 10 or 15. Other factors to consider with French oak include the degree of medullary rays and any evidence of shake caused by careless felling. I inspect every plank of the boule to ensure I am happy with the grain and the colour of the wood.
I also note the moisture content, have the bark removed by hand, the boule air dried, then kiln dried to even out the moisture content prior to shipping to our premises in the Southern Highlands. When a client of French Farmhouse Tables has selected a style, I personally select the appropriate boards from the same tree for the top. For some of our tables, only two massive boards for the top are required, these range in size, depending on the client’s needs, from five metres in length to as small as one metre.
WHAT IS INVOLVED IN CREATING A FARMHOUSE TABLE Discussions with a client are extensive, covering the length, width, and even the height of the table, taking into consideration the space where the table will go. Other factors discussed include the colour and degree of distressing. The colour may be from a very pale to a rich dark chocolate. A recent alternative is a rustic grey, which sits extremely well with contemporary surroundings, and is a stunning and eye catching display.
Another very important factor relates to the atmospheric conditions. Where in the country is the table going? Are the atmospheric conditions predominately wet or dry? If it is going to central NSW, where it is hot and dry, the timber will need to be ‘cooked’ before construction to minimise the risk of shrinkage, although the design and construction of the table does allow for this. A table going to northern Queensland will have the moisture content increased to safeguard against expansion.
DESIGN AND CONSTRUCTION Only traditional methods of construction are employed by our artisans in the workshop. Leg sizes or apron depth can be modified to suit either an exceptionally large or very small piece that is ordered. Mortise and tenon joints are used and joined by pegging to ensure the timber can move, and to avoid any risk of splitting or warping. In the early 17th century, the first crude dovetail joints began to appear to secure the sides of drawers to the front and back. The same dovetailing joinery is used in our workshop when adding a drawer to a table to become a desk. We may also use a traditional cock-beading surround to protect the end grain on the edge of the drawer.
A FINISH YOU CAN RELAX WITH At French Farmhouse Tables we specialise in making dining tables for everyday use, and we make them tough and durable, unlike our parents’ generation who fussed over highly polished furniture which spent most of its life under a blanket. After construction, the tables are aged using traditional tools to create a
table which looks like it has already had a life. Finishing and colouring the table is a very important final step and in some instances can take longer than the actual construction. After many coats of traditional shellac, which is allowed to harden between coats, a finishing coat of fine wax is applied to create the final patina. Throughout the ages, furniture styles have changed and been modified. At French Farmhouse, our designs are based upon furniture styles drawn from the past. For example, the Basque table was conceived on a trip to Spain when I visited a workshop where a table was being finished outside in the sun and rain. It had a wonderful worn and used patina. Another of our tables, the Toulouse, is based upon an English tavern table, set on a double pedestal base with oversized mitred corners. Now that we are trading from our country location at Mount Ashby Estate, in the Southern Highlands of NSW, we have the room to properly display our tables, both in our Cellar Door restaurant and adjoining gallery, set amongst grazing dairy cattle and the vineyard. Please come to touch, feel, and enjoy at this memorable location at Moss Vale. We are open Thursday to Monday from 10 am to 4.30 pm or by appointment. Sally Beresford FRENCH FARMHOUSE TABLES 02 4869 4144 email@example.com www.sallyberesford.com.au
NEW SOUTH WALES
NEW SOUTH WALES
A REFLECTION IN TIME Finding Victoriana, Arts & Literature in Sydney’s Queen Street Woollahra ewis Carroll did speak of many things in Alice’s Adventures in Wonderland where his romanticism, observations of power, crime and punishment became entwined in the fantasy world of Alice down the rabbit hole. Today it is a children’s classic, like many of the classic works of Victorian writers including Charles Dickens, Rudyard Kipling, Louisa May Alcott and Mark Twain, who wove social justice within their children’s and adult books.
SPREADING OF THE EMPIRE The Victorian era (1837-1901) saw the proliferation of many great literary and poetic
works from writers such as George Eliot, Joseph Conrad, William Butler Yeats, Emily and Charlotte Bronte, Elizabeth Barrett Browning, Robert Browning, Thomas Hardy and Oscar Wilde. It was a time where artists explored classicism, neoclassicism, romanticism and impressionism, inspiring the works of such luminaries as Rossetti, Holman Hunt, BurneJones, Leighton, Poynter, Watts and Waterhouse. The power and affluence of the Industrial Revolution, technological change and urbanisation, marked the dramatic rise of an increasingly powerful middle class, unleashing dynamic movements of social justice and search
for knowledge – suffragette, anti-slavery, rights of children, challenges to class structure, the vote, the origins of life with Darwinism. During the Victorian era, British culture, science, philosophy and trade spread across the globe. More than 25 per cent of the population were under British rule during this time where – ‘The sun never sets on the British Empire’.
PUBLIC FIGURES DRAWN TO WOOLLAHRA Over in the far flung colony of New South Wales, the Sydney suburb of Woollahra was established in 1856 during Queen Victoria’s reign. An Aboriginal word meaning camp, meeting ground or a sitting down place, Woollahra, combined with Queen Street, was named in honour of Queen Victoria in 1880. Today, Woollahra-Paddington has the largest expanse of Victoriana architecture in the Southern Hemisphere. Australian poet Banjo Patterson, opera singer Dame Joan Sutherland, former Prime Minister Paul Keating, media personality John Laws, Australia’s first philosopher Barzillai Quaife and his son Dr Frederick Harrison Quaife who brought the first x-ray to the colony and built Queen Street’s historic hotel The Hughenden as well as actors, artists and writers are part of the history of life in Queen Street, Woollahra and surrounds.
FAMOUS RESIDENTS Of special note, famed winner of the Nobel Prize in Literature who lived in the area, Patrick White, had his ashes scattered in Centennial Parklands. Another famous literary figure associated with Centennial Parklands is Charles Dickens whose statue resides there. Only this statue and another in Philadelphia, USA, exist in the world although Dickens requested that there be no monument or memorial to him. The Australian statue was commissioned by Sir Henry Parkes in 1889 and installed in the Parklands in 1891. A great celebration was held for the 200th birthday of Charles Dickens in Queen Street, Woollahra on 12 February 2012.
ARCHITECTURAL HIGHLIGHTS Queen Street has retained the heritage of the past while embracing the intellectual, creative and commercial pursuit of new ideas. Victor Churchill – Fine Family Butcher (est. 1876), is a visit into Victoriana with a modern day experience of innovative meats, cuts, demonstrations and processes. Wandering past the gracious home of former Prime Minister of Australia Paul Keating, St Kevin’s at 117 Queen Street, Woollahra is an experience in restored Victorian heritage. The house was built in 1892-93 for Dr Patrick Collins to the designs
of John Bede Barlow and is the only known building by this architect surviving unaltered. It was restored in the 1970s by Leo Schofield. The sprawling property at 115 Queen Street, known as Vine Cottage, was the Sydney home of Joan Sutherland during her formative years from 1932 to 1951. The house belonged to her aunt and uncle who, following the death of Joan’s father, took in six-year-old Joan, her mother and sister. The original house was a single-storey sandstone cottage built between 1856 and 1863, with a second storey added around 1891 by Richard Alston, Joan’s grandfather.
THE HUGHENDEN: A REPOSITORY FOR THE ARTS At the gateway to Queen Street is The Hughenden Boutique Hotel. Entering this Victorian mansion captures the spirit of the creative life today. There is an eclectic mix of art in the Victorian rooms including Archibald winner Wendy Sharpe’s small self-portrait, Laurent’s 1930s classic nouveau women, portrait of a young Victorian girl, circa 1850s, artist unknown, comedian Barry Humphries AO CBE by portrait artist Jules Sevelson, Stephen James’ imposing portraits of renowned Australian author Amanda Lohrey and Director of the Brandenburg Orchestra Paul Dwyer hang on the walls of the grand staircase. The exquisite kalaga enhances the foyer with its gold and silver thread, sequins and beading. A reminder of British exploration to South East Asia, Buddhism’s Jataka tales and the Hindu epic Ramaya are woven into the tapestry. The fine materials came from trade with British merchants which were hand worked by the local people of Myanmar (Burma). The art exhibited in the Reading Room includes the works of Academy Award winning filmmaker, artist and illustrator Shaun Tan, illustrator, painter and designer Pixie O’Harris (the aunt of well-known Australian painter and entertainer Rolf Harris), multi award winning illustrators Donna Rawlins, Sarah Davis, Nina Rycroft, Anna Pignataro and Cathy Wilcox. Children’s literature and the arts are integral to the heritage and life of The Hughenden, home of the Society of Children’s Book Writers and Illustrators Australia and New Zealand (SCBWI). Wandering along this Victorian-era street with its wrought iron terraces, tea houses and galleries with a literary and artistic respite at The Hughenden, is one of its quiet pleasures. Susanne Gervay THE HUGHENDEN 02 9363 4863 firstname.lastname@example.org www.thehughenden.com.au
NEW SOUTH WALES
with reindeer and elephant V incenzo Coronelli (1650-1718) was one of Italy’s most illustrious map and globe makers. His prodigious output represents the most complete geographical knowledge of the world in the late 17th century. A member of the Franciscan order and a Doctor of Theology, he was founder of the first geographical society in the world, the Accademia Cosmografica degli Argonauti in 1684. In 1685, he was appointed Cosmographer to the Venetian Republic. He is generally regarded as Italy’s finest mapmaker with his maps noted for their accuracy and for their grandeur, elegance and lyrical nature, so clearly illustrated here. In 1681, Coronelli was commissioned to construct two substantial globes for the reigning Louis XIV. He moved to Paris and completed in two years these remarkable works that combine art and science. The globes are 4.57 m in diameter and weigh approximately 2032 kg. A door in the side of the globes allowed around 30 people to stand inside. The globes are displayed at the Bibliothèque Nationale François Mitterrand in Paris. In 1688, he produced a printed version of the globes measuring 110 cm in diameter. Whereas the earlier globes were drawn and painted by hand these were based on 12 printed gores and separate polar calottes. As
such, they formed the largest printed globes to date. Because of the expense of producing such globes, only nobility and wealthy clients could afford them. In order to appeal to a wider audience, the gores were re-printed in atlas format and appeared first in the 1696-97 Isolario (the second part of Coronelli’s Atlante Veneo) and later in Coronelli’s Libro dei Globi in both the 1693 and 1701 editions. In one edition, the gore representing Australia includes the map itself and at the bottom, a section of the large elaborate and beautifully drawn cartouche of dedication. This continues into the next gore and includes a self-portrait of the artist surrounded by delightful cherubs. Despite his renown and reputation for precision in recording the most current geographic discoveries of the day, Coronelli somewhat wistfully or whimsically added reindeer and an elephant to his vignettes of northern Australia. Did Coronelli, map-maker and artist supremo, perhaps enjoy a relaxed moment of allowing imagination, rather than reality, to run wild?
Above: Vincenzo Coronelli, three gores from Terrestrial Globe including the map of Australia with reindeer and elephant
Right: Vincenzo Coronelli, Asia Divisa – double page of the eastern hemisphere
GOWRIE GALLERIES AUSTRALIA’S FINEST COLLECTION OF RARE AND IMPORTANT ANTIQUE MAPS
GOWRIE GALLERIES PTY LTD 02 4365 6399 email@example.com www.gowrie-galleries.com.au Definitions Calotte, a skullcap, especially worn by priests; thence the caps at the poles of a globe.
Cartouche, a structure or figure, often in the shape of an oval shield or oblong scroll, used as an architectural or graphic ornament or to bear a design or inscription. Gore, one of usually 12 printed sections of a celestial or terrestrial map which when laid to a sphere, join to form a complete globe.
1486 Ptolemy Ulm world map in fine original colour
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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Please note new contact details for Gowrie Galleries from 2010 PO BOX 276 TERRIGAL NSW 2260 Matcham studio: Phone: 02 4365 6399 Mobile: 0417 040 902 Fax: 02 4365 6096
EMAIL: firstname.lastname@example.org • WEBSITE: www.gowrie-galleries.com.au
Coronelli, Isole Dell’ Indie – South-east Asia
J.M.W. Turner, Venice, the Bridge of Sighs, exhibited 1840. Photo © Tate, 2013
J.M.W. Turner, Peace – Burial at Sea, exhibited 1842. Photo © Tate, 2013
J.M.W. Turner, A Disaster at Sea, c. 1835. Photo © Tate, 2013
AT THE NATIONAL GALLERY OF AUSTRALIA
Tate’s Turners: an unrivalled collection 1 JUNE – 8 SEPTEMBER oseph Mallord William Turner was born in London in 1775, during the reign of George III. He came from humble origins, his father working as a hairdresser in Covent Garden. By the end of Turner’s life – he died in Victorian times, in the year of the Great Exhibition in 1851 – he was famous, even infamous, for his transformation of the art of painting. Now he is known as one of Britain’s greatest artists, a key figure of the Romantic generation, and is celebrated as a pioneer of modern painting, his work much admired for its experimental character. This year the National Gallery of Australia is to host 40 of Turner’s oil paintings as well as 70 drawings and watercolours. Almost all are from the unrivalled collection held in trust by the Tate for the British nation. The Tate holds the largest collection of Turner’s works in the world because of his bequest to the nation. It was originally limited to finished paintings exhibited in his lifetime, many of which the artist retained or reacquired with a view to his legacy. The settlement of Turner’s will in 1856 – after the gift was contested by his family – meant these works were supplemented by the contents of his house and studio.
A PRODIGY OF THE TIME Turner from the Tate: The Making of a Master reflects the diversity of the Tate’s unique collection. It provides a comprehensive overview of Turner and his artistic development, offering extraordinary insights
J.M.W. Turner, Regulus, 1828, reworked 1837. Photo © Tate, 2013
into his working life and practices. Seen as a prodigy, Turner enrolled at the Royal Academy at the age of 14 and was introduced to possible patrons and fellow artists such as the great portraitist Sir Joshua Reynolds (1723-1792). Several of Turner’s student figure studies and sketchbooks are included in the exhibition. Also on show in Canberra are ambitious early oils such as landscapes of northern England and the Lake District, featuring hills, rocks, water and other natural elements used to convey moods and emotions. Turner was rightly renowned as a great watercolour painter, and many of his commissioned works were studies for portfolios of engravings. Scarborough, c. 1825, a preparatory sketch for Ports of England 1826–1828 watercolours, is filled with glowing light, showing his beloved English coast and people’s lives harvesting the sea’s bounty under the rocky domain of Scarborough Castle. Included in the exhibition are dramatic Romantic events such as The fall of an avalanche in the Grisons exhibited in 1810. Turner, who had visited this region of the Swiss Alps in 1802, reshaped his memories in the light of press reports of a tragic storm of 1808, in which 25 people died. Through the power of his imagining, we become witnesses to the pitiless force of nature. The avalanche smashes puny human artefacts such as the small hut surrounded by churning snow and rocks under relentless wind and rain.
THE ENGLISH CLAUDE LORRAIN Elsewhere in the exhibition are the fruits of Turner’s greatest ambition: he wanted to be regarded as heir to the European Classical landscape tradition, to become the ‘English Claude’. He was familiar with the works of Claude Lorrain (1600-1682) through private collections and aspired to travel to Italy during the long decades when Britain was mainly cut off from the Continent by the Napoleonic Wars of 1792 to 1815. He finally reached Italy in 1819, and his canvases blazed with the cerulean blue of Mediterranean skies. He essayed history paintings with heroic or poetic themes, idyllic pastorals and atmospheric, light-filled glimpses of nature’s most beautiful ephemeral effects. Turner travelled widely in Europe in the 1820s and 1830s, to France, Germany and Switzerland. Lake Lucerne was a particular favourite, and he made thousands of drawings on his journeys. He could make eight or nine pencil sketches in the time it took to make one colour study. He almost never painted in oils en plein air, and rarely in watercolour, waiting until his return to his studio to execute his paintings. Famously, his addition of layers of paint on ‘varnishing day’ at the Royal Academy was seen as a bravura attempt to outdo all the other artists. Unlike many of his landscapes, the exact location of Sun setting over a lake, c. 1840 has not been identified. It is thought to be a recollection of a sunset at Lake Lucerne. The
J.M.W. Turner, The Fall of an Avalanche in the Grisons, exhibited 1810. Photo © Tate, 2013
Engraved by W. Holl, Portrait of Turner, published 1859-61. Photo © Tate, 2013
sun’s burning orange rays reverberate over water and sky, spreading golden yellow light into the distance. The whiteness of the clouds and land suggests snow-capped mountains, while the texture of the paint surrounds us until we almost drown in its effect of shimmering beauty. Turner’s skill, obsessions and range of subjects can be seen in this extraordinary exhibition derived from the best and most comprehensive collection of his art. It showcases his genius on paper and canvas, ranging from tiny sketches to gigantic oil paintings that demonstrate brilliantly how a master was made. Christine Dixon Senior Curator International Painting and Sculpture NATIONAL GALLERY OF AUSTRALIA 02 6240 6411 http://nga.gov.au First published in Artonview no 73 © National Gallery of Australia, Canberra, 2011
J.M.W. Turner, Waves Breaking on a Lee Shore at Margate (Study for Rockets and Blue Lights), c. 1840. Photo © Tate, 2013
TURNER FROM THE TATE
THE MAKING OF A MASTER
JMW Turner Regulus 1828 (detail), reworked 1837, Tate, London, accepted by the nation as part of the Turner Bequest, 1856. Photograph © Tate, 2013
T. Kitchin, Curious map, Terra Australis, c. 1746
V. Levasseur, Loire-Atlantique, c. 1853
N. Bellin, Terra Australis, c. 1753
P. Mazell, Kangooroo Rat, c. 1789
A DIFFERENT PERSPECTIVE to collecting antique maps and prints Looking for inaccuracies and imperfections VISIT ANTIQUE PRINT CLUB AT BRISBANE ANTIQUE CENTRE ext time you head north, you will find Brisbane’s newest antique centre at Exit 30, Beenleigh-Redland Bay turn-off from the Pacific Highway. There’s a Montgolfier hot-air balloon at the top of the sign outside the centre, but there’s no hot air inside, as the centre and its café are air-conditioned. Well, that’s not quite right, according to Derek Nicholls, referring to his better-half’s enthusiastic descriptions of the finer points of antique maps and prints in the Antique Print Club’s gallery there. Fortunately enthusiasm is usually contagious. It’s always nice to be able to share one’s pleasures with others. Antique prints were created from an artist’s or scientist’s drawing by transposing this onto a ‘plate’ for printing and circulation. Inaccuracies in an engraving or lithograph are
often dismissed as artistic licence. While this is generally acceptable in the case of scenery or purely artistic creations, when the antique print is of a nature study, the peculiarities of some early images make them unacceptable to the science student – but more collectable to others because of their imperfections.
AN ERROR OF JUDGMENT On early voyages, at least one crew member was officially appointed as the artist to record any discoveries. Sometimes, of course, an able body seaman who showed any talent at sketching was ‘drafted’ into the job, but usually the artist was chosen for his artistic skill before the voyage set sail. Fairly accurate drawings were usually made during voyages; sometimes despite time constraints when fauna did not stay still. However, despite the efforts of the intrepid travelling artist, they were still at the mercy of the engraver back
Antique Print & Map Company Antique Maps and Antique Prints from c.1600: Antique Maps of all countries Antique Prints on all subjects
Heritage Editions Reproduced from antique maps & prints Limited Edition reproductions of important Australian maps
Antique Print Club
( previously at Milton ) Antique prints & maps now at the new Brisbane Antique Centre Open Daily at Pacific Highway Exit 30
Beenleigh-Redland Bay Road turnoff
& at the
Antique Print Club-house 95 Mt Nimmel Road Neranwood (in the hills behind the Gold Coast)
by appointment email@example.com Phone 07 5525 1363 0412 44 22 83
home. When transposing a drawing into an engraving, if the drawing was thought to be unrealistic, the engraver would sometimes creatively adapt it to what might be more acceptable to the home audience who were completely unfamiliar with, for example, the ‘kangooroo’ that had been seen. The rat-like features of early English and French engravings of the kangaroo are among the more interesting of the early natural history engravings of Australia’s fauna – although other unfamiliar marsupials and birds are also spectacular for their idiosyncrasies.
THE FAULT OF INACCURATE SUPPOSITION? In much the same way, antique maps and charts are always more popular when they are incorrect. Does that suggest we like to be reminded that others make mistakes, or is it just that we like to relate to the history and beliefs of our ancestors? Only 50 years before the First Fleet settlement arrived in 1788, maps showed Australia without an east coast – or in maps circa 1750 by Bellin, Buache and other French cartographers, with widely varying outlines. Probably the best known strangely formed Australian map is when Nicolas Bellin actually showed a dotted line up his fanciful east coast of Australia, and printed along this dotted line in French: ‘I suppose Van Diemen’s Land could join to Vanuatu and Papua New Guinea but without proof’. Europeans presumed the existence of Australia’s east coast many years before James Cook finally discovered and charted it in 1770. Have you ever looked at an early chart that shows the route of Cook’s Endeavour across the Pacific in his quest for the east coast of New Holland as directed by the Admiralty in England? Such a little ship and such a large ocean! Cook’s discovery of the east coast of Australia should be declared the most important discovery of the 18th century – definitely from the point of view of anyone living here, anyway. Landing at Botany Bay, Cook claimed the east coast for Britain and named it New South Wales. A skilled mathematician, astronomer and cartographer, his charts of the east coast of Australia were used in navigation for over 100 years.
J.F. Miller, Jerboa capensis, c. 1796
too difficult or too expensive to re-engrave the map. Jesuit priests were great travellers and in many parts of the world were highly influential. With their early networking, they were usually aware of the latest information from around the world. Jesuit cartographer Heinrich Scherer showed California as an island in his maps of 1710. This was years after Eusebio Francisco Kino, a Jesuit missionary in Mexico and Arizona, proved otherwise when he led an expedition overland to the Pacific Ocean. Scherer’s maps have great artistic appeal, with strong engraved detail and interesting cartouches that are often geographically incorrect. In his map of America Scherer includes African wild animals, as well as strange birds. Even when antique prints and maps are faithful representations of the subject, they are often interesting for the information shown as they draw a picture of the period when they were made. Geographical information might describe as well as show the terrain, or even an explorer’s experience in a locality, while a topographical view shows a location that was quite different from that to be found today. The stunning maps by French geographer Victor Levasseur are surrounded by a superbly engraved narrative that not only included detailed statistics of the period, circa 1850, but also illustrated produce, commerce, industry, local landmarks, peasants in regional costume and historically important people from the region. These treasures are included among the antique maps and antique prints of wonderful French fashion and design in the gallery at the Brisbane Antique Centre. Having closed their gallery in Milton, to make it easier for their customers, Derek and Kathryn have opened a shop in the centre – halfway between their Neranwood Antique Print Clubhouse and Brisbane. If you can’t make it to either place, their website www.antiqueprintclub.com is being added to daily, so email and let them know your interests. Kathryn & Derek Nicholls ANTIQUE PRINT CLUB 07 5525 1363 / 0412 442 283 firstname.lastname@example.org www.antiqueprintclub.com
SAN ANDREAS FAULT – OR UNSUCCESSFUL NETWORKING? Across the other side of the Pacific, the most recently charted coastline was north-west America, but the most collected maps of America are not the maps progressively showing the charting of this coastline. Some of the most popular maps worldwide are those showing California as an island. This brings us to another interesting point with early maps. Despite being aware that previous charting had been proven wrong, some mapmakers went ahead and published the wrong information. One argument for knowingly reproducing inaccuracies is that these map makers could have their own personal view. Another perspective could be that perhaps it was just
H. Scherer, Idea Naturalis Americae, c. 1710
A SPECIALIST FURNITURE MANUFACTURER Churchill Chesterfield made in Australia
ased on Queensland’s Gold Coast, Churchill Chesterfields are leather chesterfield and bespoke furniture manufacturers. Proudly Australian made, the firm makes an extensive variety of designs. Choose from English reproduction traditional chesterfields, a range of Queen Anne wing chairs and recliner chairs. There are leather office/study swivel chairs, such as Captains, Admirals, Director’s, Gainsborough, Mountbatten’s, London swivel and larger wing swivels, also office/study or commercial compact chesterfield tub chairs, plus many more designs. All furniture is hand made by one of Britain’s most experienced craftsmen, using only the best possible resources available today to create everlasting masterpieces.
SPOILT FOR CHOICE Our many ranges are all available in leather and fabric in a wide range of colours. We use original English antique rub off leathers plus the aged, distressed, pull up aniline and waxed aniline leather which are imported from the UK exclusive to us. The leather is fire resistant and is of the finest A grade hides. Imported from the UK are five leather ranges with a choice of over 70 different colours. If preferred, choose fabric or velvet
upholstery. Perhaps you have a fabric already purchased – let us make it up in the style of your choice.
FRAMES AND MORE Match your choice of fabric or leather with our selection of timber. Our frames are made of the finest European beech hardwood timber all from renewable forest plantations, the timber is the same used by 95 per cent of UK chesterfield manufacturers. All frames come with a 10-year structural guarantee, are dowelled glued and screwed. The looks include traditional mahogany; dark, medium, golden and light oak; walnut, plus many more.
OUR SPECIAL CHESTERFIELDS The chesterfields are made with sprung seats and hand-built sprung backs units, dispelling the myth that these designs are uncomfortable. Our designs, many not seen in the country before, are soft and luxurious, designed to suit a customer’s preference. For something different, there is the Art Deco range of plain unbuttoned chesterfields with mixed contrasting leather fabric combinations.
furniture design, its origin dating back to mid 18th century. In circa 1773 the fourth Earl of Chesterfield commissioned noted furniture designer Robert Adam to design a piece of furniture that would permit a gentleman to sit with the back straight and avoid what the Earl referred to as ‘odd motions, strange postures and ungenteel carriage.’ In our opinion, we assume this to be the forerunner of the now famous chesterfield sofa. The deep-buttoned leather chesterfield is one of the most distinguished luxury products of the British Isles, renowned worldwide for the craftsmanship used in its construction and for its beauty.
A MODERN CHESTERFIELD SOFA Due to modern health and safety legislation, the old methods of producing a chesterfield sofa have changed. Our chesterfield sofas feature full flame retardant leather and foam fillings amongst many other modern refinements ensuring the safety of you and your loved ones while retaining the original character of chesterfield furniture. CHURCHILL CHESTERFIELDS 07 5530 2648 email@example.com www.churchillchesterfields.com.au
Churchill Chesterfields Manufacturers of high quality Bespoke English Reproduction Chesterfield leather furniture
BELOW THE SURFACE The bespoke service is designed to address a customer’s special requirement. This is a personal made-to-measure tailored manufacturing facility. The foams are standard fire resistant, are of the highest quality resilience, and carry a 10-year warranty.
WHERE & WHEN THE CHESTERFIELD WAS FIRST INTRODUCED In England a chesterfield evokes an image of elegance and sophistication. This deep-buttoned sofa is synonymous with traditional English
Visit our web site www.churchillchesterfields.com.au
8 Moondance Court Opening hours 8am to 5pm Bonogin, Gold Coast Monday to Friday Queensland 4213 By Appointment Mobile: 0424 882 144 Saturday & Sunday only Telephone: 07 5530 2648 Email: firstname.lastname@example.org
THE AUSTRALIAN ANTIQUE AND ART DEALERS ASSOCIATION The premier organisation for antique dealers and commercial art galleries in Australia t is difficult to describe the life of an antiques dealer as it involves being or becoming adept at a wide range of skills. Suffice to say that one needs an ability to understand people and have an appreciation of history. The joy of being surrounded by many beautiful items that have historical or financial significance is also a bonus.
ADVANCING THE UNDERSTANDING OF ARTS & ANTIQUES Members of the Australian Antique and Art Dealers Association have a strong interest in promoting the appreciation and preservation of antiques and art in Australia. Their professional advice and expertise goes a long way in advancing the public’s perception and understanding of the value of buying and owning antiques. Events such as the Antiques Treasure Trove held at The Famous Spiegeltent recently, and the Autumn/Winter Seminar series held each year in members’ stores and galleries, are great opportunities for both members and the public to come together to advance the understanding of antiques and art in the Australian community.
DECORATIVE ARTS IN THE SPIEGLETENT The first AAADA Spiegletent event took place on Saturday, 16 February in The Famous Spiegeltent on the forecourt of the Arts Centre Melbourne on St Kilda Road, followed by a second event a month later on Saturday, 16 March. A spiegeltent – Dutch for ‘mirror tent’ – is a large travelling tent, constructed in wood and canvas and decorated with mirrors and stained glass, intended as an entertainment venue. The Famous Spiegeltent, perhaps the most
lavishly decorated of all, was built in 1920 in Belgium by master craftsmen Oscar Mols Dom and Louis Goor. Over the decades it has hosted some of the world’s greatest performing artists, including German singer Marlene Dietrich who famously sang Falling in Love Again in it during the 1930s. So it seemed fitting that the first AAADA Spiegletent event was held in such a charming structure. Our thanks go to Linda Catalano, manager of The Famous Spiegeltent, for coming up with the idea of holding the event in the first place, and Thara Krishna-Pillay, from the Arts Centre for her enthusiasm in organising the event. In addition, a well-received ‘Guess the Value’ competition was held. AAADA members brought in an array of rare and valuable pieces for the public to try their hand at valuing resulting in three winners taking away prizes and going home very happy.
SYDNEY AAADA FAIR 2013 BACK AT ROYAL RANDWICK 21 - 25 August The AAADA fairs are Australia’s only international quality events. These fairs are fully vetted for authenticity and backed by the reputation of Australia's finest antique and art dealers. The AAADA fair offers for sale the finest and most diverse range of fine art and antiques in one place, at one time. Following the redevelopment of Royal Randwick, the Sydney event promises to be bigger and better than ever in the rejuvenated venue. A gala preview will be held on Wednesday, 21 August, from 6 pm-9 pm; tickets are $30 per person and can be purchased from the AAADA office. The show will be open from 11 am to 7 pm on Thursday, 22 August to
Saturday, 24 August and from 11 am to 5 pm on Sunday, 25 August. Tickets will be available at the door. General admission: $20; concession: $15; children under 16 free.
VICTORIAN CHAPTER LECTURE SERIES Another good opportunity to learn more about antiques is by taking part in the lecture series. Held weekly on Wednesday evenings in members’ shops, galleries and showrooms, the series begins in mid May (see booking form on adjoining page).
FIND US ON THE INTERNET The Association is accessible on the Internet. Peruse the AAADA website – here the user friendly search tool for antiques and art makes the hunt for that special piece so much easier. Another useful feature on the site is the online version of The Essential Buyers’ Guide, a valuable resource for collectors seeking special pieces for their collections. If you would like to receive information about future events, join the mailing list at www.aaada.org.au.
FACEBOOK Join the AAADA Facebook page today for a chance to win a subscription to World of Antiques and Art magazine. AUSTRALIAN ANTIQUE & ART DEALERS ASSOCIATION 03 9576 2275 email@example.com www.aaada.org.au
THE ESSENTIAL BUYERS GUIDE 2013 HARDCOPY EDITION NOW AVAILABLE
This booklet is the definitive guide to buying, collecting, selling, valuing and restoring antiques and art with confidence, from Australia’s leading antique and fine art dealers and their approved service providers. Obtain a copy by phoning the Executive Secretary on 03 9576 2275.
MAKE SURE THESE DATES ARE IN YOUR DIARY AS THIS FAIR IS NOT TO BE MISSED!
25-28 April 2013
For further details go to our website: www.aaada.org.au/melbournefair 76
Victorian Chapter Lecture Series 2013
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 hands, book now for your place in a series of workshops that let you get a grip on your subject of choice. On Wednesdays during May and June, a member of the Victorian Chapter of the Australian Antique and Art Dealers Association hosts at their premises a seminar on a specialist subject. That way you can learn the same way the experts do, by holding and exploring special pieces. Let the years recede and the past come alive in these practical sessions open to anyone interested in jewellery, art, furniture and ceramics. In just 90 minutes, insiders’ insights will help you become that little more discerning, an integral skill if you want to be a better collector. Places to each session are limited to 10–20 people, so everyone gets a go at increasing their knowledge. To be sure of your place in this year’s workshops, return the booking form with your payment as soon as you can. Sessions run from 6 pm to 7.30 pm at $25 per session, GST inclusive. Better still, book five sessions and receive the sixth for free. 22 May PAUL SUMNER Mossgreen Gallery 310 Toorak Road South Yarra Living with contemporary art and antiques in a modern home 29 May TRISH PAGE Page Antiques 323 Canterbury Road Canterbury Spelter – A desirable alternative 5 June KENT VIRTANEN Virtanen Antiques 933 High Street Armadale The design elements of Scandinavian furniture
12 June LAURAINE DIGGINS Lauraine Diggins Fine Art 5 Malakoff Street North Caulfield Understanding the value of art 19 June KIRSTEN ALBRECHT Kozminsky 421 Bourke Street Melbourne Eras of Elegance – Stylistic changes in jewellery from Victorian times to the Belle Époque 26 June LEE BRADSHAW Etruria Antiques Suite 1, First Floor 170 Elgin Street Carlton Looking for porcelain and finding something better: English pottery in the Georgian period
Booking Form 2013 I/we, _____________________________________________________________ of ________________________________________________________________ _________________________________________________________________ Telephone ________________________________________________________ Email______________________________ ______________________________
To confirm your booking, please tear off this slip, complete the form and send with payment to: The Secretary Australian Antique & Art Dealers Association Victorian Chapter PO Box 24 Malvern VIC 3144
wish to attend the following seminars: Seminar 1. Living with contemporary art and antiques in a modern home @ $25 each 2. Spelter – A desirable alternative @ $25 each 3. The design elements of Scandinavian furniture @ $25 each 4. Understanding the value of art @ $25 each 5. Eras of Elegance – Stylistic changes in jewellery from Victorian times to the Belle Époque @ $25 each 6. English pottery in the Georgian period @ $25 each TOTAL
Qty ________ ________ ________
$ $ $
Carol Jerrems ‘Jane Oehr, “Womenvision”, Filmaker’s Co-Op’, 1973, from A Book about Australian Women (Outback Press, 1974), gelatin silver photograph. National Gallery of Australia, Canberra. Gift of Mrs Joy Jerrems 1981© Ken Jerrems and the Estate of Lance Jerrems
Carol Jerrems ‘Butterfly behind glass [Red Symons from Skyhooks]’, 1975, gelatin silver photograph. National Gallery of Australia, Canberra. Gift of Mrs Joy Jerrems 1981 © Ken Jerrems and the Estate of Lance Jerrems
Monash Gallery of Art
CAROL JERREMS PHOTOGRAPHIC ARTIST 6 July – 28 September A National Gallery of Australia travelling exhibition he home of Australian photography, MGA is the only museum dedicated to collecting and promoting exclusively Australian photography, and so is unique. Over the last two decades, MGA has developed one of Australia’s most important collections of Australian photography and has taken great pride in bringing the story of Australian photography to a wide and diverse audience. MGA is delighted to be the only Victorian venue to host the National Gallery of Australia’s important exhibition Carol Jerrems: photographic artist. Drawn from the National Gallery of Australia’s substantial archive of her work, the exhibition features rare and extraordinary photographs being seen in Victoria for the first time in decades. Carol Jerrems was born in Melbourne in 1949 and from 1967 to 1970 studied photography at Prahran Technical College
under Paul Cox and Athol Shmith. Although she practised as an artist for only a decade, Jerrems has acquired a celebrated place in the annals of Australian photography. Jerrems’ reputation is based on her intensely compassionate and formally striking pictures, her intimate connection with the people involved in social movements of the day, and her role in the promotion of ‘art photography’ in this country. Jerrems was one of a number of Australian women whose work during the 1970s challenged the dominant ideas on what a photographer was and how they worked. She adopted a collaborative approach to making photographs, which often featured friends and associates, and sought a photographic practice that would bring about social change. Her gritty, poetic and elusive images show people trying to find a new way of life in the 1970s.
Carol Jerrems ‘Lyn and the Buick’, 1976, gelatin silver photograph. National Gallery of Australia, Canberra. Gift of Mrs Joy Jerrems 1981 © Ken Jerrems and the Estate of Lance Jerrems
Carol Jerrems ‘Flying dog’, 1973, gelatin silver photograph. National Gallery of Australia, Canberra. Purchased 1976 © Ken Jerrems and the Estate of Lance Jerrems
Carol’s images have come to define a decade in Australia’s history. Jerrems was the first contemporary Australian woman photographer to have work acquired by a number of museums including the National Gallery of Australia, which holds an extensive archive of her photographs and film work. These were given to the gallery by the artist’s mother Joy Jerrems soon after her daughter’s untimely death in 1980. This exhibition concentrates on prints signed
or formally exhibited by Jerrems in her lifetime, most returning to Melbourne for the first time. In addition to many of the images for which Jerrems is rightly famous, the exhibition features early work, including her extraordinary concertina books, which have not been seen in Victoria since the early 1970s. MONASH GALLERY OF ART 03 8544 0500 www.mga.org.au
Carol Jerrems ‘Outback Press Melbourne’, 1974; left to right: Colin Talbot (writer), Alfred Milgrom (publisher), Morry Schwartz (entrepreneur, publisher, now publisher of The Monthly), Mark Gillespie (singer/songwriter), gelatin silver photograph. National Gallery of Australia, Canberra. Gift of Mrs Joy Jerrems 1981 © Ken Jerrems and the Estate of Lance Jerrems