aaa vic dec 2013

antiques DECEMBER 2013 – APRIL 2014

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IN VICTORIA

CAMBERWELL

535-537 Burke Road, Camberwell West Victoria 3124 Traditional international antiques, clocks, barometers and items of virtue

03 9822 9882 • Mobile Chris Snook 0412 363 176 • Jenny Snook 0412 100 409 Email: snookantiques@bigpond.com.au • www.snookantiques.com Hours: Tuesday 10 - 4, Wednesday 12 - 4, Thursday-Friday 10 - 4, Saturday 10 - 2 All other times by appointment

SNOOK & COMPANY

SNOOK & COMPANY

at the Tyabb Packing House

Horological Workshops

THE TYABB PACKING HOUSE

Our newly built horological workshops are now open for all types of antique clock, barometer, instrument and music box restorations. All work undertaken on the premises.

14 Mornington Tyabb Road, Tyabb

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Christmas opening Thursday 26 December every day until Sunday 12 January 2014 Open: Thursday – Sunday & Public Holidays 10am - 5pm

Telephone: Robert Snook 0411 232 243 or Patrick O’Neill 0413 223 730

Telephone: Jenny Snook 0412 100 409

535-537 Burke Road, Camberwell West

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HIGH STREET

Armadale Antique Centre Detail of Daum Frères ‘Autumn Landscape’ Cameo Vase. French, c. 1900

Over 40 Licensed Independent Antique Dealers

1147 High Street Armadale Victoria 3143 03 9822 7788 www.armadaleantiquecentre.com.au Open 7 days 10.00 am – 5.00 pm

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PUBLISHER ABN 39 945 398 132 JQ Pty Ltd Suite 1b, 10 Spring Street, Bondi Junction NSW 2022 PO Box 324, Bondi Junction NSW 1355

ADVERTISING SALES André Jaku 02 9389 2919 / 0412 229 117 Fax 02 9387 7487 andrejq1@gmail.com Harry Black 03 9813 8585 / 0418 356 251 harry-black@bigpond.com

MANAGING EDITOR Eva Jaku 02 9389 2919 editor@worldaa.com www.worldaa.com

COPY EDITOR Paula Towers editor@worldaa.com

DESIGN AND PRODUCTION Brian Cass, Kylie Kennedy, Brigitta Campbell & Kathy O’Grady production@worldaa.com

PRINTERS Webstar 1/83 Derby Street Silverwater NSW 2128 Rural Press Bells Line of Road, North Richmond NSW 2754

CONDITIONS OF ACCEPTANCE No responsibility can be taken for the quality and accuracy of the reproductions, as this depends on the quality of the material supplied.

No responsibility is taken for typographical errors.

The publishers reserve the right to refuse and edit material. All prices and specifications are subject to change without notice.

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IN VICTORIA

NOTICE TO DEALERS Please send us any articles for publication in Antiques & Art in Victoria. Length up to 1,000 words, preferably typed on disk, or email with accompanying captions. Mail pictures as prints, transparencies or digital images on CD. Article is conditional on advertisement being taken.

Next issue will be distributed in April 2014 Booking deadline 3 March 2014 Copy deadline 10 March 2014

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

COPYRIGHT JQ PTY LTD All rights reserved.

No part of this publication may be reproduced or transmitted in any form or by any means without the permission in writing from the publisher.

Rare Art Deco sculpture by Jean de Roncourt France c.1935

PHOTOGRAPHY

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

RUSSELL WINNELL Specialising in antiques and artworks

0415 929 712 QUALITY WORK • COMPETITIVE RATES

491 High St Prahran Vic 3181 • www.pascalleclerc.com.au

03 9510 8522 Warehouse by appointment only 0412 560 371 Antiques and

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FURNITURE MATERIALS (1920-40) I n the Art Deco style, ebony was the premier wood. Its jet-black surface, buffed repeatedly, drew out an innate majesty.

Although rare and therefore costly, ebony had traditionally been used for whole sections in furniture making – for legs, drawers and even the entire carcass – in the same manner that mahogany was employed in the heyday of the Art Nouveau style, around 1900. This profligacy soon led to a shortage that persisted into the 1920s. Cabinet-makers had to make do with ebony veneers due to the scarcity of this timber.

In the 1920s, cabinet-makers drew on a wide range of superb veneers, more than any of their forebears. Most of these were exotic.

Most popular, because of the distinctive parallel grain, was Macassar ebony from the Indonesian island of Java. Another imported veneer, particularly used by Eugene Printz and Pierre Legrain, was palm wood, its textured coarse surface resistant to North Africa’s termites. Also popular was Brazilian jacaranda (‘Rio palisander’). Zebra wood and calamander were used more sparingly as their grains were considered to be overpowering.

Nearer home, selection could be made from a wide range of traditional veneers such as amboyna, mahogany, sycamore and violet wood, to name a few of the more popular.

These were often used in juxtaposition with parallel burl wood such as maple or ash. The range of decorative effects was infinite and limited only by good taste.

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The revival in popularity of oriental lacquer furniture in France prior to World War I was sustained throughout the 1920s. Eileen Gray was the first (c. 1910) to use it successfully in modern furniture design, followed later by Jean Dunand, Leon Jallot and Katsu Hamanaka.

By 1930, lacquer, like wood, faced the challenge of mass production and modernisation.

Industrial synthetic varnishes were developed which gave, to the inexperienced eye, a similar high-gloss finish known today as ‘2 pack’ polyester. Lacquer and French polishing were suddenly seen as relics of a bygone era, their onerous methods of application an anachronism in the new age.

Another material to enjoy a great vogue, this time after a lapse of some 200 years, was shagreen, known as galuchat in recognition of its noted 18th-century exponent, Jean-Claude Galuchat, who used it in his sheath-making business. Galuchat is the skin of the small spotted dogfish or rousette (shark species), to this day a culinary delight awaiting the unsuspecting holidaymaker in France’s coastal resorts. Cut into sections, the skin was steeped in chlorine solution, which bleached it. It was then scrubbed with a wire brush and filed before being cut and glued into position on the piece of furniture, often a dressing table or desktop. Interchangeable with galuchat was snakeskin, its different cellular structure allowing a subtle change of effect.

In the same category were animal hides such as pony skin, favoured by Michel Dufet, Le Corbusier and Pierre Legrain.

In the 1920s vellum was introduced into interior design, principally as wall panelling.

Ivory, absent in furniture design at the turn of the century, replaced ormolu as the period’s foremost furniture mount and decorative fillip. Ivory was used to lend grace and refinement in drawer pulls. Sabots outlined the curve on a cabriole leg.

Wrought iron underwent a surge in popularity.

Overtaken by bronze in the Art Nouveau era, wrought iron resurrected its decorative potential in the hands of Edgar Brandt, Raymond Subes, Charles Piquet and Gilbert Poillerat. Wrought iron was widely used for furniture, light fixtures and architectural elements.

Nowadays Art Deco furnishings are becoming scarce and command high prices on the international market, but considering their beauty and quality, it remains an excellent alternative and investment to poorly made Art Deco reproductions.

Pascal Leclerc LECLERC ANTIQUES 03 9510 8522

Editorial CONTENT FRONT COVER Martha Berkeley (Australia, 1813 – 1899), Anne Eliza Duff with her daughter Jessie, c.1847, Adelaide (detail). Watercolour on paper. 16.5 x 13.3 cm.

Collection: Art Gallery of South Australia, Purchased 1994.

See page 34

04 06 07 08 10 11 12 14 16 17 18 19 20 21 22 25 26 27 28 30 31 32 33 34 43 44 45 47 48 49 50 51 53 54 55 56 56 57 59 60 61 62 63 64 65 66 68 69 71 72 74

Furniture materials (1920-40) – Pascal Leclerc Celebrating Art Deco at Fabrile Mariella McKinley at Veronica George Gallery Travel Posters: insight into tourism from the 1930s to 1970s A new website for collectors – Philip Moorhouse Expressions Gallery Notions on original prints and posters The beginnings of time on horology 1300-1500 – Michael Colman It may not be Darwin but the species does have an origin – Ron Gregor Take a step back in time to Art Deco Napier, New Zealand Giltwood history repeats – Mike Gleeson Page Antiques, Canterbury – Trish and Guy Page The Snook family open new showrooms in Camberwell – Chris, Jenny and Robert Snook Antique Light Company for all your lighting needs Buying affordable art at auction – David Freeman The Victorian Artists Society: Building on heritage for the future of art in Australia Persian rugs origins and history – Majid Mirmohamadi Schots Home Emporium for every room Antique sleuthing: Identifying the work of Georges Jacob – Roy Williams The English longcase clock Summer at Di King Gallery Sherbrook Art Society supports local artists with an exciting summer and autumn program Maling pottery 1762-1963 – Barbara Thomas For Auld Lang Syne, Art Gallery of Ballarat celebrates our Scottish heritage – Gordan Morrison Genius & Ambition: Royal Academy of Arts London 1768-1918 Partnering with Howard Products completes a successful restoration project – David Foster Cardinia’s grand art exhibition: a premium art event in Victoria – Calvin Bell Mornington Peninsula Regional Gallery summer and autumn exhibitions Brialyn Boathouse Gallery summer program at Frankston’s centre for fine art McClelland Sculpture Park+Gallery summer exhibitions program Turning a vision into reality: Tyabb Packing House Antiques, a centre of antique and collectable treasures Pegasus Antiques top tips on caring for antiques Qdos Arts presents Lucy McEachern: sculptures Isabella Clementina Ainslie of the Harvey School Summer program at Scope Ballarat’s annual antique fair is the longest running event of its kind Bendigo 2014 Easter Antique Fair – Robert and Carol Dennis Dennis O’Hoy collection of Bendigo Pottery to be sold Touring exhibitions featuring at Art Gallery of Ballarat Bendigo Rotary Club’s Easter Art Show at Bendigo Town Hall Modern Love continues @ Bendigo Art Gallery – Leanne Fitzgibbon Bendigo Pottery – 155 years on In this edition the VADG profiles members Guy and Trish Page of Page Antiques Christmas from the Victorian era to today – Susanne Gervay Australia, with reindeer and elephant National Gallery of Australia, Gold and the Incas: Lost worlds of Peru – Christine Dixon Annual Rotary Antiques Collectables & Book Fair at Jupiters Hotel & Casino Gold Coast – Peter Campbell The brilliance of 18th century artworks at Brisbane Antique Emporium – Kathryn and Derek Nicholls A specialist furniture manufacturer Churchill Chesterfield made in Australia AAADA: The premier organisation for antique dealers and commercial art galleries in Australia Finds, restoration and fine food at Baimbridge Antiques

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

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

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

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

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

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

All rates are inclusive of GST

NOTICE

AMANDA ADDAMS AUCTIONS

Auctioneers and Valuers

AMANDA ADDAMS AUCTIONS

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

SALE DATES 2014 Monday 6 January 2014 6.30 pm Viewing: Saturday 4 January 11 am – 4 pm Monday 6 January 12 noon – 6 pm Monday 3 February 2014 6.30 pm Viewing: Saturday 1 February 11 am – 4 pm Monday 3 February 12 noon – 6 pm Monday 3 March 2014 6.30 pm Viewing: Saturday 1 March 11 am – 4 pm Monday 3 March 12 noon – 6 pm

QUALITY SINGLE ENTRIES OR LARGE COLLECTIONS (ANTIQUES, ART, COLLECTABLES, DECORATIVE ARTS AND DECEASED ESTATES) ARE ALWAYS INVITED FOR SPECIAL AUCTIONS

AMANDA ADDAMS AUCTIONS 344 High Street, Kew Victoria 3101 Tel: 03 9855 2255; Fax: 03 9855 2244

www.aaauctions.com.au David Freeman 0419 578 184 Amanda Freeman 0419 361 753

VALUE ADDED @worldaa.com NOW ONLINE Australia’s foremost magazines on the decorative arts antiques, art & collecting vintage & retro Need to contact your local dealer but don’t have a copy of your state’s Antiques & Art? Problem solved – log on and read online.

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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.

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CELEBRATING ART DECO at Fabrile I

f you happen to be in Paris in the coming months there is a wonderful exhibition currently being held at the Cité de l’architecture et du Patrimoine (Palais de Chaillot, 1 Place du Trocadéro) – until 17 February titled 1925, When Art Deco Seduced the World, dedicated to the story of a changing world at the turn of the century.

At the turn of the 19th century (18901914), the world was in a hurry to reinvent itself. Boundaries were being challenged in every aspect of life. Industry was on the move, travel was being revolutionised and somewhat complacent social attitudes and values were being challenged. Therefore it is not surprising to find that a new approach to design was evolving, impacting every facet of life through industry, architecture, commerce and recreation. Hence the style popularly known as Art Deco was born.

THE MODERN ERA: MODERN ICONS The story of a changing world rushing to reinvent itself is far more interesting and overwhelming than detailing the specifics of the art deco style. At the turn of the century there were seemingly no limitations on people’s dreams and aspirations. Flight by aeroplane was seen as something to achieve on a commercial scale. The potential for motor and turbine engines to be more powerful, faster and efficient was harnessed in all modes of transport, industry and recreation.

Citroen was founded in France in 1919; and was the first company to mass produce motor

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vehicles outside the USA. The iconic Empire State Building – which held the title of the world’s tallest building for around 40 years – was soon to become a reality in 1931. The SS Normandie entered service in 1935 as the world’s largest, fastest and most extravagant ocean liner. The Paris Metro opened in 1900, expanded quickly with the core underground network completed by 1920. Qantas was established in 1920 and Air France in 1933.

The Panama Canal opened in 1914 and the Golden Gate Bridge opened in 1937. The world of industry and production was fast evolving, with new materials to experiment.

These icons of the modern era were all a product of the ingenuity, energy and technologies leading to the turn of the century and pursued with unrelenting vigour through the early part of the century. Trains, ships, cars and aeroplanes were realised as commodities for industry, commerce and recreation. Infrastructure on a grand scale was required to keep pace with the demands of a fast changing world.

DESIGN PRINCIPLES FOR THE 20TH CENTURY It is hardly surprising that in a world so intent on progress, the principles of design would similarly be scrutinised, questioned and, as history testifies, substantially modified to reflect the changing needs, attitudes and demands of society. The style of art deco is often recognised as a point in time when the direction of design changed from the decorative and ornamental to the streamlined and efficient. Priority was given to form and

function, geometry and balance.

Art deco style was also aesthetically bold yet skilfully balanced so as to be pleasing to the eye. Fine workmanship, quality materials and the luxury of time to craft and refine the final product ensured the icons of the art deco period are as remarkable today as they were in the 1920s and 1930s. Such is the theme of the exhibition in Paris, to demonstrate through every aspect of industry, commerce, architecture and recreation the influence of the style commonly referred as Art Deco.

NOUVEAU V DECO Dominating design from 1919 to 1940, the art deco movement replaced Art Nouveau’s curves with straight lines and streamlined structures in architecture. The simple contrast between Art Nouveau and Art Deco architecture displayed at the beginning of the exhibition is an excellent means of highlighting the stark contrast between times past and the dawn of a new era.

Footage showing women in sport, industry, aviation, motor sport and entertainment are captivating. Not only is their participation recognised, but women are regarded as the driving force and celebrities of a new era.

New technologies allowed buildings, ships and aeroplanes to be larger, grander, faster and more exotic. Design responds with streamline functional spaces adorned in exotic, highly crafted finishes. The International Exposition of 1925 in Paris was a showcase for famous fabricators and manufacturers of luxury wares. A large area is

devoted to this, the Exposition Internationale des Arts Décoratifs and Industriels Modernes, which lead to the coining of the term ‘Art Déco’. The fabulous pavilions created by each exhibitor for the Exposition are perhaps the single best display of the art deco style. A wonderful collection of photographs at the exhibition capture the excess and extravagance of many of the pavilions.

FIND THE BEST OF ART DECO AT FABRILE The purpose of Fabrile is to preserve and present for sale the beauty and grace of the art deco style. Behind the objects and the art we present is a story of the world rushing to reinvent itself and a voracious desire for change.

The story is one of a very short period of time when the world would be changed forever, when people dared to share their dreams and disregard the conventions of past times. The turn of the century was also a time when people were not only intrigued by culture and customs outside of their own. Alternative cultures, traditions and lifestyles served as inspiration and were captured in all walks of life through fashion, art, architecture and design.

Like any other period in history, the prosperity of the 1920s and 1930s was not for all to share. On the contrary, the period was extremely difficult for many people. Poverty, racial intolerance, hardship, class and cultural bias were all prevalent. Every period of history has a legacy and every period is judged. However it is no exaggeration to say that change in the 1920s and 1930s was fundamental and enduring, and is clearly preserved in the style we refer to as Art Deco.

FABRILE 03 9824 8826 / 0438 248 826 www.fabrile.com.au

HIGH STREET

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

In addition to the wide selection of tasteful gifts and special pieces for the interior, we have unique works of art for the collector.

As well as the magnificent variety of original hand-blown glass, there is a fine collection of contemporary jewellery by well-known Australian artists.

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

Mariella McKinley, Polished Bowls

MARIELLA McKINLEY at Veronica George Gallery An emerging talent ARTIST’S STATEMENT ‘I have always been interested in design and the visual arts. I have explored architecture, drawing, painting, photography, textiles and sculpture, but only discovered my true passion for a medium when I began working with glass nine years ago. I am captivated by the qualities of glass and find great pleasure in the processes and techniques used when working with it. I have a strong interest in colour, pattern, texture and form and enjoy exploring these elements in my work.

My art and glass experiences include: • Diploma of Arts – Visual Arts, majoring in painting (Northern Melbourne Institute of TAFE, 2002) • Bachelor of Fine Arts (Honours), majoring in glass (Monash University, 2006)

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

Motion (Kirra Galleries, 2011) and solo exhibitions including Kaleidoscope (JamFactory, 2010) • Awards including the Veronica George Gallery Award (2005) and the Italian Centre Design Award (visit to Murano in 2008).

Currently, I am setting up my own coldworking studio. I hope this will enable me to be more independent, experiment with technique and develop new work.’

strips of clear and coloured glass to construct the vessel called Natural Rhythms.

The Kaleidoscope series body of work is inspired by the ever changing patterns of the kaleidoscope and the sparkling fragments of colour and reflected light that create wonder and beauty for the viewer. Her series called Polished Bowls is created with a focus on form, colour and the intrinsic beauty of glass.

WORKS ON SHOW

VERONICA GEORGE GALLERY 03 9500 9930 veronica@veronicageorge.com.au www.veronicageorge.com.au

Mariella is interested in the effects of folding and layering, and the patterns that can be created by carving into these strips. She used

Below and right: Works from the Kaleidoscope series

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TRAVEL POSTERS insight into tourism from the 1930s to 1970s he beauty of the travel poster lies in its capacity to document a specific moment in time. Travel posters present us with visual tour of the most desired tourist destinations from an era where travel was for privileged high flyers. As such, it’s not surprising that most of these posters portray images of elegance and sophistication. Travel conjured up images of women in white gloves, straw hats and matching leather suitcases, a very different picture to how travel is viewed these days.

The tourism industry has seen many an innovative marketing campaigns and top-end artists and publishing companies have long been employed to entice the public. These posters, like all posters, capture distinctive moments in time. In this case, we’re thrust back to an era when travel was exotic, elegant and extravagant. We’re able to understand how a certain destination, country and culture were viewed by society at that time. Travel today might have lost the elegance that was once at its very core, but these beautiful posters have not. We’re celebrating this beauty at Vintage Posters Only and we’d love for you to join us.

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MEET SAM JOHNSON Vintage Posters Only owner Sam Johnson, a.k.a. the Poster King, began his interest in vintage posters when living in Paris during the early 1990s. On seeing the vintage posters that adorned the walls of cafes, restaurants and shops the P.K. (as he’s known to many) started his own collection which soon grew into a gallery of works that can be viewed at his Melbourne shop front.

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WHY OUR POSTERS ARE SPECIAL We are just obsessed with these stunning artworks. Every poster has a story to tell, from the artist who created it, to the product it is selling. So what is it that makes our posters special? Firstly, they are all original vintage posters. This means that they are prints existing from the original print runs ranging from the 1930s to 1970s. Quite often they have a history behind them. Many were hung in subways, buildings or kiosks, basically anywhere that had a large enough surface for the public to take notice.

Secondly, some of the most important poster artists of all time are represented in the collection.

Villemot, Savignac and Cappiello were all masters of their art and to have their work accessible to everyone is rare in the art world.

POSTERS FOR ALL COLLECTING INTERESTS We have an extensive collection and an array of categories. We’ve got posters relating to cars and bikes, fashion, food and beverage, art exhibitions, events and entertainment – everything you can think of.

Vintage posters are great for decorating any space and are a guaranteed talking point in any home or business. Given that there is such a wide range of images and themes available, it is possible to find the perfect vintage poster for anyone.

You can view our posters in store or on our beautiful new website at www.vintagepostersonly.com.

Feel free to contact us with any questions regarding posters, we are more than happy to help. We love what we do, working with posters all day everyday and sharing these stories and this experience with anyone who is interested. If you can’t afford the holiday to Hawaii or the Bally heels, come in and grab the poster!

VINTAGE POSTERS ONLY 03 9500 2505 sam@vintagepostersonly.com www.vintagepostersonly.com

HIGH STREET

Wanting to buy original lithographic posters from the turn-of-the-century to 1970.

Condition not important!

Paying Australia’s best prices.

Contact: Sam Johnson 03 9500 2505 Email: sam@vintagepostersonly.com www.vintagepostersonly.com

1136 High Street Armadale Victoria 3143 Antiques and

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A NEW WEBSITE for collectors A

specialist website for collectors is now in beta release, and seeking keen collectors to help with final testing. The Collecting Bug is uniquely designed to allow all collectors to organise and display their collection on their own personal website, using a simple customised template.

SHOWCASE SOLUTION Several collectors who saw our recent article already have their collections online or are in

the process of doing so. Some had been searching for a solution to organise and catalogue their collection, while others contacted us excited that there was now a way they could share their collection with others.

Philip Moorhouse, a Melbourne collector of letterpress printing equipment and historical wood type, started The Collecting Bug almost by accident. ‘Over the past 20 years, my collection had grown to the extent that I really needed to manage it better. Also, many of my collecting friends were overseas, yet I had no way of sharing,’ Philip explained. ‘I thought a website was the ideal solution, but being a non-

technical person, I asked some collector friends for advice. It turned out quite a few wanted something similar themselves! I looked and looked, but couldn’t find anything suitable.’

COMPREHENSIVE DESIGN Keen collectors have tried previously to get their collections online, but with limited success.

Blogs don’t help you organise your collection.

Collector forums are great for sharing knowledge, but can’t showcase your collection.

Collectors can document their collection in an Excel spreadsheet, but it can’t handle pictures.

Philip says it was very frustrating, like going around in a circle! Everything was a compromise. The final straw came when he attended an overseas collectors convention (yes, they even have them for letterpress collectors!), made lots of new friends, and couldn’t show them anything in his collection.

He resolved to design the best possible website he could – for himself, and other keen collectors. Not knowing how to do this, he started looking at the finest museum and art gallery websites he could find, then asking collectors what they would like. When he approached website developers, they told him most websites start the other way – very basic, and then add features as required! But this comprehensive design approach turned out to be a blessing in disguise, as the end result is a well integrated, simple to use, website.

CUSTOMISED FIELDS & FEATURES FOR UP TO 20,000 ITEMS The concept is straightforward – in a nutshell, every item in your collection is listed with its

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customised fields (e.g. size, maker, condition, country of origin, date), a general description, and up to 12 photographs. Load up your collection, either item by item or alternatively by bulk import, and then organise it into optional folders. Lastly, set your privacy levels and think up a name for your website.

For those who want more, hidden under the bonnet is a powerful database content management system. Other features include links to other websites, sending and receiving messages, listing duplicates and wanted items, searching your entire collection in an instant for a single word or by customised fields, and storing documents. You can easily display up to 20,000 items in a single collection.

As Philip worked with fellow collectors, several other themes came up frequently. It must look good, as most collectors have developed a fine eye for design! Privacy was critical, so collectors are only identified by a username, and with private field, item and collection settings, you only show as much – or as little – as you wish.

COLLECTORS INVITED TO TEST The Collecting Bug is now in its final development phase before general release, and seeking collectors to assist in beta testing.

For anyone interested in having their own collection website, this is a remarkable opportunity. The team will personally guide you step by step as you create your own, fully customised website – entirely free.

Whether you are interested in your own website, or just enjoy looking at others, you can now visit The Collecting Bug website and see a variety of collections. Even though it is in limited beta release, the response has already been very favourable.

To find out more contact Philip Moorhouse THE COLLECTING BUG 0417 544 588 philip@thecollectingbug.com www.thecollectingbug.com

HIGH STREET

Jeffrey Smart (1921-2013), Container train in landscape

John Olsen AO OBE (b. 1928), Spoonbill and Egret

EXPRESSIONS GALLERY E

ARTIST PROFILE: XIANZHU SHI Xianzhu Shi is a Chinese-born artist who now lives in Australia. His cross-cultural experiences have found expression in his work, which is more than the telling of his life in Australia. But this complexity is only one aspect of a profoundly rich cultural mix.

Just as important, and perhaps more interesting, is the blending in his art practice of Chinese, Western, contemporary and ancient, modernist and post-modernist influences. In Xianzhu Shi’s work a subtle and individual fusion occurs, naturally, without any troubled or forced self-consciousness.

Expressions Gallery

EXPRESSIONS GALLERY 03 9500 0667 xart668@yahoo.com.au

Brett Whiteley, Grey Harbour, 1978

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.

Brett Whiteley, The 15 Great Dog Pisses of Paris, 1989

1110 High Street, Armadale Vic 3143 Australia Tel/Fax 03 9500 0667 xart668@yahoo.com.au also at 332 Malvern Road Prahran Vic 3181 • Mob: 0413 992 501

Xianzhu Shi

Xianzhu Shi

FINE ART LIMITED EDITIONS VINTAGE POSTER LINEN BACKING CUSTOMER FRAMING Antiques and

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HIGH STREET

Fine Original Vintage posters are valuable documents and part of an artistic and cultural heritage.

Brett Ross, the owner and manager of the gallery has the expertise to evaluate, buy and sell fine posters. For the last 14 years he has been trading in fine vintage posters and supplying the Gallery at 1158 High Street.

His ambition is to introduce to the market fine works rather than just cater for those wishing to cover their walls with a decorative, even if original, vintage poster.

The Gallery has a wealth of experience and knowledge to help you make an honest purchase or sale. It is a member of the International Vintage Posters Dealers Association (IVPDA), and guarantees the authenticity of its works.

Douglas Annand & A Witmore, Sydney Bridge Celebrations.

Proof sheet of lithographic poster, 1932 50.3 x 675.5 cm

1158 High St Armadale Melbourne 3143 T: 03 9509 1274 M: 0439 556 429 E: brettross@letitiamorris.com W: www.letitiamorris.com

Rene Gruau, Impermeable Moderne Blizzand, 1964

Fernand Léger, Le Cycliste, 1951

Thor Bogelund, Frederiksberg, 1932

Jean Colin, L'Électricité, 1952

Boris Bucan, Petruska, 1983

Notions on original PRINTS AND POSTERS W ith the mass production of prints and posters, especially the glossy formats churned out on an industrial scale in the later half of the 20th century, these two words have often become synonymous in the popular culture with reproduction.

Within the art market and museum world however, the word ‘print’ has remained firmly defined as an original art form. The first question is, what art form or technique? Is it a woodcut, lithograph etching, mezzotint or even now a digital image? The second question is, who did it? Photography could too be included in the print domain, but now seems to have its own independent classification.

All of these techniques of creating multiple images mechanically often imply the collaboration of an artist with a printing technician. Two ways of gauging the

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originality are firstly the artist’s input and control of the printing process, and secondly, that the image be a new creation, not a mere representation of a painting or known image.

This leads to a definition of originality that is not related to the fact that prints are multiplies of the same image. Uniqueness is not a criteria, original and unique (a single image) are not conflicting terms.

Posters have always been produced in large numbers and to decide whether they are original you may ask two basic questions.

Firstly, have they been made in a context where an artist has created an original image?

Secondly, did the artist work in tandem with a printer to achieve a desired printed result?

In the world of posters, one hears a lot of talk of noble stone lithography. But I believe that the simple direct transfer of stone to

paper became obsolete even before the First World War. In the ever-evolving industrial world of printing, sophisticated techniques of photo-transfer onto stone or zinc were present very early. This is not to say that the latter techniques are less ‘original’.

With the amount of time, effort and money spent on advertising campaigns, beauty and quality can be present in posters made throughout the 20th century. No one denies that millions of kilometres of paper have been wasted to produce pulp art-fiction posters that are without artistic merit or originality.

But just as it is apparent that many graphic creators have put body and soul into the creation of beautiful original posters when they leave the contemporary arena (say 10 years), they classify themselves as original vintage posters.

Bernard Villemot, Orangina Fruitillante, 1970

LETITIA MORRIS GALLERY 03 9509 1274 www.letitiamorris.com

MALVERN

Solitaire diamond ring, 3.51 ct.

Sold $38,940

Pair of ivory and silver plate candlesticks by Joseph Rodgers and Sons Sheffield, c. 1900, pattern 2821. Sold $2741

Chinese Qing dynasty (1644-1912), Rhinoceros in 900 silver. Sold $1888

Tanzanite & diamond bracelet. Sold $5664

Japanese Meiji period (1868-1912), Pair of Kinkozan Satsuma vases. Sold $3068

Ruby & diamond collier necklace. Sold $15,340 English Regency mahogany table clock, movement by William Halksworth (Fleet Street, London), c. 1840s. Sold $5192

Russian silver sugar basin, assayer’s mark ‘AA’, Moscow, 1891. Sold $542

Japanese Meiji period (1868-1912), Silver tea ladle. Sold $1652

Seven piece teak dining setting, c. 1950-60s, in the Fler style. Sold $1652

AUCTION SCHEDULE 2014 Accepting items for consignment:

FINE & DECORATIVE ARTS, ANTIQUES & JEWELLERY HEAD OFFICE: 47 GLENFERRIE ROAD, MALVERN 3144 T: +61 3 9509 6788 F: +61 3 9509 3455 email: philips@philipsauctions.com.au www.philipsauctions.com.au

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

Sunday 16 February Monday 17 February Thursday 23 January Wed 12 - Sat 15 February

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

Sunday 23 March Monday 24 March Thursday 27 February Wed 19 - Sat 22 March

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

Sunday 4 May Monday 5 May Thursday 10 April Wed 30 April - Sat 3 May

Visit www.philipsauctions.com.au for details of all current lots

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Hourglass or sand-glass in early Italian fresco, c. 1337-1339, held by figure middle right

THE BEGINNINGS OF TIME in horology 1300 – 1500 T he mechanical clock appeared around 1280-1300, along with the crucial invention of the ‘crown wheel and verge’ escapement. This device requires a crown wheel, with an odd number of teeth to the side, like a hole-cutting saw blade mounted vertically. Across the crown wheel is a vertically mounted arbor or shaft, with a balance wheel on top. Two small projections of steel called pallets are mounted on this arbor (the verge). Each pallet face meets a tooth of the crown wheel alternately spinning the balance wheel each way, allowing the crown wheel to escape (release) one tooth at a time.

The regulating of this escapement was controlled by adjustable driving weights, and required frequent adjustment to time. The crown wheel was held, the verge lifted out, the train let run freely to the desired time, stopped on crown wheel and verge replaced and set going. This required an attendant of some skill; considering that the clock may have taken two years to make, a mistake would be costly. The basic crown wheel and verge escapement lasted with several improvements for almost 500 years.

An alternative soon appeared to the crown wheel and verge. A horizontal bar was attached to the arbor in place of the balance wheel and suspended by pig or horsehair. At each end of the bar were notches where weights could be moved in for faster or out for slower. The new escapement was a ‘crown wheel and verge foliot’, known as a verge foliot. It worked the same way as the verge balance but was able to be regulated independently. This system was very robust, would tick away almost forever as long as its moving parts were kept oiled. However it was still a very poor timekeeper, but better than the crown wheel and verge.

The oldest surviving clock in England is in Salisbury Cathedral. It was verge foliot, has no dials but strikes the hour. It was made about 1386, for historical accounts show that in 1386 provision was made for a house for the use of the clock keeper. Ralph Erghum was bishop of Salisbury and was a regular visitor to the court of King Edward III. He later moved to Wells Cathedral in Somerset and commissioned another clock in 1388, having it installed in 1392. Both these clocks are the oldest surviving

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clocks in England and have been found in more recent times to be made by the same craftsmen.

These two clocks have now been attributed to Johannes Lietuijt, or the brothers Johannes and Williemus Vrieman, a group of three clockmakers invited to England in 1368 by King Edward III from the Low Countries (Belgium, Luxenbourg and the Netherlands).

The Salisbury clock was replaced by a new mechanism in 1884. It was saved from oblivion in 1929 when TR Robinson drew attention to its great antiquity. As can be seen, the wrought iron clock frame is held together with wedges. These earlier clocks were ground-mounted like the water clocks. The weights were suspended from pulleys higher than the clock. Eventually these clocks were put in a tower with weights hung below, becoming known as Turret or Tower Clocks.

In 1931 the original mechanism was cleaned up and put on display, and finally in 1956, with the help of Rolls Royce, certain parts were Xrayed to see what was original. By using original parts and some new, it was restored back to verge foliat from a previous pendulum alteration.

The restored Salisbury clock is probably the oldest clock in the world today still running.

The Wells Cathedral clock of 1392 strikes the quarters as well as the hours. It has two dials, one astronomical and three separate automata. The original movement now resides in the Science Museum in London, having been replaced in 1835 and that movement in turn replaced c.1890. The original astronomical dial at Wells Cathedral is the finest still preserved in England.

Around the early 14th century the hourglass finally appears to have been developed. The first known illustration of the hourglass is in an Italian fresco painted between 1337-1339 in the Palazzo Pubblico in Sienna; the sandglass is held aloft formally indicating something of great or of new importance.

The invention of the hourglass or sandglass had required a form of breakthrough in technology. Not in the glass, but rather in the need for an alternative to sand. Sand, because of its abrasiveness, would soon grind and enlarge the hole thus destroying the time keeping. The introduction of the hourglass required a manmade medium, and this was finally overcome

Salisbury Cathedral clock, 1386

with the use of evenly crushed eggshell. The hourglass was used widely for timing at sea where it was not affected by the sway of the ship, often used to set the four hour watch. In industry, it was used as a timer in manufacturing. On Sundays it was used to time the sermon, where it was also known as a sermon or pulpit glass. If the clergy were so inclined they would say ‘Brethren, we will take another glass’ and turn the glass upside-down to continue the sermon for another hour.

European knowledge of the planet grew more rapidly in the 15th century than ever before. The ships and long range navigation needed for maritime enterprise were available from the 14th century making possible the great exploration which led to the 15th century being called the ‘Age of Reconnaissance’. Exploration turned southward heralding the age of discovery which was to transform the globe and create one world.

Education had largely been the responsibility of the Church. The most important development at this time was the creation of universities, which went on to become the major transmitters of information and culture. By 1400 there were more than 53 universities, resulting in the revival of the training of the clergy and ensuring that the education of a substantive number of laymen was done in institutions under the control of the Church and so suffused with religion.

The spread of education allowed for the development of a merchant and artisan class. In relation to horology, this meant the application of new techniques and an expanded understanding of mechanical devices. These early timepieces were manufactured from examples and drawings given earlier as gifts. An example was the Arabian water clock given by Haroun al Rashid to Charlemagne in 807 where up to 12 bronze bells were struck, with 12 horsemen emerging at noon from windows, which closed behind them.

During this time the setting of standards, regulation and institutionalising of apprentices passed into the hands of the craftsmen, with these artisans organised into guilds. These guilds grew as part of the social commune and achieved special jurisdictional independence for free men in medieval Europe. Many urban areas developed without guilds. In some ways the guilds in small

Drawing crown wheel, verge and foliot

Wells Cathedral clock outer dial, 1392

MALVERN

Below: Domestic iron clock of the late Middle Ages with a painted dial plate with castellated cresting, turret style fourposter frame with verge escapement and foliot, and double-barrel winding system

Diagram illustrating the fusee and barrel

Above: French (Burgundy) chamber clock with gilt brass case, c.1460. British Museum, London. Highly important and a contender for the oldest surviving spring-driven clock in existence. All internal parts are of iron, was originally spring-driven and later converted to weight-driven for both time and strike

areas could limit the advancement of skilled labour, whereas the larger towns eventually became the domain of merchants and craftsmen.

Within the first year the apprentice had to pass the required reading, writing and drawing exams for acceptance before full training commenced. At this time literacy was probably limited to one percent of the population resulting in those able to undertake an apprenticeship being a select group. Perhaps this is why it appears that horology was kept within a small nucleus, often within family groups.

An early example of the guilds and their workings in domestic clockmaking in Europe is that of Germany and central France. At this time clockmaking was not a separate guild in France but part of the Guild of Smiths which incorporated blacksmiths, locksmiths and the like. The first clockmakers guild was established in Paris in 1544, with seven masters listed.

The gold and silversmiths guilds in France controlled gold and silver use and yet somehow the early French clockmakers were able to access precious metals. Sometimes complete gold cases were created. Whether this was because of cooperation or because the king wanted something made and decreed that clockmakers could use gold is uncertain.

Not many examples of these early French clocks have survived, probably melted down because their gold content was used to manufacture other items. Far more German examples exist from this period as the German gold and silversmiths guilds did not allow the use of gold or silver by another guild.

Their clocks were mainly made with wrought iron cases with few examples of collaboration between guilds where the iron was gilded. This may explain how for many years it was thought that Germany was the original area for the manufacture of domestic clocks, but most likely this was fuelled by the early examples found, aided by the paucity of complete French examples.

Early highly skilled artisans travelled to different cities undertaking commissions as requested, making the mechanism and then returning to their home. However, on occasion groups of master artisans removed to other towns or countries because of health (epidemics), political or economic reasons.

It was during this period that many members of the Italian artisan class relocated to France due

to political and religious pressures. Earlier, Italy had attracted many craftsmen from all over Europe. In turn France lost this educated class with the persecution of the Huguenots. Some went to Switzerland with most resettling in the Lowlands (Holland) and England, a few making their way to Sweden.

The major invention of the period was the spring-driven timepiece. This appears to date back at least to the first quarter of the 15th century. Its invention made possible portable clocks and later watches and was crucial to the development of horology. The first reference is found in Italy written by a contemporary of Filippo Brunelleschi who in around 1410 was involved in the construction of various and diverse kinds of springs.

However a more accurate account of a French made miniature clock dated from around 1440-50 portrays in great detail the mechanism of a spring-driven mechanism.

The other major innovation of the period was the increased accuracy of the portable clock. This was achieved by the invention of the fusee in the last half of the 15th century, as documented in drawings of the time. A fully-wound spring released power in decreasing amounts.

The fusee is best described as a torque converter that evens out the power loss of the spring. In simple terms it is a truncated cone with a spiral thread cut into the surface. The power is delivered via a cord from the spring held in a barrel, the power fully-wound to the smallest end of the cone; as the spring power drops, the delivery of power goes up in torque value on the cone in an increasing leverage value, equalising the force delivered.

The fusee was the pre-eminent power equalisation system for over 400 years and was used in manufacturing until the 1960s in England and is still used today by clockmakers crafting individual pieces. With the current sophistication of manufacturing techniques the rationale for incorporating the fusee is primarily aesthetic.

References Eric Bruton, The History of Clocks & Watches, Little, Brown & Company, 1979 Carlo M. Cipolla, Clocks and Culture 1300-1700, Collins, London Winthrop Edey, French Clocks, Walker And Company, New York Cedric Jagger, The Worlds Great Clocks & Watches, Hamlyn

Kristen Lippincott, The History of Time, Merrell Holberton Joseph Needham, Wang Ling & Derek J. Price, Heavenly Clockwork, Cambridge University Press Hugh Tait, Clocks in The British Museum, Trustees Of The British Museum G J Whitrow, Time in History, Oxford University Press Colin Wilson, The Book of Time, Jacaranda Press

Michael Colman COLMAN ANTIQUE CLOCKS 03 9824 8244 www.colmnantiqueclocks.com

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

The case is complete with green silk backed fine filigree timber fretwork panels (total 8 panels) to front, sides and rear door

The movement is beautifully made with early generous acanthus styled hand engraved back plate, original verge escapement and pendulum, with 5 pillars striking the hour on the larger of the bells, and quarter hour pull cord repeat on the nest of six bells

The break arch case has full size opening doors, glazed, to front and rear

Fine early Georgian bracket clock by London maker John Taylor, c. 1730, housed in an ebonised break arch case with inverted bell top surmounted by a carrying handle, resting on bracket feet. John Taylor was a listed clockmaker and a member of the Clockmaker’s Company of London.

The dial with gilt spandrels to corners and arch, with silvered finishes to strike/silent regulation in the arch, main chapter ring, engraved name plate bearing Taylor’s signature, a date aperture above 6 o’clock and further aperture for verge mock dial window with lovely handcrafted blued steel hands

The strike mechanism has a pull cord repeat. The repeat occurs in the quarter you are in 2:32 = 2 peels of six bells and 2 of the hour 4:20 = 1 peel of six bells and 4 of the hour 7:50 = 3 peels of six bells and 7 of the hour

1421 Malvern Road Malvern, Victoria 3144 Australia Ph: 03 9824 8244 Fax: 03 9824 4230 Email: michaelcolman@optusnet.com.au Website: www.colmanantiqueclocks.com Member of the Watch and Clock Makers of Australia (formerly HGA) and the BHI

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SOUTH YARRA

WANTED

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

IT MAY NOT BE DARWIN but the species does have an origin I n 1904 Cartier made a special model wristwatch for Brazilian aviator, Santos Dumont. The Cartier ‘Santos’ was born, its distinctive steel and gold appearance having been fashioned after the cockpit of his aeroplane. The Santos is still in production today and is made in great numbers.

Lindbergh relied on a wrist chronograph made by Longines, but designed by him on his trans-Atlantic flight in 1927. The Lindbergh Hour Angle Watch is still a part of Longines’ flagship range, being available in a variety of metals and dial configurations.

Longines’ tradition of historic models continues with the current range of Weems Navigation watches. Lindbergh, in fact, studied navigation under Commander PVH Weems, who first realised that an aeroplane moving at 200 to 300 miles an hour had to make compensations in navigation because of this speed. By the time the pilot worked out exactly where he was, he wasn’t!

The Weems second-setting watch with rotating bezel was invented by Weems and produced by Longines. Lindbergh added his own refinements and changed the watch significantly. Longines, to their credit, saw merit in both, and are still producing both.

Mercedes Gleitz’s swimming the English channel in 1927 while wearing a Rolex Oyster proved a great advertising success, for it so impressed the journalists of the day that they called it a trend (wearing a watch, not swimming the channel). 1928 was the first year that sales of wristwatches actually surpassed those of pocket

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watches. The Rolex Oyster probably had no small part to play in helping to achieve this feat.

Today, the great, great grandson of this original Oyster, and many variations thereof, are produced at the rate of 500,000 per annum.

The wonderful style and clean lines of the extremely modern Jaeger ‘Reverso’ were first conceived before 1931, the year they went into production. Jaeger has recently greatly increased the range of these ‘modern’ watches to the point that now over 20 different models and sizes are available. This original Sports watch that rotates to protect the crystal, with shockproof movement and corrosion resistant, was designed for ‘the ski slopes, tennis court and the polo field’ of the 1930s. It still looks great on the sports field today.

In 1963, several top quality wristwatches were bought anonymously from a Texas jewellery store. Over the next two years they were put through an exhaustive series of precision tests by the scientists at NASA. The Omega ‘Speedmaster Professional’ came out as number one after the rigorous program. In l965 it was adopted as NASA’s official watch.

The ‘First watch worn on the Moon’ is currently in production, although with a Cal 861 movement (for the technically minded) as opposed to the original Cal 321. The original had a manual wind movement while the current series is available both as a manually wound and as an automatic watch. Today the automatic is cheaper to buy than a true reproduction of the original manual wind watch. Both movements are made by Lemania, and a variation of these is

used by Patek Philippe in its perpetual calendar with chronograph.

Vacheron Constantin, with a reintroduction of their ‘Historique’ range of chronographs, is another example of a modern watch with its roots firmly planted in history.

Today’s watches have all the technical excellence and reliability that we expect of them. Their elegance and style, however, comes from an era when these qualities seem to have had more importance than today – at least to some of the major watch houses.

Ron Gregor COLLECTIONS FINE JEWELLERY 03 9867 5858 www.collectionsfinejewellery.com

Modern Rolex ‘Oyster’

Cartier Santos 100 Vintage Rolex ‘Prince’

Longines hour angle

Modern Jaeger ‘Reverso’

Take a step back in time

TO ART DECO NAPIER, NEW ZEALAND ANNUAL ART DECO WEEKEND FESTIVAL

EXPERIENCE A VINTAGE CAR TOUR

New Zealand’s Art Deco capital of Napier, in Hawke’s Bay, celebrates its annual festival of origin in style in February with an event calendar that features boas and grand balls, Gatsby picnics and parades.

What began as a two-day festival in 1989 has grown to a week-long extravaganza of elegance celebrating an era of sophistication and an all-important time in Napier’s history.

The city was rebuilt from the ruins of a major earthquake in 1931 and has one of the most concentrated arrays of modern Art Deco, stripped classical and Spanish Mission style buildings of any city in the world.

A vintage car tour is another way to see the city, in style; highlights include visiting the National Tobacco Company Building, Deco houses and gardens in the suburb of Marewa and the grand Edwardian Hawke’s Bay Club.

IMMERSE YOURSELF IN THE ART DECO ERA The festival incorporates over 200 events and will attract an expected 35,000 people, including national and international enthusiasts, many of whom make an annual pilgrimage to Napier for the Deco celebration. They dress in period clothing, drive vintage cars, sip champagne, picnic in great Gatsby style, attend elegant soirees and wander the architecturally distinct streets that make Napier unique in the world.

As well as a vintage car parade, aerobatic flying displays, dinner dance and free outdoor concerts, there will be beach banquets which organisers say will be of special interest to those liking ‘a little champagne, glitz and glam’.

MEMORABLE ARCHITECTURE INCORPORATING UNIQUE MAORI MOTIFS As well as being one of very few such concentrations of Art Deco buildings in the world, Napier city has extra significance as it was built in the depths of the Depression. The incorporation of Maori motifs and other design elements also make it unique to other collections.

Another bonus is the large number of buildings inspired by the great American architects Frank Lloyd Wright and Louis Sullivan.

The nearby city of Hastings also has its own collection of buildings in Art Deco, Stripped Classical and Spanish Mission styles – one of the best examples is the Hawke’s Bay Opera House built in 1915 and refurbished in 2007.

TAKE ADVANTAGE OF WALKING TOURS While many tourists time their visit to Hawke’s Bay around the Art Deco Festival, tours of the city are available all year round.

Volunteer guides from the Art Deco Trust take walking tours around the city, or visitors can do their own exploring with a self-guided brochure.

BACKGROUND: 1931 NAPIER EARTHQUAKE Napier’s Art Deco origins go back to a devastating 7.8 (Richter scale) earthquake on 3 February 1931 that caused geographic upheaval and widespread damage throughout the Hawke’s Bay region.

Most of the buildings in the coastal city were flattened, either by the earthquake or the ensuing fires. The town’s water supply had been cut during the quake so there was nothing to fight the fires that ravaged the streets. However, remarkable community spirit prevailed and the town was almost completely rebuilt in two years.

STREAMLINED ART DECO STYLE FOR URBAN REDEVELOPMENT The style that predominated was Art Deco. It was not only popular at the time but provided strong reinforced concrete with decoration that would not fall off and injure people as had happened with the Edwardian-style preearthquake buildings.

The Art Deco Trust was formed in 1985 to preserve and promote what is now recognised as a world-class collection of Art Deco architecture. The Art Deco Weekend is organised by the Trust and is described as a not too serious celebration of Art Deco style.

To find out more: ART DECO TRUST, NAPIER 64 6 835 0022 trust@artdeconapier.com www.artdeconapier.com Like us on Facebook: facebook.com/artdecotrust

FUTURE DATES FOR THE TREMAINS ART DECO WEEKEND 19 – 23 February 2014 18 – 22 February 2015 17 – 21 February 2016

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Second shop c. 1985

First shop 1978

Second shop refurbishment 2012

GILTWOOD

History repeats I t was 1978 and I was 24 when I opened The Gilt Edge Antique Gallery at 404 Burke Road, Camberwell. Although it meant a nervous time for me in taking on such overheads, I realised that having a street presence would allow me to attract more business and give me a little more credibility.

Within a couple of years I was in a position to purchase the building.

While contemplating this next step, I was approached by the owner of 394 Burke Road who asked if I would like to buy or lease his store which was at least twice the size. He then decided that he didn’t want to sell, so I took a lease – and ended up staying there for thirty-two years!

In the mid ’80s, together with Gary Kay of Antique Décor, I started travelling to France to purchase antique items. After a few years we formed a working arrangement whereby we bought joint stock which I would restore and he and I would sell through our respective companies and split the profits.

BUYING OUT AND BUYING IN This arrangement continued until the early ’90s when I was in a position to buy out Gary’s share of this stock and continue to purchase container loads of stock in France in my own right.

I also had an opportunity to purchase the building just as the ‘recession we had to have’ started to take hold. Consequently sales plummeted – along with property values in a perfect storm – resulting in my losing the $175,000 deposit on the building. Luckily we still had a lease and plenty of stock, although we had to work even harder to survive in business.

Publicity c. 1983

What has been really wonderful has been the ability to purchase an item in the back streets of Paris or Lyon and import it, restore it, sell it and deliver it to its new home.

So many times I have been told that when my clients first bought an item from me, it was the most expensive thing they had ever purchased.

Now, when they return to see the values of these items and exclaim how their one is so much better, they realise what fantastic value that purchase really was at the time.

NEXT GENERATIONS OF CLIENTS After so many years in business we are seeing the next generation coming through the doors. These younger, well-heeled clients who have grown up with the finer things in life, are seeking to emulate the good taste of their parents.

Interestingly, with the closing the store at

394 Burke Road, Camberwell, many people expressed concern and I was even told that this place was iconic. One young lady said that she had walked past my store for all of her life and could not imagine it gone. For me it was full of so many memories: good and bad.

CHANGE FOR THE BETTER The great news is that we have moved on to the next part of the story with a new store just six doors away.

Although the new store is a little smaller it has a really great feel about it. Additionally, the fantastic natural light adds another dimension to the stock, giving clients a better sense of how the pieces will fit in with contemporary living spaces.

I do hope that you will come and visit us at 410 Burke Rd, just a few doors away from where I started retailing in 1978.

MEMORABLE EXPERIENCES Over the years we have met and dealt with some amazing people and been invited into some of the best and most important properties in the land.

Publicity c. 1988

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Publicity c. 1985

Buying in France c. 1990

Mike Gleeson GILTWOOD 03 9889 6543 giltwood@hotmail.com www.giltwood.com

CANTERBURY

PAGE ANTIQUES Canterbury P

age Antiques is on the move again, but this time it is literally just down the road! We are moving from 323 Canterbury Rd to 175-177 Canterbury Road, Canterbury.

We have acquired the Art Deco building that houses ‘Carnells’ – a well-known family business that has spanned several generations.

Our new site is near Balwyn Road and opposite Canterbury Gardens. A future visit to us could incorporate a pleasant time outdoors or even a stroll down Maling Road with its charming shops and eateries – something which you could also do at our present location.

We are looking to move around February 2014 but will keep customers informed through emails or our website www.pageantiques.com.au.

As you know we specialise in 19th century furniture, spelter, bronze and alabaster figures, and French clocks. We will also continue to have some antique lighting. Our website shows a selection of our pieces though there is always more in store. You can purchase restored and unrestored pieces or select an item and we will restore it to your liking.

Though our new premises is a little smaller than our present location, it is still big enough for us to always have a good selection. Those who know Guy know he loves to buy, whether locally or abroad. However, until we move, our emphasis will be on selling. So come in soon and take advantage of our one time Moving Sale!

MOVING SALE TO LIGHTEN THE LOAD

Trish & Guy Page PAGE ANTIQUES 03 9880 7433 / 0411 175 320 guypage@bigpond.com www.pageantiques.com.au

Due to our vast stock we have decided to save our aging bodies from having to move it all, so we are having a moving sale to lighten our load and provide you with some bargains!

Federation Lighting, with whom we now share the premises, has been having a closing down sale, attracting many customers. The flow on effect to the benefit of clients is that while acquiring lights, customers have also been taking advantage of our great prices.

Don’t miss out! Come in soon and have a browse for those special pieces at great prices.

HUGE RANGE OF QUALITY FRENCH BEDS

Guy Page

PAGE ANTIQUES Formerly of High Street Armadale

“The best selection of queen-size beds”

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PAGE ANTIQUES WAREHOUSE 323 CANTERBURY RD, CANTERBURY VICTORIA 3126 PH 03 9880 7433 10 AM – 5 PM 7 DAYS (SUN 11 AM - 4 PM) Email: guypage@bigpond.com 0411 175 320 www.pageantiques.com.au Antiques and

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Tyabb showroom

Camberwell showroom

THE SNOOK FAMILY launch new showrooms in Camberwell W e are pleased to announce the opening of our newly renovated showrooms in Camberwell. After almost three years of fighting council, VCAT, recalcitrant builders and difficult neighbours we are finally open for business.

A TIMELY JOURNEY Our journey into antique retailing in Australia started in 1979 with Manor House Antiques our first shop in the Perth suburb of Claremont.

This was quickly followed by our first Melbourne shop Tooronga Hall Antiques in Malvern Road, taking its name from the building that also held the Tooronga ballroom on the top floor. Shortly after the opening we decided that we did not have enough space to accommodate the regular containers we were importing from the UK at the time. So along with fellow dealers Page Antiques we purchased what was to become the Caulfield Antique Warehouse in Caulfield East. The size of the building gave us the opportunity to increase our stock levels and to develop our restoration workshops and still retain Tooronga Hall as a retail shop for the fully restored stock.

With the warehouse and the shop we found it difficult to service our Perth shop which we decided to close in 1983. We still retain great memories of our times in Perth and of the great customers we met then many, are still customers to this day.

We always thought that we should really have initially opened up in High Street in Armadale but in the early ’80s finding a suitable shop was hard and the rents were much higher than Malvern Road. Like most dealers in the ’80s we felt a presence in an antique centre would increase our sales so we joined 40 other dealers in the newly opened Park Lane Antique Centre in High Street Armadale.

Tyabb showroom

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Some years later we ended up purchasing the centre and running it for 14 years. We experienced some great trading years during that time and had some very colourful dealers as tenants which made the running of a busy antiques centre a pleasurable challenge. But change was in the air – towards the end of our time at Park Lane many of the dealers were getting to retirement age when they wanted to put their feet up. However replacing them with good committed traders was making it hard to keep up the standard and the look that we were used to. So after 14 years we retreated to the Caulfield warehouse and continued trading from there and at antique fairs.

FAIR PROGRESS Two of the fairs we traded from – the Caulfield Racecourse Fair and the Camberwell Antique Fair – we ran ourselves.

Unfortunately both these fairs are no longer trading. The Caulfield Racecourse Fair closed due to the fact that 70 dealers were required to justify the rental cost and dealers who want to do fairs these days are just not around in those numbers. The Camberwell Antique Fair would still be trading today if the council had not decided to turn the venue into a library.

We are now more than pleased to trade from the Australian Antique & Art Dealers fairs in Melbourne and Sydney each year along with 40 other like-minded traders.

RISING FROM THE ASHES A major setback to our business in the ’90s was a major fire at our Caulfield warehouse which left both ourselves and Page Antiques devastated.

The building was totally burnt and all of our stock lost. It took well over a year to rebuild and restock but business was never to return to the heights we were used to at Caulfield. Five years

Tyabb showroom

To add to the variety of the stock in the shop we also have a warehouse some 45 metres from the shop with a cross section of decorative, eclectic items and antique furniture of various levels and origins for viewing and sale. This range of goods is also reflected at our space at the Tyabb Packing House at Tyabb on the Mornington Peninsula.

CABINET MAKING & RESTORATION SERVICES Camberwell showroom

ago we sold the warehouse Guy and Trish Page opened up in Canterbury Road and we leased the warehouse back from the new owners whilst we waited for the leases to expire on the shops we owned in Burke Road prior to the redevelopment.

STATE-OF-THE-ART WORKSHOPS One of the advantages of being in the position to design and be involved in developing your own showrooms from scratch is that you end up with what you want, as far as layout and facilities go. We now have our own clock and barometer workshop as well as a state-of-theart cabinet making and French polishing workshop along with well qualified and happy staff to back up the business.

Chris, Jenny & Robert Snook SNOOK AND COMPANY ANTIQUE DEALERS 03 9822 9882 / 0412 363 176 snookantiques@bigpond.com www.snookantiques.com.au

WELL STOCKED Our new shop is well stocked with a wide range of quality clocks, barometers and boys’ toys along with good quality traditional brown furniture. We believe if you have established a trademark look over a period of 30 years-plus, why change it!

Camberwell showroom

art

We hope you will come and see our new shop or consider using our horological or cabinet making and French polishing services.

Tyabb showroom

CAMBERWELL / CITY / MALVERN / SURREY HILLS / MOONEE PONDS

ANTIQUE LIGHT COMPANY for all your lighting needs or over 30 years the Antique Light Company has been based in Abbotsford, an inner suburb of Melbourne. A fully stocked showroom exhibits one of Australia’s largest selections of period and decorative lighting, offering a large range of English, French provincial, rustic iron and bronze, crystal chandeliers, lanterns, wall lights, figurines, replacement glass lampshades and rare parts.

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SIMPLE REWIRE TO COMPLETE RESTORATION Specialist master craftsmen also oversee the restoration and repair of all light fittings.

Have you ever wanted to get an antique light, or any light fitting rewired, restored or just completed with crystal? Antique Light

Company in Victoria Street, Abbotsford covers all aspects of restoration; from a simple polish and rewire of a table lamp to the complete restoration of an exquisite French banquet light (pictured).

TREASURE TROVE FOR HOME DECORATORS With more than 300 chandeliers in stock ranging from Georgian to Art Deco, this shop is a treasure trove for collectors and buyers of beautiful lights, lamps, wall brackets and objets d’art. Here you will see a collection of lighting not seen anywhere else in Victoria.

Over the years we have supplied architects, interior designers, developers and home owners with lighting that grace some of

Murano drop Venini chandelier

French cut-crystal banquet light

Australia’s most beautiful homes, best hotels, restaurants and theatres – notably Melbourne’s Regent and Princess Theatres. In addition, we have provided lights for the National Trust, various governments and many privatelyowned heritage buildings.

ANTIQUE LIGHT COMPANY 03 9428 3498 mail@antiquelighting.com.au www.antiquelighting.com.au

LIGHTING HEIRLOOMS READY TO HANG Whether you are looking for someone to restore your precious heirloom or for a fitting ready to hang, our showroom is open Monday through to Saturday for viewing our extensive collection of custom and vintage pieces.

ART RETREAT 2014 Dookie Art Attack 24, 25 & 26 May Plein air option 27 May 2014 Dookie Campus, University of Melbourne Nth East Victoria 15 tutors on offer, choose one

Before

• Terry Jarvis Watercolour • John Orlando Birt Watercolour • Ross Paterson Watercolour • Julie Goldspink Watercolour/yupo/canvas • Charles Sluga Watercolour/mixed media/technology • John Wilson Oils • Glenn Hoyle Oils • Janet Matthews Coloured pencils • Paul Margocsy Wild Life Art, Air Brushing • Helen Cottle Acrylics • David Reynolds Botanical Art • Regina Hona Portraits/ 4 mediums • Judith White Mixed media • Catherine Hamilton Pastels, drawing & application techs • Robert Knight Charcoal Landscapes

After

Watchmakers and Jewellers Est. 1947 • Largest watch repair centre in Melbourne • We repair all brands of quartz automatic and mechanical watches and clocks • We do pressure testing to all brands of watches • We have the biggest range of watch bands and batteries in Melbourne, custom fitted

camberwell ANTIQUE CENTRE

• 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

OVER 50 DEALERS IN ANTIQUES, COLLECTABLES, SPORTING MEMORABILIA, COLLECTABLES AND EPHEMERA Large selection of Wedgwood, Moorcroft, Carlton Ware, Doulton, Australian and Oriental pottery, silver, jewellery, perfume bottles, paintings, toys, dolls and teddy bears.

Plus a fabulous collection of art glass including Schneider, Lalique and Sabino.

25-29 Cookson Street Camberwell VIC 3124

• Seiko Repair Centre • Premier stockist of Thomas Sabo in Melbourne • Stockist of Swiss Military Hanowa watches

EXCLUSIVE FOR MELBOURNE

Luminox watches – Swiss made IN STOCK NOW

(opposite Camberwell Station)

03 9882 2028 or 0418 586 764 OPEN 7 DAYS 10AM - 5PM

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

Accommodation available View or download prospectus or contact to have one posted.

glassons art world 151 High St Shepparton Vic 3630 info@glassonsartworld.com.au www.glassonsartworld.com.au Ph 03 5822 0077

RESTORING ANTIQUES OF TODAY

Trask

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Antique Restorations French polishing Upholstery

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

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BUYING AFFORDABLE ART

at auction W

ho said that you couldn’t buy great Australian art under $1000 at auction? If you did not know before, I have been collecting and valuing Australian art for over 30 years. Over that period many clients and friends have commented to me that you can never buy important and impressive Australian art for under $1000 at auction.

Well, guess what, you are wrong!

If you have a good eye or have an art valuer or consultant with a good eye you can build up an impressive and important collection without breaking your budget.

ART COLLECTING TIPS I have listed what I consider to be some important guidelines.

1 Do not follow fashion 2 Do not only buy name artists 3 Do not worry if the painting is not in pristine condition and requires some minor restoration work such as cleaning 4 Do not worry if the frame is damaged and requires restitution work 5 Buy a quality work of the period.

TOP EXAMPLES UNDER $1000 Just to prove my theory is correct I am going to show some examples of works by Australian artists that I have purchased for my collection for under $1000.

1 Peter Moller (b. 1948), The Great Uranium Racket, acrylic on canvas, 150 x 105 cm, signed. Provenance: Tibor Hubay Estate. $672

4 Ric Elliot (1933-1995), Drover’s Billy, 1976, oil on board, 24 x 40 cm, signed. $467 5 John Santry (1910-1990), The Chinese Restaurant, oil on board, 30 x 43 cm, signed. $650 6 Robert F Young (b. 1926), Have a Beer, Bridge Hotel Dargo, 1977, oil on board, signed. Provenance: exhibited and purchased Malvern Fine Arts Gallery 1978. $900 7 Vic O’Connor (1918-2010), Study for the interrupted wedding, oil on board, 26 x 37 cm, signed. $700 8 Neville Mirvane Bunning (1902-1990), Own a Beach Merimbula, 1954-55, oil on board, 59 x 72 cm, signed. Provenance: family of artist then by descent. $400 9 Justin Gill (1903-1996), Fisher Boy, oil on hessian laid down, 85 x 55 cm, signed. $232 Have a look at the images and you will agree that these works all look far more expensive and upmarket than the paid prices suggest. You too can do the same. Do some homework, get some advice from a professional if you are not sure, stop paying $20,000 and above, and start buying attractive and affordable art that not only will you enjoy but may even appreciate in value as well.

David Freeman AMANDA ADDAMS AUCTIONS & DAVID FREEMAN ANTIQUE VALUATIONS 03 9855 2255 or 0419 578 184 / 0419 361 753 www.aaauctions.com.au

3 Laurence Phillips (Active c. 1940), Workers, oil on board, 40 x 49.5 cm, signed. $550 7

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2 James Wigley (1917-1999), The Fisherman, oil on board, 31 x 35.5 cm, signed. Provenance: Australian Galleries Melbourne, Gerald Griffin, then by descent. The Estate of Eileen Griffin, Melbourne. $900

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KEW

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or subscribe Antiques & Art PO Box 324, Bondi Junction NSW 1355 f: +61 2 9387 7487

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Terence John Santry (Australian 1910-1990), Children at Point Street, Pyrmont c. 1965, oil on board, 61 x 81 cm, signed lower right; Santry inscribed on frame verso. Private collection, Melbourne. Provenance: acquired Lawson~Menzies Sydney, 25 March 2009 sale, lot no. 189, Colonial to Contemporary including Aboriginal art

How much is this Terence John Santry painting worth?

collectables ONLINE EDITION

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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.

@ worldaa.com

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.

collectables trader

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

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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

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www.privateartsales.com CREATED BY A LEADING SYDNEY GALLERIST with 30 years in the arts industry, Private Art Sales is a unique art and collectables online trading forum designed to benefit the art vendor. Unlike any other site, Private Art Sales facilitates sales from vendor to buyer direct, with no commissions, premiums, or any costs associated with online, gallery and auction house trading.

The vendor receives 100% of the sale price and has absolute control over the listing and selling process.

The selling process is akin to a gallery over an auction sale with no time limits on the sale of works. The site is guaranteed to attract top national and international art buyers as it features an assemblage of high quality artworks and collectables from artists such as Sidney Nolan, Pro Hart, Bertram Mackennal, Robert Dickerson, Sir Jacob Epstein and Lucien Freud.

Currently, all listings incur no fees making it an even more attractive forum for vendors to market their collections.

This user friendly site can be accessed at www.privateartsales.com where upon the creation of a personal account, one can start the selling process immediately.

List now and enjoy the benefits of no commission selling www.privateartsales.com

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EAST MELBOURNE

THE VICTORIAN ARTISTS SOCIETY: BUILDING ON HERITAGE FOR THE FUTURE OF ART IN AUSTRALIA Exhibitions, programs & workshops RICH IN ART AND HISTORY ince 1870 the VAS have been actively contributing to the development of art in Australia. Our 19th century award winning Romanesque style building was one of the first in an American style architecture to be built in Victoria. Come and visit the art gallery, explore our heritage and walk in the footsteps of some of Australia’s past and present prominent artists. The Society is largely member based and is open to the public for exhibitions and activities. The historic art school on Eastern Hill offers art classes and workshops throughout the year.

Classes are suited to all levels from beginners to those wishing to extend their technique and creative expression.

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UPCOMING HIGHLIGHTS Artist of the Year Award exhibition 25 November – 10 December 2013 Frater, Hammond & McCubbin Galleries The main award for the preeminent Artist of the Year Award exhibition is presented to the artist who achieves the highest number of votes by their peers over four exhibitions throughout the year. Thirty-two artists have been selected.

Celebrating the 40th anniversary in 2013, the Victorian Artists’ Society Artist of the Year award will be $5,000, plus gallery space for a solo exhibition. The award is unique as it is not awarded by a committee or judge, and demands sustained elite performance.

FALSE IDENTITY 13 28 November – 10 December, Cato Gallery Joseph Luczynski’s recent works are an observation of artists and models in the studio space and portrait studies.

Robyn Pridham’s work references the landscape in her local area and is taken from notations of daily life. Her interpretation in this exhibition of the landscape is abstract ideas.

VAS LITTLE TREASURES 11 – 18 December, Cato Gallery Once a year a special exhibition is held to display and sell smaller artwork .This age old tradition always attracts a lot of interests and excitement amongst the members and the general public. A perfect opportunity to pick up that little Christmas gift.

Art Bargain Sale & Auction 2014 17 February – 4 March Opening and auction night: Monday 17 February, 6.30 pm VAS Art Bargain Sale & Auction provides the perfect opportunity to purchase an original artwork at a rock bottom price. Unframed artworks by emerging and well established artists range from $100 to $500. This is one of VAS’ most popular events for the year.

For bookings or enquiries please contact the VAS office.

Shot in the heart of Melbourne: Street photography & photojournalism 6 – 18 March McCubbin, Hammond, Frater & Cato Galleries Official opening: Friday 7 March, 7 pm The annual, Shot in the Heart of Melbourne (SITHOM) exhibition, is self-curated and cooperatively managed and staged by its 3040 Melbourne photographers. All exhibitors are independent photographers who come together to present their work in the genre of street photography and photojournalism.

Entering its third year, SITHOM will coincide with Moomba 2014. For the first time Cato Gallery will host a parallel event – photography of any genre, from anywhere in the world, with unrestricted creative processing. More at www.redbubble.com/people/sithom2014.

David Taylor: Watercolour painting 28 – 31 January David Taylor will share his knowledge and experience with students, teaching fundamental techniques of watercolour painting.

Lewis Miller: Life drawing 1 day workshop: 1 February 2014 If time sensitive there is no need to miss out on learning figure drawing techniques.

Model provided.

Linh Huynh: Arrivals and Quiet Joys 19 March – 1 April Official opening: Friday 21 March, 7 pm Cato Gallery Featuring over 25 paintings, this is Linh Huynh’s first solo exhibition. Rendered in a gentle post-impressionistic and contemporary style, Linh’s paintings boldly record the simple pleasures that occur in her life and celebrate the vitality of the natural world.

Ted Dansey: Watercolour painting 30 – 31 January The workshop will cover the use of materials, drawing, various techniques, landscape, seascape, streetscapes and still life. Ted is a watercolourist with more than 20 years’ experience in the medium and has been painting most of his life. His awards include VAS Artist of the Year 2007. He currently teaches watercolour at the VAS.

Gray Nicol: Sculpture class 1 day workshop: 2 February Modelling in water-based clay, learn how to make a portrait or decorative head in relief.

Suitable for beginners as well as those with some experience in clay modelling.

VICTORIAN ARTISTS SOCIETY 03 9662 1484 admin@victorianartistssociety.com.au www.victorianartistssociety.com.au

VAS: How modern are you?

20 March – 1 April Exhibition of modern and contemporary art by Victorian Artists Society Members. All welcome VAS Autumn Exhibition 7 – 22 April Official opening Thursday 10 April, 6.30 pm The Undine Award for a landscape in acrylic or oil, proudly sponsored by Collin Jones, is presented during the VAS Autumn Exhibition.

Come along and join us for our official opening night with live music, and a glass of bubbly.

Gwendoline Krumins: There 2B Drawn 2 – 8 April, Cato Gallery This is an exhibition of over 35 drawings on paper depicting people at their trade within the local community of Melbourne. Using various mediums including graphite, ink and coloured pencil.

Gwendoline Krumins

Tom Alberts

Going into the light

SUMMER WORKSHOPS 2014 Find time to discover that creative side of you.

For any enquiries about regular classes or workshops, please contact the office.

Keming Shen: Figure painting 6 – 10 January, VAS Studio Keming will teach values on the first lesson using photos and not models; colours on the second lesson; portrait painting on the third lesson (model provided); nude model painting on the fourth and fifth day (model provided).

Christine Wrest-Smith: Figure drawing 13 – 14 January A workshop focusing on long and short poses, tone, form, foreshortening and also a brief guide to the anatomy. Learn valuable techniques and skills. Your choice of drawing media. Model provided.

Tom Alberts: Figure painting in oil/acrylic 15 – 17 January This workshop is approached through Tom’s study and work looking at the great masters.

Students will work through a series of interlocking exercises to build understanding, skills and confidence in approaching the figure. Model provided.

Lee Machelak: Oil portraiture 20 – 24 January Learn skills and techniques; gain confidence and a greater understanding. Model provided.

Gregory R Smith: Oil painting 23 – 24 January Studio work in oil paint mainly still life in the style of tonal realism. The workshop will cover many aspects of direct from life painting. Sharing in Gregory’s knowledge and experience is an invaluable learning experience.

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QuAbove: Persian Bijar, designs in vegetable dyes, c. 2000 Left: Qum silk based, wool pile

Revival Pazyryk design

PERSIAN RUGS origins and history ersian rugs have been hailed as the finest and most exquisite rugs in the world for thousands of years. They are renowned for their craftsmanship, elaborate designs and remarkable weaves. Hand-woven carpets and rugs are a staple to today’s Iranian economy where millions of rugs are produced annually.

While the carpet weaving industry began as a minor yet productive market, it expanded by incorporating a number of unique weaves and patterns that make Persian rugs still some of the most outstanding in the world.

P

ANCIENT PERSIAN RUGS The earliest identified Persian rug dates to c. 500 BCE. The Pazyryk carpet was unearthed from the grave of a chieftain in the Pazyryk Valley in icy Siberia in 1949. Archaeological findings indicate that the gravesite had been closed for centuries. Radiocarbon dating sets its age to about 2500 years. Since the rug was preserved in ice, the remnants give observers a startling glimpse into the intricacy of a Persian rug woven 2500 years ago. Because of their use and material for their creation, carpets are far more perishable than other art forms and so there are far fewer surviving examples.

There is much early documentation of Persian rugs. There are references in Chinese texts from the Sassanid period (c. 200-600 BCE).

Historical accounts indicate that the court and palace of Cyrus the Great (c. 600-529 BCE), the ‘father of the Iranian nation,’ were decorated with elaborate carpets and rugs, vast in size and piled deeply. Such rugs were well woven with beautiful materials and designs, illustrating the importance and early evolution of Persian rugs.

NOTABLE RUG PRODUCTION CENTRES Prominent rug production centres in Persia performed an integral role in their development. During the early Islamic period (c. 8th century CE) a number of different carpets were used as traditional floor coverings. Others were prayer mats, small squares of fine carpet used by people during their daily prayers.

Several regions were instrumental in the development and production of Persian rugs.

Each area produced unique and distinctive types of rugs that illustrate their exclusive artistic themes and ornamental designs.

Azarbaijan, the northwest province of Iran was distinguished as one of the largest epicentres

of rug production in the region. Another great weaving centre was Tabarestan.

Among city centres, Tabriz was one of the most prominent cities for the production of rugs. Many of the rugs found in this region are inlaid with medallions that depict scenes of animals with vines spread throughout the rug.

Kashan was best known as a city producing silk carpets and rugs. These rugs often symbolise the significance of hunting with mounted hunters shown launching an attack against their animal prey in these beautiful silk carpets. Preserved Kashan silk carpets are held in museums around the world, including the Museum of Fine Arts in Boston and the Vienna Museum of Applied Arts.

Since these carpets are constructed of fine silk with dynamic patterns and designs, they are exceptionally valuable.

While the silk carpets from Kashan are the most valuable, the carpets from Herat are the most plentiful. Herat carpets generally incorporate a red centre with blue or verdant green borders, as well as palmettos and sprawling vines.

Kerman carpets are also varied and abundant. They usually feature a unique and elaborate design. The two most prominent types of Kerman carpets are the garden carpets and the lattice carpets. Their ‘gardens’ are imbued with rich flowing water and beautifully decorated gardens.

During the Islamic period, textiles became one of the most substantial export industries.

Carpets were traditionally used in prominent homes and places of worship. However, Persian carpets were also used to adorn walls and other areas in mosques and other significant buildings. Looms were often used during this period to create the fine textiles and Persian rugs; looms became more widely used with the advancements of time.

Persian nomadic Kashkuli

craftsmanship used in Persian rugs are two more reasons that they are so highly regarded in the carpet industry.

Persian rugs often display the most enticing artistic designs that are representative of the nation and the people who created them. The design quality and the unique links to the artisans set them apart from many other producers of textiles.

Finally, these rugs provide a sense of utilitarian functionality since they are crafted from resilient materials that last for many years. This usefulness is representative of Persians and their enduring emphases on two defining elements: design and functionality.

Persian Qum, silk decorated with vase design

Pazyryk carpet, c. 500 CE. St Petersburg Museum

Majid Mirmohamadi THE MAJID COLLECTION 03 9830 7755 majidcarpets@optusnet.com.au www.majidcarpets.com

FEATURES OF PERSIAN RUGS In ancient times, Persian rugs and carpets were artistic and refined from which there are seven main focuses: • bright contrast of colours • rich symbolism • elegance • fine craftsmanship • enticing artistic designs • representative of their creators • utilitarian functionality.

There is both the bright contrast of colours as well as the rich symbolism of the region.

Additionally the elegance and the fine Left: Persian Qum, silk decorated with hunting design

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CLIFTON HILL / GEELONG

SCHOTS HOME EMPORIUM for every room LEATHER Our leather furniture is handcrafted in the finest Italian top grain hide adding an undeniable air of charm to a room, helping you create an environment marked by the hallmarks of elegance and sophistication.

Made in the hand tanned and hand finished vintage cigar Italian leather, each item with its distinctive variations, ensures each piece is unique.

Features • Hand constructed with a kiln dried oak frame with extra plywood support • Serpentine sprung with rubber belts and a helical centre support spring allow for maximum comfort and support • Down, sponge and fibre filled seat cushions allow for a soft and comfortable experience • Oak or brass castor legs and antiqued brass studs provide the perfect finishing touches to these generously proportioned sofas and chairs offer the ultimate in comfort and style.

SOLID TEAK FURNITURE Schots Home Emporium’s collection of solid teak furnishings are handcrafted from reclaimed timber carefully selected from old doors and beams. Scratches, chips, dents, slight colour differences, etc, make this product unique and gives it its individual character. We have created unique pieces where no two are the same.

Teak’s special properties Teak is renowned as one of the most stunning and versatile hardwoods. Used for centuries, the timber’s unique qualities have long been admired and showcased in the traditional craftsmanship of south-east Asian cultures.

The beautiful golden brown hue, and the natural occurrence of a combined grain, provide for a finish that encapsulates a natural warmth and character. As it ages, teak develops a stunning silver appearance that can either be retained or easily reverted to the more intense golden look by applying a proprietary cleaner.

Teak’s naturally high concentration of oil, combined with its high density is resistant to rot and fungal decay, and acts as a natural insect repellent.

Each element of Schot’s range of signature teak pieces is an investment in quality and value.

MORE THAN AN AVERAGE BATH From 18th century styled soaking tubs, slipper baths finished with claw feet to timeless plinth bath designs Schots is sure to have a bath to suit your taste and relaxation needs.

The magnificent collection of traditional cast iron baths reflects the timeless warmth and charm of a bygone era and can also be easily incorporated into a more modern bathroom creating a dynamic, visual appeal.

Made following time honoured techniques, our baths feature dimples and minuscule black specks within the enamel surface. These are perfectly normal characteristics as seen in early cast iron baths. They are an intrinsic part of the bath’s distinctive appearance and enduring appeal.

Schots also has a vast collection of elegantly designed acrylic baths renowned for smooth, non-porous and highly-glossed surfaces, clean crafted lines and long-lasting shine. Their 20 mm thick skin ensures high heat retention and their low maintenance surface makes for easy cleaning.

For more information contact SCHOTS HOME EMPORIUM 1300 774 774 Clifton Hill 1300 693 693 Geelong www.schots.com.au

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CLIFTON HILL

ANTIQUE SLEUTHING: IDENTIFYING THE WORK OF GEORGES JACOB

18th century French furniture maker

I

recently bought at auction a pair of chairs. Described as ‘a pair of Adams (sic) style mahogany hall chairs’; the chairs looked unpromisingly Edwardian at first glance. The reference to the 18th century Scottish designers Robert and James Adam was accurate, as the chairs showed a neoclassicism similar to the Adams’ designs.

The very dusty, sludge-coloured mohair was not an invitation for closer examination.

However, I have learned to trust my instincts, which have been trained by constant reading and close examination of objects in the museums of the world. These chairs looked like ‘something good’. Fortunately, I did turn them upside down.

The construction revealed that the chairs were not early 20th century. The type of joints and saw cuts were characteristic of the pre-industrial age.

FROM FORKS TO FURNITURE: HOW RESEARCH TURNS UP HIDDEN GEMS Of course, mechanisation came to certain parts of Europe at quite different times. For example, about 1910, silver forks in Birmingham were completely machine and factory made; untouched by human hands. In Russia, however, the story was different. I have had Russian silver forks from this period where the saw marks from the hand sawing between the tynes is still evident.

In England, most of the sterling silver cutlery from Birmingham was made for the huge middle class, so mass production and competitive pricing were important. In Russia the silver was primarily made for the very rich – mostly the aristocracy – who in Russia were also the captains of industry. Hence the Russian forks could be made with maximum metal and handcrafting as they were only destined for the fabulously wealthy. Mass production would have been pointless, as there was no market. Similarly, the manufacturing of furniture became mechanised gradually throughout Europe.

The study of saw cuts, nail and screw manufacture, veneer thickness, materials availability, and types and styles of hardware is just as essential for furniture assessment as a sound knowledge of regional and historic stylistic development.

IMPORTANCE OF GEORGES JACOB I bought the chairs. The saw cuts, general construction and materials demonstrate a date of manufacture before, say, 1830. Stylistically the chairs match Paris furniture of about 1790. All styles have later revivals, but this style is very unlikely to have been reproduced again before 1830. There is sufficient delight in having bought a pair of handsome 18th century French chairs needing only minor restoration: re-gluing, cleaning and new upholstery fabric. However, I am able to attribute these chairs to Georges Jacob, one of the most important furniture makers in Paris under Louis XVI, the various

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governments in between, and Napoleon I. Part of the reason Jacob produced such successful chairs is his use of mahogany, a dramatic innovation for a joiner.

MENUISIER VS EBENISTE As a rule, 18th century French furniture making was divided into two main lines that seldom overlapped. Menuisiers made things that were essentially sticks joined together, such as chairs, tables and carriage frames.

The English term is joiner.

The ebeniste made boxes: case furniture such as chests of drawers, bookcases and cupboards where, crucially, large flat areas existed that could be enriched with a veneer of expensive wood, ivory, tortoiseshell, etc.

The name derives from the fact that the first French veneering used ebony. The English equivalent term is cabinetmaker.

Consequently, the few chairs made by ebenistes are usually horrible, stiff and clunky – a sad contrast to the fluid elegance of the great menuisiers’ work.

INNOVATIVE DECISION: USING MAHOGANY While mahogany, acajou, had been used from the early 18th century by the ebenistes, the menuisiers almost exclusively used walnut and beech until the Revolution. Jacob’s almost exclusive use of mahogany for chairs allowed him to develop styles of great refinement, as mahogany is more robust then walnut or beech.

In addition, there is a constructional peculiarity. The pegs used to secure the tenon in the mortise are tiny and round, which the density of mahogany made possible. These tiny round pegs became commonplace from the Empire period, possibly because mahogany became the favoured wood at that time for chairs. These small pegs are already typical of the work of Jacob in the 1780s. As my chairs are mahogany (and the right kind of mahogany), this is evidence in favour of an attribution to Jacob.

IDENTIFYING A MAKER: KEY DESIGN ELEMENTS Unfortunately, the chairs are not signed. All furniture made by recognised artisans under Louis XV and Louis XVI was signed, but only four chairs in ten might bear a stamp in a large set, so unsigned chairs are not unusual. While a genuine Jacob stamp would prove their authorship, we can still be 99% certain of their maker, taking other evidence into account.

These trellis back chairs are in the English style. Jacob made the first mahogany chairs a l’Anglais for the Comte de Provence in 1785.

This fashion would have immediately been copied. Parisian aristocrats were not keen on having last year’s fashions, even in furniture.

The clinching evidence is to be found in an unusual constructional detail. When the chairs are upturned, the curved seat rails and the straight back seat rail have been reduced by having material scraped away – first with a chisel and then with a spokeshave. This has

not been found in chairs that are later copies.

Moreover, this strange reduction of material is peculiar to only five furniture makers: Jacob, Boucault, Foliot, Sene and Nogaret.

In addition, the chair leg on my chairs was typical of only Jacob, and this leg with the little ribbed pumpkin motif is actually known as a ‘Jacob leg’.

So the chairs are circa 1790, Paris made, with the curious cutaway to the seat rails, are mahogany, have tiny, round pegs, are an Anglo-form design characteristic of Jacob,

and have the Jacob leg. I think we can reasonably attribute these to Georges Jacob.

Christie’s (London) sold a very similar pair on 18 November 2010, previously from the prominent dealer Partridges. One of them is signed and they demonstrate the same Jacob leg, trellis back and horseshoe seat.

Roy Williams ROYS ANTIQUES 03 9489 8467 www.roys-antiques.com.au

CLIFTON HILL

Vieux Paris porcelain vase c. 1830 and a modern reproduction.

Vieux Paris (Old Paris Porcelain 1770-1870) always in stock. Also 18th and 19th century French furniture, bronzes, Ormolu, candlesticks, silver as well as British Georgian period furniture, paintings, silver and porcelain.

Interesting range of Steampunk goggles, jewellery, etc.

Georgian & Continental Furniture • Porcelain

Silver • Ikons • Paintings • Imperial Russian

www.Roys-Antiques.com.au

410 Queens Parade Clifton Hill Vic 61 3 9489 8467 Antiques and

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ORMOND

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.

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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.

The dial of a George III musical clock by Samuel Smith of London

Antique and Modern Clocks and Watches Repairs and Sales

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 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.

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.

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.

THE CLOCKWORKS 03 9578 6960

STYLES

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 30

Antiques and

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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

English Longcase Clock, Benjamin Bold, London, c. 1770

A clock by William Holloway of London, c. 1710

HEALESVILLE

Di King, Victor Harbor Landscape, 37 x 114 cm

Di King, Waterfall & Cockatoos, 92 x 92 cm

SUMMER at Di King Gallery ell, summer is upon us again and another year down. We are already looking into our activities for 2014.

With no specific dates set aside for an exhibition at this time, we assure all, that there is, as usual, an exhibition on display at all times at the Di King Gallery and we encourage you to feel welcome in continuing your visits to us.

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PRESENT SHOW The gallery is presently adorned with a collection of the latest works of both Di King and fellow artist John Thomas.

Di presents her highly sought after classical portraiture, figurative, and contemporary landscapes, along with cattle drives and other Australian outdoor activities, while John enjoys travelling to new places, seeking new subjects to paint, delighting in the landscape generally and, on occasions, indulging in coastal/maritime activity.

If what you are looking for is not on the walls, be it perhaps someone special in your life that you would like to have portrayed on canvas, or maybe just a lovely location that has left you with fond memories, we can discuss a special commission for you.

Di King, Playful Chooks, 31 x 33 cm Di King, After the Bath, 86 x 71 cm

ABOUT THE GALLERY Well known to many is the fact that the gallery serves a dual purpose in as much as it is a studio/gallery, however it is also our home and therefore we are on hand for you to just call in when passing. On the other hand, if you need a special time, just phone and we can arrange a suitable time – day or evening.

We are just an hour’s drive from Melbourne’s CBD into the very scenic Yarra valley. It makes a lovely day out, and so, if you haven’t been before, then why not do it today?

Di King, Window Reflections, 49 x 39 cm

Just pick up the phone and call DI KING GALLERY 03 5962 2557 / 0414 404 798 mail@dikingartist.com www.dikingartist.com.au

Di King, Attitude, 102 x 132 cm

Di King, To the Winner’s Stall, 76 x 56 cm

John Thomas, Northern Wetlands

John Thomas, Clipper Ship

John Thomas, The Prowler

John Thomas, King Valley Homestead

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 mail@dikingartist.com

Always available at the Gallery…

Original works by Di King and John Thomas And Digital Reproductions by Di King Antiques and

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BELGRAVE

John Dunne, Leigh Creek Refill, Best Mixed Media Gerald Howell, Quiet Water.

Best Watercolour

Jeffrey Murphy, Lime Light, oil.

Best in Show

Barbara Beasley Southgate, Shades of the Bush. Best Pastel

Julie Ricketts, Mansfield Fence Line, pastel. Very Highly Commended

SHERBROOKE ART SOCIETY supports local artists with an exciting summer & autumn program herbrooke Art Society, a non-profit organisation run by volunteers, is set up to encourage and support local artists. It was founded in 1966 at the instigation of wellknown artist Jack Montgomery 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 and has a constantly changing display of some 300 works of art for sale.

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VISITOR EXPERIENCE Sherbrooke Art Society gallery sits beside Clematis Creek at the edge of the majestic

Sherbrooke Forest, the largest section of Dandenong Ranges National Park, and just a few hundred metres from the historic town of Belgrave.

Make a trip to the hills and immerse yourself in the art culture of the Dandenong Ranges.

FINE ART SALE December 2013 – February 2014 The fine art sale is a major event on our calendar attracting art buyers and collectors. It includes works from award-winning artists, framed and unframed oils, watercolour, pastel and various mediums. Offering something for everybody, the sale will feature a wide range of original recent works in a variety of styles and mediums. From traditional fine art to contemporary realist you are sure to find that perfect painting to suit you and your budget. Ask about our lay-by arrangements.

Fine art at bargain prices – don’t miss out!

Sherbrooke Gallery

Painting by Peter Smales, Streeton Award 2012

Sherbrooke Art Society Inc Established 1966

47th Annual STREETON ROBERTS McCUBBIN Awards Exhibition Open Saturday May 17, 2014, 3pm

FREE ENTRY For information or entry forms contact us by phone or via our website To Monbulk

62 Monbulk Road, Belgrave 3160 Tel: 03 9754 4264 Gallery Hours: 11 am – 4 pm (closed Tuesdays) www.sherbrookeartsociety.com

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

SMALL PACKAGES EXHIBITION

Alan Atchison, Irises. Best Drawing

March 2014 In conjunction with the Australian Society of Miniature Art and Sherbrooke Art Society, this charming exhibition will feature miniature paintings from some of Australia’s leading miniature painting artists. This exhibition also includes our traditional 9 x 5 paintings award. See our website for more details and the official starting date.

STREETON, ROBERTS, MCCUBBIN AWARDS EXHIBITION Opening & awards presentation 17 May This will be the 47th year of this prestigious arts award exhibition which attracts artists from all over Victoria and interstate. The awards encourage realism in Australian art and are open to all artists. Last year’s exhibition attracted over 240 paintings from top artists across the state, the winning entries sharing in $3750 worth of prizes.

The awards are given over three categories: Best Landscape (Sir Arthur Streeton Award); Best Non-Landscape (Tom Roberts Award); and Best Small Painting (Frederick McCubbin Award). In the past this exhibition has attracted more traditional works however, in recent years, more contemporary works have been entered.

All exhibited works are available for sale. For previous years’winners, please visit the website.

For more information or entry forms, contact the gallery directly or via our website.

Cathie Berry, Gums – Biraganble Station.

Best Plein Air

Christine Cafarella Pearce, Healesville Station.

Best Oil /Acrylic

AUSTRALIA WILD EXHIBITION AWARDS July 2014 The innovation of artist Wendy Havard, the Australia Wild Exhibition Awards seeks to increase awareness of our unique native flora and fauna through art. There is an interactive website that includes information of community and environmental groups, photos and art work. Go to www.australiawild.com.au for more information, the official starting date and to download entry forms. Open to all wildlife artists within Australia.

BarbaraMcManus, Valetta Harbour, pastel.

Highly Commended

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, award winning artists. Contact the gallery or visit 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. Contact Sherbrooke Art Society or visit our website www.sherbrookeartsociety.com

Danielle Anning, Curious Miriam, pastel. Highly Commended

SHERBROOKE ART SOCIETY GALLERY 03 9754 4264 www.sherbrookeartsociety.com

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MENTONE BEACH

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MENTONE

French Heritage Antiques

ANTIQUE CENTRE

The French Fur niture Specialist Established 1984

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

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

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

• 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 • Murano Glass

• Royal Winton - Carlton Ware

• Men’s and Ladies’ accessories

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: frenchheritage@bigpond.com Open: Thurs-Fri-Sat-Sun-Mon 11 am - 5 pm

(opposite Mentone Life Saving Club)

03 9583 3422 Open: Thur-Fri-Sat-Sun-Mon 11 am - 5 pm www.mentonebeachantiquecentre.com

Maling vase

Maling tablewares

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Email: mentonebeachantique@gmail.com

www.mentonebeachantiquecentre.com

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• Wedgwood - Limoges Porcelain

Front and reverse of a Maling decorated dish

MALING POTTERY 1762-1963 or 201 years, Maling pottery produced good quality functional wares for British domestic customers, European markets, and for trading companies that exported their wares.

Early 19th century creamwares and 19th and 20th earthenwares by Maling pottery are regarded of particular significance in the Laing Art Gallery in Newcastle, managed by Tyne & Wear Archives & Museums.

The Victoria and Albert Museum holds a Maling piece, c. 1817-1840. This decorated plate of lead-glazed earthenware with a naïve design hand-painted in enamels, shows a cottage with trees and a border of formal flowers with green foliage. It was made at the factory of Robert Maling in Ouseburn Bridge, Newcastle-on-Tyne that operated from 1817 to 1840.

Maling is notable for having produced the largest volume of earthenware jam jars in the 19th century and up to the 1930s, these were synonymous with Rington’s tea and Keiller’s marmalade. It was replaced by glass jars

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

FEATURES OF MALING POTTERY

BUSINESS MODEL

Most Maling pottery was plain, although customers could ask for decorative features, such as a company and/or product name. It was the first northern county pottery to produce transfer-decorated earthenware. In the first half of the 19th century, it was celebrated for its pink lustre ware.

In the late 19th century, more attention was given to design and decoration. In 1908, the successful Cetem Ware range was introduced as ‘semi-porcelain,’ in table and toilet wares. In the 1920s, highly decorative designs on a black background were released to great success, their popularity boosted by the fashion for Oriental wares.

In 1926, a Staffordshire designer, Lucien Boullemier joined Maling to improve designs and introduced lustre glazes, gilding and gold transfer prints.

This pottery was distinguished by its modern manufacturing techniques that enabled high volume production. These built on the traditions of the founder, William Maling, who in today’s language achieved ‘integration’ of his business interests in coal, timber and shipping.

Founded in 1763, his Hylton Pot Works on the banks of the Wear near Sunderland fitted well as pots fired in his kilns used his local coal. These wares were then sent to markets in his ships, which brought timber back from Europe for domestic markets.

After the pottery moved to Newcastle in 1815, there were increasingly larger works, the final that began in 1878 eventually occupying a vast 5.7-hectare site. Christopher Thompson Maling’s initials formed an early factory mark – CTM inscribed vertically inside a triangle – and inspired a later trade name, Cetem Ware.

DECLINE OF MALING The last of the Maling family involved with the business died in 1937. As with many potteries,

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

Barbara Thomas MENTONE BEACH ANTIQUE CENTRE 03 9583 3422 mentonebeachantique@gmail.com www.mentonebeachantiquecentre.com

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

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FOR AULD LANG SYNE

Art Gallery of Ballarat celebrates our Scottish heritage 12 April – 27 July 2014 early one Australian in ten claims to have Scottish roots, and in some regions like Ballarat and the Western District the percentage is much higher. While Australians have been exposed to some aspects of Scottish culture, few people are aware of just how significant was the contribution of the Scots to the formation of the national psyche.

An ambitious exhibition at the Art Gallery of Ballarat – Auld Lang Syne: Images of Scottish Australia from First Fleet to Federation – will celebrate the extraordinary contribution which Scots have made to the cultural and political life of Australia, whether as pastoralists and philanthropists; preachers, teachers and doctors, governors and administrators, explorers and scientists, architect and engineers. There is practically no aspect of settlement and development of the colonies in which they did not play a substantial role.

No exhibition before this has drawn together the extraordinary story of Scottish Australia through rich visual heritage in all its forms. It will include objects and artworks from national, state and regional collections and from private collectors.

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EARLY COLONIAL ARTISTS Some of the earliest artists associated with the British discovery of Australia were Scots such as Sydney Parkinson (c. 1745-1771), the artist on Cook’s voyages, and Thomas Watling (1762-c. 1814), the so-called ‘Limner of Dumfriess’, who was transported in 1792 for forging Bank of Scotland notes. Their reportage and depictions of the exotic landscape, flora and fauna of the new continent informed and inspired both the scientific communities and potential emigrant populations of Europe. A key feature of the exhibition will be a selection of original drawings by Watling, on loan from the Natural History Museum in London. This will be the first time these important drawings have returned to Australia.

LEADERS IN MANY FIELDS Governors or military figures were also botanists, astronomers or collectors of natural

history; civil servants were also explorers, artists or writers; and pastoralists were also sportsmen, art patrons or anthropologists.

Early settlers and officials – including Governor Lachlan Macquarie (1762-1824) and Mrs Macquarie (1778-1835), Sir Thomas Brisbane (1773-1860), John Hunter (17371821), Major Sir Thomas Livingston Mitchell (1792-1855), and Alexander Macleay (17671848) – all testify to the multifaceted nature of the activities and passions of the Scots.

The early Scots in Australia also proved particularly adept as businessmen and traders, exploiting the wider imperial maritime system such as Robert Campbell (1769-1846), a merchant, pastoralist and politician, and making the most of the possibilities of new technology, like Sir Macpherson Robertson (1859-1945) and his Steam Confectionery Works, at one time the largest confectionery works in the Commonwealth.

Scots were equally well represented within the professions – Scottish emigrants likewise dominated the pastoral industry. For example, the Western District of Victoria, the so called ‘Australia Felix’ an extensive fertile farming area discovered by Major Mitchell – was settled by Scottish pioneers whose homesteads and properties were recorded by leading artists of the day.

David Tulloch, Golden Point, Ballarat, 1851. Kerry Stokes Collection

CULTURAL & LITERARY INFLUENCES The Scots brought with them cultural activities and celebrations in the form of their music, sport, literature and art. The significance of the poetry and writings of Sir Walter Scott and Robert Burns cannot be underestimated for their influence on iconic Australian poets such as ‘Banjo’ Paterson, who helped shape the Australian national identity. In association with the exhibition, the Gallery will be publishing a lavishly illustrated book which will include five or six essays by leading scholars on various aspects of the Scottish presence in Australia.

CALENDAR OF EVENTS While there is a serious side to the project, it will also be an opportunity to relish the rich imagery generated by the Victorian vogue for things Scottish. From Queen Victoria down, Scottish music, literature and art and even a romanticised appreciation for the idealised Scottish lifestyle became a daily part of the lives of people throughout the British Empire.

There will be a comprehensive calendar of public programs including bagpipe performances, highland dancing, Scottish country dancing, spoken word and musical presentations, an event to commemorate the 700th anniversary of the Battle of Bannockburn and a Research Your Scottish Ancestors Day. For more information about these events as well as on the exhibition, go to www.forauldlangsyne.com.au or www.artgalleryofballarat.com.au.

Gordon Morrison Director ART GALLERY OF BALLARAT 03 5320 5858 www.artgalleryofballarat.com.au

Sperm whale tooth scrimshaw

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E Phillips Fox, Sir John Forrest (1847-1918). Western Australian Art Gallery

BALLARAT

Friday 11 April – Sunday 27 July An Art Gallery of Ballarat exhibition

Adult $15, Conc. & Member $10 Child (U16) Free

Art Gallery of Ballarat Foundation

The Stuart Leslie Foundation

Artist unknown Niel Black in Highland dress (detail) c.1850s hand coloured photograph. Private collection

For more information and to buy tickets go to forauldlangsyne.com.au or call 03 5320 5858

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CANTERBURY / CITY / GEELONG

HUGE RANGE OF QUALITY FRENCH BEDS

Guy Page

Persian and Oriental Carpets

PAGE ANTIQUES Formerly of High Street Armadale

“The best selection of queen-size beds”

NG I V O M ALE S The

Collection

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

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PAGE ANTIQUES WAREHOUSE 323 CANTERBURY RD, CANTERBURY VICTORIA 3126 PH 03 9880 7433 10 AM – 5 PM 7 DAYS (SUN 11 AM – 4 PM) Email: guypage@bigpond.com 0411 175 320 www.pageantiques.com.au

CHELTENHAM

THE EMILY MUSEUM THE FIRST MUSEUM DEDICATED TO A SINGLE ABORIGINAL ARTIST

Photo by Tara Ebes, 1994

EMILY KAME KNGWARREYE 1910 – 1996

NOW OPEN BY APPOINTMENT ONLY TUESDAY – SATURDAY adults $20, children $10

11 – 15 Christensen St, Cheltenham Phone 0457 005 000 or 0419 329 886

Sponsored by The Aboriginal Gallery of Dreamings www.agod.com.au

www.emilymuseum.com.au Antiques and

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CHECK OUT OUR ONLINE SHOP FOR EASY SHOPPING CAN BE VIEWED ON OUR WEBSITES www.xxxxantiques.com.au www.xxxxantiques.net ONE OF THE LARGEST SUPPLIERS OF MOTORING ACCESSORIES IN AUSTRALIA For sale & in stock

Corner Elizabeth & Johnstone St, Castlemaine VIC 3450

Phone 03 5470 5989 Web www.xxxxantiques.com.au / www.xxxxantiques.net Email sales@xxxxantiques.com.au

OPEN 7 DAYS 9.30 am to 5 pm

RICHMOND / BALLARAT / BENDIGO

19 April 2014

EASTER SATURDAY 10 am – 5 pm

20 April 2014

EASTER SUNDAY

44th Annual 2014 Ballarat Antique Fair Saturday 8 March 2014 to Monday 10 March 2014 from 10 am

LONGEST ’S IA L A R T AUS LARGEST D N A G IN RUNN IQUE FAIR ANT

ALL S ITEM FOR SALE

10 am – 5 pm

21 April 2014

EASTER MONDAY 10 pm – 4 pm

Kangaroo Flat Leisure Centre Browning Street, Kangaroo Flat (off Calder Highway) Enquiries: Robert Dennis Mobile: 0414 248 120

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BENDIGO

Valentine’s Antique Gallery IMPORTERS OF FINE QUALITY ANTIQUES ESTABLISHED 1947 French ebonised & amboyna Sewing Table c. 1870, with satinwood fitted interior, exquisite marquetry musical inlays to top, ormolu mounts

Superb French walnut Louis XV style marquetry Ladies Writing Desk c. 1870, with central ebonised cameo, ormolu mounts and fitted interior, H:97 x W:87 x D:54 cm

Fine quality Sheraton style satinwood cylinder top Writing Desk c. 1890, with superb marquetry inlays and fitted interior Late Victorian mahogany serpentine shaped two tier Revolving Bookcase c. 1890, with satinwood crossbanding

Outstanding rare pair of Victorian burr walnut three door Display Cabinets c. 1870, with bow ends, open lower central section, highlighted with scrolls and floral carvings, H:145 x W:149 x D: 40 cm; H:145 x W:135 x D: 40 cm

Early Victorian three drawer mahogany Writing Desk c. 1860, with green tooled leather insert, baluster turned legs resting on brass castors, H: 75 x W:137 x D:91 cm

NOW ONLINE

For weekly updates of new stock “LIKE” us on facebook

Please refer to our website: www.valentinesantiques.com.au for a full listing of new stock

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

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BENDIGO

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John Constable, A Boat passing a Lock, 1826, oil on canvas, 101.6 x 127 cm © Royal Academy of Arts, London; Photographer: Prudence Cuming Associates Limited

Rupert Bunny, Endormies, c. 1904, oil on canvas, 130.6 x 200.5 cm. National Gallery of Victoria, Melbourne Felton Bequest 1911

GENIUS & AMBITION: ROYAL ACADEMY OF ARTS LONDON 1768-1918 at Bendigo Art Gallery 2 March – 9 June 2014 ounded in 1768, the Royal Academy was the primary art institution in the United Kingdom until the beginning of the 20th century. Its position as a national institution ensured that it was the leading venue for the study and display of art, the maker of reputation and renown, and the arbiter on national aesthetic matters.

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Genius & Ambition: The Royal Academy of Arts London 1768–1918 will draw on the wealth of the Royal Academy’s holdings, ranging from paintings and sculpture to works on paper (drawings and prints) and historic books.

The Royal Academy was established by a group of painters, sculptors, architects and engravers under the protection of the monarch, George III. It was established to provide the professional training of artists, to hold an annual exhibition of works by

contemporary artists and to dispense financial support to indigent artists. It continues to this day to fulfil these roles. In 1870 it acquired a fourth role: the mounting of loan exhibitions.

COMPREHENSIVE COLLECTIONS The collections of the Royal Academy consist of paintings, sculpture, architectural drawings and works on paper deposited by Royal Academicians (members) both at the moment of their election to the Academy (Diploma Works) and through gift, materials relating to the professional training of the artist in the RA schools, including historic plaster casts, anatomical drawings and engravings after old masters, historic books acquired as tools in the formation of students and members, institutional archives and artists’ private papers, and silver donated by individual members since the early 1770s. The collections thus provide a comprehensive review of those artists and architects who, through their involvement with the Royal Academy, shaped the history of British art from 1768.

ACADEMY NOTABLES The exhibition brings together more than 100 works from the Royal Academy of Arts, featuring revered works by JMW Turner, Thomas Gainsborough, John Constable, John Singer Sargent, Sir Joshua Reynolds and Edwin Landseer, as well as many more.

FIRST TOURING EXHIBITION

Sir Joshua Reynolds, Theory, 1779-1780, oil on canvas, 178 x 179 cm © Royal Academy of Arts, London

This extraordinary exhibition represents the first touring exhibition from the Royal Academy in their 245-year history and the first time these highly regarded works from the RA’s collection have been collectively showcased and toured. Conceived and initiated by Bendigo Art Gallery, the exhibition offers an unparalleled opportunity to see works that cemented the RA’s reputation as one of the foremost institutions of western art from the 18th century. Also included in the exhibition is a selection of works which highlight the Academy’s critical role as educator for generations of artists and

Frank Cadogan Cowper, Vanity, 1907, oil on panel, 57.1 x 38.1 x 1.8 cm © Royal Academy of Arts, London; Photographer: John Hammond

the breadth and depth of knowledge offered to its outstanding students.

AUSTRALIAN INPUT For ambitious Australian artists, exhibiting at the Royal Academy was considered paramount for developing their reputation. To complement the works on loan from the RA, 30 significant works by Australian artists such as Nicholas Chevalier, Tom Roberts, John Longstaff, Rupert Bunny, Arthur Streeton, E Phillips Fox, Margaret Preston, Agnes Goodsir and William Dobell – who were educated, then exhibited and subsequently gained reputation through the RA – have been included.

Genius & Ambition: The Royal Academy of Arts, London 1768–1918 is on display at Bendigo Art Gallery from 2 March to 9 June, entry fees apply.

BENDIGO ART GALLERY 03 5434 6088 www.bendigoartgalllery.com.au Antiques and

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PARTNERING WITH HOWARD PRODUCTS

completes a successful restoration project hen Marie and her husband retired to Ballina, NSW, they discovered the town had a branch of the Australian Men’s Shed Association (AMSA). After making contact with Rob Bruce, the supervisor of the shed, they were introduced to the group which included a number of very experienced woodworkers looking for an interesting project to start on.

Marie had been left a treasured heirloom by her grandfather, a captain’s chair from the very early part of the 20th century. This lovely old piece had been stored in a large box under their house for at least 20 years. As soon as the box was delivered and opened the Men’s Shed group commenced work on the chair.

They found that the chair was in pieces with plywood nailed in place where the hand-made wicker seat used to be.

They began with repairing all the broken pieces and carefully secreting new work within the old joints. This was difficult work as the old glue was hard and brittle and the old wood in the joints had been repaired a number of times making the wood crumbly and dry.

It was a steep learning curve even for these experienced old hands, especially when it came to restoring the chair’s seat. None of the men had ever replaced a wicker seat before.

But by following an old manual that they came across, plus a bit of old fashioned nous, the project wasn’t as impossible as it had initially seemed.

Rob, the supervisor, had seen Howard Products advertised in various woodworking magazines over the years, but it was an article in one of the Antiques & Art in Queensland editions that convinced him that Howard Products would do the job.

Rob ordered the appropriate colour in Restor-A-Finish by email because, as he told me, he had been impressed with the byline in the advertisement – ‘Don’t strip it, restore it’ – which had jumped out at him. Then Rob decided to come to the Working with Wood

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Show in Brisbane where we were exhibiting.

He came to our stand and had a long chat with my partner Sally Gregson who advised him to add Howard Feed-N-Wax and Howard Orange Oil to the Restor-A-Finish he had already purchased.

When he got back to the Men’s Shed the team used the products to finish off the chair to the way you see it on this page.

If you or your group need any advice related to a project you may be working on, please don’t hesitate to email me.

David Foster HOWARD PRODUCTS AUSTRALIA advice@howardproducts.com.au

For marks like these we use Restor-A-Finish • Howard Restor-A-Finish blends away minor scratches, heat marks and water rings instantly and permanently using a simple wipe-on, wipe-off process.

• Available in 8 wood tints plus neutral. Restor-A-Finish blends in with any existing wood colour.

• Feed-N-Wax is recommended after Restor-A-Finish to protect and nourish the new finish.

• If a shine is preferred Restor-A-Shine Polishing Compound used after Restor-A-Finish removes dullness and replaces it with a deep shine.

• For dusting without removing either finish always choose Howard Orange Oil. Howard Products have stockists all over Australia and interactive websites in both Australia and New Zealand. The range pictured here features a specialised product for every kind of situation involving the care of good wood.

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It was a steep learning curve even for these experienced old hands, especially when it came to restoring the chair’s seat

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PAKENHAM

John Thomas, Ocean Spray

Judith Edwards, Bird Watching

Ron Brown, Poppies

CARDINIA’S GRAND ART EXHIBITION

a premium art event in Victoria 21 – 23 February 2014 he next Grand Art exhibition will be held in February 2014. As the exhibition has outgrown the Edrington Homestead in Berwick, it has been moved to the magnificent ultra modern Cardinia Cultural Centre in Pakenham where more fine art by leading international and interstate artists can be showcased as well as more art sections introduced.

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PRIZES & DIVISIONS There will be around $10,000 in prizes to be awarded and the sections and subjects in which work will be exhibited include the following.

Traditional Landscapes; Seascapes & Waterscapes; Flora & Fauna; A la Mode; Contemporary; Avant Garde; Abstract.

BALDest-ARCHY We are introducing this new category as a spoof on the Bald Archy which, in turn, is a spoof on the Archibald. Subjects can include comical/satirical, hilarious/bizarre portraits of famous or infamous people.

Scratchboard A new special section has been dedicated for scratchboard art. Sponsored by Ampersand USA to indicate the significance of the exhibition, scratchboard works are being sent direct from France, Germany, USA, Queensland and New South Wales to complement the highest standards of leading Victorian scratchboarders. These new works are awe inspiring, and bring a whole new dimension to our exhibition.

Barbara Pain, Black Caviar

Creative Wood Art In conjunction with the Berwick Woodworkers, for the first time we are showcasing the works and artistic skill of woodworkers.

Petit In this section, works must be 10 x 15 cm.

The paintings are all at a set price of $55 – brilliant for presents!

BEST OF THE BEST Provenance Artists has taken great pleasure in inviting the best of the best leading artists to showcase their magnificent works. Artists invited include: Di King; Jan Long; Brad Trembath; Kerrie Warren; Glenn Hoyle; Clare McCall; Nora Howard; Robert Knight; Craig Davy; Rhonda Rawson; John Thomas; Lyn Mellady; Pam Tripp; Julie Goldspink; Pete Marshall; Elena Kolotusha; Kathy Berry; Elizabeth Thomson; Stephen McCall; Ern Trembath; Do Noble; Robert Knight; Annette Spinks; Fiona Bilbrough; Kevin Weeks; Julie Ricketts; Ron Brown; Lesley Barrett; Pamela Ball; Mary-Ann Long; Carol Gorenko; Kim Kennedy; John Kodric; Jackie de Silva; Pat Ostroff; Sam Michelle; Barbara Pain.

EMERGING ARTISTS ON SHOW Provenance Artists is also excited to present the next generation of artists. This is where astute connoisseurs of art will be able to pick up great works at brilliant prices. There is an amazing group of emerging artists ready to explode on to the art scene – and they are coming to Cardinia.

Pam Tripp, Dimension

Wood art by Keith Towe

CARDINIA

GRAND ART EXHIBITION Premium art event of Victoria

VIP DISCOUNT FOR A&A READERS We give readers of Antiques & Art a special 10% discount on purchases. All you have to do is tell the salespeople that you have seen this invitation.

Proceeds go to the costs involved in presenting the highest standards for a major event, as well as ensuring that the awards to the artists are substantial and recognise the skill, and sheer artistic brilliance. Love art, love Cardinia, enjoy the best! Organised by Provenance Artists Inc. a not-for-profit society.

For further information contact Calvin Bell PROVENANCE ARTISTS Inc 03 9704 7773 / 03 9704 8376 provenance@tpg.com.au www.artshowsofoz.com

Summer Pleasures by Di King

LOVE ART – LOVE CARDINIA A major event showcasing the finest art by renowned national & international established & emerging artists. [previously The Edrington] Gala opening night Thursday 20 February 21 – 23 February Fri & Sat 10am – 6pm Sun 10am – 3pm Cardinia Cultural Centre

Carol Gorenko, Going home

Lesley Barrett, Leopard

Lakeside Boulevard Pakenham 03 9704 7773 provenance@tpg.com.au www.artshowsofoz.com Antiques and

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MORNINGTON PENINSULA

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ANTIQUES AND ART on the Mornington Peninsula

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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.

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.

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6. SORRENTO

5. RED HILL MONTALTO VINEYARD & OLIVE GROVE

SORRENTO FINE ART GALLERY 3301 Point Nepean Rd, Sorrento (Opposite Rotunda) Winter Hours: Friday - Monday 10.30 am - 5.30 pm Summer Hours: Sorrento: Open daily 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.

33 Shoreham Road, Red Hill Mel Ref: 256 B2 03 5989 8412 info@montalto.com.au 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.

MARLENE MILLER ANTIQUES

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.

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Gwen Bridges-Mulder bronze sculpture with a vintage post box at the end of Main Street on the corner of the Esplanade in Mornington

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.

MORNINGTON PENINSULA

Esther Paterson, Middle Park, Baths, undated (detail), oil on board.

Richter Family Collection, Melbourne

Penleigh Boyd, Portsea, 1921, oil on canvas. Private collection Arthur Streeton, Fossil Bay, Mentone, 1925, oil on panel. Private collection, Sydney

MORNINGTON PENINSULA REGIONAL GALLERY summer & autumn exhibitions SEA OF DREAMS: PORT PHILLIP BAY 1915 - 2013 (PART II)

14 December 2013 – 2 March 2014 ummer at the Mornington Peninsula Regional Gallery focuses on artistic representations of Port Phillip Bay and its fascinating stories, histories and events.

Sea of dreams is a broad chronological survey of major Australian artists whose works are closely associated with the Bay. In addition to sumptuous ‘blue and gold’ views of the coastline created by celebrated artists including Fred McCubbin, Arthur Streeton and Penleigh Boyd, the exhibition includes modern works by Clarice Beckett, Arthur Boyd and Sidney Nolan.

A number of these paintings document the changing physical topography and presence of distinct artistic communities as well as illustrate the important role of nostalgia, memory and association. Anxiety and fear of the sea; the reaction to environmental disasters such as the 1989 Coode Island chemical fire; the formation of distinct cultural identities; and the development of new ways of looking at, and responding to, increased urbanisation and transport networks in and around the Bay also feature through the inclusion of an exciting cross-section of recent and contemporary Australian art.

Sea of dreams comprises approximately 70 paintings, drawings and prints sourced from major public, private and corporate collections throughout Australia. It features many rarely seen gems, some of which have only just come to light.

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JIMMY PIKE’S ARTLINES 14 March – 11 May 2014 The Berndt Museum of Anthropology, University of Western Australia and Art on the Move Touring Exhibition A most vibrant exhibition, Jimmy Pike’s Artlines showcases previously unseen, felttipped pen drawings by notable Western Australian Walmajarri artist, the late Jimmy Pike. Touched with a lively sense of humour, the works bring the artist’s country in the Great Sandy Desert of Western Australia into glorious relief through renderings of whimsical beings, shapes and earthscapes.

The exhibition includes over 50 works on paper, made between 1990 and 2000, that draw on the knowledge and skill Pike learnt as a boy growing up in the hunting-gathering tradition of his family. His intimate knowledge of country is translated through the varying styles and themes surveyed in this collection of drawings.

While Pike is best known for his acrylic paintings on canvas, and his internationally recognised textile designs through the Desert Designs label, this exhibition showcases his experimental approach to colour, texture and drawing.

For more information on the exhibitions, please contact the gallery directly or visit the website.

MORNINGTON PENINSULA REGIONAL GALLERY 03 5975 4395 mprg@mornpen.vic.gov.au http://mprg.mornpen.vic.gov.au

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FRANKSTON

Lyn Mellady, On the Edge, pastel

Lesley Barrett, Leopard, scratchboard

Rodger Scott, Pardalote, watercolour and gouache

BRIALYN BOATHOUSE GALLERY

Summer program at Frankston’s centre for fine art rialyn Boathouse Gallery has had a year of wonderful paintings in exhibition.

The end of 2013 and beginning of 2014 bring two special featured exhibitions: $400 and Under and Watch and Learn.

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$400 AND UNDER Opening 3 December 2013 Do you think that fine, original artwork is always too expensive unless it is by an unknown artist? Not so.

On 3 December will start the $400 and Under original artwork exhibition. To finish the year, artists have entered into the

challenge to present something special at this very special price – for some, this will not be their normal size or price point. We see it as an opportunity to allow people to own or gift a truly original piece of art that is affordable.

Among the paintings will be watercolours

by Annee Kelly and Julie Goldspink, covering French and Australian landscapes and beautiful flowerscapes. See glowing landscapes by Vivi Palegeorge, Bayside and coastal scapes by Lyn Mellady and miniatures by Michael Goff, incredibly detailed drawings by Janet Matthews and small artwork gems of Di King, and many more. The paintings and scratchboards are not

restricted to these artists. Also featured will be the life-like sculptural birds and animals of Chris Stubbs and whimsical mosaic dogs and cats by Jill Clark.

WATCH AND LEARN 10 – 22 JANUARY 2014 Many of Australia’s finest artists teach their art methods, happy to share their skills and enthusiasm for their chosen profession. Others prefer to work in private, and the public never get a chance to see how they work.

Brialyn Boathouse Gallery will put on an exhibition purely by artists who also teach. As well as the exhibition we will have daily demonstrations by artists from the exhibition.

They will cover all mediums and it is a chance to come once or every day to watch and learn.

This is a chance to preselect your next teacher by knowing how they work. You might like to meet the artist or simply come to have an afternoon of artistic enjoyment.

Although the artists have chosen their demonstration day, I really recommend that you check the website in January for the artists who are demonstrating as life has a habit of forcing changes.

There is a small $5 fee to watch the artists at work but the exhibition is, of course, free to enjoy.

Robert Knight, Smith St, oil

Glenn Hoyle, Mornington, oil

DEMONSTRATING AND EXHIBITING ARTISTS Joseph Attard – oil portraiture; Lesley Barrett – master scratchboard artist; Barbara BeasleySouthgate pastel landscape; John Bredl – oil landscape; Michael Goff – acrylic or pastel seascape; Julie Goldspink – watercolour on canvas; Cathy Hamilton – pastel, Regina Hona – pastel seascape; Glenn Hoyle – oil still life or landscape; Amber-rose Hulme – pastel impressions; Annee Kelly – watercolours from France; Robert Knight – oil impressions; Janet Matthews – detailed animal drawings; Barbara McManus –figures in pastel; Lyn Mellady – pastel seascapes; Ron Muller – watercolour landscapes; Grace Paleg – flowers in pastel; Vivi Palegeorge – oil or acrylic landscapes; Pamela Pretty – pastel landscapes; Rodger Scott – wildlife; Raelene Sharp – landscapes; Cathy Van Ee – portrait and landscapes.

There are 10 demonstration afternoons finishing on 22 January while the exhibition runs until 16 February 2014. Watch the website www.boathousegallery.com.au for the final list of demonstrations and times and email contact@boathousegallery.com.au to book a demonstration seat.

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Julie Goldspink, Beautiful New England, watercolour

Contact Brian or Lyn at BRIALYN BOATHOUSE GALLERY 03 9770 6119 / 0405 654 110 www.boathousegallery.com.au

LANGWARRIN The artists in Made to last pose questions to future conservators; they have been interviewed by curator Sherryn Vardy about their intent, materials, processes and views on conservation. The exhibition also provides a behind-the-scenes look at conservation with demonstrations of how materials can behave over time and under different environments.

Works include neon and master woodblock prints by Brook Andrew, altered ceramics by Penny Byrne, paintings and anamorphic works

by Juan Ford, ink on paper and unique objects such as plants on shelves by Ghostpatrol, and video work and installation using unconventional materials including strawberries and cream and raspberry lollies

by Claire Anna Watson.

MARTIN HILL: WATERSHED

Martin Hill, Watershed Guardian, 2013. Photograph image courtesy of the artist

MCCLELLAND SCULPTURE PARK + GALLERY

The conservation of art is commonly associated with the restoration of 17th century paintings or marble sculptures from antiquity.

The use of materials in contemporary art has challenged this perception and enabled a shift in the way conservators interact with artists.

16 February – 27 April 2014 This project was made in association with Phillipa Jones with the generous support of the Kenneth Myer Alpine Artist and Writers Retreat Program and the Martyn and Louise Myer Foundation The Watershed exhibition comprises a new body of photographic work by Martin Hill that explores man’s place within the natural environment. These sweeping alpine landscapes investigate the relationship between culture and nature, man and the environment through a series of captivating sculptural interventions.

This exhibition poses the question of how man might learn and live in harmony with the laws of nature in the face of catastrophic climate change and ecological destruction.

McCLELLAND SCULPTURE PARK GALLERY 03 9789 1671 www.mcclellandgallery.com

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Summer exhibitions program SHAUN GLADWELL: AFGHANISTAN Showing until 2 February 2014 An Australian War Memorial Travelling Exhibition Shaun Gladwell’s war art focuses on ordinary soldiers in harsh landscapes, on their physique, their inner world, and the training and rituals that shape them. The subjects depicted here, whether on military bases in Afghanistan, the Middle East or Australia, lie at the centre of the artist’s meditations on the role of technology in modern war and the

nature of sacrifice and death. Gladwell’s work is a significant contribution to a tradition of official war art that began during WWI. His use of the video medium is the first in the history of the Australian War Memorial’s official war art scheme.

MADE TO LAST: THE CONSERVATION OF ART Showing until 2 February 2014 A NETS Victoria exhibition in partnership with the Centre for Cultural Materials Conservation at the University of Melbourne and supported by Latrobe Regional Gallery

Penny Byrne, Tea for Two in Tuvalu, 2011, vintage porcelain figurine, vintage Action Man accessories, vintage coral, glass fish, epoxy resin, epoxy putty, retouching medium, powder pigments. Courtesy of the artist and Sullivan+Strumpf Fine Art, Sydney Antiques and

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TYABB

TURNING A VISION INTO REALITY TYABB PACKING HOUSE ANTIQUES

a centre of antique & collectable treasures eginning with a modest but hard won success converting a smaller antique complex, Sheila and Gerard Martland went on to complete their journey near Mornington, creating what would become one of Australia’s most eclectic and broad-based antique and collectable centres as well as a tourist drawcard.

With extraordinary vision and despite hardship, Sheila and Gerard gradually transformed a desolate tract of land next to the Tyabb railway station and a dusty rabbit warren of old cool rooms and storage areas into one of the biggest attractions on the

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Mornington Peninsula for everyone. It is now a centre attracting curious travellers, tourists and serious collectors. Discerning buyers come to seek out everything, from high end genuine Georgian, Victorian and Edwardian furniture and objects to old tools and a huge selection of antiquarian and used books, to cutting edge mid 20th century design and furniture.

FROM APPLES TO ANTIQUES Beginning as a dusty and forbidding place with a vast run down and ramshackle building that was once the packing house for the many apple orchardists on the Peninsula, ‘The House’ now offers two

acres of undercover, centrally heated shopping with over 40 dealers.

In keeping with the community retail atmosphere of the complex, the main building caters for discerning shoppers and visitors and offers a fully licensed cafe with al fresco dining.

In addition, adjacent to the main building is a fully functioning craft village with art gallery, milliner, glass and pottery artisans and two more freestanding areas selling antiques and collectables, offering even more items of interest.

In the village grounds at Rattling Reds train carriage kiosk, visitors can relax and enjoy delicious Devonshire teas, fresh coffee and snacks.

TYABB PACKING HOUSE ANTIQUES

40 DEA LERS FRESH STOCK DAILY 14 Mornington Tyabb Road, Tyabb Victoria 3913 Just 10 minutes from Peninsula Link exit 18 Christmas opening Thursday 26 December every day until Sunday 12 January 2014 Open Thursday to Sunday & Public Holidays 10am – 5pm (except Good Friday & Christmas Day)

Phone 03 5977 4414 email: info@tyabbpackinghouseantiques.com.au

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RARE FINDS WITHOUT HIGH-END PRICES: SOMETHING FOR EVERYONE Find rare 19th century oil lamps and Asian artefacts, browse amongst a selection of antique bedding and haberdashery, or a first class offering of antique, estate and collectable jewellery. One of the great things about Tyabb Packing House Antiques is the fresh and constant changing of stock and up-to-date trends that come online including Melbourne based Industria. Dealers specialising in 20th century pieces proudly present unique furniture from iconic mid-century Australian and Scandinavian designers.

Increasing numbers of international and Australian shoppers, accustomed to the high end retail environments along the iconic tram routes of inner Melbourne, now find they can shop at the Tyabb Packing House without the high end prices.

Tyabb Packing House is also the place to find quality Australian and European art, and is home to some of the finest examples of Art Deco, silverware, metropolitan industrial objects and popular kitchenalia, garagenalia, old toys and traditional clutter as well as everpopular blokey stuff of all types.

ABOUT TYABB PACKING HOUSE ANTIQUES Located at 14 Mornington-Tyabb Road, Tyabb, it is 50 minutes from Melbourne via CityLink, EastLink and Peninsula Link, Melways reference 148 H10. The drive is 10 minutes from Peninsula Link exit 18 and is next to Tyabb station. Opening hours are 10 am to 5 pm, Thursdays to Sundays and public holidays (except Christmas Day and Good Friday); Anzac Day: 12 pm to 5 pm.

There is ample free parking and entry is free.

TYABB PACKING HOUSE ANTIQUES 03 5977 4414 info@tyabbpackinghouseantiques.com.au www.tyabbpackinghouseantiques.com.au

GEELONG

PEGASUS ANTIQUES top tips on caring for antiques ur enormous French container has just arrived at Pegasus Antiques and on it is some very clean and well maintained furniture that just needs a little TLC. With this in mind, I thought I might discuss maintenance tips for antique furniture.

Firstly, this advice is for antique furniture that has been restored using traditional methods such as French polish and waxes. This will not help furniture that has been lacquered with a two-pac finish or other synthetic finishes.

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ESSENTIAL WAX I always recommend to our clients that they wax their furniture six monthly – which no one does. However, I urge them to wax at least every 12 months. There are so many waxes available on the market. I use a dark wax on mahogany and dark oak timbers and a clear beeswax on pines, light oak and everything I hope to keep a light finish on.

While waxing, keep an eye out for loose veneer that can be easily glued back on by sanding the surface areas free from any old glue and gluing it back on with PVA glue; using masking tape to keep it in place and leaving for 24 hours.

Also look out for splits which are an indicator that it is too hot – either from sunlight or ducted heating, which can dry out the timber.

Using the wax every 12 months will keep the furniture in a beautiful waxed condition and after many years, the build-up of wax gives the furniture a beautiful glow.

TAPE LOOSE ITEMS Another great tip is if there is a loose knob or you are not confident in gluing veneer back on, to keep it in a small bag and tape it onto the inside of the item; that way when it is restored again the original knob or veneer can be used.

DAY TO DAY DUSTING For day to day dusting we have had to make our own product as we could not recommend anything on the market. Please stay away from silicon and oil-based products that might damage the finish. A lightly damp cloth is better than most alternatives.

• Use professional removalists when moving antiques. Tape all screws and keys inside the item and if shifting cupboards, tie a rope around it.

• If you notice the item drying out, wax more regularly. Check for sunlight and heating. A jar of water half full underneath the item can help with retaining moisture • Use it! After all this is said don’t be afraid of using your furniture, love it and appreciate it.

In 10 years’ time, get it restored if needed.

PEGASUS ANTIQUES 03 5221 8290 www.pegasusantiques.com.au Pegasus Antiques furniture polish is made from natural ingredients

TOP 10 TIPS • Wax every 6 to 12 months • Do not dust with spray out of a can or other oily product, use a damp cloth • If a piece of furniture is broken fix it, glue the piece back on before you lose it or tape it to the item for future repair • Get a scratch fix pen, like a brown texta, that can hide little marks • Use place mats for all hot items on the table top. Make sure the place mat is of good quality – we recommend an air gap between the place mat and furniture to reduce heat transfer • Put keys away if there are small children around. I have spent many hours looking for lost keys • Use chocks to level up pieces where floors are uneven. In the case of French armoires, a slight tilt back is better as they are front heavy French 5 metre bookcase just off the latest container only requires some light maintenance and a wax

JUST LANDED 4 CONTAINERS FROM FRANCE AND THE UK

WWW.PEGASUSANTIQUES.COM.AU 550 LATROBE BLVD, NEWTOWN 3220

P 03 5221 8290

An 18th century French oak dresser being waxed Antiques and

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LORNE

Susan Sutton: The Otway Collection

AT QDOS ARTS 12 – 25 January usan Sutton’s love of the Otways and the Surf Coast region in southern Victoria is reflected in her latest collection of oils which will be exhibited at Qdos Arts in Lorne from the 12 – 25 January 2014.

Almost a bi-annual ‘fixture’, Sutton is a well recognised, established, regional artist and Qdos Arts, one of Australia’s finest private galleries, have collaborated every two years at the peak of the summer holiday season for the much anticipated showings. This particular collection of paintings embraces the wide variety of subjects offered by this remarkably beautiful region where Sutton has lived and worked for most of her life.

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ARTIST’S STATEMENT ‘Although I have travelled to many other places around Australia and the world, the inspirations from my home environment are the strongest, they are varied and endless.

I love the wide open brilliant spaces of the

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coast with its expansive colour, noise and movement and I equally love the reverential embrace of the dense canopied bush with its filtered light and hushed rustling sounds. Two worlds, side by side.

From dramatic cliffs and secluded beaches to open spaces of sand dunes and pounding surf … from dense bush and lush fern gullies to cascading waterfalls and towering ancient trees … the Otway region has it all … it inspires my soul, my creativity.’

Susan Sutton originally painted almost exclusively in watercolours until oils became her preferred medium. To this day there are techniques she employs which carry over between the two.

Sutton prefers to fully understand her chosen subjects and will spend considerable time researching details and experiencing the place and time, either on the coast or in the bush.

No matter how researched or refined her works are, atmosphere and mood are important elements which pervade each and

every completed painting. Subtle or strong, in darkness or in light, finely detailed or broadly worked, the feelings of ‘being there’ are a unique characteristic of her style.

Characteristic also, is the human element.

Sutton enjoys observing the way people use their environment. There is often a social narrative happening within her works, maybe a solitary figure but more often groupings which can be either self explanatory or interestingly undefined – hopefully the viewer will interact or identify with a personal experience or simply enjoy the vision.

Through 14 solo exhibitions to date, while keeping in touch with a number of much loved subjects, in each preparation Sutton has always enjoyed engaging in new ideas, new approaches and new formats.

ABOUT QDOS Qdos Arts is located at 35 Allenvale Road, Lorne. It is open daily from 9.30 am to 5.30 pm.

QDOS ARTS 03 5289 1989 www.qdosarts.com

LORNE

QDOS ARTS PRESENTS

Lucy McEachern: Sculptures 12 – 25 January ARTIST’S STATEMENT uring my study of Fine Arts (Ceramics) at Monash in Caulfield, I studied at its campus in Prato, Italy for a semester. We were surrounded by incredible history and culture that greatly influenced our work. The equestrian monuments were of particular interest.

In my last year my lecturers recommended that I change from ceramics to sculpture and encouraged me to continue with bronze.

After completing a Diploma of Education at Melbourne University, I received a Teaching Fellowship at Bryanston School in Dorset, UK. During this year in England, Tessa Pullan, a professional sculptor, specialising in animals, agreed to let me work under her. She encouraged me to work from life and to be more observant, and this has proved to be invaluable advice. Since then, I have met all of my subjects – to study their personality, scale, shape and form.

Eventually I decided to return to the farm and combine my love of agriculture and art.

The life size pelican I worked on has sat by a pond at Yering Station and on the busy pavement on Toorak Road for the Toorak sculpture prize. Now it resides at the front of Qdos at Lorne.

A great friend suggested I enter an exhibition in the USA, Birds in Art 2010. Over 900 international artists applied for the exhibition

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and 113 were accepted, 16 nationalities were represented and I was one of four Australians and the only Australian sculptor.

When the Birds in Art exhibition was opened to the public, I was invited to do a demonstration with a small pair of wax claws and the dentist tools that I had brought from home. This was a nerve-racking experience, particularly when some of the more established and famous artists such as Simon Gudgeon (who has recently installed a sculpture in Hyde Park in London) approached me to ask where and when I would be demonstrating!

I am lucky enough to combine my love of farming and sculpture in an idealist lifestyle.

On the family farm we have planted over 100,000 trees and native bush in the past six years. This has increased the number of bird species on the farm, the general wellbeing of the cattle and sheep and the ‘to do’ sculpture list! In the afternoons I ‘sit still’ and work on a clay that eventually finds its way to a foundry in Brisbane to be cast in bronze.

Sculpture continues to thrill, excite and surprise me! Never did I think I would have a public piece in Roma Queensland, make a living from bronze and exhibit in America three years running! I look forward to the next chapter!

QDOS ARTS 03 5289 1989 www.qdosarts.com

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Moon maiden vase, 1931, h: 17.5 cm; signed & dated

Egyptian vase, 1927, h: 21 cm; signed & dated

Inlaid angular vase, 1925, h: 15 cm; signed & dated

Kookaburra vase, 1927, h: 25 cm; signed & dated

ISABELLA CLEMENTINA AINSLIE of the Harvey School N ever heard of Clem Ainslie, potter of the Harvey School? I’m not surprised. She doesn’t appear in any of the works written about this fascinating period of Australian art pottery, and although she may be represented in collections of Australian pottery, at best she is catalogued as ‘Unknown, Harvey School’. Until now.

Moorabool is pleased to present Isabella Clementina Ainslie of the Harvey School, an inaugural exhibition of her extraordinary creations.

Her pieces speak for themselves: she was an extremely talented potter, creating the usual school pieces, but also many unique individual pots. She signed the majority of her pieces, either with ‘Clementina Ainslie’ (she disliked her first name, Isabella), or the monogram CA, along with the date. She made and sold many pieces during her career as an art potter, meaning there are many pieces out there awaiting discovery. The catalogue we are publishing of this unique collection of her work is intended to bring Clem the recognition she deserves.

THE DISCOVERY The rediscovery was a serendipitous moment.

Called to look at some silver, John Rosenberg noticed a deep blue ground box decorated with trees. ‘Is that Moorcroft?’ he asked, only to be told ‘that’s not Moorcroft – that’s Mum’s pots. Would you like to see the rest?’

It soon became clear that this was an important discovery. The family collection includes a wide variety of splendid forms totalling 40 pieces. This led to the idea of mounting an exhibition, and producing a catalogue of this unique collection.

Still being in the family has meant that the social history of the pieces is still intact, a very rare occurrence. Clem’s daughter can remember some of the pieces being made, one in particular to amuse her when she was at home sick one day. All pieces were made to be used, in the best arts and crafts tradition.

Indeed this is the amazing aspect of this collection: still having the historical context attached to the pieces.

‘Mum made that pot for Dad, to hold his tin of cheese. He would eat about a tin a week, and so it was not a tin placed on the table, she made a pot the exact size as the tin to cover it,’ recalls her daughter. She has treasured memories of her mother, and was able to put pen to paper to record these memories for posterity:

MEMORIES OF CLEM, AS RECALLED BY HER DAUGHTER IN GEELONG, 2013 Isabella Clementina (Clem) Ainslie was born in Queensland in 1888. She spent most of her life in Brisbane, growing up in a home where

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beauty was appreciated.

As a child, it was her pleasure to gaze through the windows of shops selling fine china and ornaments, as she tried to sketch them in the notebook she carried. However, as well as this, she enjoyed backyard cricket and fishing with her four brothers.

As she grew to be a woman, her hobbies became well established: music, embroidery, cookery, gardening, tennis – and still sketching designs from china, etc.

In 1915 Clem married Campbell Ainslie, a man very interested in gardening and photography. Soon they bought a big house with a very large garden, and this provided space for her hobbies.

Clem had heard of L.J. Harvey’s school and now, with time to spare, she joined his pottery class. This was a new and wonderful world for her, and she delighted in all she learned. The weekly visits to Mr Harvey’s school were looked forward to with pleasure, and her husband was interested in her work and encouraged her efforts. She had a pleasant manner and made friends with other students.

Her progress through various stages of the course was of a high standard and she enjoyed every step towards ‘making a pot that looks like Mr Harvey’s work.’

Whilst still at the school she was encouraged to exhibit her work at the annual Brisbane exhibition. There she won many prizes and became known as one good at her art.

Clem continued to make pottery for many years, interrupted only by the arrival of her one child, and the care of aged relatives. She always made time for pottery, her ‘beloved hobby’.

WHY IS CLEM IMPORTANT? The Harvey School ran for several decades, and in that time had a large number of students pass through. These were of vastly differing ability; some were highly skilled, and recognised as such, while others did not achieve anything of note and did not continue.

Clem belongs to the former, but unlike some of the better known names, she failed to promote herself, or produce on a commercial scale for retail sale. This makes her works all the more special – and rare.

Her earliest pieces are typical school exercises, following a strict design devised by Harvey. All students were to follow these lessons, which came to 20 distinct pieces.

What is interesting is that Clem begins to experiment and develop her own pieces, apparently without finishing all the lesson pieces. She had reached the point where Harvey would allow this freedom, and indeed her pieces have direct parallels with the more well-known potters of the school. For example, her Crane vase of 1925 has a similarity to a bird’s head-

A young Isabella Clementina Ainslie

Clementina Ainslie’s monogram mark ‘CA’ on the crane vase. Many variations are apparent, including ‘Clementina Ainslie’

Crane vase, 1924, h: 27 cm; signed & dated

handled vase by Florence Bland from 1924; she has perhaps seen this piece in the school workshop, and devised her own version, all in the second year of classes, and apparently without finishing all the prescribed lessons. Her Egyptian pieces of 1927 illustrate this freedom of design perfectly – they have no known parallel in Australian pottery from that period.

Judging from the recollections of other students, she must have been favoured by Harvey in order to be able to develop her own interests. Indeed, her daughter recalls Mr Harvey requesting she join as an assistant teacher, an offer she declined.

GLAZING AT STONE’S BRISTOL POTTERY Harvey did not supply glazes at the Technical College, but relied on the glazing service at Stone’s Bristol Pottery, a commercial firm in Brisbane that ran 1894-1956.

In order to achieve some control over the limited commercial majolica glazes available at Stone’s, the students were encouraged to inscribe the desired glazes into the bases of their pieces. They must have had samples of the end results, and so were able to request colours.

The gum leaf jardinière bears the inscription: ‘Sepia brown and little yellow / 2 Blue Beetles 1 Green Beetle’. The results were not always as expected. In this case, there is very little yellow and just a few small splashes to the brown body. Two beetles are green and the other one is blue!

Inscribed marks to base of jardinère

ABOUT THE EXHIBITION Moorabool Antique Galleries will be hosting this selling exhibition in their Ryrie Street premises. The opening and launch of the new catalogue Isabella Clementina Ainslie of the Harvey School will take place at 11 am on Saturday, 16 November 2013. The exhibition will run until 30 November.

There is a dedicated website for Clem visit http//:exhibitions.circa1785.com/clem for more discussions, full illustrations of each piece, and a page of other examples of Clem’s work where you can submit your own examples if you are lucky enough to have any.

The new publication, Isabella Clementina Ainslie of the Harvey School is available from the above website, or direct from MOORABOOL ANTIQUE GALLERIES 03 5229 2970 www.moorabool.com

Blue box with trees, 1927, 21.5 x 13 cm; signed & dated

Gum leaf jardinière, 1936, width: 29 cm; signed & dated

WARRNAMBOOL

Deborah Klein, oil on canvas

Summer program

hire arrangements and requirements for submitting a proposal can be found on the gallery website www.scopegalleries.com.

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EXCITING ARTWORK

ocated at the end of the Great Ocean Road in the seaside city of Warrnambool, SCOPE Galleries exhibits contemporary artwork from regional and metropolitan Australian artists, both emerging and established in their field.

Situated at 38 Kelp Street (two blocks east of the main street), SCOPE has gained a reputation for quality art and exhibitions which rotate throughout the year.

CONTEMPORARY ART IN A REGIONAL LOCATION SCOPE Galleries is at the forefront of the regional art scene, cultivating the value and understanding of contemporary art practices for audiences within a regional locale. It was established in December 2009 by the current director, Dr Liza McCosh, with the aim of fostering contemporary art in a regional location and supporting artists’ development by providing ongoing opportunity for exhibition and exposure of their artwork.

EXHIBITING SPACE AVAILABLE Although exhibiting consigned artwork, the 76 metres of hanging space that the gallery provides also allows for the hire of individual rooms to artists and curators at a very reasonable cost.

The gallery is divided into six exhibiting spaces and supports painting, printmaking, photography, glass, ceramics, sculpture and jewellery in the exhibition program. Details of

Rachel Peters, What do they know, acrylic on canvas

Zoe Ellenberg sculptures, bronze and marble

On any visit to SCOPE, audiences will find an array of local artwork as well as artwork from renowned practitioners from all over Australia. Throughout the year, the work of its consigned artists in conjunction with other solo exhibitions is shown. The upcoming program through to March 2014 includes the following exhibitions:

FOLLOWING A RIVER November 2013 Following a River is a solo exhibition of paintings by Rachel Peters. Rachel is a local artist who engages with environmental and cultural issues through her work.

RECENT WORK & RECENT DRAWINGS February 2014 Kate Mellican-Rollo was the winner of the 2012 SCOPE Galleries Professional Development Award. An exhibition of her artistry is being presented as Recent Work. In February, work by Ballarat-based artist Martin Jones titled Recent Drawings will also be showcased.

ART CONCERNING ENVIRONMENT AWARD: CALL FOR ENTRIES High on the exhibition calendar is the SCOPE Galleries Art Award: Art Concerning Environment award, sponsored solely by the gallery. Held biennially, the national award is open to two-dimensional and sculptural

artworks (excluding photography) and offers a $5,000 non-acquisitive prize for artworks based on the theme ‘Art Concerning Environment’.

First held in 2012, the award is scheduled to be held again in 2014. Entry forms will be available from the website in November 2013 and the closing date for entries is Monday, 14 April 2014.

The award exhibition will take place throughout June and July 2014.

ABOUT THE GALLERIES SCOPE Galleries is open Thursday to Sunday 12 noon to 5 pm and by appointment. Entry to the gallery is free.

SCOPE GALLERIES 03 5561 4758 / 0410 464 330 mail@scopegalleries.com www.scopegalleries.com

SUITE IMPRESSIONS December 2013 Works from students in the Advanced Diploma of Arts, South West Institute of TAFE, comprise this group exhibition.

Liza McCosh, Flow, ‘Volcanic’ Series, oil on canvas, 140 x 100 cm

ECLECTIC January 2014 This group exhibition covers various art forms, including: paintings and prints by Deborah Klein, Ev Hales, Ian Wells, Liza McCosh, Ewen Coates, Zoe Ellenberg, Chantelle Delrue, Sara Paxton, Carolyn O’Neill and Catherine Pilgrim; sculptures by Don Stewart and George Lianos; ceramics by Kim Tarpey; and glassware by Louise North.

Director Dr Liza McCosh 38 Kelp Street Warrnambool VIC 3280 P +61 3 5561 4758 M 0410 464 330 F +61 3 55615692 mail@scopegalleries.com www.scopegalleries.com

Kim Tarpey, Got him, coloured etching

Liza McCosh, Threshold, acrylic on canvas Antiques and

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BALLARAT’S ANNUAL ANTIQUE FAIR is the longest running event of its kind 8 – 10 March 2014 fixture on thousands of calendars around Australia, the annual Ballarat Antique Fair continues to attract visitors from far and wide. Now in its 44th year, it has become the largest and longest running event of its kind in Australia.

Bringing together 100 dealers from around the country, this event features an unequalled range of antiques and collectables for sale under the one roof. A ‘must-see’ event for antique lovers and collectors, visitors travel large distances to attend, with bus tours even bringing people from as far away as Adelaide and Sydney.

Always held on the Victorian Labour Day long weekend, antique dealers from around Australia will converge at the Ballarat Badminton Stadium to bring you treasures gleaned from around the world.

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A FAIR DESIGNED FOR COLLECTORS To ensure a comfortable visit, the organisers have transformed the venue into a great exhibition with carpeting, special lighting and full air-conditioning installed. Coffee stations and a catering service for light meals, snacks and refreshments with additional seating and extra toilets, ensure you can devote the entire day to bargain hunting.

Many visitors make a weekend of it and enjoy this event together with the many other unique attractions offered by the region at that time.

All the well-known and respected dealers will once again be there together with some interesting new faces bringing merchandise, perhaps never before seen. Many dealers will save their best pieces acquired during the year to show off at this incredible event.

There will be something of interest for everyone from a simple cup and saucer to an entire house-lot of furniture.

Silver, jewellery, artworks, ceramics, china and glassware will be there as well as almost every conceivable collectable you can think of. From Art Deco to vintage fashions – whatever your collecting interests, you will be sure to find something to get excited about.

MYRIAD SPECIALIST DEALERS Specialist dealers in every type of antique item and period will be available to chat to

you face-to-face and offer expert advice. You will have the thrill of seeing and handling some incredible pieces as well as being able to chat and discover the amazing history of an item that interests you. Dealers will be only too happy to share their expert knowledge.

AVOID THE CROWDS The fair runs over three days with the Saturday being by far the busiest. If large crowds put you off a little, you may prefer to visit on the Sunday or Monday instead, when dealers will have more time to chat and you can move around a lot more easily!

ABOUT THE FAIR The Ballarat Badminton Stadium is located at Dowling Street, Wendouree in Ballarat. The fair hours are Saturday 8 March, 10 am to 6 pm; Sunday 9 March, 10 am to 5 pm; and

Monday 10 March, 10 am to 4 pm.

Entry tickets will be available in the car park on Saturday morning from 9 am and breakfast is also served there for the early birds. Tickets will be available then at the door. Entry is just $15 for adults and seniors; $12 for aged and invalid pensioners; carers and children under 16 accompanied by an adult are free. A three-day pass is $30, concession is $24.

Valuable door prizes will be drawn on each of the three days for those placing an entry in the barrels.

For further information contact the fair organisers BALLARAT ANTIQUE FAIR 1300 303 800 www.ballaratantiquefair.com.au

BENDIGO 2014 EASTER ANTIQUE FAIR 19 – 21 April 2014 reparations are nearing completion for the 2014 Bendigo Easter Antique Fair. Dealer numbers are limited to 32 as in 2013, with all sites already booked long ago. A few fresh dealers are present as we always replace retired dealers or any lastminute absences due to illness from the waiting list of dealers keen to be seen and to sell at the Bendigo fair.

For those interested in furs, the front foyer will be taken over by Sydney-based Admirables, featuring a high quality collection of furs dating as far back as the 1920s and onwards. Graham Davidson from Woolshed and Kevin Dahya from Grange have decided to move into the main hall to take over the site formerly used by Grannies Attic.

With the help of the local Bendigo Council we have secured the Kangaroo Flat Leisure Centre for the 2014 Bendigo Easter Antique Fairs, and

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perhaps in following years. It is reassuring that the Council has offered assistance with venues to keep the fair in Bendigo. It is heartfelt that this Easter event is well received by the local community and its elected Council.

For our part as organisers, Carol and I have taken part in some 15 antique fairs. In addition to being dealers, we are organisers of both the Bendigo and the new Warrnambool Antique Fair.

Dealers would value your attendance at the annual Easter Antique Fair in Bendigo. The catering is excellent and the hospitality is second to none – and

the antiques and collectables are frequently fresh stock saved for this show, making it a must-go-to fair over the April long weekend.

Robert and Carol Dennis BENDIGO EASTER ANTIQUE FAIR 0414 248 120

COLLECTING BENDIGO POTTERY the Dennis O’Hoy collection goes under the hammer at Lancaster Auctions 12 April & 13 April 2014

COLLECTION FOR EDUCATION & SHOWS

ennis O’Hoy was probably one of the first Bendigo Pottery collectors, states Gregory Hill in his book Excellence Of Ware. Bendigo Pottery Majolica 1879-1911 (2009). Hill further goes on to state that ‘Dennis curated an exhibition of Bendigo Pottery at Bendigo Art Gallery in 1989 and wrote an excellent accompanying catalogue.’

Born and educated in Bendigo, Dennis O’Hoy went to Melbourne to attend RMIT. However, as the ceramic qualifications he undertook required students to work in industry, he returned to Bendigo in 19591960, where he worked at the Bendigo Pottery, becoming involved with all aspects of its production line.

Whilst working at the Pottery, Dennis was employed to establish a ceramic course at the Bendigo School of Mines and was later seconded back to the Bendigo Technical College (BSM) in 1962 to implement the Diploma of Art (Pottery) course. The collection became integral as a reference tool as part of the History of Ceramics and Methods of Production courses. Dennis retired from La Trobe University (Bendigo Campus) in 1996 as Head of Visual Arts and Deputy Dean of the School Of Arts.

In October 1971 the Australian Glass Manufacturers (AGM), in conjunction with the Sunday Australasian Newspapers, invited Dennis to Sydney to judge their Australiawide competition for the most interesting collection of past glass containers. In 1972, with Don Smart and the Australian Bottle Collectors Review, Dennis organised the First National Bottle Collectors Show and Conference held in Bendigo. It was such a great success the Second National Show was held again in Bendigo 1973. These national shows have continued, the latest one, held in May 2013, attracting around 3,500 visitors.

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HISTORICAL ITEMS Through talking with the older employees, Dennis became aware of the pottery’s history and extensive production lines, and was able to purchase items made by them. Buried in the pottery’s waste heaps were numerous failed stoneware bottles made for cordial makers throughout Australia and New Zealand. As a result Dennis was to later contact past and current cordial makers, and in many cases was able to collect a whole range of stoneware and glass containers – his energetic start to collecting historical items.

Gold diamond and jade stick pin $3750

Bendigo gold fields in 1860 of his grandparents – Dennis has decided to downsize his vast and cherished collection.

His collection of stoneware and glass bottles and related items is one of the best and largest ever offered. This sale of Bendigo Pottery and Australian ceramics affords an opportunity for the collector to acquire rare

and significant historical items that took over 55 years to collect. Many have been documented in a number of well-regarded publications including those by Ken Arnold such as Bendigo Pottery. A Selection of Wares from 1858-1990 (2013); and Paul Scholes’ Bendigo Pottery (1979).

The sale of the Dennis O’Hoy Family Collection will be held on Saturday 12 April and Sunday 13 April 2014 at the Browning Street, Kangaroo Flat Leisure Centre, Bendigo in Victoria.

For more information contact Graham Lancaster LANCASTER AUCTIONS 0418 730 904 www.gdlauctions.com.au

RARE & SIGNIFICANT PIECES In order to devote more time to the major project of writing his family history – beginning with the arrival from China to the

Brasac enterprises Girard-Perregaux gyromatic, original band, c. 1960 $1295

Longines Admiral 10k gold filled, c. 1965 $2295 Omega Seamaster 14 ct gold c. 1960s $1895

International Watch Company 18 ct gold, c. 1970, $3950

Of the three nine piece sterling silver tea sets made by Garrard & Co London in honour of the coronation of Queen Elizabeth II, this is the only known surviving example.

Hallmarked Garrard & Co London 1953/54, weight approximately 11 kilos A selection of English hallmarked sterling silver frames and antique silver available.

CAMPERDOWN MEWS

GOLD COAST ANTIQUE CENTRE

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

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

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

BOTH OPEN 7 DAYS Antiques and

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CENTRAL VICTORIA

ANTIQUES AND ART in Central Victoria

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1. BALLARAT ART GALLERY OF BALLARAT 40 Lydiard Street North, Ballarat 03 5320 5858 balgal@ballarat.vic.gov.au 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 info@galleryonsturt.com.au 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.

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.

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2. BENDIGO BENDIGO ART GALLERY 42 View Street, Bendigo 03 5443 4991 Fax: 03 5443 4486 bendigoartgallery@bendigo.vic.gov.au 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.

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BENDIGO POTTERY ANTIQUES & COLLECTABLES CENTRE 146 Midland Hwy, Epsom 0478 435 885 info@bendigopottery.com.au 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 peter@valentinesantiques.com.au Open: 10am -5.30pm Monday to Friday, 10am - 4pm Saturday, Sunday by Appointment Only.

Specialising in 19th & early 20th century English, Australian furniture, porcelain, glassware, jewellery and important decorative items. Large stocks always on hand. Established 1947.

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

4. DAYLESFORD EX LIBRIS 89 Vincent Street, Daylesford 03 5348 1802 Open every day 10am - 5pm Great selection of antique European prints, mostly 18th and 19th century, focused on architectural, botanical, topographical and early Australian engravings. New and exciting prints

by Australian artists also featured. Other decor lines include Italian cushions, photo frames, Victoria Spring jewellery and homewares.

THE AMAZING MILL MARKETS IN DAYLESFORD

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.

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

BALLARAT

E. Phillips Fox, Promenade, c. 1909, oil on wood panel, National Gallery of Australia, Canberra, purchased 1974

John Ogburn, Red still life, 2002, oil on canvas, Private collection

Touring exhibitions featuring at

Desiderius Orban, Tower of Babel, 1951, pastel on paper.

Private Collection.

ART GALLERY OF BALLARAT FIRST FEDERATION FOCUS Until 19 January 2014 apital and country: the Federation years 1900-1914 is the National Gallery of Australia’s first major exhibition to focus on Australian painting from the Federation era. It considers the parallel stories of Federation landscape painting in Australia and the art produced by Australians who lived in Europe during this period, which takes in Edwardian England and the last years of the Belle Epoque in France before the outbreak of World War I in 1914.

The 46 works brought together in Capital and country reveal the richness and diversity of non-Indigenous Australian painting during the Federation years. They range from sunlit images that convey the nation’s patriotic embrace of their own landscape, to those that emphasise the popularity of portraiture and figure painting in Europe.

Well-known and loved works in the national collection by Frederick McCubbin, George W. Lambert and Hans Heysen are brought to light in new ways alongside lesser-known images by Florence Fuller, Godfrey Rivers and Richard Hayley-Lever that will both surprise and delight.

Capital and country is a travelling exhibition of paintings from the national collection, developed as the National Gallery of Australia’s gift to the nation in celebration of Federation and the centenary of the Federal Capital in 2013. Ballarat is the only Victorian venue for this national touring exhibition.

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THREE OS: ORBAN, OLSEN AND OGBURN Until 19 January 2014 This exhibition focuses on three artists who championed the cause of modernism in Australia: Desiderius Orban (the prophet), John Olsen (the poet) and John Ogburn (the philosopher).

With the outbreak of World War II, paintings by modern masters including Cezanne, Dali, Picasso and van Gogh featured in the travelling Herald Exhibition of French

and British Contemporary Art which became stranded in Australia. The opportunity to acquire them was largely dismissed.

The eventual change in this attitude to modern art can in part be attributed to the arrival in Australia of World War II refugees such as Orban, a Hungarian born artist and writer. His publications – Layman’s Guide to Art, Understanding Art and What Is Art All About? – were highly influential and continue to be so. His ideas have seeped into art education and his publications are on the recommended reading lists for art students.

Both Ogburn and Olsen attended Orban’s classes, and later taught and ran his studio while he was abroad, and each in his individual way continued the ideas championed by Orban.

This exhibition, curated by Emma Collerton, is touring from Orange Regional Gallery.

businessman and philanthropist James Russell Thomson. However, it first came to public attention in the hands of George Coppin when this celebrated theatrical entrepreneur offered it as first prize in two art union lotteries, in 1858 and 1863.

In the Woods will be the core work in this small exhibition, which will also include examples of Elijah Walton’s later work as a landscape artist specialising in Alpine and Eastern watercolour landscapes. In addition it will feature other examples of artwork that were offered as prizes in art union lotteries, both legitimate and otherwise.

RICK AMOR DRAWING PRIZE 2014 1 February – 23 March 2014 Drawing by Australian artists comes under the

Elijah Walton, In the woods, c. 1855, oil on canvas. Art Gallery of Ballarat, bequest of James Russell Thomson, 1886

spotlight at the Art Gallery of Ballarat during February and March. This exhibition presents shortlisted artists for the Rick Amor Drawing Prize, the third time this prestigious award has been offered by the Art Gallery of Ballarat. The exhibition will comprise more than 70 works, all of which are no larger than 76 x 56 cm.

Rick Amor, one of Australia’s leading contemporary artists, has generously sponsored this $10,000 acquisitive prize for small drawings at the Art Gallery of Ballarat.

In initiating the prize, Amor said: ‘I hope that this prize gives people one more reason to keep drawing on paper… the most direct and intimate expression of an artist's sensibility.’

The judge for the Rick Amor Drawing Prize 2014 is Alisa Bunbury, Curator, Prints & Drawings at the National Gallery of Victoria.

ART GALLERY OF BALLARAT 03 5320 5138 www.artgalleryofballarat.com.au

ELIJAH WALTON’S IN THE WOODS: PICTURE IN FOCUS Until 19 January 2014 In the Woods, a large genre painting by English artist Elijah Walton, has been in the Gallery’s collection since 1886. This exhibition – Elijah Walton’s In the Woods: Picture in Focus – unravels the story behind it, looking at the artist and the circumstances behind its being brought to the colonies, and its connection to a leading theatrical figure of 19th century Australia.

Research into the history of this sentimental Victorian genre painting reveals some intriguing mysteries and connects it to at least one very important figure in colonial Australia.

One mystery is whether the artist ever came to Australia. Elijah Walton was a child prodigy who moved from attending classes at the local School of Arts in his native Birmingham to lessons at the Royal Academy in London, and his works regularly featured in Royal Academy shows. Members of the Walton family came to Victoria in the 1850s but it is unclear whether Elijah himself ever came to the colonies.

The painting was given to the Art Gallery of Ballarat by Scottish-born Ballarat

Sydney Long, Flamingoes c. 1907, oil on canvas. National Gallery of Australia, Canberra, acquired with the assistance of the Masterpieces for the Nation Fund 2006. Reproduced with the kind permission of the Ophthalmic Research Institute of Australia Antiques and

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BENDIGO Show comprising a major prize of $5,000 for the Best of Show, three awards of $1,000 for Best Oil/Acrylic, Water Colour and Pastel/Drawing, and an award of $500 for Best Smaller Image (any media with no side greater than 300 mm).

In addition, four Highly Commended prizes of $250 will be awarded to recognise excellence and creativity. Members of the Rotary Club of Bendigo have observed a continuing rise in the quality of works being presented each year. This ensures a greater level of sales – which is great for the artists as well as for collectors.

ART SHOW PREVIEW EVENING – AWARDS PRESENTATION

BENDIGO ROTARY CLUB’S Easter Art Show at Bendigo Town Hall 18 APRIL – 21 APRIL 2014 eld at the charming Bendigo Town Hall, the Rotary Club of Bendigo’s Annual Easter Art Show and Sales is a

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top annual destination for lovers of art. Now in its 46th year, the 2014 show will be held over the Easter long weekend – from Friday 18 April until Monday 21 April 2014.

Over 700 paintings will be on display at

this selling exhibition, where art enthusiasts can buy direct from the artists. All proceeds from entry tickets, art sales and the preview evening will benefit local and overseas charitable programs.

VISIT WITH ARTISTS The Rotary Easter Art Show and Sales holds an important role in the art community, allowing artists of differing levels of skills to show and sell their works. Many exhibiting artists attend the art show and value the opportunity to discuss their inspiration, methods and passions. These artists are from interstate, metropolitan Melbourne and regional Victoria and this professional exhibition attracts over 5,000 visitors.

The 46th Annual Easter Rotary

Art Exhibition and Sale Preview Evening Thursday 17 April 2014 General Exhibition Friday 18 April to 21 April 2014

BENDIGO TOWN HALL Best in Show - Cash prize $5,000 Best Oil/Acrylic - Cash prize $1,000 Best Watercolour - Cash prize $1,000 Best Pastel/Drawing - Cash prize $1,000 Best Small Image - Cash prize $500 4 Highly Commended - Cash prize $250 Entry forms can be downloaded from www.bendigorotaryartshow.com or emailed upon request from 15 Jan 2014 Enquiries: Brian Figg - 0428 133 384 Email: brianfigg@hotmail.com 60

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NEW AWARDS & PRIZES This year the Rotary Club of Bendigo has introduced new awards for the Easter Art

Thursday, 17 April The preview evening being held on Thursday, 17 April is your opportunity to meet and mingle with other like-minded art lovers.

Starting at 7.30 pm, your $25 ticket entitles you to drinks and hors d’oeuvres, being a guest entry at the award presentations and first chance to inspect then purchase an artwork as well as an opportunity to talk with the artist.

Formalities commence at 8pm when awards will be announced and presented, after which all paintings go on sale.

CALL FOR ENTRIES Artists are invited to enter the Rotary Club of Bendigo’s 46th Annual Easter Art Show. Entry forms will be available on the website from 15 January 2014. The entry fee ranges from $10 to $15, depending on the size of the work. Entry forms can be mailed or emailed upon request.

Works from Melbourne and Geelong should be delivered by courier. Entries close on 7 April 2014. All sales commissions – a low 20% – go to local and overseas charitable programs.

The Easter Art Show and Sales is open throughout the long weekend with a $5 admission charge (young children are free) which also benefits charitable programs.

On Good Friday, Easter Saturday and Sunday, opening hours are from 9 am to 5 pm and on Easter Monday from 9 am to 4 pm.

Ample street parking is also available for the convenience of patrons.

For further information contact Brian Figg ROTARY CLUB OF BENDIGO 0428 133 384 www.bendigorotaryeasterartshow.com brianfigg@hotmail.com

BENDIGO

Modern Love continues

@ BENDIGO ART GALLERY Until 2 February 2014 ontinuing at Bendigo Art Gallery until the 2 February 2014 is the exhibition Modern Love: fashion visionaries from the FIDM Museum LA, featuring some of the world’s most influential designers from the past 40 years. Drawn from the extensive archives of the FIDM Museum, this exhibition is exclusive to Bendigo Art Gallery.

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RED HOT GOWNS An early work in the exhibition is an exquisite evening gown by Marc Bohan for Dior, commissioned by International Best-Dressed Hall of Fame inductee Betsy Bloomingdale. The gown is a classic example of her famous style – a monochrome exclamation mark made of sculptural silk gazar, form-fitting to show off a slim physique. Hallmarks of mid-1980s style

are also apparent; the asymmetrical cut and oversized bow exemplify the era’s exuberant proportions. The colour was popularised by Bloomingdale’s close friend Nancy Reagan – American first lady (1981-1989) – and was known as ‘Reagan red’. Bloomingdale wore this gown to a number of events, including a state dinner at the White House.

COUTURE HIGHLIGHTS Also included in Modern Love is a day dress

by African-American designer Patrick Kelly who infused his Paris-made ready-to-wear with Southern charm. Born in rural Mississippi, he was raised by his grandmother who taught him to sew. She collected mismatched buttons in glass jars to replace those that fell off his worn clothing.

Kelly transformed this embarrassing childhood memory into one of his trademarks. After attending Parsons School of Design in New York City, he secured a one-way ticket to Paris and began stitching buttons onto dresses in witty arrangements, including question and exclamation marks and even the Eiffel Tower. The piece in Modern Love features a heart-shaped button bustier with coordinating gauntlet gloves.

Another highlight is the couture evening dress by Alexander McQueen. Commissioned by the FIDM Museum LA in 2010, the year of the designer’s tragic death, this gown is an incredible example of McQueen’s oeuvre. The focal points are the two peacocks silhouetted in the front and in the back on a froth of cream tulle, their feathers devoid of nature’s iridescent hues, evoking a half-mourning palette – black accented with white. The hundreds of yards of gathered silk netting were tea-dyed; the frayed

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The focal points are the two peacocks silhouetted in the front and in the back on a froth of cream tulle

” edges blur one tier into another, allowing the black lace overlays to stand out. The gown took some seven months to create, and provides a stunning conclusion to this diverse exhibition.

FASHION ICONS Also represented in the exhibition are Thom Browne, Chanel, Comme des Garçons, Dior, Ferragamo, Tom Ford, Jean Paul Gaultier, Carolina Herrera, Betsey Johnson, Helmut Lang, Monique Lhuillier, Louboutin, Issey Miyake, Moschino, Thierry Mugler, Hiroaki Ohya, Zac Posen, Prada, Christian Francis Roth, Ralph Rucci, Valentino, Versace, Vivienne Westwood, YSL and more.

For further information about Modern Love and associated programs and events plus ticket information, please go to www.modernlovebendigo.com.

Leanne Fitzgibbon Senior Curator BENDIGO ART GALLERY 03 5434 6088 www.bendigoartgallery.com.au

Art for the People: Bendigo Art Gallery 1887 - 2013 Post Office Gallery 16 August 2013 – 27 January 2014 Modern Love Fashion visionaries from the FIDM Museum, LA 26 October 2013 – 2 February 2014 Ambition and Genius: The Royal Academy of Arts, London 1768 – 1918 2 March – 9 June 2014

Alexander McQueen, Autumn / Winter 2008.

Image courtesy of catwalking.com

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BENDIGO / EPSOM

Yvonne George at Artizen Gallery

Hand decorated Bendigo pottery

A showcase of glass art at Era Beads

BENDIGO POTTERY – 155 YEARS ON ustralia’s oldest working pottery, first registered in 1858, Bendigo Pottery has been operating continuously on its current site since 1863 and is listed on the Victorian Heritage Register. Scottish potter George Duncan Guthrie began supplying the local goldfields with ginger beer bottles then brought out the lovely Majolica ware of the late 1800s, including the famous bread plates, cheese dishes and decorative jardinieres.

For over 150 years the pottery has adapted to social, economic and technological changes in order to survive. The large collection of wood fired, down draught kilns and their associated chimneys is internationally significant. The extensive brick floors, paths and stables form a richly textured back drop as you meander around Bendigo Pottery.

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Above: Wheel throwing Left: Potter Graham Masters

POTTERY GALLERY

BENDIGO

POTTERY

Antiques & Collectables Centre Now open and featuring over 40 individual sites

Known for its high quality, Bendigo Pottery items are still made on site and include tableware, cookware and decorative vases.

Experienced potters can be seen hand throwing on the wheel while other craftspeople prepare the clays and create the rest of the range in the extensive factory.

Many pieces are also skilfully hand decorated.

HANDS ON EXPERIENCES Under the guidance of a skilled potter you can make a pot on the wheel. Lessons run daily – check the website for details.

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

ANTIQUES AND COLLECTABLES CENTRE With over 40 individual sites, the extensive range offered in this onsite centre includes books, ceramics, paintings, books, glassware, jewellery and furniture. The pieces range from rare to historic, quirky and highly collectable.

The centre is open daily from 9 am to 5 pm.

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 62

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The extensive brick floors, paths and stables form a richly textured back drop

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Exciting collecting options at our Antiques and Collectables Centre

ARTISTS’ STUDIOS & GALLERIES There are eight smaller galleries and studios on site: Potiche – featuring the works of regional Victorian potters and artists; Artizen Gallery – specialising in metal design, Yvonne George creates water features, garden sculptures and large scale projects for public and private spaces; Salt & Pepper Gallery – Catherine Brennan’s work includes textiles, paintings, drawings, ceramic sculpture, photography and jewellery; Era Beads – watch Raelene Schmidt create stunning lamp work glass beads and jewellery; Academy Bendigo – a gallery of paintings by Joy Tatt who also runs art classes for all abilities; Etcetera Print Gallery – printmaker Cherryl Fyffe displays her own work as well as pieces gathered from around the world. This gallery is the cellar door of Glenwillow Wines.

Dragonfly Studio – featuring handmade jewellery and photography.

BENDIGO POTTERY & CAFE AT THE HEART Bendigo Pottery & Cafe are at the heart of the site, surrounded by antiques and collectables, and artists at work in their galleries. Located at 146 Midland Highway, Epsom, an easy 11⁄2 hours drive from Melbourne, the pottery is open daily from 9 am to 5 pm.

BENDIGO POTTERY 03 5448 4404 info@bendigopottery.com.au www.bendigopottery.com.au

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

Guy and Trish Page

IN THIS EDITION THE VADG PROFILES MEMBERS

Guy and Trish Page of Page Antiques Starting out: when did it begin?

Guy has been dealing in antiques for over 30 years. He started the business for his mother Kathlyn in 1980, but soon found that it became both his career and his passion. Later, his father, Adrian, and wife Trish became part of Page Antiques.

Over the years there have been outlets in High Street Armadale, North Melbourne, Hampton, Tyabb and Caulfield.

The business is now solely based in Canterbury, with their main showroom/ warehouse at 323 Canterbury Road and a small area in the Maling Road Market.

What sparked your interest?

From an early age Guy was influenced by his grandmothers. One had an Edwardian home in Hobart and the other a Victorian/Queen Anne guest house in Elsternwick, and both furnished them lovingly with antiques and art.

Trish’s interest came via Guy’s passion (for antiques)!

What area of antiques do you most enjoy?

We both love Georgian furniture. Although today we sell mainly decorative and provincial French furniture with an emphasis on beds, clocks and sculptures.

What is your favourite piece in stock at the moment?

Our favourite pieces are a magnificent walnut

bed and bedside in the Gothic revival style, which is dated to circa 1890, a beautiful Renaissance style alabaster figure signed L. Greroire, and an exquisite French ormolu empire mantle clock of circa 1810.

What antique piece can’t you live without?

Guy has a pair of bronze figures – Mercury and Venus, and I love a marble medieval lady seated on a throne chair.

What is your antique tip for the future?

Buy what you love and when dealing with quality do not be afraid to mix old with modern.

What is the best piece of advice you have received over the years?

This is hard to answer specifically, but our goal is to sell quality pieces at affordable prices. We also encourage customer input into the restoration of their selected items.

What advice would you pass on to others?

To always be enthusiastic, helpful and honest.

Any other comments you would like to add?

Love what you do, learn about your stock, and be happy to turn it over!

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: gus18@bigpond.com.au 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 344 High Street Kew, Vic 3101 Phone: 03 9855 2255 Fax: 03 9855 2244 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: clocks@bigpond.net.au 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: frenchheritage@bigpond.com 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: kilbarro@bigpond.net.au 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: guypage@bigpond.com

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: doug.gale@bigpond.net.au 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: ruth@baimbridgeantiques.com.au 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: alastair.wilkie@bigpond.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: johnrallott@live.com.au Web: www.timegallery.com.au

www.vadg.com Direct enquiries to any of the Guild Committee Members

ANTIQUES – ULTIMATE RECYCLING Antiques and

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NEW SOUTH WALES

CHRISTMAS

from the Victorian era to today or thousands of years people around the world have participated in midwinter festivals. With the arrival of Christianity, pagan festivals became mixed with Christmas celebrations. Signs of these pagan days are the custom of decorating houses and churches with evergreen plants like mistletoe, holly and ivy which was a guard against evil spirits as well as a welcome to the return of spring.

Before Victoria’s reign started in 1837, there was no Santa Claus or Christmas crackers, no Christmas cards or holidays from work or that spirit of Christmas giving.

However, the wealth and technologies engendered by the Industrial Revolution would change this. The face of Christmas would start to reflect middle class ideals and values which would spread to all classes of society.

Charles Dickens is often credited with contributing to this new era of Christmas. In the 1840s Charles Dickens wrote his

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Christmas stories generating what is considered today the true spirit of Christmas, with celebrations of family, community and giving.

A Christmas Carol, the first of Dickens’ Christmas books, advocates against the spiritual and personal meanness of Scrooge, inviting everyone to celebrate Christmas as a time of laughter and charity: ‘He was wise enough to know that nothing ever happened on this globe, for good, at which some people did not have their fill of laughter in the outset.’

From The Hughenden, a Victorian Hotel on Queen Street named after Queen Victoria, is the historic sandstone gates of Centennial Parklands 1888. It is a short walk through Centennial Parklands to Dickens’ Drive, to visit only one of two statues in the world of Charles Dickens.

The Victorians re-introduced old traditions, such as caroling, and invented new ones such as sending Christmas cards. They promoted church-going, gift-giving, and charity to the

poor as essential parts of the holiday. They transformed the folk figures of Father Christmas and Santa Claus into symbols of holiday generosity, and they popularised Germany’s traditional Christmas tree or Christbaum.

The Victorians made Christmas a family celebration, with its primary focus on children. A Victorian Christmas entailed the exchange of gifts between parents and children; attendance together at Church services; a generous family dinner; and visits with friends, relatives, and other families.

those not used by Sir Henry were sold by the printer for one shilling.

With the introduction of the penny post in 1840, it became cheaper to send mail, and as a result of colour printing and the invention of printing machines, cards could be printed faster and cheaper. The first company to print and sell Christmas cards on a large scale was Charles Goodall & Sons of London in 1862.

The first charity card was produced in 1949

by UNICEF.

CHRISTMAS GIFTS

CHRISTMAS FEAST

At the start of Victoria’s reign, children’s toys tended to be handmade and expensive, generally restricting availability to the rich.

With factories however came mass production, which brought with it affordable games, dolls, books and clockwork toys. Affordable, that is, to middle-class children. In a poor child’s Christmas stocking, which first became popular from around 1870, there would be perhaps be an apple, orange and a few nuts.

The traditional Victorian era Christmas dinner would include a breed of fowl such as a goose and there was always a pudding. What was served at the feast was determined by region and country. Repasts might include standing rib of beef with Yorkshire pudding, a boar’s head, turkey, ham, oysters, cranberry pie, mince pie and plum pudding. Rabbit was found on the tables of the less wealthy.

The signature Christmas pudding was a great ritual of the Victorian Christmas dinner. Mrs Beeton’s recipe includes suet, bread crumbs, raisins, spices, candy peel and an optional glass of brandy. The preparation was a family effort on Stir-Up Sunday, the last Sunday before Advent, giving the plum pudding enough time to mature. Everyone took a turn at beating the mixture, making a wish and stirring clock-wise for good luck. A ring, coin or thimble was then tossed into the batter.

FATHER CHRISTMAS/ SANTA CLAUS Father Christmas was originally part of an old English midwinter festival, usually dressed in green, a sign of the returning spring. The stories of St Nicholas (Sinter Klaas in Holland) came via Dutch settlers to America in the 17th century. From the 1870s Sinter Klass became known in Britain as Santa Claus and with him came his unique gifts and toys, reindeers and sleigh.

CHRISTMAS CRACKERS The first illustration of a Christmas cracker appeared in The Illustrated London News in 1847, but there is some argument as to who invented it. Two London sweet makers, Tom Smith, and James Hovell, both claim to have invented the cracker. In 1840s Paris, sweets called bon-bons were wrapped in twists of brightly coloured paper. Tom Smith (or James Hovell) brought back the idea but added a little slip of paper with a message on it, called ‘kiss mottoes’. Later, other attractions were added, such as little paper hats, tokens and small toys, plus the ‘crack’.

It is said that Tom (or James) was sitting in front of his Christmas fire where the yule logs were crackling, which gave him the idea of putting a cracker strip inside his bon-bons.

The crackers were also made to look like tiny yule logs, as they still do today.

CHRISTMAS CARDS Children in Victorian England had the task of writing greetings to their parents in their best handwriting. The custom of sending printed cards was started in England by Henry Cole who did not have time to write letters to each of his relatives. He asked an artist, John Calcott Horsley, to design a card for him.

About 1,000 of these cards were printed, and

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CONTINUING THE TRADITION OF CHRISTMAS CHARITY AT THE HUGHENDEN The Hughenden is associated with Barzillai Quaife, Australia’s first philosopher and a dissenting minister who preached in Ocean Street, Woollahra, and was built by his son Dr Frederick Harrison Quaife. Christmas at The Hughenden was always a time of giving. Today The Hughenden supports the charity Room to Read which has brought education to nearly eight million children in the developing world.

During the Christmas period, the staff of The Hughenden participates in Christmas carols, providing the master of ceremonies for the Queen Street and West Woollahra Association’s Christmas Carols at Chiswick Gardens, Woollahra. There is a celebration of children with the exhibition of the works of Australian illustrators of children’s books. As in Queen Victoria’s time there are Christmas decorations, a tree, crackers, gifts, Christmas lunch and dogs are welcome guests. As in Charles Dickens’ A Christmas Carol ‘God bless us, every one!’

Susanne Gervay THE HUGHENDEN 02 9363 4863 reservations@thehughenden.com.au www.thehughenden.com.au

NEW SOUTH WALES

AUSTRALIA,

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 maps@sydney.net 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

Latest catalogue

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

For orders 02 9387 4581

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

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

EMAIL: maps@sydney.net • WEBSITE: www.gowrie-galleries.com.au

Coronelli, Isole Dell’ Indie – South-east Asia

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Sicán-Lambayeque culture (North coast 750-1375 CE), Tumi [Sacrifical knife], gold, silver, chrysocolla, turquiose, lapis lazuli, spondylus, 27.5 x 10.3 cm. Museo Oro del Perú, Lima © Photograph Daniel Giannoni

Inca culture (Central, south and north 1400-1533 CE), Llama, gold, 6.2 x 5.5 cm. Museo Oro del Perú, Lima © Photograph Daniel Giannoni

Vicús culture: Frías style (North coast 100 BC-400 CE), Female figure known as The Venus of Frías, c. 200-600, gold and platinum; 15.3 x 8.7 cm. Instituto Nacional de Cultura, Piura © Photograph Daniel Giannoni

NATIONAL GALLERY OF AUSTRALIA

Gold and the Incas: Lost worlds of Peru 6 DECEMBER 2013 – 21 APRIL 2014 CANBERRA ONLY he National Gallery of Australia presents a magical exhibition which showcases the splendour of ancient pre-Hispanic cultures of Peru. Art, gold, silver, turquoise, shell, textiles and ceramics will excite visitors and provide a new experience.

More than 200 objects, from scintillating gold pieces made to decorate the body in life or in the grave, intricate jewellery, elaborate embroidered and woven cloths to breathtakingly sophisticated ceramic sculptures, are included.

Australian audiences will encounter the aesthetic depth, drama and beauty of the famous Incan empire and its predecessors.

As well as being highly-skilled metalworkers, potters and weavers, the artisans of the Peruvian civilisation included in their works various religious and political ideas based on the importance of the natural world. Lively depictions of animals, birds and fish decorate the works of art. Technological inventions such as the knotted string quipu provide a new outlook on the sophisticated world of the Incas.

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INCA EMPIRE BEFORE THE SPANISH CONQUEST The Chavín, Moche, Chancay, Chimú and Huari cultures were eventually overcome by Inca warriors in the decades after 1400, themselves to be conquered by the Spanish in 1532. Although the conquistadores under Francisco Pizarro easily vanquished the Inca empire with horses and superior weaponry, the Incas had established control over a vast territory that stretched from modern Colombia in the north, east into Bolivia and Argentina, to Chile in the south. They defeated the Chimú kingdom and carried off their craftsmen. In this way we can often trace cultural traditions which continued under the triumphant new rulers.

IMPACT OF SPANISH CONQUEST Then the Spanish came, razing the Inca capital Cuzco and looting vast numbers of gold and silver artefacts, which were melted down for their ore. Twenty percent was reserved for the Spanish throne. It is estimated that perhaps 90 percent of the native population were killed or died of introduced disease. Despite this looting and destruction, an amazing amount of the brilliant art of the previous two millennia has been discovered and excavated in the last century. Many of these masterworks are on display in Canberra.

SYMBOLISM IN PRE-HISPANIC ARTEFACTS

Moche culture (North coast 100-800 CE), Bead in the form of an owl’s head, gold and turquoise, 3.7 x 3.3 cm. Museo Tumbas Reales de Sipán, Lambayeque © Photograph Museo Tumbas Reales de Sipán

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Dualism underlies much of the world view of pre-Hispanic Peru: day and night, gold and silver, the sun and the moon, male and female.

Sometimes these elements are combined within a single object. Creation stories divide existence into three planes. The sky is dominated by gods and rulers, symbolised by birds, the human realm of earth and sea is represented by felines such as the jaguar and fish, while the underworld is ruled

by reptiles and insects. All these worlds are fertilised by liquids – rain, blood and semen – which are exchanged between the three levels of existence to continue the cycle of life. So a fearsome sea creature is invoked to help catch food, to propitiate nature, and probably to represent the occupation of the person with whom it was buried. Lively and decorative, the animal (whale) or fish (shark) is based on observation and enhanced with magic and imagination.

AMAZING ARTEFACTS RECOVERED FROM BURIAL SITES Most of the works have been disinterred from burial caches, where they accompanied the dead in their journey between worlds. Vessels such as these contained ceremonial liquids for ritual purposes, and remains of chicha or corn liquor have been found, which was meant to nourish those buried with it. Similarly, some glorious textiles of the Paracas culture survive, up to 30 layers wrapped around bodies found in dry and dark caves in the southern desert. The skill and sophistication of their makers is unparalleled, combining as they do intricate weaving and embroidery techniques with images of gods, animals and humans.

Some of the most surprising survivors, often many hundreds of years old, are the brilliant feathers of Andean birds, especially the macaw and other tropical species. They were trapped, or traded, or even bred. The Lambayeque culture unku (tunic or cloak) uses thousands of bright yellow feathers for the body, with a black and blue motif of felines, probably jaguars, morphing into birds on the front. The creatures' bodies are made up of triangles, simple yet immediately recognisable. At the bottom is a stylised red wave, so that the components symbolise the earth, the heavens and the sea.

Sparkling minerals and shells such as mother-of-pearl decorate wooden and ceramic

sculptures. The litter to carry royal or noble Chimú personages displays four divine figures, recognisable from their headdresses. The red shell is spondylus, imported from Ecuador in the north into the Andes for its brilliant, unusual hue. The use of such materials, including gold, silver and copper, was restricted to the ruling class, as they were separated by their physical brilliance from ordinary people who wore fibres native to Peru, such as camelid wool and cotton. Similarly, precious and semi-precious stones were used with gold for spectacular jewellery to decorate the living and the dead.

COLLECTION TRAVELLING FROM LATIN AMERICA TO AUSTRALIA The works of art in Gold and the Incas come from the Museo Nacional de Arqueología, Antropología e Historiadel Perú (the National Museum) and its fraternal collections, the Museo Arqueologico Rafael Larco Herrera (Larco Museum), the Amano Museum and the Museo Oro del Perú (the Gold Museum of Peru).The exhibition is staged as the National Gallery’s major contribution to the AustraliaLatin America Year of Cultural Exchange, and is organised in co-operation with the Peruvian Ministry of Culture. 2013 also marks the centenary of Canberra.

A major catalogue, consisting of essays, entries, maps and timeline, as well as colour illustrations of each object, accompanies the show.

Christine Dixon Senior Curator, International Painting and Sculpture NATIONAL GALLERY OF AUSTRALIA 02 6240 6411 http://nga.gov.au First published in Artonview, issue 75 © National Gallery of Australia, 2013

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QUEENSLAND

Mark your diary for the annual ROTARY ANTIQUES COLLECTABLES & BOOK FAIR AT JUPITERS HOTEL & CASINO GOLD COAST 9 – 12 JANUARY 2014

27th ROTARY ANTIQUES, COLLECTABLES & BOOK FAIR jewellery, porcelain, china, silver, clocks, pottery, furniture, historic documents, rare books, prints, posters, maps and postcards – and much more!

BROUGHT TO YOU BY THE ROTARY CLUB OF PALM BEACH

he eagerly anticipated Antiques Collectables & Book Fair will again be presented by the Rotary Club of Palm Beach from 9 – 12 January 2014 at the popular Jupiters Hotel & Casino’s Pavilion Room at Broadbeach.

Having grown to become an institution for locals, holiday makers and serious collectors, the fair is being presented in a superb setting for the display of an array of fine pieces. This venue has the added bonus of offering visitors an opportunity to enjoy the spectacular entertainment and excellent dining options available at Jupiters.

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WHAT’S ON OFFER

Jupiters Hotel & Casino Pavillion Room Broadbeach Queensland

Thursday 9 - Sunday 12 January 2014 January 2014 Fair Dates

Admission

Thursday 9 Jan 5 pm – 9 pm Adults $12 Friday 10 Jan 10 am – 6 pm Concessions $10 Saturday 11 Jan 10 am – 8 pm Under 17 Free Sunday 12 Jan 10 am – 3 pm For FREE Jupiters Parking – validate your parking ticket at the Antiques Fair

All proceeds towards purchasing neonatal cots for three local maternity hospitals Phone: 07 5577 2771 / 0411 649 242 Website: www.rotaryantiquesfair.com Email: AntiquesFairChairman@tpg.com.au 88

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Over 70 dealers from interstate and locally will be exhibiting in spacious air conditioned surroundings. They will be displaying and selling an eye-catching selections of jewellery, clocks, silver, porcelain, furniture, coins and toys. Antiquarian collectors can find historical documents, as well as books with an enticing selection of literary treats gathered from many parts of the world – including old and rare volumes, children’s classics and books on a wide range of subjects.

Enjoy the buzz of browsing among an inspiring array of antiques, collectables and books presented by dealers from around Australia.

FUND RAISING FOR CHARITY Revenue generated from the 2014 fair will be donated towards raising funds for a Neonatal Retrieval System and associated equipment needed to transport sick new born babies to other facilities for additional treatment. The equipment is to be used by the Gold Coast’s three maternity hospitals: Pindara, Gold Coast and John Flyn.

We look forward to welcoming one and all at Jupiters in January for our 27th annual fair

and thank dealers, sponsors and the public for their continuing support.

For more information contact Peter Campbell ROTARY ANTIQUES COLLECTABLE & BOOK FAIR 07 5577 2771 / 0411 649 242 AntiquesFairChairman@tpg.com.au www.rotaryantiquesfair.com

QUEENSLAND

Copperplate engraving c. 1772-77 of Loggia arch fresco by Raphael (1483-1520)

The brilliance of 18th century artworks

Bernard Picart (1673-1733), Amor, c. 1725, copperplate engraving

AT BRISBANE ANTIQUE EMPORIUM

this extravagance. Since that time, the decorative designs, particularly from Raphael’s loggia, have inspired and influenced generations of decorators, architects and designers. They were a standard of excellence and style for the world to follow, and exemplified the classical design of the Renaissance period.

Eighteenth-century classical design encompasses some of the grandest wall decoration from any era. Imagine how grand they would look on your own walls! Many of these rare original antique engravings are available in the current spectacular exhibition of classical 18th century engravings at the Antique Emporium in Clayfield, Brisbane – not far from the airport!

esigned and painted by Raphael during 1518-1519, the magnificent frescoes in the Loggia at the Vatican were the final work by Raphaello (Raphael) Sanzio da Urbino (1483-1520). Raphael is considered one of the finest artists of the Renaissance period, and his Vatican frescoes a High Renaissance masterpiece of classical design.

Continuing Donato Bramante’s decoration of the Vatican, Raphael had previously adorned the rooms of the private apartment of Pope Julius II. The next Pope, Leo X, commissioned Raphael to design and paint the colonnade adjoining the Pope’s residence. With his assistants, Raphael painted his designs on the 13 pilasters (support pillars), and ceiling arches and vaults.

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RAPHAEL’S GENIUS RECORDED IN COPPERPLATE ENGRAVINGS To record Raphael’s brilliance, by order of Pope Clement XIII, the intricate designs of his early 16th century frescoes were engraved onto copperplates 250 years later for Le Logge di Rafaele nel Vaticano (The Loggia by Raphael at the Vatican). The central vertical folds on the large copperplate engravings of the ceiling arches indicate the size of this grand publication. The images are approximately 33 x 57 cm.

To show the magnificence of each tall pilaster two large copperplate engravings were joined.

Each pair measured 105 x 44 cm and was superbly hand-coloured to accentuate Raphael’s imaginative grotesque motifs of beribboned flowers and fruit, gods and graces, and other mythical figures. Where the frescoes had deteriorated too far to be legible, elements from Raphael’s Vatican tapestries were incorporated to remain faithful to his design. The grace and classical beauty of Raphael’s design – particularly the grotesques – greatly influenced the popularity of the neoclassical style.

The grand engravings of Raphael’s pilasters were considered to be so important that ten years later they were engraved in pairs half the size of the first publication, each 37 x 50 cm. In 1813, these exquisitely detailed copperplate engravings were published in Paris by French draughtsman and engraver, Pierre-Philippe Choffard (1730-1809). Once again they are brilliantly hand-coloured in gouache and watercolour.

FRESCO WALL DECORATION WAS NOT A NEW IDEA The Vatican contracted hundreds of talented professionals. Swiss architect and engineer Domenico Fontana (1543-1607) was responsible for much of Rome’s redevelopment. In 1600 Fontana accidentally discovered the buried region of Pompeii during tunnelling for the construction of a viaduct. Not then identified as a great municipium, dedicated excavation of these ruins did not begin until 1748 – and haphazardly continued for the next 112 years.

Another great municipium of the 1st century, Herculaneum was not discovered until 1709 when men digging a well uncovered a decorated wall of the city. A town had been built above, so excavation did not begin for 30 years.

POMPEII AND HERCULANEUM IN COPPERPLATE ENGRAVINGS Artefacts and decorated walls from Pompeii and Herculaneum were illustrated as they were uncovered. Engravers were employed to transpose them onto plates for prints to be made to circulate the findings. Some of the finest classical engravers of the day were employed to engrave the frescoes for the most important 18th century archaeological work Le Antichità di Ercolano Esposta (The Antiquities of Herculaneum Exposed), published in Naples between 1757 and 1792. Some of these wonderful copperplate engravings have cross-hatched shaded sections indicating where the paint or mosaic had been destroyed, which reminds us of their source.

Kathryn & Derek Nicholls ANTIQUE PRINT CLUB 07 5525 1363 / 0412 442 283 sales@antiqueprintclub.com www.antiqueprintclub.com

Copperplate engraving c. 1772-77 of Loggia pilaster fresco by Raphael (1483-1520)

Antique Print Club www.antiqueprintclub.com Purchase securely online. Email sales@antiqueprintclub.com for assistance DAILY at Brisbane Antique Emporium 794 Sandgate Rd (-Junction Rd) CLAYFIELD DAILY at Brisbane Antique Centre at Exit 30 Pacific Hwy (Beenleigh-Redland Bay Rd)

BERNARD PICART: ONE OF THE MOST FAMOUS ENGRAVERS OF THE 18TH CENTURY A contrast of 18th century classical artwork are the engravings circa 1725 by Bernard Picart (1673-1733). Picart was a distinguished designer and engraver who is better known for his religious illustrations. His engravings of (much magnified) medallions portraying ancient kings, and Greek and Roman gods and mythology, recorded antique carved engraved gems that he was given access to in important museums and libraries.

Classicism was paramount in the 18th century. The epitome of elegance would have been to have the walls painted with frescoes, but obviously only the wealthy could aspire to

Niccolo Vanni (fl. 1750-1770), Herculaneum landscape, fresco, c. 1757, copperplate engraving

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Graham Lancaster Auctions

FORTHCOMING AUCTIONS

3 Railway Street TOOWOOMBA QLD 4350

Saturday 15 February 2014 (Toowoomba Bottle Show Weekend)

Call Graham on 0418 730 904

‘OUR ANNUAL EVENING BOTTLE AUCTION’

Email: info@gdlauctions.com

Lancaster’s Auction Rooms

View Catalogue & Photos One Month Prior to Each Sale:

Saturday 12 & Sunday 13 April 2014

‘THE DENNIS O’HOY COLLECTION’

www.gdlauctions.com.au

On-site Bendigo Victoria

FEBRUARY 2014

‘AN EVENING AUCTION’ of antique bottles, pot lids and stoneware

APRIL 2014

‘THE DENNIS O’HOY COLLECTION’ Day One: An important offering of Bendigo Pottery & Australian Ceramics Day Two: A huge collection of antique bottles, pot lids and stoneware

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QUEENSLAND

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.

all from renewable forest plantations, the timber is the same used by 95% of UK chesterfield manufacturers. All frames come with a 10-year structural guarantee, are dowelled glued and screwed. The looks include traditional mahogany; dark, medium, golden and light oak; walnut, plus many more.

SPOILT FOR CHOICE

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

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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

A MODERN CHESTERFIELD SOFA

OUR SPECIAL CHESTERFIELDS The chesterfields are made with sprung seats and hand-built sprung backs units, dispelling the myth that these designs are uncomfortable.

Our designs, many not seen in the country before, are soft and luxurious, designed to suit a customer’s preference.

For something different, there is the Art Deco range of plain unbuttoned chesterfields with mixed contrasting leather fabric combinations.

BELOW THE SURFACE

WHERE & WHEN THE CHESTERFIELD WAS FIRST INTRODUCED

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.

Due to modern health and safety legislation, the old methods of producing a chesterfield sofa have changed. Our chesterfield sofas feature full flame retardant leather and foam fillings amongst many other modern refinements ensuring the safety of you and your loved ones while retaining the original character of chesterfield furniture.

CHURCHILL CHESTERFIELDS 07 5530 2648 info@churchillchesterfields.com.au www.churchillchesterfields.com.au

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

In England a chesterfield evokes an image of elegance and sophistication. This deep-buttoned sofa is synonymous with traditional English furniture design, its origin dating back to mid 18th century. In circa 1773 the fourth Earl of Chesterfield commissioned noted furniture designer Robert Adam to design a piece of furniture that would permit a gentleman to sit with the back straight and avoid what the Earl

Visit our web site www.churchillchesterfields.com.au

8 Moondance Court Opening hours 8am to 5pm Bonogin, Gold Coast Monday to Friday Queensland 4213

By Appointment Mobile: 0424 882 144 Saturday & Sunday only Telephone: 07 5530 2648 Email: info@churchillchesterfields.com.au

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THE AUSTRALIAN ANTIQUE & ART DEALERS ASSSOCIATION The premier organisation for antique dealers and commercial art galleries in Australia FOLLOWING THE TRENDS: FASHIONS IN ANTIQUES n recent times there have been some remarkable developments in the antiques trade. To many buyers and consequently dealers, antiques began to seem ‘old fashioned’! Well if not distinctly old fashioned, then out of fashion.

While fashion has always had a place in the antiques business, as in every of other facet of luxury retailing, much of the appreciation of antiques is also linked to an awareness of quality in terms of design and craftsmanship.

With Victoriana declining in appeal and Edwardian seemly passé, either being sold off at bargain prices or given to charities, dealers and buyers were looking elsewhere for the next ‘new’ thing. In reality this does not make sense. Good workmanship and design did not stop with the accession of Queen Victoria, it was market forces – albeit fashion – that prompted the change in taste.

With the price of the Georgian ideal becoming prohibitive, the Victorian era had come under greater scrutiny and with appraisal, and on reflection, admirers of good taste recognised that the Victorians still had much to offer. We witnessed this process repeating itself with ever increasing regularity.

Many of the finest Victorian pieces were attracting good prices, and the best of Edwardian style was not only being

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appreciated but appreciating in value. Taste was on the move and there was no stopping it.

Art Nouveau has always held favour but Art Deco, that sleek, sexy angular look of the Jazz Age, has become the taste for the trendier collectors. The best pieces of deco furniture can now command prices which match, or even surpass, any earlier period and justifiability so.

In recent harder times in the antiques market it was often the traditional favourites which were shunned, while deco and 20th century design were finding more converts. And it was not just younger buyers with little or no interest in period brown furniture who were buying.

DEALING IN 20TH CENTURY DESIGN RECOGNISED This marked change in taste has been recognised by the Australian Antique & Art Dealers Association (AAADA) and there has been a revision of datelines which means that 20th century design is now an integral area of dealing for many of the members.

With this growing trend of traditional quality for modern living, it must be emphasised that despite the burgeoning popularity of late 20th century design, it is not a case of anything goes, and connoisseurship is far from dead. Quality and workmanship do count. Dealing in 20th century design is just as demanding as in any earlier period, as it is the acquisition of stock along with an inherent eye for detail and style that enables dealers to spot the appeal of things considered modern.

Interior decorators and designers, along with adventurous collectors and dealers have all played a role in bringing attention to 20th century work. But it is more than just a new look for sleek apartments. Remarkably quickly, the turn of the 21st century has made a whole range of styles legitimately collectable. How easily we talk of the 1960s, 1970s and 1980s as vintage – in much the same way as we spoke of Edwardian and Victorians eras in the last century.

It is not just a matter of fashion – the furnishings of the recent past have actually become the next ‘new’ thing and are playing their part in an era of connoisseurship when antiques of all periods are appreciated on their merits and not their age.

AAADA MELBOURNE FAIR 2014 8-11 May 2014 It’s on again! The AAADA Melbourne Antiques & Art Fair is being held from Thursday 8 May to Sunday 11 May. It’s our flagship event in Melbourne with exhibiting members from throughout Australia offering for sale the finest and most diverse range of fine art and antiques in this antiques and art emporium.

The Australian Antiques and Art Dealers Association fairs are Australia’s only international quality antique and fine art fairs.

These fairs are fully vetted for authenticity and backed by the reputation of Australia’s finest antique and art dealers. The venue is the wonderful Royal Exhibition Building at 19 Nicholson Street, Carlton and the gala preview will be held on Thursday 8 May from 6.30 pm until 8.30 pm. General admission hours are: Friday 11 am – 6 pm; Saturday 11 am – 6 pm; and Sunday 11 am – 5 pm. See you there!

VICTORIAN CHAPTER AUTUMN/ WINTER LECTURE SERIES Whether you have a hankering to know more about antiques or simply want to know what it’s like to hold a fortune in your fingers, book now for your place in a series of workshops that will let you get a grip on your subject of choice.

Every Wednesday from April through May, selected members of the Victorian Chapter of the AAADA will host a seminar on a specialist subject at their premises. That way you can learn in the same way experts do – by having and holding. Let the years recede and the past come alive in these practical sessions open to anyone interested in jewellery, silver and furniture. If you want to be a better collector, in just 90 minutes these insiders’ insights will help you be that little more discerning.

Each session is limited to 10–20 people, so everyone gets a go at increasing their expertise. To be sure of your place in this year’s workshops please contact Dawn Davis on 0408 530 259 for a booking form.

Sessions run from 6 pm to 7.30 pm at $25 each, GST inclusive. Better still – book four sessions and get the fifth free! Book online at www.aaada.org.au or phone 0401 995 501 for more information.

AAADA SYDNEY FAIR 2014 BACK AT ROYAL RANDWICK Dates TBA Visitors will again be able to access the most diverse range of antiques, plus decorative and fine arts in Sydney, in the one place, at the one time. Exhibitors will be coming from all states of Australia, bringing the very best of centuries old pieces up to the modern day, sourced by AAADA members throughout Australia and from all over the world. Although the emphasis is on showcasing antiques, we do allow individual contemporary items of particular quality and merit to be offered for sale. The AAADA Sydney Fair 2014 will be held at the Kensington Room, Royal Randwick Racecourse, Alison Road, Randwick, however dates are yet to be advised. When decided, the dates will be posted on our website www.aaada.org.au/sydney.

FIND US ON THE INTERNET The Association is accessible on the Internet.

Peruse the AAADA website – 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.

Plus you will find listings of restorers of jewellery, fine art, furniture and carpets as well as specialist and general valuers and consultants among our service providers.

JOIN OUR MAILING LIST 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 your chance to win a free subscription to World of Antiques and Art magazine.

Dawn Davis AUSTRALIAN ANTIQUES AND ART DEALERS ASSOCIATION 0401 995 501 secaada@ozemail.com.au www.aaada.org.au

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Finds, restoration and fine food at

BAIMBRIDGE ANTIQUES aimbridge Antiques is situated in Hamilton in the heart of Victoria’s renowned Western District. Settled by pastoralists in the mid 1800s, Hamilton is a prosperous district rich in natural features, history and culture. It is the perfect setting for the thriving antiques business established by the Colliton family over 30 years ago.

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FAMILY HISTORY Baimbridge Antiques began in a small way with family matriarch Ruth Colliton at the helm, quietly supported by her husband Fenton. Ruth began by indulging in her

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passion for antique jewellery from the garage of the family home. As the business grew, so did the family with the addition of five sons – Gareth, Rhys, Laird, Bruach and Alasdair.

Today Baimbridge Antiques is housed in a gracious two storey Victorian building in Hamilton’s CBD. Ruth presides over the front of the shop which is a treasure trove of antique, estate and bespoke jewellery.

JEWELLERY & FURNITURE RESTORATION Baimbridge Antiques offers a jewellery

restoration service and there is nothing Ruth enjoys more than sourcing the perfect piece or introducing customers to the romance of antique jewellery.

Rhys displays his impressive collection of furniture and decorative items from the 17th to the 20th centuries in a large showroom to the rear of the shop. When not out in pursuit of the latest find, Rhys is usually found in the old stables out the back, carefully restoring furniture for clients who appreciate his commitment to authenticity and quality.

WELCOMING AMBIENCE AT THE ROXBURGH CAFÉ The same building is home to The Roxburgh café, providore and bar which is managed by Bruach and assisted by Alasdair. The Roxburgh is renowned for its coffee and ambience, and serves breakfast, lunch and dinner. Whether it is a spot by the open fire in winter or in the courtyard in summer, it is the perfect place to revive after time on the antiques trail.

Locals love the Colliton family for their warmth, humour and infectious enthusiasm for what they do. The Baimbridge Antiques office is usually thronging with regulars who drop in for coffee and a chat. The family are proud of the rapport they have built with their clients and always enjoy welcoming new visitors to Baimbridge Antiques.

BAIMBRIDGE ANTIQUES 03 5572 2516 www.baimbridgeantiques.com.au