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MOVIE MEMORABILIA King Kong – the eighth wonder of the world – an evergreen collectable

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A Major Forthcoming Auction Pearl & The Late Les Towe Collection On-site: Kelly Park Hall - Werribee, Victoria Saturday 5th October 2013 ‘An important collection of codds, ginger beers, patents, chemist & dose measures, Australian decanters, general bottles, stoneware, box lots & more’

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uch a huge range of subjects to cover within the field of collecting means there’s always unusual or intriguing objects to investigate. In addition, interest in such objects appears to be growing all the time –sometimes driven by financial or investment consideration, but mostly by the sheer love for the items.

An Aussie icon, the much loved surfboard is the object of choice for collector Miff James who, in 1961 as a youngster bought his first surfboard, a Malibu. His prized boards include those once owned by famous surfers, or manufactured by the best board makers in Australia and the US. Today James has about 20 boards left from the original 300 in his collection and his pastime has significantly added to the history of surfing in Australia.

On a less happy note in Australian history is the story of the Aboriginal identity disc. While the idea of the ID tags came from well-intentioned administrators in the 1930s, they didn’t understand the negative effects on the dignity of the Aboriginal people. These bronze discs, often worn around the neck, played an important role in the fabric of Australia’s history and have recently appeared in several major auction houses in Sydney and Melbourne.

Continuing on the Australian theme, Collectables looks at crime fiction authors popular in Australia during the 19th and early 20th centuries. Interestingly, the first Australian detective story teller and first woman writer in the genre was Mary Helena Fortune who wrote under the initials ‘W.W.’, short for ‘Waif Wander’.

Another Australian woman now being recognised in her craft is Marion Louisa Holmes (née Genders 1856–1921), an exponent of pokerwork – also known as pyrography – which was in vogue prior to World War I. This technique of working on wood surfaces with fire, heated needles or pokers, has been practised in Europe and America since the 17th century. By the 19th century pieces showed more subtle effects as craftspeople had developed a technique of using fine blow-pipes to produce toned areas and gradations of charring.

Keeping with the theme of Australian craftsmanship, is the exploration of our iconic wattle flower as a decorative element. The wattle was only relatively recently proclaimed the national floral emblem in 1988, the year of Australia’s bicentenary, and though it held sentimental value its popularity was not widespread in the decorative arts. Much prized by collectors are Wattle Day badges. Although the wattle was used in a celebratory emblem in Hobart in 1838 it wasn’t until September 1910 that Wattle Day was held in Sydney, Melbourne and Adelaide. Each year badges featuring a wattle design were sold, however very few have survived.

The focus on the decorative arts continues with John Frith’s series on uranium glass. Around the same period, the late 19th century to the early 20th century, a wide diversity of articles were made with uranium oxide which contributed to the depth and shade of colour. Interestingly, uranium glass does fluoresce bright green or yellow-green under ultra-violet light and such items were popular in America, Britain and continental Europe.

From domestic wares to a child’s delight was the Bru doll. Over three decades, also from the late 19th century, this firm took French doll production to its highest peak. Made of different materials – including ‘unbreakable’ versions, the featured patents are fascinating and appear to be advanced for the time – for sleeping eyes, ‘breathing’, talking, walking, turning its head and blowing kisses. But just as fascinating as Lila Rait explains, is Elizabeth Seeley’s collection of Bru dolls which has survived 130 years in near-mint condition, the gorgeous doll designer outfits revealing a history of French haute couture.

On the topic of dolls – a model of a less genteel nature but also highly collectable is King Kong. Originally roaring onto the screen in 1933, King Kong introduced us to one of the most beloved (and tragic) of all movie monsters.

Attracting waves of memorabilia collectors over several decades of movie sequels, particularly collectable are items which depict Kong standing atop the twin towers of the World Trade Centre in New York.

After reading up on all these delightful collecting themes why not help yourself to a lovely glass of wine – but first you may find it of interest that its making dates as far back as 6,000 BCE, and the earliest known winery dates to around 4,000 BCE in Armenia, notes Melody Amsel-Arielli in her examination of wine-making history.

This issue covers so much more and we are already preparing the next edition. We look forward to readers' comments as this input helps to source material that is of interest or, readers take note, you might even like to contribute an article yourself!

Eva Jaku

S

CONTRIBUTORS Melody Amsel-Arieli is an Israeli-American freelance writer on art, collectables, genealogy, history and more. Her most recent book is Jewish Lives: Britain 1750-1950 (Pen & Sword 2013).

Rob Ditessa writes articles on artists, collectors and collecting trends.

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Dr Dorothy Erickson is an art historian, curator, editor, author and practising jeweller. Her publication Gold and Silversmithing in Western Australia: A History is an essential resource for anyone interested in collecting Australian jewellery.

Dr John Frith is recently retired as a university lecturer in environmental health. He has been collecting Victorian coloured glass for 30 years and his collection includes British, European and American freeblown and pressed glass, as well as Victorian uranium and Vaseline glass.

John Harrison is an enthusiastic movie memorabilia collector as well as delighting in pulp fiction.

Peter Lane is a respected numismatist and Secretary of the Numismatic Association of Australia. He lives in South Australia where he undertakes research on coins, medals and other numismatic objects.

Lila Rait is a journalist, librarian, teacher and doll collector. She is author of Through the Nursery Window: A History of Antique and Collectable Dolls in Australia 1788-1950 (Oxford University Press 1989).

CONTENTS 46

FEATURE ARTICLES 6

A history dating back to 6000 BCE Aboriginal identity discs

has made this a collectable

This old identity system had

throughout the ages, while a

unintended negative effects Peter Lane

52

Renovation rescue with an

more recent European pedigree

18th century spin

attracts worldwide investment

Believed to be the largest project of its

Melody Amsel-Arielli

kind in the UK, the restoration of Stowe

FOCUS: AUSTRALIANA

House uncovered some of the grandest interiors of any English country house

58

28

The folk craft of pokerwork The works of West Australian Marion Louisa Holmes uncover a craft popular prior to World War I Dr Dorothy Erickson

64

The wattle motif Though a sentimental favourite, this iconic Australian flower was rarely used in the decorative arts

70

Crime for book collectors Popular Australian crime fiction authors of the 19th and early 20th centuries are examined

An earlier Vienna Arts and crafts from Viennese life

10

Collecting King Kong

and culture of over a century ago

Film sequels have attracted waves

were showcased in a recent exhibition

of King Kong memorabilia and

in Jerusalem

merchandise collectors

Melody Amsel-Arieli

John Harrison

WHO IS COLLECTING

22

Surfboards A much loved Aussie icon, prized

16

boards once owned by famous surfers Evolution of the Bru doll Excellence in doll manufacturing during the 19th century is

Lila Rait

50

The origins of the iconic black

boardmakers in Australia and the

fist comb, reflecting the Black

US have significantly added to the

Civil Rights Movement, can be

Rob Ditessa

38

The Afro comb

or manufactured by the best

history of this French firm

KNOWLEDGE BASE

traced back thousands of years

history of surfing in Australia

described in the

Elizabeth Seeley’s miraculous travelling trunk A time capsule of treasures is revealed in these adored 19th century dolls and their trunk of clothes Lila Rait

34

Fine wines

REGULAR FEATURES 43 45 76 79 80 86 88

Conundrum Fairs and more Notice Board Collectables Subscription Trader Advertising Rates Advertisers’ Index

Uranium glassware Popular in Britain, continental Europe and America from the mid 19th century to the early 20th century, a wide range of glass articles were made using uranium as a colourant Dr John Frith

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WIN conundrum enter our prize draw See page 43 CollectablesTrader

3

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

Monday 4 November 2013 6.30 pm Viewing: Saturday 2 November 11 am – 4 pm Monday 4 November 12 noon – 6 pm

AMANDA ADDAMS AUCTIONS

Monday 2 December 2013 6.30 pm Viewing: Saturday 30 November 11 am – 4 pm Monday 2 December 12 noon – 6 pm

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344 High Street, Kew Victoria 3101 Tel: 03 9855 2255 Fax: 03 9855 2244

David Freeman 0419 578 184 Amanda Freeman 0419 361 753

ABORIGINAL IDENTITY DISCS from the recent past: an invented identification system The use (or true purpose) of such bronze ID tags in the early 20th century offers an insight into attitudes held by the administrative machinery to Aboriginal society

Peter Lane

T

he story of the Aboriginal identity disc is a sad reflection on our relatively recent past. Many of our readers’ parents were in their

infancy when Aboriginal people living in the Darwin area were required to possess them.

While the idea of the ID tags came from well-intentioned administrators, they failed to fully appreciate the negative effects on the dignity of the Aboriginal people.

In 1931, Dr Cecil Evelyn Aufrere (Mick) Cook (1897–1985), a medical practitioner working in northern Australia, became the Chief Protector of Aborigines in the Northern Territory. A year later he introduced identity tags for Aborigines living in the Darwin area.

Cook also issued a memorandum that Aborigines working in Darwin had to be in the nearby Kahlin Compound from 7 pm to Camp Kahlin male Aboriginal identity disc, c. 1932, bronze

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Undated photograph of open air service at Darwin Aboriginal Compound, Kahlin Compound, Cullen Bay. John Oxley Library Collection. Courtesy Northern Territory Library

Personal photograph of the Hon. C L A Abbott during his term as Administrator of the Northern Territory - Kahlin Beach and old Compound in corner Myilly Point right arm of the bay, 1937. Image courtesy National Archives of Australia

6 am, unless special permission to

amused’ and that ‘one aborigine (sic)

badge catalogues, thus often

remain on the premises of an employer

was highly indignant at not receiving a

cataloguers have not recognised their

had been given by the Protector of

medal “all same other boys.”’ The same

purpose so they are sold relatively

Aborigines. The compound housed

article (and continuing the racist

cheaply. So what are they worth?

around 600 Aborigines and this year is

undertones) added that ‘The aboriginals

I estimate when properly described

the centenary of the establishment of

are clever at making coloured bead

they could be worth anything from

Kahlin. In 1937 a cyclone destroyed

necklets and armlets. These will replace

$700 to $1500, but of course it

much of the compound and within a

the red tape before very long, that is,

always a question of supply

short time after the devastation, the

unless the medals are bartered in the

and demand.

residents were moved out to Bagot

meantime as a final stake of gambling.’

Reserve. The Darwin suburb of

How long the identity discs were

Larrakin was the site of the compound.

used is not known as their withdrawal

A thousand bronze identity discs

was not recorded in Northern Territory

were struck by Stokes & Son of

newspapers. I suspect they were only

Melbourne which were all stamped

used for a reasonably short period of a

with a number and the depiction of a

year or two.

crown. A hole was made at the top of

Cecil Cook rewarded

the disc for a ribbon to be threaded through so that it could be worn around the neck. However it was not compulsory to wear it around the neck or on a hat; it could be kept ‘alonga pocket’.

Three years after the introduction of the ID discs, Cook was appointed a Commander of the Most Excellent Order of the British Empire (CBE) and was awarded the inaugural Cilento

The discs’ fingerprint substitute

medal. That award is administered by

The arguments for the issuing of the

and is given to the scientist who has

disc included that Aborigines had to

advanced native welfare or advanced

show it when seeking admission to a

tropical medicine in Australia or the

picture show and ‘it will obviate any

Pacific area.

possibility of natives of the same name

Rarity and value

drawing the earnings of another boy’.

How rare are the identity tags? In recent

This was also seen as a cost saving

years they have appeared in several

exercise in that it would avoid

major auction houses in Sydney and

requiring a fingerprint expert for every

Melbourne. The tags have an official

transaction.

look about them but there is little or

A local newspaper at the time reported that ‘The natives are highly

MINOR ROLE While the focus in recent years regarding Aboriginal history has been on the ‘stolen generation’ – and rightfully so – the little known Aboriginal identity discs also played an important role in the fabric of Australia’s history.

the Australian Institute of Anatomy

no hint of their true purpose. They do not appear in Australian medal or

Further reading Rowena MacDonald, Between Two Worlds, The Commonwealth government and the removal of Aboriginal children of part descent in the Northern Territory, IAD Press, Alice Springs, reprint, 1996 Northern Standard, 13 September 1932, p. 4 Townsville Daily Bulletin, 23 September, 1932 p. 7 Tim Rowse, ‘Cook, Cecil Evelyn Aufrere (Mick) (1897-1985)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/ cook-cecil-evelyn-aufrere-mick12343/text22175

CollectablesTrader 7

November Selling Exhibition: ‘Royal and Imperial Paris’ Porcelain, silver, ormolu, bronze, furniture and bibelot from the reigns of Louis XIV through to Napoleon III. Of special interest are pieces of Sevres from the Tuileries Palace and chairs signed by Demay, Falconet, Boucault and others

Georgian & Continental Furniture • Porcelain

Silver • Ikons • Paintings • Imperial Russian

www.Roys-Antiques.com.au

410 Queens Parade Clifton Hill Vic 61 3 9489 8467

Monkey business

COLLECTING KING KONG the eighth wonder of the world One of the most iconic and recognisable movie monsters the giant ape has attracted waves of memorabilia collectors over several decades of movie sequels John Harrison

riginally roaring onto the screen

O

in 1933, King Kong introduced

us to one of the most beloved (and tragic) of all movie

monsters, with the image of the giant gorilla standing atop the Empire State Building becoming one of the most iconic moments in Hollywood history. Directed by intrepid filmmakers Merian C. Cooper (who conceived the original story and whom the film’s lead character of Carl Denham is reportedly modelled on) and Ernest B. Schoedsack, King Kong was both an exciting

and engrossing adventure yarn as well as a stunning achievement in filmmaking.

The plot The tale of a mythical island jungle beast who is tamed by an innocent beauty (Fay Wray’s Ann Darrow) and ultimately meets his heartbreaking end in the urban canyons of New York City, audiences who were desperate to escape the realities of

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the Great Depression turned King

Kong into an enormous financial hit and cultural milestone.

Advances in special effects The film also advanced the art of cinema special effects by leaps and bounds. Much of the footage featuring Kong was accomplished using 18- and 24-inch-tall movable model figures with metal armatures covered with foam rubber, latex and rabbit fur. These models were then painstakingly animated frame-by-frame and combined with live action backgrounds by special effects maestro Willis H. O’Brien in a process called stop-motion animation. This process would remain popular with filmmakers for the next several decades.

was released later in 1933, and giant gorillas became a popular figure in horror movies over the next few decades with super-sized simians appearing in movies like Mighty Joe

Creating sequels

Young (1949), Konga (1961), A*P*E

Studios in such Japanese

In the wake of the film’s instantaneous

(1976) and The Mighty Peking Man

productions as King Kong vs.

success, a quickie (but very

(1977). Kong was resuscitated – this

Godzilla (1962) and King Kong

enjoyable) sequel titled Son of Kong

time as a man in a suit – by the Toho

Escapes (1967).

CollectablesTrader 11

US$388,375 paid for an original

1966 to tie-in with the short-lived (but

three-sheet King Kong poster at an

fondly remembered by Baby Boomers)

auction in November 2012.

King Kong cartoon series.

items such as movie posters and

Monster craze

lobby cards, the first piece of Kong-

The monster craze which swept

Remake garners cult following

related memorabilia was a hardcover

America in the early 1960s (see article

The merchandising of Kong really hit

novelisation written by Delos Wheeler

in Collectables Trader #102) saw a

high gear with the much-publicized

Lovelace and published by Grosset &

new smattering of Kong toys and

remake which appeared in 1976.

Dunlap shortly before the release of

merchandise hit the store shelves,

Produced by Dino De Laurentis and

the original film. Featuring a

such as the classic 1964 Aurora model

starring Jeff Bridges, Charles Grodin

beautifully illustrated dust jacket,

kit, a Gold Key comic book adaptation,

and Jessica Lange in her film debut,

original printings of the novelisation in

paperback reissues of the original

the remake was much-maligned at

fine condition or better have been

novel and two different board games,

the time of its release, particularly by

known to sell for thousands of dollars,

one released by Ideal in 1963 and

fans of the original. It has since

although this is still well below the

another produced by Milton Bradley in

earned a reputation as a cult favourite

Valuable memorabilia & merchandise Apart from the usual promotional

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from the era, and the memorabilia

nuances of the original. Likewise, the

which the movie inspired – including

plethora of merchandise released to

games, promotional drinking glasses,

tie-in with it was mostly bland and not

making-of paperback, bubble gum

particularly attractive or collectable.

cards, Viewmaster set, poster

Much more desirable are the range of

magazines and jigsaw puzzles – have

‘garage’ (small run) model kits which

become increasingly sought after.

have been produced by various

Collectors particularly look for items

independent companies since the

which depict Kong standing atop the

'90s, and the large, highly-detailed

twin towers of the World Trade Centre

King Kong diorama play set released

in New York where the climax of the

by McFarlane Toys in 2000.

remake took place.

Kong lives on

Popularity of late model kits

Apart from cinema and television,

A sequel to the 1976 version, entitled

major attractions at the famous

King Kong Lives, appeared in 1987

Universal Studios theme park in

but produced very little in the way of

California, while a major King Kong

collectables. A further remake in

musical stage show debuted in

2005, directed by New Zealander

Melbourne in June of this year,

Peter Jackson, was a huge

ensuring that the legend of the great

commercial success and featured

ape is kept alive to thrill audiences –

state-of-the-art computer generated

and keep collectors busy – for

effects, but lacked the heart and

many generations to come.

Kong has also been featured in two

CollectablesTrader 13

Kalmar Antiques where you can hold a piece of history in your hand Specialising in antiques, fine jewellery, watches and objets de vertu

Shop 45, Level 1 Queen Victoria Building, Sydney 2000

Phone 02 9264 3663 Email kalmar@ozemail.com.au You can also visit our website at www.kalmarantiques.com.au

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

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

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

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

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

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

The evolution of the

BRU DOLL Over three decades, this firm took French doll production to its highest peak Left: Bru Jeune from the Girard era, marked ‘Bru Jne R 7’, 17 inches (44 cm) tall. She has her original auburn mohair wig, closed mouth, stationary eyes and pierced ears. This doll was donated to the Red Cross in World War II when they held an appeal for dolls to be sold to raise money for their wartime work Below: Three smiling Bru fashion dolls grouped by an 1880s landau. The doll in the carriage is a wooden-bodied smiler. Two are in original clothing

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CollectablesTrader

Lila Rait

he Bru firm of doll

T

manufacturers began in Paris in 1867 and ended with its absorption into the

French doll makers, La Societé Français de Fabrication des Bébés et des Jouets (S.F.B.J.) in 1899.

Between these dates there were three distinct periods of control and evolution of the company.

Timeline: evolution and development of distinctive dolls The first of these, 1862-1883, saw Leon Casimir Bru as founder and director of Bru Jeune et Cie. Initially the company appears to have made only doll bodies with heads supplied from Germany and from French makers such as Gaultier and Barrois, these dolls mainly portrayed adult females

Small Bru Breveté, 11 inches (28 cm) tall.

Early square cut leather join to shoulder plate (1879-1880). Human hair wig made from first owner’s hair

dolls and to concentrate on bébés.

and were known as ‘poupées’, ‘Parisiennes’, or ‘French Fashions’.

In 1873 the so-called ‘Smiling Bru Fashion’ was produced supposedly as a portrait of the Empress Eugene, wife of

discontinue production of fashion

Bru Breveté: the first bébé The earliest of Bru’s child dolls or bébés is the Bru Breveté with bisque swivel head on bisque shoulder plate

Chevrot’s initial patents concerned the construction and articulation of the leather bodies. The bodies became slimmer, the proportions of the heads larger, and the lower legs were now made of carved wood.

Napoleon III. These dolls had

and bisque lower arms, on a chubby

bisque swivel heads on bisque

leather body with leather lower legs

shoulder plates, and their bodies

and sole-less leather feet with stitched

were either of all-leather or fully

toes. Wigs were frequently made from

articulated wooden ones. Some

animal skin. A paper label on the

were sold naked, some with

chest of these dolls announces ‘Bru

stitched-on clothing, others with

Breveté’. Around this time, patents for

Antwerp and Paris in 1885 and

removable clothing, and others at

a two-faced ‘surprise doll’, a musical

Liverpool in 1886, winning gold

the highest end of the market with

doll and a rubber doll were lodged.

medals at each. At the centennial

complete wardrobes and trunks.

International Exhibition in

The year 1879 saw Leon Casimir

Chevrot period: most important bébé designs

Bru lodge patents for bebé dolls

In November 1883 Henri Chevrot

Silver – the little known fact of this

with child-like proportioned leather

purchased the doll manufacturing

competition is that Chevrot was

bodies and for ‘Bébé Teteur’ which

business from Leon Casimir Bru and

forced to compete in a revised

used a compressible rubber bulb

began the most important period in

category, where the gold medal was

in the head to enable the doll to

the company’s history. Chevrot was a

awarded to the Argyle socks

‘drink’ by itself. ‘Bébé Gourmand’

businessman, entrepreneur and

produced by the Lunatic Asylums

used the same mechanism to ‘eat’.

inventor. His first move was to

of South Australia!

Beyond that, Chevrot continued to increase production and improve quality. He also aimed to increase the prestige of the company by competing in numerous competitions. He competed at

Melbourne in 1888-89, he won

CollectablesTrader 17

Bébé Respirant avec Musique marked ‘Bru Jne R 8’. Given to a little girl on her birthday in 1892. This doll has all original auburn mohair wig, closed mouth and pierced ears. The eyes sleep

1890 he won a first-class medal at the London Exposition.

In 1889, Girard ended the production of kid bodies and introduced a new body of composition and wood. Several changes occurred.

The bisque of heads became poured, not pressed and the mark on the back of the head changed from ‘Bru Jnr’ to ‘Bru Jnr R’. Lastly, a simpler style of face known as the ‘fourth generation’ was introduced.

Doll patents under Girard Girard’s first patent, in 1891, was for sleeping eyes, and his second was for Bébé Petit Pas, a walking doll. With a name change to Bébé Premier Elan (Bébé First Impulse) it was repatented in 1892. This doll was later re-named Bébé Marchant.

Gourmand was discontinued but Bébé

Under Chevrot’s direction, Bru dolls

mechanism which enabled this

achieved a superlative level of

New owner: Girard period

excellence, taking French doll

By the end of Chevrot’s directorship of

kid-covered section of the chest rises

production to its highest peak. This

the Bru firm the cost of these luxury

and falls. In the case of ‘Bébé

success bred imitators, to such an

items brought market resistance.

Réspirant avec musique’ there is a

extent that following the Antwerp

Changing markets, competition from

music box which plays. As the music

exhibition of 1885, Bru dolls had a

German manufacturers, and a decline

ends, the dolls eyes close and the

label placed on their chest warning

in the quality of Bru dolls may have

chest rises and falls as it ‘breathes’.

prosecution of all counterfeiters.

prompted Chevrot’s sale of the Bru

The fourth Girard patent was for

firm to Paul Eugene Girard in 1889.

‘Bébé Baiser’ – a simple mechanism

unbreakable bébé' made of hollow

With Chevrot’s assistance, Girard

which enabled the doll to throw

wood with a ball-jointed body. At about

competed at, and won a silver medal,

kisses. The mechanism appears to

this time production of the Bébé

at the 1889 Exposition Universelle. In

have been plagiarised by Fleischmann

In 1887, Chevrot advertised 'a new

18

Girard’s third patent was granted in

Peak of French doll production

CollectablesTrader

Teteur continued in production.

1892, this time for ‘Bébé Respirant’, which functioned by a clockwork ‘Breathing Bru’ to ‘breathe’ when a

Large and impressive, Bébé Têteur, 24 inches (60 cm) tall, marked ‘Bru Jne 8’. Original christening gown and wired bonnet, original skin wig. Found with a card from a minor exhibition of 1881, but with some Chevrot characteristics

and Bloedel, as well as being used later by S.F.B.J. In 1897, Paul Girard passed the directorship of the Bru firm to his son, Eugene Frederic Girard. As director, his first act was to file a patent for ‘Bébé Mechanique’ a doll which talked, walked, turned its head and blew kisses.

Amalgamation: the closing chapter By 1899, all French doll manufacturers were facing problems.

German competition, a touch of industrial sabotage and changing world markets all took their toll. The Bru firm, along with other manufacturers, was swept up into the amalgamation known as La Societé Français de Fabrication des Bébé et des Jouet (S.F.B.J.). Some Bru dolls, particularly the Bébé Téteur, continued to be made into the 20th century. Today the products of the Bru firm, most particularly those of the Chevrot era, are avidly sought after all over the world.

Further reading François Theimer, The Bru Book: a History and Study of the Dolls of Leon Casimir Bru and his successors, Theriault’s Gold Horse Publishing, Annapolis, Maryland, 1991 François & Danielle Theimer, The Encyclopedia of French Dolls 1800-1925. Theriault’s Gold Horse Publishing, Annapolis, Maryland, 2003 Catalogue, Centennial International Exhibition, Melbourne 1888-89

Doll marked ‘Bru Jne 3, bisque swivel head on bisque shoulder plate, bisque lower arms, leather body, wooden lower legs

CollectablesTrader 19

www.aada.org.au

Abbott’s Antiques

Member

The Established Name for Quality Antiques since 1931

Pair of George III mahogany carvers with reeded crest rails and arms, c.1820

Two fine Royal Crown Derby floral painted, enamelled and gilt decorated vases by Desire Leroy, dated 1900 and 1904

Fine George IV mahogany sideboard with 3 beaded concave centre drawers, c.1830 – attributed to Gillows

George III sterling silver crested and embossed coffee pot, London 1761 by Fuller White

19th century mahogany 8 day hour striking bracket clock with twin fusee movement, c.1850

George IV Sheffield Plate crested and scrolled edge soup tureen, c.1825

Pair of Swansea specimen plates with painted floral sprays & moulded borders, c.1814 – 17

19th century patinated bronze Dutch weaver and companion figures signed Geo. Maxim, c.1890

Pair of Grainger Worcester reticulated mask head vases, c.1880 – 89

Max Dupain, Surf Race Start, 1940s, silver gelatin photograph

Fine George III mahogany longcase clock with rosewood cross banding and painted dial with moon phase & calendar by George Monks, Prescot, c. 1810

Max Dupain, Nina Raievska in Thamar, 1937, vintage silver gelatin photograph, signed & dated lower right

Specialising in Fine English 18th & 19th century Furniture, Sterling Silver, Porcelain, Jewellery, Sheffield Plate, 18th century Drinking and Table Glass, Bronzes, Paintings, Art Nouveau and Art Deco

14 Eastern Road, Turramurra NSW 2074 • Tel 02 9449 8889 Visit www.abbottsantiques.com.au for a further selection of current stock

Catherine FIGURE OF THE YEAR 2013

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Catherine is the 23rd Figure of the Year.

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www.royaldoulton.com.au/collectables 1300 852 022

Miff James and his

SURFBOARD COLLECTION Miff James’ surfboard collection is the journey of a teenager who enjoyed riding the waves to becoming a collector with a passion for the history of surfing

Rob Ditessa iff James took up surfing

M

with a passion when in 1961 as a youngster he bought his first surfboard, a

Malibu. The ‘mal’ is a style of longboard, by most definitions at least nine foot long and narrower than the standard, with rounded nose and tail. In the 1970s, shorter and lighter boards between five

From top: Collection of surfboards from the 1940s and 1950s of balsa and redwood construction. The board in the centre – with the octopus decal – is one of the most significant boards in Australian surfing history. Prior to the mid 1950s, surfing was done on hollow timber ‘toothpick’ boards made popular by the surf life saving club members. They were normally 13 to 16 feet in length. In 1956, during the Melbourne Olympics, a team of surfboard riders from the USA and Hawaii came to Australia to give surfing demonstrations on their ‘modern’ 10 foot balsa and fibreglass surfboards – the one with the octopus decal was one of those boards This was the beginning − Christmas 1963, James aged 13 on North Narrabeen Beach (NSW) with his second longboard James with some of the US board collection

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CollectablesTrader

Surfboard made by a backyard builder in the mid to early 1950s. During the late 1950s, before there was an abundant supply of balsawood, boards through the late 1940s and 1950s were made of hollow plywood. There wasn’t a formal board making industry yet and many of these hollow ply boards, or ‘okanuis’ as they were known, were made by boat builders, backyard handymen and a handful of craftsmen, like Barry Bennett, and Gordon Woods in Sydney who became the mainstay of the surfboard manufacturing industry through the 1960s

and six feet became popular and

because he knew there were old

James’ involvement in the sport

boards hidden away in farmhouse

waned. In the early 1980s, in the

rafters. People and boards started to

midst of what James saw as a minor

come out of the woodwork as he

rekindling of interest in longboards,

intensified the search, James

he ordered one from Greg Bennett,

recollects. Fortunately for James,

an emerging surfboard maker and the

people were discarding the 1960s

son of renowned board maker Barry

boards. They were of little value then

Bennett. James’ involvement waxed.

and there were plenty around. During

He then happened on an advertisement

home renovations, he had racks put

in his local newspaper for a 1960s

in for boards and within two months

Gordon & Smith longboard. Unlike

he had filled them. ‘You know what

the then contemporary modern

collectors are like. There’s a

boards made of light materials, it was

momentum that builds in them. They

heavy. James loved riding it because

collect one board, two becomes four,

it reminded him of the boards he had

four becomes, and (etc)…’

ridden as a teenager.

Sourcing & acquiring Soon, spurred on by nostalgia and intrigued by their differing aspects, he bought another and another, collecting a dozen boards within weeks. With his interest piqued,

Once friends and people in his circle knew of his interest, they passed on information about locations of boards.

One acquaintance who has kept in regular contact for over 30 years still updates him with details of boards he has spotted in shops or garage sales.

James explained to Collectables that

Collecting community

he started being more proactive by

The thrill of the find is not the only

seeking out interesting boards

satisfaction James finds in collecting

through local newspapers and then

surfboards. He meets other collectors

even tapping into the regional market

who appreciate his collection,

through The Land newspaper

collectors who have infinite

Board designed by Scott Dillon, shaped by Glynn Ritchie and made in 1965 at the Scott Dillon factory in Brookvale; a unique spray job, almost certainly a custom order

CollectablesTrader 23

From top: Board storage under James’ house in the early stages of collecting.

He had approximately 40 boards at this stage and then had to move the bulk of the collection to commercial storage units Board display at David Jones Brookvale (NSW) in the late 1990s US Bing longboard made by Bing Copeland in 1966. It is the David Nuuhiwa lightweight model on display at DJ’s Brookvale (NSW). David was one of the greatest surfers from the US in the mid 1960s and was best known for his almost freakish nose-riding skills

so others who didn’t have an old “mal” to ride could borrow mine. The collection was always about boards to ride, not boards to just put on display.’

Although sometimes a board that had not seen the water for a while required some repair and sealing before being put back into the water, James always aimed ‘not to over-restore’, not to strip away a board of its personality. ‘I never minded if the boards looked used, those to me were kind of war wounds.

What I wanted was the boards to have their original look.’

There were plenty of boards that James knocked back including what would be today called ‘house-brands’.

They were pumped out without much effort put into their design, he says.

About 40 boards that James rode regularly or lent out for various displays he kept in a secure storage area in his home. A number adorned his house.

Ten were permanently located at Crescent Head (NSW) where he surfed regularly, and a number were on permanent loan for display in a friend’s restaurants across Sydney’s northern beaches. The remainder he housed at a local storage facility where he could access them easily.

Identifying the eras At its peak, his collection numbered about 300. He explains that most were timber, balsa and foam longboards from the late 1950s to late 1960s. Although he sought out earlier solid and hollow knowledge on the subject, as well as

24

Boards are meant to be ridden

timber boards from the 1930s through

the personalities who are part of the history of the sport. James has always

James never restricted his search to

nostalgic search for the great riding

relished sharing his finds. A friend

boards that were in mint condition.

longboards of the 1960s era. Delving

built some display stands just to

‘For me it was all about riding them

into the history of the sport, he became

showcase a selection of surfboards in

and enjoying them. I would regularly

acquainted with all the manufacturers

a major department store.

take a dozen old boards to a contest

from the 1960s and this became an

CollectablesTrader

to the 1950s, his focus was always the

important part of collecting. Amongst the great Australian makers whose boards he sought were Barry Bennett, Scott Dillon, Dale, Gordon & Smith, and Joe Larkin.

The best of the US makers James and a friend also sought out the greatest riding boards from the US from manufacturers such as Hobie, Jacobs, Bing, and Dewey Weber. They accumulated ‘the best collection of American surfboards from the mid to late 1960s.’ His first boards were Dales and Barry Bennetts. The oldest board he collected was one brought from Hawaii and made sometime between 1915 and 1920, which he describes as a beautiful original solid redwood board.

due to a renewed interest in collecting and riding the old boards. After the first dozen, it became easier to sell the others over the subsequent years.

Today James has about 20 boards left from the original 300 in his

Left to right: Miff James’favourite riding board is a Hansen board/Mike Doyle model built in California around 1966 as Mike Doyle’s personal board. Mike was one of the best known Californian surfers and was one of the six finalists at Manly in 1964 when Midget Farrelly won the world title When they first met Miff’s now wife lived in Melbourne and he travelled regularly from Sydney on weekends to see her. ‘On the first weekend visit we spent time along the Great Ocean Road and this board was hanging on the wall of an ice cream shop in Lorne. I made an offer on it and the owner sold it to me.’

Rediscovering the past in a modern version

collection, as well as some more recent

His collection’s historically important

those once owned by famous surfers or

boards were also used as templates.

manufactured by the best board

James reveals: ‘I used to get visits from

makers in Australia and the US. Others

some of the famous board makers.

are unusual in various ways, such as

Once the nostalgia for the old boards

colours, fins, timber, and stringer set

started to hit, people like Midget Farrelly

ups which are reinforcements running

used to make modern versions of the

along the length of the board. ‘The 20

old boards, because there were people

boards I have kept were not

looking for that feel of the old boards of

necessarily the mint boards but those

the 1960s. They would come and look

that I enjoyed riding the most. Even

MIFF JAMES REMEMBERS

at the old boards, and take all the

today, I prefer to ride an old board from

‘You can certainly say

in Sydney and down in

measurements and make basically

the 1960s or even an older timber

that most Australians

Melbourne. They had

replicas in modern light materials.’

board from the 1950s, so the keepers

live on the coastline. We

balsa boards with them.

were the riders,’ he adds.

go to the beach a lot,

It was the first time

and surf life saving

Australians had seen

clubs had their origins

balsa boards, and a

here, and evolved here.

couple of people started

A lot of the surf club

building boards into

guys were riding the big

the late 1950s and

hollow “toothpicks”, the

through the 1960s.

big pointy-ended hollow

Then the surfboards

boards, during the

of the 1960s evolved,

1950s. Then, in the year

and people moved

of the Olympics in 1956,

away from the hollow

a group of Americans

timber boards, to

came out and gave

the balsawood

surfing exhibitions both

foam boards.’

In building up the collection, James researched the history of the sport, the

additions. His prized boards include

Demurring modestly about the

manufacturers and the personalities,

significance of his collection, James

reading and talking to many people as

will agree he has contributed

well as accumulating an interesting

something to the history of surfing in

library of reference material.

Australia. He has indeed encouraged

By the early 2000s, he was finding that its size made the collection

people to appreciate the best boards from an iconic era by not only viewing

logistically difficult to handle. With the

them but also by using them. James

death of a close friend, who had

has loved people’s reaction, and

helped restore many of the boards,

enjoyment of his collection. ‘You just

James changed the way he thought

immerse yourself in the sport, the

about his collection. He sold some

things that you collect, and their

boards to friends for their original

history,’ he enthuses.

purchase cost, although the boards had escalated in value internationally

A Pike brand board from Victoria made in 1965. This was a board that featured a floral cloth inlay on the nose Balsa and fibreglass surfboard made by Barry Bennett in 1958 is Miff James’ most prized board. Barry Bennett was one of Australia’s premier surfboard manufacturers of the 1960s and still a key manufacturer of boards and supplier of resins and foam blanks to the industry A beautiful example of a 16 foot hollow toothpick surfboard from the early 1950s

Photos courtesy Miff James

CollectablesTrader 25

Early 20th century American oak office chair with hardened grime in places

Grimy build-up on seat backrest from years of usage

Rear side of back support after removal of grime

Leg of early 20th century office chair before and after Restor-A-Finish treatment

Arm of antique office chair before and then after Restor-A-Finish

Rescuing an American oak office chair made easy

USING HOWARD PRODUCTS It’s true ... You may have thought it wasn't possible but it is ... yes. It is true that young people are now buying the furniture that for years antique shop owners found hard to give away. All that 60s and 70s teak gear, and all that cheap veneered stuff from the pre- and post-war eras are now all the rage.

However, there will always be those remarkable antique and period pieces that will remain in favour because they are beautifully crafted and the premium grade aged wood from which they are made, if properly maintained, glows from years of handling and polishing.

The American oak office chair in this story was made sometime in the very early part of the 20th century, which might make it an antique, or at least a genuine period piece. We discovered it in a very jumbled second-hand

shop in Sydney’s outer west. It was covered in what can only be described as baked on black gunk. This horrible stuff is the residue of many years of use in an office where air conditioning did not exist: summers were stinking hot, sweaty shirts stuck to the backrest and sleeves were rolled up exposing the armrests to sweat and body fats.

Before we discovered Howard Products we laboured for hours breaking away that sort of hardened grime using steel wool and methylated spirits. Then we had to use sticky beeswax and lots of hard buffing to correct the dullness the metho caused. It was painstaking work.

These days I use Howard Restor-A-Finish saturated into four zero grade steel wool to melt that gunk away – and this is the method I used on the early oak office chair. So much

easier and the result is fantastic as once again the beauty of the grain is revealed after so many years of being obscured due to lack of periodic maintenance.

To reinstate the original shine of the rich shellac which originally would have been hand rubbed into the oak wood, I poured a little one-step Howard Restor-A-Shine onto a soft cloth and vigorously burnished it into the renewed finish and then buffed it to the beautiful shine you see pictured. Now the old oak office chair has been returned to its original fine state, and deserves to have a decent price attached to it.

David Foster Howard Products Australia advice@howardproducts.com.au

A new lease on life for your faded furniture

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Howard Products have a range of products to satisfy every requirement for the maintenance and care of your furniture These products and more can be purchased online

Go to www.howardproducts.com.au While there you can view a video demo and if you like you can search for a stockist near you

Ring 1 800 672 646 or 02 6766 9920 for personal service

26

CollectablesTrader

The Gold Coast Antique Centre is an exciting gallery in Miami with over 25 dealers displaying an ever changing range of rare antiques and collectables. It’s an Aladdin’s cave of treasures including the finest glassware, antique furniture, jewellery, clocks, toys, movie memorabilia and much more.

The Gold Coast Antique Centre is a must see venue located at

2076 Gold Coast Highway, Miami • Phone 07 5572 0522 • Mobile: 0414 338 363 More than a website – shop online @ www.goldcoastantiquecentre.com.au OPEN 7 DAYS 10 - 5 Sun 10 - 4

THE ART OF POKERWORK explored in the work of WA’s Marion Holmes Pyrography is the decoration of wood with burn marks. Literally ‘fire-writing’, this technique of working on wood surfaces with fire, heated needles or pokers (hence pokerwork) has been practised in Europe and America since the 17th century. In the 19th century, more subtle effects were achieved by using fine

Though little seen today, the craft of pokerwork – also

blow-pipes to produce toned areas and gradations of charring.

known as pyrography – was in vogue prior to World War I

Dorothy Erickson

een in the exhibitions of the

S

Western Australian Society of Arts, one pokerwork exhibitor whose work has been traced is

Marion Louisa Holmes (née Genders 1856–1921), who exhibited a frame in the 1911 exhibition. Larger works of hers are in the collection of the Western Australian Museum. They include an umbrella stand featuring poppies, a four-panelled screen of sunflowers and chrysanthemums, shelves with Art Nouveau scrollwork and other panels featuring figures of Errato and a woman in Elizabethan costume.

Pokerwork fire screen, 73.5 x 64.9 x 0.8 cm. WA Museum

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CollectablesTrader

Biographical details and background: who was Marion Holmes Marion Louisa Genders was born in South Australia, elder daughter of wine merchant William Genders and his wife Lillian. The painter, pyrographer, china painter and charity worker came to Western Australia in 1890 with her husband Henry Diggins Holmes, the General Manager of the Western Australian Bank. They had married in 1878 and previously lived in Melbourne and Gawler. They were devout Anglicans and Marion, who had an engaging personality, soon made her mark in Perth society. In 1891 she formed the Western Australian branch of the

Elizabethan woman, pokerwork panel, 79 x 26 cm. WA Museum

Errato, pokerwork panel, 79 x 27 cm.

WA Museum

Countess of Meath Ministering Children’s League, which built a

Artistic by Lady Forrest, Literary by

Dr Roberta Jull and Janetta Griffiths-

convalescent home by the sea for this

headmistress Miss J.A. Nisbet and

Foulkes. In the 1890s these women

organisation in 1897 close to their

Legal and Educational by another

petitioned the Government of

new home Banksia, in Salvado Street,

headmistress Miss Best. The president

Western Australia for female suffrage

Cottesloe also built in 1897 and

was Lady Madeleine Onslow and

with a bill introduced into parliament

currently being restored by a new

(Dame) Edith Cowan was the records

and steered to enactment by Mrs

owner after many years of neglect.

secretary. Marion Holmes also helped

James’ husband (Sir) Walter. She was

found the Women’s Service Guild and

very active in the Anglican Church as

member of the Karrakatta Club — the

was on the first executive of the Western

were the Holmes’ surviving children,

first women’s club in Australia that had

Australian National Council of Women.

two maiden daughters Phoebe and

She was an active foundation

been established ‘for mutual

Their home was a meeting place for

Emmy and an invalid son. None

improvement and social intercourse’

a circle of influential ladies intent on

married and both young women

and had four departments; Hygiene was

bettering the position of women in

worked tirelessly for various charities

chaired by (Lady) Gwenyfred James,

society and included Bessie Rischbieth,

and the advancement of women.

CollectablesTrader 29

Coloured pokerwork panel featuring red flowering gum, 76.5 x 51 cm. WA Museum

A trained artist Marion Holmes was also artistic and won a second-class award for a landscape oil painting at the Coolgardie International Exhibition in 1899. She had probably learnt to paint in South Australia before her marriage however she is known to have learnt china painting and pyrography from renowned artist May Creeth (1854–1947) in Perth. She exhibited with the Western Australian Society of Arts from 1904–1914.

Reviewing the 1912 exhibition, writer and artist Daisy Rossi (1879–1974) wrote: ‘In the painted china class there is a choice selection, though it is the work of only two entrants… Mrs H. D. Holmes has sent nine pieces (vases, teapots and plates) with one exception showing very pleasing work.’ These are possibly those in the collection of the Western Australian Museum. An interesting moustache cup by her used to be in the collection of the National Trust at Woodbridge until sold off.

Crown Staffordshire sugar bowl and creamer, 1915-20, bowl: 6 x 11 cm, painted decoration on porcelain featuring blue and red leschenaultia. WA Museum

Lidded sugar bowl and cream jug, c. 1915-20, signed ‘M.L. Holmes’, sugar bowl: 9 x 9 cm.

WA Museum

The china painted pieces exhibited with the WA Society of Arts now in the collection of the WA Museum are identified as CH 1983/116abc. The cup, saucer and plate with creamy apricot background to leschenaultia – bold and heavily outlined – an impressionistic rather than an accurate rendition.

Altogether rather pleasing and better than her more delicate later work also featuring leschenaultia.

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CollectablesTrader

As referred to previously, Marion Holmes was an accomplished

panel, are particularly attractive.

In 1921, Marion Holmes died of

exponent of pokerwork as well, items

Bright’s disease. Her work is found in

of which she also exhibited with the

the collection of the Karrakatta Club

Western Australian Society of Arts in

and Meath Anglican Homes as well

1912. Several of her pieces in the

as the Western Australia Museum.

collection of the Western Australian

Industrious collectors could well find

Museum, Perth, such as the poppy

pieces in unlikely places.

umbrella stand and the muse Errato

Further reading Australian Dictionary of Biography, vol. 9, MUP, 1983, p. 349 Karrakatta Club Incorporated: History 1894-1954, Perth: Imperial Printing Co., 1955 Ruth Marchant James, A Heritage of Pines. A History of the town of Cottesloe, Western Australia, Town of Cottesloe Council, 1977 Ruth Marchant James, The Meath Story, Meath Ministering League Anglican Homes (Inc), Perth, 1982 West Australian, 4 July 1899, p. 7; 20 Nov., 1912, p. 8 James Mackay, An Encyclopedia of Small Antiques, Bracken Books, London, 1984

Images courtesy Western Australian Museum

Pokerwork umbrella stand featuring poppy motifs, 69 x 27.4 x 27.4 cm.

WA Museum

CollectablesTrader 31

THE COLLECTING BUG a new website for collectors A specialist website for collectors is now in beta release, and seeking keen collectors to help with final testing. The Collecting Bug is uniquely designed to allow all collectors to organise and display their collection on their own personal website. The simple customised template enables, for the first time, all collectors to create their own custom website.

Philip Moorhouse, a Melbourne collector of letterpress printing equipment and historical wood type, started The Collecting Bug almost by accident. 'Over the last 20 years, my collection had grown to the extent that I really needed to manage it better. Also, many of my collecting friends were overseas, yet I had no way of sharing. I thought a website was the ideal solution, but being a non-technical person, I asked some collector friends for advice. It turned out quite a few wanted something similar themselves! I looked and looked, but couldn’t find anything suitable.”

Keen collectors have tried previously to get their collections online, but with limited success. Blogs don’t help you organise your collection. Collector forums are great for sharing knowledge, but you can’t showcase your collection. Collectors can document their collection in an Excel spreadsheet, but it can’t handle pictures. Philip says it was very frustrating, like going around in a circle!

Everything was a compromise. The final straw came when he attended an overseas collectors convention (yes, they even have them for letterpress collectors!), made lots of

32

CollectablesTrader

new friends, and couldn’t show them anything in his collection.

He resolved to design the best possible website he could – for himself, and other keen collectors. Not knowing how to do this, he started looking at the finest museum and art gallery websites he could find, then individual online collections, forums and clubs, and finally speaking with collectors. When he approached website developers, they told him most websites start the other way very basic, and then add features as required. This backwards design approach turned out to be a blessing in disguise, as the end result is a well integrated, easy to use, website. Even his lack of technical expertise had a benefit – if he couldn’t intuitively understand it, he worked with the developers to simplify it.

The concept is straightforward. In a nutshell, every item in your collection is listed with its customised fields (e.g. size, maker, condition, country of origin, date etc), a general description, and up to 12 photographs. Load up your collection, either item by item or alternatively by bulk import, and then organise it into optional folders. Lastly, set your privacy levels and think up a name for your website.

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

customised fields, and storing documents.

You can easily display up to 20,000 items in a single collection.

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

The Collecting Bug is now in its final development phase before general release, and seeking collectors to assist in beta testing. For anyone interested in having their own collection website, this is a remarkable opportunity. The team will personally guide you step by step as you create your own, fully customised website – entirely for free.

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

The website is www.thecollectingbug.com

Looking at

URANIUM GLASSWARE STYLES Continuing our series on uranium glass, this edition John Firth looks at late 19th century to the early 20th century glassware that was mainly produced in America, Britain and Bohemia (now Czech Republic)

John Frith

ranium glass became very

U

popular in Britain, continental Europe and America from the mid 19th century through to

the mid 20th century and its popularity spread to many other countries. A wide diversity of articles were made including vases, decanters, wine glasses, tumblers, pitcher and glass sets, finger bowls, butter dishes, biscuit jars, medicinal and scent bottles, knife rests, door knobs, sweets dishes, posy baskets and epergnes.

Uranium glass was often used for the feet, handles, applied glass trailings and decorations on coloured fancy glass.

UK makers Between 1845 and 1870 most British uranium glass was made by Thomas Webb & Sons, and up to 1900 they made many

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CollectablesTrader

styles including Canary, Chrysoprase,

and Burmese glass, Thomas Webb’s

uranium. Production resumed after

Ivory, Emerald Green, and Rich

Queen's Burmese, Peach and Peach

1959 and since then most uranium

Topaz. Other British glassmakers that

Bloom glass, and Custard glass made

glass has been made in US and

made uranium glass were James

by Dithridge & Co. and Northwood

Czech Republic.

Powell & Sons, Molineaux & Webb,

Glass Co. In 1889 George Davidson

Edward Moore & Co., Stevens &

& Co. made Primrose Yellow with

Uranium content of Victorian uranium glass

Williams, John Walsh Walsh, James

uranium as part of their Pearline

A. Jobling, Sowerby & Co. and George

opalescent range.

Davidson & Co.

Sequence of colour combinations helps identify production date

1.5% uranium by weight with a

Uranium with white opalescence

or ionic state, the type of alkali in

pattern was a common colour

the glass and the acidity of the

combination found in American Opaline

melt, and the presence of other

In 1878 Sowerby & Co. introduced

Brocade glass (now called Spanish

colourants, determines the depth

Queen’s Ivory, a new vitro-

Lace) and British Brocade glass

and shade of colour.

porcelain glass that was coloured

produced in the 1880s and 1890s.

Why does uranium glass fluoresce with ultra-violet light?

In 1877 James Powell & Sons developed Straw Opal and Blue Opal that were lightly coloured opalescent glasses with some uranium.

with cyrolite and uranium.

Canary Opalescent was made by

Between 1878 and 1895 James

Fenton Art Glass Co. in around 1900

A. Jobling & Co. made uranium

and in 1905 Northwood Glass Co.

glasses such as Chrysophis,

and Fenton Art Glass Co. made a

Green Jade, Pomona, Gold

uranium Carnival glass.

Yellow and Topaz.

In 1883 John Walsh Walsh created Crushed Strawberry and Electric Blue.

In 1932 the Jeannette Glass Co. made Jadite kitchenware with uranium and in 1933 James A. Jobling & Co. made Jade glass, also called Uranium Moonstone.

In 1887 Edward Moore & Co. made Green Celadon.

USA makers Uranium glass was also made by

In the 1920s and 1930s a limegreen Depression glass was made using uranium oxide and iron oxide.

Uranium glass production ceased

many American glassmakers from the

during World War II because of

mid-19th century such as by Hobbs,

restrictions on non-military uses of

Most Victorian uranium glass contains in the order of 0.1% to range of up to 2-3%. The amount of uranium used, as well its oxidation

Uranium glass fluoresces bright green or yellow-green under ultraviolet light. Fluorescence is due to electron instability of the uranium atom. The electrons of the uranium absorb the energy from the UV radiation and jump into a higher energy orbit. The attraction of the atomic nucleus forces the electrons back into their normal energy state and as they do they emit back the extra energy they absorbed in the form of yellow-green light. An

Brockunier & Co., New England Glass Co., Bakewell, Pears and Co., and the Boston & Sandwich Glass Co. A recipe used by Hobbs, Brockunier & Co. for making Canary soda-lime glass given by Sue C. Davis in her 2001 book The Picture Book of

Vaseline Glass was dry sand 2000 lb (907 kg), soda ash 912 lb (413 kg), lime 100 lb (45 kg), nitrate soda 20 lb (9 kg), uranium 10 lb (4 kg) and arsenic 4 lb (1 kg).

Uranium oxide was also used by many glassmakers as a secondary colourant in a variety of blown and pressed glass, such as Mount Washington Glass Works Peachblow

CollectablesTrader 35

petroleum jelly of that name being made at the time. Vaseline glass is defined by Vaseline Glass Collectors Inc. as yellow-green glass that has been coloured with 2% uranium attraction of Canary glass in Victorian

dioxide and fluoresces bright green

times was as the sun was setting and

under UV light. In Europe and UK the

during twilight, the wavelengths of colour

term ‘Vaseline glass’ is used to describe

at the UV end of the spectrum are the

opalescent glass and the term ‘uranium

last to fade and so the glass faintly

glass’ is generally used to describe any

glowed for a short time as night fell.

glass that contains uranium.

Uranium glass or Vaseline glass?

The term ‘vaseline’ to describe uranium glass came about in the early 20th century in America. Research by David Peterson of the Vaseline Glass Collectors Inc. found that up to 1864 American uranium canary yellow glass was made from lead-flint mix, after that time uranium glass was made from soda-lime mix. The older flint uranium glass was a brighter yellow than the new soda-lime glass, which was paler yellow and had a greenish tint. The oldest reference that Peterson found which used the term ‘vaseline’ to describe the newer slightly different coloured soda-lime canary glass was N. Hudson Moore's 1924 book Old

Glass: European and American.

The glass was called Vaseline because of its similarity in colour to the

36

CollectablesTrader

Further reading S.C. Davis, The Picture Book of Vaseline Glass, Atglen, Pennsylvania: Schiffer Publishing Co, 2001 C.R. Hajdamach, British Glass 18001914, Woodbridge, Suffolk: Antique Collectors' Club, 1991 D.A. Peterson, Vaseline Glass: Canary to Contemporary, Marietta, Ohio: Glass Press Inc., 2002 B.W. Skelcher, Uranium Glass, 1998 www.glassassociation.co.uk/sites/default /files/Uranium_Glass_sample_article.pdf Vaseline Glass Collectors Inc. www.vaselineglass.org/

BRISBANE ANTIQUE EMPORIUM at Discovery Junction Cnr Sandgate & Junction Road Clayfield Qld 4011

07 3862 1600 info@brisbaneantiqueemporium.com.au

- Compreh ensive doll display and sale U ST G U A ER & OCT O EMB BER - Exhibition & sale of T P q u i SE t e n Australian maps & prin ts a NOV EMBER - Kerose ne lamps displa y and sale

Edison Standard E model cylinder phonograph, c. 1980-9 with original horn

English silver-plate candelabra, c. 1910

Brooch/pendant in 9 ct gold set with central amethyst and pearls

Moorcroft biscuit barrel and cover decorated in the pomegranate pattern

A selection of diamond, ruby and sapphire dress rings available in the centre

Finely crafted necklace in 15 ct gold c. 1890, set with coral

* Valuations * Restorations * Off street parking * Air conditioned * Coffee * Personalised Service * Friendly Atmosphere * Knowledgeable Staff

Rare jet necklace, c. 1890

OPEN 7 DAYS 10 AM – 5 PM Discovery Junction incorporates Buy Design Clayfield & Atomic Martini Vintage

Elizabeth’s miraculous

TRAVELLING TRUNK Much adored dolls and a trunk of their clothes accompanied a little girl to Paris on a number of occasions and have survived 130 years in near-mint condition, revealing a time capsule of treasures

Lila Rait

lizabeth Seeley was born in

E

Cincinnati, Ohio, in 1874, one of three daughters of a wealthy family. The children were taken

to Paris several times, as well as to other parts of Europe. It is very likely that one of those trips took them to the Paris Exposition of 1878. Leon Casimir Bru exhibited there and won a silver medal.

Perhaps the Seeley children had their first glimpse of Bru dolls at that exposition? At that time the company produced only poupeés or lady dolls.

In March 1879, Bru registered a patent for a bébé with bisque swivel head and shoulder plate on a chubby leather body.

Known as Bru Breveté this doll has the ‘first generation’ of child faces designed by the

The travelling trunk with clothing and muff

38

CollectablesTrader

feet. All indications are that this doll is extremely early, possibly dating from 1879–80.

The second doll is larger at 22 inches (55 cm) and later, possibly The hats from Elizabeth Seeley’s travelling trunk

dating from 1881-83. Her body is slightly different to that of her sister,

Bru company. Between 1879 and

have been dressed in a long baby

still leather with bisque lower arms

1881 patents were registered for Bébé

petticoat and a home-made baby

and leather lower legs, but with a

Teteur (which sucked a bottle by

carriage coat. It is tempting to

slimmer torso. The upper arms and

means of a vacuum bulb in the head),

assume that these might have

upper legs are of leather over metal,

Bébé Gourmand (which ‘ate’ by the

belonged to a small early Bébé Teteur

the bisque lower arms pivoting on

same mechanism) and Bébé Modele,

(consistent with the time frame), now

screws. The head is now the ‘third

on a wooden body. By 1880, the mark

sadly lost.

generation’ of face and is marked

‘Bru Jne’ appeared on the back of the head or shoulder plate, teamed with

The other dolls are very much alive

‘Bru Jne 8’. She too has stationary

and well and in near-mint condition.

brown glass eyes, closed mouth and

The earlier of the two is a Bru

pierced ears. In both dolls the

Breveté, very clearly marked with a

bisque is pressed, not poured.

Highly collectable early Bru dolls

paper label on the chest. She stands

Treasures of the trunk

16 inches (40 cm) tall with a ‘first

The trunk remained locked for some

Elizabeth’s Seeley’s treasures include

generation’ face, skin wig and

time but its eventual opening revealed

two Bru dolls and a trunk full of

stationary glass eyes, pierced ears

treasures. Many of these were home-

clothes. It seems probable that dolls

and closed mouth. The bisque head

made, including all the bedding for a

were bought in Paris for all three

and shoulder plate are attached to a

half-tester bed (now lost), the

Seeley children, possibly at different

plump leather body. The leather is

previously mentioned baby carriage

times, but most probably all from

square-cut where it joins the shoulder

coat, a brown velvet cape, and a pink

Leon Casimir Bru. One exists now

plate. The leather feet have stitched

knitted jacket.

only as a ghostly memory, known to

toes, and there are no soles to the

what is known as the ‘second generation’ head.

Next, there were two negligees, one pink and one blue, professionally made but of no great distinction.

Before establishing his own doll making business in 1867 Leon

A blue and white horizontally

Casimir Bru learnt the trade from Paris doll maker, Serre-

striped skirt, cream wool top and

Schneider. Bru traded under the name Bru Jeune, using the word

bonnet is most possibly a regional

‘jeune’ meaning junior, to distinguish himself from other makers

French costume for the Bru Breveté,

with the same name. The bisque heads he acquired from Eugene

whilst a plain blue skirt may be the

Constant Barrois were marked ‘B. Jne et Cie’ or ‘B.J.’ His wife

remains of one similar for the Bru

designed and made the fashionable garments worn by his first

Jeune. There is exquisitely fine

range of dolls which took the form of adult women.

underwear for each doll, with an elaborate corset for the Bru Jeune.

CollectablesTrader 39

Right: Bru Breveté in summer dress and beret Below: Bru Breveté and Bru Jeune in underwear

In the trunk were shoes to fit the Bru Breveté, marked ‘B’ and size ‘4’, plus one shoe for the Bru Jeune.

The dolls and their clothes are certainly miraculous survivors. They have been

Millinery accessories: hats for all occasions

played with by at least three little girls,

Then there are the hats. Apart from

lived through three generations of

the French blue beret and the marabou-trimmed bonnet, there is a crocheted, ribbon trimmed bonnet, a ruby red velvet bonnet and an amazing flower-trimmed straw hat. For

40

Miraculous survivors

have crossed three continents, and

family life and over 130 years of history.

At the end of it they remain in almost as perfect condition as the day they were bought. They are a wonderful

some reason the last reminds me of

testimony to Elizabeth Seeley, her

southern France.

family and her travelling trunk.

CollectablesTrader

Further reading François Theimer, The Bru Book: a History and Study of the Dolls of Leon Casimir Bru and his successors, Theriault’s Gold Horse Publishing, Annapolis, Maryland, 1991 François & Danielle Theimer, The Encyclopedia of French Dolls 18001925. Theriault’s Gold Horse Publishing, Annapolis, Maryland, 2003

HISTORY OF FRENCH HAUTE COUTURE IN DOLL DESIGNER OUTFITS Bru Breveté ensembles

Bru Jeune ensembles

Above and beyond this lies a realm of Paris haute couture, in

Next is an ensemble to fit the Bru Jeune. It comprises coat,

four outstanding outfits. A dress which belongs to the Bru

bonnet and muff in pink wool, very simply cut but with an exotic

Breveté is of devastatingly simple cut in fawn linen lined with

touch in the trimming. Here it is marabou stork, also pale pink,

gauze. The trim is of French blue silk ribbon pleated around

outlining the jacket's edges, the bonnet and the muff. Expense

the hem and cuffs, and outlining every seam. It is matched

was no object. Marabou was used in high fashion from 1800

with a French blue beret with a silver clasp. There is a fur

onwards, sometimes as trimming, sometimes as entire capes.

Last is a brown tweed coat which fastens down the front

muff of what is probably red squirrel.

Also to fit the Bru Beveté is a coat in dark blue wool

with brass buttons. Here the trim is of astrakhan, dyed

challis. This buttons down the front with brass buttons, and

French blue and forming the collar, cuffs and hem. This is to

has gold braid outlining the cuffs, collar and front edges.

fit the Bru Jeune. Each has two complete outfits, which bear the hallmarks of high-end doll fashion.

Above left: Bru Breveté in dark blue jacket Above right: Bru Jeune in pink wool outfit. Tweed coat is displayed next to her

CollectablesTrader 41

Collectables Trader

Congratulations to the winner of Conundrum No. 49

conundrum no.49

Congratulations to the winner of Conundrum No. 48, K. Portelli of Bridges, Queensland, who wins a one-year subscription to the online version of CARTER’S Price Guide to Antiques at www.carters.com.au, valued at $125.

n this Conundrum, the theme is ‘what’s in a name’ as we look at some of the more unusual names given to antiques and collectables. Collecting opens up a world of discovery and the exploration of lesser-known makers and styles within the principal areas such as ceramics, furniture, silver and glass, improves a collector’s chances of recognising that special piece. For example, in the field of furniture there are metamorphic (library step) chairs, campaign (military) chests, conversation settees, whatnots (open shelves) and canterburys (to hold sheet music). In the area of glass, although a goblet is familiar, the Stangenglas (tall glass) and humpen (beaker or tankard) introduces collectors to European drinking glasses of an earlier time.

I

1

2

Your task this month is to match the correct name of the item or manufacturer to each of the items displayed. The pictures on the opposite page are in the correct order.

1. French amore or French armoire 2. Hydrometer or chronometer 3. Maples brace or Marples brace 4. Silver quiche or silver quaiche 5. Stewart Devlin or Stuart Crystal 6. Walnut credenza or walnut crescendo

3

4

5

6

Read through the list above and study the corresponding picture, then write the correct name of the item or manufacturer underneath each item.

Once you are satisfied with your answers, complete the coupon below and mail it to the address shown.

The first correct entry opened after the closing date for entries, will receive a free one-year subscription to Carter’s online price guide to antiques and collectables valued at $125. You must have an email address in order to be able to access the online price guide. Located on the internet at www.carters.com.au, it includes over 90,000 items.

Carter’s online price guide is fully indexed, making it easier to locate items, and offers affordable access for infrequent or once-only users, as well as being moderately priced for an annual subscription.

Answers to Conundrum No. 48, which asked readers to identify six precious and semi-precious stones and jewels: 1. Greenstone 2. Tiger’s eye 3. Citrine 4. Moonstone 5. Tahitian pearl 6. Paua

CARTER’S PUBLICATIONS

PO BOX 8464, ARMADALE VIC 3143, AUSTRALIA FAX: 03 9819 4407 EMAIL: info@carters.com.au JOHN FURPHY PTY LTD ABN 37 005 508 789

To enter, write the answer underneath the appropriate picture, complete the coupon below and mail or fax this page or a photocopy to reach CARTER’S by 5 pm Tuesday 8 October 2013. Win a free one-year subscription to Carter’s online price guide to antiques and collectables at www.carters.com.au valued at $125.

Name: ........................................................................................................................................................................................................................

Address: .........................................................................................................................Suburb or Town: ...............................................................

State: .................Postcode: .................Phone..........................................................Email.........................................................................................

CollectablesTrader

43

Now you can easily find the value of antiques and collectables in the online version of Carter’s Price Guide to Antiques and Collectables.

STEP 1 Enter one or two words applicable to o your general gen area of interest, intere estt, and click c on the Go button. bu utton.

STEP 2 Select the index ind dex item from the disp play that display your matches you ur criteria. criteria.

STEP 3 Click to displ display ay the matching ma items.

Our online price guide comprises over 95,000 items sold by auction in Australia and New Zealand over the last four years, and the price range shown is indicative of the actual auction price. Carter’s price guide is fully indexed, just like a book, making search-and-find easy. Each item is fully described and illustrated.

Subscription rates are: – One week AUD$12.50

– One month AUD$30.00

Go to: www.carters .com.au John Furphy Pty Ltd trading as CARTER’S Publications ABN: 37 005 508 789 info@carters.com.au

– One year AUD$110.00

COLLECTABLES

fairs

** Fairs listed prominently advertise complete details in Collectables Trader or Antiques & Art (NSW, VIC, QLD) Collectors should call and confirm the date, venue, address, hours and entry fees to ensure up to date information before travelling to the listed fairs, as changes may occur after printing

Fair organisers who advertise in Collectables Trader and Antiques and Art NSW, Queensland and Victoria have preference for this free listing, as space is limited.

Please ring 02 9389 2919 to discuss ways to advertise your fair in these magazines or email copy or request for advertising rates to production@worldaa.com

AUSTRALIA SEPTEMBER 1

Sydney Collectables & Antiques Fair, Greyhounds Function Centre, Wentworth Park Rd, Glebe NSW 0419 333 220 www.wentworthparkfair.com.au

1 - 28 November A Calligraphic Celebration of Sutherland Shire’s art and the shire’s40 suburbs, Cronulla Central Atrium (adjacent to Cronulla Library) Croydon St, Cronulla. Entry free 02 9525 8291 7

Collectorama at Nambour, Nambour Showgrounds, Nambour QLD 0418 744 887

7–8

Boyanup Antique & Collectables Fair, Hugh Kilpatrick Hall. South West Highway, Boyanup, WA 08 9731 5351

8

Warragul Regional College Chaplaincy 2nd Antiques and Collectables fair, Warragul Regional College, 55 Burke Street, Warragul VIC www.vic.gov.au

8

Broke Village Fair & Vintage Car Display, McNamara Park, Broke, NSW www.brokefordwich.com.au

13 – 15

The Way We Wear Fair Mt Gravatt Showgrounds, 1644 Logan Road, Mt Gravatt, Brisbane QLD www.thewaywewearfairs.com

20 – 22

Toowoomba Antiques and Collectables Fair, Clive Berghofer USQ Recreation Centre Baker Street, USQ (off West Street), Toowoomba QLD www.antiquesandcollectablesfair.com

21 – 22

Berry Antiques & Collectables Fair, Berry School of Arts, 19 Alexandra St, Berry, NSW 0428 446 534

22

Australia's Premier Collectables Show, Williamstown Senior Citizens Centre, Cnr Ferguson St and Melbourne Road, Williamstown VIC 1300 727 971 www.cshow.com.au

OCTOBER 5–6

Toowoomba Swap Meet & All Holden Day, Souths Football Oval, Baker St, Toowoomba QLD 0407 353 959

6

Toy and Collectors Fair, Cannington Exhibition Centre, Cnr Albany Highway and Station Street, Cannington, WA 08 9310 7890

5–7

Inaugural Labour Day Holiday Weekend Brisbane Antiques and Collectables Fair, PCYC, corner Mt Cotton Rd & Degen Rd, Capalaba QLD www.brisbaneantiquecollectablefair.com

12 – 13

Fraser Coast Antiques and Collectables Fair, Maryborough Showgrounds, Bruce Highway, Maryborough QLD 0447 888 170

11 – 13

Australasian Shelley Collectors Club Inc Exhibition and Fair, various venues, Ipswich QLD 07 3843 5114 www.shelleyclub.com

13

Mornington Collectables Fair Peninsula Community Theatre, cnr Nepean Hwy & Wilsons Rd, Mornington Vic 9.30am-3pm 03 9568 8441

www.eventsvic.com.au 19

Geelong Collectables Fair, Barwon Valley Activities Centre, Geelong VIC 03 9585 6567

26

Ipswich Antique & Collectables Fair, Ipswich Showgrounds, 81 Warwick Road, Ipswich QLD www.antiquesandcollectablesfair.com

25 – 27

Way We Wear Spring Fair, Albert Hall, Commonwealth Avenue, Yarralumla, Canberra ACT www.thewaywewearfairs.com

27

Aladdins Fair at Windsor, Downey Park Table Tennis Hall, 86 Green Tce, Windsor, Brisbane QLD www.aladdinsfairs.com.au

NEW ZEALAND SEPTEMBER 1

Hamilton East Village Market, Grey Street Hamilton East, 07 847 9855

1

Market and Car Boot Sale, Christchurch City, New Brighton Club car park, corner of Hawke & Keepel Sts, New Brighton, Christchurch City, http://marketandcarbootsales.weebly.com

6

Antiques, Collectibles and Crafts Market, Bay View Hotel, 47 Petane Road, Bay View, Napier

7

Otara Fleamarket, Otara Town Centre Carpark, 20 Newbury St, Auckland

7

Hastings Great Car Boot Sale, Hawke's Bay A & P Showgrounds, Kenilworth Rd, Hastings

14 – 15

Whitianga Antique Fair, Whitianga Town Hall, Supper Room, Monk Street, Whitianga 027 285 4627

22

Soundshell Market, Rotorua Lakefront, Rotorua 07 332 5782

29

Auckland Hobbies Collectors Fair, Freemans Bay Community Centre, cnr Wellington & Hepburn Streets, Auckland City 444 6975

CollectablesTrader 45

COLLECTING FINE WINES The story of wine, an alcoholic beverage made from fermented grapes or other fruit, reflects the history of civilisation itself.

Melody Amsel-Arielli vidence of production, probably

E

from wild fruit, has been found in Georgia as far back as 6,000 BCE and the earliest known winery

dates to around 4,000 BCE in Armenia.

Early history of domestication Domestication of the grapevine evidently occurred during the Early Bronze Age, around 3,000 BCE, in Sumer, the Near East and Egypt.

Between 1550 and 300 BCE, Phoenicians, maritime merchants and traders spread their knowledge of viticulture and wine production throughout

Left: Herbert Morton Stoops, (American 18881948), Untitled, 1930, oil on canvas, 60.96 x 60.96 cm. Courtesy Heritage Auctions -ha.com Above left: Penfold’s Grange 1995, blend of shiraz (94%) and cabernet sauvignon (6%) grapes from Magill Estate, Barossa Valley SA. Value: 750 ml:$ 259 - 500; 1500 ml - $1295.

Courtesy Heritage Auctions - ha.com

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CollectablesTrader

the Mediterranean. Greeks, too, founded vineyards and carried on a lively sea trade. Wine has played a significant role in Jewish rites since Biblical times as well. Plutarch (c.46after 119), the Greek historian, observed that wine was integral to Jewish rites and so associated the God of Israel with Bacchus, the Greek god of wine.

During the height of Roman rule everyone – citizens, women, soldiers, and slaves alike – drank large amounts of wine daily. Ranging from sweet to sour, this popular drink was

A good vintage - the Australian experience Wine production may vary considerably from year to year.

Different types of grapes respond differently to different temperatures, humidity, amount of sunlight, and production methods, sometimes dramatically. According to the online wine magazine – decanter.com – ‘the El Niño cycle, whose effect is particularly strong in Australia, can result in unpredictable weather patterns, with attendant complications for the area’s wine producers. Heavy

often flavoured with herbs or spices and diluted with warm water. In addition to slaking thirst, wine was also prized for its medicinal, religious, and social roles. To ensure a constant supply, first-growth vineyards, harvested by innovative cultivation techniques, were established across the Empire. These world-renowned winemaking regions are today located in France, Italy, Germany, Spain, and Portugal.

Other uses: perfume, ink, medicinal & military Although alcoholic beverages are forbidden in Islamic culture, 7th and 8th century Muslim chemists distilled wine for medicinal or military purposes, or created perfumes and – when mixed with silver filings – ink.

From secular to religious During the Middle Ages, wine remained the common drink everywhere that grapes were cultivated. Although beer and ale were preferred in the northern reaches of Europe, wine was required to celebrate the Christian mass. So monks, including Benedictines, Carmelites and Templars, cultivated vineyards, established cellars for aging and storage, then marketed wine for religious and everyday use. Despite the expense, many noble northern households served wine, red or white, mulled or spiced, at each meal.

Top: Reserve ‘R’ Shiraz 2004, Barossa Valley SA. Great reds, particularly Shiraz, are produced from lower altitudes. Courtesy Heritage Auctions - ha.com Above: Three Rivers Shiraz now branded Chris Ringlands Shiraz.

The shiraz produced by this Barossa winemaker is regarded as the single most difficult shiraz to obtain as less than 80 cases are produced per annum. Value: 2002 vintage approx $1400; 2005 vintage approx $3900. Courtesy Heritage Auctions - ha.com Right: Chateau Cheval-Blanc 1947 double magnum (3 litres), estimated at $60,000-90,000, sold for US$116,375 in early 2013. Comes from the vintage rated one of the top two of the past 65 years for the Saint-Emilion producer by US wine critic Robert Parker. Courtesy Sotheby’s

CollectablesTrader 47

Left from top: Chateau Lafleur 1982. One of the most important and highly recognised wines of Bordeaux region; consistent high quality. 6 magnums, Est. $45/65,00. Sold for US$67,375 in early 2013 Courtesy Sotheby’s Dom Perignon Rose Oenotheque 1966. Est. $11/15,000 4 bottles Sold for US$15,925 in early 2013 Dom Perignon Rose Oenotheque 1978 – four magnums Est. US$15/20,000; Sold for US$23,275. The Oenotheque label indicates that a Dom Perignon vintage has reached its peak in maturity. To guarantee its excellence, every Oenotheque bottle is tasted at disgorging by a Dom Perignon winemaker Ygrec 2009. Est. US$2/2,750 12 bottles. Sold for US$3,675 early 2013 Ygrec 2011. Est. US$650 950. Sold for US$1,715 Ygrec is produced by Chateau d’Yquem – also produces a famous eponymous wine - the only wine in France to hold the Premier Cru Superieur (Great First Growth) designation.

Ygrec is a dry white blend of Sauvignon Blanc and Semillion

rains in 1993 resulted in a disastrous

pears, apricots, honey, or citrus, may be

vintage of light wines; two years later,

earthy, floral, or creamy.

in 1995, drought conditions led to

Starting a wine collection

very low yields indeed, although the grapes did ripen well. Luckily, the weather sometimes works in Australia’s favour – the long, warm summer of 1998 gave rise to an exceptional vintage.’

If wine from a particular vintage is not sufficiently successful in itself, it is often blended with that of other years to create consistent products, and labelled as such. Wine labels commonly note regions and years of production, types of grapes and their maturity, as well as their degree of sweetness.

Distinct vocabulary Fine wines – outstanding vintages

48

CollectablesTrader

Today an entire industry – wine classes, publications, festivals, tours, tastings and festivals – meets the needs of enthusiasts. But how does someone who enjoys a sip from time to time with dinner become a collector? As people become familiar with different types of wines and the foods they favour, they may purchase several bottles of favourites to have on hand. To those with means, these extra bottles can quickly multiply into dozens, scores, and cases, enough to fill wine cellars.

Some collectors seek wines from

from the finest vineyards in Bordeaux,

particular locations, single wines

Burgundy, Rhône, Loire, Champagne,

vintage by vintage, or limited

and Alsace, for example – offer a

productions. Others build broader

balance of sweetness, acidity, tannin,

collections, featuring youthful wines

and alcohol enriched by satisfying

for day-to-day drinking, vintages

depth and a lingering finish in the

to be aged, and rare, fine wines

mouth. They also offer a complexity of

at the peak of their flavour and

aromas and flavours, described in a

aroma. Aside from personal

vocabulary all of its own. Red wines,

enjoyment, many connoisseurs

hinting at plums, berries, vanilla, and

invest in fine wines which, like gold

spices, may be jammy, smoky, toasty, or

bullion and fine art, may command

tarry, for instance. White wines, hinting at

higher prices in the future.

GLEBE ANTIQUE CENTRE

French 19th century walnut chest of drawers with Carrara marble top $3850

English 19th century mahogany five drawer chest c. 1850 $3,650

Early Victorian bow fronted mahogany five drawer chest set on turned feet, with original handles $3,850

Scandinavian 19th century pine marble top chest of drawers $2,450

Edwardian pine chest of drawers with original handles $1,250

Bow fronted Georgian walnut five drawer chest set on French feet c. 1820 $3,650

Victorian figured mahogany six drawer chest in very good condition $3,250

Fine mahogany seven drawer chest $4,500

Australian cedar chest of drawers c. 1850, sympathetically restored $4,500

George IV period chest of drawers designed with quarter column corners, original motherof-pearl escutcheons and handles $4,850

William IV walnut five drawer chest c. 1840 $3,850

Victorian mahogany five drawer chest designed with a deep bottom drawer $4,500

William IV style mahogany chest of drawers in good original condition $3,950

George III mahogany chest of drawers fitted with replacement brasses $3,850 Victorian breakfront cedar eight drawer chest $4,850

Coachwood chest of four c. 1930, fitted with graduating drawers retailed

by Beard Watson $1,250

William IV mahogany press on chest fitted with hanging space on top $3,850

Small cedar four drawer chest fitted with tooled leather top c. 1930, retailed by Beard Watson $585

Victorian mahogany seven drawer press on chest c. 1870 $4,500

Australian cedar chest of drawers, c. 1870 $3,500

88-90 Parramatta Road, Camperdown NSW 2050 www.glebeantiques.com.au • www.desksofdistinction.com.au • Email : sales@glebeantiques.com.au Open 7 days - 10 am to 6 pm. Phone +61 2 9550 3199

knowledge base

THE ORIGINS OF THE AFRO COMB traces to centuries-old tools & ornaments he iconic black fist comb, which

T

reflects the Black Civil Rights and

By 4th millennium BCE hair combs had become an important accessory for the After Life and were commonly found in graves in Ancient Egypt and Sudan.

Museum of Archaeology and Anthropology, Cambridge

Power Movement in the USA is the combination of the functional pick, the

clenched fist as a reference to the power salute, and the peace sign at the base of the handle.

Many of the combs designed during this period are still available today, including the folding comb as well as the fist comb which was designed by Anthony R. Romani in 1972 and is still produced by Antonio’s Inc., both in its original design and in a variety of different forms.

Recent history of the comb In the late 1960s and 1970s the Afro comb re-emerged among the African Diaspora. The

Origins of the ‘Afro’ pick The earliest hair combs to be found were made in Sudan over 6,000 years ago. The most number have been discovered in graves during the earliest periods of African history. It appears from the excavations that they were associated with status. In addition to bull’s horns, birds, quadrupeds and human figures were also used to decorate the handles. Many of the combs from this period are smaller than modern combs, and it has been suggested that they functioned as decorative hair pieces rather than tools for combing or styling the hair.

Timeless tool and ornament

Black Power Movement from the USA arrived

The comb is still used as a hair ornament as

in Africa via the mass media and travel. It was

well as a grooming tool. It can also be stored

not long before the culture of bell-bottomed

in the hair, much as a chopstick is used also

trousers and platform shoes, the music and

as a hairpin in Japan.

culture of the African Diaspora hit home.

Although the design is now over 40 years old,

Another feature of dress was the Afro hair

the symbol of the Black Power clenched fist still

style. Youths learned to extend the height by

has universal appeal and relevance in the 21st

plaiting or braiding overnight; and braiding

century. That this latest incarnation of an

became fashionable in its own right. The

ageless theme is available in a range of acid-

plastic comb with the fist salute, cheap to

drop colours suggests that the development of

produce and easy to distribute, became a

the African comb is far from over.

symbol of protest and a global icon.

In the 1980s different coloured versions of the black fist comb were produced in Nigeria.

Although once produced in the US, the majority of these multi-coloured plastic combs Iconic black fist comb designed by Anthony R. Romani in 1972

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that today are still popular in Nigeria and also sold in Britain are mostly imported from China.

An exhibition at the Fitzwilliam Museum, University of Cambridge running until 3 November 2013 explores the origins of the Afro comb, looking at 6,000 years of culture, politics and identity. More at www.fitzmuseum.cam.ac.uk/whatson/exhibitions/

Valentine’s Antique Gallery IMPORTERS OF FINE QUALITY ANTIQUES ESTABLISHED 1947

Rare Louis Vuitton trunk, with all original linings and fittings, initialled BB, c.1910

Fine quality William IV flame mahogany 8 day long case clock with hand painted dial, rolling moon, c.1830

Currently in stock selection of fine quality gold watches, 9 ct gold bracelets, lockets, wax seals and diamond rings, displayed in an early Regency rosewood travelling case

Impressive George II walnut 8 day long case clock by Richard Peckover, London, c.1750

19th century mahogany cylinder top 6 drawer fitted desk, with pull out slide, finely turned & reeded. c.1870

NOW ONLINE

Grand William IV mahogany 2 section secretaire bookcase, tooled leather interior to fitted secretaire, flanked by 2 drawers over 3 cupboards, c.1840

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

Renovation rescue

WITH AN 18TH CENTURY SPIN The restoration of Stowe House uncovered some of the grandest interiors of any English country house

riginally the official residence

O

of dukes, the story of Stowe House is one of rags to riches back to rags.

House history The Temple family acquired the estate in

1591. After 1677, Sir Richard Temple, third Baronet (1634-1697) built a brick house as his new family seat which remains the core of the current mansion. A few decades later, the 17th century gardens were replaced by a second Richard Temple (1675-1749), who inherited Stowe in 1697, aged 21. He was a good friend of famous English poet Alexander Pope and invested considerable wealth in his houses – Stowe was just the summer house but ultimately boasted around 400 rooms.

North front of Stowe House after restoration

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During the 18th century the house

possible visit by George III who had

was extensively re-designed. Around

four libraries at Buckingham House

1774 the state apartments were

(soon to become Palace). The King

handsomely refurbished – the marble

never arrived. Account books held

saloon featuring an amazing oval

documentary evidence of the original

reduced replica of the Pantheon

appearance of the library – showing

culminating in a 57 foot high dome.

that between 1793 and 1797, 15,000

Work continued in the 19th century

gold leaves were purchased. The

under renowned architect Sir John

gilding of the library ceiling has been

Soane who designed the beautiful

restored, transformed into one of the

Gothic Library based on elements of

most remarkable rooms in Britain for

Henry VII’s Lady Chapel at Westminster

its time.

Abbey (c. 1503-12).

‘Greatest debtor in the world’

Discovery under the paint Between the library and the marble

After having progressed to the

saloon is the music room. Here, the

Dukedom of Buckingham and

Temple-Grenvilles held concerts,

Chandos in 1822, the Temple-

occasionally dined and acted out

Grenvilles fell from grace through

plays in the evenings before television

squandering the estate’s fortunes.

was invented. Its decorations –

The second Duke, tagged the

painted walls completed during the

greatest debtor in the world, owed

1780s are very unusual. They show

£1.1m, resulting in the estate and

the influence of recently discovered

furnishings being sold off in two

Pompeian frescoes and are topped

notable auctions, in 1848 and 1921.

by a cornice featuring pan pipes and

In 1923 it became home to the Stowe

harps, emphasising the nominal

School and by then most of the

function of the space.

house was over 150 years old and in

The Egyptian Hall, restored during

a state of disrepair. The World

2011, turned out to be one of the

Monuments Fund in partnership with

most interesting projects. A century of

the Stowe House Preservation Trust

white paint had obscured much of

(SHPT) began the refurbishment of

the frieze relief and the original

the oval marble saloon in 2003-2005.

niches and windows had been boarded up shortly before the school

Gold & graffiti in the ceiling The restoration of its 160 ceiling coffers – each different – was tackled

moved in. As the paint was removed a textured surface was discovered on the walls and wooden columns which was recreated into the frieze.

first. Amongst the discoveries was pencilled graffiti by early schoolboys who had somehow made it onto the 20-foot high ledge. Analysis of the plasterwork found the presence of 22 carat gold on almost 400 samples.

It was discovered that two rooms had been united to form a library in the 1790s to enhance the family’s intellectual reputation, ahead of a

Right from top: Marble Saloon Working on the Marble Saloon Detail of plasterwork

CollectablesTrader 53

Above: State Library before and after Left: Looking up at the Music room ceiling

Makeover milestone The restoration of Stowe House is believed to be the largest project of its kind in the UK, if not in Europe.

After 14 years, 2013 has seen the completion of the building’s exterior with the return in May of the original Medici lions for the south front façade.

Work will commence on a further interior, the blue drawing room, in the English autumn.

More information can be found at

www.stowe.co.uk and wfm.org.uk

Information courtesy World of Antiques & Art, no. 81, Aug 2011-Feb 2012

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Open Monday to Sunday 10.30am to 4pm

Collectors’ Cottage Antiques Buying and selling a huge range of furniture, antiques

Silver 1920s bachelor’s calling card case $110

and collectables since 1985 Kate Greenaway alphabet plate c1890, $75

Huge selection of tin badges Royal Copenhagen figurine $995

Victorian lace collar $145

Silver brooch marking the opening of Parliament House $85

Paste 1950s demi parure set $135

Sterling silver 1870s knife set $225

Sterling silver tea service $1,395

Shop 7, Centenary ANTIQUE Centre 29 Centenary Rd Newcastle NSW • Open 7 days: 10 am – 5 pm Just 100 metres from Civic Station

02 4926 4547 View selection at www.antiquesplus.com.au – search for: Collectors’ Cottage

Celebrating our 20th Birthday – Bigger and better than ever!

Special feature sales 2013 Oct 4 Australiana & decorative art Nov 1 Rock, pop & retro & vintage clothing Dec 6 Toys, books & ephemera

29 SHOPS UNDER ONE ROOF • Open 7 Days - 10 am to 5 pm Visit our Old Grocery Store Museum

29 CENTENARY ROAD, NEWCASTLE 2300

Phone: 02 4926 4547

centenaryantiques@hunterlink.net.au

www.centenarycentre.com.au 56

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ANNA’S VIENNA The stylish culture of Viennese life over a century ago, including arts and crafts from the Wiener Werkstätte (Vienna Workshops), were showcased in a recent exhibition in Jerusalem Wood and brass hat stand, 1905, designed by Josef Hoffmann (1870-1956), manufactured by J & J Kohn, Vsetin, Moravia. Collection of Anat and Joe Meidan, Tel Aviv © Photograph by Elie Posner, The Israel Museum, Jerusalem Bentwood Sitzmaschine, c. 1908, designed by Josef Hoffmann (1870-1956), manufactured

by J & J Kohn, Vsetin, Moravia.

Collection of Anat and Joe Meidan, Tel Aviv © Photograph by Elie Posner, The Israel Museum, Jerusalem

Melody Amsel-Arieli

by J. C. Klinkosch Imperial Silversmith n 1880, a wealthy Arab dignitary

I

built a spacious house, surrounded by gardens, outside the walls of Jerusalem’s Old City. Twenty-five

years later, it was purchased by Dr Abraham Ticho and his wife Anna, an artist who, in her teens, had studied drawing in Vienna.

In June, 2013, Ticho House, now a restaurant and museum under the auspices of Jerusalem’s Israel Museum, presented Anna’s Vienna, a cultural and visual exhibition that evoked late 19th and early 20th century Viennese life.

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pieces, such as a set of silver teaspoons to Emperor Franz Josef and a hammered silver bowl manufactured by Württembergische Metallwarenfabrik AG, recall the lavish Viennese lifestyle toward the turn of the century.

Other items, including a dark wood cabinet by Viennese Michael Thonet, an iridescent glass and copper vase by Bohemian glassmaker Johann Loetz, and metallic-glazed porcelain by the Hungarian Zsolnay factory, exemplified the breadth and diversity of traditional Austro-Hungarian art.

Applied arts In addition to home furnishings and

Lavish lifestyle

objets d’art, Anna’s Vienna also

This exhibition, curated by Timna

displayed selected treasures from the

Seligman, featured a selection of

dowry of Amalia Greenfeld née Sheiber

paintings, household objects and pieces

(1904-1988). Her monogrammed silver

of furniture on loan from local, private

fish ware, silver sugar bowl, hand-gilded

collections. Anna was probably familiar

crystal champagne glasses, and

with many of these items. Several

especially, her ornate three -piece

vanity set, speak of a promising future.

ceramics, enamels, glassware,

Several exhibits, including a wood

jewellery, textiles, and graphics.

and brass hat stand and a bentwood

sitzmaschine (sitting machine) designed by Josef Hoffman (18701956), were innovative for their time.

Hoffman, along with Kolomon Moser (1868-1918), Gustav Klimt (18621918) and others, was a prominent member of the Vienna Secession, a group of painters, sculptors and designers who, from 1897, explored the creation of applied arts outside the constraints of academic and historical tradition.

Art and design The exhibit also features a collection

Anna's works Anna’s Vienna also includes several of her own works. Few date from her early years in Jerusalem, however,

Silver vanity set from the dowry of Amalia Greenfeld née Sheiber (1904–1988). Collection of Karin Moses © Photograph by Elie Posner, The Israel Museum, Jerusalem

when she exchanged the opulence and innovative artistic milieu of Vienna for harsh, Middle Eastern

Anna Ticho (Moravia/ Israel 1894-1980), Seated Nude, 1950s, bistre on paper. The Israel Museum, Jerusalem. Bequest of Anna Ticho, Jerusalem

sunlight and barren hills and wadis.

Only in the 1930s, when she found beauty in the hills, figures, and views of Jerusalem, did she return to her craft. Most work from this period, which she rendered in pencil, offers meticulous detail.

Anna consistently depicted

of paintings and sketches by Klimt,

Jerusalem in black-and-white, due to

Moser and Egon Schiele (1890-

its distinctive nature and hues. During

1918). These artists, whose works

the 1940s, however, she also briefly

may have influenced Anna, were

portrayed flowers, figures, and

associated with the post-Secession

landscapes of Tiberius and Jericho

Wiener Werkstätte, which was

in watercolour.

established in 1903. Under its

Wiener Werkstätte fashion design postcard by Mela Koehler (1885-1960). Ticho House Archive, The Israel Museum, Jerusalem © Photo by Shira Tabachnik, The Israel Museum, Jerusalem

By the 1950s, Anna was known for

auspices, architects, artists, and

her clear lines, volume created

designers, though trained in applied

through shading, and exemplary

arts, explored metalwork, woodwork,

charcoal technique. The influence of

leatherwork, bookbinding, textiles,

her Viennese studies, evident in her

carpentry, and other artistic craft

use of space and her portrayal of

techniques. Along with progressive

nudes, also became apparent during

fine art works, they created furniture,

this period.

CollectablesTrader 59

Anna Ticho (Moravia/ Israel 1894-1980), Woman with Large Hat, 1910-11, charcoal on paper.

The Israel Museum, Jerusalem. Bequest of Anna Ticho, Jerusalem Glass and copper vases manufactured by Glasfabrik Johann Loetz Witwe, Klostermühle © Photograph by Elie Posner The Israel Museum, Jerusalem 8. Wiener Werkstätte fashion design postcard by Mela Koehler (1885-1960). Ticho House Archive, The Israel Museum, Jerusalem © Photo by Shira Tabachnik, The Israel Museum, Jerusalem

In later years, though she continued to draw landscapes of the Judean mountains and hills, rocks, and stones, Anna's work became freer, larger, and more abstract.

In her final years, Anna sometimes brushed her black-and-white drawings with pastels. She also created identical landscapes under differing conditions. In 1980 she received the Israel Prize, which was also the year she died. Today, Anna’s drawings and watercolours are found in museums the world round.

Postcards from the edge Perhaps the most touching exhibit in

Anna’s Vienna belonged to Anna Ticho herself. The budding artist brought an album of favourite postcards with her to her new home. One, mailed from her birthplace in Moravia, bears greetings from her brother. Another commemorates the 1908 jubilee celebrations of Emperor Franz Joseph of Austria. Most, however, are joyful, colourful fashion postcards, treasured over a lifetime. Designed and signed by Mela Koehler (1885-1960), a pupil of Koloman Moser and a member of the Wiener Werkstätte, they are collectables in their own right.

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More Info: www.eventsvic.com.au

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ANTIQUES &

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Sunday 13th October 9.30am - 3pm

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Gippsland Antiques & Collectables Fair The biggest display of Antiques, collectables, old wares and things of historical significance in our region Free Antique Appraisals, Refreshments Available

SATURDAY 30 NOVEMBER 9.30am - 5pm SUNDAY 1 DECEMBER 9.30am - 3pm Kernot Hall, Princes Drive Morwell Victoria For inquires call 03 5122 2590

Paul Cholewinski Floral Embossed China Featuring Carlton Ware - Royal Winton - Shorter and Son at

Camberwell Antique Centre 25-29 Cookson St, Camberwell VIC 3124 Ph: 03 9882 2028 also trading from

Ringwood Antique Market 182 Mt Dandenong Road, Ringwood, VIC 3134 Phone: 03 9879 1686 Mobile: 0412 333 368 paul.cholewinsk@optusnet.com.au

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61

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OPEN 7 DAYS 9.30 am to 5 pm

THE WATTLE a symbol and a decorative element

Although Australia’s national floral emblem — wattle did not have the same appeal for artists as the more dramatic blooms of the bush and was generally used as a fill to a bunch verybody knows wattle – it grows all

E

over Australia, from the tropics to the desert and up to the snow country, ranging from ground

covers and charming shrubs to giant trees.

The Australian National Botanic Gardens estimates that there are some 1,350 species throughout the world, including Africa, Madagascar, the Americas as well as the Asia-Pacific region, with close to 1,000 varieties found in Australia.

Symbolism in 19th century In 1853, at Launceston, Tasmania, during the celebrations for the ‘Cessation of Transportation to Van Diemen’s Land’, a pasteboard arch decorated with fronds of native wattle was erected through which the procession passed. In this instance, the wattle was probably a symbol of freedom.

Top: Waterside Workers’ Federation banner, oil on canvas, depicts a heroine wrapped in the Australian red ensign, surrounded by wildflowers, including wattle.

National Museum of Australia. Photo: Dragi Markovic Above: Carved panel by John K. Blogg, 1925

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Proof $1 pattern ‘Crown’ 1967.

Courtesy Museum Victoria

Valuable badges of honour In addition Australia’s national floral emblem is the golden wattle and Wattle Day is celebrated on 1 September each year. Wattle Day was first celebrated in Hobart in 1838 to mark 50 years of British settlement in the Australian colonies but it wasn’t until September 1910, that Wattle Day was held in Sydney, Melbourne and Adelaide. Each year on Wattle

Sprigs of flowering wattle to either

flora for use on a range of porcelain

side rising from crossed branches at

aimed at the growing Australian

the base frame a central polished

market. Bilton’s wattle print transfer

inscribed shield. Other decorative

designs show green wattle along with

elements include an emu to the left

a native heath, a design available in

and a kangaroo to the right.

royal blue, brown and olive green,

In the Feldheim Gotthelf and Co.

the latter appearing to have been the

catalogue of 1905, Doulton

most popular as more items are

dinnerware is shown with a wattle

available to the collector in this

pattern. Also in that design, tea

colour than the blue or brown.

and breakfast sets, toilet sets and

Sydney pottery Bakewell produced

chambers were available. Designed

a wattle patterned range of

by Doulton artist Louis Bilton

dinnerware using almost identical

Day, badges featuring a wattle design

(c. 1860-1910), he came to Australia in

transfers to Doulton, but only in the

were sold. Most were enamelled but

the 1880s specifically to sketch native

green. The colonial product is

gold and silver badges were also

coarser and heavier in execution and

produced. Unfortunately, very few

only occasional pieces are marked,

have survived so understandably they

bearing the word ‘WATTLE’ under

are much prized by collectors.

glaze. Conversely, and not

After Federation, the wattle seems

surprisingly for a prestigious line, all

to have become symbolically

the Doulton wattle pieces are

associated with our national

marked. In the 1920s, Doulton

Australian identity and featured

again used a wattle design, this time

more in the decorative arts. In 1913

in natural colours.

in Sydney’s Centennial Park, 200

Vase decorated by Florence Royce.

Geelong Art Gallery.

Gifted by her students 1939

wattle trees were planted and even more in a reserve at Wollstonecraft.

Use as a decorative pattern In the Tasmanian Museum and Art Gallery collection is a silver salver made c. 1840-41 by convict silversmith John Forrester (1805c. 1860) for Reverend James Garrett.

Garrett salver made by Joseph Forrester (1805-c. 1860), retailed by David Barclay (1804-1884), 1840–41, silver, h: 5 x w: 35.5 x d: 35.5 cm. Tasmanian Museum and Art Gallery. Presented by Miss M Horne on behalf of the descendants of James Garrett, 1960 Dinnerware by Bakewell Sydney

Doulton & Co dinnerware decorated by Louis Bilton (c. 1860-1910) Bed headboard by Robert Prenzel (1866-1941), 1906, blackbean, h: 125 cm.

'Kuumpeenyang' is an Aboriginal word for goodnight. Image courtesy National Gallery of Victoria

CollectablesTrader 65

Vase decorated by unknown artist featuring Cootamundra wattle made

by Trent Art Ware, Bexley NSW

Atlas Press Marlborough Series patriotic themed postcard stamped 1917

In the years between the wars, studio

Showing an interesting pre-World

potters frequently decorated their wares

War One association with the

with native fauna and flora designs, often

Australian Navy, wattle flowers frame

including the wattle. One such example is

a flag-bearing female representative

an unsigned vase marked ‘Trent Art Ware

of Australia on an invitation to a 4

Bexley NSW’ which features a hand

October 1913 ‘Banquet held at

painted design that appears to be of

Sydney Town Hall, To

Cootamundra wattle, one of the popular

Commemorate the Arrival of the

wattles found in many suburban gardens.

Australian Fleet’. Soldiers went off to

Following the war years, a few local potters still produced a selection of wattledecorated wares but these were mainly decorative objects, tea sets and vases.

war wearing hat and collar badges with wattle in their design and ‘blood

The Miss Australia crown worn each year from 1965 to 1991 was made in Japan with Japanese cultured pearls and Australian natural pearls representing wattle flowers.

on the wattle’ became a powerful

Folk art collections

wartime image.

There have been only a few appearances of wattle in folk art

A template for designs – official symbol Wattles also found favour with commercial artists and were increasingly used to decorate diplomas and certificates. Two fine examples of this are the Wild Life Preservation Society of Australia which crowned its art nouveau style design with golden orbs, and the Gould League of Bird Lovers which tucked a bunch of Cootamundra wattle into the design of its certificates.

Miss Australia crown designed by Ernest Booth, 1960s, commissioned and donated to the Miss Australia Quest by Mr and Mrs James Greenfield, in appreciation of the successful life they created in Australia, after escaping the Second World War in Europe.

National Museum of Australia.

Photo: George Serras

collections. In 1993 the David Ell Sydney sale contained an unusual painted tin coat of arms of the New South Wales municipality of Ryde (c. 1910) in which the emu stands beside a few straggly leaves opposite the kangaroo squatting colourfully on Order of Australia Medal set designed by Stuart Devlin, 2002, presented to former Australian soccer captain Johnny Warren.

National Museum of Australia. Photo: Lannon Harley

top of a bough of bright yellow wattle.

Among the variety of items at a folk art exhibition at Joseph Lebovic’s gallery in 1994, there was just one boldly

The Order of Australia is an order of

displaying the wattle, embroidered onto a

chivalry established by Queen

yellow satin banner.

Elizabeth II in 1975 ‘for the purpose

As a symbol of Australia’s unique

of according recognition to

identity there is now an endless array of

Australian citizens and other

merchandise targeting the tourist market

persons for achievement or for

decorated with a wattle design from

meritorious service’. The Order’s

silverware, engraved glass, pottery,

insignia, designed by Stuart Devlin,

fabrics to bed linen. The challenge now

feature the golden wattle flower as

is for collectors to find those early

their main decorative motif.

commercial pieces decorated with Australia’s national floral emblem.

The first time wattle was formally recognised in a national context was on the Commonwealth of Australia coat of arms in 1912. It was formally proclaimed as the national floral emblem in the year

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of Australia’s bicentenary. A ceremony was held on 1 September 1988 at the Australian National Botanic Gardens where the Prime Minister’s wife, the late Mrs Hazel Hawke, planted a Golden Wattle.

This is an extract from an article

by Robert Hutchinson, 'The wattle motif in the decorative arts' The Australian Antique Collector edition 50, pp. 64-67

Brasac enterprises One of a set of five framed photographs selected by Max Dupain from amongst his favourites, for sets of limited edition prints published for the Royal Blind Society in the late 1980s.

Set of five framed $2,500. Individual $600 each.

Sunbaker, 1937

Moonflower, 1982

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

Interior Elizabeth Bay House, 1978

At Toowoon Bay, 1985

Blue Gum Forest, c. 1940

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

24 Jewel VGOC 31198614 case 168018, 18 ct gold Omega Constellation c. 1971 $3800

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

Omega Seamaster 14 ct c. 1960s $1895

Longines Admiral 10 k gold filled c. 1965 $2295

Gerrard Perregaux gyromatic, original band, c. 1960 $1295

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

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

BOTH OPEN 7 DAYS

Gold diamond and jade stick pin $3750

A selection of English hallmarked sterling silver frames and antique silver available

For the

DEDICATED BIBLIOPHILE There are so many possibilities for book collectors so why not consider mystery and crime fiction. In this edition we look at popular Australian crime fiction authors of the 19th and early 20th centuries

uropean interest in Australia had

E

been intense from the earliest period of exploration to the gold rush days and the growing cities

of great wealth. The best seller, Les

Voleurs d’or (Levy Freres, Paris 1857; translated as The Gold Robbers, Sun Books, Melbourne 1970) was written by Celéste de Chabrillan in Melbourne where her husband was consul, and deals with crime in Ballarat and Melbourne.

A private consulting detective to rival Sherlock Holmes Sexton Blake, as well known in his day as James Bond, was created by Henry Blyth and first appeared in a boys’ weekly paper, the Union Jack. Rival of Sherlock Holmes, Blake, with his off-sider Tinker, visited Australia at least twice in the 1920s and the pair returned a number of times well into

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the late 1950s. For example, in the issue of 10 October 1925, titled The

Green Rose, Blake stays at a property in Kerang in Victoria and uses his travelling scientific kit to clear up a murder case.

Some 200 authors have written over 4,000 stories of Blake’s exploits which later appeared in a small format paperback series known as the Sexton Black Library, published by the Amalgamated Press. Among the authors is the Australian born John G Brandon (1879-1941).

Australia’s first crime best seller First published in Melbourne in 1886

by Kemp & Boyce, Fergus Hume’s

The Mystery of a Hansom Cab was the first crime best seller and ran to four local printings totalling 35,000 copies of which only a handful have survived. By 1920 over half a million copies are said to have been sold.

Within two years a satire had been published under the pseudonym of W Humer Ferguson. A Blood Curdling

Romance: The Mystery of a

Super sleuth in New York

Wheelbarrow was published in

Blake’s American counterpart, Nick

London by Walter Scott and a local

Carter, appeared in more detective

edition by Edwards & Dunlop Co of

novels than any other character in

Sydney. The body in the wheelbarrow

American literature. His opening

ends up at a St Kilda police station,

adventure written by John R. Coryell

as did the Hansom cab.

(1848-1924). appeared in an 1886 September issue of the New York

Weekly. The most prolific of writers

Most popular 19th century crime

chronicling his exploits was Frederick

fiction appeared as a cheap

The fourth Melbourne printing of

Van Rensselaer (1862-1922) who

paperback and often every available

The Mystery of a Hansom Cab has a

produced over a thousand stories

space carried advertisements: back

spine bearing the word

including An Australian Klondike

cover, endpapers, papers within the

CHIPPERFIELD (a Melbourne

(Street & Smith, New York 1896)

book that would remain blank in an

hardware store illustrated on the

which puts Nick working in Australia

upmarket edition and even the spine.

inner front wrapper).

years ahead of Blake.

CollectablesTrader 71

During his life Nat Gould wrote and published over 130 novels and stories.

Trail blazer: First Australian detective story teller and first woman writer in the genre Another centre point of a collection would be The Detective’s Album:

Recollections of an Australian Police Officer (Clarson, Melbourne 1871). It is a collection of short stories generally featuring Melbourne police detective Mark Sinclair reprinted from

the Australian Journal. It was written by Mary Helena Fortune (c. 1833-c. 1910) under the initials ‘W.W.’, short for ‘Waif Wander’ which she used for her other writings, and is considered to be the first book of detective stories to appear in Australia by the first woman writer of such stories.

Alfred Cecil Rowlandson. His policy of

of illustrated paper-covered boards

introducing new Australian authors to

known as yellowbacks, yellow being

the general public in paperbacks with

the predominant eye-catching colour.

attractive illustrated covers at a

The first yellowbacks were issued in

throwaway price of a shilling did

England in 1853 as ‘railway literature’

much for the country’s budding

in such cheap bindings.

writers. Typical crime stories are The

A fine yellowback is harder to find than its cloth equivalent and is

Mystery (1919) by Harrsion Owen,

The yellowback edition of Who Did It?

The Red Star (1923) by A.R. Falk and

(Routledge, 1896) by popular author

titles by Arthur Wright.

Nathaniel ‘Nat’ Gould (1857-1919) is

What determines value

internally identical to the first edition

Edmund Finn the younger (d. 1922),

in blue cloth suggesting that the

the eldest son of journalist Edmund

unsold original sheets were issued in

Finn (1819-1898) who wrote as

this cheaper binding in the manner of

‘Garryowen’ was also an author. He

a present day remainder.

Who Did It? is in the best tradition

Priest’s Secret (McKinley, Melbourne

of pulp fiction. It opens with the

1888) must have struck the right mix

discovery of the body of a wealthy

with the reading public with its Irish

parliamentarian in Sydney Harbour

Catholics, gold miners, the wrong man

and there are confrontations with

accused of murder and a priest

shearer unions.

knowing the true murderer through

John Webb’s End (Remington

confession. A second edition came

1891) by Francis Adams is an

out the same year of publication, by

Australian bushranging story and

the following year it was up to an

another English yellowback which

almost identical sixth edition, and it

appears to have been issued using the

was still being reprinted in 1912.

original sheets.

Fiction survivors: Yellowbacks

NSW Bookstall Company dominance

Apart from these paperbacks which

The last period, up to the 1920s, was

were intended to be read and passed

dominated by the NSW Bookstall

on or jettisoned, popular fiction

Company under the steering hand of

CollectablesTrader

Carson Loan Mystery (1926) by Aidan De Brune, The Mount Muranga

considered more collectable by many.

Irish connections

wrote a number of crime stories. A

72

appeared in a more durable binding

Unfortunately, the paperbacks are mostly found in poor condition because their cheap paper is very brittle now. Rarity alone does not dictate the price; as always, it is demand and condition.

Further reading Carol Mills, The New South Wales Bookstall as a Publisher, Mulini Press, Canberra 1991 E. Morris Miller & Frederick T. Macartney, Australian Literature: A Bibliography to 1938 extended to 1950, Angus & Robertson, Sydney 1956 John Loder, Australian Crime Fiction: A bibliography 1857-1993, D.W. Thorpe, Melbourne 1994 This is an extract of John Loder’s article, ‘Popular Australian crime fiction of 19th and early 20th century’, the Australian Antique Collector, 50th edition, pp. 44-47

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Lovely French terracotta figure, signed T. Bess, 27 x 26 cm $1,500 Royal Worcester figurines ‘Water Carriers’, modelled by James Hadley, c. 1898, Female H:23 cm Male H:25 cm $4,950 pair French Louis XV style carved armchairs set on cabriole legs $1,800 pair Noel Jack Counihan (1913-1986), Untitled (nude study), charcoal on paper, 26.4 x 29.5 cm $1,495 Fine French 19th century walnut keyhole desk set on carved cabriole legs fitted with four drawers and brass ormolu escutcheons, H:76 cm L:150 cm D:86 cm $15,000 Fine set of five French Louis XV oak chairs with caned backs and seats $3,250 French Louis XV style night stand, rouge marble top fitted with one drawer and unusual curved marble interior cupboard, H:85 cm W:43 cm D:37 cm $2,495 French Brittany style oak hall bench with storage, H:99 cm W:106 cm $2,500 French Louis XV style two tier floral marquetry pedestal table with brass mounts, H:75 cm W:50 cm $1,295 Tufted back easy chair in rosewood, newly upholstered $3,500 Superb 19th century light from France with wrought iron frame, leadlight shades, brass reservoirs and Hinks patent duplex oil burners, c. 1887 $42,000 Set of six French Louis XV style beech framed ladder back chairs with rush seats $3,900 French antique ladder back carvers with rush seats $2,495 pair French oak oval extension table, superb detailed carving on a four footed central pedestal, H:72 cm L:127 cm W:108 cm $4,950 Antique French buffet in rosewood on oak with rouge marble top, H:95.6 cm W:122 cm D:60 cm $7,950 Stunning French Louis XVI style buffet, white and grey marble top, inlaid walnut and burr walnut with bevelled back mirror and brass ormolu mounts, H:208 cm W:149 cm D:55 cm $7,950 Large French walnut Louis XV style bookcase bevelled glass to doors with adjustable shelves, H:185 cm W:132 cm $5,600

Silver, Ceramics, Advertising, Clocks, Kitchenalia, Bakelite, Perfume Bottles, Oriental, Costume Jewellery, Cruet Sets

LIMITED FLOOR SPACE / CABINETS AVAILABLE. CONTACT DENISE 02 9550 5554 212–220 Parramatta Rd, Camperdown NSW 2050 Phone 61 2 9550 5554 Fax 61 2 9550 4990 www.camperdownmewsantiques.com Open 7 days 10 am–6 pm Off-street parking

WE BUY, SELL, HIRE AND TRADE

noticeBOARD Comte de Lapérouse. He is the second European recorded to be buried in Australia. The commission of the monument marking Laperouse’s visit to Australia and the tomb marking Père Receveur’s grave is attributed to Hyacinth de Bougainville, designed by George Joseph McGlennon, Thylacine Study Number 1, 2013. Courtesy Michael Reid

Australia’s Threatened Species Day On 7 September 1936 staff at the Beaumaris Zoo in Hobart found that the zoo’s only thylacine (Thylacinus

cynocephalus) had mistakenly been locked out of its sleeping quarters and had died. With the demise of this animal, a species went extinct. Although unlikely to have been the very last living thylacine, it was certainly the last

Cookney, and completed in 1828.

Every year in February Père Receveur mass is celebrated.

The French scientific expedition aboard the Astrolabe and Boussole vanished after observing the landing of the British in 1788. Their fate is an on-going mystery with few known details. Recovered objects from the wreckage discovered in 1827 in the Solomon Islands are on display in the

Tourist souvenirs and history The breastplate worn by Mick Jagger in the 1970 film Ned Kelly will join an eclectic collection of Australian tourist souvenirs and kitsch memorabilia in a free new exhibition Touring the past:

tourism and history in Australia at Sydney University’s Macleay Museum.

The exhibition charts Australian tourists’ fascination for convicts, criminals, scandals and underdogs, and how Australians discovered they had a past worth visiting.

Date: 26 August 2013 – 15 February 2014. sydney.edu.au/museums/collections/macleay.shtml

museum. More information at

www.laperousemuseum.wordpress.com

physical evidence of the species. To this day, 7 September is marked as Australia’s Threatened Species Day. This death also marked the end of over a century of persecution that began when Europeans invaded the island of Tasmania in 1803.

Franco-Australian connections: Laperouse Museum Located in Cable Station on La Perouse headland the museum was officially opened in 1988. On the grounds lies the grave of Père Receveur, a chaplain and naturalist aboard the expedition led by French navigator Jean-Francois de Galup,

A special release for Trekkie collectors Silver K Gallery in Melbourne has

Sydney’s annual Kirkoswold silver study day

on the original gouache painting by Alex Ross. The series is limited to a

Antiques, Turramurra, this year’s

run of 95 and a small number are

program includes five very different

signed by William Shatner. Silver K

aspects on collecting silver from English

has been given the exclusive world

producers. Lectures include silver from

distribution rights for this artwork. For

the Albury Library Museum; English

more details contact Colin Kay

provincial silver hallmarking; and how

www.silverkgallery.com.au

Participants are encouraged to bring personal silver treasures for valuation.

The day includes morning coffee, lunch and afternoon tea.

Date: 8 October; time: 9 am – 6 pm.

Details: Brian Abbott, p: 02 9449 8889.

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featuring the USS Enterprise based

Held in association with Abbott’s

to catalogue your silver collection.

76

available limited edition giglee prints

Pen show participation The Melbourne pen show is being organised for 24 November at Malvern Town Hall. So if wanting

Victorian heritage home for sale

to have a market table contact

melbourne.pen.show@westnet.com.au

seat furniture that is amongst the most successful of cabinet-maker and upholsterer John Gordon’s work.

Gordon (fl. 1748-d. 1777) was probably involved in furnishing Spencer House from the beginning.

Fustic, a hard and dense wood from a

The Caledonian at 361 Coventry

tropical American tree has been used

Street South Melbourne is for sale.

for the front and side seat rails and

The 8 room home combines the best

the front legs while the top rail, arm

of today (modern kitchen, ensuites,

facings, back seat rail and back legs are

car parking, etc) with an abundance

satinwood. Expect to pay US$850,000

of Victorian features. Constructed in 1889 it was a hotel before being transformed into a residential property. Contact Graham Coulton of Coultons Melbourne 0411 198 452

www.coultonsmelbourne.com.au for more details.

Are You Sitting Comfortably?

A new exhibition documenting the history of the humble chair is being shown at Carrick Hill whose furniture collection contains the oldest (imported) interior of any house in Australia. Most of the chairs were acquired during the 1940s to 1950s

by Edward ‘Bill’ and Ursula Hayward, the original owners of Carrick Hill. The chairs are predominantly English

Fashion visionaries exclusively in Bendigo Coming to the Bendigo Art Gallery is an exhibition of fashion design from the 1980s to the present day drawn from the archives of FIDM (Fashion Institute of Design & Merchandising).

From Punk to Prada Modern Love is an overview of key moments in the international fashion world. More than 60 designs from leading designers will be on show.

Date: 26 October 2013 – 2 Feb 2014.

www.bendigoartgallery.com.au

From gas station to art auction in LA Probably the recent US$1.1 million sale of Banksy’s mural, Slave Labor, was the motivation for the removal of his early large-scale graffiti mural

Flower Girl from a LA gas station to be auctioned in December. Flower Girl transformed the 9 x 8 foot gas station

made, and range in date from the

wall into one of the artist’s signature

1600s to the early 1800s. Most are

murals. It drew crowds to the

constructed from carved English oak

unassuming gas station in Hollywood

or walnut with some of the later 19th

in 2008 when it was created and has

century examples made from exotic

since fuelled the fire of the ‘street art’

imported mahogany. These chairs all

movement. His images are drawn or

demonstrate the design trends and

printed onto sheets of cardboard or

preferences of their times.

acetate and then painstakingly cut, as

Date:1 September – 24 November.

www.carrickhill.sa.gov.au

From Althorp in England to New York

they are often quite complex in their linear details.

An exceptional sofa, dating from the middle of the 18th century and made for the 1st Earl Spencer, will be offered for sale by the London furniture dealer Apter-Fredericks at The International Fine Art and Antique Dealers Show in October.

This settee was part of a suite of

CollectablesTrader 77

in 1972. In 1998 archaeological explorations revealed much about the cottage's past and the surrounding area and in 1996 it was refurbished.

www.nationalparks.nsw.gov.au

A centenary celebration The Joshua McClelland Print Room has been open since 1927 and is the

Glass copies of ancient gems The Corning Museum of Glass has recently acquired three extremely refined copies of known ancient gems crafted by London modellers James and William Tassie from 1777 to 1860.

These gems are part of a larger set

oldest continuously operating gallery in Australia. Director Joan McClelland, who celebrated her 100th birthday this July, and her daughter Patricia, have joined with her second daughter Philippa and husband Bill in their new space, Rathdowne Galleries, so there are two galleries at the one address at Rathdowne Street in Carlton North.

Global access to the stories of Aboriginal Australians A digital record of every object will be made within the South Australian Museum’s Aboriginal Material Culture Collection strengthening cultural links with remote or fragmented Australian Aboriginal communities and giving families a chance to know their ancestors’ histories. With tens of thousands of objects to record and photograph, it is an ambitious project.

which were avidly collected by

Researchers and the general public

connoisseurs touring Europe who were

will be able to search the digital

hoping to make a personal association

database by object type, language

with the ancient world by acquiring its

group or region and view photos and

remains. Glass reproductions provided

object information online. Cultural

greater access to understanding

sensitivities will continue to be

ancient art at the turn of the century.

respected throughout the digitisation project which is supported by

Taking art to the pub UK’s Association of Art Historians has organised a night of art to be hosted

by Whitelocks, a pub in Leeds. This is the first of a roving regular series of events which will present a wide variety of topics, periods, methods and approaches. Aimed at a generalist audience, this promises to be a relaxed but informing and entertaining evening. The events are free and no bookings are required.

Date: 15 November; time: 6-8 pm.

Newmont Asia Pacific and the

Surviving redevelopment

Department for Manufacturing,

Built to house the government

Energy (DMITRE).

Innovation, Trade Resources and

coxwain, Cadman’s Cottage is one of Sydney’s oldest surviving buildings. It is named after John Cadman, the longest serving government coxwain who held the position from 1827 until his retirement in 1845. Over the years the cottage has been extended — to provide accommodation and cells for prisoners — to being a sailors’ home with plans for its demolition and of funds, to its renovation and finally

Bendigo Pottery’s new designs

left derelict, hidden by the old

Keeping up with latest trends, the

Oversees Terminal. Its survival due to

Pottery has created a new latte cup in

the recognition of it being an

collaboration with a coffee roaster.

important historical site with its

There are also five new hand-painted

management handed over to the NSW

designs for their dinner ware range.

reconstruction scrapped due to lack

National Parks and Wildlife Services

78

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TRADER jewellery Gold tone wrap around cufflinks and matching tie tac with butterscotch Lucite button tops c. 1960s, diam:17 mm $35 Retro Cufflinks Darlinghurst NSW 02 9331 1963

Australian 9 ct gold cufflinks made by Apex Jewellers (early Rodd) c. 1920, $110 Collectors’ Cottage Newcastle NSW 02 4389 1922

Bracelet made Murano (Italy) c. 1960 with 3 strands of Moretti canes in bright polychrome with ornate gold wash finish clip $200 Pastimes Antiques Camperdown NSW 02 9550 5554

Lea Stein hippo shaped brooch, c. 1960s, 3.5 x 4 cm $165 Oscar Brown’s Vermont South VIC 03 9886 6000

Made in Czechoslovakia butterfly shape brooch c. 1930 set with polychrome crystals on silvery metal with a safety chain $150 Pastimes Antiques Camperdown NSW 02 9550 5554

Georg Jensen (Denmark) peak bangle c. 1970, marked ‘Georg Jensen 925 S’ $475 Online Antiques Harcourt VIC 0407 321 865

Art deco Bakelite brooch made Columbia, USA c. 1930, l: 5.5 cm $245 Online Antiques Harcourt VIC 0407 321 865

Lea Stein cat-shaped brooch c. 1980, h: 8 cm $175 Oscar Brown's Vermont South VIC 03 9886 6000

Lea Stein cat-shaped brooch c. 1980, h: 8.5 cm with safety clasp $185 Oscar Brown’s Vermont South VIC 03 9886 6000

To see more dealer items for sale, visit www.AntiquesPlus.com.au, managed by John Furphy Pty Ltd who also publishes Carter’s Price Guides to Antiques and Collectables, now online at www.carters.com.au

80

CollectablesTrader

Lea Stein bear-shaped brooch, c. 1980, 7 x 5 cm $180 Oscar Brown's Vermont South VIC 03 9886 6000

Amethyst and diamond dress ring c. 2000, set in 14 ct yellow and white gold, total:126 diamonds H colour, SI clarity. stamped ‘1K’ $1200 Noeline’s Collectables Runaway Bay QLD 07 5537 4584

Gold tone cufflinks and tie clasp with walrus ivory Billiken images c. 1960, 1.2 x 2.3 cm $65 Retro Cufflinks Darlinghurst NSW 02 9331 1963

Australian made diamond engagement or dress ring c. 2009, set in 18 ct white gold 0.71 ct brilliant cut diamond G colour, SI clarity, 64 surrounding grain set brilliant cut diamonds total: 0.36 ct, stamped ‘18K 750’ $5950 Noeline’s Collectables Runaway Bay QLD 07 5537 4584

Italian pietra dura 14 ct gold brooch c. 1800, 4.5 x 5.3 cm $545 Purple Pepper Antiques and Art Brisbane QLD 0403 438 964 English art deco necklace c. 1930, chrome, Peking glass and Bakelite, l: 45 cm $240 Online Antiques Harcourt VIC 0407 321 865

Edwardian style sterling silver peridot and pearl pendant with sterling silver chain c. 2012, h:5 cm $165 Roy’s Antiques Pty Ltd Fitzroy North VIC 03 9489 8467

Italian pietra dura set of silver screw back earrings and brooch/pendant, c. 1800, 13 x 40 mm $420 Purple Pepper Antiques and Art Brisbane QLD 0403 438 964

French dragonfly art deco style rhinestone and enamelled brooch made c. 1980 $240 Retro Active Northcote VIC 03 9489 4566

To see more dealer items for sale, visit www.AntiquesPlus.com.au, managed by John Furphy Pty Ltd who also publishes Carter’s Price Guides to Antiques and Collectables, now online at www.carters.com.au

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81

Silver Omega (Switzerland) open faced pocket watch c. 1910, No: 4,024,437 with silvered dial Arabic numerals and a seconds dial $990 Pastimes Antiques Camperdown NSW 02 9550 5554

Brooch made by Jewelcrest (Melbourne) c. 1960, turquoise and lilac stones set in silvery finish metal $150 Pastimes Antiques Camperdown NSW 02 9550 5554

Gold tone cufflinks c.1975, with the Trans Australia Airlines logo, 1.5 x 2.2 cm $45 Retro Cufflinks Darlinghurst NSW 02 9331 1963 Swiss watch in stainless steel case, with Defence Department markings on the case back c. 1940, minutes dial at 12 and seconds dial with sweep hand $795 Pastimes Antiques Camperdown NSW 02 9550

Sterling silver and marcasite suite c. 1935, consisting of a pave set nautilus shell shape brooch and clip fitting earrings $235 Pastimes Antiques Camperdown NSW 02 9550 5554 Melbourne Cricket Club membership badge 1940-1941 $40 Nostalgia Antiques Pty Ltd Thornbury VIC 03 9480 3745

Pair of vintage silver cufflinks c. 1935, Melbourne Grammar school $85 Nostalgia Antiques Pty Ltd Thornbury VIC 03 9480 3745

Beswick butterfly dish c. 1950s, $75 Nostalgia Antiques Pty Ltd Thornbury VIC 03 9480 3745

Art deco fan shaped silver and marcasite brooch, probably German c. 1930, marked ‘TH’ to reverse $120 Online Antiques Harcourt VIC 0407 321 865

To see more dealer items for sale, visit www.AntiquesPlus.com.au, managed by John Furphy Pty Ltd who also publishes Carter’s Price Guides to Antiques and Collectables, now online at www.carters.com.au

82

CollectablesTrader

Lea Stein ladybug brooch, l: 5.5 cm $150 Retro Active Northcote VIC 03 9489 4566

Qantas cufflinks, featuring logo used between 19681984, 1.7 x 1.8 cm $45 Retro Cufflinks Darlinghurst NSW 02 9331 1963

Lea Stein 'Ric the Terrier' brooch $150 Retro Active Northcote VIC 03 9489 4566

Lea Stein Gomina the sleeping cat brooch $150 Retro Active Northcote VIC 03 9489 4566

Lea Stein fox brooch $150 Retro Active Northcote VIC 03 9489 4566

clocks

French marble and ormolu figural mantel clock c. 1880, eight day pendulum movement striking on a bell, with key, 30 x 34 x 12.5 cm deep $1250 Nostalgia Antiques Pty Ltd Thornbury VIC 03 9480 3745

French vineyard clock c. 1890, marble dial 8 day movement $1400 Julian Phillips Antiques Tyabb VIC 03 9770 2323

English oak wall clock c. 1890, in good working order, 92 x 40 x 20 cm deep $1450 Stylista Furniture And Décor Thornbury VIC 03 9489 7218

To see more dealer items for sale, visit www.AntiquesPlus.com.au, managed by John Furphy Pty Ltd who also publishes Carter’s Price Guides to Antiques and Collectables, now online at www.carters.com.au

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83

glass

Pair Murano table lamps most likely

by Seguso Vetri d’arte c. 1950, brass fittings, body of each lamp ribbed and blue opalescent colour with opalescent applied leaves and pink flowers, red and gold foil label and gold foil label marked ‘Barlow’, h: 36 cm $1295 New Norfolk Antiques New Norfolk TAS 03 6261 1636

Murano fluted table lamp probably Seguso or Barovier c. 1955, clear and red with gold foil and bullicante (controlled bubbles) in fluted sections, h:37 cm $495 New Norfolk Antiques New Norfolk TAS 03 6261 1636

ceramics

Murano Seguso opalescent sculpted lamp c. 1955, brass fittings, clear glass encasing pale opalescent glass with an inner core of darker blue opalescent glass, rewired, h: 43 cm $495 New Norfolk Antiques New Norfolk TAS 03 6261 1636 Murano ribbed sommerso lamp, possibly Seguso c. 1960, brass fitting, clear glass encasing emerald green glass sprinkled with gold dust, rewired, h:34 cm $175 New Norfolk Antiques New Norfolk TAS 03 6261 1636

Christopher Sanders bowl made 1960s, 9 x 26 cm $120 Shop 21, Centenary Antique Centre Newcastle NSW 02 6562 6418

Australian, Studio Ware pottery wall vase c. 1945, decorated with lilies and berries $75 Collectors' Cottage Newcastle NSW 02 4389 1922

John Campbell glazed vase c. 1933 signed and dated on the base $395 Pastimes Antiques Camperdown NSW 02 9550 5554

Bjorn Wiinblad designed ceramic candlesticks made

by Nymolle Denmark c.1960s $250 Retro Active Northcote VIC 03 9489 4566 Signed Brownie Downing mug c. 1955, h: 15 cm decorated with koalas on gumtree branches, $65 Collectors' Cottage Newcastle NSW 02 4389 1922

Souvenir ware teapot made by the Empire Pottery Company, England c. 1930, decorated with black transfer motif of the Katoomba Falls, h: 9 cm $68 Collectors' Cottage Newcastle NSW 02 4389 1922

Tinka and turtle plate by Brownie Downing c. 1955, diam: 15 cm $110 Collectors' Cottage Newcastle NSW 02 4389 1922

To see more dealer items for sale, visit www.AntiquesPlus.com.au, managed by John Furphy Pty Ltd who also publishes Carter’s Price Guides to Antiques and Collectables, now online at www.carters.com.au

84

CollectablesTrader

Martin Boyd plate /plaque c. 1950, decorated with emus, diam: 13.3 cm, inscribed signature to back $65 Yande Meannjin Antiques Narangba QLD 07 3886 6037

Slipcast bookends believed to be a Japanese replica of Grace Seccombe's kookaburra bookends c. 1940, of Lshaped bases of realistic looking books each decorated with a well modelled and painted kookaburra in multiple glazes, 14.5 x 10.5 x 9 cm deep $295 Collectors' Cottage Newcastle NSW 02 4389 1922

Australian Daisyware pottery vase signed at the base, in a very good condition, h: 18 cm $58 Northumberland Antiques & Restorations Terrigal NSW 02 4384 6464

John Campbell (Tasmania) drip glaze vase c. 1930, h: 11 cm signed to base $225 Collectors' Cottage Newcastle NSW 02 4389 1922

German made bread and butter plate c. 1960, decorated with transfer kookaburra motif, diam: 18 cm $28 Collectors' Cottage Newcastle NSW 02 4389 1922

Martin Boy plate 1957, decorated with a fox hunt scene signed and dated, diam: 25 cm $175 Yande Meannjin Antiques Narangba QLD 07 3886 6037

Australian pottery vase signed on base, h: 20 cm $220 Brunswick Street Antiques Fitzroy VIC 03 9416 3093

English made commemorative plate c. 1938, marking 150 years of NSW State Governors $125 Flawed and Fabulous Maitland NSW 02 4934 5799

To see more dealer items for sale, visit www.AntiquesPlus.com.au, managed by John Furphy Pty Ltd who also publishes Carter’s Price Guides to Antiques and Collectables, now online at www.carters.com.au

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85

German porcelain series ware singing ashtray 'For he's a Jolly Good Fellow' c. 1920, part of a series of characters all labelled with different tunes $78 Collectors' Cottage Newcastle NSW 02 4389 1922

French Art Deco cubist style ceramic puma c. 1930, 18.5 x 47 cm $695 Online Antiques Harcourt VIC 0407 321 865

miscellaneous English miniature silver-plate three handled mug c. 1915, with enamel crest for the White Star Line, h:4 cm $125 Collectors’ Cottage Newcastle NSW 02 4389 1922

Australian silver florin commemorating the opening of Parliament House, Canberra in 1927 mounted as a brooch $95 Collectors’ Cottage Newcastle NSW 02 4389 1922

Art Nouveau oil lamp in brass and copper c. 1900, with original shade, 67 x 23 cm $950 Nostalgia Antiques Pty Ltd Thornbury VIC 03 9480 3745

Sideboard by Gunni Omann (Denmark) c. 1960, fitted interior fully restored, 79 x 200 x 49 cm deep $5450 Modern History Burnley VIC 0414 151 829 Danish teak desk c. 1960, fully restored, 72 x 115 x 65 cm deep $1650 Modern History Burnley VIC 0414 151 829

ADVERTISING RATES 1/4 page colour $270 1/2 page colour $456.50 Full page colour $830

English calculating machine 1940s, in excellent condition and fine working order, w: 23 cm $125 Roy’s Antiques Pty Ltd Fitzroy North VIC 03 9489 8467

To see more dealer items for sale, visit www.AntiquesPlus.com.au, managed by John Furphy Pty Ltd who also publishes Carter’s Price Guides to Antiques and Collectables, now online at www.carters.com.au

86

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TRADER photography

1

3 2

1 Sunbaker, 1937 2 Moonflower, 1982 3 Interior Elizabeth Bay House, 1978 4 At Toowoon Bay, 1985 5 Blue Gum Forest, c. 1940

5

4

Girard Perregaux 9 ct white gold stainless steel case back 17 jewel $2750 Brasac Enterprises 02 9389 2919

International Watch Company 18 ct gold, c. 1970, $3950 Brasac Enterprises 02 9389 2919

One of a set of five framed photographs making up a portfolio illustrating Max Dupain’s versatile approach to a broad range of subjects. They were selected by him for this set of limited edition prints published for the Royal Blind Society and were among his personal favourites. These were produced in the late 1980s.

Set of five framed $2,500. Individual $600 each.

Brasac Enterprises, 02 9389 2919

Gerrard Perregaux gyromatic, original band, c. 1960 $1295 Brasac Enterprises 02 9389 2919

Longines Admiral 10 ct gold filled, c. 1965 $2295 Brasac Enterprises 02 9389 2919 Gold diamond and jade stick pin $3750 Brasac Enterprises 02 9389 2919 24 Jewel VGOC 31198614 case 168018, 18 ct gold Omega Constellation c. 1971 $3800 Brasac Enterprises 02 9389 2919

Omega Seamaster 14 ct c. 1960s $1895 Brasac Enterprises 02 9389 2919

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Antique and Modern Clocks and Watches Repairs and Sales

Family business established 25 years Specialising in antiques & decorative arts CONDUCTING MONTHLY AUCTIONS Next auction: 15 September 2013 Dates may change, please refer to website for updates and future sales

Friendly professional service Free quotes Guarantee on major repairs Clocks bought and sold Leigh Fist 493 North Road Ormond VIC 3163

Contact Mark or Megan Stone on 03 5256 1674 or 0418 553 910 16 Grubb Road, Ocean Grove Victoria 3226

Tues – Fri 9 am – 5 pm Saturday 9 am – 1 pm

Catalogues available

03 9578 6960

www.woodlandsauctions.com.au

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Antique Valuations Established 1985

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, Colonial to Contemporary including Aboriginal art, lot no. 189

How much is this Terence John Santry painting worth?

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David Freeman Antique Valuations is Melbourne’s largest independently owned valuation service. Founded in 1985, we have vast experience with art, antiques, china, collectables and general household contents.

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