antiques MAY - OCTOBER 2014
art and
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
A fine Geo III red chinoiserie bracket clock the case and movement recently restored in our horological workshop
THE TYABB PACKING HOUSE 14 Mornington Tyabb Road, Tyabb Open: Thursday – Sunday & Public Holidays 10am - 5pm
Telephone: Jenny Snook 0412 100 409
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.
Telephone: Robert Snook 0411 232 243 or Patrick O’Neill 0413 223 730 535-537 Burke Road, Camberwell West
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HIGH STREET
Armadale Antique Centre
A RT D E CO TWENTIETH CENTURY
Over 40 Licensed Independent Antique Dealers
ART DECO ART DECO FOR EVERY EVERY OCCASION OCCASION C OPEN: MONDAY MONDAY TO TO SATURDAY SA TURDAY 111AM 1AM – 5PM SUNDAY SUND AY 12 – 5PM
9927 27 H I G H S T R E E T ARMAD DA A L E 331 143
1147 High Street Armadale Victoria 3143 03 9822 7788 www.armadaleantiquecentre.com.au Open 7 days 10.00 am – 5.00 pm
antiques
and
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
DESIGN AND PRODUCTION Kylie Kennedy
kylie@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.
VICT TO ORIA AUSTRALIA P H / FFA AX: +61 3 9824 8826 MOBILE: 0438 248 826 W: www w.. f a b r i l e . c o m . a u
art
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.
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PHOTOGRAPHY RUSSELL WINNELL Specialising in antiques and artworks
0415 929 712 QUALITY WORK • COMPETITIVE RATES
Specialising in French antiques and Art Deco Please contact us for more information 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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ART DECO FURNITURE he term ‘Art Deco’ is used widely and incorrectly to describe anything from a 1950s office block to a tiny piece of jewellery or kitsch. ‘Modern’ furniture in wood, metal or synthetic material is lumped together as ‘Art Deco’. Yet Art Deco and other contemporary styles, especially Modernism, are quite distinct. The term ‘Art Deco’ was coined in the 1960s, a contraction of the full title of the celebrated 1925 Exposition Internationale des Arts Decoratifs et Industriels Modernes held in Paris, where the style dominated the show. Art Deco furniture drew its inspiration from the French ancien régime, particularly from the styles and techniques adopted by the late 18th century ébénistes or cabinetmakers, such as Paul Reisener. Although World War I is generally seen as separating the Art Nouveau style from Art Deco, many pieces of furniture from before the War show some of the classic features of art deco, especially pieces by Ruhlmann and others. By the mid-20s, Art Deco reached maturity. Its primary tenet – that form follows function – remained unaltered by all succeeding 20th
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century design schools, but its second tenet, which related to decoration, was soon abandoned. Proponents of Art Deco who had recoiled against the superfluous florid ornamentation of Art Nouveau, and who enjoyed rich, lozenge-patterned veneers, marquetry, carved and cast bas-reliefs and contrasting parquetry panels in the best materials that money could buy, eventually came to reject decoration. Though different from Art Nouveau, decoration remained an integral part of Art Deco. Paul Follot defended this in a speech at the opening in Paris in 1928 of an exhibition by the London firm Waring & Gillow: ‘We know that the “necessary” alone is not sufficient for Man and that the superfluous is indispensable for him ... or otherwise let us also suppress music, flowers, perfumes ... and the smile of ladies!’ Art Deco furniture was quintessentially French and specifically Parisian. Almost nothing of comparable design or quality was produced in the 1920s outside France. London retailers Heal & Son and Waring & Gillow offered a range of lightly-decorated imitations. In the USA, there was no identifiable furniture style until the late 1920s, when department stores introduced a spare Modernist style in response to the Depression. Germany’s Bauhaus, founded in 1919, had limited popular influence. Only a handful of the major Art Deco furniture designers in Paris were qualified cabinetmakers. The traditional furniture designers of the period were still located in the Faubourg Saint-Antoine quarter and inherited France’s 18th and early 19th century cabinetmaking heritage. This legacy inspired many 1920s designers, particularly Ruhlmann and Follot, but many cabinetmakers in the same district were still making Louis reproductions. The modernists brought a degree of individualism and often favoured metal. Architects such as Le Corbusier and his followers moved increasingly into the field of furniture design, extending their architectural designs to the building’s interior space and furnishings.
Ebony was Art Deco’s premier wood, but profligacy soon led to a shortage which persisted into the 1920s, so cabinetmakers had to make do with ebony veneer. Cabinetmakers could draw on a wide range of sumptuous veneers, many of them exotic including: ebony, palmwood, jacaranda, zebra wood, alamander, amaranth, sycamore, maple, ash, amboyna and mahogany. The bright, tactile finish of Japanese lacquer brought opulence to the timbers. Applied in a time-consuming technique of 22 stages to build up a lacquered surface, by 1930 lacquer, like wood, faced the challenge of mass production and modernisation. Industrial synthetic varnishes were developed which gave a high-gloss finish. Lacquer became a relic of a bygone era, its onerous method of application anachronistic in the new age. Other materials were explored, often revived after being discarded centuries before: ivory, shagreen and snakeskin, wrought iron and straw marquetry. Conceived as early as 1907, the Exposition Internationale des Arts Decoratifs et Industriels Modernes, was deferred during World War I. Planning recommenced in 1919 to eventually open in 1925. The exhibition was a high point with a major impact on the public, architects and critics. The Musée des Arts Decoratifs in Paris and the Metropolitan Museum of Art in New York snared some of the best pieces for their collections. But by this time, the pure Art Deco style had nearly run its course. Pascal Leclerc ANTIQUES – ART DECO 03 9510 8522 www.pascalleclerc.com.au References Ghislaine Wood, Essential Art Deco, V&A, London, 2003 Alastair Duncan, Art Deco Furniture, Thames & Hudson, London, 1992
Editorial CONTENT FRONT COVER Blue vessel depicting Tláloc (god of rain), c. 1440-69, fired clay, pigment. On loan from Museo del Templo Mayor © The Instituto Nacional de Antropologia e Historia (INAH) Photographer: Michel Zabe See Page 16
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Art Deco furniture – Pascal Leclerc Celebrating Fabrile’s relocation move Lisa Simmons at Veronica George Gallery Travel Posters: insight into tourism from the 1930s to 1970s Expressions Gallery Melbourne Pen Show 2014 Exploring the art of styling The beginnings of time in Horology (1500-1700) – Michael Colman Aztecs at Melbourne Museum: The Aztec Empire is one of history’s greatest civilisations Malvern Artists' Society: Exhibitions, Workshops and Classes The which and what of wristwatches – Ron Gregor Contemporary sculpture in the shop windows and sidewalks of Toorak Road, Toorak Village Giltwood takes great pride in its restoration projects – Mike Gleeson Page Antiques’ new store is open! – Trish and Guy Page Noble Numismatics Sale 105 realises $2.6 million – Jim Noble Buying affordable art at auction – David Freeman Artist profile: Gregory R Smith FVAS Victorian Artists Society continues to serve the community in the interest of art Antique Mercurial Barometers – Chris Snook Moonee Ponds Antiques, a brief history – Michael Snook What you need to know about Kashan rugs – Majid Mirmohamadi Schots Home Emporium: Designs for living Looking at antique French and English furniture – Roy Williams Scottish heritage and Australia at the Art Gallery of Ballarat Genius & Ambition:The Royal Academy of Arts, London 1768–1918 at Bendigo Art Gallery Displaying a collection – Dawn Davis Carriage clocks Sherbrook Art Society Mentone Beach Antique Centre is closing the door after 30 years in the antiques business Mornington Peninsula Regional Gallery exhibition highlights Art to enjoy at Frankston’s Brialyn Boathouse Gallery McClelland Sculpture Park + Gallery highlighting the winter exhibition program Welcome to the workshop: The fine art of French Polishing – Joel Duggan Identifying the maker of a fine classical porcelain figure group – Paul Rosenberg Cutting edge contemporary art showcased at Art Gallery of Ballarat Stuart Campbell (1951-2009): The essence of you – Lee Tulloch Pickin’ the method: refinishing your guitar – David Foster At Convent Gallery - Richard Payne: Of Gods and Love Etcetera Print Gallery at Bendigo Pottery Bendigo Art Gallery presents: De Anima, Brook Andrew’s new major artwork – Leanne Fitzgibbon Post Office Gallery – A cure for all ills: medicine in Bendigo An invitation to visit Baimbridge Antiques in Hamilton Silver or plate? Annual Dookie Plein Air Landscape School Shepparton Art Museum: Delinquent Angel: John Perceval’s ceramic angels A special experience awaits at Centennial Park’s historic residences Australia, with reindeer and elephant Antique maps are antique prints – Kathryn and Derek Nicholls The Victorian Chapter of the AAADA Liz and Phil Capocchi have opened a store in Woodend
AMANDA ADDAMS AUCTIONS
Auctioneers and Valuers
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 2 June 2014 6.30 pm Viewing: Saturday 31 May 11 am – 4 pm Monday 2 June 12 noon – 6 pm Monday 7 July 2014 6.30 pm Viewing: Saturday 5 July 11 am – 4 pm Monday 7 July 12 noon – 6 pm Monday 4 August 2014 6.30 pm Viewing: Saturday 2 August 11 am – 4 pm Monday 4 August 12 noon – 6 pm
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
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
the
collecting bug
Would you like your ŽǁŶ ĐŽůůĞĐƟŽŶ ǁĞďƐŝƚĞ͍ If – you are a keen collector ʹ ŝŶƚĞƌĞƐƚĞĚ ŝŶ ĐƌĞĂƟŶŐ LJŽƵƌ ŽǁŶ ĐŽůůĞĐƟŽŶ ǁĞďƐŝƚĞ then dŚĞ ŽůůĞĐƟŶŐ ƵŐ ǁŽƵůĚ ůŝŬĞ ƚŽ ƐƉĞĂŬ ǁŝƚŚ LJŽƵ͘
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)
AMANDA ADDAMS AUCTIONS
dŚĞ ŽůůĞĐƟŶŐ ƵŐ ŝƐ ŶŽǁ ŝŶ ĮŶĂů ďĞƚĂ ƚĞƐƟŶŐ͘ tĞ ŚĂǀĞ ǀĂĐĂŶĐŝĞƐ ĨŽƌ 20 12 6 ĐŽůůĞĐƚŽƌƐ ƚŽ ŚĞůƉ ŝŶ ƚŚĂƚ ƚĞƐƟŶŐ͘ EŽ ĐŚĂƌŐĞƐ Žƌ ĐŽƐƚƐ ĂƌĞ ŝŶǀŽůǀĞĚ͘ dŚŝƐ ŝƐ ĞŶƟƌĞůLJ ĨƌĞĞ͕ ĂƐ ŝƚ ŝƐ ƉĂƌƚ ŽĨ ŽƵƌ ĮŶĂů ƚĞƐƟŶŐ ƉƌŽĐĞƐƐ͘
dŚŝƐ ŝŶƚĞƌĂĐƟǀĞ ĂŶĚ ǀŝƐƵĂů ǁĞďƐŝƚĞ ǁŝůů ŚĞůƉ LJŽƵ ŽƌŐĂŶŝƐĞ͕ ĂŶĚ ƐŚŽǁĐĂƐĞ LJŽƵƌ ĐŽůůĞĐƟŽŶ ƚŽ ŽƚŚĞƌƐ͘ tŝƚŚ ƉŽǁĞƌĨƵů ƐĞĂƌĐŚ ĂŶĚ ĚĂƚĂďĂƐĞ ŵĂŶĂŐĞŵĞŶƚ ĐĂƉĂďŝůŝƚLJ͕ ĂŶĚ ĞdžƚĞŶƐŝǀĞ ƉƌŝǀĂĐLJ ƐĞƫŶŐƐ͕ ƚŚŝƐ ŝƐ Ă ƵŶŝƋƵĞ ƐƉĞĐŝĂůŝƐĞĚ ǁĞďƐŝƚĞ ĨŽƌ ĐŽůůĞĐƚŽƌƐ͘ ZĞƋƵŝƌĞŵĞŶƚƐ͗ ͻ EŽ ƚĞĐŚŶŝĐĂů ŬŶŽǁůĞĚŐĞ ŝƐ ƌĞƋƵŝƌĞĚ͘ tĞ ǁŝůů ĂƐƐŝƐƚ LJŽƵ ƚŚƌŽƵŐŚ Ăůů ƐƚĞƉƐ͘ ͻ zŽƵ ƉƌŽǀŝĚĞ ƉŚŽƚŽŐƌĂƉŚƐ ŽĨ ƚŚĞ ŝƚĞŵƐ LJŽƵ ǁŽƵůĚ ůŝŬĞ ĚŝƐƉůĂLJĞĚ͘ ͻ tĞ ĐĂŶ ĐŽŶǀĞƌƚ ĂŶLJ ĞdžŝƐƟŶŐ ĚĂƚĂďĂƐĞ LJŽƵ ŵĂLJ ŚĂǀĞ͕ Žƌ ĂůƚĞƌŶĂƟǀĞůLJ͕ ǁĞ ǁŝůů ĂƐƐŝƐƚ LJŽƵ ĐƌĞĂƚĞ ŽŶĞ͘
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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 FABRILE’S RELOCATION MOVE T
he beautiful Art Deco building at 927 High Street, Armadale, is the perfect setting for Fabrile; and to celebrate we have a significant amount of wonderful stock items for the pleasure of our clients. The story behind the move may be of some interest to our loyal clientele. Let’s start with the positives.
A WONDERFUL SHOPPING EXPERIENCE When you come visit the new Fabrile at 927 you will find yourself in the middle of a wonderful precinct including the new home of Mossgreen Auctions, Gallery and Tea Rooms, Capocchi, Harlequin Antiques, Virtanen Antiques, Imperial Antiques, Jimmy Possum and Parterre Gardens, to mention but a few. This vibrant cluster of first class retailers offers a diverse and engaging shopping experience. An additional bonus is that there are a surprising number of dining options available in the precinct catering to all tastes and dining preferences. Fabrile hopes to further add to the interest around this precinct, and we are committed to maintaining our full range of jewellery, decorative arts, furniture and artwork at the new address.
CHANGING TIMES IN HIGH STREET Fabrile has been a specialist retailer for more than 20 years and has operated in the High Street Armadale strip retail precinct for all of those years. In our experience, the High Street shopping strip is constantly changing, responding to economic, lifestyle and technological developments. In the last five years the speed of change has been unprecedented, impacting on strip retail. These developments include the novelty and convenience of the Internet, and a trend to increased discretionary spending on grooming, exercise and dining. Our increasingly frantic lifestyles can also means there is not enough time for a leisurely stroll and the delights of window shopping. The bottom line seems to be a lessening demand for strip shopping, and consequently less need for bricks and mortar shops. However, all is not grim for retailers and around 927, the atmosphere is vibrant. Here there is a sense of vigour and activity. People
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are drawn to the area; to visit, look, shop and dine. From art and antiques, outdoor sculpture, home décor and interior design on one side of Kooyong Road to high fashion and Thomas Dux for the weekly shop on the other. Strip shopping is alive and well.
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ABOUT 927 HIGH STREET
more than 20 years and
Designed in the Art Deco style, the complex was built in 1938 as a mixed use development, with retail on the street front and an apartment complex behind. Fabrile now occupies the street front and true to the original design, has maintained the Art Deco character in the building’s interior. The time spent planning the move to 927 has been matched with an equal amount of enthusiasm given to sourcing new stock. These fresh finds will surprise even our most frequent visitors. We have filled our new home with wonderful treasures that are on display for the first time.
EASY TO PARK Visiting the new Fabrile at 927 High Street is straightforward due to parking being readily available on High Street. Additionally, there is also parking available in Northcote Road which intersects High Street. In fact, the new Fabrile is on the corner of High Street and Northcote Road. For visitors to the new Mossgreen complex there is parking in Morey street and the car park immediately behind Mossgreen. Fabrile is directly across the road.
COMING BY PUBLIC TRANSPORT The number 6 tram runs up and down High Street. The Armadale station also adjoins Morey Street. It is an easy walk through Kings Arcade onto High Street, turn left and walk a very short distance to Fabrile. Lots of commuting options and things to see in the heart of Melbourne’s antique and arts precinct. Please join us at 927 and enjoy a wonderful shopping experience in our new exciting location. Please note our telephone numbers remain the same. We look forward to welcoming you to our new home. For more information please call us. FABRILE 03 9824 8826 http://fabrile.com.au
Fabrile has been a specialist retailer for has operated in the High Street Armadale strip retail precinct for all of those years
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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
Flame-worked beads, Lisa Simmons
Open 7 days Mon to Sat 10 am to 5.30 pm and Sun 11 am to 5.30 pm
LISA SIMMONS at Veronica George Gallery ARTIST’S STATEMENT fter many years of working as an illustrator/designer and needing a change, I discovered the craft of flameworked beads. After completing a short course in 2003 and knowing very little about this traditional Venetian technique, I soon became enthralled. This technique suited my graphic, detailed style and gave me an opportunity to explore my design ideas. I was very fortunate from the start for the support of Veronica Kukawski at Veronica George Gallery. This was the start of a long relationship that gave me the opportunity to explore my craft and develop my ideas. My plan is to produce four collections and have one demonstration in the gallery annually. Each collection has new designs and colour ways which inspire me and reflect my background where there is a brief and a deadline. I have a need to experiment with the possibilities of the beads, always trying new things so that each collection is different in style and look. The beads remind me of mini illustrations or designs and give me endless scope within the medium. My designs can range from frilly and floral to graphic and simple, or classic and traditional. The colour palette of my glass can create beads that are bright and vivid or rich and subtle. Over time, I have developed some designs which have become my signature beads: these can be found throughout ongoing collections.
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DEVELOPING A COLLECTION Well into each collection, I will have already fixed my mind on where the next collection will head. I give myself about three months for each collection.
The first month is experimenting with new patterns, designs and colour ways, which can be both frustrating with the messes and losses and exciting when I make something that works. The second month I produce the beads I’ve chosen to make, with no real plan but pushing the new designs further. Sometimes I revisit past designs pushing them with new colours and patterns that will combine with the others to make an eclectic mix
The last month I start sorting and grouping beads and begin to put together an array of jewellery, trying always to come up with new and creative ways of stringing the beads. The process I have created always keeps it fresh and non-repetitive. It is amazing to me that just when I think I have exhausted all that the beads have to offer, I am still able to be inspired to try new things and create something unique.
Flame-worked beads. Each collection created by Lisa Simmons has a different style
For more information about Lisa Simmons’ collections contact: VERONICA GEORGE GALLERY 03 9500 9930 veronica@veronicageorge.com.au www.veronicageorge.com.au
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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
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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.
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.
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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HIGH STREET John Olsen, Tropical lily pond
EXPRESSIONS GALLERY xpressions Gallery offer a wide range of fine art limited editions from leading Australian artists including John Olsen, Jeffrey Smart, Howard Arkley, Lin Onus, Sidney Nolan, Arthur Boyd, Charles
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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.
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In Xianzhu Shi’s work a subtle and individual
Our high quality fine art limited editions are available at an affordable price. A pleasure to own, they will hold their value and brillance for many years to come. Expressions Gallery also offer high quality framing in their onsite studio workshop.
ARTIST PROFILE: XIANZHU SHI
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.
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
EXPRESSIONS GALLERY 03 9500 0667 xart668@yahoo.com.au
fusion occurs, naturally, without any troubled or
Expressions Gallery
forced selfconsciousness.
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Left: Howard Arkley, House with native tree
Jeffrey Smart, Surfers Bondi
Below: Xianzhu Shi
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 FINE ART LIMITED EDITIONS VINTAGE POSTER LINEN BACKING CUSTOMER FRAMING 10
Antiques and
art
HIGH STREET
Leather bound travelling inkwell, Stephens (UK) ink bottle, c. 1930s c. 1880s, made UK
Brass and copper inkwell, c. 1890s, made UK
Sheaffer's Tuckaway fountain pen and pencil set, manufactured 1945
MELBOURNE PEN SHOW 2014 SATURDAY 1 NOVEMBER 2014 he digital age has been with us for decades now. But overwhelmingly, we still use the humble pen as the tactile foundation of our digital creation. Pens have grown on us or, grown with us over centuries. What were once rudimentary and basic instruments now fall into two classes. Firstly the convenience model – the throwaway, over the counter cheapie or secondly, something a little better of lasting and enduring quality. Regardless of the quantity of cheapies sold in the world in the last 50 years, pens of quality from the same age and well prior, still survive and importantly, are still in everyday use.
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DEFINITION OF A QUALITY PEN
Some collectors prefer boxed sets. Others, single pens of significant historical value. There are many other pens which increase in value, some over a short period of time. The Montblanc Agatha Christie pictured with the Eversharp Doric are both pens which were purchased in their year of manufacture for hundreds of dollars. Today, they are worth thousands! There are comparatively modern pens manufactured in recent years which also increase substantially in value. One such pen is the Conway Stewart Cromwell made in the UK from sterling silver overlaid with translucent resin. It has appreciated in value by 150% since its manufacture in 2008.
When we talk of ‘quality pens’, pen enthusiasts mean fountain pens and other fine writing instruments. Why do they bother? Simply because pen enthusiasts revel in the sometimes intriguing (and often messy) experience of writing with a fountain pen of fancy. Fancied because of the owner’s passion for a pen’s aesthetics, collectability, practicality, sheer beauty or investment value.
WHY COLLECT VINTAGE PENS Not only do vintage pens have a practical value – they have other values. • Pens for beauty – no one could criticise the aesthetics of fine old pens made early in the 20th century. • Pens for practicality are paramount in the minds of many. The Parker 51 is still used by many today despite its vintage status. Whilst the largest selling volume pen in the world through the 1950s and 1960s, there are countless examples still in everyday use as practical writing pens loved and enjoyed by their owners for their intended purpose.
PENS FOR COLLECTORS ARE MANY AND VARIED Many collectors have particular brand and model interests. Others acquire the rare and sometimes, unique examples of particular manufacturers.
The one-day event features 30 or so exhibitors displaying a huge range of vintage and modern pens and other writing equipment including specialist collectors in antique and vintage pencils and other writing ephemera. The show also presents an opportunity for visitors to sell vintage pens and other writing ephemera to the dealers who display at the show or, directly to the public who attend the show, by a market table. It is also the place to ask expert collectors and dealers about what is collectable, what is practical, and pens appropriate for investment. This event is an ideal opportunity to capitalise on the close-outs and show bargains offered by many manufacturers and distributors. There will be pens for sale, pens for display by collectors and much more including leather goods, stationery, calligraphy display and sales of ink and writing ephemera. For a range of what is on offer by vintage and specialist dealers, have a look at the sites
of two reputable vintage pen and writing equipment dealers in Australia, both of whom regularly support the Melbourne Pen Show. See www.auspens.com and www.oldpostofficepens.com.au. The 2014 Melbourne Pen Show will be held on Saturday 1 November 2014 at Malvern Town Hall (Banquet Hall). Already the organisers are aware of increasing interest from pen manufacturers and others who see the show as ‘the place to be’ to display new and existing offerings. The Melbourne Pen Show is the only pen show in the Southern Hemisphere. For more information MELBOURNE PEN SHOW 0407 377 160 melbourne.pen.show@westnet.com.au www.melbpenshow.com.au
ABOUT THE MELBOURNE PEN SHOW Australia has a small ‘pen population’. Fountain pen use in the UK and US equates to one in 25 to 30 of adult population. In Australia, fountain pen use equates to one in 120 of adult population. As a consequence, Australia has the smallest number of specialty pen retailers per capita, in the world. What follows is that Australians are not the modern pen manufacturers’ best friend! But, notwithstanding our immature market, many Australians are devotees of the vintage and modern pen markets. In recognition of Australian interest in vintage and modern pens, the Melbourne Pen Show was established some 17 years ago. During two decades, it has provided Australia’s pen lovers with the best in vintage and modern pens in an annual event which has often seen 500 or so visitors.
Conway Stewart pen late 1920s, very rare
Conway Stewart Cromwell pen, 2008, sterling silver and crimson overlay
Parker 51 with rolled gold cap. A quintessential pen manufactured c. 1951
SATURDAY 1 NOVEMBER 2014 9 AM TO 4 PM Malvern Town Hall (Banquet Hall), Glenferrie Road, Malvern For sale – vintage pens and pencils, fountain pens, leather goods, hand-made paper, vintage writing equipment and ephemera, ink, calligraphy, stationery and market tables where one or two or a few items can be sold. Pen and pencil collectors, special interest groups, pen retailers and manufacturers will be present.
Inquiries to melbourne.pen.show@westnet.com.au www.melbpenshow.com.au
Eversharp Doric in green shell celluloid manufactured 1936. Fading to the barrel is common in this model
Montblanc fountain pen, 1993 Agatha Christie Limited Edition Antiques and
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19th Century French fruitwood farmhouse table with a set of chalk white Chippendale style 20th Century dining chairs
Deco demilune oak side table c. 1930
Effective mixture of antique pieces and traditional art to create that signature look
EXPLORING THE ART OF STYLING love to be bowled over by the immediate impact of that special piece when you enter a house or foyer of a building. That first impression is so important. So when I’m asked to style a house, I give my impressions immediately. Okay, so they’re not always complimentary, but you’ve got to be honest if you’re asked for your professional advice. The reasons I have been called in to consult vary: from helping to maximise the potential of properties listed for sale, to couples that are downsizing, to people looking for help with creating a fresh new look.
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FROM WINDOW DISPLAY TO HOME MAKE-OVER A recent interesting project involved decorating a beautiful beachfront house in Brighton. The couple saw my shop window display and wanted a similar look in their home. I walked them through my shop and storerooms to get feel for what they liked. I followed up with a visit to their home that same evening with their thoughts, likes and dislikes freshly on my mind. Since then I have placed five significant pieces into their home, including an early 19th century long case clock, an early 18th century English oak low dresser, c. 1720, but has the most beautiful modern lines, an early 19th century French fruitwood farmhouse table that replaced a very large reproduction in a similar style. Teamed with tan leather modern dining chairs already being used, this now looks so much better. Also four first edition Besler (1613), handcoloured copper engraved botanicals were placed in the dining/living area, complementing a pair of 18th century English elm country Hepplewhite occasional chairs that have been suitably reupholstered.. These jobs come along once or twice year and are very enjoyable!
UPDATING NOT REPLACING Repainting or highlighting earlier paintwork, furniture or even wearing through a previously over restored gilt mirror can make a huge difference to the overall look of the room. A special customer who lives in Elizabeth Bay, Sydney, has a wonderful apartment overlooking the harbour. I’ve placed pieces there over the years and advised on a few modifications. During a recent visit we discussed changing her painted walls. Firstly, I thought that the beautiful calico paint, although over 15 years old, was still in perfect condition and didn’t need changing. However, we did discuss changing her bedroom facing wall to a very dark blue upon which will sit a fantastic, large framed Japanese Samurai set against a deep blue background. Another simple change will be the window treatment in the second, much brighter contrasting bedroom. Here wide white wooden venetians will be added to the windows with an aspect out to the harbour. The point is, you don’t necessarily need to repaint a home; sometimes a few little changes can alter the entire feel.
INVEST FOR A HIGHER RETURN When customers are selling their home or apartment, and wish to de-clutter, I select items that are worth retaining. Good modern pieces such as artworks, rugs, decorative items, etc, will add value to a property if selling. For example, when I was called in to help a couple who were downsizing from a house to an apartment and were selling their home, it was decided to keep one third of their furniture, some smalls and art. The average pieces were consigned to a local auction house and the sale of these pieces covered about 50 percent of my charges.
I minimised the entire interior, because if you have your home packed with belongings, potential buyers can be put off as not everyone can see past the clutter and envisage the potential. As part of the steps to prepare the house for sale the first thing was the removal of the old carpet and polish the floors. This immediately lightened the look. The nice off-white interior paint job completed the picture. To keep costs down, the owners painted the interior walls themselves so that the overall cost was $10,000. The benefit was that it added at least $100,000 to the value of the house. Enhanced with select art, small decorative items and good fine pieces of furniture such as an 18th century English oak miniature writing bureau into which I placed their computer, the house sold for about $160,000 more than expected, and much of that was due to the cosmetic and decorative changes. If interested in learning more about this story, on my website allpress-antiques.com look for the link ‘Elwood on the Canal’.
EASY TO RECTIFY DESIGN FLAWS I see the same mistakes in about 60 percent of the homes I visit. The space is either overcrowded or furnished with reproduction furniture, all of it from the same factory and all with the same fake ageing dents. Often you see interior painting and decorating that’s simply too dark, and it can be overwhelming, especially if you’re wanting to sell. I suggest colours should mainly be fresh and light. Once this has been carried out and now wanting to place artworks, it is important to achieve a balance between clutter and minimalism. Plus, finding the right artworks for the space. I think groupings of small or miniature art can look completely unstylish if they’re placed on a large wall, and this is a very common
mistake. The right piece of art above the right dresser, side table or chest of drawers can really make a room or entrance. Don’t be afraid to make a statement. Lighting is a very important part of interior design. The whole look and feel of room changes with correct lighting. I find modern down lights are a blessing, and once installed in the average home and correctly positioned, they are definitely worth their weight in gold.
FLOOR TREATMENTS When decorating and styling a room or home, it may be necessary to source pieces from other dealers, so I have no hesitation in negotiating a deal with them. My policy is that I have the customer’s best interests in mind. I use modern and antique rugs and kelims, and a favourite source is Behruz Studio.
MIX IT UP FOR A GREAT LOOK Mixing antiques, vintage or retro with modern is, to me, the only way to decorate. You always end up with an individual look and nobody will ever have the same pieces, especially when you purchase from a dealer who specialises in rare and one-off pieces.
SOURCE OUR WEBSITE For ideas visit allpress-antiques.com, click on ‘Decorating’, then select from the homes listed. When decorating, it is very important to be patient in order to avoid mistakes and regrets. Consult with your favourite dealer or decorator as they are usually happy to share their knowledge and contacts. Remember to enjoy yourself. It’s not that hard to be a little different from everyone else, to make your home an interesting talking point. For more advice contact Jamie Allpress ALLPRESS ANTIQUES 03 9824 8551 www.allpress-antiques.com From left: Late 18th century English oak tilt-top table French 19th century cherrywood farmhouse table The right piece of art above the right piece makes a statement
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MALVERN
Early 20th century music box made by L J Williams (Sydney), specialist in antique clocks and music boxes, number 4564. Sold: $2360
Sterling silver bosun call (boatswain’s call whistle) made by Hilliard & Thomason (Birmingham), 1863. Sold: $2124
Diamond and pearl brooch/pendant. Sold: $15,340
Diamond solitaire ring 4.30 ct. Sold: $44,840
Pair George V sterling silver candlesticks made by Thomas Bradbury & Son (Sheffield),1925. Sold: $2242
Late Qing dynasty (late 19th /early 20th century), Pair Chinese ivory figures. Sold: $6726 Diamond, emerald, sapphire and ruby necklace. Sold: $5900
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 15 June Monday 16 June Thursday 22 May Wed to Sat 11 -14 June
Fine and Decorative Arts Modern and Antique Jewellery Closing for Entries Viewing
Sunday 27 July Monday 28 July Thursday 3 July Wed to Sat 23 - 26 July
Fine and Decorative Arts Modern and Antique Jewellery Closing for Entries Viewing
Sunday 14 September Monday 15 September Thursday 21 August Wed to Sat 10 - 13 Sept
Fine and Decorative Arts Modern and Antique Jewellery Closing for Entries Viewing
Sunday 26 October Monday 27 October Thursday 2 October Wed to Sat 22 - 25 October
Fine and Decorative Arts Modern and Antique Jewellery Closing for Entries Viewing
Sunday 7 December Monday 8 December Thursday 13 November Wed to Sat 3 - 6 December
CLOSING DATES: Please call to confirm, as some auctions fill before the actual closing date
Visit www.philipsauctions.com.au for details of all current lots
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THE BEGINNINGS OF TIME in Horology (1500-1700) H orologically speaking, not much changed during the 16th century. The escapement stayed the same, with the verge balance. A mechanical improvement was the arrival of the ‘stackfreed’ as a power equalisation system. During the 16th century, eventually smallersized timepieces were made, heralding the watch. Even though the clock mechanism was still not accurate, the smaller timepieces were mostly appreciated as novelties in the form of jewellery or as interesting decorative items. In 1572, Queen Elizabeth I had a complete section of her inventory devoted to watches. The inventory still categorised her timepieces as jewels, showing the value placed on these clocks in the 16th century and how they were kept and used. These were ‘form watches’ in the form of a pendant set with jewels, crystal crosses, flowers, memento mori and pomanders.
usually required only a small gearing system using its offset cam with an extra power (spring lever) source coming in at the end of wind, to help deliver an equalisation power effect. The stackfreed was restricted in use to early German carried clocks or watches, particularly in southern Germany. It was a poor cousin to the fusée in every way and eventually it ceased being used. During this renaissance, south German clockmakers managed to reduce the size of the chamber clock to a size that could be carried. Peter Henlein of Nuremberg (c. 14801542) is acknowledged as the first maker of the smaller portable timepiece, which is often referred to incorrectly as the ‘Nuremberg egg’, reflecting its size and shape. Its correct name is a pomander watch; it opens for viewing from a hinge and is hung from the neck or clothing. In Augsburg, as in most of Europe, early clock making was associated with lock making, but was considered inferior as locksmiths and gunsmiths were allowed to make clocks, but clockmakers were not allowed to make locks or guns! A clockmaker’s guild formed in Nuremberg in 1565. The town council set a test to join that included making a clock within a year. It had to be 15 cm high and able to be worn about the neck. It had to have an alarm, strike the hours and the quarters, with a dial showing the 24 hours in sunshine or moonshine on one side and show the quarters.
The other side had to show a calendar and the planets with the length of day. Remember that these clocks were completely handmade from hammering the steel, dividing the teeth, filing the gears, making the springs to engraving the dial. Guild entry tests were made even more severe and probably were designed to eliminate locksmiths and gunsmiths from the guild. However, a locksmith could still make clocks under law as late as 1629 outside the guild membership.
Casper Werner watch, 1548
The Casper Werner watch shown is the earliest known dated watch and is displayed in the Wuppertal Clock Museum in Germany. It was signed and dated 1548 by the maker Casper Werner who was a contemporary of Peter Henlein. The movement with stackfreed power equalisation goes for 30 hours, but probably only kept time within 20 minutes’ accuracy per day. It is made entirely of iron, standard for German watches at this time, with a gilt brass case. The cover allowed reading the single hand in the day and touching it at night, to know the time. The clock by Erhard Liechti dated 1572 is in another museum in Winterthur, Uhrensammlung Kellenberger. The clock is a fine iron weight-driven chamber clock with polychrome dial. The frame locates and interlocks with the minimum use of pins; the clock strikes the hours and the quarters with an alarm to wake the house, and a turning moon above the numeral 12. Erhard Liechti
GERMAN INFLUENCES
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FRENCH DEVELOPMENTS The main competitor to Nuremberg for watches was Blois in France, 185 km southwest of Paris. The earliest watchmaker listed was Julien Coudray (d. 1530), maker to King Louis XII for whom he made two orloges, one probably set in the hilt of a sword. In 100 years between 1515 and 1615, the number of workshops grew from five to 63. An early French centre of horology was Paris, where a guild was first formed in 1544, 53 years before Blois and 21 years before Nuremberg, showing the stronger element of protectiveness offered and sought by the Parisian clockmakers. A 16th century engraving of a clockmaker’s workshop in Flanders is attributed to Stradanus, a Flemish painter and printmaker (1523-1605), in whose engraving all the detailed steps of production are replicated. You will notice to the left bench dividers and files with vices to hold wheels, other completed wheels hanging on the wall, the forge in the background, verge and foliot propped against the bench with work taking place on small chamber clocks and a large standing (possibly turret) clock.
GROWING DEMAND FOR CLOCKS In the second half of the 16th century, both nobility and a new middle class of artisans, doctors, lawyers and merchants increasingly purchased clocks. To satisfy this burgeoning market, more clocks were produced and the numbers of clockmakers expanded, some specialising in making particular components such as external case embellishments. Examples of brass work by the same makers have been found on clocks from Augsburg to Italy. The movement was still controlled by the balance wheel and verge, but the accuracy of these timepieces did not improve markedly. In 1600, clocks were still inaccurate and, as such, were mostly ornamental, normally devised with small dials indicating the time. At the dawn of the 17th century, clocks were regarded as curiosities. They were often embellished with multiple functions and sometimes they incorporated astronomical features. There was no indication of the great heights that would be achieved in the second half of the century, the beginning of the golden age of horology that, surprisingly, was centred on London.
SCIENTIFIC IMPROVEMENTS IN TIME KEEPING
Hans Holbein the Younger’s design for a clock
During the reign of Henry VIII, the great German painter Hans Holbein the Younger (1497-1543) came to London around 1526. Holbein painted and designed jewellery and even clock cases. His highly decorative design, with the clock as only a small section on the top, was completed after his death in 1543 and presented to King Henry VIII. The stackfreed was the other known mainspring power equaliser, invented in southern Germany. The stackfreed was invented for the same reason as the fusée, to solve isochronism, to equalise the power delivered by the spring. Stop-work means that the top and bottom of the wind is not used, and together with stackfreed or fusée, it created an effective mechanism. It is assumed that stop-work was invented first, as it is the easiest to manufacture and was incorporated in designs with either the fusée or the stackfreed. The stackfreed required less skill in the manufacturing process than the fusée. Perhaps it also allowed a thinner movement, as it
was a member of the well-known Swiss clockmaking dynasty of nearly three centuries from the Winterthur area in Germany. This type of clock was the forerunner of the lantern clock.
16th century engraving of a clockmaker’s workshop
Stackfreed to fusée diagram
Erhard Liechti chamber clock, 1572
Melchoir Zinng of Augsburg, 1580, personal portable watch in the form of a decorated cross
In the previous century, Leonardo da Vinci (1452-1519) was the first to study the pendulum, developing a gravity pendulum controlling a clockwork mechanism. He also designed a fusée cone for equalising the power of the mainspring, but he seems to have not extended his research.
Jacques de la Garde, ‘Pomander’ watch of 1551
MALVERN Galileo Galilei (1564-1642) first investigated in detail all the properties of the pendulum, noting that the further a pendulum was set from a fixed point to the centre of the bob, the slower the rate of oscillation. He also observed that oscillation was equal, no matter the width of its swing. It is thought that he conceived the idea around 1641, but it appears that his investigations were principally theoretical. According to Vincenzo Viviani, Galileo’s son made a working model.
MOVING BY PENDULUM Christian Huygens (1629-1695) a Dutch scientist, astronomer and physicist is attributed with inventing the first practical pendulum clock, probably completing his design in 1656. He assigned production rights to Salomon Coster (1620-1659) in an historic contract that granted a 21-year patent for the design on 15 June 1657. Of course, it is not the pendulum but the escapement that delivers the power to the timepiece, while the pendulum acts as a controller. The clock these collaborators invented and patented was driven by clockwork from a weight. Huygen’s invention improved timekeeping to an enormous extent, as now the escapement used was still crown wheel and verge with a crutch and the pendulum hung between. It was a short bob pendulum of about 25 centimetres hung by a double silk cord from the verge pallet cock. Cycloidal cheeks – brass sheets used like stabilisers – were controllers of the pendulum swing and kept the pendulum moving in the same arc, while regulation was effected by adjusting the length of the pendulum. In the original diagrams, the escapement had an extra gearing at the top. We do not know why this feature was removed from the patent, other than because of the collaboration between Huygens and Coster. Christian Huygens also envisioned the use of a spiral spring to help control the balance wheel. The illustration of the Huygens drawing was made by agreement with the
English lantern clocks, c. 1653
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By 1700, accurate, land-based time keeping was achieved.
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Parisian portable clockmaker Isaac Thuret with a patent date of 22 January 1675. This invention improved the time keeping of the balance verge dramatically.
Joseph Knibb table clock, c. 1675
improvements without any legislated commands, thus requiring even better timekeepers! In only 50 years, time keeping developed from the equivalent of steam power to a rocket ship. The population at large welcomed this scientific achievement, even if only its top two percent could afford to own such wonders of regulation. By 1700, accurate, land-based time keeping was achieved.
Michael Colman COLMAN’S ANTIQUE CLOCKS 03 9824 8244 www.colmanantiqueclocks.com References Eric Bruton, The History of Clocks & Watches, Little, Brown & Company Kristen Lippincott, The Story of Time, Merrell Holberton
Colman Antique Clocks WAT C H & C L O C K R E S T O R E R S
ENGLISH DEVELOPMENTS
Saloman Coster pendulum clock
Huygens’ 1658 illustration of his pendulum clock
Design adopted by Huygens for the Coster pendulum clock
Ahasuerus Fromanteel (c. 1607-1693), already a renowned London clockmaker, introduced the pendulum to London in 1658 from the Coster in the Netherlands. Pre-pendulum English clocks were mainly lantern clocks but English clocks from this time were better in time keeping, with their more prominent dials reflecting their improved accuracy and minute hands were added to demonstrate their improved time keeping. Thomas Tompion (1639-1713) was one of the most marvellous clockmakers of all time. Tompion’s significance lies not only in his application of earlier developments but also in his support of further inventions, notably those of Dr Robert Hooke (1635-1703), inventor, mathematician and philosopher and formulator of Hooke’s Law. Tompion supplied time measuring machines that were of international importance in the advancement of science and technology, for example making the regulators for the new Greenwich Royal Observatory in 1676. Above all, Tompion was a superb craftsman. His influence led England into the golden century of horology. Following the adoption of the pendulum into timepieces, the most amazing clocks were designed and made with good shapes, designs and classical styles. The last half of the 17th century saw a move away from temporal hours – a system based on 12 hours of variable length depending on the daylight hours between summer and winter – towards the use of clocks as dependable timekeepers, as accuracy of clocks started to improve. Both government and commerce adopted these new scientific
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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AZTECS AT MELBOURNE MUSEUM
The Aztec Empire is one of history’s greatest civilisations ow on show at Melbourne Museum is the fascinating exhibition on the Aztec Empire, featuring stunning artefacts never before seen in Australia. It’s an incredible story of war, religious devotion, economic development – and ultimately, tragedy. Museum Victoria CEO Dr Patrick Greene says ‘This exhibition delivers real insight into Aztec daily life and afterlife through archaeological finds, intricate models, and dramatic multimedia.’ It is a fascinating exploration of the rise and fall of the Aztecs between the 14th and 16th centuries, including the spectacular growth of the city of Tenochtitlan – at one stage the world’s largest metropolis. ‘Aztecs is a once-in-a-lifetime opportunity to really immerse yourself in a civilisation that developed almost in parallel with our own,’ says Dr Greene. ‘The Aztecs thrived with a sophisticated economic and cultural ethic that rivalled some of the leading cities of Europe at the time.’
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THE INFAMOUS TRADITION OF HUMAN SACRIFICE The Aztecs exhibition centres on a scale reconstruction of the most important Aztec temple Huey Teocalli, an enormous pyramidlike construct, which is the subject of ongoing excavations. ‘Religion was central to the Aztecs’ way of life. Their Great Temple physically and spiritually dominated Tenochtitlán. This remarkable structure was a grand and magnificent sight, and a major feat of engineering,’ said Ms Lynette Townsend, Curator, Communities and Diversity, Museum of New Zealand Te Papa Tongarewa. This giant structure was the focus of spiritual life for the Aztecs, and a scene for one of the civilisation’s most infamous traditions. The Aztecs, like most peoples in Mesoamerica at the time, practised human sacrifice: ceremonial killings of people to appease the gods and repay debts of gratitude for the world they created. Far from what you might immediately think, this was more celebration than violence.
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While some sacrifices were called up from vanquished warriors or conquered lands, others came happily from within the Aztecs’ own population. In some cases, the opportunity to be a sacrifice was a cherished privilege.
THE AZTECS INTRODUCED THE WORLD TO AVOCADOS AND CHOCOLATE But there was a lot more to Aztec civilisation than this unique ritual. The Aztecs were also highly proficient farmers, craftspeople, musicians, and traders. Their chinampas, for example, provided up to two thirds of the food for the whole city of Tenochtitlán. These small and uniform floating gardens, built up from the shallows of lakes, farmed crops Europe had never seen before, including tomatoes, squash, and chillies. Visitors will see a scale diorama of a typical Aztec marketplace and a model of a chinampas.
SKILLED ARTISANS On display are ‘prized examples of the Aztecs intricate gold and jade-based jewellery, as well as sculptures dedicated to more than a dozen different gods; and weight-test the threekilogram rubber ball from the most popular Aztec sport, Tlachtli,’ says Exhibition Project Manager Helen Sartori.
WHAT CAUSED THE DOWNFALL The downfall of the Aztec civilization proved to be as dramatic as its rise. Spanish explorers and conquistadors arrived in 1519 and were at first welcomed by the Aztecs. But by 1521, military battles and the new diseases inadvertently brought by the Spanish invaders had taken their toll – and the great Aztec Empire was no more.
EXHIBITION DETAILS Aztecs was developed by the Museum of New Zealand Te Papa Tongarewa in partnership with Mexico’s National Institute of Anthropology and History and National Council for Culture, the Australian Museum and Museum Victoria.
Aztecs will show in Melbourne Museum’s Touring Hall until 10 August. It will also show at the Australian Museum in Sydney from 13 September. Adults $24, concession $16, children $12; Flexible $30, children $16; Family $40 (1 adult/2 children), $60 (2 adults/2 children) ; MV Members: adults $14, concession $12, children $8. Free entry for children under six years old. Tickets on sale now via MELBOURNE MUSEUM 13 11 02 www.museumvictoria.com.au/ melbournemuseum For further information follow Melbourne Museum on Facebook | Twitter
From top left: Mictlantecuhtli (god of death), c. 1480, fired clay, stucco. On loan from Museo del Templo Mayor © The Instituto Nacional de Antropologia e Historia (INAH). Photographer: Michel Zabe Mictlantecuhtli (Mict-lan-teh-koot-lee), ushered the dead towards his sacred realm, Mictlan – the underworld. His wife, Mictecacíhuatl (Mict-eh-ka-seewah-tl), goddess of death, looked after their bones which were used as ‘seeds’ to create new people. In this representation, Mictecacíhuatl shows his claws and bared teeth, half the flesh is ripped from his body and his liver (the seat of the soul) hangs out Blue vessel depicting Tláloc (god of rain), c. 1440-69, fired clay, pigment. On loan from Museo del Templo Mayor © The Instituto Nacional de Antropologia e Historia (INAH) Photographer: Michel Zabe Life-giving rains and gardens overflowing with crops were the fruits of Tláloc, god of rain. He and the gods connected with him are represented in this case and on the half of the temple. His wide eyes stare out from the resin burner once carried by priests as they made their sacred pleas for rain, and from the vessels that stored Tláloc’s precious water and produce. Although Tláloc brought life, he required human sacrifice, including children to sustain him. Their falling tears ensured plentiful rains Eagle warrior sculpture, c. 1440-69, fired clay, stucco, pigment. On loan from Museo del Templo Mayor © The Instituto Nacional de Antropologia e Historia (INAH). Photographer: Michel Zabe Eagle warriors were an elite military order and greatly feared. They were usually nobles but could also be lower-born warriors who had taken many prisoners. In battle they wore the regalia of these sacred animals which they believed gave them supernatural powers. Eagles were associated with the sun, war and human sacrifice – all forces of male energy. They were among the most frequently sculpted creatures in Aztec culture. Here, the large figure wearing an eagle helmet is thought to represent the soul of a dead warrior escorting the sun. Sculpture of a dog, c. 1500, stone. On loan from Museo Regional de Puebla © The Instituto Nacional de Antropologia e Historia (INAH) Photographer: Michel Zabe When a person died, if they had a dog it was sacrificed after the funeral. The dog would then guide its owner’s soul through the nine levels of the underworld
MALVERN
MALVERN ARTISTS’ SOCIETY
Exhibitions, Workshops and Classes T he Malvern Artists’ Society was founded in 1957 and is a non-profit, self-supporting organisation whose prime aim is the promotion, enjoyment and teaching of art. Over the years the society has been home to many of Victoria’s prominent artists. It was also one of the forerunners in providing suburban art classes in oil, pastel, watercolour and mixed media. The Malvern Artists’ Society has its own premises, well-located in the City of Malvern, about 8 km from the city. The building includes a well equipped, modern gallery of two rooms, a well lit studio used for a variety of art classes, a kitchen and a general office. Recent renovations include a brand new hanging system that almost doubles the hanging capacity of the gallery and the rearrangement of the office to include a reception foyer. Throughout the year there are frequent exhibitions of members’ work and a number of private shows by artists who hire the gallery from time to time. The society offers a variety of day art classes on a term to term basis. The studio is also available for hire from outside art groups that require the space and facilities.
SPECIAL EVENT: ARTISTS AT WORK Saturday 14 June 10 am – 5 pm Malvern Artists’ Society: 1297-1299 High St Malvern The City of Stonnington and Senior Art Supplies proudly sponsor Artists at Work, the annual full day of live demonstrations by some of Melbourne’s leading artists at the
MAS gallery. Come and watch these talented artists at work. Tickets available at the door.
AUTUMN EXHIBITION
17 – 25 May Tuesday-Friday: 11 am – 3 pm; Sat-Sun: 11 am – 4 pm Official opening: Friday 16 May at 7.30 pm An exhibition of selected members’ artwork executed in oils, watercolour, pastel/drawing, acrylic and mixed media. Proudly sponsored by Senior Art Supplies of Malvern.
Saturday Watercolour with Joan Richard: 9.30-12 pm (casual) Note MAS provide easels and tables. Some classes provide a model for several lessons. Please bring your own art materials (list available upon enrolment).
Term 3: 14 July – 13 September Term 4: 6 October – 6 December For information regarding exhibitions, art classes, gallery or studio hire please phone MAS office between 10-3 pm Tuesday – Friday or leave a message outside these hours. MALVERN ARTISTS’ SOCIETY 03 9822 7813 malvart@optusnet.com.au www.malvernartists.org.au
ART CLASSES The Malvern Artists’ Society Studio hosts all classes at 1297-1299 High Street, Malvern. Each term is nine weeks, with enrolment on a term by term basis. Non-members are very welcome, with a discount for members on each class. Phone 03 9822 7813 to enrol in your chosen class. Monday Life Drawing with Linda Robertson: 10-12.30 pm Tuesday New Class: Contemporary flower painting with Nicki Manthel: 10-12.30 pm Wednesday Contemporary mixed media with Nicki Manthel: 9.30-12 pm Open Studio (acrylic, oil and pastel) with Michael Goff: 12.30-3 pm Thursday Oils with Keming Shen:10-12.30 pm Acrylic with Craig Penny: 1-3.30 pm Friday Mixed Media (pastel, watercolour, acrylic) with June Woods:10-12.30 pm Oils with Carmel Mahony:1-3.30 pm
TERM SCHEDULE
MALVERN ARTISTS’ SOCIETY Presents
ARTISTS AT WORK Full Day of Art Demonstrations
Saturday 14 June 2014 10 am – 5 pm At Malvern Artists’ Society 1297 - 1299 High St Malvern
ARTISTS DEMONSTRATING INCLUDE: Joan Richard, Malcolm Beattie, Maxine Wade (Watercolours), Keming Shen, Michael Goff, Carmel Mahony (Oils), Echo Wu (Chinese Painting), Linda Robertson (Life Drawing), Alan Rawady (Pen & Wash), Nicki Manthel (Mixed Media on raw linen), Alex McEwan (Street Art), Vivi Palegeorge (Acrylic) Proudly sponsored by the City of Stonnington and Senior Art Supplies Come and enjoy a full day of wonderful demonstrations Admission $25 Tickets available at the door
Refreshments available all day
ENQUIRIES T: 03 9822 7813 E: MALVART@OPTUSNET.COM.AU WWW.MALVERNARTISTS.ORG.AU
Proudly Sponsored by the City of Stonnington
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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
The which and what OF WRISTWATCHES The idiotic fashion of carrying one’s clock on the most restless part of the body, exposed to the most extreme temperature variations, on a bracelet, will, one hopes, soon disappear. — Prof. H. Bock, Hamburg, 1917 n Elizabethan England, the Queen decorated her wrist with an ornamental watch, heavily encrusted with jewels and gold. While no one is sure who invented the wristwatch, David Rousseau made a watch that was 18 mm in diameter in the late 1600s, a marvel of miniaturisation. And while ornamental watches wandered in and out of fashion for a time, nothing serious became of the wristwatch for 300 years. In 1880 Girard-Perregaux, among other Swiss firms, provided wristwatches for the German navy. They were round watches made of gold and the cases were worn on a metal chain band. These were presumably the first wristwatches in series (and serious) production.
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FROM MILITARY TO CIVILIAN The wristwatch first proved itself as a practical military device during the Boer War. This experience had a positive effect on the civilian market. Wristwatches gained worldwide use in World War I. Soldiers on both sides realised that modern warfare no longer allowed one the luxury of unbuttoning an overcoat and uniform jacket to look at one’s watch. But the first significant success of the wristwatch was before 1910 among women who were both style conscious and employed. Women’s pocket watches were often converted to wristwatches but after 1910 the wristwatch, as opposed to these ornamental watches, became an important product for Swiss manufacturers.
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POCKET WATCHES Many turned back to the pocket watch after the Armistice for it had become a symbol of the ‘good old days’. The younger generation, though, held on to the more practical wristwatch. Concepts such as modern, sporting and progressive were now linked to the wristwatch, while the pocket watch attracted the more conservative buyer.
MODELS FOR ADVENTURERS In 1904 Cartier made a special model wristwatch for Brazilian air pioneer Alberto Santos-Dumont (the original ‘Cartier Santos’) while Charles Lindbergh relied on a wrist chronograph by Longines for his 1927 trans-Atlantic flight. When in 1927 Mercedes Gleitze swam the English Channel with a Rolex Oyster on her arm, the advertising success impressed many. In 1928 for the first time wristwatches outsold pocket watches, and by 1935 over 85% of watches produced were wristwatches. Early in 1930 the Rolex Watch Co introduced the Rolex Oyster Perpetual – the first waterproof and self-winding wristwatch. By 1940 wristwatches came in all shapes and sizes.
VALUING VINTAGE WATCHES After years of neglect and ignominy, including having movements cannibalised for spare parts and their cases melted down for gold and silver content, old wristwatches, particularly models from the early 1920s-40s, have come into their own. Vintage Rolex and collectable Cartier, etc are achieving record prices. It is eloquent testimony to the persistent high stylishness of premium wristwatches that jewellers in Rome and Paris will display a
1920s Patek Philippe right next to a new model. Antique stores in London will sell a Reversible Jaeger-LeCoultre, or a vintage Audemars Piguet as decorative jewellery. Australia continues to be the cheapest place in the world for quality vintage wristwatches. The number of shops building up a decent collection and providing a full restoration and repair service continues to grow. But this is not going unnoticed by overseas dealers and tourists. The number of good watches sold in this country but ending up on lucrative markets overseas is staggering.
WHAT APPEALS To today’s collector, these older watches have appeal. They are hand-made wonders of technical mastery that, while less accurate than quartz watches, satisfy a deeper need than perfection. Watches from the 1920s-40s are the most popular. They are attractive investments because they are portable wealth of intrinsic value. People buy and wear them because they have technical features of interest.
BUYING TIPS When choosing a vintage wristwatch, buy what you like to look at. But consider other factors, especially condition. A good watch will have had a good caretaker in years gone by. The dial should be original, not repainted. Check the case for signs of repair or wear. Are the movement and bracelet (if permanently attached) the same make as the case?
Brand names are important. The most sought after is Patek Philippe; other top names include Audemars Piguet, Vacheron Constantin, Cartier, Tiffany and Universal Genève. With the top collectors specialising almost exclusively on these names (and a few others), there are thousands of watches of lesser known names out there. These watches are not necessarily lacking in style, charm or technical reliability. The increase in popularity of Art Deco wristwatches has made less trendy older watches better buys. It is not unusual to find a solid 9 ct gold lady’s 1920s wristwatch in some bric-à-brac shop or market for under $100. With a little restoration and care from a reputable restorer, these will become valuable antiques in the future. For the serious collector, the joy of finding say a 1930s Rolex Oyster or an original Patek Moonphase is unimaginable. The range and diversity of the early wristwatch is mind boggling: silver and gold half-hunter wristwatches, Longines cushion shaped or chronographs, Jaeger Reversos, Rolex Prince Doctor’s watch, Junior Prince or Sporto models, hooded bubblebacks, military watches, aviators models, etc. Whatever you buy and wear will be a constantly ticking reminder of a time gone by. Ron Gregor Collections Fine Jewellery 03 9867 5858 www.collectionsfinejewellery.com
TOORAK
Lucy McEachern, Wedge tailed eagle
Andreas Buisman, 7 Needles
Liz Walker, From here to there
Contemporary sculpture in the shop windows and sidewalks
OF TOORAK ROAD, TOORAK VILLAGE 1 MAY - 15 JUNE
GETTING THERE Toorak Village is between Wallace Avenue and Grange Road, just east of Williams Road. Simply catch the no 8 Tram from Federation Square, along Toorak Road to stop no 35. This is a free event and catalogues are available from any of the shops.
ALL WORKS FOR SALE All sculptures are for sale and easily purchased from Terry White Chemist. All sculpture and sales enquires to Tracey Cammock on 0438 542 713 or tracey@toorakvillage.com.au.
Calling compliments the 1970s racehorse memorabilia in Longshot Diner & Bar in Village Way Arcade • The beautiful detailed work of Owen Hammond in C Werner Optometrists • The smallest work in the exhibition Put the needle on the record by Warwick Perrin in the window of IMP Jewellery • Red Bus by John Barter in Wallace’s Foodstore adds fun and colour to the busy cafe.
These are just a few of the sculptural works to discover and to enjoy in this year’s Toorak Village Sculpture Exhibition.’ For more details TOORAK VILLAGE SCULPTURE EXHIBITION www.toorakvillage.com.au
Sai-Wai Foo, Aurelias Handmaidens
he 2014 Toorak Village Sculpture Exhibition is the most innovative and important annual event to take place in the Toorak Village, where we link the arts with business to form a unique cultural experience. During the entire month of May and two weeks of June, we exhibit 99 contemporary sculptural works in the shop windows and on the sidewalks of Toorak Road, Toorak Village. This will be the 13th year of the exhibition. These large sculptures bolted to the sidewalks of Toorak Road will compliment the five permanent sculptures purchased by the Toorak Village businesses from previous shows. Presented by the Toorak Village Traders, directed by Tony Fialides and curated by Malcolm Thomson, the sculptures will be judged and prizes awarded at an opening event on Friday 2 May.
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Malcolm Thomson says ‘The Toorak Village Sculpture Exhibition has become the annual event that Australian sculptors, both established and emerging, look forward to being represented in. Wood, bronze, copper, marble, cement, stainless steel, paper, fiberglass, clay, recycled materials all part of the fantastic variety of mediums from which the artists work with in expressing themselves this year. The permanent outside works by Rudi Jass, Julie Anderson, Michael Moore, Dean Putting, and last year’s purchase by the TVTA of Hare Totem by Anthony Vanderzweep, have become a focus for this vibrant busy shopping centre that lies in the very heart of Toorak. One of the most exciting elements of this exhibition is a trail of sculptural discovery throughout the Village where the public can walk and search the shop windows, arcades and lanes of this unique venue. • Fly me to the Moon by Julian Di Martino a tribute to ‘Laika’ the first dog to go into space in The Blowout Bar • The Tango Final made from rolled paper by Jesus Moreta from Ecuador in Allechante Nails • The Wedge Tailed Eagle by Lucy McEachern fills the ANZ Banks window • The figurative bronze work Wrapped by Mela Cooke in Toorak Travel • Anne Anderson’s fragile Vortex in Mal Bradley Hair • Moz Morosi's VW Engine table took 10 years to create is outside Zanuba in Toorak Place Arcade • Liz Walker’s work with recycled pressed tin and river stones From here to there in Mountfords • Helen Alexander’s contemporary Colt
1 MAY MA AY -15 15 JUNE J 2014 Contemporarry sculpture Contemporary sc dows and in shop windows wind sidewalks of Toorak Too o Road T Road, oorak o k Village Vil Toorak
Frank Duyker - Box of Memories
CURATOR’S COMMENTS
All e exhibits xhibits are fo for or sa sale event This is a free eve ent Director: T Tony ony o F Fialides ia alide 0419 005 052
Proudly Pr oudly supported supported by: by:
www.tooraksculpture.com.au www .tooraksculp l tur Antiques and
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BLOG
THE RESTORATION PROCESS
GILTWOOD TAKES GREAT PRIDE IN ITS RESTORATION PROJECTS Most of my working life has been involved in restoring items for others and producing reproductions for sale or restoring sold items from the shop front. It is not unusual to have clients arrive with boxes filled with what were once beautiful mirrors or picture frames now in pieces. It would be prudent to mention at this time that these things do not fall down gracefully and rather than being hung by wellmeaning husbands or partners, need to be installed professionally.
BUY 100% AUSTRALIAN MADE When you buy from Giltwood you can be proud to know that you are supporting a small Australian business. Here, all goods for sale are entirely Australian made, with 95% inhouse – our reproduction range. Outsourcing locally We do have a guy who machines our timber mouldings from his workshop and we also source our bevelled and hand slumped convex glass from South Australia. When asked to advise on mirrors for Government House, Melbourne, the Governor of Victoria’s wife observed that there would be complaints, but with a house like this we can hardly go to ... can we.
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One such piece was a fractured frame. I came across a fantastic 150-year-old carved Italian gilt wood mirror frame that had been buried out the back of our old shop. In its previous life I’m sure it had been a picture frame for some magnificent old master. Grossly neglected, it was in a state of major disrepair. The restoration process was quite involved. Initially, all the pieces that were irreparable or missing were reconstructed and then fitted to the frame. The next step was filling all the cracks and ensuring the joins were re-glued, filled and sanded, so ensuring the frame had been strengthened. It was then hand passed to me for gilding. Proper gilding As with lots of these things, this frame had been smothered in gold paint, again by well meaning amateurs in the belief that this would replicate proper gilding. The first task was to sand back and remove any of these wayward surface coatings and get the frame back to the base of the original gesso and then coated with a new coating of Armenian bole. This is a red coloured clay base and has been used under gilding for thousands of years, since ancient Egypt, and at least since the 18th Dynasty (1352-1344 BCE), as seen in the tomb of Tutankhamen. Once this had dried for a day or so, it was sanded then recoated again. After this hardened, it was again fine sanded and polished. This coating basically fills the grain and acts as the key to bind the surface for the next stages. At this point one can moisten the clay and proceed to gild the frame in 22 carat gold leaf, known as water gilding, or shellac the frame for oil gilding. On this frame I chose the oil gilding process, introduced in the early 1900s. Three coats of shellac were applied to seal the surface. Next step required it to be coated with a coat of gold size varnish. After the required drying time which, due to temperature and humidity, varies with the seasons, it is then laid with gold leaf in a roof tile type pattern. Again, a day or so drying time was required before the gold leaf could be cleaned up. At this point any surplus or overlapping leaf was removed, which resulted in a smooth seamless coating of gold. A final coat of shellac was applied as this protects and seals the surface as well as offering some protection from dust and handling. Final touch I decided to finish the frame with a final coating of a gold translucent wax which offers a smooth transition from highlight to hollow and can be polished or removed as required. It now has a rather bright look as I believe it was never intended to be a wallflower.
BE CAREFUL WITH GILDED FURNITURE Even after nearly 40 years experience there are jobs that can be challenging. One such job came via an upholstery firm. This firm contacted me because their client had a set of ten dining chairs which were being recovered and had asked the upholstery firm to strip the chairs of the gilding. What this firm discovered upon stripping one of the chairs was that it was constructed of various coloured woods – and the end result was not pretty. Now there were nine gilt chairs and one stripped down to raw wood. It was not the gilding of the chair that was tricky, but the matching of the toning or patination.
COLOUR MATCH REQUIRES EXPERIENCE You see, unless a complete set of chairs are done at the same time by the same guy with the same materials and using the same technique, then they will not match. However, after a few days of studying the sample chair I was able to get a pretty good likeness and I think when this chair had the same upholstery, the client was hard pressed to pick which one had been stripped.
REJUVENATING A TIRED GARDEN SETTING Another project involved refurbishing an old client’s outdoor garden setting. Sadly neglected, this really nice solid iron setting with a stone tabletop had been out in the weather for 20 years. As a result of this long exposure to the elements, rust had seriously set in. Easily restored The first step was to remove and scrape down any flaking paint and surface rust. Once this was done the pieces were treated chemically. This process converts rust into a phosphate of iron. Next was the application of an undercoat in red killrust primer/undercoat. The setting was then finished in a high gloss killrust epoxy gloss enamel. These new epoxy paints are fantastic and given that we killed the rust from within, we had effectively wrapped the iron in a watertight coating, which should stand in good stead for another ten or more years. Only time will tell, but my guess is it will more than see me out.
QUALITY MEANS VALUE FOR YOUR DOLLAR
GILTWOOD TO THE RESCUE! Another project resulted from a call to undertake some urgent repairs in an iconic Collins Street establishment. There had been an incident with a light fitting which resulted in damage to one of the heritage listed newel posts attached to the grand staircase. As we had been responsible for the many repairs to the frames of the fabulous art collection found in this house, the owners were very confident that we were eminently qualified to repair the Corinthian cast stone baluster. It took three visits in total. We were able to make a cast of the damaged area and inset the new matching decoration and finally match the colour and patina of the original painted surface. All in all a great outcome and a pleasure to do something just a little bit different on location.
We may not be the cheapest, but we do pride ourselves in making the highest quality reproduction mirror range in Australia with the best service and with no hidden extras. When you add it all up, there is no substitute for quality and with this hands-on approach you will be thrilled with your choice for decades to come. These days, when the average house is over one million dollars, why settle for an inferior product. Why make a feature of a cheap import bought off the footpath from a major roadway when you can have a beautifully hand-crafted ornamental mirror frame made for you personally by Giltwood. We pride ourselves in our finely crafted pieces and all sales include free delivery and installation in or around the greater Melbourne area.
To find out more contact Mike Gleeson GILTWOOD 03 9889 6543 giltwood@hotmail.com www.giltwood.com
CANTERBURY
PAGE ANTIQUES’ NEW STORE IS NOW OPEN! uy and I are pleased to announce that we are now in our new premises at 175-177 Canterbury Road, Canterbury and we are open for business. We overlook Canterbury Gardens and the newly painted facade and signage makes us easy to spot.
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FRESH NEW SURROUNDINGS Our stock sits happily in its new surroundings and the store gives a pleasant viewing experience. Accompanying photos of our showroom areas highlight the different rooms and levels. Unlike our previous premises, the storeroom and work area are now situated upstairs. So ask if you cannot see what you are after as not all the stock we carry is displayed in the showroom.
RESTORATION SERVICE We will continue to have a mixture of restored pieces and items in original condition for sale. The benefit of having items in their original state provides clients with the opportunity to have pieces restored to their requirements and needs.
GUY’S ADDED NEW STOCK We had sold a great deal before the move, which I had hoped would lighten the load, but Guy was unable to restrain himself, and continued merrily buying. Hence, there are many new items for you to view together with the stock transported from the previous premises. Presented in a fresh, new setting home decorators will find the many pieces of furniture and associated accessories is an opportunity to add a fresh dimension to a room.
HUGE RANGE OF QUALITY FRENCH BEDS
Guy Page
PAGE ANTIQUES
A CHALLENGING TIME We want to thank our customers for their patience while we were in transition. Dealing with all the various trades involved in helping create our wonderful new premises was a complex process, plus we had the extra challenge of moving our vast amount of stock. Comprising mainly of furniture, as well as clocks and statuary – it all needed to be handled with great care. Adding to the stress was the delay to our phone and internet connections. This meant that replying to emails and updating our website was held up. Our apologies for the inconvenience this has caused.
Formerly of High Street Armadale
“The best selection of queen-size beds”
FIND US Our new store is just east of Balwyn Road and a five minute walk from Maling Road. Traffic lights make crossing stress free. There is restricted parking out front which frees up on Saturday afternoons and Sundays. Situated behind the shops is a free two hour parking zone.
CHANGE IN OPENING HOURS We are now closed on Mondays. Our showroom is now open Tuesday-Saturday: 10 am-5 pm, Sunday 11 am-4 pm. Finally, apart from the address, our other contact details remain the same. Looking forward to welcoming you to our new premises. Trish & Guy Page PAGE ANTIQUES 03 9880 7433 guypage@bigpond.com www.pageantiques.com.au
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PAGE ANTIQUES WAREHOUSE 175-177 CANTERBURY RD, CANTERBURY VICTORIA 3126 PH 03 9880 7433 OPEN 6 DAYS 10am-5pm (Tues-Sat) 11am-4pm (Sun)
Email: guypage@bigpond.com 0411 175 320 www.pageantiques.com.au Antiques and
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National Bank of Egypt, one pound 5th January 1899. Sold $32,197
National Bank of Egypt, fifty piastres, 1st January 1899. Sold $33,986 Hay Internment Camp, two shillings. Sold $10,732
NOBLE NUMISMATICS SALE 105
realises $2.6 million T his sale was broadly successful with 80 percent of lots sold at an average of 113 percent of estimate. Over 700 bidders participating with the majority being purchasers. Additionally, there were over 200 vendors. The standout item of the sale was the Bank of New South Wales ten shillings issued on the opening day of the first bank in Australia. The item attracted widespread media attention with coverage across online, television and radio outlets in Australia and overseas. Estimated at $250,000 it realised $333,900 (or $280,000 hammer price plus buyer’s premium and GST on the premium). The price is a new record for an Australian colonial banknote.
DAY 1: AUSTRALIAN, NEW ZEALAND AND NEW GUINEA COINS, TOKENS AND MEDALS The first day of the sale was devoted to Australian, New Zealand and New Guinea coins, tokens and medals. A mis-struck rarity, the twenty cents 1981 struck on a Hong Kong two dollar planchet with scalloped edge realised $11,329 (lot 72; est. $8,000). The German New Guinea gold twenty mark (lot 470; est. $35,000) sold for $41,738 and the gold ten mark (lot 471, est. $27,500) achieved $34,583. The proof silver five mark (lot 472; est. $7,000) broke the record for the type, realising $14,310. One of the finest known pattern New Zealand pennies 1879 (lot 502; est. $7,000) sold for a record $9,063. Briefly thereafter a 1935 proof Waitangi crown (lot 504; est. $8,000) also sold for
a record price $13,118. A proof gold ten dollars 2004, the Pukaki commemorative (lot 521; est. $2,700) went for $4,055. In tokens, a Forsaith Auckland penny 1858 (lot 577; est. $200) realised $775. Highest priced token was the ASN Co penny (lot 551; est. $3,000) at $3,935. In Australian historical medals top price went to a choice silver Resolution and Adventure medal of Captain Cook, 1772 (lot 736; est. $15,000) at $19,676. An Old Identities Assn Ballarat medal in silver (lot 746; est. $3,500) from the Dr John M. Chapman Collection went for $4,591. The Board of Trade Medal for Gallantry in Saving life at Sea for the Admella (lot 756; est. $5,000) set a record at $11,925. A Horticultural Society of NSW medal in silver, 1868, by J.C. Thornthwaite (lot 782; est. $2,000) sold for $2,862. A new record was set for a ‘medalet’, the 1873 Ricketty Dick Port Phillip half ounce die mule exChapman Collection (lot 790; est. $5,000) at $7,871. This was closely followed by the 1901 medalet in gold to Sir John Madden’s daughter (lot 854; est. $3,500) at $6,559. A Royal Shipwreck Relief and Humane Society of NSW silver medal (lot 871; est. $1,200) attracted $4,174. A sterling silver Bert Hinkler medal (lot 887; est. $900) sold for a record $2,385. In the evening session a nearly very fine NSW fifteen pence or dump, 1813 (lot 1278; est. $15,000) achieved $16,695. Highest price in the gold went to the 1855 Sydney Mint sovereign (lot 1286; est. $22,500) at $26,831. In patterns and proofs, a proof sovereign 1900M (lot 1379; est. $40,000) went for $54,855 as did the 1893M in the previous lot. The matte finish specimen 1911
penny (lot 1380; est. $4,000) sold for a record $17,888. A proof 1927 Canberra florin (lot 1382; est. $18,000) realised $20,273. A brilliant finish 1957 proof penny (lot 1398; est. $650) achieved a record $1,789. A 1921 florin (lot 1432; est. $4,500) also set a record with $5,009 while a 1922 (lot 1437; est. $5,000) went for $5,724, both to the same room buyer. A choice 1934-35 Melbourne Centenary florin (lot 1443; est. $1,000) realised $5,009, after a lengthy bidding contest. A 1922/1 threepence with clear features (lot 1503; est. $3,000) also sold well at $5,009. A 1920 plain penny (lot 1519; est. $250) realised $4,770 following a protracted bidding duel. The two 1930 pennies were keenly contested. The first (lot 1527; est. $15,500) was sold for $19,080 and the second (lot 1528; est. $14,000) realised $16,695.
DAY 2: BRITISH COINS, NEW ZEALAND NOTES, AUSTRALIAN NOTES On the second day in British coins a James II guinea, 1686 (lot 1634; est. $5,000) attracted $5,963 and a 1658 Cromwell crown (lot 1719; est. $2,500) achieved $4,770. A choice lettered edge Gothic crown, 1847 (lot 1877; est. $10,000) went for $11,329, a record for our sales. A pattern silver five pounds, 1966 (lot 2012; est. $500) sold very well at $3,458. The Sir George Chetwynd numismatist token (lot 2094; est. $750) also achieved a healthy price at $1,908 after a bidding war to a live online bidder from the USA. In New Zealand notes, eight consecutive five dollars (lot 2405; est. $1,000) realised $2,385. In Bank of New South Wales, ten shillings 8th April 1817. Sold $333,900
world notes, sensational new records were set for two Egyptian notes of 1899; the first (lot 2485; est. $2,500) at $33,986 and the second (lot 2486; est. $4000) realised $32,198, or a total of $66,184 to the same buyer bidding online from Europe, outbidding buyers from Egypt. A five kroner from Norway (lot 2606; est. $100) went for $1,431 to a European online buyer. In Australian Private Bank issues a Van Diemen’s Land four Spanish dollars (lot 2791; est. $800) attracted considerable interest, eventually going for $3,279. The Bank of New South Wales ten shillings featured on the front cover of the catalogue (lot 2799; est. $250,000) sold for $333,900 with three bidders in the room competing. In Commonwealth notes a Collins/Allen red serial ten shillings (lot 2861; est. $2,000) did well at $5,486. Of the four superscribed notes, the Union Bank pound did best against estimate (lot 2904; est. $4,500) at $5,963. The Riddle/Heathershaw ten pounds (lot 2982; est. $5,500) also sold above estimate at $6,559. The Hay Internment Camp notes all sold just under their estimates. The two shillings (lot 2994; est. $11,000) brought the highest price at $10,733. Of the star notes a consecutive pair of Coombs/Randall one dollars (lot 3009; est. $6,500) did best realising $9,302. Of the errors, a one hundred dollars polymer note missing simultan on the back (lot 3021; est. $1,000) did best at $2,504.
WORLD GOLD COINS The World gold coins began with strong floor bidding. The first lot, an Austria, Rudolph II, ducat, 1589 (lot 3099; est. $400) sold well at $2,385 to a live online bidder. The Chinese gold fantasy dollar (lot 3125; est. $10,000) had three bidders competing and was finally won by an early online bidder at $17,888. A gold ‘ship schelling’ of 1750 (lot 3195; est. $800) realised $1,789. A Russian bidder in the room won the platinum three roubles 1830 (lot 3208; est. $1,000) at a record $4,770 after many bids. The British Colonial 1/100 dollar 1823 George IV (lot 3265; est. $3,500) went for $6,201 and a die trial of China for a 1909 twenty cash (lot 3288; est. $200) also sold well above estimate at $6,559. Another good result was for a charm (lot 3302; est. $100) that sold for $2,266 after a long series of competing live online bids.
MILITARY SECTION
Australia 20 cents 1981, struck on a Hong Kong two dollar blank. Sold $11,328
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Port Phillip Kangaroo Office with Aboriginal head obverse, medal in brass. Sold $7,870
The highlight in the military section was the VC recipient’s gold theatre life pass (lot 3759; est. $6,000) chased by two collectors and finally going for $19,080. A Melbourne Volunteer Rifle Regiment Medal, 1858 (lot 3760; est. $7,500)went for $10,733. A MC group of six for Polygon Wood (lot 3773; est. $6,000) achieved $8,348. A World War II POW killed group of four (lot 3789; est. $2,000) realised $3,816 and a World War II pair (lot 3793; est. $200) was bought for $2,147.
CAMBERWELL / CITY / SURREY HILLS / MOONEE POND / WERRIBEE
All Tivoli Theatres, VC Recipients Life Pass in gold. Sold $19,080
Consignments wanted for our next auction
INDIAN COINS AND NUMISMATIC LITERATURE ANCIENT GOLD COINS In the ancient gold coins a very rare variety of an Alexander the Great stater (lot 3866; est. $3,000) sold close to estimate at $3,220. All the Roman gold sold at estimate or more, the finest, a Valens solidus (lot 3918; est. $500) realised $954 and the Byzantine solidus of Phocas, struck off centre and flipped over and restruck attracted strong bidding (lot 3943; est. $500) selling at $1,789. In the Greek silver a Siculo-Punic tetradrachm by a master engraver (lot 3986; est. $6,000) was acquired by a collector for $8,348 with three collectors chasing it in the bidding.
The sale concluded with Indian coins and numismatic literature. An EIC Bengal mohur (lot 4340; est. $1,000) was sold for $1,789. A bulk lot of native states in packets from the 1930s, 77 coins all told (lot 4339; est. $300) went for $835.
UPCOMING SALE Our next sale takes place in Sydney on 29-31 July 2014. Consignments are being accepted for that sale until mid-May. Jim Noble NOBLE NUMISMATICS 03 9600 0244 02 9223 4578 www.noble.com.au
Contact our Sydney office (02) 9223 4578 or our Melbourne office (03) 9600 0244 for a free, confidential valuation
THE 22ND ANNUAL ROTARY CLUB OF HOPPERS CROSSING INC.
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www.noble.com.au
NOBLE N U M I S M A T I C S
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ground floor 169 macquarie street sydney info@noble.com.au level 7 / 350 collins street melbourne noblemelbourne@hotkey.net.au
July 2014 Fri 18th Sat 19th Sun 20th
6 pm - 9 pm 10 am - 5 pm 10 am - 4 pm
Wyndham Civic Centre 45 Princes Highway Werribee
Watchmakers and Jewellers Est. 1947 • Largest watch repair centre in Melbourne • We repair all brands of quartz automatic and mechanical watches and clocks • We do pressure testing to all brands of watches • We have the biggest range of watch bands and batteries in Melbourne, custom fitted • Expert restoration to all vintage wrist and pocket watches • Valuations and deceased estates a speciality • Will buy old watches and jewellery in any condition • We have the largest range of pocket watches in Melbourne • We stock vintage watches • Expert jewellery repairs • Seiko Repair Centre • Premier stockist of Thomas Sabo in Melbourne • Stockist of Swiss Military Hanowa watches
EXCLUSIVE FOR MELBOURNE
Luminox watches – Swiss made IN STOCK NOW
209 Elizabeth Street, Melbourne 3000 (Opposite GPO) Ph 03 9670 5353 Fax 03 9670 4236
Many of our most respected dealers presenting a wide range of antiques and collectables priced to sell
Enquiries: Trevor Jago 03 9748 6437 0408 486 432 Admission $10.00 Seniors discount applies
RESTORING ANTIQUES OF TODAY
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Antique Restorations French polishing Upholstery
Phone/Fax 03 9372 0850 0418 458 420 6 Hinkins Street Moonee Ponds 3039
camberwell ANTIQUE CENTRE
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 (opposite Camberwell Station)
03 9882 2028 or 0418 586 764 OPEN 7 DAYS 10AM - 5PM Antiques and
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BUYING AFFORDABLE ART 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.
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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 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 2 Laurence Phillips (Active c. 1940), Workers, oil on board, 40 x 49.5 cm, signed. $550 3 Justin Gill (1903-1996), Fisher Boy, oil on hessian laid down, 85 x 55 cm, signed. $232
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4 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 5 Peter Moller (b. 1948), The Great Uranium Racket, acrylic on canvas, 150 x 105 cm, signed. Provenance: Tibor Hubay Estate. $672 6 Vic O’Connor (1918-2010), Study for the interrupted wedding, oil on board, 26 x 37 cm, signed. $700 7 Ric Elliot (1933-1995), Drover’s Billy, 1976, oil on board, 24 x 40 cm, signed. $467 8 John Santry (1910-1990), The Chinese Restaurant, oil on board, 30 x 43 cm, signed. $650
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9 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
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David Freeman AMANDA ADDAMS AUCTIONS & DAVID FREEMAN ANTIQUE VALUATIONS 03 9855 2255 or 0419 578 184 / 0419 361 753 www.aaauctions.com.au
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. 8
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Brasac enterprises
Antique Valuations Established 1985
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
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
Longines Admiral 10k gold filled, c. 1965 $2295
International Watch Company 18 ct gold, c. 1970, $3950
A selection of English hallmarked sterling silver frames and antique silver available.
How much is this Terence John Santry painting worth?
David Freeman knows... David Freeman Antique Valuations is Melbourne’s largest independently owned valuation service. Founded in 1985, we have vast experience with art, antiques, china, collectables and general household contents. David Freeman Antique Valuations delivers expert valuations, on time, every time, all at extremely competitive rates. Whether you require valuations for insurance, market, family law, company divisions, or deceased estates, David Freeman can help you with experience, total confidentiality and personal service. David Freeman can also advise you on purchasing, disposal, placement and restoration services.
Gold diamond and jade stick pin $3750
Omega Seamaster 14 ct gold c. 1960s $1895 Girard Perregaux 9 ct white gold 17 jewel stainless steel case back $2750 Girard-Perregaux gyromatic, original band, c. 1960 $1295
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
BOTH OPEN 7 DAYS
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
Approved to value Australian paintings and prints after 1850 for the Australian Government's Cultural Gifts Program
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EAST MELBOURNE
Onions and red blossom vase
Napier Park, Strathmore
Through the Baringhup fog
Artist profile:
GREGORY R SMITH FVAS n the busy life we all seem to have, finding time to make dreams come true seems nearly impossible now days. Living the life of a full-time artist means many sacrifices have to be made to make these dreams a reality. Prioritising time to create and be artful requires a driving passion before we consider ourselves successful. Gregory R Smith is one such artist who seems to have made the most of his 30 years plus experience to regard himself as a wellestablished painter and teacher. Immediate past president of the Victorian Artists Society (VAS), Gregory is now preparing his 30th major solo exhibition of oil paintings.
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SIGNIFICANT BODY OF NEW WORKS This year’s display will feature over 110 recent works not viewed before by the public. The trained eye will pick the subtle developments in the canvases of this dedicated observer of light and tone. His direct from life approach means every painting is an additional training tool for the viewer to develop greater visual appreciation.
For more information contact GREGORY R SMITH 03 9379 4693
TEACHING AND INSPIRING YOUNG ARTISTS Gregory feels extremely privileged to have been able to teach, and encourage others. He now acts as a mentor to many artists. He has run his own art school for 25 years. His very disciplined approach of constantly revisiting the basics with new students has proved to be very rewarding. Gregory believes very strongly in the old saying: ‘seeing the truth is beauty and beauty is the truth’. Part of his challenge is to capture some of this truth onto a canvas for others to also share.
After rain - Phoenix Street, Melbourne
ARTIST EXPLORING MANY THEMES AND GENRES His journey to date has seen him receive over 150 art awards in many genres including landscape, still life, portraiture, life work and florals. Gregory’s upcoming exhibition titled In a blink of an eye is being held in September. The more than 110 works produced during the last 12 months will be a feast of subjects and themes. To see these oils is to appreciate Gregory’s refinement in craftsmanship and his demonstration of a clear knowledge of tonal order based on visual awareness. Readers are invited to the exhibition which is being held at the Victorian Artists Society Galleries in East Melbourne from 4 to 23 September.
Grandiflora magnolia
Under Nornie's old hat
Laocoon and Roman boy
Pearl of wisdom, oil on canvas
GREGORY R SMITH FVAS invites you and your friends to the opening of his solo exhibition of paintings entitled
IN THE BLINK OF AN EYE On view from 12 noon Thursday 4 September 2014 Official opening: 7 pm Friday 5 September 2014 Duration 3 weeks Exhibition closes 23 September 2014
Victorian Artists’ Society Galleries 430 Albert Street, East Melbourne Gallery Hours 10 am - 4 pm weekdays; 1.30 - 4.30 pm weekends 26
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EAST MELBOURNE
VICTORIAN ARTISTS SOCIETY continues to serve the community in the interest of art T he Victorian Artists Society’s School at 430 Albert Street, East Melbourne, is flourishing and producing some mighty fine artwork under the guidance and tuition of very good teachers. In recent years, a strong focus on ‘handson’ art education has attracted many new students and members to the 143 year old society.
UPCOMING HIGHLIGHTS Robyn Brand: Images with Colour 15 May-3 June Gallery: Frater ‘The main theme of my work is always centered on a lot of colour. I paint in abstract form using acrylic, pastel and watercolour as my preferred medium. I like my paintings to sing just by the use of colour and movement,’ says Robyn. Yan Huang: Landscapes Of The Heart 28 May – 3rd June Gallery: Hammond The Victorian Artists Society is proud to invite you to the debut Australian exhibition of Yan Huang, an accomplished watercolour artist specialising in free-flowing depictions of natural landscapes and environments. VAS Plein Air Exhibition 5-17 June An exhibition of plein air landscape paintings created by artists on paint-out days and excursions. VAS Winter Exhibition 10-24 June Official Opening: Tuesday 10 June at 7 pm Lukas & Senior Art Supplies Award for paintings judged best in show. Prize: Lukas art materials to the value of $1000. Sponsored by Lukas & Seniors Art Supplies. VAS Teachers & Students Exhibition 26 June-8 July This annual exhibition showcases beautiful artworks by VAS students and tutors. Melbourne Society of Woman Painters and Sculptors Exhibition 10-22 July VAS Portrait Exhibition: Nada Hunter Award 28 July-12 August Official opening: Tuesday 29 July at 7 pm For the painting judged best portrait in show, prize of $500. Sponsored by a bequest from the late Nada Hunter. VAS Spring Exhibition: Deputy Lord Mayors Award 18 August-2 September Official Opening: Tuesday 19 August at 7 pm Exhibition of artworks and sculpture by VAS members. Prize of $500 for the painting judged best in show. Sponsored by Mr Gordon Moffatt.
UPCOMING WORKSHOPS Mokuhanga, Japanese water-based printmaking weekend workshop with Terry McKenna 28 & 29 June Cost: members $190/ non members $230 Participants will learn the basic skills to produce a single colour print in this simple yet diverse, environmentally friendly printing technique. An experienced and certified teacher, Terry has recently returned from a twoyear residency in Japan. All materials and traditional equipment are provided. Participants need their own carving
tool set and some simple supplies. List will be provided on enrolment. Oil painting portrait weekend workshop with Gregory R Smith FVAS 5 & 6 July Cost: members $190 / non members $230 Any medium of your choice with Otto Boron 5 & 6 October Cost: members $190/ non members $230 A member of VAS since 1972, Otto is a wellestablished artist and winner of numerous awards including VAS Artist of the Year (twice), Norman Kaye Medallion (twice) and Undine award. This workshop is suited to intermediate students. Any medium of your choice can be used (oil, acrylic, watercolour, etc). Students are to bring a partly finished painting along with paints, brushes, medium, cleaning turps (odourless), spatulas, old rags, paper towel, cardboard pieces, tools (anything inclined to use). A rare opportunity for students to express their imagination and intuition under the guidance of one of Australia’s finest artists.
ART CLASSES Painting - Drawing - Sculpture At VAS we offer a wide variety of art classes catering for beginners to advanced students in all mediums. Classes are run by experienced tutors. VAS members and non-members are encourages to join the classes throughout the year. Find a class that’s perfect for you! Term 3: 14 July-19 September Term 4: 6 October-19 December MONDAY 10 am-12.30 pm: Portrait - Pastel/Oil with Barbara McManus Barbara McManus is very well known and highly regarded for her impressionistic work in both pastel and oil. Figure and character studies featured prominently in her work. Barbara is in high demand as a tutor, judge and demonstrator. 1 pm-3.30 pm: Figure and Portrait Sculpture with Gray Nicol NEW SESSION This class includes modelling in clay from life models. The first 3 to 4 weeks are creating a portrait bust in terracotta clay. The following weeks are spent on full figure studies in terracotta and the ‘hollowing out’ preparation of the bust for firing. The course does not include making moulds for the figure studies. 7 pm-9.30 pm Watercolour with Ted Dansey Ted is a watercolourist with over 20 years’ experience. VAS Artist of the Year 2007, Ted’s philosophy is keep it simple, learn to visualise and paint what you feel! Classes will take students through the process of landscape, cityscape and seascape painting. TUESDAY 10 am-12.30 pm Drawing/Oil with Ray Hewitt Ray is an experienced and popular teacher of traditional oil painting, and has many awards to his credit including VAS Artist of the Year 2000 and 2003. This class is a mix of oil painting and life drawing. The class will alternate between life drawing sessions and oil painting. Class is suitable for beginners and advanced students.
1 pm-3.30 pm Drawing and Watercolour with Julian Bruere Friendly and informal with opportunity to explore a set theme as a group or a theme of your own choice. Suitable for beginners and experienced students 7 pm-9.30 pm Figure Drawing with Tom Alberts Teaching figure drawing to students at all levels; this life drawing class will help students to work through a series of interlocking exercises to build up understanding, skills and confidence in drawing the figure. WEDNESDAY 10 am-12.30 pm Oil Painting with Ray Hewitt 1 pm-3.30 pm Oil Painting with Paul McDonald Smith Winner of VAS Artist of the Year 2001, Paul teaches the traditional approach to painting focussing on the relationships of tone, form and colour through studies from life including portrait, figure and still life subjects. THURSDAY 10 am-12.30 pm Gouache, Acrylic, Watercolour with Annie Finkelde Annie works with the group to create, inspire and help each student follow their own art journey. Annie is a qualified, highly experienced art teacher. Her works are held in many private collections throughout Australia. 2 pm-4.30 pm Oil Painting with Gregory R Smith With 24 years of teaching ‘direct from life’, Greg’s class caters for beginners through to established painters. The purpose is to share visual knowledge to educate the eye to a greater awareness of tone, form and colour regardless of the subject.
Figure and portrait sculpture class Portrait oil painting class
7 pm-9.30 pm Portrait Oil Painting with Gregory R Smith Catering for beginners to advanced artists, focussing on developing visual knowledge in a tonal realist approach. Still life and model for part of the term. FRIDAY 7 pm-9.30 pm Figure and Portrait Sculpture with Gray Nicol
INVITATION TO VISIT AND EXHIBIT Entry to the VAS galleries is free to visitors all year round. The VAS hosts many solo exhibitions, group shows and international displays along with many member exhibitions. There are still spaces vacant for 2014 as all galleries are for hire. If interested, please contact our friendly staff during working hours. Throughout our proud artistic history some of Australia’s greatest artists have chosen the purpose built VAS galleries for their exhibitions. Located in a very accessible position in East Melbourne with trams, trains and buses only a stone’s throw away, we cater for all who love to keep up to date with the events and happenings at ‘the Vics’. For more information contact VICTORIAN ARTISTS SOCIETY 03 9662 1484 admin@victorianartistssociety.com.au www.victorianartistssociety.com.au Victorian Artists Society
WINTER EXHIBITION LUKAS-SENIOR ART SUPPLIES AWARD 9-24 JUNE OPENING NIGHT TUESDAY 10 JUNE 2014 7.00 PM MEMBERS’ VOTES GO TOWARDS
ARTIST OF THE YEAR 2014 24 NOV-9 DEC
Robyn Brand
Otto Boron
Victorian Artists Society Galleries 430 Albert Street, East Melbourne VIC 3002 T: 03 9662 1484 E: admin@victorianartistssociety.com.au W: victorianartistssociety.com.au Antiques and
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ANTIQUE MERCURIAL BAROMETERS
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The barometer is one of the most valuable instruments ever contrived for investigating the nature and laws of the wonderful ocean of air in which we live.
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Admiral Fitzroy, Governor of New Zealand, 1843
here has been little general interest to date in Australia in collecting antique mercurial barometers. However, it is hoped that this short article may engender some further interest in those who may have considered purchasing or already have an antique mercurial barometer in their possession. The antique mercurial barometer is an attractive piece of furniture that would grace any hallway, office or lounge room, and collecting them is a practical proposition as most are neither large nor heavy and require little or no maintenance to keep them in working order. Unlike other items of furniture they take up no floor space, and anyone with an eye for beauty of line and grace of proportion cannot but admire the early stick and wheel (banjo) barometers. In addition to being an object of beauty, the barometer is functional and is always ready to disclose the likely course of the weather. A further attraction, like its counterparts the clock and watch, is that almost all barometers are engraved with the maker’s name and often his address so that it is possible by a little research to discover the approximate date of manufacture and, sometimes, interesting information about the maker or company. Almost all of the barometers one is likely to see in antique shops in Australia are of English origin and manufacture. There are few barometers to be seen that are of true Australian origin. There are more to be seen that carry Australian retailers’ names that have been made in England and shipped out: Gaunt of Melbourne & Sydney is one of many retailers’ names to be seen on banjo, stick and Admiral Fitzroy barometers around Australia.
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STICK AND BANJO BAROMETERS There are marine barometers, angle barometers, sometimes with double or treble tubes, pit barometers, mountain or balloonist barometers and seacoast barometers to name but a few that were made for a specific purpose. What is not generally realised is that the manufacture of stick barometers continued after the construction of banjo barometers began. It is therefore incorrect to believe stick barometers are always older. Another important point to remember is that it is not so much the actual reading of a barometer that matters, but rather the alteration that has taken place in that reading – in other words, the
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direction in which the hand is going in the case of a banjo barometer, or whether the level of mercury is rising or falling in the case of a stick barometer. Both stick and banjo barometers employ a mercury filled tube and it must be stressed that, due to the deterioration of the mercury and the glass and the dirt that accumulates, very few antique barometers still have their original tube and work.
WHY BUY FROM A DEALER For the uninformed prospective purchaser of anything it is always safer to buy from a dealer. You will get value for money and a guarantee of free repair should anything go wrong, and in the process of choosing you will have a wider choice from which to select. If you prefer buying in a saleroom, so be it. If you can recognise a wrongly catalogued item and you know why four times the estimate was paid for one particular lot while another failed to reach its reserve, then you will probably be successful.
AN OBJECT OF BEAUTY It is only when you visit a dealer specialising in barometers that the image of a barometer being a dirty object hanging in your grandparents’ hall is finally shattered. The wooden case is meant to be clean and polished so that you can appreciate the grain of the veneer, the brass bezel should shine and the plates for the hygrometer, thermometer, barometer and level must be bright silver so that the quality and beauty of the engraving can be appreciated, let alone the fact that you can read the temperature and the barometric pressure. Makers of barometers intended them to be decorative which explains the development of styles to suit the taste of the era in which they were made. Of the hundreds of barometers which I have restored and sold, the result has been a pleasant surprise even to the most apprehensive and cynical. Apart from anything else, you are always left with an article which is probably worth twice or three times what it cost to restore.
WHAT TO CONSIDER WHEN MAKING A PURCHASE When you decide to buy a barometer at least three hackneyed truisms rear up to help and also confuse you. Buy what you like; you get what you pay for and, the most expensive is the best investment. If what you like is the cheapest, you are fortunate. If it is the dearest and you cannot afford it, then you won’t be satisfied with the inexpensive example and will end up not purchasing. Do remember, any barometer will look better in your own home than it does on the wall of the shop or warehouse in competition with 20 or 30 other examples. You get what you pay for is true, but unless you are a collector you can find yourself paying for what you really don’t appreciate or understand, so it is well to realise what can influence the price. A renowned maker will command a higher price than a lesser-known maker, which in turn will better a barometer without a name at all. But the simple yardstick is shattered when you find a superbly engraved instrument by an unknown provincial retailer (as sometimes happens) and to make matters worse, he is not even in the book. It is then that you realise that value is in the eye of the beholder. No two people have exactly the same sense of values. The dealer can help to advise and explain but the decision as to which is valuable to you can only be yours. Age, colour, condition, shape, amount of restoration, quality of veneer, engraving, inlay, brass-work, silvering hands – all these facets go to make up the whole and each deserves due consideration.
DATING A BAROMETER The actual dating of a barometer is made easy by a few sweeping generalisations and difficult by the many exceptions. With stick barometers, walnut veneers are usually 18th century but can be Victorian. Hemispherical cistern covers are earlier than flat round ones. Silvered scales are earlier than bone and ivory. Angle scales are later than flat ones. With banjo barometers the actual shape of
the case is the best guide. The more accentuated, the later. Mainly mahogany veneers were applied until about 1840 when rosewood became more popular and the convex mirror appeared. A little later the onion top developed and then the case with applied moulding, often veneered in walnut. As the style of the barometer changed according to the taste of the day, so did the engraving on the silvered dial. The development can be loosely described as starting with Roman and gradually changing to Gothic which later is accompanied by broadly drawn, shaded capitals. Each style suited the instrument it decorated and although the earlier examples may appeal more to the collector, nevertheless it would be wrong to condemn a later type. All examples are of interest whether or not they suit individual taste. Most barometers were made in the first half of the 19th century for the simple reason that more people could afford them and it was fashionable to own one. On a very great proportion you will find Italian makers’ names. This was due to an influx of Italian shopkeepers into the United Kingdom in the early 19th century. They graduated into making parts for and selling barometers to such an extent that, by the middle of the century, they virtually dominated the industry. It is also true to say that the best makers were English – Italians catered more for the mass market.
BE INFORMED As with all antiques, the wider the knowledge, the greater the interest and vice versa, and so it is with barometers – in fact probably more so than with most other sections of the market. This is because, although at the beginning all banjo barometers may appear the same, I have yet to find any two identical. The same is true for stick barometers. In fact I would hazard a guess that there is more variety to attract a collector of barometers than in any other category of furniture. Chris Snook SNOOK & COMPANY ANTIQUE DEALERS 03 9822 9882/ 0412 363 176 snookantiques@bigpond.com.au www.snookantiques.com.au
AIRPORT WEST
MOONEE PONDS ANTIQUES, a brief history y first foray into the retail industry was as a manager for a large department store. Fresh out of a college education and keen to learn, I quickly climbed the retail ladder and was soon in charge of a large suburban branch. However, disillusioned with the size and repetition of the industry I had entered I found myself drawn to a smaller and more old fashioned stationery store located in a wonderful old building in Elizabeth Street, Melbourne. This is where I believe my love for all things old began.
spend my lunch breaks wandering around antique stores located close by, and would often spend an extended lunch break wandering through the aisles of Myers’ antiques department. I found myself drawn to touch and admire the workmanship of these quality antique pieces of furniture and was totally hooked. My fate was sealed. After a few more years in other unsatisfying jobs I finally found the courage to leave full-time work and follow my passion into the antiques trade.
DRAWN TO THE PAST
FINDING A SUITABLE SITE
Nothing beats the smell of old furniture and stationery and this store had them in abundance. I found myself drawn to trays full of old fountain pens that were there to be either sold on commission or repaired. These pens were miniature works of art and combined with the smell of the old ink inside, were irresistible. Many hours were spent fondling and admiring these pens. I started to
The Moonee Ponds Store opened in Maribyrnong Road, Moonee Ponds, in 1996. This was born out of necessity as by this stage my buying was out of control. My need to handle and deal in antiques could no longer be accommodated by market stalls, an overfull garage and house. I had well and truly acquired the dealer’s disease of living by the saying that ‘you never regret what you bought, but what you didn’t buy.’
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I found myself drawn to touch and admire the workmanship of these quality antique pieces of furniture and was totally hooked.
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We have many satisfied customers and look forward to meeting new ones. We apply the old fashioned values instilled into me of good quality, fair prices and service second to none. Please feel free to contact us for advice on purchasing, caring for and disposal of all antiques. Michael Snook MOONEE PONDS ANTIQUES 03 9372 8299 www.mooneepondsantiques.com.au
MOVING TO LARGER PREMISES After 16 successful years in this location the next step was obvious. More space was needed. The computer along with GST had changed our game forever. No longer do you need to have a space in a premier location. By chance I came across a large old warehouse with lots of windows and natural light. The move was swift and in no time I was back to what I love doing – buying, selling and handling antiques. Now located at 49 Hawker Street, Airport West, Moonee Ponds Antiques continues to serve its many loyal local customers. Additionally, we have an ever expanding internet presence and are now sending items to all parts of the country.
French Antiques and English Antiques specialist Moonee Ponds Antiques is a long established family business with over 20 years’ experience buying and selling antiques. We offer personal service, great stock and value for money. We stock Victorian, Edwardian, Art Deco furniture, collectables and china.
49 Hawker Street, Airport West Vic 3042 Phone 03 9372 8299 Mob 0413 112 087
www.mooneepondsantiques.com.au Email aboutantiques@hotmail.com
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Detail of a new Kashan pure silk carpet Detail of the back of a new Kashan silk carpet, a 5 cent coin is used to compare knot size
Kashan rug, made 19th century, pure silk, 200 x 130 cm
Late 19th century wool pile Kashan. Private collection
WHAT YOU NEED TO KNOW ABOUT KASHAN RUGS ashan is the capital of Kashan County in the province of Isfahan located in north central Iran. If you want to picture what the province was once like, imagine an oasis village located at the edge of the Dasht-e Kavir or Great Salt Desert. Despite its proximity to the desert, Kashan taps into water flowing from the mountains to its west, ensuring its continuity. Its charm lies in the stark contrast between seas of sand and the colour of lush greenery. The city has played an important role in Iran (Persia). Political events aside, the city has been known for its art and takes pride in a rich tradition of hand-woven rugs, silk, textiles and ceramic tiles.
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MEET THE KASHAN RUG One of Kashan’s greatest achievements is the production of Kashan rugs. These rugs were made with a foundation of cotton, highlighted by silk, although some of the best Kashan rugs were made of pure silk. Designs usually featured an elongated medallion at the centre of the rug with a floral-like pattern extending towards the borders. The borders continued with flower motifs such as tulips, vines and leaves, finishing with highlights provided by two smaller contrasting bands. When it comes to hues, the more popular choices were bright shades of green, red, blue and ivory. Knots per square inch or KPSI is the measure of how finely woven a rug is. One simply has to turn the rug over to see the knots. The higher the number of knots per square inch, the more intricate the design. Kashan rugs range from 100 KPSI to 800 KPSI, making them coveted not just for the beauty of their designs, but for their quality as well. 30
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Kashan rugs today continue to be made with a foundation of cotton and a wool pile cut short to allow the design to be visible. The designs featured in the rugs can come in a variety of sizes ranging from three by five inches, to as much as two by twelve inches. They are used as home accents, runners and even as prayer mats. A LITTLE BIT OF HISTORY Kashan has been producing rugs since the Sassanian Empire (224‒642 CE). They were produced for the purpose of trade and export, as well as adorning the homes of Persia’s rich. There were two zeniths in Kashan rug production. First was during the Safavid period (1501–1722) and again during the Qajar dynasty (1781‒1925). SAFAVID PERIOD The Safavid dynasty was the greatest dynasty to emerge from Iran in the Islamic period. During the reign of Shah ’Abbas trade with Europe was encouraged. Although silk was Iran’s main export, carpets and textiles were also important export items. These were produced in workshops set up under state patronage in Isfahan and other cities. The art of painting also continued to flourish. The creative explosion in Kashan are found in the picturesque details on domes, mosques, homes and buildings, and because Kashan is surrounded by the elements, the interiors were magical worlds of gardens, lights and fountains. Kashan rugs during the Safavid period reflected the beauty of their surroundings. Gardens and animal scenes were commonly
depicted in the rugs’ designs, highlighted by woven threads of gold and silver. MOHTASHEM RUGS It was during the 1800s and the 1900s that high-quality rugs called Mohtashem were made in Kashan. These were finely woven, boasting of an intricate 200 to 400 KPSI. Mohtashem carpets featured a sarouk pattern with tulips and blossoms on its borders. Mohtashem rugs are believed to have originated from the workshop of Haj Mullah Hassan Mohtashem who was apparently a wool merchant married to a woman from the province of Arak. When the market collapsed and materials were unavailable his wife began using fine, imported Manchester wool to make carpets. She incorporated the Sarouk style in the design. The rugs were an instant hit, and he and his wife are credited with revitalising the trade of weaving in the late 1800s. While this story cannot be fully verified, it is interesting to know that some carpets are still signed ‘Mohtashem’, adding credibility to the story of Haj Mullah Hassan Mohtashem and his enterprising wife. BUYING A KASHAN RUG For those who have decided to add a beautiful accent to their home, a Kashan rug is an excellent choice as it is like taking ownership of a piece of art. Here are a few things to consider before you purchase your own Kashan rug: Budget: As Kashan rugs can easily cost thousands of dollars, make a decision on how much you are willing to spend. Take time to research the kind of design and size that will suit you best.
Handmade v machine made: Thanks to technology, not all Kashan rugs are handknotted. Handmade carpets will generally cost more than machine produced versions. Understand the material: Most Kashan rugs are made of a cotton base and a wool pile, which is very suitable for contemporary apartments as wool will help keep floors warm and will aid in insulating sound. If furnishing a more elegant space, opt for Kashan rugs with silk threads. Decide on colour and patterns: Not all Kashan rugs will feature traditional 16th‒19th century designs. Not all will be in the traditional hues of green, red, blue and ivory. Buyers can opt for something more modern. CARING FOR KASHAN RUGS Ideally, Kashan rugs should not be placed in areas exposed to direct sunlight as this causes the rug’s colours to fade. But if that cannot be avoided, then it is advised to rotate the rug at least once a week to ensure balanced exposure. Gently vacuum Kashan rugs once a week to keep them clean. If placing furniture on the rug, move the furniture every so often to prevent dents from forming in the carpet. It is much better not to place anything on the rug as it is a work of art, after all. Kashan rugs are noted for their excellent quality and craftsmanship. It is welcomed into the home as a reminder of the prized traditions of a world that has past. Majid Mirmohamadi THE MAJID COLLECTION 03 9830 7755 majidcarpets@optusnet.com.au www.majidcarpets.com
CLIFTON HILL / GEELONG
SCHOTS HOME EMPORIUM
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irst established in 1978, Schots Home Emporium is today recognised as Australia’s leading importer and retailer of mood-enhancing architectural, fittings and furniture with an expansive retail store offering a ‘voyage of discovery’ for discerning homemakers. Here, you have the ability to select from the largest and most exquisite range of wood or gas-fuelled fireplaces; marble or polished timber mantles; heritage bathroom ware, marble toped timber vanity units, tiles and tap ware; heritage style lighting and ceiling roses; fine brass accessories and feature doors; stunning sculptures and artefacts; and original and reproduction items of furniture and home wares. Hence allowing you to accurately reflect any era, match and enhance your desired décor and create a delightful atmosphere in any setting – all according to personal taste. At Schots, we’ve always believed that ‘renovating the old’ or ‘appointing the new’ should not only add romance and refinement to a room, but also be an investment that adds value to your home. This is why we spare no effort in sourcing and stocking only the finest quality products from around the world. Our reproduction pieces are all precision made (one by one) to the exact proportions of antique originals and with meticulous attention to fine detail – making them virtually impossible to distinguish from the genuine article.
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SIGNATURE SIENNA LEATHER FURNITURE Our Sienna leather furniture pieces have been carefully selected with your comfort and pleasure in mind. Each piece is handcrafted in the finest quality hide adding an air of charm, whatever your style. Leather is a natural warm material that softens the more it is used. Moreover, our Sienna leather pieces will age beautifully, further accentuating the leather’s burnished hues as the vintage cigar finish is designed to help you create an environment marked by the hallmarks of elegance and sophistication.
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.
a. Montana Vanity with white top 1067x559x876mm RRP $1,995.00 b. Vintage Lever Tap Set in Chrome RRP $399.00 c. Jacana 3 Light Pendant in Black 70x30x33cm RRP $229.00 d. Parliament Mantle RRP $681.00 with Legend Gas Fire RRP $2,799.00 e. Wing Armchair in Vintage Cigar Leather RRP $1,345.00 f. Bellis Pendant Light in Black 40cm RRP $199.00 g. Malina Side Table in Mahogany 55x40x45cm RRP $199.00 h. Chevron Wool and Jute Rugs various sizes available RRP from $39
CARING FOR LEATHER
1300 693 693 d.
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To make the most of your leather furniture you should regularly apply a leather wax or cream to keep the leather soft and supple. Ensure that you never use alcohol to clean the leather as it will damage the finish, rather use a damp cloth to wipe the leather down and then apply a leather conditioner. If defects or scuffing occur, use a brown leather polish to repair the scuff and finish with leather wax.
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DESIGNS MADE IN COPPER Copper is one of the oldest materials known to man. Its use has ebbed and flowed through time. Recently it has seen a resurgence in popularity, featuring in home decor, bars and cafes. Copper has antibacterial properties and maintains a warm luxurious finish, rather than being clinical like stainless steel. The most popular way to use copper has been through its use as an accent or feature piece – it looks great on a neutral white tiled or Carrara marble backdrop.
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SCHOTS HOME EMPORIUM 1300 774 774 Clifton Hill 1300 693 693 Geelong info@schots.com.au www.schots.com.au
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From left to right: In England, after the ascension of William III and his English-born Queen Mary, Dutch design displaced much indigenous British style, blending with the French style already popularised by Charles II in the 1660s. This walnut 1720s chair could be either British or Dutch A Directoire chair probably by Jacob, Paris, c. 1800, showing a spare use of timber that the density of mahogany made possible. One could not do this in walnut or beech and expect durability A mahogany chair, c. 1785, in the English style by Jacob, Paris
LOOKING AT ANTIQUE FRENCH AND ENGLISH FURNITURE ennifer Saunders and Dawn French are a great comic duo, especially in their series Let Them Eat Cake, set in the palace of Versailles in 1782. Saunders is the vague aristocrat ably manipulated by the intelligent and kindly servant (French), a theme explored in Mozart’s 1786 opera The Marriage of Figaro. In one episode the aristocratic Saunders examines a table in the poor part of Paris, unable to recognise the material from which it is made. While her irritated maidservant insists it is wood, Saunders is utterly unconvinced, since wood ‘always has pretty inlaid flowers and a gold border’. On closer examination, Saunders delights in finding the table to be made of tree. This crisply reflects the considerable gulf between the furniture produced for the rich and the furniture produced for the ordinary man, sometimes by the same manufacturer.
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ENGLISH COUNTRY FURNITURE In England, ‘country furniture’, simply made from native timbers such as oak, yew and elm is not in fact a geographic distinction from Town furniture, usually made of fine imported woods such as walnut (yes, imported), mahogany, rosewood and satinwood. The distinction between Town and Country furniture is one of class. Hence the oak bureau made for the local small shopkeeper, as well as the mahogany bureau bookcase for the aristocrat, are equally likely to have come from the same workshop. Nevertheless, some makers specialised in luxury furniture to the carriage trade. Chippendale is one such maker, though he also made coffins and servants’ furniture when needed.
PRE-REVOLUTION FRANCE In 18th century France, the wealth for furnishings was more concentrated than in England. The wealthy businessmen and the aristocracy demanded a constant supply of the latest fashions in furniture. Just as in England, as furniture became dated, it gradually migrated to decreasingly grand rooms, sometimes eventually giving the servants’
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dormitories unexpected cachet. Outdated furniture of costly materials was often broken up and re-used in new forms. Inventories of the furniture makers of 18th century France list reserves of old bits of furniture and even the odd chicken coup kept for the timber. Pre-revolutionary furniture makers in France were divided into several distinct guilds (trade unions) whose members had a monopoly on specific areas of production. The two main groups were the menuisiers (joiners) and the ebenistes (cabinetmakers). The ability, and legal right, to use veneer is the distinguishing difference between the two. Ebony was the first costly timber to be used as veneer and it gave us the French term for a cabinetmaker. The menuisier, put simply, joined sticks together, to form platforms: chairs, tables, etc. Boxes: cupboards, chests of drawers, etc, were the province of the ebeniste. Neither had the right to carve, upholster, paint or gild. Other guilds had those monopolies. Nevertheless, a menuisier could make a chair with simple edge moulding, waxed finish and with caned seat and sell it directly to a member of the public, such as a local shopkeeper or schoolteacher. That menuisier might simultaneously have an order for the latest design of chairs for a grand mansion. A suite of chairs, sofas and stools had to be made by the menuisier, sent to the carver, forwarded to the gilder and painter, and then on to the upholsterer, with a standard delivery time for an order of perhaps 40 seats of about two weeks. Subcontracting was common. Furniture factories today seem very slow by 18th century standards. The same local schoolteacher, having bought his caned chairs, might order a table from say, Hache, the ebeniste. Hache made many simple but elegant pieces of furniture in solid walnut and cherrywood for the townsfolk. He also supplied grand patrons with marble topped cabinets enriched with gilt bronze mounts, and covered in jigsaw pictures made of veneer (marquetry). Imported timbers
were expensive and the province of the very rich. Mahogany was one such timber, and is rare in France until about 1770.
MAHOGANY FURNITURE IN FRANCE Mahogany comes from the rain forests of Central America, and France had long since lost those American possessions that might have supplied it directly with mahogany. Almost all the mahogany available to Europe in the 18th century was controlled by Britain, and came firstly from Jamaica, and then Honduras. The high cost of mahogany in Europe meant that it was usually cut into thin veneers to stretch the valuable material as far as it could go. It was not until Madame de Pompadour’s brother, the Marquis de Marigny conceived a love for English furniture that mahogany chairs were seen in France. He imported English mahogany furniture for his own use, and in 1777-8 he had a suite of chairs made in mahogany, the first in Paris, by Cosson and Garnier. These two were ebenistes, and worked in unfamiliar territory making chairs, because no menuisier had experience with the costly mahogany. These chairs look rather like 1960s television chairs. By the 1780s Jacob was making excellent mahogany ‘chairs in the English style’ for the rich. This association of mahogany with the aristocracy caused it to be dropped like a hot potato during the Revolution. Mahogany furniture could lead to the guillotine. Under the reign of the first Napoleon, mahogany was again ascendant for a brief time before the blockades of the war, and the poverty that follows military conflict made mahogany a rarity until the third Napoleon.
MAHOGANY FURNITURE IN ENGLAND Ironically, while mahogany was the perquisite of the very rich in France, in England it had become the favoured timber for furnishing the homes of those of modest fortune. Most English furniture now found in antique shops, made
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The high cost of mahogany in Europe meant that it was usually cut into thin veneers to stretch the valuable material as far as it could go
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between 1720 and 1920, will be of mahogany. England imported vast quantities of mahogany throughout that time. Another, more acute irony is that the English initially were lukewarm about mahogany, and it took French intervention to induce mahogany-mania in Britain.
WALNUT: THE ENGLISH TIMBER OF CHOICE From the return of King Charles II from exile in France in 1660 until 1720 the timber of choice for wealthy Britons was walnut, imported in vast amounts from France. However, in 1720 France prohibited the export of walnut to England. The English had little choice but to embrace mahogany. With its different properties it is probably the single most important influence on the creation of a specifically English furniture style. During the age of walnut, British furniture had been a subsection of French or Dutch furniture. With mahogany, British furniture became a completely separate and distinct design tradition. Roy Williams ROY’S ANTIQUES 03 9489 8467 www.roys-antiques.com.au
CLIFTON HILL
A fine gilded bronze kneeling putto holding aloft a tiger’s-eye sphere, and supported on an octagonal tiger’s-eye plinth enriched with ormolu mounts. France, mid-19th century, h: 24 cm. $10,000
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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Unknown maker, Evening dress, c. 1845, silk. Powerhouse Museum, Sydney. Gift of Anne Schofield, 1983
John Glover, Ben Lomond, c. 1840, oil on canvas, 76.8 x 117.1 cm. Rex Nan Kivell Collection. The National Gallery of Australia and the National Library of Australia
Peter Graham, After the Massacre of Glencoe, 1889, oil on canvas. 123.2 x 175.8 cm. National Gallery of Victoria, Melbourne. Gift of James Graham Esq., 1889
Scottish heritage and Australia AT THE ART GALLERY OF BALLARAT For Auld Lang Syne: Images of Scottish Australia from First Fleet to Federation Art Gallery of Ballarat Exhibition closes Sunday 27 July Admission: Adult $15, Concession $10, Child (U16) Free ordon Morrison, director of the Art Gallery of Ballarat, is a man with a mission, launching the gallery’s biggest and boldest exhibition ever – For Auld Lang Syne: Images of Scottish Australia from First Fleet to Federation. For Morrison, the stakes couldn’t be higher, personally or professionally. ‘I genuinely had a feeling that I was the person destined to be the host of the show,’ he says of his reaction when first asked by curators to consider the exhibition. ‘That sense of being destined – it’s kind of a Celtic characteristic, isn’t it?’ This is an event as much about the personal stories as about the larger story that is the significant contribution the Scots have made to Australian life. Until now, that contribution has been largely overlooked. The exhibition is an ambitious and expensive exercise, especially for a regional gallery. Morrison estimates the final cost will sit at between $450,000 and $500,000. It has been four years in the planning and draws on the works of every state institution in Australia, including the Ballarat Gallery’s own trove, as well as loans from London. A total of 350 works are displayed in six separate rooms of the gallery, effectively offering a march through time over some 130 years. Morrison was overwhelmed by the support he received from not just the NGV and the State Libraries of Victoria and NSW but also from the State Library of Queensland, which has loaned the diary of a
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Scottish missionary from the 1880s. ‘It’s a very tattered bound book with amazing illustrations of bats and snakes that has only recently been acquired,’ Morrison says. ‘It’s a work that will feature as one of the quirkier objects in the exhibition.’ When he wrote to the Sisters of St Joseph for a portrait of St Mary MacKillop, the daughter of two Scots, he wasn’t necessarily expecting a positive response because the portrait is a relic. However, the sisters not only loaned the portrait but also offered a letter the saint had written to her brother Donald, a Jesuit who worked as a missionary in Arnhem Land. ‘That kind of generous act inspires you when you are putting together a show,’ he says. The show will celebrate the contribution of the Scots as educationalists and philanthropists, but it will be a warts and all story. ‘It will provide a well-rounded view of these people and their contribution without being a whitewash or a glorification of them,’ says Morrison.
BALLARAT TARTAN: AN ENDURING LEGACY To celebrate and commemorate the exhibition, the Art Gallery of Ballarat has created its own tartan and has registered it with the Scottish government. It will be known as the Ballarat Tartan and its colours are rich in symbolism: basalt for the stone that is ubiquitous in the region, blue and white for the night sky but also evoking the Eureka Flag, and a seam of gold to reflect the city’s economic raison d’être. The gallery hopes it will prove to be an enduring legacy. Tartan is tribal, allowing for ease of recognition of different family groups, districts or individuals. Over the years it has enjoyed high-fashion moments with designers like Vivienne Westwood and the
late Alexander McQueen. Historically, it owes its popularity to Queen Victoria who was passionate about the Scottish Highlands where the wearing of tartan was traditionally strongest. It was only in the mid 19th century, with the introduction of artificial dyes, that tartan became colourful.
UNTIL 27 JULY
From left to right: John Richardson, Highland cows in mountainous landscape, [n.d.], watercolour, 38.5 x 61. 5 cm. Art Gallery of Ballarat
Indeed, nostalgia was a prime motivator in guiding the colonial taste for Scottish paintings. They typically were divided into two distinct streams: those that reflected ordinary Scottish life, and the windswept and remote landscapes that evoked the romantic Highlands. A good example of the first stream is Thomas Faed’s painting The Mitherless Bairn (National Gallery of Victoria). The work, depicting a child who has lost his mother, reflected the Victorian tastes in art at the time. ‘The more realistic, the more tragic the image, the better,’ Morrison says. ‘We tend to describe them as overly sentimental but they are due for a reassessment because technically they’re exquisitely put together.’ While paintings of the Scottish Highlands nostalgically reminded people of the places they would never see again, they owe their popularity more to two people, Sir Walter Scott and Queen Victoria. Scott was the most popular author in the Australian colonies before 1850 because of the huge success of the Waverley novels. Scott’s writings provided an atmospheric framework as well as an assembly of subjects from which artists could work. Classic examples of this are in the exhibition and include Peter Graham’s works After the Massacre of Glencoe and Departing Day. Queen Victoria was passionate about the Highlands and her establishment of a holiday home at Balmoral lent paintings of the highland landscape a mark of distinction. They were indicators of social status, not only among the middle classes in Britain but also in Australia. Such was their prestige during this period that in 1876, the NGV Committee commissioned a painting of Balmoral and its surrounding scenery from the Scottish landscape artist Joseph Denovan Adam. The exhibition is an opportunity to relish the rich imagery generated by the Victorian vogue for things Scottish. For more information ‒ www.forauldlangsyne.com.au or contact
Stump & Co, Mother Mary MacKillop, 1871. Photograph. St Mary MacKillop Museum, Sydney
ART GALLERY OF BALLARAT 03 5320 5858 www.artgalleryofballarat.com.au
CULTURAL IDENTITY Tartan is as peculiar to the Scots as shamrock or blarney is to the Irish. Used on the cover of the catalogue is a painting from the 1830s by John Glover which depicts a group of tartan-dressed Scots enjoying a picnic at the bottom of Ben Lomond in Tasmania, preparing to cook a kangaroo on their fire. ‘It so essentially conveys the translation of the culture from the old country to the new,’ Morrison says. A great portrait of Jane Ryrie, wife of Port Phillip pioneer Donald Ryrie, is among the series of images of individuals wearing tartan. Her dress is embellished with a tartan sash and her hand rests on a pile of books written by novelist Sir Walter Scott. The painting and the reference to Scott tie in beautifully to the bigger story of Scotland. Some Scottish Australians went to great lengths to declare their ancestry. Alexander Cameron, an uncle of St Mary MacKillop and a man known as the King of Penola, drove around town in his horse and carriage with two pipers dressed in kilts behind him.
NOSTALGIA: TASTE AND TRADITION Visitors will have a sense of stepping back in time when they enter the rooms dedicated to Scottish art in colonial Australia. The main room, painted a glowing red, the traditional Victorian era colour, showcases a series of atmospheric and romantic works.
Courtesy Muriel Reddy, The Age
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BALLARAT
“I’m awa’ tae Ballarat tae see the show!”
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MALVERN / CANTERBURY / GEELONG
HUGE RANGE OF QUALITY FRENCH BEDS
Persian and Oriental Carpets
Guy Page
PAGE ANTIQUES Formerly of High Street Armadale
“The best selection of queen-size beds”
19th century pure silk Kashan (highlight) 200 x 130 cm
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
W S NE ISE EM R P PAGE ANTIQUES WAREHOUSE 175-177 CANTERBURY RD, CANTERBURY VICTORIA 3126 PH 03 9880 7433 OPEN 6 DAYS 10am-5pm (Tues-Sat) 11am-4pm (Sun)
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PRESE PRESENTED NTED B BY Y
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DEVELOPED BY BY Museum o Museum off N New ew Z Zealand ealand T Te eP Papa apa T Tongarewa ongarewa iin np partnership artnership w with ith tthe he N National ational C Council ouncil ffor or C Culture ulture a and nd tthe he Arts National off A Anthropology and History Mexico, CONACULTA-INAH and Australian A rts – N ational IInstitute nstitute o nthropology a nd H istory – M exico, C ONACULTA-INAH a nd tthe he A ustralian Museum M useum a and nd M Museum useum V Victoria. ictoria. IImage mage ssource: ource: © T The he IInstituto nstituto N Nacional acional d de eA Antropologia ntropologia e H Historia istoria ((INAH). INAH). Photographer: Michel Zabe. Description: Sculpture off C Cihuateotl divine woman about P hotographer: M ichel Z abe. D escription: S culpture o ihuateotl ((See-wah-tay-otl), See-wah-tay-otl), d ivine w oman ab out 1 500s A ztec sstone. tone. On On loan loan from from Museo Museo del del Templo Templo Mayor. Mayor. Source: Source: Design Design M otifs o ncient Mexico Mexico 1500s Aztec Motifs off A Ancient byy JJorge Enciso, Dover Publications, b orge E nciso, D over P ublications, IInc. nc.
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
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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
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BENDIGO
Valentine’s Antique Gallery IMPORTERS OF FINE QUALITY ANTIQUES ESTABLISHED 1947
Large pair Royal Doulton blue & white Children series vases c.1910, h: 39 cm
Superb French 19th century honeycomb marble clock garniture c.1870, with open escapement, 8 day striking movement
Fine quality Late Victorian walnut 4 drawer parlour cabinet c.1890, with Amboyna panels, fine foliate carvings
Rare William IV mahogany chiffonier/leaf holder c.1840, with full-length acanthus leaf corbels flanking central drawer
Quality pair 19th century Royal Worcester female figures, c.1880
Impressive Victorian figure walnut display/bookcase c.1870, with ormolu mounts
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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William Hodges, R.A., The Ghauts at Benares, 1787, oil on canvas © Royal Academy of Arts, London. Photographer: J Hammond
Sir Joshua Reynolds, P.R.A., Theory, 1779-1780, oil on canvas © Royal Academy of Arts, London
GENIUS & AMBITION: The Royal Academy of Arts, London 1768–1918 AT BENDIGO ART GALLERY UNTIL 9 JUNE urrently on display at Bendigo Art Gallery is the exhibition Genius and Ambition: The Royal Academy of Arts, London 1768-1918. The Royal Academy of Arts (RA) was established in 1768 through an Instrument of Foundation, signed by King George III and 34 leading painters, sculptors and architects – many of whom are household names today. Renowned painter, Sir Joshua Reynolds, was the Academy’s first president. The Academy was established with three primary purposes: to hold an annual exhibition of works by contemporary artists – known initially as the Annual Exhibition and then later the Summer Exhibition; to establish and maintain a free school for the training of young artists; and to dispense charitable support to struggling artists and their families. While the RA continues to uphold these values today, in 1869 it also added the organisation of major loan exhibitions to its remit. To this day the RA maintains its political and financial independence, obtaining little monetary support from the government.
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THE ROYAL ACADEMY OF ARTS (RA) From its inception the Academy has played a critical role in British art as the arbiter of taste and maker of reputation and renown. The Academy was comprised of 40 full members, known as Royal Academicians (RA), and 40 associate members (ARA), with members being elected by their peers. Towards the end of the 20th century associate membership was abolished and there are now 80 Academicians. It was the members of the Academy who determined what was or was not included in the extremely important
John Constable, A Boat passing a Lock, 1826, oil on canvas © Royal Academy of Arts, London. Photographer: Prudence Cuming Associates Limited
Summer Exhibitions. One of the primary reasons the RA was founded was that the members felt that there lacked a suitable exhibiting venue for artists to create works beyond the narrow confines of commissioned portraits or topographical views, and thus no capacity for artists to explore grand narratives and experiment with different subject matter. During the 19th century it was these grand narratives for which the Academy became known, and by the end of the 19th century the reason it was sometimes derided by select artists.
PREMIERE INSTITUTION FOR THE DISPLAY OF ART In the 19th century, artists in Britain and around the world saw the RA as the premiere institution for the display of art and being accepted into the Summer Exhibition was considered critical for career development. Australian artists were no different, and hundreds sought acceptance into this exclusive peer group. A selection of 30 works by Australian artists is also included in the exhibition to highlight the significance of this august institution in the wider history of Australian art.
Genius and Ambition: The Royal Academy of Arts, London 1768–1918 presents a history of this eminent institution through its outstanding collections of paintings, drawings, prints, books and sculptures. For tickets and more information go to www.royalacademybendigo.com. BENDIGO ART GALLERY 03 5434 6088 www.bendgoartgallery.com.au
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PLENTY
DISPLAYING A COLLECTION
A collection is probably one of the most individual statements that a person can make E verybody knows a collector and most feel an occasional urge to collect – and associated thrills in arranging, sorting, selecting and admiring of possessions. For many children, their early ‘collection’ often is their most precious possession – marbles, toy soldiers, postage stamps or tamagotchis. Antique and art collectors have been susceptible to whim and to the interests and fashions of the day. Most collectors are hooked on the joy of the objects and the thrill of the chase, even if they started out with an investment opportunity. A collection should not be hidden in boxes or behind doors, but shown in the best possible light where its importance can be viewed and appreciated. The art of collecting is linked to that of display, so ways of achieving the best display of a collection are important.
INTERIOR DECORATING
Displaying one’s collection is akin to interior decorating. The great collectors of the 18th and 19th century housed their collections in small rooms, often described as cabinets where the fine details of objects could be appreciated at close hand. The larger items were housed in purpose built galleries, rooms or additions. Today many collectors live with their treasures displayed in their homes. They give an insight into their unique style of interior decoration, often performed with a keen eye for texture, colour and shape. By our 21st century standards, 17th century collectors probably hung their paintings far too high than is fashionable today. Yet again, 18th century paintings were hung in asymmetrical ranks designed to be an integral part of the formal architectural scheme, rather than making a display for easy viewing.
Today’s taste for minimalism is just as particular about how paintings should be hung and objects displayed. Housing styles and social changes have created open and spacious rooms, demanding that clutter is kept to a minimum. Order and tidiness are paramount and statement pieces are a focal point. Perhaps there are no longer suits of armour standing at the foot of the stairs, or plates lined neatly above the picture rail. However, the display of a collection is still an integral part of the collecting process. The basic elements of interior decoration are still important.
GROUPING Items of a similar type can be grouped to emphasise the cohesion of a collection. If you buy enough of any one item, even if some of them are hideous, when you put them together the effect is wonderful. A collection of glass candlesticks, for example crowded along a refectory table all at differing heights looks wonderful. If the majority of your collection is made up of single examples, each will be accentuated by grouping in a seemingly artless way, from 19th century salt glazed jugs to tightly packed displays of silver objects, tortoiseshell, bone or ivory boxes. The background is also important, such as choosing the right piece of furniture on which to display the objects.
A SINGLE ITEM Strong pieces that the eye is drawn to instantly are better displayed as integral parts of the room as single items within it, similar to a gallery. This allows each piece and each object to be seen as unique, viewed at leisure and appreciated in its own right, and as part of the whole collection.
THEMATIC DISPLAY One of the most effective ways of displaying a collection is to group by theme. This may be a period, such as all things Victorian. It might be colour, function or perhaps material.
COLOUR
Early 20th century plaster figure group depicting an elephant with her calf
By Appointment
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Colour is a vital key to successful interior decoration and is often the solution to displaying a collection. How effective is a ‘blue and white‘ collection of 18th and 19th century porcelain? Pieces that may otherwise pass unnoticed evolve into harmonious groups and striking individual statements. There are as many different views and ways to show a collection as there are collections. No one way is better than the other; it all depends on the size and nature of the particular collection and the personality (and time) of the collector who has brought it together. Remember that viewers must be able to perceive that they are looking at a collection that was put together for a purpose. Whether they are massed closely or scattered through a
space, there needs to be a relationship between each of them. A collection is probably one of the most individual statements that a person can make, relatively untouched by fashion or contemporary enthusiasm. It speaks volumes about the person who collected it – whether artistic, creative, well read or well travelled – and a sense of humour. Collections directly reveal the personalities behind them. Dawn Davis EAGLEMONT ANTIQUES 0408 530 259 dawn@eaglemontantiques.com.au www.eaglemontantiques.com.au Further reading Caroline Clifton-Mogg, A Passion for Collecting: Decorating with your Favorite Objects, Bulfinch USA 2002
ORMOND
French striking carriage clock, c. 1870s
French time piece carriage clock, early 20th century
Left: French time piece carriage clock, c. 1901 Right: American carriage clock, late 19th century
CARRIAGE CLOCKS efore the watch became an accurate timekeeper, miniature clocks intended for travelling were made. Through the 18th century travelling became less strenuous and this resulted in a small market for socalled coach watches. They were very similar to a giant watch and although portable were too large to be carried conveniently on the person but small enough to be transported by coach or boat. Some of them were especially useful at night, since they were equipped with repeating mechanisms. The earliest travelling clocks were made in southern Germany, France and Italy and were hexagonal and rectangular table clocks, but it was in France that the major developments in travelling clocks took place. These clocks were not manufactured for long and were soon replaced by the carriage clock. The first carriage clocks were made in the early 19th century by Abraham Louis Breguet, undoubtedly one of the greatest clock makers of all. His clocks were highly complex, superbly finished and beautifully cased. This of course made them very expensive and only a small number were produced. The first maker who produced carriage clocks in any quantity was Paul Garnier (1801-1869) and other makers such as Boliviller, Auguste, Berolla, Jules and Lepine followed. By 1850 carriage clock production was full steam ahead. Through much of the Victorian
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period McCabe, Frodsham, Dent, Vulliamy, Barwise, Smith and Jump made carriage clocks. Their clocks were usually larger, heavier and considerably more expensive than those made in France. There are also a limited number of Swiss and Austrian carriage clocks. However, France and especially Paris, became the production centre for carriage clocks. All types of carriage clocks were made: simple timepieces, striking clocks, alarm clocks and sometimes clocks with a calendar. The Industrial Revolution affected the lifestyle in the 19th century and the wealthy middle class demanded not only useful but decorative articles as well. By 1850 the plain gilt brass carriage clock had evolved into pieces of art with heavily engraved cases. There were cases with columns on the sides, as well as enamelling and other forms of ornamentation. Some of these items were one of a kind, especially designed for exhibitions or according to the request of an individual customer. In the beginning the visibility of the movement through the glass was appealing to customers, but later clients preferred a multiplicity of decorations and this led to the production of clocks where no part of the case surface was without any decoration. They were all originally sold with a leather covered wooden case for transport. Important markets developed for carriage clocks, particularly with leading jewellery shops in England and America ordering
custom-made clocks. One of the largest purchasers was the USA firm Tiffany & Co. The popularity of the carriage clocks in that country led to USA clock companies like the Waterbury Clock Company, Ansonia Clock Company, Seth Thomas, Chauncey Jerome, the Boston Clock Company and the Vermont Clock Company to mass produce those clocks,
thereby manufacturing an inexpensive item. Today the beauty of carriage clocks and the fact that you can see the movement, make them a sought after and collectable item, as well as showing a steady appreciation in value. THE CLOCKWORKS 03 9578 6960
Antique and Modern Clocks and Watches Repairs and Sales
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 Left: Post World War II Swiss carriage clock and alarm Right: A modern English carriage clock Antiques and
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BELGRAVE From left to right: Wendy Havard, Halls Gap, oil Wendy Havard, Bullatale Creek, oil
SHERBROOKE ART SOCIETY herbrooke Art Society was founded in 1966 by Jack Montgomery to encourage and support artists in the local community. Sherbrooke Gallery is light and spacious. It is located in the historic Red Mill Cafe building beside Clematis Creek at the edge of Sherbrooke Forest, the perfect location to host a series of wildlife presentations and a wildlife art exhibition.
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AUSTRALIA WILD PROJECT AND ART AWARDS
groups, support wildlife artists, increase awareness of local flora and fauna, and help promote wildlife in art.
PHOTO ARK Members of the public are encouraged to upload photos of native animals they have sighted in the Dandenong Ranges. This will help to build a ‘snapshot’ record and database of wildlife found in the area.
PROGRAM OF EVENTS
The Australia Wild Project is a series of presentations and events designed to facilitate connections with artists, environmental groups, local community and the public; to reinvigorate the idea of stewardship for the natural environment and the flora and fauna of Australia. The website, australiawild.com.au, is designed to provide a vehicle for the promotion of local environmental/friends
Alex Maisey: The Lyrebirds of Sherbrooke Forest Sunday 25 May: 2 pm. $10 entry Alex is a member of the Lyrebird Survey Group, Sherbrooke Forest. Lantern making workshop with Glenn Scolyer Sunday 1 June: 2 pm. Lantern costs $8-$12
Friends of Glenfern Valley Bushlands, David Moncrief, Linda & Andrew Fullagar & Mike Sverns: From Rubbish Dump to Bush Haven – a Bushland Restoration Story Sunday 15 June: 2 pm. $10 entry Drawing native wildlife: Special children’s workshop Sunday 22 June: 2pm. $25 plus materials Run by award-winning artist Janet Matthews space in this special workshop is strictly limited and bookings are essential Robin Drury: Fauna of the Dandenong Ranges Sunday 20 July: 2pm. $10 entry Robin is a member of Field Naturalists Club of Victoria
Wendy Havard, Broome Hill Eucalypts, oil
AUSTRALIA WILD ART AWARDS EXHIBITION 27 July – 16 August Opening Sunday 27 July: 2 pm. FREE EVENT Exhibition of native flora and fauna. For further information: www.australiawild.com.au
WILD ART AWARDS EXHIBITION – NATIVE WILDLIFE 2014
Australia Wild Art Awards Native Wildlife at
Sherbrooke Gallery Bower bird ‘Expecting Company’ Janet Matthews
Opening Sunday 2pm 27 July 2014 FREE ENTRY
For further information or entry forms contact us by phone or via the website. www.australiawild.com.au
62 Monbulk Road, Belgrave 3160 Tel: 03 9754 4264 Gallery Hours: 11am til 4pm (closed Tuesdays)
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27 July – 17 August. Opening Sunday 27 July: 2 pm Non-acquisitive awards with a prize pool of $3,400. Main judge: Alan Rawady Entries to be original artworks; paintings, drawings or sculpture (excludes photography) of non-domestic Australian native flora and fauna. Awards: Best Flora Award, any medium $1,000; Best Fauna Award, any medium $1,000; Melbourne Waterways Award, any medium $500; Vox Wild Contemporary Award $300; Young Artists Award any medium $300; Traditional Botanical Artwork Award $300 (specialist judge to be appointed).
Wendy Havard, Desert Oaks, oil
ARTIST OF THE YEAR EXHIBITION 5 – 28 September Opens Friday 5 September: 7 pm Sherbrooke Art Society’s Artist of the Year: Wendy Havard Wendy is passionate about the natural environment and strives to portray the beauty of nature. She is inspired by the natural ecosystem of land, water, animals and plants and hopes to inspire others to take the time to appreciate the unique landscapes and animal habitats that we have in Australia. Wendy often layers colour to accentuate the character and light in a landscape, finding the combination of colours that convey the sense or spirit of a particular place. Intrigued by animals, Wendy delights in painting them to portray their individual character. Wendy is a past student of Peter Smales and Nell Frysteen. She continues the journey;
Wendy Havard, Warbuton Swim, oil
exploring oils, acrylics, pastels and watercolour, often borrowing techniques from one medium to influence another.
CLASSES, WORKSHOPS AND DEMONSTRATIONS Sherbrooke Art Society runs art classes, workshops and demonstrations. More information and details are available at www.sherbrookeartsociety.com. To find out more contact SHERBROOKE ART SOCIETY 03 9754 4264 www.sherbrookeartsociety.com
MENTONE
MENTONE BEACH ANTIQUE CENTRE
30% OFF CLOSING DOWN SALE ON ALL STOCK IN THE CENTRE A chance to buy good quality restored antique furniture and collectables at bargain prices
TRADE WELCOME Our shop counter and showcases are also for sale A LOT OF QUALITY ITEMS AT BARGAIN PRICES Closing down sale starting 1 May ending 30 June 2014 68 Beach Road Mentone Vic 3194 Shop opening hours are 10.30 am to 4.00 pm, Thursday to Monday Tel: 03 9583 3422 Email: mentonebeachantique@gmail.com
www.mentonebeachantiquecentre.com
Mentone Beach Antique Centre is closing the door AFTER 30 YEARS IN THE ANTIQUES BUSINESS n 1984 Barbara and Michel opened French Heritage Antiques and over the next 30 years the business flourished. They went on to develop the Mentone Beach Antique Centre located at 68 Beach Road, Mentone, which today is also home to their original antiques business.
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END OF AN ERA SALE To mark the closing of their business, Barbara and Michel are offering 30 per cent off the marked price on all stock in the shop. It is an opportunity to acquire quality antique pieces at bargain prices. As well as their stock, on sale is their shop counter, showcases and partitions.
COME AND FIND THAT SPECIAL PIECE You will find a perfect gift for someone special or a genuine antique treasure for yourself at the best price on the market. Stock includes 18th to early 20th century French, European and Australian furniture (dining tables, farm tables, sideboards, beds, desks, etc), Art Nouveau and Art Deco pieces. There are clocks, mirrors, lighting and an extensive selection of objets d’art including porcelain (Paris, Limoges, Minton, Shelley, Maling, Royal Worcester, Wedgwood, etc); majolica by Sarreguemine, St Clement; crystal and art glass by famed makers including Lalique, Murano and Daum Nancy; sterling silver and silver plate. Choose fine estate jewellery, or find an interesting fashion accessory (bags, fans, compacts, perfume bottles, textiles).
Add to your collection of oriental, including pieces in ivory. There are paintings and prints. For men look through the highly collectable smoking items (pipes, cigarette holder, tobacco jars and the collection of moustache cups).
HOW TO FIND US The Mentone Beach Antique Centre is well known and worth the trip. The large centre is gloriously located directly opposite Mentone Beach, a bayside suburb 20 kilometres south east of Melbourne’s CBD. If coming by car take the Nepean Highway or if travelling by train, the Mentone Station is on the Frankston Line.
The centre’s trading hours are 10.30 am to 4.30 pm, Thursday to Monday. For more information about the sale contact Michel MENTONE BEACH ANTIQUES CENTRE 03 9583 3422 mentonebeachantique@gmail.com www.mentonebeachantiquecentre.com
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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.’
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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 ANTIQUE CENTRE 14 Mornington-Tyabb Road, Tyabb (Located 10 minutes from Peninsula Link Tyabb, exit no 18) 03 5977 4414 info@tyabbpackinghouseantiques.com.au www.tyabbpackinghouseantiques.com.au Open Thursday ‒ Sunday and public holidays, 10 am to 5 pm. Closed Good Friday & Christmas Day. Open Anzac Day from 12 noon Australia’s largest home of genuine French, English and Australian antique furniture, plus quality 20th century Deco, retro and industrial. Unique gifts and collectables, lighting, clocks, art, jewellery and ceramics, toys for boys, cane, linen and lace, movie memorabilia and thousands of books. Make a day of it. Dine at the licensed restaurant or the Train Cafe.
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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.
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MORNINGTON PENINSULA REGIONAL GALLERY
exhibition highlights PAUL KELLY AND THE PORTRAITS National Portrait Gallery Touring Exhibition 23 May – 20 July 2014 ith backgrounds ranging from fine art and portraiture, to commercial and rock photography, nine photographers document the iconic Australian singer-songwriter Paul Kelly over the last four decades. Combining candid, live performance and studio shots the works in the exhibition Paul Kelly and the Portraits capture the many sides of Paul Kelly’s life and career from the 1970s through to 2011. A National Portrait Gallery Touring Exhibition developed in partnership with Shark Island Productions with the support of The Caledonia Foundation.
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2014 NATIONAL WORKS ON PAPER 23 May – 20 July 2014 National Works on Paper is one of the most prestigious acquisitive prize exhibitions of its type in Australia. The 2014 National Works on Paper showcases recent work by some of Australia’s leading artists working in the field of drawing, print-making and digital media. This diverse and exciting exhibition provides a survey of contemporary practice across Australia today. The winner of the major $15,000 Beleura House and Garden Acquisitive Award will be announced at the exhibition opening together with other acquisitions up to $35,000. This exhibition is also supported through the extraordinary generosity of the Mornington Peninsula Shire, Friends of Mornington Peninsula Regional Gallery and the Ursula Hoff Institute.
STARS IN THE RIVER: THE PRINTS OF JESSIE TRAILL National Gallery of Australia Exhibition 1 August – 14 September 2014 This eagerly awaited retrospective of etchings by pioneering printmaker Jessie Traill, brings together over 100 works from the National Gallery of Australia’s outstanding collection.
A key figure in post-war modernism, Traill forged a radical path giving visual expression to the dilemmas of a growing nation. Combining a poetic sensitivity with an unerring eye for line and form, Traill’s depictions of the natural environment express the beauty of the bush, while her images of industry are imbued with the dynamism of progress. An early conservationist, Traill’s dual vision continues to resonate today.
Greg Noakes, Paul Kelly, 2010. Courtesy of the artist
LYNLEY DODD: A RETROSPECTIVE Touring Exhibition from Tauranga Art Gallery, New Zealand 1 August – 14 September 2014 Today, Lynley Dodd’s name is synonymous with her creation, the unkempt dog, Hairy Maclary. The result of a small sketch of a scraggly pooch she encountered in 1979, Dodd penned a few lines underneath the drawing and Hairy Maclary was born. Over five million books of the little dog’s story have been sold worldwide and it has been translated into several languages making him an international character. Lynley Dodd worked as a cartoonist for newspapers in the 1970s and created her first picture story book in 1974, My Cat Likes to Hide in Boxes, in collaboration with Eve Sutton, still in print today. Since then she has written and illustrated 30 books, winning the Children’s Picture Book of the Year award four times. Lynley Dodd: A Retrospective showcases 59 original sketches and drawings from Dodd’s popular children’s books, including the Hairy Maclary series, the Schnitzel Von Krumm series, Slinky Malinki and Scarface Claw. This is the first exhibition to celebrate the works of the famous writer and illustrator and Mornington Peninsula Regional Gallery is the only Victorian venue to host this magical exhibition. For more information on the exhibitions please contact the gallery directly or visit the website.
MORNINGTON PENINSULA REGIONAL GALLERY 03 5975 4395 mprg@mprg.mornpen.vic.gov.au www.mprg.mornpen.vic.gov.au
Lynley Dodd, Hairy Maclary and Friends, 2012 © & ™. Reproduced courtesy of Penguin Group (NZ) and the artist Antiques and
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FRANKSTON
Regina Hona, Greek feline, pastel
Anne Melloy, Two’s company, pastel
Kenneth Cheal, Expulsion, oil
ART TO ENJOY AT FRANKSTON’S BRIALYN BOATHOUSE GALLERY he Brialyn Boathouse Gallery is the Frankston centre for quality fine art. The relaxed, no stress atmosphere allows you to enjoy the artwork, beautiful pottery and jewellery. Unless you ask, you may not know that almost every artist chosen to display has won prestigious art awards, both Australian and internationally. They hang in the official collections of both government and state galleries, and feature in the collector’s edition of the World’s Best 13 Seascape Artists. The $30,000 Shirley Hannan Portrait Prize, Camberwell Rotary, Archibald Packing Room Award, Mortimer Landscape National Art prize, Australian Art Excellence Medallion, Alice Bale Awards, Vic Arts Artist of the Year, are but just a few of the many awards artists
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featured in our gallery have acquired over the years. These artists have been published in numerous books and have been chosen to be included in leading arts publications. During the months ahead artists will feature in different ways. Regina Hona, Anne Melloy, Gary Laird, Shelea Neighbour, Kenneth Cheal, AmberRose Hulme, Lyn Mellady, Julie Goldspink, Annee Kelly and Barbara Beasley Southgate will be showing at our gallery.
EXHIBITION HIGHLIGHTS Regina Hona & Anne Melloy 6-25 May Regina Hona is the recipient of many awards, has been invited to judge at many art shows. She is a highly respected teacher, teaching both internationally and locally.
Her skilful use of pastel or oil covers figurative, land and marine paintings. She has won the Alice Bale prize for Best Work on Paper and has been included in the Victorian Salon De Refuse with her portraits. Regina has also been a finalist on two occasions in the Shirley Hannan National Portrait Prize. This latest collection is influenced by her recent excursions and overseas painting tours to the Aegean and beyond. Anne Melloy has emerged as an artist with a passion for both pastel and watercolour. Collecting awards since 2008 including the PSVA recognitions of 2009, Anne has since held five successful exhibitions. Travel and painting onsite suits her style that captures light, movement and realism with fluent, clear strokes. Anne believes that first impressions are often the most valid. Regina and Anne have travelled together and separately. Come and share their responses captured in paint.
Gary Laird, Coastal morning, oil
Kenneth Cheal 15-27 July This is Ken’s inaugural exhibition. Ken has spent many years developing his artistic language through experimenting with mediums and techniques. Having found his medium (oil), Ken’s graphically expressionist works explore ideas of universal archetypes in nature and consciousness. His goal is to create ‘realms behind the veil’. The paintings are quite elemental and as we explore, we can appreciate his extraordinary sense of wonder and beauty within the layered shapes, line and colour.
Shelea Neighbour 15-27 July Showing at the same time is Shelea Neighbour. Her photo realistic portrait drawings in pastel, pencil and gouache on a myriad of surfaces has a strong following. Shelea’s highly detailed accurate representations are a fascinating study. This is Shelea’s second feature exhibition as she works very slowly so her work is quite scarce.
Shelea Neighbour, Sweet but complicated, mixed media
Amber-Rose Hulme & Gary Laird August During the month of August the gallery will be featuring the contemporary realism of Amber-Rose Hulme, and then the latest landscape works by Gary Laird. For more information on these and other features contact BRIALYN BOATHOUSE GALLERY 03 9770 6119 www.boathousegallery.com.au Amber-Rose Hulme, Lost at Sea, pastel
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LANGWARRIN
MCCLELLAND SCULPTURE PARK + GALLERY
highlighting the winter exhibition program CREAM: FOUR DECADES OF AUSTRALIAN ART
WAVES & WATER: AUSTRALIAN BEACH PHOTOGRAPHY
10 May–3 August A Rockhampton Art Gallery Travelling Exhibition, Cream: Four Decades of Australian Art chronicles the development of modernism in Australia from 1940 to 1980. From Grace Cossington Smith’s, Drapery in the studio of 1940, through to William Robinson’s Four cows, one bulling, 1980, this exhibition showcases the stylistic diversity of modernism in Australian art. Drawn from Rockhampton Art Gallery’s remarkable collection, Cream explores the postWorld War II art centres of Melbourne and Sydney, but also presents Brisbane as an alternative city to explore new ideas in modern art. Artists include Sidney Nolan, John Perceval, Arthur Boyd, Charles Blackman, Margaret Olley, Fred Williams, John Brack, Lloyd Rees, Jon Molvig and Russell Drysdale. The exhibition recognises the contribution of the Australia Council and also celebrates former Mayor Rex Pilbeam and the people of Rockhampton, whose support of the gallery has built one of regional Australia’s most enviable collections.
10 May–3 August Iconic photographs from the Australian National Maritime Museum’s collection capture Australian beach culture from the 1930s to today. Waves & Water includes the work of seven of Australia’s celebrated beach photographers, including Max Dupain’s iconic Sunbaker, 1937, Ray Leighton’s surfers posed with longboards, Jeff Carter’s 1960s surfing safari and Roger Scott’s 1970s ‘critical moment’ photographs, taken as an individual catches a wave or dives into the ocean. More recent works by Anne Zahalka explore ideas of Australian cultural identity and stereotypes. Narelle Autio also provides a different perspective of the ocean swimmer photographed from beneath the surface of the waves while Ian Lever renders the beauty and atmosphere of Sydney’s ocean pools at dawn and dusk. This exhibition is supported by the National Collecting Institutions Touring and Outreach Program, an Australian Government program aiming to improve access to the national collections for all Australians. Entry by donation.
Top right: John Brack (1920-1999), Portrait of Lyn Williams, 1976, oil on linen, 129.6 x 96.8 cm. Rockhampton Art Gallery, Art Acquisition Fund purchased with the assistance of the Visual Arts Board of the Australia Council 1977 © Helen Brack
For more information contact MCCLELLAND SCULPTURE PARK + GALLERY 03 9789 1671 www.mcclellandgallery.com
Arthur Boyd (1920-1999), Woman in a jinker, 1976, oil on canvas, 182.7 x 175.3 cm. Rockhampton Art Gallery, Art Acquisition Fund purchased with the assistance of the Visual Arts Board of the Australia Council 1976 © Reproduced with permission of Bundanon Trust Antiques and
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TYABB
TYABB PACKING HOUSE ANTIQUE CENTRE 14 Mornington-Tyabb Road Tyabb Victoria 3913 Just 10 minutes from Peninsula Link exit 18
VISIT OUR NEW ‘HART OF TYABB’ LICENSED CAFE
40 DEALERS – FRESH STOCK DAILY CENTRALLY HEATED Phone 03 5977 4414 Open Thursday to Sunday and Public Holidays (excluding Good Friday and Christmas Day) 10am - 5pm Email: info@tyabbpackinghouseantiques.com.au
www.tyabbpackinghouseantiques.com.au
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WELCOME TO THE WORKSHOP
The fine art of French Polishing n this edition I would like to talk about the ‘bodying up’ process of French polishing (the hard part). Bodying up is the process of filling of the grain of the timber. French polish is made up of shellac mixed with alcohol generally methylated spirits. Shellac is made from lac, a sticky resinous product secreted by the Laccifer lacca, a tiny scale insect.
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A SIMPLE TOOL IS NEEDED The applicator used to apply the polish onto the wood surface is called a rubber. This is made from cotton wadding with a cotton sheet over the top.
STEPS I like to use a thin polish for the bodying up process, thinning the shellac with extra methylated spirits. I initially seal the timber surface a few times and leave it to dry. Once dry, I cut back the surface area using fine sandpaper and steel wool. At this stage, the timber’s grain looks like a series of v’s. The next step is to smooth out the v’s. I apply the polish, continuing to rub it into the surface filling in the grooves until I have achieved a flat surface. Polish also sits on top of the v’s and starts to get what is known as an ‘orange peel affect’. This is why the timber surface area needs to be cut back with the combination of sandpaper and steel wool as it only cuts back the top layers of the shellac.
HOW TO APPLY SHELLAC Start by lightly dipping the rubber into the polish and wiping off the excess polish. I
always begin the application process with a few straight rubbing motions and stand with the light facing the piece so I can clearly see any dribbles. Now start applying the polish in a circular motion. I begin with a tight circle pattern of about five to ten centimetres wide, working the full length of the piece. Then I quickly go over the same spot with a few straights, smoothing out the circle marks. I would say the first day of bodying up requires an application of 15 to 20 circles and five straights over the top. The next day, cut back again hard using fine sandpaper and steel wool and about 10 to 15 circles with a few straights at the end. If at any time the rubber start to stick, I leave the piece for 20 minutes or so and thin down the polish with some more methylated spirits. Quite possibly, the piece might need another one or two days polishing with circles so that the grain is filled. This is determined by a close inspection of the surface. Once I am happy with the result, I then give the surface a very light cut back using fine steel wool followed by a final day of 10 or so straight rubbers – just enough to get rid of the steel wool marks.
Note All grain differs and will take varying amounts of time to fill. For example, I would not recommend filling oak as it is too deep and looks better with an open grain finish. For more information contact Joel Duggan PEGASUS ANTIQUES 03 5221 8290 pegasusantiques@bigpond.com www.pegasusantiques.com.au
OVER 900 QUALITY ITEMS ONLINE WWW. .COM
FOR THE HOME FRENCH POLISHER I would now suggest using a wax with some steel wool to tone the gloss of the polish down and you can determine how glossy or dull you would like to have the final result. This was obviously a quick overview of the complex process, don’t feel daunted by it – give it a try!
AUSTRALIA LARGEST QUALITY ANTIQUE FURNITURE SHOP P 03 52218 290 550 LATROBE BLV NEWTOWN, GEELONG 9-5 MON TO SAT, 11-4 SUN Antiques and
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IDENTIFYING THE MAKER OF A FINE CLASSICAL PORCELAIN FIGURE GROUP The abduction of Ganymede by an eagle, attributed to Doccia porcelain factory, Florence c. 1770 anymede and the eagle is a classic Greek myth where the beautiful youth was taken to Mount Olympus by a giant eagle said to be Zeus in disguise. Certainly it was Zeus who wanted the young mortal as his cup bearer. In this figure group, Ganymede holds an eagle chick above his head while a large eagle at his side looks on.
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BODY AND GLAZE This interesting classically inspired figure shows the distinct signs of an Italian origin: dense grey-white body with a slight sugary texture and an uncrazed glaze containing tin oxide which gives it a glistening, white appearance. The figure is attributed to Doccia, which is usually recognisable due to its grey body. However, this figure shows the later ‘superior’ body of Doccia, which was combined with an opaque tin-glaze in an effort to create a pure white in the tradition of Meissen, from around 1770-90.
SUBJECT INSPIRED BY BENVENUTO CELLINI The group brings to mind the neo-classical interest of the late 18th and early 19th centuries. A date of circa 1800 could be arrived at judging just by the style. However, being Italian, it is not that simple. The classical world was well known from the Renaissance, and this is where this figure comes from – inspired by the work of Renaissance sculptor Benvenuto Cellini (1500-1571). His original marble sculpture, standing just over a meter high, is to be found in the Museo Nazionale del Bargello, Florence. Several smaller bronze versions are known: one in the Frick Collection, NY, and another in the Metropolitan Museum of Art, NY. Comparing the figures leaves little doubt that the modeller for this Doccia version had a close association with one of these versions, or perhaps with the original itself. The Doccia works were within easy reach of Florence where the Cellini original still resides.
DOCCIA FACTORY Other Renaissance influences are recorded for Doccia figures. There was before World War II, a six room museum attached to the factory housing many small ancient and Renaissance statues including those by Michelangelo, Pietro Tacca and Bernini, to name a few. In the 18th century, factory owner Carolo Ginori had commissioned an agent in Rome with the sole purpose of obtaining casts of antique statues, which were amassed in this ‘Galleria of Doccia’. These served as inspiration for the factory’s sculptors. Some large sculptural works were made. One turned up at a 2011 Bonham’s London sale where it fetched the astonishing price of AUD$1.2 million. The piece was inspired by the Farnese Hercules, now in the collection of the National Museum, Stockholm. A Moorish slave figure in white, it is taken from a part of a monument by Pietro Tacca and dated c. 1623-26.
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Above: The original marble source of the Doccia porcelain figure by Benvenuto Cellini, (1500-1571). Ganymede & the Eagle, 1540s, h: 106 cm. Museo Nazionale del Bargello, Florence Right: Figure group of Ganymede and the eagle made by Doccia, Florence, c. 1770
DECORATIVE FORMS ON DOMESTIC WARES MADE BY DOCCIA The moulded panels on table wares and tea wares – often referred to as ‘Cappadimonte’ in error, as they were made at Doccia, not Capodimonte have their origin in a series of Italian bronze plaquettes. A set of seasons were produced from original figures in ivory, which were documented as being by the Bavarian sculptor Balthasar Permoser (16511732). The Italian porcelain factories were perfectly positioned to access sources of inspiration, being surrounded by the treasures of the Renaissance – and their products clearly show this. This figure of Ganymede is a fine example of the quality Doccia was able to produce. Gone is the grey paste and dull glaze of the early days, and in this bright white body, with a skin of opaque tin glaze enclosing it further, the figure takes on a life of its own. Brighter and more detailed than any marble could ever be, given life by the very nature of the porcelain and the way it refracts the light that chances on it. Paul Rosenberg MOORABOOL ANTIQUE GALLERY 03 5229 2970 www.moorabool.com
An example of classical moulded panels made by Doccia, a snuff box made in hard-paste porcelain painted with enamels, c. 1770
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Inspirare: Luccio + Luccio 'SRXIQTSVEV] GPEWWMG ERH VEVI [SVOW F] 1EVGS ERH (IFVE 0YGGMS
5 – 19 July Inspirare: to breathe
A fresh look at the art of 1EVGS ERH (IFVE 0YGGMS who continue to draw inspiration from one other, resulting in strong mutual influences on their individual art practices. International cityscapes, landscapes, bodies, portraits and dancers across a variety of mediums including monotypes, etchings, assemblages, drypoints, paintings and drawings, with many works shortlisted for major awards and edition prints held in major collections.
3TIRW 7EXYVHE] .YP] EPP [IPGSQI
Debra Luccio Oberon and Titania 4 2010 Monotype 30 x 19.5cm
Marco Luccio Fortyfive Storeys High 2005 drypoint 118 x 88.5cm
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Femme Fatale: Jazmina Cininas + Lucy Hardie 1 – 16 August The femme fatale is an archetype of literature and art: a mysterious, seductive woman whose ability to entrance and hypnotise her victim was in the earliest stories seen as being literally supernatural. .E^QMRE 'MRMREW re-imagines the female werewolf throughout history in exquisite, reduction linocut portraits drawing on early modern woodcuts, Baltic folklore, Victorian gothic literature, comics and contemporary cinema. 0YG] ,EVHMI is a modern romantic whose meticulous ink drawings reflect influences of the Symbolists and Pre-Raphaelites as well as natural phenomena, fairy tales and Integral Philosophy. Jazmina Cininas Erzsebet was frequently mistaken for a vampire 2011 reduction linocut 37 x 28cm
Lucy Hardie What Is Your Original Face? 2014 ink + metal leaf on paper 46 x 25cm
3TIRW *VMHE] %YKYWX EPP [IPGSQI
www.metropolisgallery.com.au 1)863430-7 +%00)6= 6]VMI 7XVIIX +IIPSRK 4LSRI 3TIR - [IIOHE]W - 7EXYVHE] ) VSFIVX$QIXVSTSPMWKEPPIV] GSQ EY 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
CUTTING EDGE CONTEMPORARY ART
showcased at Art Gallery of Ballarat 16 AUGUST - 28 SEPTEMBER n art one finds an ongoing dialogue between the established and the upcoming with energy and influence flowing both ways. Melting fridges, mysticism, microcosms and mandalas are all in Art & Australia Collection 2003 - 2013. The collection includes a variety of innovative contemporary works of art including video, painting, sculpture, light installation, sound art and photography. The Art & Australia Contemporary Art Award was established by the respected art journal of the same name, to promote the work of artists from Australia and New Zealand. The award focuses on artists in the first five years of their practice, supporting them with a critical text discussing their practice and the illustration of the work on the magazines back cover.
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To date, 38 artists have been recipients of the award and 24 works of art have been acquired to the collection, which represents not only a diversity of art practice but also cultural perspectives within Australian art today. Since June 2004, the front and back covers of Art & Australia have worked in tandem. The front cover of the magazine is the equivalent of an established, institutional space, with the back cover offering room for artistic experimentation and early exposure, much in the same way as an artist-run initiative operates. This exhibition presents a selection of artists who have featured on the magazine’s back cover, having been selected for the Art and Australia / Credit Suisse Private Banking Contemporary Art Award, and then subsequently acquired as a part of the Art & Australia Collection over the last
eight years. The aim in both the award and the exhibition is to increase exposure for Australian emerging contemporary art talent as well as greater opportunities to access major works by contemporary artists in regional Australia. Since winning the award and entering the collection many of these artist’s careers have flourished. Past winners include Del Kathryn Barton (2008 & 2013 Archibald Prize winner), and Jonathan Jones (2012 Adelaide Biennial of Australian Art, National Indigenous Triennial Canada) to name a few. This exhibition comes to Ballarat as part of a national tour by the Newcastle Art Gallery in partnership with Art & Australia. ART GALLERY OF BALLART 03 5320 5858 www.artgalleryofballarat.com.au
Alasdair McLuckie, The sun as my witness, 2010
Stuart Campbell (1951-2009): The essence of you ART GALLERY OF BALLARAT Saturday 30 August to Sunday 12 October Admission: Free nsuspecting actors sent by their agents to Stuart Campbell’s ‘studio’ were never prepared for what awaited them at the top
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Stuart Campbell, Colin Farrell, c. 1994. Courtesy of the Estate of Stuart Campbell
of the stairs. Before they’d even reached the landing, a door would be edged open and the photographer, wine glass in hand, would look his subject up and down and murmur lasciviously, ‘Come inside and take all your clothes off.’ What made Stuart Campbell unique was his ability to disarm his subjects with outlandish wit, shocking them out of their self-consciousness so that they revealed more of themselves than they had ever intended as they were walking up that flight of stairs. Close friend, Simon Burke, remembers ‘his lethally accurate assessment of anyone and anything in his path, his knack of saying exactly the wrong thing at exactly the wrong time.’ Few subjects would have ever forgotten the experience. ‘Stuart would have four or five clients a day,’ Burke says, ‘and most of these clients would still be there at the end of the day and a free personality assessment late into the night.’ The results, as friend Siobhan Hannah says, were often the best portraits of the subjects ever taken. ‘He managed to catch something about each person’s character – the pretty ones would get a hint of a stronger beauty, the plainer would reveal their warmth or sexiness, comics would reveal a hint of their serious intellect.’ Given that his portfolio of portraits includes head shots of just about every leading Australian
actor of the past 30 years, such as Mel Gibson, John Bell, Jacki Weaver and Colin Friels, many of them at the early, vulnerable stages of their careers, this says much about his remarkable eye. Born in Ballarat in 1951, Stuart entered Swinburne Technical College as an art student and quickly developed a passion for photography. That was the start of an affectionate 40 year friendship with the film director Gillian Armstrong who cast him in her first film, Man and Girl, and in the short comic film Satdee Nite. Later, he would have small roles in her features Starstruck and Unfolding Florence. When he was 21 he was accepted into the drama school at NIDA. Not blessed with matinee idol looks like fellow students Mel Gibson and Andrew McFarlane, he quickly blossomed into a marvellous character actor. Aubrey Mellor, former NIDA director, recalls, ‘Stuart surprised everyone with his in-depth, painfully empathetic portrayal of Shylock in Merchant. I have never since seen that play so well realised.’ On graduation, he was soon working with the major theatre companies and in film and TV. By the early 1980s Stuart’s hobby as a photographer had started to grow into a profession. He was photographing male centrefolds for Cleo and portraits of artists such as Peter Carey for Vogue, as well as artistic male
nudes. His empathy for actors and his experience of both sides of the camera made him the portraitist for actor’s headshots. ‘In a Campbell portrait the face always glowed against a dark background. It lifted the skin and brought out the eyes,’ Gillian Armstrong says. His apartment became a meeting place for actors, directors, musicians and writers; where firemen and surfers might hobnob with Jacki Weaver, Richard Wherrett, Jane Scott and Richard Tognetti. But those hilarious years weren’t to last forever. When Agfa discontinued the paper he loved a few years ago, he despaired. Agents and clients were demanding digitised images but Stuart disliked the aesthetics of the new technology and refused to take it up. In 2006 he decided to move to Ballarat to be with his large and loving family and died after a brief illness in December 2009. Those who knew Stuart were left with the indelible stamp of his considerable personal charm. Those who were fortunate enough to have been captured by his camera have a more precious memento. Lee Tulloch ART GALLERY OF BALLARAT 03 5320 5858 www.artgalleryofballarat.com.au
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practice to works which reinterpret and reclaim traditional modes and imagery in new and exciting ways. The Awards reflect the vibrant Indigenous arts community and continuing cultural practice in Victoria and challenge the stereotypical notions of Aboriginal art. The Victorian Indigenous Art Awards is a Victorian Government program delivered through Arts Victoria and presented by the Art Gallery of Ballarat.
Left: Ray Thomas, A Gunnai Elder: Mum Alice, 2013, oil on canvas. Courtesy of the artist. Winner of the Deadly Award, 2013 Victorian Indigenous Art Awards
ART GALLERY OF BALLARAT 03 5320 5858 www.artgalleryofballarat.com.au
Victorian Indigenous Art Awards Saturday 23 August to Sunday 5 October Admission: Free rom August to October, the Art Gallery of Ballarat will be presenting the 2014 Victorian Indigenous Art Awards. The exhibition of finalists shows the distinctive and recent work of Victoria's Indigenous artists, drawing from their cultural heritage, personal experiences and art practice. Visitors to the exhibition will experience an extraordinary diversity, ranging from works that are representative of current contemporary art
Bronwyn Razem, Eel trap with emu feathers, 2013. New Zealand flax, emu feathers. 45 x 140 x 45 cm. Winner of the University of Ballarat Acquisitive Award for the 2013 Victorian Indigenous Art Awards Antiques and
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PICKIN’ THE METHOD: REFINISHING YOUR GUITAR n the good old days shiny guitars were the only way to go. As Paul Simon sang ‘...shining like a national guitar...’ (Gracelands) in 1986, this was what was expected. That’s me on the right with my shiny Washburn back in the day, but beside that is me with a new look Washburn which has a natural finish. Look around in music shops and you’ll see that about 60 percent of their stock has the new natural wood look, and it looks like it’s here to stay.
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WHY AVOID POLYURETHANE BASED BLENDS Liquid coatings labelled ‘containing tung oil’ which provide a natural low sheen finish come in all sorts of blended concoctions.The worst of them are the polyurethane based blends. My advice? Avoid them. Why? Because polyurethane is NOT natural and to blend it with natural tung oil just doesn’t make sense. Polyurethane based products easily deteriorate over time and are extremely difficult to repair in the long-term.
HOWARD PRODUCTS NON-TOXIC ORANGE TUNG BURNISHING OIL The best way to achieve a durable, non-toxic, matte or low sheen finish is to use natural tung oil, but that can take a long time to dry and cure. So Howard Products Australia developed an amazing natural blend combining two vital natural oils for wood and they are orange oil and tung oil. We call this blend, naturally enough, Orange Tung Burnishing Oil and the ingredients are a blend of Brazilian cold pressed essential orange oil and premium first grade Chinese tung oil. The natural orange oil acts as a solvent to thin the tung oil and help it to dry much faster. Many commercial brands of so-called tung oil add up to 60 percent of kerosene to their tung oil blends in order to make them dry more rapidly and of course, to make their product more cheaply. With a musical instrument which has a fretboard or a fingerboard, the gunk caused by human fingers that are sweating and excreting oils builds up, and you’ll soon see a layer of black ‘tar’ forming, which is almost impossible to remove. To remove this buildup, harsh chemicals are not what you should
use, as sufficient leaking of that stuff into the wood of your instrument can permanently damage the quality and integrity of the wood. Orange Tung Burnishing Oil will coat your instrument with a natural barrier which can easily be cleaned as you go with Howard Orange Oil soaked into a piece of cloth. You can trust that Howard Orange Oil is not some all-purpose kitchen cleaner.
HERE IS WHAT A CUSTOMER HAD TO SAY ‘On day one I put my first coat of Orange Tung on my guitar. I made a “rubber” the way you said I should, using strips of cloth wrapped into a tight ball with an outer casing of soft cloth. Then I dipped it into the oil and
rubbed it into the wood, going with the grain. I waited for 15 minutes and then tacked the surface off. It was touch try within a few hours, but I left it overnight as you told me to, and applied my second coat the next day. I used to use polyurethane to coat my guitars, but I wanted a more natural look. Well, it has come up looking fantastic. Regards, Brock
NOTE: MAINTAIN YOUR GUITAR If at any stage in the future you want to recoat your instrument you lightly sand the surface using 600–800 grit sandpaper, dust it off with a little Orange Oil and give it just one more coat of Orange Tung oil. It’s all so easy a baby could do it – and by the way, Orange Tung Oil is non-toxic and very safe.
David Foster HOWARD PRODUCTS advice@howardproducts.com.au www.howardproducts.com.au
“We used Orange Tung on our timber floor with great results”- Roger Serong
Natural and Non-Toxic
BUY ONLINE • FIND A STOCKIST SEE THE VIDEO • ASK A QUESTION
Adds life to the things you love HOWARD PRODUCTS AUSTRALIA
1800 672 646 www.howardproducts.com.au 58
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DAYLESFORD
AT CONVENT GALLERY Richard Payne: Of Gods and Love T he Greek gods is a theme that has long inspired the classical work of artists throughout time in all forms – from larger-than-life grand sculptures to the interpretations of the greatest classical realists through the history of art. Richard Payne, Australian classical modernist artist, has been using this theme to challenge the strictures of traditional interpretation, and explore the bounds of classical modernism. This artist does not take the heavy, dramatic or austere approach to the pantheon of Greek gods by demonstrating the power over the human underclass. Richard uses the narrative of this genre to interpret the human side of the gods, in all their glory; enjoying their relationships with humanity through expressions of colour, movement and emotion. Born in Melbourne, in 1957, Richard Payne is an ‘emerging artist’ whose lifetime of classical training and practice as an artist, architectural draftsman and graphic designer informs his line, composition and use of space. In 2010 Richard moved to Florence, Italy, to study the techniques of classical realism at the Florence Academy of Art for two years, thereafter returning to Australia and his modernist roots, using intuition to innovate and knowledge to control his unique visions.
ARTIST’S STATEMENT
‘Classical mythology provides me with the motifs and layering of narrative for the expression of my philosophy on beauty and life. By reviving these myths, I seek to create fresh works that offer the viewer entry to a unified world of spirituality, positive energy and opt away from their chaotic modern world. Colour and movement are important – I seek the moment in the narrative where the emotions are palpable, the characters full expression, sublime. The viewer takes to each piece their own life story, and through that filter can relate to the human element of these gods. Using light and controlled colour harmonies to increase the luminescence of their realms is critical to assist the viewer to suspend their own thinking as they explore the layering of symbolism and implications of this moment. The compositions are designed to hold the viewer in key places, and then to move them around the piece – to gradually reveal through many viewings further layers, a careful balance of the simple and complex, intense colour in a limited pallet. Classical modernism provides the perfect vehicle to meld both the classical and clean lines of expression. As each subject in the
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piece is designed, as they come forth they take on a life of their own – much the same as Pygmalion’s statue. As their expression comes forward, their representation can be pared back to its essence, but never enough to take the complete narrative away from the viewer’s involvement.’ Richard’s unique approach talks to both the soul and the intellect. His work is expansive – it pulses with an energy that is intensified and controlled by an artist who has spent a lifetime
mastering line, composition, perspective and the dynamic use of intense colour. Of Gods & Love is an important exhibition, as Payne’s unique approach reveals both surface beauty of the narrative and the inner harmony of Payne’s compositions. This is an artist to watch. For more information CONVENT GALLERY 03 5348 3211 www.conventgallery.com.au
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BENDIGO / EPSOM
Cherryl Fyffe, collagraph plate
Cherryl Fyffe, Alpine pass, lino etching
Cherryl Fyffe, Cinque Terre, linocut
ETCETERA PRINT GALLERY
Brenda Hartill, Alchemy VII, collagraph
at Bendigo Pottery ontemporary printmaking is exciting as it builds on the traditional forms of printmaking but has an evolving range of technological tools to develop alone or blend with the old. Cherryl Fyffe of Etcetera Print Gallery at the Bendigo Pottery favours the smell of an inky rag and turning the wheel of the press, rather than using a camera or computer in her work. As an ex-art teacher, she is intent on educating visitors to the gallery about the forms of printmaking.
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WHAT IS AN ORIGINAL ARTIST PRINT? My take on original artist prints is that the image is printed from a plate handmade by the artist. The choice of plate materials, paper, inks and
BENDIGO
press techniques are integral to the intention of the print outcome, decisions made by the artist. Therefore, it is a result of education and experience each print is individually physically inked by hand and printed on a printing press by the artist or a designated printer, not through a photographic/digital copier. There is a limit to the number of prints, due to wearing of the plate.
hand or roller. Examples are woodcuts, linocuts and letterpress. Intaglio is from the Italian word intagliare, to incise or engrave into the surface. A print is made when dampened rag paper is pressed into the etched inked recesses of the plate. Examples include etchings, engravings, mezzotints, drypoints, lino etching, collagraphs, alone or in combination.
TYPES OF PRINTS
EDITIONS
Images traditionally printed in my studio are either relief or intaglio prints and some descriptions of types of prints seen in my gallery are as follows. Relief prints are taken from the top surface of the plate, after ink has been applied by
Traditionally, a series of prints or an edition, has every print identical: paper size, print position, ink colour and application, etc. The number of prints is published and signed to guarantee quality and quantity and other than artists’ proofs, no other prints should be made. An artist’s proof (AP) is identical to the edition, but reserved for the use of the artist – archives, gifts or sale. A unique state (US) is a single print not repeated in that form. It could be a trial proof, an abandoned image, a plate in different colours or styles, a monoprint or monotype.
POTTERY
... Australia’s oldest working pottery
RELIEF PRINTS Most commonly the relief plate is lino or wood, but any firm surface that can be carved could be used. The basic factor is that ink is normally rolled across the surface and the reverse of that image is achieved when pressed onto paper. The paper is dry and can be any weight from fine rice papers to heavy. A monoprint is a unique print whereby the image has to be recreated each time: there is no reusable plate. This could be as simple as a painting on a plate which achieves a single print.
INTAGLIO PRINTS
Watch potters at work or try a wheel throwing experience See the latest range of Bendigo Pottery in the extensive retail gallery Explore 155 years of history in the Interpretive Museum Visit an artist’s gallery to see prints, lamp work glass beads, metal sculptures, paintings & textiles Discover treasure in the Antiques & Collectables Centre with over 40 sites 146 Midland Hwy, Epsom Vic 3551 03 5448 4404 Open 7 days, 9am to 5pm
www.bendigopottery.com.au
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Etching is a term often applied to mean all intaglio prints. A print is taken from a metal plate, normally copper, zinc or aluminium, which is etched in acid. Areas of the plate are masked with a resist and the acid ‘bites’ at various depths, depending on time of immersion or repeated layers. Lino and other surfaces are variations. Techniques used in the making of the etched plate include sugar lift, spit bite and aquatint. The latter is an etching technique which uses a fine resin dust adhering to the plate in areas where tone is required. The resin is acid-resisting, so only the areas around the dust particles are bitten. Chine colle is a French term describing a collage element, sometimes thin Asian paper or metal leaf that is printed and glued onto the print at the time of printing. Engraving is an image that is cut into metal, wood, lino or other plate using a tool – graver, knife, gouge, drypoint needle, electrical tool. Drypoint prints are examples of this
Cherryl Fyffe, A will of its own, drypoint
method and are characterised by the burred edge created when scoring the surface, resulting in a blurred velvety line. Mezzotint is an engraving technique invented around 1640. A metal plate is indented by rocking a toothed steel tool all over the surface. Each pit will carry ink. The indentations are gradually burnished to reduce their ink-holding depth, creating an infinite variety of tones, from solid black (not burnished) to pure white (highly polished). Collagraph is a combination of the words ‘collage’ and ‘graphic’ to describe a print made from a matrix (or plate) built with collage materials. The base can be wood, cardboard, metal or plastic. Elements can be drawn into glue, gesso or plaster; or objects, fabrics, organic pieces can be glued on the base. The whole piece is sealed well, then printed in either intaglio or relief.
ARTISTS’ STUDIOS All of the above techniques can be found in the prints at Etcetera Print Gallery, Bendigo’s only exclusive print gallery. As well as Cherryl’s collagraphs, etchings, drypoints and monotypes, there is a range of Bendigo printmakers’ work on show. Works by noted English artist Brenda Hartill, with luscious textural collagraphs and etchings, are an extra treat.
BENDIGO POTTERY TOURIST COMPLEX Wander through the gallery, incorporating the cellar door of Bendigo’s Glenwillow Wines, owned by Peter and Cherryl Fyffe – art and wine, a classy mix! Bendigo Pottery Tourist Complex encompasses its own retail gallery, an historical museum, an antiques and collectables centre, and a cafe, all open every day, 9 am to 5 pm. There are also seven individual galleries on the site at 146 Midland Highway, Epsom, on the northern edge of Bendigo. For more information contact BENDIGO POTTERY 03 5448 4404 info@bendigopottery.com.au www.bendigopottery.com.au
BENDIGO
Bendigo Art Gallery presents DE ANIMA, BROOK ANDREW’S NEW MAJOR ARTWORK endigo Art Gallery is presenting Brook Andrew’s De Anima, a major new artwork enabled by a philanthropic grant – CATALYST: Katherine Hannay Visual Arts Commission. A feast of the moving image, performance and sculpture, De Anima immerses the viewer in a world of seeing and being that tests truth and history to the very questioning of our soul. Upon entering Brook Andrew’s De Anima, the viewer will be lost between worlds of truth and fiction. Here the filmic image acts as a manipulator of representations of cultures as well as issues of self-presentation, and the ever-present conflict of who can represent whom. By manipulating film footage Andrew aims to ask what is the soul, does it exist, or is this a human vanity or egoism? De Anima aims to question the way in which the pictures of those around us are produced in order to encourage an exploration of how we view history, and whose history and ideas we are really consuming. Can we trust them and where is the soul in all of this? De Anima includes an ambitious new video with score composed by Theodore Wong, performed by Benny Dimas and Justin Shoulder and features archival as well as
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newly filmed footage, alongside a series of photographic images and sculptural forms.
ABOUT CATALYST: KATHERINE HANNAY VISUAL ARTS COMMISSION CATALYST: Katherine Hannay Visual Arts Commission is a unique charitable grant that supports Australian visual artists to work in partnership with a cultural not-for-profit organisation to realise a major new work at a pivotal moment in theircareer. De Anima is a NETS exhibition presented by Bendigo Art Gallery as a part of The Cinemas Project – a state-wide presentation of five ambitious new contemporary artworks by BrookAndrew, Bianca Hester, Lily Hibberd, Mikala Dwyer and Tom Nicholson, curated by Bridget Crone. Brook Andrew is represented by Tolarno Galleries, Melbourne and Galerie Nathalie Obadia, Paris/Bruxelles. Leanne Fitzgibbon Senior Curator BENDIGO ART GALLERY 03 5434 6088 www.bendigoartgallery.com.au
Post Office Gallery
Brook Andrew, Feeling (man), 2014, glass lantern slide. Courtesy of the artist, Tolarno Galleries, Melbourne and Galerie Nathalie Obadia, Paris/Bruxelles
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A feast of the moving image, performance and sculpture, De Anima will immerse the viewer in a world of seeing and being that tests truth and history tothe very questioning of our soul
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A CURE FOR ALL ILLS: MEDICINE IN BENDIGO SHOWING UNTIL 10 AUGUST oday it is relatively straightforward to visit your local doctor, get a tooth fixed at the dentist, a prescription filled at the chemist, or seek alternative remedies outside the framework of mainstream medicine. Since the arrival of Europeans the healthcare system in Australia has grown to become an ecology of varying disciplines, working cohesively to manage the vast array of health problems
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T.R. Jones Chemist, ointment bottle, early 20th century, glass, paper, cork. Collection Dennis O’Hoy. Photography: Ian Hill
experienced by the general population on a daily basis. However, it was a very different story in the mid-1800s when thousands flocked to the Bendigo goldfields seeking their fortune. The Bendigo goldfields grew at a rapid pace with thousands descending upon the region in less than a year of gold being discovered. In this context, structures for the provision of healthcare inevitably evolved in an ad hoc fashion, developing more from urgent need alongside individual entrepreneurship and a sense of civic responsibility than systematic planning. Regulatory bodies played catch-up, endeavouring to make sense of a makeshift system of overlapping disciplines and the infiltration of quackery. From these chaotic beginnings to the formation of professional practice, the introduction of regulations against quackery and the establishment of long standing institutions such as Bendigo Hospital, A cure for all ills: medicine in Bendigo explores the social history surrounding the foundations of healthcare in Bendigo and the contribution of doctors, pharmacists, dentists, nurses and Chinese herbalists in providing essential health services to the community.
Genius and Ambition: The Royal Academy of Arts, London 1768–1918 2 March – 9 June 2014 De Anima: Brook Andrew The Cinemas Project 12 April – 1 June 2014 The Body Beautiful in Ancient Greece Presented by the British Museum in collaboration with Bendigo Art Gallery
2 August – 9 November 2014 Post Office Gallery A cure for all ills: medicine in Bendigo 7 February – 10 August 2014
Gallery Café open 7 days from 8.30 am – 4.00 pm
BENDIGO ART GALLERY 03 5434 6088 postofficegallery@bendigo.vic.gov.au Antiques and
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HAMILTON
AN INVITATION TO VISIT Baimbridge Antiques in Hamilton he entrance to Baimbridge Antiques is deceptive. Upon entering it is not unusual for visitors to exclaim ‘wow!’. Once through the threshold it is an exciting journey past cabinets filled with beautiful jewellery, both old and new, to the area dedicated to fine antique furniture. Here is oak, cedar, mahogany and walnut. From chests of drawers, bookcases, desks and tables ranging from large extension examples to delicate wine tables, to chairs, benches and sewing tables. As well there are hallstands and display cabinets. Complimenting the furniture are paintings, statues, silverware, porcelain, ceramics and glass – and the list goes on.
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SOURCING SERVICE Rhys Colliton enjoys the challenge of sourcing whatever it is you have been searching for. Such is the service he provides that most customers end up become lasting friends.
FIND THAT SPECIAL PIECE OF JEWELLERY Ruth Colliton delights in the jewellery. Here at Baimbridge Antiques there are wonderful pieces from the past. But if looking for something new, held in the showcases are beautiful unique new pieces.
WELCOMING AMBIENCE AT THE ROXBURGH CAFÉ Roxburgh House adjoins Baimbridge Antiques. The Roxburgh is renowned for its coffee and ambience, serving breakfast and lunch, the ingredients sourced from local produce and matched also with local wines. Additionally, on a Friday night, the cafe is open for dinner. A seat by the open fire is a treat on these cold days whilst you enjoy the latest art exhibition featured around the room, or find a spot in the courtyard in summer. No matter the season, The Roxburgh is the perfect place to revive after time on the antiques trail.
HOW TO FIND US Baimbridge Antiques and Roxburgh House are housed in a gracious two storey Victorian building in Hamilton’s CBD. Hamilton is in the heart of the Western District of Victoria, an area rich in natural geographic features, unique Indigenous history and large grazing properties. Hamilton is 20 minutes from the Grampians mountain ranges and 40 minutes from Port Fairy on the coast. We may be biased, but we believe we are situated in one of the most wonderful places in the world – come see for yourself! BAIMBRIDGE ANTIQUES 03 5572 2516 www.baimbridgeantiques.com.au
64 Thompon Street Hamilton, Victoria
03 5572 2516 Invest in the quality and beauty of the ages
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VICTORIAN ANTIQUE DEALERS GUILD
SILVER OR SILVER PLATE o you enjoy visiting antique centres and find yourself inspired to begin a collection? But are then faced with the challenge of deciding on what to collect? Well, one suggestion is to consider pieces made in silver, or quality electroplated nickel silver (EPNS). There are bargains to be had as silver is still very well priced. Moreover, silver objets d’art look terrific on a mahogany sideboard or in a display cabinet. Alternately, silver is a good choice if looking for gift ideas; whether to mark a special birthday, anniversary, and of course christenings. It is always better to look for suitable objects well in advance. This way you are sure to secure a bargain and enjoy many hours of stress free happy hunting.
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LOW MAINTENANCE Silver is durable and so much old silver has survived. It is best to avoid heavy handed cleaning. Just wash in mild detergent then rinse in clear water. If a piece has not been looked after on a regular basis you might have to buff with a special silver cloth that can be bought at any supermarket or antique centre.
ENGLISH STERLING SILVER Pure silver is too soft to be used on its own. It has to be hardened by adding small quantities of another metal, usually copper. The sterling standard consists of 925 parts of silver in 1,000 parts total. In other words, sterling silver is 92.5% pure silver and 7.5% other metal. Proof of purity is shown by the hallmark that is stamped on the object.
OLD SHEFFIELD PLATE Invented by Thomas Bolsover in about 1743, his breakthrough discovery was that silver could be fused on to a copper ingot, and then rolled into a thin sheet. It was a complex process and even more involved was the plating of both sides of a sheet of copper. This technique of double plating was first produced in 1763. The person who truly appreciated the commercial potential of this material was Joseph Hancock of Sheffield who in the mid 1750s began to make a range of domestic wares such as saucepans, candlesticks and coffee pots. As well as Hancock, other makers around that time were Nathaniel Smith and Thomas Law. The first factory to produce plated objects was Tudor and Leader in about 1760.
SILVER PLATE An object marked EPNS – electroplated nickel silver – has less value than sterling
silver pieces. Electroplating is the electrolytic depositing of silver on to a cheaper metal’s surface. The cheaper metal is usually either copper or nickel. Britannia metal (EPBM) was also used; Britannia metal is tin with the addition of a small amount of copper and antimony. This technique was popular in the latter part of the 19th century and a major producer was Dixons. Elkingtons’s patent of 1840, which was plating of either silver or gold on to another metal, resulted in the beginning of a new industry. A cheaper technique that did not require the same skill, time and effort invested in the production of Old Sheffield plate, electroplating took over by the 1850s. Silver is a wonderful material. It can be beaten into sheets, drawn into wire and shaped into the thinnest of leaves. A wonderful canvas for artisans, silver can be shaped into any form or shape that will remain unchanged. It is also self-sterilising. Bacteria cannot survive on its surface. Hence it was a popular material for medical instruments and today, antique medical instruments are very collectable. Many books are available on collecting silver. Learn about the material from its earliest uses, which dates to the 3rd millennium BCE, to appreciating the work of contemporary silversmiths. Unravel the mystery of hallmarks and dating or explore some famous makers. There is so much to learn and appreciate. Happy hunting! VICTORIAN ANTIQUE DEALERS GUILD www.vadg.com
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Silver is a good choice if looking for gift ideas; whether to mark a special birthday, anniversary, and of course christenings
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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 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 175-177 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
www.vadg.com Direct enquiries to any of the Guild Committee Members
ANTIQUES – ULTIMATE RECYCLING Antiques and
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SHEPPARTON
John Wilson
Ross Paterson, Township of Dookie
John Wilson
ANNUAL DOOKIE PLEIN AIR LANDSCAPE SCHOOL 15 - 17 NOVEMBER
ollow in the footsteps of the Heidelberg School masters including Arthur Streeton, Frederick McCubbin and Tom Roberts, whose paintings immortalised gnarly gums, parched earth, and the golden hue of newly settled farmland. Learn to master the ultimate dream of capturing the Australian landscape as they, and many others that followed, did. Set up your easel or sketchpad and discover the delights of Australia’s unique light on the scene before you that is renowned for creating a particular emotion or mood. Capture the atmosphere, reflected lights and other subtleties, unique to Australia. With world famous Australian plein air artists/tutors, paint and sketch Australia’s inimitable and incredible diverse landscape. Plein air painting is something artists of all styles, subject matter and strengths can enjoy. The
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Photo by Robert Knight
Dookie Plein Air
Landscape School
15, 16 & 17 November 2014 Dookie Campus, University of Melbourne North East Victoria
Australia’s only plein air painting school With 5 of Australia’s best plein air tutors/artists spend 3 days with one tutor Cost: $580 (includes full catering) Accommodation available if required: $340 for 3 nights Painting location will be on campus and in the immediate area of the campus and will include rural /bush /landscape; townships/heritage buildings; animals, etc
TUTORS Oils: John Wilson, Robert Knight, Herman Pekel Watercolour: Ross Paterson, John Orlando Birt
outdoors is not only a great classroom for artists of all stylistic interpretations, but also for artists who choose to paint other subjects. Because painting outdoors requires consummate observational skills and quick, accurate decision making, figure painters who spend time working outdoors often find their understanding of how light affects form – and their ability to more naturally and accurately record it, increasing. Regardless of whether you’re exclusively a plein air painter or one who works in other art styles; an artist following academic practices, or one drawn to a looser, more impressionist style; an painter in oils, watercolour, etc, or someone who just needs to feel light on their face and fresh air in their lungs, when you paint, the good news is that in the great outdoors there’s room for everyone – especially in Australia. Five highly regarded professional plein air artists/tutors will instruct you out in the great Australian landscape in north-east Victoria. Participants chose one tutor to spend three days painting with. Each tutor will have devised a program and painting schedule incorporating a variety of landscape locations including hills, bush, heritage buildings, townships, animals, vineyards, sunsets, and lots more. There will be time to soak up the local culture, have lunch at Dookie and paint early mornings and at sunset. No need to worry about meals while out on location as picnic meals are included in the package. Fine weather has been prebooked, but if this goes astray then plan B will operate. The plein air experience does throw up some challenges on occasions. You will be shown ways to combat these.
WORKSHOP DESCRIPTIONS AND AIMS FROM SOME OF OUR TUTORS John Orlando Birt (www.jennypilhanfineart.com.au) watercolour At some time, we have all experienced the wow factor requiring that need to capture the moment. To stop and take a photo. In a landscape that magic is produced by light and atmosphere and the effects by that light on the components of the subject. In plein air painting it is our objective to distil out these areas of light and shadow and then enhance them, making them major players in the landscape.
It is easy to be distracted by the detail that is always present and be taken off in another direction. To stay focussed – 1. First, have a plan. Know what you want to say with the painting. 2. Create an interesting, not a predictable composition. Always consider your foreground. 3. Visualise the finished painting and use a limited palette for colour harmony. Ross Paterson (www.rosspaterson.com.au) watercolour This on-location workshop is based on the actual descriptive awareness of all issues confronting an artist when working directly from the motif, or in this case, working directly from the landscape-or urban landscape. We will resolve important art issues such as design, making spontaneous decisions in shape, tone and colour, in relation to what we see before us. The importance of seeing relatively and in a simplified way, working quickly to achieve rhythm in our work studies, along with ways of developing memory retention. How to follow this up with a larger scale work in the studio, and attain variations of the same theme, will also be covered. Students will be encouraged to begin works on a smaller scale – time studies, in both pencil and watercolour – before progressing to larger scale watercolours as confidence is increased. Come prepared with suitable clothing, hat, light easel and determination to learn and enjoy! John Wilson (www.johnwilsongallery.com) oils John is a member of the prestigious Australian Plein Air Painters Group and will share his secrets of how to paint beautiful and exciting landscapes on location. This informative workshop is for keen artists with some painting experience who have mastered the basics and wish to move to higher levels. The course will cover tone, temperature, colour mixing, composition, atmosphere, atmospheric perspective, reflected lights, reflections and other subtleties unique to the landscape. The workshop will begin with a short theory session, followed by step by step demonstrations of each painting. Emphasis will be to attain the extra step to achieve a higher level of skill and competence in all areas, especially in understanding the landscape and learning to see. Please bring all your outdoor painting gear and as many questions as you wish to ask. For further information GLASSONS ART WORLD 03 5822 0077 info@glassonsartworld.com.au www.glassonsartworld.com.au
For further details
glassons art world 151 High St Shepparton Vic 3630 info@glassonsartworld.com.au 64
Antiques and
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Ph 03 5822 0077 www.glassonsartworld.com.au
Herman Pekel
SHEPPARTON
SHEPPARTON ART MUSEUM Delinquent Angel: John Perceval’s ceramic angels 29 AUGUST – 23 NOVEMBER hepparton Art Museum (SAM) is delighted to present Delinquent Angel: John Perceval’s ceramic angels from 29 August to 23 November 2014. This historically significant exhibition brings together approximately 40 of John Perceval’s ceramic angel sculptures for the first time since they were first exhibited in 1958 and 1959 at the Museum of Modern Art of Australia. Delinquent Angel: John Perceval’s Ceramic Angels is a landmark exhibition for SAM and highlight of the 2014 exhibition program.
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JOHN DE BURGH PERCEVAL AO (1 FEB 1923 - 15 OCT 2000) John Perceval AO is one of Australia’s most celebrated and loved artists renowned for his radicalism, expressiveness and prolific output, along with his complex personal life. As a member of the Angry Penguins avant-garde movement that began in the 1940s, Perceval joined with other Australian art luminaries Arthur Boyd, Albert Tucker, Sidney Nolan, Danila Vassilieff and Joy Hester to rail against the insular conservatism of Australian society and push for new voices and modes of expression. Perceval is largely known for his painting practice, however from 1957 to 1962, during what is considered to be one of his most creative periods, Perceval produced a series of ceramic angel sculptures as a result of his involvement with Arthur Merric-Boyd’s pottery studio at Murrumbeena. Perceval’s ceramic angels are often an over-looked aspect of his oeuvre despite their technical and conceptual sophistication, humour and beguiling charm. Perceval created more than 70 ceramic angels that range from self-portraits and tributes to friends and family, to figures that
illustrate allegorical stories and comment on the threat of nuclear weaponry. John Perceval’s ceramic angels are drawn from major public and private collections across Australia, including the Australian War Memorial, Canberra; National Gallery of Australia, Canberra; Heide Museum of Modern Art, Melbourne; Monash University Museum of Art, Melbourne; Queensland Art Gallery, Brisbane and Shepparton Art Museum. The exhibition will explore themes of the angels and examine their place within John Perceval’s artistic practice and world-atlarge as a father, friend, and avant-garde member of society in conservative 1950s and ’60s Australia. Delinquent Angel: John Perceval’s ceramic angels will be accompanied by a new essay on the angels by art historian and curatorial consultant on this exhibition, Damian Smith. The essay will be published on a blog, www.percevalsangels.com where images of the angels are being reproduced alongside contextual information, interviews, guest blog entries and education resources. SAM is presenting a variety of public and educational programs inspired by this exhibition. To find out more on these programs and other special events, head to www.sheppartonartmuseum.com.au.
ALSO SHOWING AT SAM
VISITING SAM
The Drawing Wall #15 by Reko Rennie: until 27 July 2014 2014 Indigenous Ceramic Art Award: until 10 August 2014 Bindi Cole: I Am: until 10 August 2014 Paradise Again: Australian art from the SAM Collection: until 14 September 2014 The Drawing Wall #16 by Shane Haseman: 8 August - 2 November 2014 The Drawing Wall #17 by Linda Botham: 14 November 2014 - 1 February 2015
SAM is located at 70 Welsford Street, Open 7 days from 10am to 4 pm (public holidays 1 pm to 4 pm), Closed Good Friday, Christmas Day and New Year’s Day. Entry into SAM is free. For more information contact SHEPPARTON ART MUSEUM 03 5832 9861 art.museum@shepparton.vic.gov.au. www.sheppartonartmuseum.com.au
delinquent angel.
John Perceval (1923-2000) The Herald Angel, 1958 stoneware, bust of an angel playing a lute with green and red reduced copper glazes, 26 x 32 x 22 cm Queensland Art Gallery, purchased 1960 by public subscription and with the assistance of the Queensland Art Gallery Society Photograph: Natasha Harth, QAGOMA © The Estate of John Perceval
29 August to 23 November 2014
John Perceval’s Ceramic Angels
John Perceval Fighting Angels (detail) 1959 earthenware with copper oxide glaze Courtesy National Gallery of Australia, Canberra © The Estate of John Perceval
70 Welsford Street, Shepparton VIC w sheppartonartmuseum.com.au w percevalsangels.com
John Perceval (1923-2000), Delinquent Angel, 1961, glazed earthenware, 25.3 x 20.3 x 19 cm. Shepparton Art Museum, purchased 1976 © The Estate of John Perceval Antiques and
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TASMANIA
Gowans Auctions is holding a
HUGE ANTIQUE & COLLECTORS AUCTION Saturday, 11 October 2014 Commencing 10 am in our rooms at 37 Main Road, Moonah Hobart Tasmania Due to the sale of Lyndhurst, one of Tasmania’s most historic properties, Gowans Auctions has been instructed to offer by public auction the private collection of Derek and Hellen Chambers This outstanding collection includes: • Australian & English furniture • Enamel signs & advertising mirrors • Royal Winton & Carlton Ware • A collection of ‘bathing beauties’ Special collector items also include miniature furniture and a large selection of fine and important Decorative Arts items
Enquiries to
GOWANS AUCTIONS 03 6278 1600 E: info@gowansauctions.com.au www.gowansauctions.com.au
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CANBERRA
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NEW SOUTH WALES
Superintendent’s Residence
Column Garden
Map of Centennial Park, 1892, with the residence circled
A SPECIAL EXPERIENCE AWAITS AT
Centennial Park’s historic residences C entennial Park is one of the grand inner city parklands of the world, established in 1888 by Sir Henry Parkes for the city of Sydney. The park was chosen as the site for the inauguration of the Federation of Australia on 1 January 1901 and features formal gardens, ponds, grand avenues, statues, heritage buildings, wilderness walks, equestrian and sporting grounds. There are more than 120 land and water birds, as well as possums, birds, bats and turtles. The park is also home to 15,000 trees including magnificent Australian figs, evergreen oaks, exotic pines, eucalypts and paperbarks. The beautiful formal gardens appropriately named Rose Garden, Column Garden and Frog Hollow provide a year-round display of native and exotic plants.
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Located in historic Paddington-Woollahra, Centennial Park is set among the largest expanse of Victorian architecture in the Southern Hemisphere. The Paddington Gates with their massive carved stone pillars and ornate designs are an imposing entrance to Centennial Park from Oxford Street and the gateway to the gracious colonial Superintendent’s Residence.
SUPERINTENDENT'S RESIDENCE The Superintendent’s Residence is a fine example of a 19th century Victorian-style residence. A gracious sandstone building with a slate roof, timber floors and corrugated iron, it was designed by colonial architect James Barnet and constructed in 1892.
RANGER’S RESIDENCE The Ranger’s Residence was built soon after the Superintendent’s Residence, in 1899. Located in Centennial Park at the crest of a hill near the Robertson Road gates, it was designed by the NSW Government architect Walter Vernon. Its hipped and gabled tiled roof is in the European arts and crafts style with applied medieval, romantic and folk styles of decoration. It features decorative timber fretwork, brackets and pillars, and multi-panelled windows with its porches overlooking the parklands.
RESTORATION PROJECT NOW COMPLETE Left vacant for many years, the residences have now been beautifully restored by the
Hughenden Hotel. The black marble fireplaces, high ceilings, crystal chandeliers, original polished wooden floors, gracious private gardens partner five star modern amenities, luxuriously appointed bathrooms, and Wi-Fi. Included is a breakfast tailored to each individual’s culinary needs served with Centennial Park Honey, locally produced from the park’s own beehives. Centennial Park’s residences are now open to guests to stay; experience unique heritage accommodation in one of the world’s greatest urban parklands. For more information email enquiries@theresidencescentennialpark.com. 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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QUEENSLAND
Graham Lancaster Auctions
FORTHCOMING AUCTIONS
3 Railway Street TOOWOOMBA QLD 4350
Friday 27 June 2014 Newcastle National Bottle Show Antique Bottles, Pot Lids & Stoneware
Call Graham on 0418 730 904 Email: info@gdlauctions.com View Catalogue & Photos One Month Prior to Each Sale:
Saturday 5 & Sunday 6 July 2014 The late Bill Howard Private Museum - Ballarat One of Australia’s Best Private Collections Saturday 30 & Sunday 31 August 2014 Our Annual “Blokey”Auction - Toowoomba
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SPECIAL PREVIEW FRIDAY 29 June 1- 4pm
PRESENTS THE LATE BILL HOWARD PRIVATE MUSEUM
AUCTION Saturday 5 & Sunday 6 July 2014 Onsite: The Woolshed @ The Amazing Mill Markets Ballarat, Victoria One of Australia's Best Private Collections 100's of Categories, 1'000's of Items
FORTHCOMING AUCTION Our Annual “Blokey” Auction Saturday 30 & Sunday 31 August 2014 – Toowoomba Auction Rooms GARAGENALIA, ENAMEL SIGNS, ABORIGINAL ARTEFACTS & A SUPERB COLLECTION OF TOYS
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QUEENSLAND
Jacques Nicolas Bellin (1703-1772), Reduced Chart of the Southern Lands, published in Paris, c. 1753
Steel-engraved map of Australia, published by John Tallis & Company, c. 1851
Hand-coloured limited edition reproduction of Emanuel Bowen (c.1693-1767), Terra Australis, published by Heritage Editions
ANTIQUE MAPS ARE ANTIQUE PRINTS enturies before the invention of photography, information of discoveries was circulated by the creation of a carved or engraved ‘plate’ which could be inked for the publication of multiple images. These multiple images are known as original prints if they were printed from a plate at the time of its original publication. Maps and charts describe the fact that the print shows a navigational chart or geographical map of a region. So, original maps and charts are also original prints; but prints are not necessarily maps or charts. Got the drift?
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COPPERPLATE ENGRAVING When information was added to or corrected on early maps, the copper material of the plate was soft enough to be beaten flat and reengraved. Antique maps are still considered to be original when produced from these later plates with altered information, but they are original of the date of publication from the reworked plate. The copperplates were usually beaten flat and buffed for re-use, as copper was an expensive commodity. If any of these early engraved copperplates survived, they would be in a museum today. The first illustration is Reduced Chart of the Southern Lands by Jacques Nicolas Bellin (1703-1772), published in Paris, circa 1753 – almost 20 years before Cook discovered Australia’s east coast. Bellin was official hydrographer to Louis XIV, Royal Censor of the Naval Academy, director of the Department of Charts, Plans and Journals of the Ministry of the Navy, the first hydrographic engineer of the French Navy, and a member of the Royal Society of London. As a cartographer his maps were finely engraved and accurate for their time, but he also showed creativity. On this map of Nouvelle Hollande (New Holland, as the Dutch had named Australia), Bellin used a dotted line for his ‘conjectures’ of the east coast, joining Van Diemen’s Land (Tasmania) to Terre du St Esprit (now Vanuatu) and Papua New Guinea and New Britain. In French along this dotted line Bellin writes: ‘I suppose that the land of Diemen could join with the land of the Holy Ghost but (this is) without proof.’ This wonderful map is probably the bestknown inaccurate early map of Australia, and is one of only a few 18th century maps to show Australia by itself, and not with Asia or the rest of the world.
STEEL ENGRAVING Steel plates succeeded copper plates in the 19th century. As steel is a much denser metal
and stronger than copper, the pressure during the printing process was less flattening to the ridges between the carved lines, so the lines could be closer together for finer shading effect. More importantly, steel plates for engraving made it possible to print a larger number of images as the demand for information grew with populations. The second illustration is the finest example of a steel-engraved map of Australia, published by John Tallis & Company circa 1853 – 100 years after Bellin’s map. Tallis & Company established a reputation in London and New York as publishers of high quality books and atlases, and were renowned for surrounding portraits, scenes or maps with finely engraved borders, and small engraved ‘vignettes’ of related scenes, people, flora and fauna. Tallis and Company published one of the last decorative atlases with fine, skilled engraving which had become too slow and costly.
Bowen based this map on one published 100 years earlier in France by Melchisedec Thevenot (c. 1620-1692). Bowen’s map is much more interesting than Thevenot’s, and differs in that Bowen added two texts: the upper text emphasises that ‘no additions or assumptions have been made, so white space abounds between New Guinea and Carpentaria, and between the mainland, Tasmania and New Zealand.’ The lower text starts ‘It is impossible to conceive a country that promises fairer from its situation, than this of Terra Australia; no longer incognita.’ Early maps often showed the unknown southern lands as ‘Terra Australis Incognita’ (unknown southern lands).
Emanuel Bowen produced some of the most attractive and interesting maps of the 18th century, with maps that are distinctive for their sections of quaintly worded personal descriptive texts. Bowen flourished as a map-maker in London between 1714 and 1767, and became Geographer to both Kings George II of England and Louis XV of France. Despite his fine work and eminent status, Emanuel Bowen died in poverty. Kathryn & Derek Nicholls ANTIQUE PRINT CLUB at Brisbane Antique Emporium Clayfield 07 5525 1363 / 0412 442 283 sales@antiqueprintclub.com www.antiqueprintclub.com
Antique Print Club www.antiqueprintclub.com Purchase securely online. sales@antiqueprintclub.com 07 5525 1363
LIMITED EDITIONS
DAILY at Brisbane Antique Emporium 794 Sandgate Rd (Junction Rd) CLAYFIELD
The term ‘limited edition’ is a modern one. It refers to the fact that the printing plate was destroyed after a specified (limited) number of prints were made. Antique maps and antique prints are definitely limited editions, as they were limited to a number that was determined at the time of publication, and this number could not be extended after the plates were destroyed. In the context of modern terminology, limited edition is not used to describe antique prints and maps, as they were not numbered and it is usually not known how many were printed. Modern limited editions are numbered to indicate the print’s place in the printing sequence, and the number of prints created in that print run.
REPRODUCTIONS In case you are not confused yet, we would like to point out that reproductions of prints and maps are produced from paper images that are usually original engraved or lithographed images. Reproductions are not from an original carved, drawn or etched plate. They can also be referred to as limited editions – numbered or un-numbered – as long as the print run is limited to a specific number and this number is not extended. Our third illustration is a (Heritage Editions) limited edition reproduction of the first English map of Australia, printed from a copperplate engraved map by Emanuel Bowen (c.1693-1767). Titled A Complete Map of the Southern Continent. Survey’d by Capt. Abel Tasman & depicted by Order of the East India Company in Holland in the Stadt House in Amsterdam. London, 1744, Antiques and
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THE VICTORIAN CHAPTER OF THE AAADA ALLPRESS ANTIQUES (Jamie Allpress) T: 03 9824 8551 M: 0415 555 998 1419 Malvern Road Malvern VIC 3144 www.allpress-antiques.com E: jamie@allpress-antiques.com.au ARTEDECO (Dianne Pickett) M: 0407 321 865 Shop 3, 27 Vincent Street Daylesford VIC 3460 www.onlineantiques.com.au E: dianne@onlineantiques.com.au B.C. GALLERIES ANCIENT & TRIBAL ART (Frank Bottaro) T: 03 9804 3353 T: 03 9804 3785 1069 High Street Armadale VIC 3143 E: info@bcgalleries.com.au www.bcgalleries.com.au BEHRUZ STU DIO (Behruz Aligorgi) T: 03 9824 8156 1509 Malvern Road Glen Iris VIC 3146 E: info@behruzstudio.com CATANACH’S JEWELERS PTY LTD (Amanda Catanach) T: 03 9509 0311 1212 High Street Armadale VIC 3143 E: mandy@catanachs.com.au www.catanachs.com.au DOUGLAS STEWART FINE BOOKS PTY LTD (Douglas Stewart) T: 03 9066 0200 720 High Street Armadale VIC 3143 E: info@douglasstewart.com.au www.douglasstewart.com.au EAGLEMONT ANTIQUES (Dawn Davis) M: 0408 530 259 49 Happy Hollow Drive, Plenty VIC 3090 www.eaglemontantiques.com.au E: dawn@eaglemontantiques.com.au ETRURIA ANTIQUES GALLERY (Lee Bradshaw) T: 0439 030 531 146 Johnston Street Collingwood VIC 3066 E: lee@witsend.id.au www.etruria.com.au GRAHAM GEDDES ANTIQUES (Graham Geddes) T: 03 9509 0308 877 High Street Armadale VIC 3143 E: grahamgeddes@ grahamgeddesantiques.com.au www.grahamgeddesantiques.com HARLEQUIN ANTIQUES (Phillip Capocchi, Liz Capocchi) T: 03 9822 9297 M: 0412 011 178 949–951 High Street Armadale VIC 3143 www.harlequinantiques.com.au E: info@capocchi.com.au IMOGENE ANTIQUE & CONTEMPORARY - JEWELERY (Kathryn Wyatt) Located at Roy’s Antiques M: 0412 195 964 410 Queens Parade North Fitzroy VIC 3068 E: kate@imogene.com.au www.imogene.com.au IMPALA - ARMADALE (Philip Fialides) T: 03 9500 1655 M: 0408 397 000 E: impala9@bigpond.com JOHN D. DUN ANTIQUES PTY LT D (Francis Dunn) T: 03 9822 5637 M: 0412 548 898 1431 Malvern Road Malvern VIC 3144 E: johndunnantiques@bigpond.com
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JOSHUA MCCLELLAND PRINT ROOM (Joan McClelland, Patricia Williams) T: 03 9347 6118 310 Rathdowne Street Carlton North VIC 3054 E: joshmcclelland@bigpond.com.au www.joshuamcclellandprintroom.com KAZARI COLLECTOR (Robert Joyce, Jo Maindonald) T: 03 9510 2528 M: 0427 080 150 450 Malvern Road Prahran VIC 3181 E: info@kazari.com.au www.kazari.com.au KEVIN MURAY FINE SILVER (Kevin Murray) M: 0408 534 632 PO Box 9174 Scoresby VIC 3176 E: kj.murray@optusnet.com.au KOZMINSKY (Kirsten Albrecht) T: 03 9670 1277 421 Bourke Street Melbourne VIC 3000 E: jewellers@kozminsky.com.au www.kozminsky.com.au L.J. COOK AND COMPANY PTY LTD (Greg Cook) M: 0413 804 911 E: ljcook@bigpond.net.au www.ljcookantiques.com.au LAURAINE DIGGINS FINE ART (Lauraine Diggins) T: 03 9509 9855 5 Malakoff Street Caulfield North VIC 3161 E: ausart@diggins.com.au www.diggins.com.au MARK KORONOWICZ ANTIQUES (Mark Koronowicz) T: 03 9525 0545 M: 0417 837 755 552 High Street Prahran East VIC 3181 E: mark@markkoronowiczantiques.com.au www.markkoronowiczantiques.com.au MARTIN GALLON INTERNATIONAL ART (Martin Gallon) M: 0403 364 024 PO Box 142 Camberwell VIC 3124 E: martin@martingallon.com www.martingallon.com MARY TITCHENER ANTIQUE JEWELS (Mary Titchener) T: 03 9867 4100 M: 0432 035 021 35 Toorak Road South Yarra VIC 3141 E: mary@marytitchener.com.au www.marytitchener.com.au MCPHEE’S CHAPEL STREET (Chris McPhee, Duncan McPhee) T: 03 9510 2432 M: 0425 735 426 200 Chapel Street Prahran VIC 3181 www.mcphees.com.au E: mcphees@mcphees.com.au MOORABOOL ANTIQUE GALLERIES (John Rosenberg, Paul Rosenberg) T: 03 5229 2970 M: 0414 292 970 16–18 Ryrie Street Geelong VIC 3220 www.moorabool.com E: query@moorabool.com MOSSGREEN PTY LT D (Paul Sumner) T: 03 9508 8888 M: 0412 337 827 926–930 High Street Armadale VIC 3143 E: mail@mossgreen.com.au www.mossgreen.com.au ONLINE ANTIQUES (Dianne Pickett) M: 0407 321 865 3/27 Vincent Street Daylesford VIC 3460 E: dianne@onlineantiques.com.au www.onlineantiques.com.au
Mossgreen Pty Ltd
PAGE ANTIQUES (Guy Page) T: 03 9880 7433 M: 0411 175 320 323 Canterbury Rd Cantebury VIC 3126 E: guypage@bigpond.com www.pageantiques.com.au PENTIMENTO PTY LT D (Jill Roberts, Chris Roberts) T: 03 9822 2767 M: 0402 238 976 Armadale Antique Centre 1147 High Street Armadale VIC 3143 E: jill@pentimento.com.au www.pentimento.com.au PETER FRENCH ANTIQUES (Peter French) M: 0419 134 051 Tyabb Packing House Antique Centre 14 Mornington–Tyabb Rd Tyabb VIC 3913 E: peterfrenchantiques@hotmail.com ROY ’S ANTIQUES PTY LTD (Roy Williams) T: 03 9489 8467 410 Queens Parade Fitzroy North VIC 3068 E: mail@roys-antiques.com.au www.roys-antiques.com.au RUTHERFORD (Wesley Rutherford) T: 03 9650 7878 T: 03 9882 4686 M: 0412 357 975 182 Collins Street Melbourne VIC 3000 www.rutherford.com.au E: info@rutherford.com.au SCHLAGER ANTIQUE JEWELERY (Ray Schlager) T: 03 9650 4391 T: 03 9650 4392 M: 0414 621 606 Suite 122A, Level 1 98–100 Elizabeth Street Melbourne VIC 3000 E: ray@schlagerjewellery.com.au www.schlagerjewellery.com.au SEBRA PRINTS (Dafydd Davies) T: 03 9809 0222 402 Burke Road M: 0410 520 100 Camberwell VIC 3124 E: daf@sebraprints.com.au www.sebraprints.com.au SNOOK AND COMPANY ANTIQUE DEALERS (Christopher Snook, Jenny Snook, Robert Snook) T: 03 9822 9882 M: 0412 363 176 535–537 Burke Road Camberwell VIC 3124 E: snookantiques@bigpond.com www.snookantiques.com.au VALENTINE’S ANTIQUE GALLERY (Peter Valentine) T: 03 5443 7279 M: 0418 511 626 369 Hargreaves Street Bendigo VIC 3550 E: peter@valentinesantiques.com.au www.valentinesantiques.com.au
Rutherford
VIRTANEN ANTIQUES (Kent Virtanen, Sharen Virtanen) T: 03 9822 7879 M: 0412 579 266 Kent M: 0412 125 173 Sharen 933 High Street Armadale VIC 3143 www.virtanen-antiques.com E: sharen.virtanen@bigpond.com WESTBURY ANTIQUES (Harvey Wilkins, Carol Wilkins) T: 03 5465 3406 M: 0412 949 721 119 High Street Avoca VIC 3467 E: hwilkins@optusnet.com.au www.westburyantiques.com.au WOODSHED ANTIQUES (Graeme Davidson) M: 0408 659 249 10/903 Doveton Street Ballarat VIC 3350 E: woodshedantiques@bigpond.com
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. AUSTRALIAN ANTIQUES AND ART DEALERS ASSOCIATION 0401 995 501 secaada@ozemail.com.au www.aaada.org.au
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LIZ AND PHIL CAPOCCHI HAVE OPENED A STORE IN WOODEND eaving the Calder Highway, one hour north of Melbourne, Black Forest Drive meanders along, bordered by tall eucalypts, and leads you to the township of Woodend in Victoria. With a history dating back to the gold rush days of the 1850s Woodend has been described as a 19th century resort town. Indeed, it is a town that plays that role, offering local and international tourists the charm of a rural village with all the luxuries one comes to expect these days in food, shopping and accommodation. Liz and Phil Capocchi were utterly charmed with Woodend nearly two years ago and have since relocated to a stunning property on the outskirts of town. When the local historical building that once housed the post office came up for a sale it was too good an opportunity to be missed. The Capocchi’s have traded as their namesake store in Melbourne’s prestigious Armadale for close to ten years. It is the modern approach to antiques that is taken in the Armadale store that has proven the right one, therefore cementing the Capocchi’s decision that a foray into a second shop was a
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good idea. After months of careful restoration the 1850s building has been given a new lease on life and is ready to play its role in Capocchi Woodend.
produced sometime in the 1960s it is in fully reconditioned working order, was once coin operated yet is now electric. All it needs is a small sized passenger!
ECLECTIC FRENCH ANTIQUES & CURIOSITIES
DAVID BROMLEY ART COMPLEMENTS THE COUNTRY SLANT
Capocchi Woodend will stock all the usual eclectic French antiques and curiosities with somewhat of a country slant. A nearly three metre long French baker’s stand, perfect for that country kitchen, offers excellent display for kitchenalia. A rare Black Forest musical cuckoo clock that strikes on the half hour and hour, is in working condition and is beautifully carved. For a little wow factor we have a complete French beech and zinc lined bar from a Parisian café. The front bar has a mixing bench and cupboard with plenty of room for friends to stand or sit around. It also has the accompanying back bar with further cupboard storage and shelving flanking a central mirror. Some would say the English children’s amusement ride made by R G Mitchell is the greatest thing in the showroom. Probably
more quirky, perhaps consider one of the oversized painted wire animal sculptures?
GLAZED STONEWARE BY QUEENSLAND POTTER MICHAEL PUGH
OUTDOOR WORKS BY COASTAL SCULPTOR PAUL KELLY
Back inside there is a beautiful collection of glazed stoneware vases and platters by Queensland potter Michael Pugh. Pugh resides on the Sunshine Coast and takes great inspiration from the ocean beside which he lives. The mangroves and swamps nearby are sources of inspiration resulting in organic decorations taking form with frogs and geckoes in vivid cobalt blues and greens. All this and more in a wonderful store that is bound to excite and inspire you. Capocchi Country is trading Thursdays through to Mondays 11 am to 5 pm. All items are comprehensively listed on the website www.capocchi.com.au.
Indeed art does play a big role in Capocchi Woodend and displayed in the extensive outdoor courtyard there will be a range of rustic iron and stone sculptures made in Victoria by coastal sculptor Paul Kelly whose work is inspired by the shapes of his found objects. For something a little
For more details CAPOCCHI 03 9822 3700 woodend@capocchi.com.au www.capocchi.com.au
The antique and vintage pieces will be complimented with contemporary art works by David Bromley and Bromley’s own range of silk shawls, framed embroideries and delicate handmade cards. We also have two bronze busts of iconic nudes by Bromley. Capocchi Woodend will furthermore be offering clients the chance to secure their very own David Bromley commission and are acting as his agent for this service through the store.
102 High Street, Woodend VIC 3442 Tel: 03 5427 3587 Email: woodend@capocchi.com.au
www.capocchi.com.au Open Hours: 11-5 pm Thursday to Monday, closed Tuesday and Wednesday
French Antiques and More