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IN NEW SOUTH WALESDECEMBER 2010 - MAY 2011
antiques&art
Small tables - Big tables - Extension tablesEach table handcrafted to order is made exclusively from hand selected elm, French oak, cherry, chestnut, sycamore, pear, walnut and Baltic pine.
Limited stock of 300-400 year-old French oak barn flooring and carriage oak, aged Baltic pine from Edam cheese factories in Holland.All are uniquely crafted using time honoured traditional 17th century methods of construction and finish.
Hand Crafted to order
FRENCH FARMHOUSE NOW AT SALLY BERESFORD ANTIQUESGALLERY- 170 QUEEN STREET WOOLLAHRA NSW 2025 P: +61 2 9362 1733
Southern Highlands Showroom: Mount Ashby Estate VineyardOur cellar door is now open for lunch Wednesday to Sunday and Public Holidays from 11 am to 5 pm or by appointment P: +61 2 4869 4792Nowra Road Mossvale
www.sallyberesford.com.au
QUEEN STREETA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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PUBLISHERABN 39 945 398 132JQ Pty Ltd, Suite 1b, 10 Spring Street,Bondi Junction NSW 2022PO Box 324, Bondi Junction NSW 1355Website: www.worldaa.com
ADVERTISING SALESAndré Jaku 02 9389 2919 Fax 02 9387 7487Email: [email protected]
MANAGING EDITOREva Jaku 02 9389 2919Email: [email protected]
COPY EDITORDr Margaret McNivenPaula Towers
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PRINTERSRural Press, Bells Line of Road, North Richmond NSW 2754
CaxtonWeb, 45 Huntingwood Drive, Huntingwood NSW 2148
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I N N E W S O U T H W A L E SISSN 0813-9296
NOTICE TO DEALERSPlease send us any articles for publication inAntiques & Art in New South Wales. Length upto 1,000 words, preferably supplied on disk, oremail with accompanying captions. Picturesshould be mailed as prints, transparencies ordigital images on CD. Article is conditional on anadvertisement being taken. Next issue will be distributed in May 2011. Booking deadline 4 March 2011. Copy deadline 11 March 2011.
CONDITIONS OF ACCEPTANCENo responsibility can be taken for the qualityand accuracy of the reproductions, as thisdepends on the quality of the materialsupplied. No responsibility is taken fortypographical errors. The publishers reserve the right to refuse and edit material. All pricesand specifications are subject to changewithout notice.
NOTICE TO ADVERTISERSThe Trade Practices Act 1974 imposes anobligation not to engage, in trade or commerce,in conduct that is ‘misleading or deceptive’. Apartfrom any penalties, an individual or corporationwhich commits a breach of the Act is liable toproceedings for injunction and for damagesuffered by an injured party. Advertisers shouldensure that the provisions of the Act are strictlycomplied with. In cases of doubt advertisersshould seek legal advice.
TIM MCCORMICKCOLONIAL PAINTINGS • RARE BOOKS
PRINTS • PHOTOGRAPHS
MANUSCRIPTS • AUSTRALIANA
PURCHASED AND SOLD
92 QUEEN STREET WOOLLAHRASYDNEY 02 9363 5383
108 Queen Street Woollahra NSW 2025tel 02 9328 1712
www.michaelgreene.com.au
A N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Best known in antique circles forspecialising in 17th to 19th centuryFrench provincial, Georgian furniture
and decorative items, Sally Beresford’s latestshowroom in Waterloo displays her range oftables and chairs designed after Frenchfarmhouse furniture.
These unique and stylish tables arehandmade today, using traditional 17thcentury craftsmanship techniques andbeautifully aged French hardwoods.
On her regular buying trips to France, Sally sources old timber, visiting oak mills,aging barns and forgotten industrial sites in
the quest for her favourite timbers – oak,cherry, elm, chestnut – and she purchasesBaltic pine from old Netherlands Edamcheese factories. In fact, she imports entiretrees from France to create tabletops ofuniform grain and colour. Very smallquantities of rare aged barn, carriage andchateau oak are in reserve for customerscommissioning truly unique furniture.
In Australia, local cabinetmakers handcraftthe timbers into ‘French Farmhouse’ dining,boardroom and kitchen tables using traditionalmethods of construction and finish. Byregularly updating table designs, French
Farmhouse Tables keeps abreast of traditionaland contemporary interiors trends.
With the resurgence in popularity ofindustrial antiques, new metal tables featuringzinc tops are made from the relics of defunct industries.
Tables are made to order, such as extensiontables, with your choice of with or withoutdrawers. A small number of ready-madetables are always available. A selection ofcontemporary and traditional dining chairscompletes the collection shown in the DanksStreet precinct in Waterloo, Sydney. Sally’s passion for the unique, antique and statement pieces is demonstrated dramatically
in her Woollahra gallery. With regularshipments arriving from France and guestexhibitors such as the amazingly giftedMichael Yabsley, the Sally Beresford Antiquesgallery is always stocked with an eclectic mixof furniture, statement and architecturalpieces, lamps, table and stem ware that sitcomfortably in any setting.
A design and interior consultation serviceoffers expert advice and guidance on how tocreate a stunning look at home ●
To find out more about these unique piecescall or visit
SALLY BERESFORD02 9362 [email protected]
AN EYE FOR THE UNIQUE PUTS SALLY BERESFORD AHEAD
VALUE ADDED @worldaa.com
Need to contact your local dealer but don’t have a copy of your state’s Antiques & Art? Problem solved – log on and read online.
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NOW ONLINE Australia’s foremost magazines on the decorative arts - antiques, art & collecting vintage & retro
A N T I Q U E S & A R T I N N E W S O U T H W A L E S
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NOTICEThe publishers reserve the right to refuse and edit material. The opinions expressed in this publication are not necessarily those of the publisher. No responsibility will be taken for any decision made by the reader as a result of such opinions.
EditorialContentCOVERLéon Bakst (Russian 1866-1924)Costume for a friend of Queen Thamar c.1912 (detail)from ThamarNational Gallery of Australia, Canberra, purchased 1976See page 96
004 An eye for the unique puts Sally Beresford ahead006 Out & about008 British hand-painted ceramics of the 1920s and 1930s – Cecily Critchley & Lynley Jenkins009 Indigenous art day at The Hughenden – Susanne Gervay010 The Peaceful Ones – The North American Hopi Indian012 Antiques and Art Fair comes of age014 Meaningful valuation of jewellery = CSi + forensic analysis015 Caring for and maintaining rugs and carpets – Ahmet Solak016 The A-Z of oriental rugs – Ross Langlands018 Fine furniture, art works and more in the heart of Bondi Junction019 Pack & Send art and antique specialists020 Designer parquetry flooring: A 21st century take on 18th century designs – Nicholas Beer021 Antique engagement rings for modern romances – Tammy Palmer022 Midas touch – The Art Gilding Academy – Brigitte Eggert 023 At Vampt Vintage Design furnish your home024 At Doug up on Bourke find a place for everything and put everything in place025 A passion for the planet at Mitchell Road Antiques and Design Gallery027 Rhoda Wager (1875-1953) jewellery designer and manufacturer – Moira Drexler029 Pack & Send now open at Botany030 Australia’s mystery coins032 For conspicuous bravery and devotion to duty Henry ‘Harry’ Dalziel VC (1893-1965)034 Stephen Browne shares his passion for the pre-stamp postal history of New South Wales
(1801-1849)036 Reginald Cecil Grahame Fizelle (Rah) (1891-1964), Sydney Transport Montage
– Stephen Gapps037 On their own – Britain’s child migrants – Shirani Aththas038 The Australian National Maritime Museum is preparing the HM Bark Endeavour replica
for an epic circumnavigation of Australia – Shirani Aththas039 More antiques for living at Elements040 A look at two exceptional silversmiths working at WJ Sanders042 Collecting glass – Kim Hughes045 Money making money046 Christmas: The aftermath, New Year: A new beginning047 The Rotary Club of Hurstville’s 16th antique and collectables fair048 The Sydney Vintage Clothing, Jewellery and Textiles Show – Janel Morrissey049 Jade – a stone of many colours from many cultures – Jason Bridge050 Take a voyage of discovery at Schots Home Emporium063 The magic of maps – Simon Dewez & Monique Jacobson064 The Cutler roll top desk: Mysteries and myths – Garry Auton066 Be inspired at Eliza Jane Antiques – Jane Rush068 Works of art you can walk on: French provincial and handcrafted floors – John Fredriksson069 What makes a 1930s leather club sofa chair quintessential? – Leanne Carter-Taylor070 Balmain Road Antique Centre is the newest antique centre in Sydney!071 Reflection in Balmain’s ‘Windows to watch’072 Investment collecting: Sterling silver – Adam Mude074 A look at three significant English furniture makers077 Gouda Pottery – A short but brilliant flowering – Narelle Ward078 Aynsley china – 240 years of perfection – Paul Vinecombe079 Treasure hunting Newcastle style – Narelle Ward080 Hunter Valley cedar: A rare find – M Lee 082 An exciting move for Antiques and Collectables on Darby084 Islington Antiques in Newcastle since 1990086 The scenic Hunter Valley perfect for antique hunters087 In the workshop of Troy O’Brien088 Windsor and Hawkesbury antiques and collectables trail090 The world’s largest private teapot collection091 Bygone Beautys cottages092 Heritage and collecting: Maõri artefacts and the importance of taonga – Roger Garner094 Dirty Jane’s Emporium and Antique Market096 Ballets Russes: The art of costume – Dr Robert Bell098 The conservator’s role in preparing textiles for display100 The Rotary Club of Canberra is holding their annual autumn antique and collectables fair
– Les Selkirk101 Ehrich and Graetz: Lamps for the 20th century – Juergen Weissner102 The beginnings of time in horology – Michael Colman106 Celebrating 24 years of the Rotary Antiques Fair & Gold Coast Book Fair107 China revealed to the western world: Antique hand-coloured steel engravings
– Derek & Kathryn Nicholls108 AAADA show Sydney - antiques in a brand new setting110 Woven in time: The enduring legacy of Jacques Cadry (1910-2003)
Antiques & Art PO Box 324, Bondi Junction NSW 1355 f: +61 2 9387 7487
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A N T I Q U E S & A R T I N N E W S O U T H W A L E S
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OUT & About
A special launch atWoollahra’s Hughenden
The book launch marking theCancer Council’s symbol, theyellow daffodil was the focus of
the launch of Always Jack, a book foryoung people written by SusanneGervay and illustrated by politicalcartoonist Cathy Wilcox. JulieCallagan (NSW Cancer Centre) andDr Vivienne Milch (National Breast& Ovarian Cancer Centre) spokeabout its importance in helpingmake it safe for children, parentsand community to talk about cancer.Lisa Berryman publisher forHarperCollins welcomed SusanneGervay, Cathy Wilcox, the CancerCouncil, NBOCC and Lisa Forrest,former Olympian andCommonwealth Games swimmerand media personality to the event.Lisa Forrest launched Always Jack toa packed audience at the HughendenHotel, Woollahra. A percentage ofthe book sales is donated to theCancer Council and NBOCC.
Lisa Forrest
Dr Vivienne Milch NBOCC
Lisa Forrest, Cathy Wilcox, Susanne Gervay, Lisa Berryman
The art of jewellery
In keeping with international trends,Paddington’s Harrison Galleries hosted thelaunch of fine handcrafted jewellery by
Sydney based Julia Denes in late November.As with exceptional works exhibited inmuseums and galleries, the collection of one-off original designs, featuring precious andsemi precious stones set in gold, attracted anappreciation from the guests that these piecesare wearable art.
Sports memorabilia raise funds
The annual October charity prelude to the Rugby LeagueGrand Final held in Bondi raised $30,000 to help WairoaSpecial School students from south, inner west and eastern
Sydney. The main attraction was rugby league guernseys signed byteams and coaches.
The presence of many rugby league players added a star qualityto the fundraiser. Guests included Ken Salisbury, the Australian andCommonwealth middleweight champion between 1982 and 1985,with his daughter and brother.
Sports memorabilia auctioned included an autographedphotograph of Cathy Freeman on the winner’s dais at the SydneyOlympics, raising $1,000. Ken Salisbury donated an autographedportrait of former American boxer and three-time WorldHeavyweight Champion, Muhammad Ali: the winning bid of$3,000 was by Willie Mason, a keen boxer who is currently playingrugby league with the North Queensland Cowboys and will move tothe English Super League in 2011.
Alicia Freile, David Kainer, Gareth Martin, Eliot Rosenberg
Jessie Kery, Julia Denes, Leah Hechtman, Laura Dunkel Michael Loewy, Julia Denes
Far left: Mark Shapiro,Hannah Dar
Left: Eight monthold Samara
Willie Mason, a keen boxer and rugbyleague star placed the winning bid of$3,000 for an autographed portrait offormer American boxer and three-timeWorld Heavyweight Champion,Muhammad Ali, donated by Ken Salisbury
Tom Symonds (l), grandfatherYooka Symonds, father PeterSymonds & cousin Craig whoattends Wairoa Special School
Gavin Harris, Eli Tal (Chairman,Designer Rugs), Lachlan Allen
Akira Isogawa
Designer Rugs Evolve awards
Designer Rugs held the 2010 Evolve Awards at Sun Studios,Sydney. An audience of over 150 industry guests and mediaviewed the six finalists’ rugs. Gavin Harris of Futurespace and
Lachlan Allen of Group GSA became the first major prize winners ofthis international design competition. The judges (Sibella Court,Shareen Joel, Matthew Sheargold, Stephen Ormandy, Eli Tal, Yosi Tal)were deadlocked in their decision leading the directors of DesignerRugs Eli and Yosi Tal to award two first prizes.
Evolve is open to professionals engaged in the interiors industryincluding interior designers/decorators, architects and interior design professionals.
Ken Salisburywith hisdaughter & brother
Danial Nash, Henrietta Reed Gavin Harris, Yosi Tal (ManagingDirector, Designer Rugs)
Edward Wong, Louise McGregor,Aaron Zorzo
David Nobok, Piper Jason,Grant Neale Whitaker
A N T I Q U E S & A R T I N N E W S O U T H W A L E S
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More than tea at theSydney Antique Centre
Afavourite event anticipated bycollectors and dealers is theannual High Tea themed party
held at the Sydney Antique Centre.This signature event organised by thecentre’s manager, Don Knowles hasensured the late November afternoon isa high point to end of yearcelebrations. While enjoyingcomplimentary teas and gourmettreats, guests explored the manystands, organized their end of yearpurchases or just sat back and enjoyedthe Centre’s very special space.
Lynette Begg, PresidentAAADA
Lily from Tressors Kaitlin & Tammy (Vintage Times) Alla Kennard & Sophie Wright
Antique dealer Sean Cullip
Don Knowles (Manager of Sydney AntiqueCentre) Mary Barker & Catherine Harris
Kitty van Horne & Edith Lowthe
Pia Anderson (VintageAll Sorts) & Ellen Brant
Marion & Becky Fiona enjoyingcake & tea
Colleen Kennedy fromBeyond the Ordinary Tea House
Decorative arts at Moore Park
In early November James A Johnson &Associates held their 20th antique fair atSydney’s Hordern Pavilion.
A highlight of the fair was the launch ofGenevieve Cummin’s latest book, How thewatch was worn. As well as local and countryNSW dealers, the fair brought interstateexhibitors with a plethora of fine pieces for thediscerning collector.
Sydney exhibitor Alan Landis
From Camperdown Mewsexhibitors Bill & Barbara Neuman
Coming from Victoria Eaglemont Antiques’ Dawn Davis & Ian Headlow
Donna Bray & Greg Currie
Eva Czernis-Ryl Ivan & Lolita Holland Jolyon Warwick James & Josef Lebovic
Monica & Michelle Baird
Coumba & Juergen Heidmann
Queensland visitor Roman Weissbock
Scott Carlin & Terry Ingram
Amazing fashion in Sydney
T ransformed into a fashion centre filled with themed specialist boutiques, Sydney’sCanterbury Racecourse Function Centre was once again the Mecca for collectors ofvintage clothing, jewellery and textiles. Organised by Janel Morrissey, this was her
ninth vintage themed fair and the last for 2010. For Victorian collectors, Janel is holding afair at the Melbourne Showground in Ascot Vale in May 2011.
Christine Keepence from theLinday Charm School for Girlscarrying out 1940s hair andmakeup demo with model Sarah
Charlotte Smith & Candice DeVille Bernadette Thomas & Janel Morrissey
Milestone celebrationsAbout 100 people attended Nomadic Rug Traders Christmasparty at the Pyrmont gallery on 20 November as part of their35th year celebrations as Nomadic Rug Traders and the 40thyear in the rug business. During this period they have stagedmore than 100 special exhibitions of antique oriental rugs andtextiles, African and southeast Asian tribal art together withmany informative colour catalogues. Present were a number ofthe original clients who visited their first gallery and firstexhibition in Rose Bay in 1976.
George Soutter (Inauguralpresident of Oriental RugSociety NSW), Dr John Yu(Chairman of VisAsia, Art Gallery of NSW) & BethPryce (Secretary of Oceanic Art Society)
Frank Seymour, PamelaLeuzinger, Chris & Monika Bray& Margaret Seymour
Gay Spies, Harry Spies & Irene Langlands
Ross & Irene Langlands
James Barker & Jim Masselos
Matthew Johnson, TomLanglands & daughter Isabella
Gaby Kemeny, Bron Durney & Margo Johnson
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To understand the huge range of ArtDeco ceramics it is useful to divide theceramics of the 1918-1940 period into
three distinct categories: wares produced byartist potters, traditional manufactories andindustrial ceramists. It is the second categoryof Art Deco ceramics, i.e. wares produced bytraditional manufactories with which the majorityof present-day collectors are most familiar and itis a small group of these ceramics which thisarticle will examine briefly.
By 1920, the art pottery movement was indecline, with many studios having closedbefore or at the outbreak of World War I.However, this movement has certainly helpedto make consumers aware that hand-paintedwares were aesthetically superior.
Potters and the artistic directors ofmanufactories were also aware of this and werequick to capitalise on special post-war economicand social conditions which enabled hand-painted wares to be produced both inexpensivelyand in mass. For example, in Britain in WorldWar I, the cheap but cheerful end of the potterymarket had been largely dependent upon Germanlithographic transfers.
After the war, anti-German feeling meant thissource was not viable. However, wages,particularly for girl paintresses, were so low as tomake hand painting a practicable substitute.Similar economic and social, even if not emotive,factors operated elsewhere in Europe.
CLARICE CLIFF potteryBest known today is the work of Clarice
Cliff. Clarice commenced employment at theA J Wilkinson earthenware factory in 1916,but it was only in 1927, following theacquisition by Wilkinson of the adjacentNewport Pottery that co-director ColleyShorter offered Clarice the opportunity whichresulted in the amazing story we now know as‘Bizarre’ by Clarice Cliff.
Of any artist/designer of one of the largestBritish manufactories, Clarice probably thegreatest impact upon consumers of the 1920s and 30s, certainly in Britain. The years1928-1935 saw her design pieces which, forthe most part, are characterised by
straightforward and identifiable qualities. They are bold and simple, abstract or
stylised and always colourful. Her preferencefor orange with a strong supporting role foryellow and significant use of black could beregarded as much her trademark as her choiceof names such as ‘bizarre’ and ‘fantasque’ forthe largest group of wares.
These colours were her preference and sheinfluenced public taste accordingly. It is notsurprising therefore, that the virtualdisappearance in 1935 of these colours helpsdelineate the end of the Clarice Cliff era.Although she continued to design and rangescontinued to be marked with her name, publictaste dictated that these later pieces no longerreflected her individual style.
SUSIE COOPER designsSusie Cooper was another who took the
trouble to transpose the modern decorativeidiom of the 1920s into manufactured wares.Initially she worked for the firm of A E Gray& Co Ltd in Hanley. There she decoratedblanks for the most part directly influenced byCubism and always in bold, contrastingcolours with thick and bold paint strokes. These
pieces, which date mostly from between 1921-1929, remain undetected by many people simplybecause they bear the mark of A E Gray with nomention of Susie Cooper.
Her ‘Gloria Lustre’ range also belongs tothis period. However, to the serious collectorof Susie Cooper, these early wares are thefocus of the search. They represent the artisticoutput of small number of years, but they arethe ultimate.
In the early 1930s Cooper accepted an offerfrom Wood & Sons’ Crown Works to executeshapes of her own design. She produced largenumbers of tableware designs, decorated withabstract or geometric ‘jazz’ style patterns inmuch more muted tones than her previous work.
Throughout her career, Cooper was alwaysin touch with the requirements of theconsumer. She understood the innateconservatism of the British public. This,combined with her strict attention to detail inboth design and marketing meant her wareswere an enormous success. Interestingly, justwhen Clarice Cliff was beginning to boldlydecorate blanks at Wilkinson’s Susie Cooperhad abandoned her bold, brash painting ofusually traditional shapes.
The list of British manufactories producinghand-painted wares in the 1920s and 30s is ofcourse, seemingly endless. Collectors will bevery familiar with names such as CarltonWare, Shelley and Doulton, plus the manysmall firms. There is something in this broadgenre to suit every collector’s budget and thevariety is enormous.
As with all collecting areas, the collectorshould adhere to a couple of sound principles– buy what you really like and try to obtaingood examples by the artist or company. Ifyou follow this advice then you should havean enjoyable and worthwhile collection whichwill also be a sound investment ●
Cecily Critchley and Lynley JenkinsFor DISCOVERY CORNER07 3862 [email protected]
ART DECO: British hand-painted ceramics of the 1920s and 1930s
Collectors will be veryfamiliar with names suchas Carlton Ware, Shelleyand Doulton, plus themany small firms. There issomething in this broadgenre to suit everycollector’s budget and thevariety is enormous.
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QUEEN STREETA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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The Aboriginal Dreamtime istraditional oral storytelling, drawingsand paintings that reveal indigenous
beliefs of the creation of day, sky, stars, fire,air, water, terrain and life. Beyond the earth,there is the Dreamtime and the balance ofharmony between Dreamtime spirits and the living.
The Dreaming reveals the land, flora, fauna,animals and humans; and how to live in theDreaming – healing plants, edible plants,dangerous regions, waterways, hunting andgathering and tribal relationships.
Dr Garry Darby, university lecturer andauthor specialising in Indigenous art, bringsthe Dreaming of the past and the presenttogether in his collection of paintings fromleading Central and Western AustralianAboriginal artists.
SELLING exhibitionSales of more than 300 paintings range in
price from $65 to $20,000 with rareopportunities for collectors. Dr Garry Darbywill share his expert knowledge on artists andpaintings. You are welcome to bring yourIndigenous paintings and other artworks for appraisal.
The collection includes works by MinniePwerle from the Utopia Station region of theNorthern Territory, 250 km northeast of AliceSprings. She is one of the highly respectedUtopia women artists who revealed herspiritual connection to the land through her paintings.
Minnie continued to paint until she died inMarch 2006, with her paintings held in manyAustralian and overseas institutional andprivate collections.
Also exhibited are George Milpurrurru, oneof Australia’s Old Masters of Aboriginal artfrom Arnhem Land, and Gloria Petyarre whowas the first Aboriginal to win the prestigiousWynne Prize (AGNSW). Other leadingIndigenous artists include Kathleen Petyarre,Lindsay Bird, Gracie Morton, KathleenWhiskey Nungurrayi, George Milpurrurru,Janet Long Nakamarra, Anna Price, MarciaTurner, Colleen Wallace, Naata Nungurrayiand Eubena Nampitjin.
FREE programEverybody is welcome to the illustrated
lecture, Australian Aboriginal Desert Artcommencing at 2.30 pm. The free appraisalsand expert lecture is a great way to learnabout Indigenous art, and for collectors andinternational visitors to buy rare paintings.
The Indigenous Art Day is an openinvitation, commencing at 10 am and runninguntil 8 pm. Ample parking is available atCentennial Parklands across the road. Or ifcoming by public transport, buses from thecity and Bondi Junction stop at Queen Street.
As well as enjoying the art and lecture, taketime out and sample the exciting menu of thenewly updated Hughenden Café Restaurant,open for breakfast through to dinner ●
Indigenous painting appraisalenquiries to Dr Garry Darby 02 9583 9916
Susanne GervayTHE HUGHENDEN02 9363 4863FREE CALL 1800 642 432www.thehughenden.com
INDIGENOUS ART DAY AT THE HUGHENDENOne-day selling exhibition, appraisals and expertlecture on Indigenous art 9 April 2011
Marlene Young Nungurrayi Anna Price
(Right) Kathleen Whiskey Nungurrayi, My Father’s Story
Your boutique winter getawayDinner, bed and breakfast
Two night Dinner Bed and Breakfast package $198• LITERARY EVENTS • ART EXHIBITIONS
• RESTAURANT, PRIVATE DINING, CONFERENCE & FUNCTION ROOMS
PER PERSONFOR 2 NIGHTS*
*Valid Tuesday to Thursday only, offer expires 30 September 2010, subject to availability
The Hughenden, an authentic Victorian Manor (c. 1870), issituated in the lively and fashionable café life of Paddington.
H U G H E N D E N B O U T I Q U E H O T E L14 Queen Street, Woollahra, Sydney
www.thehughenden.com.au02 9363 4863 Free Call 1800 642 432
Garry Darby and Betty Mbitjana
A N T I Q U E S & A R T I N N E W S O U T H W A L E S
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The Hopi native American tribe islocated in north eastern Arizona. Theword ‘Hopi’ translates as the ‘peaceful
ones’. Although this is a very agedinterpretation, it is genuine and appropriatefor today’s Hopi people, as they still reside inthe villages that they were dwelling in 1500years ago and practise a religion that isrelatively identical to its original form –confirming that their peaceful traditions areoutlasting many other tribal customs.
One custom still passed down, is theirhistoric anecdotes – the Hopi’s history. EachHopi village possesses its own specificinterpretation of the emanation myth andlegend, which trails the roaming of the Hopisbefore they reached their existing site. Forinstance, some believe that they were producedby the Spiderwoman or Kokyang Wuuti, in thefour underworlds.
The Spiderwoman is an intelligent andcompassionate old woman who is constantlyready to assist the Hopi people.
Each town has a shrine to her and it isbelieved that she is present everywhere. She isalso the mother of the Twin War Gods who,according to some legends, are responsible forkeeping the world turning.
Since existing in the Four Underworlds, the
Hopis were soon moved through the Place ofEmergence to reproduce and occupy the earth.Following numerous uncertainties by fire andtrekking, the Hopi finally settled into the firstHopi town of Orabi. Archaeologists proposethat this town was built between 1020 and1100. Other Hopi villages had beenconstructed in the 17th and 18th centuries.
It was not until 1540 that the Hopi firstcommunicated with the Europeans –Coronado’s soldiers. Subsequent to theCoronado and his military returning toMexico, the Hopi region was not troubled byforeigners for 43 years, until 1629 whensuffering arose due to the return of theSpanish priests.
The priests built five missions and withthis, a new religion was forced upon them andthe Hopi tribal religion was banned, includingthe use of traditional ceremonial kivas. It wasnot until 12 years later that the Spaniardsasked for and received pledges of peace fromthe Hopi villages. Since then, the Catholicchurch has not returned.
Despite this adversity, the Hopi tribes were,and still are, conceivably the most faithful ofall south western tribes. Everyday isimpregnated with and composed by theKachina spirit ancestors of the Hopi people.Each Pueblo tribe has Kachinas and Kachinaceremonies; however the Hopis and Zunishave the greatest number. The Hopis have anestimated 30 chief Kachinas who emerge tocarry out special seasonal ceremonies.Likewise, there are around 220 differentKachinas who might arise during the
Kachina season. A Kachina (ka stands forrespect and china means spirit) is a figurativeportrayal in human form of the spirits ofplants, animals, birds, places or ancestors.They are not perceived as gods, but ratherhonoured messengers from the gods,delivering purposeful prayers for clouds andrain, harmony in the universe, security ofhealth, and the prolongation of humanity and euphoria.
The story of how the Kachina evolved is,once more, one of numerous beliefs;nevertheless, the following is quite anaccepted legend among the Hopi. Kachinasonce lived with the Hopis after theiremergence from the underworld. They broughtthe clans rain with their dances and, regardlessof this gift, the community becamedisrespectful. Consequently the Kachinasdeparted and went off to live by themselves,though prior to their departing they taught thetribe how to perform their rituals. Theseincluded mediating with the gods on theIndians’ behalf by performing grand danceswith diverse religious ceremonies heldannually at the Hopi pueblos.
This is the Hopis’ religious year: itcommences in November with the Naacnaiyaand Wuwutcimti ceremonies, both specifyingthe emergence of the Kachinas from thetraditional spirit home on the San FranciscoPeaks to the south west. Additional Kachinadances commemorate the winter solstice, theyinclude the bean planting, requests for rain,and buffalo hunting. They all take place up toJuly. The dances are taken very seriously. Tocite an instance, the dancers are to abstainfrom contact with white people, they are alsoto avoid any tension, and they are to only haveinnocent thoughts. If one stumbles whiledancing, it deceives one’s mediation and this,in turn, may bring drought. If this does occur,and the Kachina performance does not bringthe desired results, the performance may berejected. Kachina dances conclude with theNiman Kachina ceremony. This one notes thereturn of the spirits to their Nuvatikiobi –meaning ‘snow houses’ – on the SanFrancisco Peaks.
A Kachina impersonator is adhered to takein the spirit of the Kachina he portrays whilehe wears the mask. Via the impersonator, whoacts as the mediator, the prayers of the
villages are communicated to the moresignificant deities. Permission to recreate adance is granted by the village chief. Ampletime is consumed by impersonators inmemorising songs and preparing masks.
Masks of chief Kachinas are extremelyimportant as they possess holy powers andtherefore a mask needs to be taken care of asif it were one of the spirits. To actually beable to wear a mask is a hereditary right. Themask is ceremonially fed and preserved whenthe owner passes away. It is buried with theacceptance that the mythical power must bereturned in distinction to its origin.
To assist children’s familiarity with thesemasks and real Kachinas, they are grantedminiature figures carved of tender cottonwoodroot that are painted and costumed to depictthe masked impersonators. These dolls arealso called Kachinas but are not endowed withpower. Since it is only the spirit that isportrayed, there is no need for realism in thedepiction. Selling Kachinas to non-Indians is rather new with the Hopi, as traditionallythe dolls were thought too sacred to sharewith outsiders.
As mentioned above, the Hopis traditionalpastimes are very significant to them. Theirculture of native arts and crafts, includingpottery, wood carving (kadhinas), weavingand basketry, secure them an income.However, quite a recent development, thatlikewise earns them money and furthermoredifferentiates them from other tribes, are theirsilversmithing skills. After learningsilversmithing from the Navajo Atsidi Chon in1872, the Zuni smith Lanyade traded hispersonal silver jewellery among the Hopi. Inthe same year Lanyade taught the HopiIndian, Sikyatala or ‘Yellow Light,’silversmithing techniques.
It was not until the 1930s that an independentHopi style surfaced. It was highly contemporarywith a modernistic and graphic approach tojewellery making. Contrary to the abovehistorical traditions, this new approach tosilversmithing was something of a contradictionto the Hopis’ way of life, simply because it wasdeveloped and encouraged by non-nativeAmericans. This was unmistakably not anegative predominance, for the reason that wehave merely a few non-native Americans whohave brought into existence, such a historic
Kachina mask by Gregory Lomayesva Overlay silver Bolo tie with Bobby Tewa cuff and ring
Above: Silver overlay cuff byVictor Coochwytewa
Right: Silver overlay cuff byWatson Honanie
The Peaceful OnesTHE NORTH AMERICAN HOPI INDIAN
DOUBLE BAYA N T I Q U E S & A R T I N N E W S O U T H W A L E S
11
importance, within the creation anddocumentation of Native American arts/craftsand general living. To name just a few, there wasEdward Sheriff Curtis who documented hundredsof distinct tribes and chiefs from those clans, withpersonal and prolific photogravures. Along withFrank Hamilton Cushing, who wrote about thefetishes in great detail, this tremendous feat couldonly have been executed through his involvementwith sacred religious ceremonies.
Then we have Dr Harold S Colton and hiswife Mary-Russell Ferrell Colton, thefounders of the Museum of Northern Arizonain Flagstaff. They worked to nourish thepursuit of crafts among the Hopi. In 1930 theyinitiated the annual ‘Hopi Craftsman Exhibit’at the Museum of Northern Arizona to devisean environment for Hopi craftwork to beexhibited and purchased. During 1938, a pointof convergence was established with aprimary focus on silversmithing. In the sameyear Mrs Colton wrote a letter to Kenneth EChapman, then with the laboratory ofAnthropology, Santa Fe, and a consultant tothe Indian Arts and Crafts Board. It said:
There is only one way to make Hopisilversmithing worthwhile, it must bedifferent from any other Indiansilversmithing. They must produce Hopisilver, not Navajo, Pueblo or Zuni. It mustbe absolutely unique and of course, thesupply will always be limited. Therefore, ifwe can create a worthy product, using onlyHopi design and advertise it well, we mightin time create a small worthwhile market.1
Mrs Colton did assist in bringing into beingmore than a ‘small worthwhile market,’ incomparison, aiding the introduction of acompletely fresh and successful silversmithingtechnique, unique to the Hopi Indian. To guidethe Hopi’s visualisation and inspire them intheir decorative designs, Colton allowed the
production of plates finished in opaquewatercolour on grey paper. Virgil Hubert,Assistant Curator of Art at the Museum ofNorthern Arizona, constructed the layout forthe jewellery, which included the silvertechniques of filing, stamping, cut-out andappliqué. Hubert states that, ‘Contrary tosome accounts, he did not make up any of thedesigns into jewellery’.2
The outcome was that the above style called‘overlay’ became the permanent style ofjewellery. It consists of two sheets of silverthat are soldered together prior to cutting outthe pattern in the top sheet so that theunderlayer is noticeable. The layer beneath isoxidised to turn black and then textured to agrained feel with chisel marks or stamp work.
They then highly polish the piece with steelwool until it receives a silver matte or a satinfinish. The graphic designs drawn onto thejewellery are inspired from ancient pottery,basketry and textile patterns with, primarily,the visual appearance as the main concern.However, many depict water as a focal point,due to its necessity for crops and drinking.Other conceptual meanings refer to religion,life and ceremonies. Furthermore, somesymbols3 may portray a particular object, for instance:
Warrior marks
Hair whorl
A melange of clouds and rainfall
Feathers
The whirlwind
Alternatively, a silversmith may design apiece of jewellery with a completely
individual aim or opinion. One primeexample is contemporary Hopisilversmith Charles Loloma(1921-1991). He was astudent of Fred Kabotiewho, in 1947 persuadedthe federal governmentto finance programs toeducate Hopi GIs ofWorld War II in thecreation of overlayjewellery. This lead to theHopi Silversmith Co-operative Guild which wasestablished in 1949.
Loloma was the leading producer ofcontemporary Indian jewellery. In the late1950s he was the foremost silversmith toinclude gold and stones – for instance,turquoise and blood red coral – in hisjewellery designs. He became internationallyfamous and universally accredited as a forcein creating jewellery utilising the panorama ofhis people for inspiration.
The American Hopi aims to set highstandards of religious beliefs, told through thecreation of Kachina dolls. Yet, to be highlyacknowledged and renowned for theircontemporary silversmithing, taking intoaccount its recent establishment, isextraordinary. Their traditions areimplemented not in writing but by song anddance and through the things they make, suchas their jewellery and Kachina dolls. Thislearning interpretation carries on a deep andprogressive achievement status that isimportant and relevant to every part of themin different ways within each day ●
FOUR WINDS GALLERY02 9328 7951www.fourwindsgallery.com.au
• Old pawn Navajo and Zuni jewellery
• Early fetish necklaces
• Vintage elk horn chandelier
diameter: 1.8 metres
• Early Pueblo cream heishi necklaces
• Great early sets of hand drilled, rolled
turquoise jochlahs
• Inlay necklace by Frank Vacit
• Collection of conch belts –
1st and 2nd phase, turquoise cluster,
tufa cast and others
• Large collection of coral earrings,
rings and cuffs
• Contemporary jewellery by McKee
Platero, Mike Bird, Cody Sanderson
and other renowned artists
• Great collection of antique Navajo rugs
SHOP 11 BAY VILLAGE, 28 CROSS ST, DOUBLE BAY 2028
Ph: 02 9328 7951 OPEN 7 DAYS www.fourwindsgallery.com.au
C e l e b r a t e s 3 0 y e a r s o f t r a d i n g – 1 9 8 1 - 2 0 1 1
Notes1 Margaret Wright, Hopi silver: the history and
hallmarks of Hopi silversmithing (Flagstaff,Ariz: Northland Publishers, 1989), p. 38
2 Ibid., p. 403 Ibid., p. 72
References‘Living spirits of Kachinas’, Arizona Highways,vol. 47, no. 6 June 1971‘The Hopi tricentennial’, Arizona Highways, vol.56 no. 9 September 1980Tom Bahti, Southwestern Indian ceremonials(Flagstaff, Ariz: KC Publications 1970)Theda Bassman, The Beauty of Hopi Jewelry(Tucson, Ariz: Kiva Publishing, 1993)Buddy Mays, Indian villages of the southwest(San Francisco: Chronicle Books 1985)William A Turnbaugh and Sarah PeabodyTurnbaugh, Indian jewelry of the Americansouthwest (Atglen, Pa: Schiffer Publishing Ltd, 1988)Frank Waters, Book of the Hopi(Harmondsworth: Penguin Books, 1963)
Hopi silver belt buckle
MOORE PARKA N T I Q U E S & A R T I N N E W S O U T H W A L E S
12
The Australian Antiques & Fine ArtFair celebrates its 21st year in 2011.This well-supported and highly
anticipated event lived up to its reputation in2010, attracting strong attendance and verysuccessful results for participants across allcollecting categories. Our May 2011 fairpromises to be exceptional, with many dealersalready having resigned, plus new exhibitorsapplying for space.
This fair set the nation’s benchmarks foraccomplishment in antique fairs. It is thelargest quality antique and art fair inAustralia, attended by over 60 professional
dealers. It has the best track records forquality of stock, experience in trading andhigh standards of service.
The Australian Antiques & Fine Art Fairbegan in May 1991, founded by James andHelen Johnson. Their professional skills insuccessful Melbourne events and fairsincludes those at historic 1890 StoningtonMansion in Malvern; South Melbourne TownHall; the Hotel Windsor; and Wilson Hall atthe University of Melbourne. In the secondhalf of 1991, this duo began the Great SydneyAntiques Fair that runs each October at theRoyal Hall of Industries, Moore Park.
MELBOURNE scheduleThe Johnson fairs planned for Melbourne in
2011 are the Melbourne Antiques Fair atMalvern Town Hall (9 – 13 June) and theWhitehorse Antiques Fair at Box Hill TownHall (18 – 21 August). Each fair aims toencompass world’s best examples of antiques andworks of art. Experts select items to reflect theinterests of Australian collectors, bothexperienced and novice. Current décor trendsguide the selection of exhibits and the ways thatobjects are combined within displays.
SYDNEY FAIR: What you can expect
Attending the red-carpet gala preview at theRoyal Hall of Industries next 18 May 2011,visitors will be enchanted by the elegance ofthe displays and the diversity of the standsprovided by experts in various collecting fields.Styles vary from the superb cabinetmaking oftop English furniture (LJ Cook and Companyof Camberwell Melbourne) to the suave eleganceof Scandinavian art deco and Biedermeierfurniture (Virtanen Antiques of ArmadaleMelbourne). Whether a mature collectordownsizing or a gen-Xer furnishing a loft,quality options will serve your needs and taste.
John D Dunn Antiques of Malvern alwayspresent an astonishingly beautiful stand of earlyEnglish and Continental furniture, arranged tocreate stylish décor. An Italian octagonalwalnut centre table, c. 1800, topped by a Handynasty red pottery dog (206 BCE-220 CE) issilhouetted against a luminous red silk velvetpanel, embroidered with gold thread (Turkish,17th-18th century). This entire display is lit bythe soft candle glow of a French ormoluchandelier, c. 1900. For a standout piece, it wouldbe difficult to surpass John D Dunn’s NapoleonIII ebonised centre table, superbly embellishedwith detailed ormolu mounts and its circulartabletop inset with Sèvres porcelain panels.
For ceramics collectors there is a large 45 cm tall Royal Worcester ‘Moments ofMischief’ vase of 1884 painted by James Bradley.It is alongside a large masque-handled RoyalWorcester covered urn by Charles Baldwyn,depicting his usual subject of swans on thewing, on a pale turquoise ground with rose andgilt accents (A & M Antiques, Sydney).Moorabool Antique Galleries of Geelongshows porcelain from the 18th century.
If looking to enhance a collection of sterlingsilver, Kevin Murray Fine Silver of Melbourneoffers a feast of world-class antique silverobjects, flatware and table pieces including aGeorge III sterling silver tray, marked forLondon, 1796, with grape-and-vine motif and
Bacchus masques on the elaborately piercedoutwardly-flanged rim and vine-twist handles.
Traditional paintings, maps and printscomplete any décor as well as makingexcellent investments. Martin Gallon FineArt of Melbourne exhibits tranquil landscapes,genre painting and evocative seascapes.Antique engravings and maps from SebraPrints of Camberwell include fashion platesof the latest looks from the August 1913 editionof La Gazette de Bon Ton, published in Paris.
Australia’s top antique jewellery retailerspresent antique jewellery of quality. KarenDeakin Antiques is bringing a diamond-setpendant of lace-like design from theEdwardian era, and an intriguing Caravaggiostyle portrait set in a gold mounted cameo –an exciting antique piece.
COME to the May 2011 Sydney Fair
Readers are invited to the gala preview onWednesday 18 May from 6:30 to 9:30 pm;enjoy a welcoming drink and music by theSavoy Quintet while having first choice of thefine antiques and art. Open days are Thursday19, Friday 20 and Saturday 21 (between 11 amand 7 pm) and on Sunday 22 May from 10 amuntil closing at 5 pm.
Tickets may be purchased on arrival or pre-purchase your tickets throughwww.ticketek.com and 132 849 (surchargesapply). The gala preview costs $25; single dayadmission is $15 or $10 concession; andaccompanied children up to 16 years of ageenjoy free admission ●
James A Johnson Fairs schedule 2011SydneyThe Australian Antiques & Fine Art Fair 18 to 22 May Royal Hall of Industries, Moore ParkThe Great Sydney Antiques Fair 26-30 October Royal Hall of Industries, Moore ParkMelbourneMelbourne Antiques Fair 9-13 June Malvern Town Hall Whitehorse Antiques Fair 18-21 August Box Hill Town Hall
AUSTRALIAN ANTIQUES & FINE ART FAIRFair hotline 1300 135 [email protected]
ANTIQUES & ART FAIR COMESOF AGE – 21st fair at Royal Hall ofIndustries, Moore Park 18-22 May
18-22 May 2011GALA PREVIEWWednesday 18 May6.30pm-9.30pm
Thursday to Saturday 11.00am-7.00pm
Sunday10.00am-5.00pm
ROYAL HALL OF INDUSTRIESDriver Avenue Moore Park
21ST
YEAR!
Royal Worcester covered urndecorated by Charles Baldwyn
Art deco furniture coming to the show Caravaggio style portrait set in agold mounted cameo
Plate, ‘Le Coup de Vent’ in La Gazettede Bon Ton, Paris, August 1913
Han dynasty (206 BCE-220 CE) red pottery dog;Italian octagonal walnut centre table, c. 1800;silk velvet panel embroidered with gold threadfrom Turkey, 17th-18th century; French ormoluchandelier, c. 1900
George III sterling silver tray, London, 1796
VALUE ADDED @worldaa.comNOW ONLINE Australia’s foremost magazines on the decorative arts - antiques, art & collecting vintage & retro
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Web: www.orlandobrown.com.au
A Cipriani (Italian) Alabaster figure, c. 1910, overall height 2150 mm
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A N T I Q U E S & A R T I N N E W S O U T H W A L E S
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An expert valuer requires many basicqualifications, commencing withknowledge in all of gemmology,
diamond grading, jewellery manufacturingtechniques, antique and period jewellery,wristwatches and pocket watches, hallmarking ofjewellery and precious metal testing.
In addition to all of the above, many years ofexperience are required. The most essential skill isthe ability to translate all the technical, design,historical and provenance data into what isrelevant in the current marketplace. Only then canone arrive at a ‘value’ that is meaningful for theend users of a written valuation, whether owners,insurers or probate.
VALUATIONS have manyinteresting challenges
One of the problems facing a practisingjewellery valuer is that any imaginable (and neverimagined) item can appear before you forvaluation: you are required to use a broad rangeof skills. For example, when identifying agemstone, a loose gem is much easier to identifythan a gem that is set, as testing procedures arelimited once set. Frequently valuers need todecide if an item of jewellery is a genuine antiqueor a modern reproduction.
A valuer often does not know the history of thejewellery and so has no information to start with.It can be likened to CSI and forensic analysis, soassumptions and identifications are determinedby examination and testing. In order to identifythe origin of the gemstone and metal mount alogical sequence of examination and testing needsto occur to arrive at the correct answers.1. The gemstone must be identified, whether
natural or synthesised in a laboratory.2. The precious metal needs to be tested and
identified, such as the grade of silver, whethersterling (.925 pure) or other grades(Scandinavian silver is frequently .800).
3. What about the method of manufacture – is it handmade or cast or a combination of both?
A GEMMOLOGICAL challengeValuers may be asked to value a necklace set
with a multitude of cut gemstones, which couldbe a mixture of amethyst, citrine, zircon, garnet,iolite, topaz, peridot, emerald and synthetic ruby.
Imagine the challenge from a large pearl necklace– are they from the South Seas or are theyfreshwater pearls? They look very similar to oneanother, but have totally different values.
There are now rubies on the market that are ofreally very low quality. They have been treated byheating and the addition of molten glass to fill thecracks in the stones which increases the eyevisible clarity. The value of this type of ruby isextremely low and can be very misleading for thepurchaser. There are other treatments of rubies, sodepending on the treatment, a wide range ofvalues can be attributed to each gemstone sold asa ‘ruby.’ This has the potential to defraudprospective buyers.
An interesting valuation was that of a lovelysapphire and diamond ring with a series of Englishhallmarks on the band. A closer examinationrevealed that the stamps were fake. The markswere actually cast into the ring and thereforeclearly a modern reproduction, and of coursefraudulent. The other sign that the ring was notantique was that modern cut diamonds that wereset in the ring did not occur until at least the 1950s.
Another valuer was presented with a blue stoneand diamond ring. The blue stone looked exactlylike a blue Ceylonese sapphire – testing provedthat it was an unusual blue stone called kyanite.This is a fragile stone and so the wearer has to bevery careful not to crack it. New deposits of themineral have recently been discovered, so it willbe seen more frequently on the market, yet fewwill know its true (low) value.
The above examples show just the tip of theiceberg of this vast subject. When seeking adviceor valuations, a qualified and experienced personis obviously required to unravel the science andcomplexities of jewellery, watches and otheritems of personal adornment.
The best thing about using a professionalvaluer is that you will get a precise description ofthe article along with an accurate currentreplacement price. A valuation is a legaldocument: it validates the existence of the itemsshould either damage or loss occur ●
NATIONAL COUNCIL OFJEWELLERY VALUERS NSW02 9232 6599 / 0418 616 [email protected]
MEANINGFULVALUATION of jewellery= CSi + forensic analysis
Name Company PhoneIan Abeshouse Ian Abeshouse Valuations 02 9223 9919Masis Baghdasar Agopyan Masis Jewellery 0418 266 675Alison Alford 02 9326 1588Jonathan Alford Jonathan Alford Pty Ltd 02 9222 9393Ken Anania Anania Australia Pty Limited 02 9299 4251Sirarpy Banbekian R.P’s Valuation Services 02 9261 3171Catherine E Barnett 0405 110 754Eli Baroud 02 9554 4408Michael Barrett Barrett’s Jewellers Pty Ltd 02 4296 1623David Benn David Benn Fine Jewellery 02 9233 4644Michael Berton Artima Products 02 9956 5606Michele Black Creations Jewellers 02 6295 1763Andrew Broadway Fine & Decorative Arts Services Pty Ltd 03 9421 0991Scott Brown Valuation Professionals 02 9283 0419David Bubb David Bubb & Associates Pty Ltd 02 9221 0288Carma Burchell 02 4862 2699Valerie Burgess West Wyalong Jewellers Pty Ltd 02 6972 2202Robyn Carmody 02 9420 8261Paul Carruthers 02 4929 4377Sheila Catterall Gemstone Valuation Services 02 9440 9981Narelle Chamoun 02 9708 1086Salina S Cheng Ricco Ricco Jewellery 02 9281 6899Patrick Cho Dixon Gem Studies & Valuation Services 02 9281 1182Raymond Clark Raymond Clark Jewellers 02 9232 7218John Clements J W Clements & Associates Pty Ltd 02 9232 1366Robert Cliff Robert Cliff Master Jeweller 02 8850 5400Brenda Colahan Brenda Colahan Fine Art 0414 377 227Julie Collins Jules Collins Jewellers 02 9331 6175Ben Connor David Connor Designs 02 9948 7444Douglas Crabbe Manly Jeweller 02 9977 6419
REGISTERED VALUERS IN NSW
Ronald Crisp R J Crisp Pty Ltd 02 9221 6262Jennifer Kate Criston J Farren Price 07 3229 6119Laura Cunning 07 5538 7832June Dangar June’s Jewellery & Gems 02 6772 7375Thomas Danos Professional Jewellery Services 02 9894 0204Melinda Di Pietro MP Valuations 0415 169 741Stephen Diegelman Rob Bennett Jewellery 02 9419 2296Patricia Donovan 02 6733 2062Nick Dracakis Dracakis Jewellers 02 9905 4344Menaka Drew Menaka Drew Valuations 0411 369 946John Ellis Frank Ellis The Diamond Centre 02 6962 2884Garry Estreich Gemplan Marketing 02 4861 2159Elias Fadel 02 9609 1070Warren Faust Dustins 02 9233 6999Stephen Fisk Giro’s Jewellery 02 9922 5812Janis Frost Frost Antiques Pty Ltd 02 9267 1304Thomas Gardner Thomas Robb Designs Pty Ltd 02 9264 3951Peter Gerrard JW Gerrard Pty Ltd 02 9232 4882Scott Godfrey The House of Fraser 02 9899 5848Nicholas Grant What Women Want 02 6651 9100Victoria Greene Michael A Greene Antiques 02 9328 1712Simon Gregory Gregory Jewellers 02 8850 7080Tanya-Louise Gregory TLG Valuations 02 9868 3444Donald Hansen 0438 630 183Paul Harangozo Coronet Jewellers of Distinction 02 6021 4282Eli Haski-Njoroge 0410 485 880Michael Hatzigeorgiou Hatzi Jewellers 02 9597 4877Vibeke Henriksen 0411 725 740Lynette Hobcroft 02 9420 8261Rachael Hogan Goldsmith Jewellers 08 8981 4448Catherine Horder G W Speirs 02 6962 7477Elizabeth Hoy Kareli Valuation Service 02 9267 4391Warren Hughes Normans of Mosman 02 9969 7766Ross Humphries LG Humphries & Son 02 9290 1505Rodney Hyman RHAS 02 9986 1877Ercan (John) Inan Crown Diamond Jewellers 02 4227 6224Heidi Inwood Regency Jewellers 02 6352 1203Vera Jarjo Starco Jewellers Mt Druitt 02 9832 9222Roslyn Jarrett Jarrett Jewellery 02 9267 1084Damien Kalmar Kalmar Antiques 02 9264 3663Suzy Kertesz 0411 511 222Mehran Keshishian D & R Valuation 02 98071020Harry Keverian Bond Street Jewellers 02 9413 9100Alexandra Kocsard 0439 994 732Linda Kotlyar 0414 283 627Alex Krawzow 0430 318 003Frank Lenane Hennings Pty Ltd 02 9639 6468Mike Levendi Levendi Jewellers 02 9231 1088Karen Lindley Karen Lindley Pty Ltd 02 9232 1611Cameron Marks Percy Marks Jewellers 02 9233 1355Roslyn A McKenzie 0416 379 782Colin McWilliam McWilliam & Associates Pty Ltd 02 9231 2388Leon Milch Leon Milch Pty Ltd 02 9264 3162Helen Miller McWilliam & Associates Pty Ltd 0434 728 863Robyn Minehan 02 6556 0241Mark Mitchell Valuation Centre of Australia 02 9476 4721Terence Mitchell The Valuation Centre of Australia 02 9419 7908Toru Miyauchi 02 9269 0804Hugo Morvillo 0425 306 725Robert Musson Musson Jewellers 02 9412 2780Roberta Neuman Neuman & Associates, Australia 02 9233 1355Michael Neuman c/- Mondial Jewellers 02 9267 7974Ann Newman Hunter Region Valuation Services 02 4930 1047David Nicholson Nicholson’s Hourglass Jewellers 02 6021 3744Robert Nicholson Nicholson’s Hourglass Jewellers 02 6921 2345Ralph Nicola Ralph Nicola 02 9223 8744Paul O’Neill Peter O’Neill Jewellery 02 4990 3810Alex Ozmen Jo Linda’s Jewellery 02 9558 5532Con Pappas Constantine Jewellery Design 02 9238 0577Odette Patrick Maxoddy Pty Ltd 0414 208 785Raymond Pinn R J & C R Pinn Pty Ltd 02 9412 4816Tim Pitcher McWilliam & Associates 03 9662 1755Elizabeth Proszkowiec Enigma Jewellers 02 4983 1188George Proszkowiec Terrace Jewellery Pty Ltd 02 4987 2290Gabrielle Radinger Erich Radinger Goldsmith & Jeweller 02 6295 0064Antony Rees Jewellery Brokers 02 6881 8318Stuart Reid Stuart Reid Jewellers 02 9262 5142Alison Renwick Alison Renwick Art Consultancy 0412 363 431Adam Rich Jan Logan Jewellers 02 9266 5379Geoff Richardson 0411 467 416Penelope Robson Penelope Ellen Jewellery 02 9567 6650Luisa Rose Luisa Rose Designs 02 9974 5466Sarah Rowe The House of Fraser 02 9899 5848Nicole Russell c/- Percy Marks 02 9233 1355Mark Saffer MN Jewellery 02 9371 8735Sharon Salucci Aldo’s Manufacturing Jeweller P/L 02 9940 3361Mark Sanders L Sanders & Son Pty Ltd 02 9233 5119Jiulio Sarno C E & J Sarno 02 9344 9577Robert Sawtell Umun Jewellery Studio 02 9484 0944Michelle Schellnegger 02 6829 0210Danielle Schlanger I Schlanger & Son Pty Ltd 02 9221 5916Bill Sechos 02 9264 8788Joel Sellings J Farren-Price 02 9231 3299Brooke Sheppard Sheppard’s Jewellers 02 6722 2114Phillip Skamperle Phillip Skamperle Manufacturing 02 4972 2111Colleen Sloane Colleen Sloane Design & Valuations 0438 889 714Anthony Smallwood Advanced Gemmological Services Pty 02 9545 5955Michael Smyth Artegold Jewellery 02 9221 6140Anthony Sofoulis The Village Jewellers 02 6295 7955Elizabeth Stevens Chilton’s Antiques 02 9524 0360Kerrilie Szymanski 0404 875 468Joseph Thang Vinson Jewellery 02 9281 8357Diana Thompson The Gem Connection 02 6295 9493Peter Tinslay 02 9966 9925Julia Tsiamis GS Gold Shops Pty Ltd 02 9264 4933Christopher Underwood Underwood Jewellers 02 9689 1022Robert-Marie Vella Accu-Val Jewellery Appraisals 0418 961 266Kimberley Wallace-Wells Old Technology 0427 499 150Doreen Wallman Spectrum Gems 02 9233 2932Kingsley Wallman Venerari 02 9222 9797John Newton John Newton Jewellers 02 9645 2465Tracy Wenban Tracy Wenban Jewellers 02 9979 3871Ra Wineera Lambert Jewellery 02 9233 5558Eric Wolf Deborah Windfield Jewellery 02 9953 8624Desiree Zincirkiran Duval Jewellery 02 9261 1212
PYRMONTA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Whether you buy a rug, kilim orcarpet for decorative, practical orinvestment purposes, care needs to
be taken in order to ensure its longevity, toprotect its value and to ensure the aestheticqualities last.
As most of these textiles are used fordecorative floor covers, they are especiallyvulnerable to damage from dust, spillage, debriscarried on foot and especially pets’ accidents.
Cleaning and washingRegular vacuuming is essential in the care
of rugs. Floor textiles should be thoroughlyvacuumed at least once a week, or more iflocated in a high traffic area. Always vacuumin the direction of the pile, in order to ensurea smooth appearance. For a deeper clean, itis important to move the carpet from itsregular position and clean the surfaceunderneath, as well as shaking the carpet toremove deeply held dust.
If parts of a rug are placed under furniture orin dark areas or stored, they should frequentlybe cleaned and checked, as they are vulnerableto moth damage, which in its early stages cango easily unnoticed. If you find signs of mothsor their damage, quickly seek advice from arug professional to protect and repair.
Washing rugs is essential for theirmaintenance, however only entrust your rug toa recognised professional, every time. Mostrugs need to be washed every two to fiveyears, however in the case of stains orrepeated spillage, more frequent and at timesimmediate washing is necessary.
In particular, cat and dog waste (especiallyurine) needs to be dealt with immediately dueto its acidity which leeches the dye from therug, and if left can damage the carpet
permanently. In this case, it is necessary tohave the carpet professionally washed anddeodorised immediately.
A carpet cleaning professional will be ableto take into consideration the material, dyesand integrity of your rug, as well as use anappropriate technique and products to washand care for your rug.
Repair and restorationDepending on their use and condition, most
rugs will endure damage from everyday usebut most damage can be repaired. All rugswill show signs of wearing over time.Immediately seek assistance with any damageto rugs such as the ends fraying, tears, mothdamage, damage caused by pets andaccidents, and rot.
It is important to detect early signs ofdamage and to intervene, as delay could makerepairs costly or may render your rugirreparable. In most cases an experiencedprofessional can repair the area in need insuch a way that the rug should resemble itspre-damaged appearance
The correct way to store rugsTake special attention when storing rugs.
Due to the potential damage from humidity, itis important to store a rug in a dry area. Rugsshould not be folded as this may damage theirstructural integrity, or break them. Only storea rug by rolling and wrapping it in a cotton orlinen cover; never use plastic based covers ●
Ahmet SolakPERSIAN CARPET REPAIR ANDRESTORATION COMPANY02 9571 4411 / 0414 598 692www.persiancarpetrestoration.com
Caring for and maintainingRUGS AND CARPETS
Ahmet Solak 123 HARRIS ST (REAR ENTRANCE) PYRMONT SYDNEY NSW 2009
Tel: 02 9571 4411Mob: 0414 598 692 Fax: 02 8399 2078
www.persiancarpetrestoration.comemail: [email protected]
EXPERT REPAIRS, RESTORATION, CONSERVATION,CLEANING & HANDWASHING OFANTIQUE & ORIENTAL CARPETS,
KILIMS & TEXTILES
A N T I Q U E S & A R T I N N E W S O U T H W A L E S
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ABRASHA change in the intensity of a particular
colour brought about by the dyeing of wool indifferent batches. This change appears as ahorizontal band across the rug. It is moreapparent with dyestuffs (such as indigo) whichare difficult to control in the dyeing process.Abrash creates a visual movement within arug often lending charm and individuality.
AFSHANFlorally inspired design of palmettes and
tendrils used in Caucasian and northwestPersian carpets. Also known as the ‘harshang’design in Persian carpets.
AFSHARA Turkic speaking tribe who inhabit
primarily the area south of Kirman insouthern Persia both as nomads and settledvillagers. Most of this group were forciblyresettled from the northern province ofAzerbaijan in the 16th century by ShahTamasp. Smaller, more diverse groups ofAfshar still inhabit areas of northwest Persiaand Anatolia. Their rugs express a similardesign logic to those weavings of theneighbouring tribes of Qashqa’i, Khamsehand Luri.
ANATOLIAAsia Minor – modern Turkey east of
the Bosporus.
ANILINE DyesSynthetic dyestuffs derived from coal tar.
Invented by Perkin in 1856 and first used inoriental rugs in the 1860s. They were the firstsynthetic dyes to be used in oriental rugs andwere invariably applied inexpertly, exhibitingpoor light fastness.
ARABESQUEDecoration with intertwining leaves and
scrolling branches, tendrils and buds.
ARDEBILA rug making township in the north Persian
province of Azerbaijan. The 16th centurySafavid carpet of the same name, now in theVictoria and Albert Museum and possibly themost famous carpet in the world, was takenfrom the Ardebil mosque in the 19th centurytogether with a lesser counterpart which isnow in the Los Angeles County Museum.Considerable controversy surrounds the datingof this second piece.
ASMALYKPentagonal Turkoman tasselled hanging made
in pairs and which decorated each flank of thebride’s camel leading the wedding procession.Most asmalyks are unmistakably the work ofthe Yomud Turkoman but certain rareexamples are thought to be of Tekke origin.
The most commonly featured design isknown as the ‘ashyk’ – a serrated diamondrepeated within a lattice across the field of therug. Some asmalyks are thought to be amongthe earliest of Turkoman trappings and havesurvived because, unlike many bags and otherutilitarian items, they had a purely ceremonialfunction and were not subjected to the rigoursof daily use.
AZERBAIJANNorth Persian province, famous for its
rug production. Its capital is the market city of Tabriz.
AZO DYESA large class of synthetic dyestuffs which
appeared towards the end of the l9th centuryin oriental rug weaving. Most exhibited betterlight fastness than the earlier aniline dyes butmany ran rather badly in water. Some of themore lurid tones of orange and pink wereoften too harsh for European taste.
BAKHTIYARTribal group, which incorporates both
nomadic and sedentary people, from centralsouthern Persia just west of the city ofIsfahan. They are considered by many to bepart of the ancient Lurs tribes.
The nomadic Bakhtiyar maintain summerpastures in the Zagros mountains whilevillage rug production focuses on the ChaharMahal region. The rugs of the Chahar Mahaldiffer from those of the nomadic Bakhtiyar inthat they are knotted on a cotton warp andweft and exhibit a bolder, more contrastingrange of primary colour.
BAKSHAISHA village near Heriz in north west Persia
which produced rugs and large carpets untilthe end of last century. While many of theseweavings display designs similar to those ofneighbouring Heriz, the products of Bakshaishare generally finer in construction andfloppier to handle.
BALUCHFiercely independent tribal nomads of the
rugged and barren border regions of eastern
Persia and western Afghanistan and Pakistan.Their rugs are dark and rather mysteriousreflecting in character the people of the blacktents and voluminous turbans.
Often the rugs are made using just indigoand madder for the red/brown and blue tones,undyed sheep’s wool, goat hair and camelhair.
BIDJARA predominantly Kurdish township in
western Persia associated with the weaving ofvillage rugs. While many large carpets weremade here and in the surrounding villages,cartoons were not used.
A system of ‘wagirehs’ or small samplerrugs showing their design repertoire weremade and used in areas of the cottage industryin western and northern Persia.
All Bidjar carpets show a peculiarity ofweave in that alternate warp threads aredepressed by shooting a straight weft, therebygiving the finished product a stiff, board-likehandle. They are considered to be among themost robust of all oriental rugs.
BOHCETurkish name meaning ‘cover’ for the many
domestic cloths embroidered in single-sidedtechniques.
BORDERA band of design around the edge of a rug
enclosing the field. The main border, thewidest band, is usually flanked by narrowerbands commonly called guard stripes.
BOTEHA pear or leaf shaped design originally
appearing in early Indian textiles and later(probably in the 16th century) in oriental rugs.It appears in a wide variety of stylised formsand is the basis of the Paisley pattern.
BUKHARAA township situated on the ancient silk
route in western Turkestan and an importanttrading centre for Turkoman rugs and textiles.Turkoman rugs were formerly referred to as‘Bukharas’ for this reason.
CARPETA term often interchangeable with rug but
most usefully describing those pieces largerthan two by three metres.
CARTOONUsed largely by weavers of rugs in urban
workshops as a coloured design guide, oftendrawn on graph paper in which each smallsquare represents a knot. Rugs woven fromcartoons are often identifiable by curvilineardesigns (difficult to achieve without a knot-for-knot guide) and carefully resolved border
patterns which flow in an uninterruptedprogression around all corners.
Some people think that such rug designslack the spontaneity and vitality of the best oftribal weavings where cartoons were not usedand the individual weavers artistic input ismuch more in evidence. It is however aquestion of taste.
CAUCASUSThe often mountainous region of what was
formerly southern USSR between the Blackand the Caspian Seas. It is an area famous forthe production of colourful and bold villagerugs from at least the beginning of the 18th century.
CHAHAR MahalA district west of Isfahan noted for the
village production of rugs associated with theBakhtiyari tribes.
CHROME DyesModern synthetic dyes so called because
they are mordanted with potassium dichromate.Chromium salts as mordants have only beenavailable and used relatively recently.
COCHINEALAn insect dyestuff derived from the
Cochineal beetle. It was imported into orientalrug making areas probably from the CanaryIslands. It produces a shade of purple/pink. Inearly Turkoman weavings it was used verysparingly.
Towards the end of the 19th century itbecame more accessible and less expensiveand was used extensively not only inTurkoman rugs but in Persian urbanmanufacture and Turkish village rugs as well.It is visually indistinguishable from lac theIndian insect dye used in classical 16thcentury Persian carpets.
CORROSIONThe corrosion of the pile of carpets occurs
quite often in those areas of dyed brown yarn(as opposed to yarn that is undyed and shornfrom black or brown sheep). The combinationof the dyestuff containing tannin and the ironrich mordant causes the wool to become verylight and sensitive and wear more rapidly. Thiseffect is much in evidence in many oldCaucasian and Turkish village rugs ●
Ross LanglandsNOMADIC RUG TRADERS02 9660 3753www.nomadicrugtraders.com
THE A-Z OF ORIENTAL RUGS
19th century Afshar rug from southern Persia,with an unusual yellow ground colour and smallstylised animals
Late 19th century Baluch prayer rug fromeastern Persia with a stylised tree of life on acamel hair ground in the field, 115 x 65 cm
Late 19th century Shirvan rug from thesouthern Caucasus with an all over design ofstylised floral forms. A cartouche at the top ofthe field bears the Islamic date 1312 AH whichtransposes as 1894, 150 x 84 cm
Boteh motif as found universally throughoutthe rug world
PYRMONTA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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NOMADIC RUG TRADERSSPECIALISTS IN OLD ORIENTAL RUGS TEXTILES AND TRIBAL ART
VALUER OF ORIENTAL RUGS & SOUTH EAST ASIAN TEXTILES FOR THE AUSTRALIAN GOVERNMENT’S CULTURAL GIFTS PROGRAM MEMBRE DE LA CONFÉDÉRATION INTERNATIONALE DES NÉGOÇIANTS EN OEUVRES D’ART
MEMBER OF THE AUSTRALIAN ANTIQUE AND ART DEALERS ASSOCIATION
123 Harris Street Pyrmont NSW 2009 AUSTRALIA TEL 612 9660 3753 FAX 612 9552 4939
e-mail: [email protected] website: www.nomadicrugtraders.com
Bidjar rug from western Persia, c. 1900, size: 173 x 143 cm
CHRISTMASEXHIBITIONUNTILCHRISTMAS EVE
BONDI JUNCTIONA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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suites. They also offer a vast selection ofclocks, period and modern furniture andmuch, much more.
Items from their catalogue can be viewedon their website and ordered through their store ●
BELLAGIO INTERNATIONAL02 9369 49340416 131 [email protected]
Bellagio International has beenoperating at 1A Hollywood Avenue,Bondi Junction for more than a decade.
It has become the favourite place for interiordesigners, commercial producers and thosewho like fine and unique items. They sell andpurchase their stock from around the world.Each piece of furniture and art is unique.
Bellagio International carries a wide rangeof crystal chandeliers, beautiful oil paintings,gilded mirrors, fine porcelain, bronze statues,console tables, dining suites and bedroom
FINE FURNITURE, ART WORKS AND MORE in the heart of Bondi Junction
1A Hollywood Ave, Bondi Junction50 metres from Westfield
NEW SHOP OPENING SOONLocated at 243 Oxford Street, Bondi Junction
Ph: 02 9369 4934 • Mob: 0416 131 015 ask for Ray
Open: Mon-Sat 11 am - 6 pm
Bellagio InternationalBUY ~ SELL ~ HIRE
BONDI JUNCTIONA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Specialising in transporting art andantiques means that Pack & Sendsuperstores stock an extensive range of
packing supplies – including bubble wrap, airbags, tailor-made boxes and crates – for bothshops and individuals who choose to do theirown wrapping.
Museums, art galleries and antique dealersAustralia-wide are finding Pack & Send’sservice truly valuable when they ask them totake care of the entire logistical process: frompick-up to packaging to insurance, paperwork,freighting and safe door-to-door delivery. Noother company in Australia does this.
In relieving them of what can often be atime-consuming and onerous task, curators andcollectors are free to concentrate on their corebusiness. Pack & Send will personally managethe entire job and even computer-track the itemen route until it arrives safely and in pristinecondition at its destination.
PROFESSIONAL Packing ServicePack & Send is the only packaging and freightcompany that has access to InstapakFoam-in-Place technology, a system using softfoam that expands when two chemicals arecombined in contact with air.
Foam-in-Place moulds itself to fit the preciseshape of the item being packed and this productpossesses a density that aids in the prevention ofdamage from impact, vibration or from beingdropped. Instapak Foam-in-Place enables
glassware, paintings and various antiques to besent through the freight system withoutcompromising the safety of the item. Not onlythat, but Foam-in-Place is highly cost efficientand readily disposed of without harming the environment.
Pack & Send is the only freight company thatwill send as well as pack antiques and art foryou. When you consider the price of packing theitem yourself on top of another company’sfreight charges, Pack & Send’s price – as well asits hassle-free, one-stop shopping convenience –makes it a very attractive option.
SAVES Time and MoneyArt and antique dealers, galleries and museumsare now realising that using Pack & Send fortheir logistics is a means of providing a superiorlevel of service to their customers and actuallysaves them time and money.
Martyn Cook of Martyn Cook Antiques inQueen Street, Woollahra NSW is a fan. He usesPack & Send to send artworks worth manythousand dollars.
‘From long experience I know I can rely anddepend on Pack & Send. They collect fine art,pack and deliver for us nationwide and aroundthe globe. We’ve had no breakages so far,’ hesays with a smile. That’s good news to peoplesuch as the Miami, Florida, customer whopurchased some framed sailing prints, includingan 1830s copy of a French sailing ship headingout for a perilous expedition to the Arctic and asailing scene on Sydney Harbour in the 1880s.
Pack & Send Bondi Junction is open six days aweek, from 8.30 am to 5.30 pm, Monday to Friday,and from 9 am to 12 noon on Saturday. The team atPack & Send look forward to the opportunity tooffer their services in solving any packaging orfreight problem you might have ●
PACK & SEND02 9386 [email protected]
Excess baggage? Have your personal effects custompacked and sent home safely bythe professionals at Pack & Send
Your investment in professional careThe time and care you take when selecting your precious piecesshould not be compromised when you need to move them. PACK &SEND uphold the highest standards in customer service andpackaging methods, and possess a wealth of experience in handlingprecious items. PACK & SEND deliver you:
• Dependable and versatile transport options across town, interstate and around the world
• Complete assurance – ‘no compromise’ packaging solutions and protection against loss and damage
• Total convenience – we pick up from you and provide on-site quotes!
• Professional, no obligation advice from a team with a wealth of experience
Superstores... We Send Anything, Anywhere!
304 Oxford Street, BONDI JUNCTION NSW 2022 PH: 02 9386 1644 FAX: 02 9386 1760
PACK & SENDart and antique specialists
Museums, art galleries and antique dealers Australia-wide are finding Pack & Send’s service truly valuable when they ask them to take care of the entire logistical process
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A N T I Q U E S & A R T I N N E W S O U T H W A L E S
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From palaces to small apartments, lovers of
home décor often chose parquetry to
introduce elegance as well as the warmth
and character of timber floors to their homes
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L’AMOURETTE Pty LtdThe 21st century demands both beauty and
functionality, both brought by L’Amouretteand its founder Laurent Ternus. Laurent is agraduate of the prestigious Parisiancabinetmaking school École Boulle, namedafter the famous cabinetmaker Andre-CharlesBoulle (1642-1732), cabinetmaker to LouisXIV. Laurent combines his skills and passionfor both parquetry and marquetry, and createsdesigner parquetry floors.
‘I wanted to forget about traditional floorpatterns and come up with an original design.I wanted to focus on the final affect,’ saysLaurent. He can design a recurring pattern,incorporating more than geometric shapes,with curves and flowing patterns all possible,even a family crest, company logo or a client’sfavourite flower. His Vegetal design, meaningorganic or vine related, is a flowing design,visually softer than a traditional block onblock pattern.
UNIQUE FranceL’Amourette is represented in Brisbane by
Unique France, Brisbane’s French antique andart boutique owned and run by Denis Geoffrayand Gregoire d’Harcourt. Denis hand selectseach piece of their collection in Paris, andGregoire coordinates the shipping to Brisbane.Their boutique gallery is uniquely French.
Surrounded by a breathtaking collection ofmagnificent antique furniture, chandeliers,tapestries and objet d’art, Laurent’s designer
Parquetry timber is a timelessalternative for flooring. This patternedwood inlay is used today to cover floors
in sophisticated homes all over the world.From palaces to small apartments, lovers ofhome décor often chose parquetry tointroduce elegance as well as the warmth andcharacter of timber floors to their homes.
Now a Brisbane-based company can enableyou to have a parquetry floor patternindividually designed and tailored to suit yourown home, décor and style. Using 21stcentury technology combined with centuriesold techniques and craftsmanship, French-born flooring designer Laurent Ternus offers arefreshing and exciting alternative to thetraditional geometric shapes used in parquetryflooring. Introducing the curves and shapesoften associated with marquetry woodwork,Laurent uses his flare for design to bring anew era in designer timber flooring.
Maintaining the French connection,L’Amourette is represented by Unique France –Brisbane’s premier French antique and artboutique. Laurent’s flooring is a true parquetry.
HISTORY of parquetryThe word ‘parquetry’ derives from the
French parqueterie, a geometric mosaic ofsolid wood pieces used for decorative effect.Traditionally, castles and substantial houseswere home to the wealthy and their largeretinue of staff, and often their livestockawaiting their final trips to the kitchens.Floors of stone or marble were cold, hard andrequired constant washing.
As the wealthy embraced new fashions andnew technology became available, timberflooring gained preference. In 1684, largediagonal squares of timber, now known asparquet de Versailles, were first used in theconstruction of the Palace of Versailles andthe Versailles pattern is still popular today. Bythe 18th century, industrialisation meant thatparquetry flooring was more affordable andincreased in popularity and usage.
The essence of parquetry is geometric design,with patterns such as herringbone and square-on-square being still popular and easily recognised.Marquetry, the inlaying of veneer pieces in adecorative pattern or design (used in Italy fordecorating furniture since the 16th century) wasnot durable on floors. However, marquetrycontributed patterns and shapes for parquetry.
parquetry flooring completes the feel of aFrench château in the heart of FortitudeValley, on Brunswick Street. These threeFrenchmen have six years’ association,highlighting their combined talents in Brisbane.
Come to the Unique France showroom totouch and feel several of Laurent’s designs.Unique France supplies Laurent with recycledantique timbers imported directly from Parisfor truly authentic French floors. For designfeatures, Laurent favours using local timberssuch as blackbutt and spotted gum. ‘I love thevisual and emotional contrast of using antiqueFrench timbers with the colours and richnessof some of the Australian timbers. It’s ajoining of my traditional home with my newAustralian home.’
The friendly and truly professional attitudein Unique France makes it a pleasure to visit.The interior design service provides the samecharm and expertise for a large-scale projector for small exotic Franco touches. VisitUnique France for distinctive French historyand artistry with an Australian flavour. We areopen six days, from Monday to Saturdaybetween 9.30 am and 5.30 pm ●
Nicholas Beer for UNIQUE FRANCE07 3254 0404 [email protected]
DESIGNER PARQUETRY FLOORING: A 21st century take on 18th century designs
SURRY HILLSA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Celebrate your love with genuineantique jewellery. An antiqueengagement ring represents longevity
and implies the continuity of love to the newbeginning an engagement represents.
Unlike much of the mass produced andmarketed jewellery widely available, eachvintage and antique engagement ring is trulyone of a kind – just as is your loving partner.Similarly, an antique ring comes as you see it– you cannot customise the design of agenuine antique diamond ring or purchase itin a different colour. The ring may need to bere-sized or adjusted, as often an antique ring isthin from devoted wear.
ANTIQUE or vintage? People usually consider an antique
engagement ring as over 80 years old, a bitless than the purist rule of more than 100years of age for furniture. Vintage refers toitems over 50 years old. There are a numberof eras to select from and the designs arevaried and always interesting, beyond thesimple solitaire diamond ring.
VICTORIAN engagement rings(1837-1901)
Queen Victoria reigned for 64 years, soengagement rings from her long era have arange of designs, always very elegant anddeceptively simple, generally in rose or yellowgold. They often feature diamonds and pearls, butcoloured gemstones also appear. Princess Dichose a sapphire engagement ring which hasnow been handed down to William and hisbride-to-be Kate.
EDWARDIAN engagement rings (1901-1910)
Platinum became the vogue metal forengagement rings with the help of the newoxyacetylene torch (1900) with whichjewellers crafted lacy and pierced shapes,scrollwork and filigree detail on mountings.Jewellers in this period mainly set theirintricate and delicate rings with rose-cutdiamonds and brilliant sapphires.
ART deco engagement rings(1918-1939)
This spectacular design movementgenerated geometric lines, coloured
gemstones and filigree details includingEgyptian, Asian, Native American and Frenchmotifs. Art deco engagement rings are oftencolourful, using sapphires, emeralds andrubies in combination with beautiful oldEuropean-cut diamonds.
RETRO and vintage jewelleryAmongst jewellery from the vintage and
retro era the most requested designs are fromthe 1950-60s, perhaps inspired by a currenttelevision show depicting the party lifestyles ofthe 1960s in New York with stage props of dinnerand cocktail rings, cufflinks and high-prong-setengagement rings. Some represent a revival of artdeco designs, so perhaps the 1950 and 1960soffer a bit of two-for-one in terms of style.
Very fashionable and selling fast are thebig cocktail and dinner rings popular from the1950s to the 1970s – those huge rings of largecoloured stones or big clusters of high qualitystones were designed to inspire conversationover cocktails and dinner. Strap some wrap-around cufflinks around your partner, do yourhair in a bouffant, find retro cocktail glassesand slip back into the (best of) the 1950s.
LOVE is not mass-producedAn engagement ring should be as unique
as the couple and not factory-produced.Antique rings are stylish, elegant, intrinsicallyextraordinary and offer timeless appeal: theyare wearable hand created works of art.Looking forward to the long years of marriageand the future of our planet, eco-friendlyantique rings have a minuscule eco footprintcompared with new rings.
Historically romantic, an antiqueengagement ring represents a new romancewith historical references. In older diamondrings, the four Cs (cut, clarity, colour, caratweight) are often well balanced, and can befound within your budget. Older diamondswere cut to the method of the era, an era whena flaw not seen without magnification was nota flaw at all. These stones are not lessvaluable, but are a more organic product.
At Vintage Times we understand that theabsolute most important thing is that you findand love the perfect engagement ring for youpersonally, and for generations to come. Wecarry a constantly changing variety ofVictorian, Art Nouveau, Art Deco as well asmid-20th century engagement rings, withdelicate details and hand finishes.
Please visit www.vintagetimes.com.au orstop by Vintage Times at the Sydney AntiqueCentre in Surry Hills. We have an extensivejewellery, cufflinks and watch collection with100 years of lasting designs ●
Tammy PalmerVINTAGE TIMESSydney Antique Centre02 9331 [email protected]
ReferencesChristopher Bowne, www.engagement-rings-tips.com Christopher Bowne, www.engagement-rings-tips.com/antique-engagement-rings.html http://hubpages.com/hub/How-to-Buy-a-Vintage-Engagement-Ring
ANTIQUE ENGAGEMENT RINGS for modern romances
Antique & VintageEngagement Rings, WatchesCufflinks & Jewellery
[email protected] ~ www.vintagetimes.com.au ~ 02 9331 1664
531 South Dowling StreetSurry Hills, NSW
Shop online or in our shop:
Vintage Times.com.au
SURRY HILLSA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Art Gilding StudioRestoration and frame conservation
Oil and water gilding servicesOn-site architectural gilding
We come to youFREE STUDIO QUOTES
Art Gilding AcademyHobby Workshops Weekend Classes
Master Classes (fully certified)FREE INFORMATION EVENINGS
For dates, free brochures and friendly advice
Call Brigitte now 02 9310 3007
99-101 Buckingham St, Surry Hills NSW(Entrance in Cleveland Street)
Have you ever wished to have theskills to apply gold and silver leaf toyour furniture, frames, and artwork?
Or embellish your cornices, columns, wallsand ceilings with metal leaf? Work foryourself from home at your own pace? Master gilder Karl Eggert can make yourdream come true – and you need no priorknowledge of gilding.
In the past, this ancient craft with all itssecrets has been passed from father to son.But in 1999, Karl Eggert, together with his
wife Brigitte, founded a unique teachingestablishment to make the wonderful craft of gilding available to anybody who wants to learn in Australia.
Learning in Germany from master gilders inframing, as well as in church restoration, Karlhas a broad knowledge and more than 45 yearsexperience in gilding. And this knowledge andexperience is reflected in his teaching program atthe Art Gilding Academy. Class sizes are kept toa maximum of six students to ensure the bestlearning experience.
Master ClassYou can learn every aspect of gilding in a two-week, fully certified Master Gilding class.
In this professional course, Karl teachesskills similar to those taught in three-yearapprenticeships. Gilding on plaster, timber,glass, metal and paper form part of theprogram. For framers and painters, the coursecan bring immediate benefits to yourbusiness, while many students come from thefields of art, craft and interior design.Students travel from all over the world toattend the Art Gilding Academy, making it atruly international academy.
On completion of the Master Class, theAcademy offers a Lifetime Membership inthe Goldfinger Club, with 20% discount onall gilding tools and materials as well asunlimited advice and support. We are there foryou until you do not need us anymore. Youwill find this truly priceless.
Imagine how peaceful it feels to learn thisexquisite craft, in this beautiful classroomwith a small group of like-minded people.This two-week full time professional gildingcourse has been designed to save you time andcreate an income as well.First date for 2011 – 31 January
Weekend ClassesSydney: Sat/Sun 10 am – 4 pm
Would you like to add skills andmore profits to your business?This class has been especially designed forpeople unable to attend week-day classes andis held once a month.
We know how difficult it is for smallbusiness owners to find time during the week,so our intensive weekend class may suit youperfectly. The classes run from 10 am – 4 pmSaturday and Sunday and participants aretaught, step-by-step, gilding techniques thatare applied to furniture, picture frames andmirrors, cornices and even walls.
Many students have found that gilding addsanother dimension to their business, which theyhave been able to capitalise on by adding a newprofit centre and, moreover, it’s fun!
The weekend class is very reasonably priced at$795. This includes the project – an Egyptianplaque – all tuition and materials. In certaincircumstances this fee could be claimed as a tax deduction.
Those able to benefit by acquiring this skillinclude artists, painters, framers, restorers andFrench polishers; in fact, anyone who wants toadd new skills and a new source of profit totheir business ●First date for 2011 – 15-16 January
For more information call Brigitte on02 9310 3007ART GILDING [email protected]
Brigitte with gilding workshop project
MIDAS TOUCH The Art Gilding AcademyThe only place in the world where you can learn gilding in just 2 weeks
Because of Karl’s unique knowledge andteaching ability, you will learn intensively, butnever feel pressured
Gilded chair backs
Gilded French clock
By invitation only Free information eveningon gildingOnce a month, Art Gilding holds a specialinformation night (from 6 pm to 9 pm) onthe art of gilding. Karl conducts a gildingdemonstration, an informative video isshown and all questions on gilding areanswered. Food with gold leaf is served andeven the wine contains floating 24 carat gold.Gold and silver have been used for centuriesto embellish food and we assure you it isabsolutely safe to eat and drink.
Best of all, the evening is absolutely free.These very popular evenings are strictlyinvitation only, so please call Brigitte on 02 9310 3007 for dates and bookings. First date for 2011 – 18 January
New homes neededfor well-loved piecesWe no longer have the room for the following items in our new Surry Hill premises.
• French 18th century tapestry cartoonof figures in a landscape, 213 x 244 cm, $12000
• Set of 3 matching French basket gilded chandeliers, $900 each or $2500 for the set
• Ornate French wrought iron day bed,restored, gilded and reupholstered, $1500
Free delivery in the Sydney metropolitan area. Photos on www.artgilding.com.au or callBrigitte on 02 9310 3007 for more information.
Hobby workshopA DISCOVER GILDING WORKSHOP($200), held on a Saturday, is the perfect answerfor anybody who wants to learn gilding as a hobby.
In just four hours you can learn, step-by-step,how to apply gold size, Dutch metal leaf (fauxgold), seal your project with several coats ofshellac to make it durable, and then age theplaque to your taste. You will be very proud ofyour masterpiece and you can be assured thatyour family and friends will be impressed! Oncompletion of the gilding workshop, moststudents cannot wait to start gilding objectsaround their home. First date for 2011 – 29 January
SURRY HILLSA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Vampt is dedicated to being home toSydney’s most substantial collection ofauthentic mid-century furniture. In
turn we are committing to eliminating theneed to settle for inferior replicas of iconicdesigns. We deal only in original authenticcollectable designs sourced by our team fromall over the world.
EXPANDING north Vampt Vintage Design’s 350 square metre
warehouse showroom at 224 Harbord RoadBrookvale is an interactive space giving us thefacilities for an upholstery and lightrestoration service. These in-house servicesadd another dimension to our philosophy ofproviding comprehensive client care throughthe customisation of your chosen pieces.
Clients wishing to reupholster can select froman extensive fabric range. Included will beFlorence Broadhurst and Signature Prints, acomplete range from JR Weave, high qualityleathers and many other popular designs. Thefabrics we offer are chosen specifically to be
sympathetic to mid-century pieces, complimentingthe integrity of the original design.
VINTAGE classics Our main showroom in Elizabeth Street
Surry Hills is for the iconic design enthusiast, housing our most impressive and comprehensive collection of authenticvintage classics. Our sale store, a true find for the bargain hunter, is located conveniently on nearby Cleveland Street. It is filled with treasures in original condition at heavily reduced prices, presenting the perfect opportunity to refurbishto your specifications.
FROM DENMARK to Australia Our containers imported into Australia hold
remarkable collections of pieces sourced byVampt from Denmark and Scandinavia. Wesee the importing of these authentic iconicdesigns as a significant contribution toAustralia’s assets, whilst also reducing theimpact on the environment. By investing inand acquiring iconic mid-century design we are recognising the value of the antiques of tomorrow ●
VAMPT VINTAGE DESIGN 02 9699 1089 www.vamptvintagedesign.com
At Vampt Vintage Design FURNISH YOURHOME AND ESTABLISH A COLLECTION
NEW STORE OPEN
www.vamptvintagedesign.com
NEW WAREHOUSE224 Harbord Rd
Brookvale NSW 2100p +61 2 9905 8111
MAIN SHOWROOM488 Elizabeth St
Surry Hills NSW 2010p +61 2 9699 1089 f +61 2 9699 1856
SALE STORE268 Cleveland St
Surry Hills NSW 2010p +61 2 9698 4509
Pair easy chairs designed by Hans Wegner for Getama, model GE375 with oak frame and originalleather cushions
Space Age sofa and armchair dating to c.1960s, designed by Hans Erik Johansson, made byWestbergs Mobler (Sweden)
Danish floor lamp dated to 1950s, teak standtopped with pleated fabric shade
Danish garden setting, teak slats set in a painted tubular frames Pair 1950s Danish armchairs featuring teak arms, with original wool fabric upholstery
Leather suitcases and trunks covered intravel stickers, once used to ship people’sbelongings from over the seas, now can storebooks or photo albums, blankets, toys, teddybears or dolls. Leave the lid open to displayyour collection.
IDEAS are endlessSelect an industrial painter’s ladder of timberor metal, to provide a sturdy towel rail in thebathroom. Stack in orderly piles on each stepyour magazines, books, bills andcorrespondence.
First aid cabinets from factories with classicfrosted glass and a large red cross on the frontlook fantastic on a bathroom wall. Theyobviously hold and organise many little bitsand pieces, and now you will be able to findwhat is hidden in your bathroom drawers.
Old timber filing units and index cardfilers, in-out trays, small metal parts bins,globate school cases and small timber cratesmake organising your paper work easier andeven fun. From bills and bank statements,catalogues and correspondence, you soon willbe able to file, locate and deal with the paperwork that could too easily be forgotten.
Children’s rooms are never-ending storageand organisation challenges: toys, shoes,clothes, blocks, dolls, pencils and colouringbooks always seem to live on the floor. Oldtool trunks and vintage suitcases look funky,are indestructible and can be stacked tomaximise storage needs. Industrial lockers inorange, red or blue will turn any bedroom intoa modern kool kid’s space.
Make a New Year resolution to take actionon organising your storage! Use your holidaybreak to start getting organised, with optionsand possibilities endless at our warehouse.
Good house keeping and great storage startat Doug Up On Bourke ●
DOUG UP ON BOURKE02 9690 [email protected]
WATERLOOA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Storage is a real problem for most ofus, as so much stuff seems toaccumulate! Good storage means
looking for different ways to increase andexpand the space you have.
Use something different and have effectivestorage. Forget the expensive designer optionsand take a trip to Doug Up On Bourke as wehave all your storage needs covered.
EFFICIENT and unusual storageMake the most of your blank wall space by putting up shelving or attaching a rustictimber and iron hat and coat rack. Suitcases make a great shelf: just remove thelid and fix it to the wall. Iron hooks andindustrial patterns look great on walls and arevery functional.
Portable trolleys in any room provideflexible space saving storage. Old hospitaltrolleys and workbenches on casters bring aroom to life, their use determined by what isneeded to be stored. Able to hold pots, pans,books, shoes, clothes, wine and even towelsthey become a decorative feature. Think aboutacquiring a portable trolley for the kitchen,freeing up the bench means more space onwhich to work.
Pigeonhole units are great bookcases as aretimber and iron industrial shoe racks, allfitting much more than a standard timberbook shelf. A real advantage of a wall-mounted pigeonhole unit is that it leaves you more floor space.
STORAGE need not be boringLet your imagination run wild at Doug Up OnBourke with its warehouse full of options.
Crates have many purposes beyond theiroriginal function. Stackable drink crates,timber packing crates, old fruit crates andeven wire milk carry trays can store items thatnever really have a home. Crates are practicalas well as very eye catching and bring colourto your space. Crates look great as bedsidetables. They are a cheap and fun way to bringa little bit of history into your home.
AT DOUG UP ONBOURKE find a placefor everything and puteverything in place
901 Bourke StreetWaterloo NSW 2017
02 9690 0962web: www.douguponbourke.com.au
email: [email protected]
TUESDAY TO FRIDAY 10 AM - 5 PM, SATURDAY 10 AM - 5 PMCLOSED SUNDAY, MONDAY & PUBLIC HOLIDAYS
ALEXANDRIAA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Mitchell Road Antique andDesign Gallery celebrated itsfourth birthday in November. This is
a favourite haunt for collectors, stylists,designers and anyone seeking something a bitdifferent for their personal environment.
The gallery is the floor above the auctionrooms on the corner of Mitchell Road andFountain Street in Alexandria. It offers a vastchoice of furniture and collectables, from pre-Victorian through the 20th century design styleswhich includes Art Deco, vintage and retro.
Original designed pieces created fromsurviving parts of machinery and tools fromyesteryear sit beside ancient pieces from theOrient and the Pacific region. Items fromEurope jostle with those from the Americas andAfrica as well as artefacts and pottery fromAustralia. A visit is like stepping back into thepast – allow plenty of time for browsing.
Lynn and her friendly staff are always onhand with help and advice, and you canfrequently meet the dealers replenishing theirspaces with newly discovered treasures. Hometo an ever-increasing number of dealers,explore the close to 70 stands that representthe diverse range of nationalities and passions,creating a welcome diversity in the gallery.
DEALER PROFILESLiz Summerell is an absolute greenie, a
childhood spent helping her parents cultivatefruit and vegetables – no wonder Liz went toagricultural college. As a teenager she lovedto wear her mother’s clothes from the 1940sand began to collect vintage clothing, whileshe acquired an affinity for Australian potteryfrom her father who worked at Fowler Ware.
Deciding that she preferred the world ofvintage and collectables to being an agriculturaltechnical officer she spent eight years developingher knowledge and trading in vintage at marketsand fairs, eventually joining the Mitchell RoadAntique and Design Gallery. Liz’s drive comesfrom a passion for the planet as well as a deepappreciation of the artistry, artisanship andattention to detail in lovingly handcrafted objects.
The vintage artefacts she stocks includefurniture, kitchenalia, fabrics, ceramics andjust about anything that is coloured green. Her great joy is to see people mix and matchitems from different eras to create a personalstyle, simultaneously recycling old objectsinto still useful items. As the world runs outof resources we need more people like Liz Summerell.
Pauline Randall grew up in England whereshe developed a love of antiques and artefactsfrom forays to country fairs and city markets.Her grandfather was a master cooper andsamples of his work are among her mosttreasured possessions. Pauline was a teenentertainer, singing with bands, and while shetrained as a secretary, she joined theTerritorial Army (Reserves) as a trainee driveras she could not afford driving lessons. Aftertwo years’ driving 5-ton army trucks, shegained her license.
After moving to Australia with her husbandand two children, Pauline and a friend openeda second-hand furniture shop, whichspecialised in scrubbed furniture. When thebusiness closed she became manager of theMay Gibb museum, then went on to work foran auctioneer, and gained a university degree.
Pauline’s joie de vivre is in everything sheundertakes. Her appreciation for items madeby artisans continues to grow as does the lovefor the elements with which they worked. Sheconsiders the opportunity to handle somethingcreated with care by a master of a craft to be a
rare privilege, and she enjoys sharing thisenthusiasm with other dealers and customers.
While in the USA, she began collectingflow blue china, a love that endures to today.Her boutique space offers the excess of hercollection, along with a mixture of the antiqueand the bizarre. Her backyard paraphernaliadelights every would-be bushie, and it is all recycled.
The Mitchell Road Antique and DesignGallery is open seven days a week, from 10 amto 5 pm. Note that the gallery closes only onChristmas day and New Year’s day and is openall public holidays ●
MITCHELL ROAD ANTIQUE AND DESIGN GALLERY02 9698 [email protected]
A PASSION FOR THE PLANET at Mitchell Road Antique & Design Gallery
THE MITCHELL ROAD ANTIQUE & DESIGN GALLERY
Antiques, 20th century designs, industrial and architectural heritage, toys and dolls, rustic farmhouse furniture, jewellery. A new industrial space in the inner west for lovers of design and curiosities.
Above Mitchell Road Auction Centre, 76 Mitchell Road, Alexandria NSW 2015 I Open 7 days 10 am - 5 pm
I P: 02 9698 0907 I E: [email protected] I www.mitchellroadauctions.com
Liz Summerell Pauline Randall
RANDWICKA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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F A R M H O U S EA N T I Q U E S R E S T O R A T I O N S
IMPORTERS & RESTORERS OF ENGLISH, WELSH & CONTINENTAL ANTIQUE PINE & COUNTRY FURNITURE FOR 25 YEARS
Wednesday to Sunday 11 am to 5.30 pm or anytime on a phone call
51 Perouse Road, Randwick NSW 2031 • 02 9399 8924 • 0415 075 772moving to
358 Botany Road Alexandria NSW in February 2011www.farmhouseantiquepine.com.au
In the late 1980s, I had the delightfulexperience of expanding my knowledge ofSydney-based jeweller Rhoda Wager from a
customer. Visiting from Adelaide, the clientwho collected Wager jewellery was delightedin being able to share her knowledge; it was avery rewarding experience.
Between 1921 and 1946, Wager made12,000 pieces of jewellery, all meticulouslyrecorded in her sketchbooks. She would
become the best known of the craft jewellersin Australia.
Rhoda Wager was born in 1875 at Mile EndOld Town in London, and raised in Bristol.She studied at the Art School in Bristolfollowed by the School of Art in Glasgow,Scotland from 1897 until 1903.
At the age of 28, she taught drawing as wellas exhibiting her work with the Glasgow Societyof Lady Artists’ Club. Rhoda taught art at St
Mary’s Girls’ School in Bristol and spent herholidays making jewellery under BernardCuzner, an established jeweller who worked withLiberty and Co on the company’s Cymricjewellery range. Cuzner’s arts and crafts stylemade a huge impact on Wager’s work.
In 1913, Rhoda Wager travelled to Fijiaccompanying her brother who was to manage asugar plantation. On her port layover in Sydney,she joined the Arts and Crafts Society of NSW.
Later she would join the Victorian and theQueensland Societies. Wager set up a gardenworkshop while living in Fiji, making jewellerywhile her niece Dorothy Wager watched onenthusiastically. She sent jewellery to the Arts andCrafts Society of NSW Exhibition in 1914, whereher work was admired.
Wager moved to Sydney in 1918. Initially shewas based in a studio and retail premises in Rowe
RANDWICK / CLOVELLY / BOTANYA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Eastern Suburbs Antique Restorations Pty Ltd
Traditional French polishing and all furniture repairsSpecialising in all upholstery and a wide range of discounted fabrics1603 Botany Road, Botany NSW 2019t: 02 9316 4445 m: 0416 048 222
ANGELA & CHRIS LISTER
Specialising in:Re-seating of chairsin cane, Danish cordand Restoration ofSeagrass furniture
02 9516 2851
www.foxantiques.com.au
AMANDAADDAMSAUCTIONS
40 years’ experience in all antiques and contentsPrivate entries, collections and estateentries are invited for our future auctions
AMANDA ADDAMS AUCTIONS
03 9850 1553DAVID FREEMAN - 0419 578 184
AMANDA FREEMAN - 0419 361 753194 Bulleen Rd, Bulleen, Vic 3105
Visit our website:www.aaauctions.com.au
Member Auctioneers & Valuers Association of Australia
Page of designs from jewellerysketchbook, 1931
Jewellery by Rhoda Wager
RHODA WAGER (1875-1953)Jewellery designer and manufacturer in the Arts and Crafts style
Advertisement for Rhoda Wager jewellery, c. 1920s
continued on page 84
THE LEATHER TOP DESK COMPANY
est. 1993
Traditional Gold Leaf Embossed• Leather Inlays for Desks• Leather Desk Mats• Complete Desk Restorations
Antique and Modern FinishesQuality Imported Leather
Large Range of Patterns and StampsRegular Pick-up and Delivery Sydney Metro Area
Mail Order Australia-wide4a Illoura Place Ph: 02 4234 1988Gerringong Fax: 02 4234 1994NSW 2534 Mob: 0429 994 664
Antiques & Art onlineWant to find out what is happening in the other states?
Access the other free Antiques & Art publications at
www.worldaa.com
ST PETERSA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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PERSIAN, ORIENTAL, KILIMS& ALL KINDS OF RUGS
CLEANED, WASHED AND REPAIRED
The spinning cabinet is specifically built to extract dirt and dust particles from rugs andkilims in preparation for a good wash. The rugs are placed in the cabinet in a mannerthat assures maximum cleaning. The cabinet spins swiftly in a clockwise direction andagitates the rug fibres to open slightly, allowing all foreign particles to fall off. Thisaction allows the rug to regain its original softness, brings out more of the shine andincreases the life of the rug.
We specialise in■ Conservation ■ Cleaning■ Restoration ■ Hand Washing■ Odour Removal ■ Stain Removal■ Handmade ■ Repairing■ Rugs and Kilims ■ Antiques
All Jobs are Guaranteed
Removes dust & beautifies the rugwhile helping to increase its life!
FREE PICK UP & DELIVERYALL SUBURBS
The healthiest way to rejuvenate your rugs and kilims!
The Rug Experts
409 Princes Hwy St Peters
1300 166 266or 02 9557 8677
www.rugexpert.com.au
BOTANYA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Pack & Send Botany is open sevendays a week, Monday to Friday 8.30 am to 5.30 pm, Saturday andSunday by appointment. The team atPack & Send looks forward to theopportunity to offer their services insolving any packaging or freightproblems you might have.
PACKAGING....TO US IT’S AN ART FORM!PACK & SEND maintain the highest standards in customer service,packing materials and techniques that ensure your precious pieces arenot compromised when being moved. Our trained staff canprofessionally pack any item no matter how fragile, awkward orvaluable and then have it delivered anywhere!
PACK & SEND Botany offer:• Dependable and versatile
transport across town, interstate and internationally
• ‘No compromise’ packaging and loss/damage cover
• Total convenience including pick-up and on-site quotes!
• No obligation professional advice from our experienced team
• Tailor-made crates, cases and cartons at our site
456 BUNNERONG RD, MATRAVILLE NSW 2063PH: 02 9661 1144 FAX: 02 9661 1133
Email: [email protected]/botany
PACK & SENDnow open at Botany
Art and antique dealers, galleriesand museums are now realising thatusing Pack & Send for their logistics
is a means of providing a superior level ofservice to their customers and actually savesthem time and money.
At Pack & Send we specialise intransporting art and antiques, which meansthat we stock an extensive range of packingsupplies – including bubble wrap, acid-freefilms and tailor-made boxes made ofcardboard, pine or plywood – for both shopsand individuals who choose to do their own packing.
Museums, art galleries and antique dealersAustralia-wide are finding our service trulyvaluable and asking us to take care of theentire logistical process – from pick-up topackaging to insurance, paperwork, freightingand safe door-to-door delivery. No othercompany in Australia does this.
By letting us take care of all the details,curators and collectors are free to concentrateon their core business. At Pack & Send wewill personally manage the entire job and evencomputer-track the item en route until itarrives safely and in pristine condition at its destination.
PROFESSIONAL packing servicePack & Send is the only packaging and freightcompany that has access to Instapak Foam-in-Place technology, a system using soft foamthat expands when two chemicals arecombined in contact with air. Foam-in-Placemoulds itself to fit the precise shape of theitem being packed and this product possesses adensity that aids in the prevention of damagefrom impact, vibration or from being dropped.
Instapak Foam-in-Place enables glassware,paintings and various antiques to be sentthrough the freight system withoutcompromising the safety of the item. Not only that, Foam-in-Place is highly cost-efficient and readily disposed of withoutharming the environment.
We are the only freight company that willsend as well as pack antiques and art for you.When you consider the price of packing theitem yourself on top of another company’sfreight charges, Pack & Send’s price – as wellas its hassle-free, one-stop shoppingconvenience and total service solutions –makes it a very attractive option.
PEACE of mindWith our specialist knowledge and ourexperience in the packing and freighting offragile, large, awkward and valuable items, weare able to insure even the most fragile art orantique item. Insurance against loss and ordamage is available through all Pack & Sendstores, giving you peace of mind when sendingvaluable items and one-off pieces.
NO JOB too big or too smallWhen you call Pack & Send, regardless ofwhether the job is large or small, we canprofessionally pack it and co-ordinate itsdelivery to anywhere in the world. Anythingfrom an envelope, archaeological artefacts, tolarge oversize paintings and 100-year-oldantique chandeliers, Pack & Send have theexpertise to transport it safely ●
PACK & SEND02 9661 1144www.packsend.com.au/botany
At Pack & Send we willpersonally manage theentire job and evencomputer-track the itemen route until it arrivessafely and in pristinecondition at itsdestination
“
”
How can an Australian goldsovereign bear the year 1853, pre-dating its official year of issue by two
years? Such a coin does exist and is nowvalued at $950,000.
Were Australians really using square coinsin 1920? A 1920 square halfpenny sold atauction in July 2007 for $382,000, yet officialmint records indicate that square coins werenever released into circulation in Australia.
Who has heard of an Australian shilling thatwas gold? King Farouk of Egypt had one!
MYSTERIES solvedThe 1853 gold sovereign, the 1920 square
halfpenny and the 1855 gold sixpence are allAustralian ‘pattern’ coins. The term pattern
reflects their status as trial coins, struck forconsideration as potential circulating pieces totest a new design, shape and/or metal. Patterncoins never made it beyond the test stage andfor various reasons they were never issued ascoinage and thus never went into circulation.
Pattern coins are exceedingly rare and veryprestigious. In the main, the reasons they never madeit beyond the test stage were tied to great events orcatastrophes. By their very nature, pattern coins chartthe course of economic, political and social changeand are an integral part of Australia’s history.
1853 SOVEREIGN and half-sovereign
Among Australia’s earliest patterns are the1853 sovereign and half-sovereign. They were
produced as part of planning for the strikingof colonial Australia’s first sovereign and halfsovereign at the Sydney Mint in 1855. Threepairs were struck, of which two are inmuseums in England and Wales. Only thethird pair is available to collectors, sold in1992 for $141,000 and now valued at over onemillion dollars.
1920 SQUARE kookaburrahalfpenny and penny
The 1920 square halfpenny is 14 mm inwidth and features a scrawny kookaburra, thefirst of two square halfpennies tested at theMelbourne Mint. The second produced in1921 featured a plumper kookaburra. Thesetwo halfpenny designs and 11 versions of thesquare penny were trialled at the MelbourneMint between 1919 and 1921. It was part ofthe Federal Government’s plan for changeafter WWI, introducing a new square coinagethat featured Australia’s native bird.
Less than 200 coins were struck during thethree-year test period, passed to officials andbusinesses to ascertain reactions. The ideagradually began to lose favour as thecommunity showed resistance to change, anda new federal government dropped the squarecoin scheme. The kookaburra pattern coinshave an impressive financial growth, as a1919 square penny bought for $86,000 inApril 2008 had exceeded $10,000 for the firsttime just a decade earlier.
1853 KANGAROO gold pattern coins
The kangaroo patterns struck in gold by19th century British entrepreneur W J Taylorrepresent a brief and fascinating piece ofcolonial Australian history. In the 1850s,Taylor established a private mint known as theKangaroo Office in Melbourne to strike goldcoins of 2, 1, 1/2 and 1/4 ounces. He alsoprepared dies for a gold shilling and sixpence,striking a small number of coins todemonstrate his operations and to elicit fundsfrom potential investors.
His aim was to buy gold at low goldfieldprices and resell it at full value as a currency.The operation was plagued with difficulties,as although his equipment arrived on scheduleat Hobson Bay on 23 October 1853, thecoining press was so heavy that no assistancewas available to transport it from the wharf tothe mint. It took six months for the press to bedismantled, moved and re-assembled into workingorder at the mint in 1854. By the time everythingwas operational, gold prices had increasedmarkedly, making the venture unprofitable.
Australia’s kangaroo gold patterns areglobal rarities, formerly held by notable
collectors such as Baron Rothschild. KingFarouk’s specimen was sold in Cairo in 1954,selling at an Australian auction in 1989 for$17,500 on a pre-auction estimate of $12,500 andmost recently sold in 2009 for nearly $304,000.
1920 FLORINWhile you may find a 1919 or 1921 florin,
as more than one million of each were struck bythe Melbourne Mint, in 1920 only seven florinswere produced, of which four are in museums andthree with private collectors. What happened in1920 that created this florin gap?
In 1920 silver prices were fluctuatingwildly, creating worldwide financialuncertainty so the Australian Governmentreviewed its policy of striking coins in sterlingsilver and decided to issue coins with areduced silver content – these seven 1920florins were struck as part of this testprogram. The 1920 pattern florin is Australia’smost important and valuable silver coin. Onespecimen fetched $18,800 in 1988 and$201,000 in 2005. Today it is valued at over $500,000.
1937 CROWNMany Australians have seen the over-sized
1937 crown, but it was the only Australiancoin issued that year. Planned to coincide withthe coronation of King Edward VIII,Australia’s radical new designs reached thetest stage with the striking of a handful of‘1937’ pennies, florins, shillings andthreepences at the Royal Mint London – butno sixpence or halfpenny.
Production came to an abrupt halt on 11December 1936 when Edward abdicated thethrone to marry American Mrs WallisSimpson. The coins were preserved but theportrait of Edward VIII was removed bymachine tooling, making them Australia’s onlysingle-sided coins. These 1937 patterns areamongst our most collectable coins, valuedwell in excess of $200,000.
AUSTRALIAN pattern coinsAustralia’s pattern coins have broad appeal
and are desirable to both the collector and theinvestor for many reasons. They are afinancial prize for many reasons as they are
• Historically poignant• Prestigious• Extremely limited in numbers• Supreme in quality ●
COINWORKS03 9642 [email protected]
AUSTRALIA’S MYSTERY COINS: Square halfpennies, gold sixpences and shillings
1937 pattern florin, struck by Royal Mint, London. Portrait of Edward VIII tooled off following hisabdication from the throne on 11 December 1936
Taylor gold sixpence, c. 1855, struck at Kangaroo Office, Melbourne
A N T I Q U E S & A R T I N N E W S O U T H W A L E S
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ROCKDALEA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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CITYA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Queenslander Henry Dalziel wasborn on 18 February 1893 at aminer’s camp at Ragged Creek near
Irvinebank in far north Queensland. Hisfather, James was a miner and his mother wasEliza Maggie (née McMillan) Dalziel. Henryand his brother Victor are credited withdiscovering tin, leading to the opening of theBoulder Mine near Emuford, 110 kmsouthwest of Cairns.
He joined the Queensland GovernmentRailways as an apprentice fireman. After theoutbreak of WWI, Henry enlisted in January1915, joining the AIF 15th Battalion – 1 to 23
Reinforcements. They embarked fromBrisbane and joined the unit at Gallipoli.Henry fought in the Battle of Sari Bair inAugust but became sick with enteric fever.The Gallipoli campaign was finished when herecovered, so the unit continued training inEgypt until May 1916.
The unit sailed for France as part of the 4thInfantry Brigade of the new 4th Division AIF,fighting at Pozières, Mouquet Farm and Flers.In 1917, Henry’s division fought atGueudecourt, Agincourt, Bullecourt, Messinesand Polygon Wood where Henry waswounded. In May 1918, the 4th Division had
been joined by other Australian divisions,forming the Australian Corps and on 7 June,Henry resumed duty, first as a driver then as agunner. In July, American forces werestationed alongside the Australians, with theirfirst joint battle at Hamel.
MILITARY actionOn 4 July 1918, at Hamel Wood east of
Corbie, when heavy artillery fire provedineffective and tanks failed to arrive, it fell tothe infantry to capture a position but manywere wounded. The Lewis gunners, includingHenry, were directed to fire from the hip tokeep the enemy machine gunners down, andwhen they rushed forward, they were held upby yet another machine gun.
Henry gave his Lewis gun to his mate anddrawing two revolvers, which he woreunofficially, he single-handedly charged downthe enemy position. His courageous dash anddaring saved many lives and turned whatcould have been a stalling of his unit’sadvance into a magnificent success. For thisaction he was awarded the Commonwealth’shighest award for gallantry the Victoria Cross.
Because of a severely wounded hand, Henrywas ordered to the rear, but he continuedfighting until Pear Trench was taken.Although ordered to seek medical aid, heinstead began retrieving boxes of ammunitiondropped by parachute onto open ground thatwas virtually inaccessible due to enemy fire.Ignoring bullets, he started to bring inammunition cases, one at a time. Unfortunately,as he attempted to retrieve a case, he was shotin the head – it seemed that his death wasinevitable. Henry’s fighting spirit showedthrough, as after skilful surgery in France andhospitalisation in England, he recovered.
INVESTITURE of Victoria CrossOn 13 December 1918, Henry was taken to
Buckingham Palace where King George Vinvested him with the Victoria Cross. Finallydeclared fit to return to Australia in January1919, Henry received a hero’s welcome atevery train station from Townsville toAtherton as he travelled home to far northQueensland. As a result of his wounds, Henrywas unable to return to his job as a locomotivefireman so he found work in other occupations.
LIFE post warIn Brisbane he met Ida Maude Ramsay, a
Brisbane nurse who had served with the 17thAustralian General Hospital and on 8 April1920, they married. A short time later Henryenlisted again, but after serving for 29 days,he was discharged at his own request. Initially,
Henry and Ida took up a soldier settlementblock, however small mixed farming was notsuitable for Henry. He travelled to find work,such as a telegraph linesman and officecleaner. By the early 1930s, Henry wasseparated from Ida; in Brisbane he joined the9th/15th Battalion as a member of the CitizenForces or Militia, a precursor of the 1948Citizen Military Forces.
In 1933 he became the first VC recipient tobe a member of the Guard of Honour for theKing’s Colour escort at the opening of theQueensland Parliament. For many years Henrywas the flag bearer for the 15th Battalion inthe Anzac Day march. In 1935, Henry marriedElsie Kanowski who was also a nurse. In 1938he travelled to Sydney where he marched witha group of Boer War and WWI VC recipients.
Henry was a prolific songwriter and one ofhis favourite songs, A Song of the Tableland,was released in the UK and USA. He alsoworked in pottery, painted and wrote poetry.
When WWII started, he enlisted at Brisbanein 1940, speaking at recruitment drives andfund raising appeals, and visiting trainingcamps to speak with troops. He wasdischarged in 1943 as Sergeant. He travelledto England in 1956 for the Victoria CrossCentenary Celebrations and at Hamel inFrance laid a wreath at the Cenotaph on 4 July 1956.
Henry Dalziel VC died aged 72 years on 24 July 1965 following a stroke. High-rankingclergy and military officials conducted thefuneral service, and six pallbearers from the6th Battalion of the Royal AustralianRegiment carried his coffin to a gun carriage.His Victoria Cross group of six medals werecarried behind the gun carriage that passedthe Shrine of Remembrance.
HENRY Dalziel’s medals Victoria Cross, 1914/15 Star, British War
Medal, Victory Medal, War Medal 1939/45,Australian Service Medal, King George VICoronation Medal, Queen Elizabeth IICoronation Medal ●
NOBLE NUMISMATICS02 9223 4578www.noble.com.au
AcknowledgementsArticle contributed by Harry WilleyTony Derksen, Director of the Loudoun HouseMuseum, Irvinebank QueenslandMichael Duffy, site editor www.firstworldwar.comParliament of Australia Parliamentary Library,www.aph.gov.au/Library/VC/Dalziel
Contact our Sydney offi ce (02) 9223 4578
or our Melbourne offi ce (03) 9600 0244
for a free, confi dential valuation.
www.noble.com.au
ground fl oor 169 macquarie street sydney [email protected] 7 / 350 collins street melbourne [email protected]
Consignments wanted
With three major numismatic auctions, be a part of our success in 2011.
NOBLEN U M I S M A T I C S P T Y L T D
For conspicuous bravery and devotion to duty HENRY ‘HARRY’ DALZIEL VC (1893-1965)
CITYA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Dealer in Vintage TimepiecesCONSTANT INTEREST IN BUYING ALL KINDS OF ROLEX WATCHES
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Reminiscent of the French jewellery salons of the 19thcentury and located in the historic Strand Arcade, Victoria &Albert Antiques is a treasure trove filled with interesting andunusual antique, vintage and quality reproduction pieces.
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Victoria & Albert AntiquesShop 17, The Strand Arcade, 412 - 414 George St, Sydney NSW 2000
Ph: 02 9221 7198 Fax: 02 9221 7214Monday - Friday 9.30 am–5.30 pm Thursday 9.30 am–7 pm
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Shop 27 Nurses Walk, The Rocks(enter through Surgeon’s Court off George St, opposite Museum of Contemporary Art)
Ph: 02 9252 2855 Email: [email protected] 7 DAYS 10am - 5.30pm
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Antique, vintage and selected new buttons
Shop 25 Nurses Walk, The Rocks(enter through Surgeon’s Court off George St, opposite Museum of Contemporary Art)
Ph: 02 9252 0833Email: [email protected]
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ANTIQUE JEWELLERYgold, silver, amber, jet, tortoiseshell & quality
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CITYA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Ibegan collecting stamps at the age of fiveand acquired my first ‘old letter’ at the age of14. A fascination with the early history of
Australia led to the beginnings of my collectionof New South Wales postal history in 1985.
Prior to 1850, envelopes were rarely used:letters were written on sheets of paper and foldedand sealed with wax for posting. Missives fromearly settlers containing personal observationsprovide exciting insights into the circumstancesand regular hardships of early colonial life.
HISTORICAL aspectsThe first permanent settlement in Australia
was at Sydney Cove where Governor ArthurPhillip removed his squadron (the inaccuratelynamed First ‘Fleet’) from Botany Bay in January1788. New South Wales’ jurisdiction originallyextended over the eastern half of the continent asfar west as longitude 129°, the current border ofWestern Australia!
My collection traces the development ofpostal services in the colony of New SouthWales from first settlement, through theestablishment of the first official post office in1810 up until the 1849 Postal Act that heraldedthe issue of the colony’s first postage stamps(the famous Sydney Views) in 1850. Theappointment on 25 April 1809 of the paroledconvict Isaac Nichols as Assistant Naval Officer– with the task of taking charge of mail arrivingin the colony – is generally regarded as the birthof the post office in Australia.
Until the establishment of the Post OfficeDepartment in 1828, internal postal servicesbeyond Sydney were very limited. Before 1828postal markings were used only at Sydney and atthree settlements in Van Diemen’s Land. From1828, each country post office was issued withan undated postal mark. Many of these markingsare exceedingly rare and some are unique. Theprincipal reason for this situation was the verysmall literate populace. In 1828, the non-Aboriginal population numbered 36,000 and aslate as 1846 it had grown to only 189,000.
My collection brings to life all the majorpostal history events of the period. It alsoincludes items from the major regions that laterbecame separate colonies: Van Diemen’s Land(until 1825), New Zealand (until 1841), PortPhillip District – later Victoria (until 1851), andthe Moreton Bay District – later Queensland(until 1859). Internal mail, particularly betweencountry towns, has not survived in any quantity.Soldiers’ letters are few in number, and mailwritten by convicts is very rare, probably becausemuch of it was destroyed by descendants in orderto hide their colourful genealogy!
SIGNIFICANCEIn the context of Australian postal history,
there are few subjects that come close to thesignificance of mail from our earliest settlers.One of the highlights of my collection is an 1801letter from Sydney that may be the earliestsurviving privately-held Australian letter with
postal markings. There are also letters from thefirst overseas mails organised by the post office:from Sydney in 1810 and from Hobart Town in1815. As well, there are holograph letters signedby Governor Lachlan Macquarie, the eminentexplorer Sir Thomas Mitchell, and men whoarrived on the First Fleet.
As far as condition goes, perfection is generallyunattainable in this field. As a consequence ofbeing stored for 150 to 200 plus years in oftenless than ideal conditions, most letters of theperiod have some faults, such as splitting alongthe folds and soiling of varying degrees.
COLLECTION HIGHLIGHTSLetter written by Mary AnnMcCarty 1813
This letter was sent from Hobart Town toLondon via Sydney and bears the earliestrecorded strike (by three years) of Australia’s firstpostal marking. The ‘SYDNEY/NEW SOUTHWALES’ undated handstamp was introduced bySydney’s first postmaster, Isaac Nichols. Only sixexamples are known in private hands. Nicholscharged three pence postage to the sender but therecipient had to pay an inwards ship letter fee ofone shilling, which is indicated by the scribble tothe left of the Sydney handstamp.
Regarded as one of the most important itemsin all of Australian philately, the letter waswritten by Mary Ann McCarty (néeWainwright) who was born 14 January 1795 onNorfolk Island, the daughter of the First FleeterHester Wainwright.
From the age of 14, she appears to have beenthe mistress of William I’Anson (that’s a capital‘i’, not a lower-case ‘L’), having had a daughterwith him. After I’Anson’s death in November1811, and aged just 16, she married the Irishrebel Denis McCarty in the following month.
In the letter, she writes of her regret thatWilliam’s best friend Matthew Bowden had notbeen given his power of attorney becauseI’Anson’s estate had been seized, no executorhaving been named. William I’Anson had arrivedat Hobart with David Collins’ establishmentparty in 1803. He was the senior surgeon,Matthew Bowden his assistant. Denis McCartyhad been transported to Sydney in 1800, andthree years later was sent to Van Diemen’s Landfor disobedience.
This exceptional artefact was previously in thecollection formed by my friend Brian Peace, whohails from England. When Brian sold hismaterial through Prestige Philately in July 2009,I decided that this was one item I simply had toacquire. Even though the reserve price of$38,000 plus 15% buyer’s commission causedme to wince, I consider it to have been a bargain.
OFFICIAL letter to London 1823Three Tasmanian post offices to which
undated handstamps were allocated in 1828 werethe capital Hobart Town, and the northernsettlements of Launceston and George Town.
An 1823 official letter to London isremarkable for being struck with both the‘LAUNCESTON’ handstamp and the similar‘HOBART/TOWN’ marking. In this case, thepostage paid from Launceston was eight pencebut, because of the weight, the addressee wascharged the then princely sum of five shillings onarrival. The transit time was almost nine months,which was quite fast in an era when deliverytimes in excess of a year were commonplace.
Many philatelists lack appreciation for earlymail because it does not bear postage stamps.However, even in the absence of stamps, some ofthe early items are extremely attractive. One ofthe most eye-catching items in my collection isan 1839 letter to Batavia, in the Dutch EastIndies. Carried by Mellish – as marked at thelower left – it received on arrival a stunningimpression of the oval‘ZEEBRIEF/[posthorn]/ONGEFRANKEERD’(Sea Letter Underpaid) handstamp in vivid blueink. Although Batavia was the closest port to theAustralian continent, it was a very unusualdestination in this period: the vast majority ofmail from Australia was to England.
Having now been collecting for some 25 years, my passion for this inherentlyinteresting material remains undiminished. Whilenew items can be added only occasionally, eachone excites me for the fascinating story it has totell of our colonial heritage.
ABOUT Stephen Brown, Sydneyagent for Prestige Philately
Stephen is a highly respected philatelist. Anactive member of the Royal Philatelic Club ofSydney, he is also one of this country’s mostsuccessful competitive exhibitors. At the recentinternational exhibition in Portugal, his displaywas awarded a gold medal. This is the highesthonour ever attained for pre-stamp mail from anyof the Australian colonies ●
For more information and adviceStephen Browne can be contacted at PRESTIGE PHILATELY02 9004 [email protected]
Further readingJ S White, The Postal History of New South Wales1788-1901 (Philatelic Association of New SouthWales, 1988)
Highly respected philatelist Stephen Browne shareshis passion for the PRE-STAMP POSTAL HISTORYOF NEW SOUTH WALES (1801 – 1849)
CITYA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Rarer than the 1930 penny, this historical note, purchased by John Pettit Rare Banknotes, set a worldrecord for an Australian numismatic item.As our first truly distinctive Commonwealth note (with serial number M000001), it is regarded asthe ‘Holy Grail’ of rare banknotes.If you’d like to know more about the robust performance of banknotes, contact us and you’ll see how over 40 years’ experience has earned us the reputation of being ‘Number 1 in Notes ’.
Safety in numbers.
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A N T I Q U E S & A R T I N N E W S O U T H W A L E S
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A MODERNIST view of Sydney Harbour
Sydney Transport Montage,Reginald Cecil Grahame Fizelle’s largeeclectic view of Sydney Harbour just
after World War II, provides intriguing insightinto the city and Australian society at thattime. Unmistakably modernist in style, themontage is ambitious in scale and in itsgrouping of imagery. It centres on CircularQuay, with the arch of the Sydney HarbourBridge spanning a harbour ferry headingtoward the Maritime Services Board building.This was belatedly completed in 1948 and isnow the Museum of Contemporary Art.
Jumbled into this scene are other Sydneysites including the grain silos of Glebe Islandand the clock towers of the Lands Departmentand Central Railway buildings.
The painting also moves through time, witha paddle steamship and a sailing vessel fromthe past sharing the scene with a futuristicsteam train powering through the centre of thecomposition. All this activity is set against adepiction of an empty Australia; itsfeaturelessness contrasting with the busyindustrial development of the city on the rimof the continent.
Is this a modernist celebration of post-warAustralian industry and technology, or is thecrowded and confused montage a commentaryon modern Sydney? Considering that Fizelle’slater work was very much concerned withnatural themes and subjects, the latter appears likely.
Sydney Transport Montage certainlyhighlights the modernists’ rejection oftraditional representational styles. It is alsoimportant as a work that grapples with theintense development of post-war Sydney at atime when most Australians were enamouredof ever newer and faster modes of transport.So much so that not too long after this waspainted, Sydney would dismantle its efficientand now frequently lamented tram network toclear the roads for buses and private cars.
The painting recently changed hands,generously donated with other selectedmaritime works to the Australian NationalMaritime Museum by NSW Maritime(formerly the NSW Maritime Services Board).
NSW Maritime is an authority dedicated toensuring the safe and environmentallyresponsible use of State waters.
REGINALD Cecil GrahameFizelle (1891-1964)
Reginald Cecil Grahame Fizelle – known as‘Rah’ to his associates – was born at Baw Baw,near Goulburn, NSW. He began training as aschool teacher in Sydney until he enlisted in theAustralian Imperial Force in January 1916.Fizelle returned to Australia after World War Isuffering from the effects of a gas attack and hadsustained severe injuries to his left arm.
He concentrated on teaching art and in1921 won a scholarship to Julian Ashton’sSydney Art School. During the 1920s hechiefly painted landscapes in watercolours andexhibited with the Society of Artists and theAustralian Watercolour Institute.
In 1927 Fizelle moved to Europe andstudied in London at the Polytechnic School
of Art and the Westminster School of Artunder the accomplished modernist andfigurative artist Bernard Meninsky. Duringthis time Fizelle’s landscape paintings andwatercolours became simplified, stylised andgeometric. Back in Sydney, between 1932-37,Fizelle joined with Grace Crowley to establisha studio. Crowley had studied at AndréLhote’s academy in Paris and was particularlyinterested in Lhote’s academic cubism.Crowley was the most experienced – andmany now argue – one of the greatestmodernist painters in Australia.
The two artists established the Crowley-Fizelle school and conducted joint classes.Their studio at 215a George Street Sydneywas the principal centre for modernistpainting and the most advanced centre ofmodern art in Australia at the time. It washere that Ralph Balson and others exploredgeometric, cubist principles of composition.
In 1939 the group held a long-plannedmanifesto exhibition, Exhibition 1, at the
David Jones Art Gallery. The exhibition was aclimax for the Sydney semi-abstractmovement, showing work by Balson, Crowley,Fizelle, Frank Medworth, Gerald Lewers andothers. In the 1940s and early 1950s Balson’sand Crowley’s body of abstract ‘constructivepaintings’ were unique in Australia.
Sydney Transport Montage, painted around1948, is one of Fizelle’s last efforts to masterthe modernist techniques of painting. Fromthe 1950s he turned to near-abstract figures incarved wood, sandstone and pottery, as well asmore realistic watercolours of natural abstractstructures such as eroded rocks or tree forms.
After Fizelle died in 1964, a majorexhibition of the work of Fizelle, Balson,Crowley, and Hinder was held by the ArtGallery of New South Wales in 1966 andagain in a retrospective of Sydney modernistsin 1984.
Whilst Fizelle is regarded as one of thefounders of the so-called George Street Groupand a leading Sydney modernist, he has also
been described as one who was notcompletely able to master modernisttechniques of section and symmetry. Still, thisabstract work with its elements of cubism andconstructivism reveals a view of SydneyHarbour – and Australian society – from theperspective of a modernist artist, and as suchis a remarkable acquisition for the NationalMaritime Museum.
OTHER acquisitionsThe other works offered to the Australian
National Maritime Museum by the regulatorof NSW waters includes
Contemporary maritime artist John StevenDews (b. 1949): Australia Day 1988 – TheBicentennial First Fleet Arriving in BotanyBay and Australia Day 1988 – Tall ships inSydney Harbour
Geoffrey Odgers (b. 1948): ShadowPainting No.60 and Boats 1988
John Allcot (1888-1973): Benandra andBodalla, and the NSW Government vice-Regal steam launch Lady Hopetoun –paintings of coastal steamers ●
Stephen GappsAUSTRALIAN NATIONALMARITIME MUSEUM 02 9298 3777ww.anmm.gov.au
Acquisition for NATIONAL MARITIME MUSEUM Reginald Cecil Grahame Fizelle (Rah) (1891-1964),Sydney Transport Montage, c. 1948
Reginald Cecil Grahame Fizelle (Rah) (1891-1964), Sydney Transport Montage, 1948 , oil on board, by 200 x 265 cm. ANMM. Photographer A Frolows/ANMM
Unmistakably modernist in style, the montage isambitious in scale and in its grouping of imagery
“
”
DARLING HARBOURA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Many would consider them toolittle to cross the road on their ownand yet, from the late 19th century
more than 100,000 British children travelledalone to the other side of the world to beginnew lives. British child migration schemeschanged the lives of these childrendramatically. Some succeeded in creatingbright new futures. Others suffered lonely,brutal childhoods.
The Australian National Maritime Museumhas partnered with National MuseumsLiverpool UK to tell the emotional story ofBritish child migration and the governments’schemes and motivations. Through detailedcase studies, visitors meet a number of formerchild migrants and find out more about theirdifferent experiences.
Historic photographs show childrendeparting the UK, at work in foreign fieldsand wielding various tools. These images werepromotional images for the the varioussending organisations and to help secure andmaintain financial support. While thephotographs are mostly of cheering and happychildren, their lives in their new country wereoften the reverse.
FEW CHILD migrants were orphans
Child migration schemes existed from the1860s through to 1967 when British childrenwere sent to Australia, Canada and otherCommonwealth countries. Many came frompoor families who could no longer look afterthem, but few were orphans. Prevailing class-based wisdom believed that sending themoverseas would improve their lives; race-basedpolicies encouraged them as increasing thepopulation of ‘good British stock,’ andeconomically, they provided free labour in thecolonial economies.
While children left under different schemesand at different times, they shared powerfulexperiences: separating from family andcountry, boarding a ship, facing an uncertainfuture, meeting new friends on board andvisiting foreign ports.
The voyage was often the highlight of thechild migrant’s journey, full of excitement andhope for what the future would bring. Acharmingly illustrated diary by a 12-year-old girlcaptures this sense of excitement and wonder. She
records all the sights and sounds of her voyagefrom Britain to Australia in 1952 from eatingspaghetti in Naples to tasting sugar bananas andcoconut in Colombo.
LIFE in AustraliaOn arriving in Australia the reality of their
new lives quickly set in. Children wereseparated from their siblings and friends andtaken to remote farm training schools andreligious institutions operated by organisationssuch as the Fairbridge Society, Barnardo’s andthe Christian Brothers. Individual childmigrants have shared their personalexperiences through photographs, letters andpoignant mementoes from their childhood.
A set of rustic farm tools used by childrenat Fairbridge Farm School in Molong (nearOrange NSW) capture the essence of theirworking lives at an age when peers would bein the classroom. Boys were expected tobecome farmers and girls were expected tobecome domestic staff or wives on the land.There was little attention given to educationand schooling; instead the children faced longdays of hard work and discipline – unpaid and unloved.
The story of four brothers, the four-year-oldand his three brothers separated on arriving atFairbridge Molong in 1955, is told by photosand a metal bowl and plate from which theyate their meagre meals. See a boy’s drawingwhich formed part of his intelligence test tocome to Australia. A canvas bag illustrates theprocedure of each child being issued a similarbag in Britain together with new clothes andshoes, but all were taken from them onarriving in Australia, to be used with the nextload of child migrants.
Child migration schemes received criticismfrom the outset. The schemes finally ended inAustralia and the institutions closed from the1970s. Many former child migrants sufferfrom the legacy of their experiences,struggling to cope with the hardships andabuse they endured, and the emotionalburdens of neglect and abandonment.
In November 2009 the AustralianGovernment issued an apology to childrenwho suffered in institutional care. In 2010 theBritish Government apologised to formerchild migrants in 2010 for the ‘shameful’child ‘resettlement’ programs. Listen to bothapologies when visiting the exhibition.
Admission to Britain’s child migrantsexhibion is free. Supported by the NationalCollecting Institutions Touring and OutreachProgram this touring exhibition will travel toVictoria, South Australia and Western Australia.
The Australian National Maritime Museum,Darling Harbour is open daily from 9.30 amto 5 pm. Admission is free ●
Shirani AththasAUSTRALIAN NATIONALMARITIME MUSEUM02 9298 3777www.anmm.gov.au
At the Australian National Maritime Museum ON THEIR OWN – BRITAIN’S CHILD MIGRANTSshowing until 15 May
Fourth party to Fairbridge Farm School in Molong NSW 1939.Reproduced courtesy Molong Historical Society
Four children bound for Fairbridge Farm School in Molong NSW1938. Reproduced courtesy Molong Historical Society
A boy ploughing at Dr Barnardo’s Industrial Farm inRussell Manitoba Canada about 1900. Reproducedcourtesy Library and Archives Canada
A N T I Q U E S & A R T I N N E W S O U T H W A L E S
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The Australian National MaritimeMuseum’s magnificent replica ofCaptain Cook’s ship HM Bark
Endeavour will make an historiccircumnavigation of Australia in 2011 and2012. The finely crafted wooden vessel willvisit 18 ports on the 13-month voyage.
A FLOATING museumIn 15 of the ports it will open for public
inspection as a floating museum, displayingthe living and working conditions on one ofhistory’s great voyages of discovery – Cook’scircumnavigation of the globe in 1768-71.Visitors will experience the ship as if Cookand his crew have just stepped ashore withcharts on the table in the Great Cabin, a mealhalf-eaten on the mess deck tables and bunksready for a night’s rest.
STRATEGIC concessionsWhile the ship is widely acknowledged as
one of the most accurate maritime replicas inthe world, it also carries essential concessionsto the 21st century – engines, generators, anelectric galley, showers and safety equipment– all hidden away in the cargo hold whereCook stored his ship’s provisions.
The circumnavigation will be the first timeEndeavour has sailed right around theAustralian coast.
CHARTING the courseThe 44-metre ship will depart Sydney on
Friday 15 April 2011 and travel up the eastcoast to Queensland, across the Gulf ofCarpentaria and the Top End to Darwin,before sailing into the Indian Ocean and alongthe Western Australian coast to Fremantle.
It will then cross the Great Australian Bighttaking in South Australia and continue aroundTasmania, before crossing Bass Strait to
Victoria and then back to Sydney by May 2012.
BE PART of the experienceBetween ports the ship will be sailed by a
professional crew of 16 assisted by 40 payingvoyage crew who will experience what it waslike sailing the oceans in the great era ofEuropean exploration.
Applications to join the crew are now openonline for each voyage leg – and you don’t needto be an expert! Voyage crew undergo safetytraining and then learn how to set the sails, steerthe vessel and navigate using sextants and charts,just as they did on Cook’s historic voyage.
The ANMM mostly keeps Endeavour ondisplay at one of its wharves on Sydney’sDarling Harbour. The museum maintains thevessel, ensuring it is in peak condition, insurvey and ready for ocean voyages.
Mary-Louise Williams, director of theAustralian National Maritime Museum, saidthe circumnavigation is a major initiative inthe museum’s outreach program. The museum,she said, is constantly striving to take itsfacilities, its services and its ideals out acrossthe country to share with all Australians.‘We’re very excited at the prospect ofEndeavour making its first voyage rightaround Australia and calling at so many citiesand towns along the way,’ she added.
FOR AN APPLICATIONor more details
For more information on Endeavour’scircumnavigation or to apply for a berth, visitwww.endeavourvoyages.com.au or phone theEndeavour office at the Australian NationalMaritime Museum on freecall 1800 720 577 ●
Shirani Aththas AUSTRALIAN NATIONALMARITIME MUSEUM02 9298 3777www.anmm.gov.au
The Australian National Maritime Museum ispreparing the HM Bark Endeavour replica for anEPIC CIRCUMNAVIGATION OF AUSTRALIA
HM Bark Endeavour replica in full sail
Climbing aloft on Endeavour
Replica of the cabin occupied by Joseph Banks on the Endeavour
Replica of the mess deck of the Endeavour as it was in the 18th century
LEICHHARDTA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Now entering its eighth yearArchitectural and Antique Elementscontinues to evolve. The company’s
directors find much inspiration from buyingtrips to Europe, the Indian subcontinent,South America and more – a truly inspiringmix of beautiful handpicked pieces rangingfrom grand scale architectural elements topretty French provincial pieces. Nothing isordinary, everything is desirable.
Whether renovating or undertaking newbuilding projects, as the name suggests, thereis a strong emphasis on sourcing fabulousarchitectural antiques such as solid timber andiron entry doors, pretty windows, salon doorsand many different styles of French doors.Alongside these European pieces are manyAnglo Indian elements sourced from South
East Asia. Standing in the showroom arestunning hundred year old timber columnsstill with original paintwork, studded and handcarved teak doors and wrought iron gates andgrilles – just right for those building inwarmer climates with a tropical feel.
INTERIOR and exterior design elements
There is more than architectural hardware atElements. The range of stock and antiquefurniture continues to grow – from statementpieces of French provincial furniture, to oldshop counters and tables, to industrial piecesreinvented for 21st century living. In additionthere is an expanded focus on exterior spaceslike gardens and courtyards. Find piecessourced from French cafes and industrial
salvage; enhance a garden setting with oldsandstone pots and Indian urlis ●
If you have not visited before the largewarehouse come showroom is only minutesfrom the city centre and easily accessed viathe citywest link. With shipments due in early2011 from both France and India, now is agood time to join our mailing list and be oneof the first to know when the new stock hasarrived in store. Otherwise simply go onlinewhere much of the stock can be viewed, orcontact us
ARCHITECTURAL AND ANTIQUE ELEMENTS02 9560 3067www.elements.net.au
MORE ANTIQUES FOR LIVING AT ELEMENTS
A N T I Q U E S & A R T I N N E W S O U T H W A L E S
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There are three different time honoredmethod’s of hand decorating metal:repoussé, chasing, and engraving.
These techniques have been used in the WJ Sanders workshop for the 100 years it hasbeen in business.
Repoussé is a metalworking technique inwhich a malleable metal is ornamented orshaped by hammering on the reverse side.Chasing, also known as embossing, is theopposite to repousse. Work on the metal isdone from the outside. The two techniques areused in conjunction to create a finished piece.
ENGRAVINGTime honoured techniques for today
Embossing is still used today by WJ Sanders to create some of Australia’s most beautiful and unique trophies. Engravingis an important aspect of the business as thecompany is the custodian of many of the greattrophy collections throughout Sydney. Manyimportant and historic trophies have beenvandalised by unsightly engraving or therecords of previous winners faded due to thelack of permanence of computer engraving.
CANDELA RIVEROSand embossing
Candela Riveros learnt silversmithing(chasing, hand engraving and jewellerymaking) at Escuelas Técnicas Raggio inBuenos Aires, Argentina. This is a technicalhigh school that combines vocational andgeneral education. Candela entered the schoolat the age of 12, graduating with a diplomasix years later. Raggio Technical School is theonly institution in South America that offers asilversmithing course.
Candela arrived in Australia some two yearsago speaking very little English. Hersilversmithing skills are breathtaking, hercomprehension of the English language insuch a short time, amazing. Candela explainsthe processes she uses.
‘The techniques I use depend on what kind ofpiece I’m going to work on. If it’s a hollow piecelike a cup, I’ll fill it with chaser’s pitch first.When I work on flat ware, such as dishes orplates, the piece is placed on a pitch-bed. Thiswill prevent the piece to get smashed as I work.
Second, I add a thin layer of watercolour tothe surface, and transfer the design (previouslymade on paper) using carbon paper.
Third, comes the chasing itself, using mychasers hammer and self-made chisels. This is
not like engraving on steel (as seen in somefirearms and other weapons) because I don’tcut (carve) the metal; I change its shape byrepeatedly ‘stamping’ the chisel on it. There isno metal loss at all.
After the first stage of marking the lines,I’ll proceed modelling the shapes and surfacesin the design. Each of these stages arecompleted using different kinds of chisels.Usually a basic chisel collection has around a hundred chisels, but this is never enough –the bigger the collection, the better.Depending on the design and shape of thepiece, sometimes is possible to emboss it,working on the reverse.
After the modelling is completed, textureswill be added for visual effects. This is alsodone with chisels.
The main objective of textures is to increasethe contrast in the patterns, leaving somesmooth areas, and others with different roughor grainy appearance. Such areas will catch ona darker colour, because they cannot beproperly polished, and therefore will oxidizewith time. This also makes a chased piecemore aesthetically pleasant, and thereforemore valuable.
When the chasing is finished, the pitchinside is melted and the piece is emptied.Remaining traces of pitch are burnt and thepiece is cleaned with a brass brush and/orwith acid (pickle). Then comes the polishingprocess, which must be done with extremecare because, as it is an abrasive process, itmay eliminate much detail of the chasing,including the textures.
Polishing over a chased surface is seldomnecessary, but in such cases it’s just a matterof seconds; just enough to brighten it up.’
About ENGRAVING Cherie Ireland was introduced to engraving
at a young age. Her dad, Garry Evans, learnthis skills as a young man apprenticed as a die sinker and engraver by Angus & Coote. After a long career with Angus & CooteGarry successfully set up his own engravingbusiness in Dee Why. As a child of six sheremembers practicing her writing on scrapmetal using her dad’s tools. She had obviously inherited her dad’s skills andattention to detail.
Taught engraving by her father Cherie laterset up her own engraving business in the oldGowings building in Sydney where she builtup a prestigious list of customers such asjewellers Percy Marks, Angus & Coote and
Hardy Brothers. Her career was put on hold toraise a family although through raising threechildren, Cherie kept her hand in bycontinuing to work for the Royal AgriculturalSociety to ensure that their many historictrophies were beautifully engraved with thenames of winners following each Easter show.
‘Working for WJ Sanders presented mewith new challenges and opportunities. Thesilversmithing skills of the company meantthat as part of the restoration process ofhistoric trophies and chalices it enables me toreplace bad engraving and also re-engraveover any faded engraving. This engraving canthen be silver or gold plated over thus makingthe restoration complete.’
After joining the company one of her firstchallenges was to feature engrave the PeterBrock Memorial Trophy. Brock died in a caraccident only weeks before the scheduledBathurst race. The organisers wanted asignificant trophy made in record time to beunveiled before the race. Working withsterling silver means that a mistake can bevery costly.
Fortunately, the engraving on this trophycompleted late into the night, was beautifullyexecuted. This has since become one of themost photographed trophies outside of theMelbourne Cup, putting Cherie’s engraving ondisplay at Bathurst every October.
Feature engraving is now an enjoyable partof Cherie’s work, such as engraving the RoyalCoat of Arms on the all sterling silver Queen’sCup and engraving the names on the trophiesof the various horse racing events stagedthroughout Australia.
‘When engraving names on trophies, onealways has to remember that you are recordinghistory. The name should be deeply embeddedand the letters consistent in style and size. Iam often amazed that some of the historic andexpensive trophies that come in for restorationhave been defaced by amateurish engraving.It’s a shame.’
For WJ Sanders, the talents of these twoartisans brought together offers Australian
organisations the opportunity to createsomething unique and beautiful to record theachievements of their members for manyyears to come ●
WJ SANDERS & CO02 9557 0086www.wjsanders.com.au
TALENTS THAT KEEP HISTORYINTACT A look at two exceptionalsilversmiths working at WJ Sanders
Candela Riveros decorating a sterling silvershield using the technique of chasing
Cherie Ireland engraving the Gold Logie
A set hand chased Australiana sterling servietterings decorated by Candela Riveros
The Spada Shield commissioned for the RAN bringstogether the skills of both Candela and Cherie
Cherie Ireland engraving the sterling silver PeterBrock Memorial Trophy
W J Sanders Australiana trophy, hand chaseddecoration by Candela Riveros
A N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Glassware can be beautiful andalso practical as you can actuallyuse your collection every day.
Did you know that natural glass hasexisted since the beginning of time?Well, we have come a long way! The
earliest man-made glass objects are believedto be non-transparent glass beads and arethought to date back to 3500 BC.
Natural glass is not clear but has a faintgreenish or blue tinge from the copper andoxides in the sand. Today’s glass has manyimperfections filtered out, while lead oxide orother chemicals are added to turn the glass clear.
Three ingredients are used in basic glassmaking: sand, soda ash and lime. These aremelted together at high temperatures until themixture become a hot syrupy mass. When thissyrup cools, it is glass.
Glassmaking processesWhen glass is in a melted state, it can be
shaped by many methods, with the mostcommon being blowing, pressing and drawing.
Blowing is the oldest method of workingwith glass, dating from the first century BC.A ball of molten or melted glass is put on theend of a hollow iron pipe, the blow pipe. Aglassmaker blows gently into the pipe (muchlike the way you blow soap bubbles) until theglass takes the desired shape and thinness.During this process, the glass is constantlyreheated to keep it soft and workable.
When the glass is shaped to the blower’ssatisfaction, such as a bottle or a vase, it isbroken off from the blow pipe, leaving thepontil mark on the base of the piece, a smallcircle or perhaps a small raised area where theblow pipe was once attached. Glass blowingby mouth is still done today and it can bedone by machine.
Pressed glass is made by using a plunger topress molten glass into a mould.
Drawing glass is making flat glass shapes,as for windows and mirrors. First the meltedglass is drawn into a tank of melted tin. Thetin‘s perfectly smooth surface ensures asmooth layer of glass as the glass floats on topof the tin.
A strengthening process completes the glassproduct, following any shaping method.Annealing is a reheating and gradual coolingof glass, to restore its strength and preventshattering. Tempering is reheating glass andthen chilling it by sudden blasts of cold air toimprove its strength.
COLLECTING glassThroughout time, glass has always
fascinated us, especially the glass from the19th and 20th century. Whatever glasswareyou collect, it can be very rewarding. To me,the pleasure is all in the hunt. Collect whatyou like and like what you collect. When youbegin collecting it is important to gainknowledge with reference books to help youwith manufacturers, artists, colours, patterns,price and identifying rare pieces.
Some people collect by colour, others bypattern, some by manufacturer while otherscollect a specific item like vases, ink wells orfloat bowls. Whatever you collect, I hope thatit will give you pleasure and maybe a profitdown the line. I want to introduce you to thevarious types of collectable glass to examine,and hopefully start a collection of your own!
Art glass is a broad term for high-qualityornamental vases and other luxury vessels thatrely on colour, texture, internal and surfacedecoration and form for their visual appeal.Art glass was produced in great quantitiesbetween 1870s and 1890s for the wealthypublic in Europe and North America. Thesame methods continued in various fashions,with modern art glass usually made by anindividual artist. Art glass produced from the1970s may be called contemporary glass.
Art glass developed in Murano (Venice’sglass industry) in the mid-1400s, stimulatedby Renaissance ideals. In 1292, the Venetiangovernment banished glass furnaces from thecentral island as it feared that the fires fromthe glass furnaces could spread among themainly wooden constructions of crowdedVenice. The glass industry was relocated tothe nearby island of Murano, five kilometresfrom Venice. This also ensured that the masterglassblowers were controlled and preventedothers from gaining their valuable techniques.Thus from about 1300 to the present day, allVenetian glass has been made at the Muranoglassworks. The 1950s Murano art glass is abig favourite with younger collectors as it isaffordable and readily available.
Cameo glass is formed first by fusing twoor more layers of glass (casings) together,usually of different colours. When the glasshas cooled, a design is drawn on the surfaceand covered with wax. The outer layer(s) areremoved in part by etching to create designsthat remain in relief against a background ofcontrasting colour.
Carnival glass is cheap pressed iridisedglass such as vases, bowls and platters,
sometimes called the ‘poor man’s Tiffany.’Lustres were chemicals sprayed on glasssurfaces and heated to fix them,predominately in shades of gold and orange,and purple and green. Mass produced from1907 to 1925 in the USA, it earned itscommon name because it was given away atfairs and carnivals, being cheaply made forthis purpose. Contemporary Australianmanufacturers were the Crystal Glass Co andthe Australian Glassworks, usually in darkercolouring including a deep purple tint.Tablewares were decorated with flowers,leaves and geometric motifs (among many)and mottoes were popular. Carnival glass ishighly collectable.
Cloud glass was made by adding trails ofdarker coloured glass to lighter glass whenstill molten in a mould. The darker glasswould randomly spread throughout the lighterglass. The random process left each pieceunique. The glass looks better viewed withlight from behind and comes in manydifferent colours.
Crackle or ice glass resembles cracked ice,formed after submerging a hot piece of glassinto cold water, causing fine cracks to formover the surface. It is then reheated in order tosmooth the surface and seal the cracks. It wasfirst developed in Venice in the 16th century.
Crystal glass is a general term for finequality clear glass. It was first created byVenetians as colourless soda glass, calledcristallo as it resembled rock crystal. It wasdiscovered that the addition of lead oxide toglass improved the clarity of the glass. Thepractice of cutting the lead glass becamepopular after the invention of lead crystal.
There were many crystal manufacturersthen and are still today. However the qualitydoes vary. Often the more expensive but stillaffordable pieces of vintage crystal have themanufacturer’s name etched into the glass, forexample Stuart, Webb and Corbett andWaterford. European glass manufactures alsosupplied crystal glass. Pieces so-labelledtoday must contain a regulated minimumamount of lead oxide.
Depression glass is a catch-all phrase formass-produced, moulded glass in a hugevariety of useful and fancy, traditional andmodernist wares, which were cheap, cheerfuland commercial. It was generally translucent,with colourful, clear and opaque glasswareproduced from the late 1920s to the 1940s. Itwas poorer quality glassware that wasfrequently given away with a purchase of a
product or service and was often flawed.Popular colours were pink red, green, cobaltblue, amber, black, white and yellow.
Flashed or cased glass refers to taking apiece of clear glass and dipping it while hotinto molten glass of another colour. Thisprocess was used to build up the layers, suchas for subsequent etching in cameo glass.
Malachite or marble glass looks likemarble, produced as pressed green glass withwhite streaks to imitate marble. Malachite is anatural green copper carbon mineral thatpolishes to a high gloss.
Mary Gregory is a decorative style, handpainting of stylised Victorian children in whiteenamel paint on coloured glass. MaryGregory was actually an America glass painterbut many companies have produced this wareon either side of the Atlantic, right up totoday. The hardest part is determining whomade it and when.
Milk, opaque white or enamel glassevolved in the 1750s in England, to resembleporcelain. It was decorated to emulate thepopular copies of Chinese export porcelain. Itwas a dense and solid glass that owed itsopacity to the addition of arsenic. While itfailed to compete with porcelain, it continuedproduction in England, France and Britain forabout 50 years in decorative objects such asscent bottles and candlestick bases.
Millefiori glass is decoration with slices ofcoloured canes arranged to resemble flowers,by embedding them in a clear glass matrix orfusing them in a mould. The technique hasbeen used since Roman times, similar beadsfound in ancient Egypt, and revived in 15thcentury Venice when the term millefiori wasfirst employed. It comes from the Italian for athousand flowers. In 1845 a Venetianglassmaker introduced the first paperweight,made in the millefiori method.
Moulded glass is a glass casting techniqueused since Roman times. Molten glass ispoured into a mould and left to solidify; earlymoulds were sand depressions. It can beprocessed by a variety of ways, kiln casting,sand casting and graphite or metal moulds.
Mould-blowing is the forming of glassobjects, and often their simultaneousdecoration in low relief, by blowing moltenglass into a mould.
Mould-pressed glass is another method ofglass casting developed in 1827, wherebymolten glass is poured into a mould and‘pressed’ by applying pressure by a plunger toform a smooth interior and the exterior is
COLLECTING GLASS
KOGARAHA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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impressed with the moulded pattern design inlow relief. Moulded glassware is cheaper thancut and cameo glass.
Opal or opaline glass is a fine white andsemi-opaque coloured glass developed inFrance in the 19th century. When held up tothe light there is a coloured tint. Produced in awide range of colours, the most popularcolours are a turquoise blue and the rarest is awonderful pink. Opaline was made by bothfree- and mould-blowing. Opaline glass wassometimes cut.
Ruby glass is red glass made by addingactual gold (the original), copper or seleniumto molten glass. It was developed first in thelate 1600s in Germany using gold, and isprimarily used in expensive decorations.
Uranium glass is most frequentlyyellowish-green or green, made through theaddition of uranium to the batch prior tomelting. Introduced in Bohemia by Josef
Riedel in around 1840, it was usually made intableware and household items. It willfluoresce bright green under ultraviolet light.Very collectable colour variations include darkamber, light amber, pink, ivory, straw, lemon,strawberry, turquoise, blue and many shadesof green and yellow.
Vaseline glass is another instance of uraniumglass. It has a greasy-looking surface resemblingpetroleum jelly in yellow and green. Vaselineglass is a transparent or semi transparenturanium glass in this specific colour.
CHECK glass before purchaseBubbles are nearly impossible to avoid,
most time they actually occur by themanufacturer of the colour not by the artist,often occurring in the layering of colour. It isnearly impossible to see these bubbles untilthe colour is stretched thinly enough to letlight through and at this point the piece isnearly finished.
However, if bubbles are found on theoutside of the colour layer, it usually is theartist’s fault. They can result in flaws. Abubble the size of a pin head in the blowingprocess can reach a diameter of onecentimetre once fully stretched.
The pontil or punty mark is quiteacceptable on the bottom of a piece as long aslong it is not exposed. It is a telltale sign of ablown glass object as opposed to a cast object.The punty is a device that a glass blower usesto change ends (top and bottom). At the top ofthe piece of blown glass, it should be smooth.
Faults can be detected by carefulobservation of the following: paper burns,chill marks, cords and colour inconsistency.
A paper burn looks like dull spots inthe layers.
Chill marks are uneven waves of glass andreflect light differently, looking like surfacecracks with smooth edges.
Cords are waves of glass that look likestrands of material.
Colour should be generally the sameconsistency throughout the glass piece.
I hope this article has given you a little bitof insight into the beautiful world of glass ●
Kim HughesSOUTHERN ANTIQUE CENTRE02 9553 7843www.southernantiques.net.au
Further readingDavid Battie and Simon Cottle (eds), Sotheby’sConcise Encyclopedia of Glass (London:Conran Octopus, 1991)Felice Mehlman, Phaidon Guide to Glass(Oxford: Phaidon Press, 1982)Barrie W Skelcher, The Big Book of VaselineGlass (Atglen: Schiffler Publishing, 2002)www.glassencyclopedia.comwww.theglassmuseum.com
Southern Antique Centre30 SHOPS UNDER ONE ROOF
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245 Princes Hwy, Kogarah(near St George Leagues)
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ANTIQUES • COLLECTABLES • BRIC-À-BRAC
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Southern Antique Centre245 Prince Highway (Corner English St) KOGARAH NSW 2217
Phone 02 9553-7843 mobile 0410 436933 or email [email protected] www.southernantiques.com.au
Above is a small range of our cabinets available which are manufactured to the highest standard. We have an extensiverange to fit all requirements. our cabinets have halogen lighting and adjustable shelving
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THE Rare Coin CompanyWe are Australian numismatic specialists
with more than 28 years of industryexperience. Our passion and commitment is inacquiring the rarest, finest and financiallystrongest performing coins and banknotesavailable in the market. This has resulted insome of the most valuable and prestigiousnumismatic rarities imaginable passingthrough our hands.
Together with our knowledge, expertiseand customer service focus, we are dedicatedto assisting our many clients build superiorcollections and investment portfolios. Ourprofessional teams of numismatic expertsbased in WA and NSW, travel extensivelyaround Australia each year promoting themany benefits of investing and collecting inthe country’s rich numismatic heritage ●
Our Sydney office is convenientlylocated on the Princes Highway in Kogarah.
THE RARE COIN COMPANY1800 181 [email protected]
KOGARAHA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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‘Agood coin, or series of coins,brought judiciously will neverdepreciate in value. On the
contrary, with the increased attention given tonumismatics by men of learning and ourpublic institutions, with large organised bodiesof collectors coming on, a demand will beproduced that cannot fail to enhance the valueof desirable coins.
A cabinet of good coins is a goodinvestment. It gives you good, instructive andentertaining company while you have it, andgood returns on your investment shouldnecessity compel you to give it up.’ (The Numismatic Journal, 1893)
It is incredible to realise that those wordsof wisdom were written almost 118 years agoand the message is just as relevant today. Evenharder to fathom is why numismatics is stillnot fully recognised for its vast potential as aninvestment sector in Australia.
The financial reward of investing in rarecoins and banknotes is reflected by theamount of thought and effort people put intoacquiring the right pieces. It is alwaysimportant to carefully examine what is onoffer and consider the best advice available. Intoday’s marketplace astute buyers need to stayfocused on what is happening in the industry,
what items are coming up for sale and howbest to secure the finest quality pieces. This isparamount because if they are excellent buys,other investors are bound to compete for them as well.
It is amazing just how many newcomers tothis investment area believe they are not reallyinterested in the coins and banknotes per se, butrather in their investment potential. However, thatis the lure and fascination of numismatics andbefore long, most are hooked.
BECOMING a numismatic investor
Being an investor in any field involveschoosing investment commodities likely tomake the best profit, while at the same timeminimising risk. Generally, the primarymotivation for investing in coins and banknotesis to make your money work for you. Aim tobuy pieces with a sound track record as wellas good potential for appreciation in value.
The Australian 1921 Type 12 squarekookaburra pattern penny in uncirculatedcondition is a prime example. In 1968, thisrarity was valued around $300. Today, thecoin’s market value is about $100,000 – if youcan get your hands on one. With a growth rateaveraging more than 14 per cent per annum,buyers can expect a coin such as this to dovery well over the medium to long-term,comparing more than favourably with moneyleft hibernating in a bank account.
An investment can consist of a singlepiece, or alternatively, a portfolio ofinvestment quality rarities chosen for thestrategic purpose of making money and notjust for the pleasure alone. A worthwhilenumismatic investment portfolio shouldconsist of coins and/or banknotes. Each
should be specifically chosen for its limitednumbers, high demand and preservationquality and where possible, any documentedhistory of price growth.
SELECTIVE buying – the key tosound investing
Numismatic investors can choose to buyany number of rarities demonstrating potentialand lock them away for several years with theexpectation their value will steadily increase.Contrary to some beliefs, there are no hardand fast rules about how a numismaticinvestment portfolio is structured.
For example, it would not be necessary topurchase the complete set of Australianpennies from 1911 to 1964 to make theinvestment worthwhile, when simply selectingtwo or three scarcer dates in the finestpossible condition would be more likely toproduce a far better return overall.
The combination of limited supply, highdemand and quality condition are thegoverning forces behind the prices of coinsand banknotes today and the key to futuregrowth. Learning how to accurately gradecoins and banknotes and source the bestexamples on the market to maximiseinvestment returns takes years of experience.
Investing in numismatics is not foreveryone; conversely, it is not easy to step intosuddenly. One of the best ways to start is byestablishing an honest, open relationship witha professional and reputable dealer. Once anumismatic dealer or specialist has a clearunderstanding of a buyer’s particularinvestment plans and expectations, the dealershould always be able to assist in securing thebest performing pieces to meet the client’swealth creation goals.
Robert Jackman,co-founder andManagingDirector of The Rare CoinCompany
MONEY MAKING MONEYAustralian1921 Type 12squarekookaburrapatternpenny,uncirculated
A N T I Q U E S & A R T I N N E W S O U T H W A L E S
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The New Year and the aftermath of thefestive season are upon us, the time whenHoward Products can really help. Customers
share their ‘before’ and ‘after’ stories about damageditems repaired in the sanity of the New Year.
This shellacked table looks disastrous, typical ofdamage by hot plates, wet glasses and dampnapkins on an early 20th century table. Irecommended Restor-A-Finish in mahogany if thered tonings were important to preserve or goldenoak if a mellow look was preferable. The customerchose to go mellow as the results show. Irecommended a thin application of Feed-N-Wax toprovide carnauba protection to resist any furthermoisture damage. DF
Hello David,I have just become acquainted with your
products and I would like to tell you howabsolutely fantastic we think they are. During theholidays, we noticed more than a few whitemarks on our very precious table that was handeddown to us by my in-laws.
After taking your advice about the Restor-A-Finish product we decided to try it – I could notbelieve how it brought our table back to theoriginal finish. Thank you very much! We arenow trying your Citrus-Shield Premium ColourPaste Wax and we love that too. Keep your greatproducts and advice coming.
Best regards, Maggie Boothe
This 1940s to 1950 (or what we now call retro)sideboard was in poor condition with scratches anddeeply embedded marks. In that era, it would havebeen either thinly shellacked or finished in nitro-cellulose material. I recommended Golden OakRestor-A-Finish using #0000 grade steel wool orusing our 3M Premium Gold plastic abrasive padfor the initial broad work and finessing with ourEuropean superfine #0000 steel wool. DF
Hi David,A while ago, you sent me some detailed
information on how to tackle my sideboard. Ipurchased your products and finally got to usethem today with fantastic results. I’ve attachedsome before and after shots. I am reallyimpressed with your products. As you can see thesideboard looks great, not perfect but then thewood under the finish is not perfect either – I’llgive it another going over. It would probably costwell over a thousand dollars to get the sideboardproperly restored but your products have broughtsome dignity to a nice old piece of furniture. Itworked just as the on-line video demonstrationsuggested it would – amazing miraculous stuff.
Many thanks, Jennifer SantasNow this sideboard has a near-perfect finish:
well said, about giving your old sideboard somedignity! DF
Not only furniture takes a beating overChristmas and New Year; look at your polishedwooden floors! DF
Hi David,I just want to say your Restor-A-Finish is the
best! My hardwood floor is old and over thefestive season, it really took a battering. Wecannot afford to replace it and don’t have the timeor money to refinish it, so I tried your Restor-A-Finish and I can’t believe how nice it looks! Ithought it would only last a day or two like otherproducts I have used, but it’s been many weekssince I used Restor-A-Finish and it still looksgreat. I also started to use it on my woodencabinets and other furniture which gaveeverything a new glow and erased marks andscratches. Finally, a product that really refinisheswithout removing old finishes.
Thanks from my whole family. Lynn Ryan
Antique dealer’s tipAn antique dealer sent another method of
cleaning away dirt and grime from furniture. Notethat she used Howard Orange Oil with #0000steel wool and finished with a coat of Feed-N-Wax. DF
Hello David,I was fortunate to show a client how to restore
an inherited dining table, made from SouthAfrican yellow wood. It had a thick coating ofhousehold dirt ingrained into the top that wassticky to touch and looked very grey. There werealso a few cracks in the table probably caused bythe silicone finish on the top not allowing thewood to be nourished.
I used Howard Orange Oil with steel wool andliterally scrubbed the table, taking more time overthe areas that had children’s coloured marker andwatermarks. I both worked with the grain andused circular motions. After wiping off the grimyresidue, the timber seemed to swell up in front ofme. The golden-rich colour of the beautifulyellow wood returned and the table seemed to besaying ‘thank-you.’
I spread Feed ’n Wax onto the tabletop using aclean cloth, waited the advised 20 minutes and
then buffed it up. The result was phenomenal andwe all were sorry that I never took before andafter photographs. To top it all, I used a nailbrushwith soap and water to get the dirt from under myfingernails and this morning, my hands feel assoft as ever.
Well done, Howards Orange Oil. Penny Turner
Timber Kitchen CupboardsDear Howard Products people,
I am absolutely delighted with your Restor-A-Finish, which I have used on my badly markedtimber kitchen cupboards. I couldn’t believe theresult! I had been asking around for ages for asolution and stumbled on your product byaccident, not by plan.
Kindest regards, Margaret Corbett
Piano PlayerGood evening Mr Foster,
I finally got around to using your products onmy baby grand piano to get it ready for the festiveseason. I procrastinated so long because I reallywas not sure if your products would work. Thesun damage was so bad that I truly thought Iwould require a professional furniture refinisherto correct the problem. I am happy to admit that Iwas terribly wrong. I applied your product overthe entire top and finished it off with theBurnishing Cream.
My baby grand looks brand new with noevidence of the sun damage. I cannot tell youhow happy I am. I have even touted your productsto some of my neighbours. Since I only used avery small amount of your products, I am sharingwith them. David, I just hope you will pleaseforgive me for doubting you. My only regret isthat I failed to take ‘before’ and ‘after’photographs to vouch for your products.
Take care and again, many, many thanks.John Turner
Hello David,I just wanted to thank you so much for
responding to me so promptly following my nailpolish on furniture disaster prior to December.Following your advice, I bought the Restore-a-Finish and #0000 steel wool and decided to waituntil after Christmas to fix my blanket box when Iwould be more relaxed and not trying to do athousand things at once (which was what led tothe disaster in the first place).
Well I was amazed. Instead of 80% better asyou suggested, the box looks 90% better! Both afriend of mine, and the salesperson at LifestyleFurniture in Mitcham where I bought yourproduct, told me that this stuff is great and theywere both right. I thought I had ruined myprecious blanket box completely and now I am soecstatic that I have been able to restore it. Thankyou so much for your helpful advice and yourwonderful product. I plan to purchase your Feed-N-Wax product and to tell everyone I know howwonderful your products are.
Many thanks and kind regards, Fiona Kennett
HOWARD PRODUCTS [email protected]
CHRISTMAS: the aftermath NEW YEAR: a new beginning
Early 20th century table, shellacked, before and afterRestore-A-Finish treatment
Shellacked table surface before and after Restor-A-Finish treatment and Feed-N-Wax protection
Battered sideboard afterRestore-A-Finish overwhite marks and scratches
Battered sideboard withwhite marks andscratches
Instant results from Restore-A-Finish hand-wiped onwooden floors
Blanket box after Restore-A-Finish
or to locate a store near you 1800 672 646www.howardproducts.com.au
This kit contains enough product for manysmall restoration jobs.Order now for $79.50
including freight and we’llinclude a bonus
‘how-to’ DVD with lotsof useful DIY tips.
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DO IT NOW
“These products add life to the furniture you love”
HURSTVILLEA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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This much-anticipated annual fair isonce again in the air-conditionedMarana Entertainment Centre in the
Hurstville Civic Centre. There is always a primeselection of unique memorabilia includingantique jewellery, fine china, books, linen, smallfurniture items and tools. Especially for RoyalDoulton collectors is a vast treasure trove ofselected items to explore.
SUPPORTING Cystic Fibrosis NSW
Have fun while helping to raise funds –place the winning bid on the silent auction,buy raffle tickets, bring along friends to helpincrease the entry fees collected, paystall rental as a dealer, bring up to three items for valuation, and enjoy exquisite old-fashioned refreshments.
Bush Fire Fighter Bunnykins numbered 1 ofa worldwide production of 1000 has beenkindly donated by Royal Doulton Australia. Itwill be sold through a silent auction over thecourse of the weekend, with the winningbidder announced at 3 pm on Sunday 13February 2011. All proceeds raised from thisauction goes to Cystic Fibrosis NSW for theirimportant research and ongoing vital work.
Winter Festival, another major donation byRoyal Doulton Australia, is one of aworldwide limited edition of 250. It is part ofa new series by sculptor Adrian Hughes,inspired by the work of Alphonse Mucha, witha landmark collection including spring,summer and autumn examples. This seriesintroduces a very different style that shows RoyalDoulton at its best, and this limited edition of 250is bound to be a favourite for Doulton collectors.The first prizewinner of the raffle takes home thisvaluable Royal Doulton.
After the Royal Doulton first prize, raffleticket holders can win other great collectables.Second prize is a valuable Australianhandcrafted quilt kindly donated by CaroleWright, whose most recent quilt sold for$700; a highly collectable Royal Doulton jugdonated by East West Collectables; and a
prized Royal Doulton lady figurine donatedby Gracie’s Attic.
Other silent auction items include twoantique dolls and a fine china bowl, withmany more prized pieces being donated to sellby silent auction.
VALUATIONS at the fairPhillip Thomas, of Raffan Kelaher and
Thomas, has kindly donated his services forthe identification and valuation of treasuresbrought to the fair. There is a limit of threeitems per person at a cost of $3 per item.
CATERING delightsWhether taking a short morning or
afternoon tea break, or a more substantiallunch visitors can look forward to delicioussandwiches, cakes and the legendary freshscones with cream and jam prepared by theRose Coffee Shoppe.
OPENING gala eventThe opening gala night is on Friday
11 February from 7 pm to 9 pm. For themodest entry fee of $15 enjoy champagne,wine and refreshments. More importantly, it isan opportunity for first pick of the treasureson sale. Additionally, this ticket also entitlesyou to free re-entry over the entire weekend.
One-day tickets for Saturday 12 or Sunday 13February are $8, just $5 for concession holders,and children under 15 (accompanied by an adult)have free entry. Hours on Saturday 12 Februaryare from 9 am to 5 pm; on Sunday 13 fair hoursare 10 am until closing at 4 pm.
GETTING thereMarana Hall is part of the Hurstville Civic
Centre in MacMahon Street, a short walkfrom the Hurstville railway station and busterminal. Ample council area and free streetparking is available and extra parking isavailable in the large shopping complexnearby. Brief drop-off at the Marana Hallentrance is permissible ●
For further information contactConvenor Dorothy Dixon ROTARY CLUB OF HURSTVILLE 02 9153 6922 [email protected]
1 th AnnualANTIQUES
&COLLECTABLES FAIR
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Saturday 12 February – 9 am to 5 pmSunday 13 February – 10 am to 4 pmEntry $8Concessions $5Children under 15 free must be accompanied by an adult
Valuation service by Phillip Thomasof Raffan, Kelaher & Thomas Auctioneers & ValuersSaturday – 10 am to 5 pmSunday – 10 am to 3 pm$3 per item (limit 3 items per person)
Marana AuditoriumMcMahon Street, HurstvilleEnquiries: Dorothy Dixon 02 9153 6922
Sponsors
1 th AnnualANTIQUES
&COLLECTABLES FAIR
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ROTARY CLUB OF HURSTVILLE Inc.Invites you to the 16th AnnualAntiques & Collectables FairIncorporating the 12th AnnualRoyal Doulton Collectors Fair
Gala previewFriday 11 February 2011 - 7 pm to 9 pmAdmission – $15 per personIncludes entertainment and refreshments
Royal Doulton, ‘Bushfire Fighter’Bunnykins
Great stock and choicesat the Rotary Club ofHurstville Antique andCollectables Fairs,incorporating the RoyalDoulton Collectors’ Fair
THE ROTARY CLUB OF HURSTVILLE‘S 16th Antique and Collectables Fair Incorporatingthe 12th Royal Doulton Collectors’ Fair 11–13 February
CANTERBURYA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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APRIL 2011 Vintage Clothing,Jewellery & Textiles Show
The autumn Vintage Clothing, Jewellery &Textiles Show will be held on 15, 16 and 17April 2011 with lots of amazing things to buyand fabulous entertainment to enjoy, at theCanterbury Racecourse Function Centre inKing Street Canterbury.
Because the workmanship in vintagegarments is universally recognised and theunique bygone creations are now very popularwith women and men, the clothing, jewelleryand accessories are much appreciated by all
age groups and rapidly purchased by the many visitors.
The Sydney Vintage Clothing, Jewellery &Textiles Show is the largest of its kind inAustralia. It is a visual feast, featuring over 60exhibitors selling vintage and antique clothingand accessories, antique and vintage jewellery,linen, lace, textiles and small collectables.
Fashion collectables for sale are magazines,posters, fashion plates, sewing patterns, toolsand parasols. First timers are amazed at thevast array of items for sale, ranging from tinyantique buttons and hat pins to large ornatelyembroidered tablecloths and heritage quilts.
The quality and quantity of clothing andjewellery for sale are excellent. Theconvenience of all the exhibitors, fashionshows and entertainment being under one roofis a hit with fairgoers. Over the first night andthe next two days, many of the shoppers areon a mission to find a knockout outfit to wearfor their special occasions or a quality vintageaccessory for the current season.
Teenage girls, often accompanied by theirmothers are interested in an unusual dress fortheir school formal or graduation. Discerningbrides search for a period wedding dress orspecial piece of jewellery. Vintage car owners,who love travelling to their club outings inperiod clothing, are always looking forauthentic garments produced in the yearcorresponding to their much loved vintage car.Fortunately, many stall holders have clothingand accessories for both men and women.
Count on two-and-a-half days of entertainment,there are fashion parades and exhibitions,prizes for best vintage clothing, dancing andthe regular charm school demonstratingbeauty tips from the past and how to achieve alook that works for today’s lifestyle.
The cafeteria will be open all weekend andthe racecourse has ample free parking. For thecomfort of patrons the venue is air-conditioned and wheelchair friendly. Whileclose to Canterbury train station, there is afree shuttle bus from both Canterbury andStrathfield train stations.
The April show will again hostextraordinary exhibitors, amazing selection of clothing and collectables to buy, andfabulous entertainment to enjoy ●
For more information contact Janel Morrissey VINTAGE CLOTHING, JEWELLERY& TEXTILES02 6628 6688www.lovevintage.com.au
Sydney Vintage Clothing,Jewellery & Textiles Show
Canterbury Racecourse Function Centre
Opening night Friday 15 April from 5:30 to 9 pm
Open Saturday 16 and Sunday 17from 9:30 am to 4:30 pmTickets at door: $14 adult,
$10 concession, $5 children over 10 years
THE SYDNEY VINTAGE CLOTHING,JEWELLERY & TEXTILES SHOWis the largest of its kind in Australia
Vintage9TH SYDNEY
CLOTHING, JEWELLERY& TEXTILESShow
Over 60 dealers from all over Australia sellingVINTAGE & ANTIQUE CLOTHING & ACCESSORIES
ANTIQUE & VINTAGE JEWELLERYLINEN, LACE & TEXTILES
SMALL COLLECTABLES■ Parade of Vintage Fashions
■ Guest Speakers ■ Prizes to be Given Away for
Best Dressed in Vintage■ & Other Entertainment
■ Lucky Door Prizes & Raffle■ Cafeteria Open and Free Parking
■ Free Shuttle Bus fromStrathfield & Canterbury Train Stations
Fri 15 April 2011 5.30 pm - 9.00 pmSat 16 April 2011 9.30 am - 4.30 pmSun 17 April 2011 9.30 am - 4.30 pm
Canterbury Racecourse Function Centre King Street, Canterbury, Sydney
for details see www.lovevintage.com.au
or phone 02 6628 6688Tickets available at the door
Inaugural Melbourne Fair: 27-29 May 2011
Whether you are a collector, adesigner or just in love withanything vintage then these twice
a year shows are for you. Exhibitors showand sell clothing from the turn-of-the-centuryto the 1980s. You will find fabulous beadedflapper dresses, 1930s Hollywood glamourgowns, sumptuous 1950s evening dresses andof course, crazy clothing from thepsychedelic 1960s. Accessories andcollectables ensure that every man andwoman, girl and boy can find something tofit their lifestyle and budget.
GLEBEA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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People think of jade as an opaquegreen stone, yet this semi-precious hardstone is almost infinitely variable in
colour. Only coming to European attentionsince Marco Polo’s 14th century travels, jadehas been prized for millennia for its delicatecarving and subdued smooth surface. Thesame Chinese character Yü that stands for jadealso has the meaning of jewel or treasure,indicating its preciousness.
Most jade is translucent with an opaqueivory variety. There are two types of jade,nephrite and jadeite (slightly harder) and bothare relatively heavy. Chemically they differ inproportions of alumina (high in jadeite) andmagnesia (high in nephrite) that contribute totheir respective colours. Collectors must learnhow to detect other minerals resembling jadeincluding chloromelanite (comparatively rare),steatite (softer than jade) and serpentine.
Jade has a wide colour range from pale toforest green, reds, oranges and yellows, whilemore rare are violet, white and black, and theexquisite blue jade that was attributed to theheavens in ancient China. Many mysticalqualities have been attributed to jade in manycultures. Carved only slowly and withdifficulty, quality jade objects are almostmiracles of artisanship and very valuable.
CULTURAL heritage recorded in jade
Jade is material evidence of brilliantcultures, used for thousands of years in China,Mexico and Central America, and by theMaori in New Zealand. The Russian courtjeweller, Fabergé, occasionally used jade.
CHINESE jadeThe best known jade is from China, with
Neolithic ritual objects earlier than the Xia(2100-1600 BCE) and Zhou periods (1122-249 BCE) including the pi – a circular discwith a central hole which represented heaven.
Ritual jades were used for burialpreparation and jade was placed in the body tokeep out evil spirits. Ritual and decorativeamulets, pectorals and girdle ornaments havesurvived both because jade is hard and theseobjects were revered and guarded for theirimputed meanings and powers.
Han dynasty (206 BCE–CE 220) jadesshow mature carving techniques and richconceptual imagination continued through tothe end of the Sung dynasty (960-1280).Figures of animals, fabulous monsters such asdragons, vases and cups with animal handles,
and vessels imitating bronze forms survivefrom this period.
Ming dynasty (1368-1644) artists createdlarge jade figures of horses and water buffaloand the earliest carved jade boulders,representing a mountain with intricate details.
Qing (1644-1912) jade carvings arefrequently intricate and fine, such as vesselshollowed until paper-thin, and frequentlyinscriptions are found. Parti-coloured jade wasexploited for depicting for example, insects inone colour and a leaf in another colour.
Beakers of bronze form, vases with freering handles carved integrally, and smallpieces such as belt hooks and pendants arehighly collectable. Jade table screens mountedin wooden stands and jade writing implementsare from this period.
MAORI JADERich alluvial deposits of Pounamu or
nephritic jade are found in the western regionof the South Island, New Zealand. Jadecontributed much to Maori culture as it wasplentiful. It was used for utilitarian purposes,such as knives, hooks, hatchets and othertools, to build houses and canoes beautifullydecorated using jade tools.
The traditional hei-tiki, marakihau andpekapeka are carved talisman pendants. They arerenderings in greenstone with spiral decoration ofa treatment of the human form as also foundcommonly in woodcarving and whalebonecarving, and are jade collectors’ prizes.
CENTRAL American jadeJadeite was the most precious material for
Pre-Columbian peoples throughout ancientMeso-America, worked into a variety of itemsworn as emblems of social and politicalpower. The jade carvers of Central Americaattained great skill over 2,500 years ago. Themajority of surviving specimens are smallpersonal ornaments and ritual masks, withmost authentic pieces held by museums. In1998, a large Proto-Mayan jade head of adeity, c. 300 BCE to 150 CE, sold forUS$365,500.
Olmec jade carvings from the 5th to 1stcenturies BCE in the Gulf of Mexico regionare characterised by classical simplicity. Theritual items in the subsequent Zapoteccivilisation (3rd-2nd century BCE) are highlyexpressive. Mayan carvings dated to 2ndcentury CE are throughout the former empire,from southern Mexico through the CentralAmerican peninsula including Belize,Guatemala, El Salvador and Honduras.
The ancient La Hueca and Saladoid cultures inthe Caribbean prized jade among their manyzoomorphic stone carved objects. Neolithic jadependants have been found in Costa Rico and inequatorial Amazonia (Peru, Ecuador, Bolivia)with little information on their origins ●
The largest known deposit of high-qualitynephrite jade in the world is locatedoutside Cowell on South Australia’s EyrePeninsular. Cowell jade consistspredominantly of medium to fine grainedmaterial showing, greenish yellow togreen hues, grading to premium black.
Jason BridgeCOLONIAL COLLECTABLES0431 403 [email protected]
Further readingG Archey, ‘Maori carving patterns’, Journal of the Polynesian Society Volume 45,1936, No. 178, pp. 49-62 Christie’s Hong Kong, The Imperial Sale: Fine Chinese Ceramics and Works of Art(Hong Kong: Christie’s 2002)Janet Hogan (Ed), Treasures from the Shanghai Museum (Brisbane: Queensland ArtGallery 1990)Oscar Luzzatto-Bilitz, Antique Jade(Middlesex: Paul Hamlyn 1969)
JADE – A STONE OF MANY COLOURS FROM MANY CULTURES
From left:New Zealand (Maori), Jade hei-tiki amulet. Museo Pigorini,Rome. Courtesy Paul Hamlyn
China (Qianlong period), Celadon green jade elephant, c. 1736-1795, gilt and enamel, h: 31.7 cm. Courtesy Christie’s
Mexico (Zapotec civilisation), Jade breastplate worn by Shamanpriests, c. 3rd-2nd century BCE. Courtesy Paul Hamlyn
China (Qing dynasty), Treasures: white and spinach-green jadeopen work pomander, miniature white jade ruyi, brown and whiteminiature jar, 18th century. Courtesy Christie’s
Collectables & ANTIQUES FAIRS
GLEBEGreyhounds Function Centre,Wentworth Park Road GLEBE
9 am to 3 pm• Air conditioned • Coffee shop • Parking • Credit cards accepted • Over 150 sellers
Buyers $5 (Seniors $4) Children with adult free
(‘Early birds’ from 8 am $10)
Next Dates 20112 Jan 6 Feb
6 March3 April1 May
SYDNEY Collectables &ANTIQUES FAIRS
0419 333 220
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First established in 1978, SchotsHome Emporium is today recognised asAustralia’s leading importer and retailer
of mood-enhancing architectural, fittings andfurniture. With an expansive retail storediscerning homemakers can select from thelargest and most exquisite range of wood orgas-fuelled fireplaces; marble or polishedtimber mantles; heritage bathroom ware,marble toped timber vanity units, tiles and tapware; heritage style lighting and ceiling roses;fine brass accessories and feature doors;stunning sculptures and artefacts; and originaland reproduction items of furniture.
The comprehensive and extensive rangeallows you to accurately reflect any era, matchand enhance your desired décor and create adelightful atmosphere in any setting – allaccording to personal taste.
At Schots, we believe that renovating theold or appointing the new should not only addromance and refinement to a room, but alsobe an investment that adds value to yourhome. This is why we spare no effort insourcing and stocking only the finest qualityproducts from around the world.
AUSTRALIA’S largest collectionof French styled marble chimney pieces
Whether you’re looking to make a fireplacethe feature of a quaint period cottage you’rerenovating, or a charming centrepiece of abrand new house you’re building, SchotsHome Emporium is uniquely equipped to helpcreate the exact aesthetic look you’re after.Our pieces display a taste for the exquisitethat is out of the ordinary.
Select from the classic formality andbeautiful bold lines of British marble mantle
designs, or create wonderful moods ofstatuesque grandeur (laced with whimsy) withthe free-flowing curves of French designs.Complement your fireplace with the perfectinsert, fascia, grate or tile. The superb choiceof marble colours is an opportunity to reflectany era and enhance your setting.
Schots believes that a fireplace should notonly add romance and refinement to a room,but also be an investment that adds value toyour home. Our Victorian style white Carraraand Marquina marble mantles are individuallycrafted to the exact proportions of antiqueoriginals. The faithful reproduction of ourhand-carved French and English stylecreations is done with the most meticulous
attention to fine detail under the watchful eye of master stone masons making ourunusually beautiful – and intricate – replicasvirtually impossible to distinguish from thegenuine article.
Schots’ exclusive Marble Mantle Collectionis all about giving you the freedom to unearththe uncommon and create a distinctive focalpoint in your home that you can enjoy andguests can admire. Not just at a price that’ssurprisingly affordable, but which representstrue value for money.
Our specialist staff can be relied on to giveyou expert assistance, and personally showyou a host of inspiring displays.
AUSTRALIA’S largest collection of marble toppedtimber vanities
There are any number of bathroom storesthat simply offer the everyday. But if you’relooking to create a private world of sensorypleasure where you can pamper yourself insurrounds that make you feel special, then lookno further than the unusually beautiful BathroomCollection of Schots Home Emporium.
Boasting an expansive collection of finelycrafted fittings and cabinetry, create a bathroominterior with personality and the stamp ofindividual flair. Use any combination offreestanding (or unfitted) elements to create acontemporary or old world mood like no other.
You can choose to adorn an attention-grabbing feature vanity with underslungbasins and white Carrara marble tops fromItaly. Incorporate distortion-free matchingmirrors and turn it into a striking centrepiecethat draws the eye and creates a magicalillusion of more space in a room. You can callon elegant tall boys to supply extra storagewith unmatched style. Or use specially craftedcabinetry to make the most of a corner area.
Theme your décor in cognac coloured,polished cherry wood, or perhaps thebeautifully fluted French white furnishingsmight sit better in your home. Whatever thepreference, we provide you with theopportunity to design a look and create anambience that is as grand, understated orfashionably eclectic as you like. With ourElite range, the possibilities are limited onlyby your imagination ●
For more information, simply call or visitour website
SCHOTS HOME EMPORIUM1300 463 353 www.schots.com.au
Take a voyage of discovery atSCHOTS HOME EMPORIUM
WOOLLAHRA / PADDINGTON / SURRY HILLS / NEUTRAL BAYA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Chinese and JapaneseQuality antique and reproduction furniture and artefacts
ESTABLISHED 1989336 South Dowling Street, Paddington
www.specialpieces.net.au • 02 9360 7104Monday to Saturday 10 am to 5 pm - Sunday by appointment
Sydney Antique Centre531 South Dowling Street Surry Hills NSW 2010Phone: 02 9361 3244 Mobile: 0427 315 133
SeanCullipAntiques
FINE GEORGIAN AND VICTORIAN SILVER
Queen AnneHallmark Britannia silverCasterCharles AdamLondon 1705$2,750
FELL IAMELAS GALLERY
2 MONCUR STREET, WOOLLAHRAPH 02 9363 5616 FAX 02 9363 2080 MOB 0418 362 451
Email: [email protected]
Visit us at : www.fmelasgallery.com.au
WOOLLAHRA TIMES ART GALLERYMajor works by Crooke, Dickerson, Coburn, Storrier, Boyd,
Tucker, Coleman, Bromley and many others
Robert Dickerson, Children
SURRY HILLSA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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267 Cleveland Street Surry Hills • Phone 02 9699 2700Email: [email protected] • Web: www.maoandmore.com
Trade inquiries welcome
Journey into the Extraordinary...EXPLORE OUR UNIQUE CHINESE AND ASIAN DECORATIVE PIECES
Large New Collection of Exotic Tibetan Cabinets
CITYA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Kalmar AntiquesSpecialising in antiques, fine jewellery, watches and objets de vertu
Shop 45, Level 1 Queen Victoria Building, Sydney 2000
Phone: 02 9264 3663 Email: [email protected] can also visit our website at www.kalmarantiques.com.au
Kalmar Antiques has something for everyone
GLEBE ANTIQUE STRIP ON PARRAMATTA ROADA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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ANTIQUES & MOREIncorporating Gaslight Antiques
66-70 Parramatta Road Glebe – 10 minutes from the CBD(Opposite Sydney University Veterinary Hospital entrance)
Phone: 02 9557 8929Email: [email protected] Website: www.antiquesandmore.com.au
OPEN 7 DAYS 10.30 am - 5.30 pm
GASLIGHT ANTIQUES
“OUR REPUTATION ISYOUR GUARANTEE”
Specialising in an exquisite and vastrange of Georgian, William IV and
Victorian furniture and collectables.Benefit from our forty years
of experience
EXCLUSIVE AUSTRALIANSHOWROOM FOR QUALITY
INTERNATIONAL RANGEof classic Georgian style furniture
including beds, dining tables,bookcases and an excellent selection
of desks. New stock just in
GENUINE FRENCH STYLEHERE IN SYDNEY!
Custom crafted French farmhousetables and parquetry panelled
refectory tables constructed fromimported reclaimed French oak made
to your design and size
BUXTON REPLICAS WILLMOTT COLLECTION
GLEBE ANTIQUE CENTRE62 Parramatta Road, Glebe NSW, 2037
(Opposite Sydney University Veterinary Hospital)
Two full levels of a wide variety of quality antique furniture, light fittings, jewellery, glass, porcelain and general collectables
Open 7 days 10 am to 6 pm
Phone: 02 9692 9577 Fax: 02 9692 8611
The largest collection of genuine antique furniture in Sydney!
Email: [email protected]: www.glebeantiques.com.au
www.desksofdistinction.com.au
Porcelain, glass, lighting, metalwork, prints, Lalique, Victorian, Edwardian & French furniture, ephemera, watches,
Ssetting a new standard
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statuary, silver, ceramics, advertising, clocks, kitchenalia, bakelite, perfume bottles, oriental, costume jewellery, cruets
212–220 Parramatta Rd, Camperdown NSW 2050Phone 61 2 9550 5554 Fax 61 2 9550 4990Email: [email protected] Open 7 days 10 am–6 pm Off-street parking
WE BUY, SELL, HIRE AND TRADE
1 England: Birmingham, Sterling silver three-piece gentleman’s cutlery set, 1855, $850
2 Vintage Noritake (Japan) Coffee service, 1931, consisting of 15 pieces, in mint condition, $750
3 Napoleon III period gilt French over mantle mirror, with pierced arched top, $6,500
4 Royal Worcester hand painted lidded vase, c. 1894, $2,250
5 Rare Nailsea glass lamp, c. 1820 in superb condition, $3,500
6 Empire style Dutch cabinet, c. 1850, $11,500
7 Signed pair of Meiji bronze vases decorated with cockerels, inlaid with gold and silver, c. 1868-1912, $1,950
8 American silver plate and crystal table centerpiece, c. 1880, $4,350
9 Impressive vintage wing chair and matching ottoman, set on ball and claw feet, full down filling, fabric upholstery, $1,750
10 Royal Worcester jardinière, 1909, painted by J Southall, $4,750
11 French brass eight-branch light fitting, signed Moran, $6,500
12 Pair English majolica vases decorated with love birds, $6,900
13 Diana (Sydney), Trough shaped vase, c. 1947, design 63, $95
14 9 ct gold bracelet, $1,200
15 French gilt uphoplstered lounge, matching ottoman, c. 1880, $10,000
16 Germany: Outstanding lidded vase, hand painted decoration, h: 1 metre, $6,500
17 Six arm chandelier in gilt ormolu, four ornamental putti, $7,500
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QUEENSLANDA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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950 Stanley Street East (cnr Longlands Street), East Brisbane QLD 4169
Phone 61 7 3391 2300 Fax 61 7 3391 2331
Email: [email protected] Website: www.lavinantiques.com.au
Trading seven days a week 10 am – 6 pm
Aavin
ntiquesL
FURNITURE · CHANDELIERS · CERAMICS · PAINTINGS · RUGS · TEXTILES
Importers of fine quality antiques
Mahogany breakfront cabinet in the Chippendale manner h: 220 x w: 185 cm
QUEENSLAND / VICTORIAA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Antique Print & Map CompanyCamford Square corner Douglas & Dorsey Sts
MILTON Brisbane Wednesday – Saturday 10 am – 5 pm
Phone 07 3368 1167
Open all hours..
Join the Antique Print Club at
www.antiqueprintclub.com
VICTORIAA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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BATHROOMS & ACCESSORIESLIGHTINGOUTDOOR, TEAK AND IRON
FIREPLACES TILES & PARQUETRYDOORS & HARDWAREVENTS
FURNITURE
Schots Home Emporium delivers a truly eclectic range of classic and architectural furniture, fittings and fixtures to define your home.
Visit our newly renovated, expansive three level galler y, unear th the uncommon and discover that Schots offers you a unique shopping experience like no other.
400 Hoddle Street, Clifton Hill VictoriaTelephone: 1300 463 353 • Web: www.schots.com.au
VICTORIAA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Valentine’sAntique Gallery
Valentine’s Antique Gallery369 Hargreaves Street, Bendigo, Victoria 3550
Phone: 03 5443 7279 Mobile: 0418 511 626 Fax: 03 5442 9718Email: [email protected] www.valentinesantiques.com.au
A u s t r a l i a nAn t i q u e an d A r t D e a l e r sA s s o c i a t i o n
IMPORTERS OF FINE QUALITY ANTIQUESESTABLISHED 1947
Please refer to our website: www.valentinesantiques.com.au for a full listing of new stock
Fine quality Victorian ebonised reverse breakfront four door cabinet with hand painted Vienna plaques and decorative gilt mounts, c. 1870s
Pair fine quality French Louis XVI style gilt bergère chairs. c.1870s
MATCHAMA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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AUSTRALIA’S FINEST COLLECTION OF RARE AND IMPORTANT ANTIQUE MAPS
GOWRIE GALLERIES
The first printed map to show any of the Dutch discoveries in Australia, Jodocus HONDIUS c. 1624
Detail of Australian discoveries
Please note new contact details for Gowrie GalleriesPO BOX 276 TERRIGAL NSW 2260
Matcham studio: Phone: 02 4365 6399 Mobile: 0417 040 902 Fax: 02 4365 6096EMAIL: [email protected] • WEBSITE: www.gowrie-galleries.com.au
OUR STOCK INCLUDES15th – 18th century world maps
Australian maps from the 17th century onwardsMaps of Southeast Asia and the Pacific
❖ ❖ ❖Expert advice on all aspects of map collecting
Full research, evaluation, restoration and framing serviceCollections and individual items always considered for purchase
Extensive range of decorative antique engravings
A N T I Q U E S & A R T I N N E W S O U T H W A L E S
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As early as ancient classical times Greek andRoman scholars were hypothesising aboutthe existence of a globally shaped world with
a large land mass in the southern hemisphere. Thiswas concluded by reason of balancing the known landmasses in the northern section of the globe with thislarge southern continent.
This concept of terra australis incognita (unknownsouthern land) was given such precedence that it waseventually taken as factual. Ptolemy, Eratosthenes andothers represented it on their maps, some as early asthe first century BC. Claudius Ptolemy, the mostinfluential cartographer of the ancient world, hadAfrica linked to the unknown southern landmass inhis maps. The belief in a great southern land wasgiven more credence when Marco Polo reported theexistence of three locations – Beach, Lucach andMaletur – just south of the lands now known as SouthEast Asia. One of these locations falls directly on thecurrent position of Western Australia.
From the late 13th century, after Marco Polo haddiscovered the Orient and had brought back to Europecolourful stories and treasures of the East, Europeanslusted for more accurate reports and contact with theother side of the world. Land trade routes with Asiaover the silk road, and Arab coastal trade routesbrought back to Europe newly discovered and soughtafter products. However these routes proved to beslow, dangerous with pirates, and hazardous with warand local taxes thus hampering the free flow of trade.
With the Turkish empire’s dominance ofConstantinople in 1453 and further trade restrictionsimposed by the Turks, the discovery of an alternativesea route became of paramount importance. With thispush for growth of trade coupled with the explorationand discovery of suitable sea routes, camegrowth of wealth and power. The knowledge oflocal coastlines, currents, tides and trade windsbecame of absolute importance to traders andgovernments alike, and maps displaying thisinformation were closely guarded as were anynew discoveries made by seafaring captains. Thenations and traders that possessed cartographicalknowledge of new sea routes therefore had amajor advantage over other competing countries.
Two other factors emerged that further fuelledthe lust for exploration of the East; the desire ofthe Christian world to convert newly exposedheathen populations and the basic curiosity thata ‘civilised’ people had for discovery and hopeof finding unfamiliar populations, cultures,strange flora and fauna and unusual landscape.
The invention of movable type by Gutenbergin the mid 1450s led to the development ofwoodcut print that allowed for maps andillustrations to be easily reproduced anddistributed throughout the world, allowing easyaccess to newfound knowledge and discovery.
As traders rapidly added to knowledge of theunknown world, cartographers were able todisseminate this information to the eager eyes ofthe Europeans more easily.
With Dutch discoveries of lands south ofJava and New Guinea in the early 17thcentury, the drive to once and for all prove theexistence – or otherwise – of a southerncontinent, gained huge momentum.
In 1630 the well-known Dutch cartographerHendrick Hondius produced his famous world mapshowing the early Dutch discoveries of Cape YorkPeninsular. Willem Blaeu, official cartographer tothe Dutch East Indies Trading Company, alsoproduced a map of the East Indies showing for thefirst time on a regional map the Dutch discoverieson the west coast of Australia.
With this knowledge came further desire to onceand for all establish the existence of a GreatSouthern Land. The Dutch East Indies Companywished to further expand its commercial controland increase its profits, as did the Dutchgovernment who wished to expand its power andestablish other sea routes, allowing uninterruptedshipping throughout the year. So finally in 1642-43
and later in 1644, Abel Tasman was commissionedto undertake two voyages of discovery in the shipsHeemskerck and Zeehaen to categorically find theevidence of a southern continent.
His first voyage covered an area fromMauritius, from where Tasman sailed south, theneast to Tasmania. After discovering the islandwhich now bears his name, he went on to chartthe west coast of New Zealand. Finally, Tasmanand his crew sailed north returning to Batavia inJava, the headquarters of the Dutch East IndiesCompany. Tasman had at last established thelimits of Terra Australis.
All but the east coast of Australia remainedunmapped and, except for a few hypotheticalattempts by the French in the mid-18th century tolink New Guinea to Tasmania in one continuouscoastline, no serious development in the mappingof Australia occurred until 1770 with James Cook.
The careful recording of these discoveries hasproduced a wealth of cartographicaldocumentation. Mapmakers from every nationcompiled this information not only in manuscriptcharts, but also in numerous Bibles and atlases.
From the first printed world map in 1472 rightthrough to 1700 no fewer than 630 individualworld maps were published, often in multipleeditions. This form of charting of discoveries wasprolifically documented, none more so than withthe discovery of Australia. It in fact remains oneof the best-printed records of any country.
This wealth of cartographical history hasprovided us with a treasure chest of maps:scientific maps, glorious, richly decorated worldmaps (displaying all the talents of true artists),inaccurate and quaint hypothetical maps, celestialmaps and many more.
Over the last decade the interest in collecting allkinds of maps has grown tenfold. The European,American and Australian markets and to someextent the Japanese market, are becomingincreasingly interested and informed about buyingworld and regional maps. Because of the hugescope in the various areas of map-making,collectors can choose many different criteria tobase their collection on.
World maps probably display the mostversatility from the collector’s point of view,however the sheer beauty of some world mapsmakes them a desirable item for art loverswishing to have an informative and uniquepiece. The world map by Dutch mapmaker J Blaeu is not only a highly decorative andtypically 17th century allegorical doublehemisphere map, but is also historicallyimportant. It is one of the very first world mapsto show the discoveries made by Tasman in NewZealand and Tasmania in 1642-43 as well asthose in Cape York Peninsular in 1644.
The literature and reference material available onworld maps means that even the novice collectorcan be well informed about the history andavailability of material. The relative commonnessof some world maps has meant that attractivepieces, even those published as early as the 17thcentury, can be obtained without too muchdifficulty and with relatively little expense.
As well, it is still possible to purchase mapspublished as early as the late 15th century, andfrom time to time extremely rare and importantpieces come up for sale.
One such rarity is the early Ptolemaic map of theworld by Horstmann Schedel published in the 1493Nuremburg chronicle The map is bordered on the
left-hand side by quasi-human creatures who weresupposedly inhabiting the earth in lands yet to beexplored. The map itself shows a rather crude viewof the world but was the best-known geographicalwork of its time published just six months afterColumbus’ discoveries of the Americas.
A quaint and naïve world map by Bunting of1581 is another map of great interest. Theintriguing feature of this map is the inclusion of aland mass, on the bottom right hand side thatresembles remarkably the shape of the westernAustralian coastline and is in the correct position.
However being published in 1581, it pre-datesthe known Dutch discoveries of that region byHartog and others after 1616. Many peopleconsider that this map adds great weight to thebelief of the Portuguese discovery preceding thatof the Dutch.
The interest in the field of map collecting seemsto have retained its appeal and fervour over thecenturies. Collectors have the choice of specialisingin those weird and delightfully inaccuratehypothetical maps, to the intricate and artisticallegorical creations of the Dutch cartographersthrough to historically important maps of discoverysuch as those made by Blaeu and Hondius.
Although there is now a penchant for
reproducing these wonderful mementos ofhistory en masse, the original item has anintrinsic and precious quality. Given the age ofsome of the maps that are available for sale,they are surprisingly affordable, and moreimportantly give us all a gateway to thethoughts and visions of the peoples wholonged to know more about the world theylived in ●
Simon Dewez and Monique Jacobson GOWRIE GALLERIES02 4365 6399www.gowrie-galleries.com.au
ReferencesRodney Shirley, The mapping of the world; early printedmaps 1472-1700 (London: Holland Press, 1984)Günter Schilder, Australia unveiled: the share of the Dutchnavigators in the discovery of Australia (Amsterdam:Theatrum Orbis Terrarum, 1976)Robert Clancy, So came they south(Sydney: Shakespeare Head, 1988)Thomas Perry, The discovery of Australia: the charts andmaps of the navigators and explorers(Melbourne: Nelson, 1982)Ronald Tooley, The mapping of Australia and Antarctica(London: Holland Press, 1985)
J Blaeu, Nova ... orbis tabula, 1662 H Schedel, Untitled, 1493
Latest catalogue
PRINTED WORLD VBeyond Settlement
A catalogue of rare world, Australian, Southeast Asian and Pacific maps from 1493 to 1847
featuring a fine selection of 17th-century Dutch sea charts of Australia
For orders 02 9387 4581
AUSTRALIA’S FINEST COLLECTION OF RARE AND IMPORTANT ANTIQUE MAPS
OUR STOCK INCLUDES15th – 18th century world maps
Australian maps from the 17th century onwardsMaps of South East Asia and the Pacific
❖ ❖ ❖Expert advice on all aspects of map collecting
Full research, evaluation, restoration and framing serviceCollections and individual items always considered for purchase
Extensive range of decorative antique engravings
GOWRIE GALLERIES
1486 Ptolemy Ulm world map in fine original colour
Please note new contact details for Gowrie Galleries from 2010PO BOX 276 TERRIGAL NSW 2260
Matcham studio: Phone: 02 4365 6399 Mobile: 0417 040 902 Fax: 02 4365 6096EMAIL: [email protected] • WEBSITE: www.gowrie-galleries.com.au
THEMAGICOF MAPS
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Abner Cutler of Buffalo New Yorkgained the first American patent for thetambour roller in his roll top desk in
1850, followed by several more patents to staveoff competition from other desk manufacturers.
Furniture was the biggest American exportindustry from 1880 to 1920. Americanmanufacturers replaced individual Europeanhandmade furniture with the assembly line,streamlining production to reduce time andcosts. There was quality timber availablelocally and cheaply, particularly oak and blackwalnut, as well as an increasing supply ofskilled labour especially from Europe, andefficient rail and water transport to domesticand overseas markets.
ROLL top desksCutler did not invent the roll top desk. The
famous Bureau de Roi made by Jean-FrancoisOeben and Jean-Henri Riesener was the firstroll top recorded, made in the 1760s for KingLouis XIV’s new palace at Versailles. Oeben,a genius in mechanical design, developed thetambour and the locking mechanism and bothinnovations were keys to the roll top desk’spopularity in the following century.
English cabinetmakers copied the French,with a tambour writing table illustrated inHepplewhite’s 1788 book, The Cabinetmakerand Upholsters Guide. Produced until the1850s, the English roll tops were expensiveand so the quantity made was quite small.
‘A place for everything and everything inits place’ was a 19th century value so the rolltop desk’s capacity to house and securecorrespondence items appealed to theincreasingly literate, exponentially growingmiddle class in North America and Europeand its colonies. The roll top desk wasfashionable and a status symbol, implyingpossession of wealth and education. Exportdestinations included French and Englishcolonies, including Australia.
AMERICAN roll topsThe commercial promotion and lower prices
of American desks helped ensure theirpopularity; many still exist, testimony to theiroriginal good designs, manufacturing standardsand their valued function. At least 90 per cent ofroll tops were made in the USA.
Methods of production were altered in theUSA, introducing scales of production andquality controls, so reduced costs meant thatprices could be more than halved. Advertising inthe domestic and international marketplacesincluded a system of grading of desks to satisfyeach budget, usually proportional to size.
Trade labels and markings to look forinclude The Cutler Desk Co (Buffalo NewYork), The Shannon File Co, Geo. H. Derby &Co (Boston Massachusetts), The StandardDesk Co and the Wootton Desk Co(Indianapolis Indiana).
AUSTRALIAN connectionThe Cutler Desk Co exported roll tops to
Australia from the 1880s until the 1950s andsuccessfully maintained sales throughout.Cutler was just one supplier to Australiabecause most of the roll tops available today,even without labels, are American. It is rare tofind an Australian made roll top, other thanthose by the Dickens Desk Co in Melbourneand Beard Watsons in Sydney.
Given the number of roll tops producedover such a long period, it is puzzling that thelayout, with minor deviations, is alwayssimilar. Variations may be in height or thenumber of shelves, or the writing surfacesmay have tooled leather. While mainly in oak,occasionally one sees a walnut roll top – orquite rarely, one of mahogany.
MODERN use for roll topsAntique and vintage roll top desks are
available in a range of prices, depending onage, the quality of materials, decoration,rarity, condition and provenance. Some desks,like the Cutler roll top, are rarer than are otherroll tops.
While the proliferation of paper leaves theroll top looking somewhat inadequate, itis still a very useful item in thestudy or anywhere else in thehome, or adds a vintage touch tothe office.
The roll top has adapted to newtechnology, as they are perfectly suited to flatmonitors and laptops. There is plenty of roomfor the tower and printer in the knee tunnel oron the very top of the desk ●
Garry AutonGLEBE ANTIQUE CENTRE0412 081 049sales@glebeantiques.com.auwww.glebeantiques.com.auwww.desksofdistinction.com.au
THE CUTLER ROLL TOP DESK: Mysteries and myths
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GLEBE ANTIQUE CENTRE
Small oak roll top desk, c. 1920, $1650
18th century Georgianbureau with Arts and Craftsbrass handles, $5650
Australian cedar small desk,Edwardian. Green leather tooledwriting surface, $2650
Oak double pedestal desk with ninedrawers and leather top, $2500
Victorian/Edwardian cedarlibrary table with tooled leathertop, c. 1900, $2250
French walnut double pedestal deskwith 18 drawers including two cashdrawers, c. 1910, $7850
Australian Art Deco partners desk withleather top, c. 1930, $3850
Sheraton-style bonheur du jour withleather writing surface, $2850
French Belle Epoch leather top,cherrywood desk with cashdrawer, $3250
French rosewood kidney shapeddesk with tooled leather top. Artsand Crafts, c. 1920, $1850
2 Levels at 62 Parramatta Road, Glebe (opposite Sydney University Vet Dept)www.glebeantiques.com.au • www.desksofdistinction.com.au • email: [email protected] • email: [email protected]
OPEN 7 DAYS 10 AM - 6 PM Parking and other entrance rear of building at 74 Arundel St, Glebe Ph 02 9692 9577
‘Dickens’ desk in mahoganydouble pedestal, of smallproportions, c. 1860, $3850
Satin walnut double pedestal tooledleather top Australian cedar partnersdesk in Georgian style, $2450
Desks of Distinction
ANTIQUES & MOREIncorporating Gaslight Antiques
“OUR REPUTATION IS YOUR GUARANTEE”
Benefit from our forty years of dealing in individually selected pieces of genuine antique furniture
Antiques & More, 66-70 Parramatta Road Glebe (Opposite Sydney University Vetinerary Hospital entrance)OPEN 7 DAYS 10.30 am - 5.30 pm • Phone: 02 9557 8929 • [email protected] • www.antiquesandmore.com.au
ANNANDALEA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Many customers who havedownsized lament the loss of theirantique furniture not designed for
modern smaller homes. This and the highdemand for small functional pieces offurniture sent me to the United Kingdom,Paris and the north of France. Exploringwholesale fairs and markets, I sought qualityfurniture and light fittings suitable for thesmaller scaled apartment, town house or semi-detached home.
By the end of the trip I had assembledenough pieces of French lights and smallfurniture for a container. Specifically chosen
for the Australian home, this eclectic mix willbe in store from January 2011.
COMPACT antiques for today Side cabinets, some with marble tops, are very
adaptable as occasional side tables, while a pairmakes practical and romantic bedside tables. Manyhave a single drawer over a single door cupboard,while others are former commodes. The practicaldrawer is ideal for accessories, while the cupboardcould holds books, for example.
Among the small tables are diminutivedrop side Pembroke tables and art nouveautwo-tiered tables. A three-tier fold up stand
will serve whatever purpose you need,whether as a side or serving table in thedining room, or to display your collectables,or be a beautiful and practical filing table inyour home office – tax time will be a pleasurewith this item.
A pier cabinet, finely inlaid and in smallproportions, sits under and is in proportion toa window, ready to hold delicate treasures. Itprovides a tabletop for fresh flowers in anheirloom vase, or a cluster of photographs offriends and family in silver frames. Imagine agilt vitrine displaying your favouritecollection, the finely applied gilding giving amodern-scale room the wow factor.
CREATING a spatial illusionMirrors are the interior designer’s key secretfor smaller modern homes, as they create anillusion of space and reflect available light tobrighten even the darkest room. Exceptionallarge gilt mirrors are wonderful in smallapartments to open up an area, or to greetvisitors when placed opposite the entrance.Smaller mantel-sized mirrors look wonderfulabove a small cabinet or table, creating afocus in a functional space such as a hallway.I’ve seen such a mirror hanging in a laundryto add glamour and reflect light onto thedullest of domestic duties.
ADD a French accent to an interior
Paris earned the City of Lights nicknamewhen Les Grands Magasins du Louvre wereilluminated during the Paris Exhibition of 1878,one of the first capital cities to light its streets.
A large range of French antique and vintagelighting, varying from ecclesiastical candlesticksto fabulous chandeliers is on its way to Eliza JaneAntiques. The French have taken lightingseriously, since the Roman hand lamp, followedby the common hanging oil pan light and usingtallow candles for over 1500 years.
France developed sophisticated and highlydecorative light fittings by the 14th century,and the French passion for accent lights haslead to a plethora of surviving pieces acrossthe eras. The French have continuouslyimproved the first simple hanging light inheavy bronze, silver or iron, known as acorona (Latin for crown), that had a coneshaped socket serving to catch the drippingtallow as well as hold the candle.
In store will be 19th century bronze artnouveau ceiling lights, alabaster bowl lights andcrystal ceiling lights that will bring style to aroom. The timelessness of Art deco wrought iron
and glass ceiling pendant lights are among thestylish stock arriving early in 2011.
Another decorative lighting option is thatof traditional candlesticks that are bothutilitarian and decorative. The Frenchabsorbed Far Eastern influences such as theurn and ball shapes of the baluster stemcandlestick. These elements remain intraditional ecclesiastical wares. I have sourcedFrench ecclesiastical candle stands forAustralian collectors. Add a statement to atable with a unique Régence triple footcandleholders that will be the talking point ofevery dinner party.
I selected lights in many styles that reflect(no pun intended) the history of electricity inFrance, such as a late 19th century gas lightconverted to electricity and art deco tablelights. Standing lamps are highly adaptablewhether as reading lights or to create focuslighting without full overhead lighting. Torchèreslight up art on the walls and highlight decorativeceiling treatments. The art nouveau ‘whiplash’standing lamps and wrought iron and copperstandard lamps give a sculptural dimension to acorner of any room.
Since the 12th century, iron and bronzechandeliers have been used in France,originally with removable scroll armsradiating around a solid central sphere. Awonderful ecclesiastical embossed crystalpendant waterfall chandelier is a prizedpurchase that only one discerning customerwill be lucky enough to take to its newAustralian home ●
Visit Eliza Jane Antiques in Annandale tosee the fresh stock from France and the UKand select un cadeau Français for your home.
Jane RushELIZA JANE ANTIQUES02 9518 6168 / 0416 167 151Jane.Rush@ElizaJaneAntiques.com.auwww.ElizaJaneAntiques.com.au
REFERENCESIan Cameron & Elizabeth Kingsley-Row (eds),Collins Encyclopedia of Antiques (London,Glasgow: Wm Collins Sons 1977)Florence de Dampierre, Chairs: A History(New York: Abrams 2006)Judith Miller (ed), Miller’s AntiquesEncyclopedia (London: Reed Consumer Books 1998)Barbara Milo Ohrbach, Antiques at Home(Moorebank NSW: Doubleday 1989)Lisa Norfolk (ed), Miller’s Antique Price Guide2002 (Tenterden England: Octopus Publishing 2001)Stanley Wells, Period Lighting (London: PelhamBooks 1975)Wikipedia.org/wiki/Chandelier
Whether downsizing or looking for French inspired lighting options BE INSPIRED AT ELIZA JANE ANTIQUES
Eliza Jane Antiques
* SPECIALISTS IN GENUINE ANTIQUE LIGHTING *Large showroom with an extensive collection complemented by quality furniture, timepieces and decorative & collectable items.
OUTDOOR TERRACE DISPLAYING WATER FEATURES AND GARDEN ART
Phone 02 9518 616834C TAYLOR ST
ANNANDALE NSW 2038BUYING & SELLING
Full restoration service for lighting and metal polishing
www.elizajaneantiques.com.au
NEW SHIPMENT
Container due now from France
ANNANDALEA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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The specialists in onsite home contents auctions & private collections
Auctioneers & Valuers Since 1884
The Holmes à Court Vintage Gramophone Collection October 2010
The Moulin Rouge Props & Costumes Sale Parts I & II Jan 2010
The William O’Loughlin Collection of Sporting Memorabilia August 2010
WWI Diary, Medals & Effects of Joseph H. Cock November 2010
‘Camellia Court’ Wahroonga Onsite Home Contents Sale May 2010
The ‘Abbey’ 1884 Two Day Onsite Contents Sale May 2009
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BALMAINA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Made from reclaimed Australianhardwoods and imported Frenchoak, our floors are designed to last
several lifetimes, growing in beauty andappeal as they age.
Antique Floors was founded in 1996 underthe creative direction of John Fredriksson. Hispassion is taking salvage timber and giving itnew life in a new home. John’s quest for finewood stretches from century old French
oak to Australian heritage buildings and old woolsheds.
The reclaimed timber is cut to size, sandedby hand and restored with natural oils, readyto create traditional designs to fit any roomand setting. The Balmain warehouse displaysthe finest quality handcrafted timber flooring.With these floors, you are walking on historywhile you are creating your own.
Antique Floors invites you to drop by theirlarge showroom specifically designed to showtheir floors in different settings. Here you see anextensive range of wood as well as the latestaddition of new leather floors imported fromPortugal. Also on offer is a bespoke range ofarchitectural elements including antiques, custommade tables, libraries and wine cellars.
While at the Balmain warehouse, take timeto visit the Red Door Gallery with itschanging art exhibitions ●
John FredrikssonANTIQUE FLOORS02 9810 [email protected]
WORKS OF ART YOU CAN WALK ON: French provincial and handcrafted floors
BALMAINA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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With an unwavering passion fororiginal club sofa leather chairslovingly sourced from the UK,
France and Belgium, Leanne enjoysshowcasing leather club chairs in her Balmainstore’s relaxed and friendly environment. Shealso shares with you the history of thesechairs. Leanne believes that club sofa leatherchairs are the absolute epitome of style, taste and comfort.
Up until the 17th century, a chair was autilitarian wooden seat and back, unless ofcourse it was a regal throne. Furniture makersbegan adding arms and applying upholstery tomake chairs more comfortable and less rigidand utilitarian, as well as lowering seats fromdining chair height. This was when the word‘armchair’ was coined as a description, firstrecorded in 1636 for the French chaise à bras.
With the rise of the middle-class, family lifedeveloped and the chair with arms becameconvenient for conversation and due to itssober form and decoration, it became more comfortable.
In the 18th century, high backed padded chairswere made for those who could afford suchstyles. For those in need of extra comfort, evenwhen padded, such chairs did not have the clubchair reassurance – that ‘sink-into-it’ comfort.
Victorians invented the fully sprung, fullyupholstered easy chair and in this period, theclassic deep-seated well-padded and low-backed club chair developed.
The word ‘club’ in the term club chair,harks back to the development of gentlemen’s
clubs in 19th century England, Europe, USA and Australia where wealthy gentlemenwith leisure time and means gathered away fromtheir households and women. There they couldsink into a well upholstered leather chair andrelax with a drink and more than likely a cigarand men’s company. Many Victorian leather clubchairs were button-backed, companion pieces toChesterfield sofas, also a 19th century design.
The dictionary definition of a club chair is ‘aheavily upholstered easy chair with arms and alow back.’ Although any fabric can be used to
upholster it, leather, being the quintessentialgentleman’s furnishing material, has beenconsistently popular. These original covetablechairs are what Leanne sources around the world.
In the 20th century, the club chair developed intwo different directions. One possibility was atraditional overstuffed or well-padded chair,perhaps with a sofa as part of a matched suite. Itwas extra roomy with its deep seat, low back andslightly curved back and front.
Classically, but not exclusively, it would havebeen covered in leather. Today we can see the
amazing history of each club chair by the leather’spatina, markings and shadings to the originalupholstered leather hides.
By contrast, there were also streamlinedmodern designs, notably by architect Mies vande Rohe. The popularity of the chair surged inthe 1920s when French art deco designerscreated variations.
An iconic chair, the original club sofa leatherchairs has resurfaced as a household favourite inspite of the oversupply of modern andreproduction furniture. Currently in stock atquintessential duckeggBLUE, our club sofachairs range from English 1890s through toFrench 1940s. In Leanne’s opinion, this is themost comprehensive range in Australia withquintessential duckeggBLUE striving to be theleading authority and retailer of club sofa chairs.Club sofa chairs combine style with taste as wellas being a functional classic piece of furniture.
The quintessential duckeggBLUE onlinewebsite is updated weekly with all the latestcovetable finds. You are welcome to sign up forour VIP mailing list to ensure that you areinformed when new stock arrives. Of course,clients are encouraged to visit Leanne’s store toview these unique pieces personally.
Drop by into our relaxed environment andspend time discovering our industrial and antiqueobjects lovingly sourced from all over the worldand perhaps sink into a leather club sofa chair ●
Leanne Carter-Taylorquintessential duckeggBLUE02 9810 4330www.duckeggblue.com.au
What makes a 1930s leather club sofa chair quintessential?
quintessential duckeggBLUE has the answers
www.duckeggblue.com.au497 Darling Street, Balmain NSW 2041
p: 02 9810 4330 e: [email protected]
BALMAINA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Almost 50 shops bursting withfresh stock for collectors are tradingat the Balmain Road Antique Centre,
which opened in Lilyfield in September 2010.This slick, exciting and diverse antique centrehas many rooms and varied shops. We areopen for pursuing, browsing and purchasingevery day of the week!
Dealers at the Balmain Road AntiqueCentre source antiques and collectables from
all over the world, filling this huge warehousespace with unique and special treasures. Thisantique centre showcases a variety of stylesand periods of furniture and objects, withplenty of English and Australian antiques. Thecurrent popular styles that new andestablished collectors seek are stocked inabundance: early industrial, art deco, retro,mid-20th century modern as well as rustic andall manner of exotica.
As the antique centre’s stock is fresh andcontinually being updated, you are sure to findamong the almost 50 dealers at least one item tosurprise you or a friend. We especially encourageanyone seeking a special piece to set off a room orto complement an established collection to cometo Balmain Road Antique Centre first, as there aremany items never previously on offer in Australia’santique industry.
SEVEN days a weekBalmain Road Antique Centre is always
open, seven days a week. We open at 9 am andplan to close at 6 pm, although often stay open
later to accommodatecustomers and our
passionate dealers. Notethat during the festiveseason, we close onChristmas day and NewYear’s Day, but are open
all public holidays.
EASY to find and parkLocated 500 metres from Victoria Road
Rozelle, turn onto Darling Street that is renamedBalmain Road after five cross streets. Locallandmarks include the Callan Park health centreand the Sydney College of the Arts across the road.There is plenty of street parking and somecustomer parking from the Alberto Street entrance.
In terms of public transport, Balmain RoadAntique Centre is serviced by bus and light rail.Bus routes L37, 440 and 445 travel along BalmainRoad directly to the antique centre. Victoria Roadis a major bus corridor for buses travelling to andfrom the city. Lilyfield Light Rail Station islocated approximately 600 metres south andsmoothly conveys collectors and their treasures toDarling Harbour and Central Railway Station ●
Take a stroll through the Balmain RoadAntique Centre and browse the ever-updatedstock on our website. You will be surprisedand delighted by what you discover at the new
BALMAIN ROAD ANTIQUE CENTRE is the newest antique centre in Sydney!
New exciting antique centre
Balmain RoadA N T I Q U E C E N T R E
Open 7 daysTrading hours 9 am – 6 pm
It’s here! Peruse to your heart’s content.Our fabulous stores –
RETRO! GLAMOUR! EXOTICA! CURIOS!You’ll find it all here!
483A Balmain Road Lilyfield NSW 2040Telephone 02 9818 4990
BALMAIN ROAD ANTIQUE CENTRE02 9818 4990info@balmain-road-antique centre.com.auwww.balmain-road-antique-centre.com.au
BALMAIN / PARRAMATTAA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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‘Hanging a good mirror is just likehaving an oil painting displayedproudly in a room. It always
makes a powerful statement,’ says MarionMalcolm of Balmain’s well-known antiqueand collectables shop Malcolm Antiques. ‘I’veseen furniture fashions come and go butmirrors are always important and in vogue.They are immune to fashion whims. Nothingcan replace their ornamental, decorative andfunctional value.’
MIRROR, mirror on the wallMirrors have been part of society and culture for
thousands of years, starting with the simplicity ofreflections in dark, still water. The first mirrorswere from polished metal, with Romanarchaeological evidence of small personal mirrorsbacked with gold leaf, and developments throughto the amazing choices we have today. Size andquality of mirrors were only restricted by therelated technologies of glass manufacture and theskill of craftspeople.
Mirrors in shops like Malcolm Antiques aremostly 19th and 20th century examples. Alwayspractical, the reflective effects for room mirrorswere almost always made with woodensurrounds. The more expensive the over mantlemirror, the more ornate timber frame carving.
Often a cheaper material, gesso (plaster ofParis) was used to embellish the frames toresemble carving. Larger mirrors were placedprimarily over fireplaces to create as muchreflected light in a room as possible in thatdimmer and more subtle world of the 18th and19th centuries.
WHAT TURNS glass into a mirror?
The use of a metallic backing creates themirror effect when applied as a thin layerunder the glass – silver has been the preferredmetal. You may have seen a patchy metalliceffect on old mirrors. It is enough to makesome people want to replace the old silveringto create modern visual perfection.
Conservation versus restoration is thethorny issue for mirrors. With an old mirror,the value rests in the broken silver effect – itis the patina of a mirror.
MIRRORING SocietyOld European mirrors had candle brackets
attached to the mirror frames to double, throughreflection, the lighting effect of candles. One’srelative wealth was evident by the number ofmirrors in a reception room and crystalchandeliers creating prisms of light from candles.
As a classy curiosity, be on the lookout for
the small rounded 19th century convex mirror.It is a delight to notice the spread of light andvisibility in this mirror – and was such auseful aide for servants long ago to watch anentire room.
Hand held personal mirrors were sonecessary in the lady’s boudoir. The adjustablelarger cheval mirrors attached to stands weresuited to dressing rooms for men and women.They all had timber frames holding theirbevelled glass. Still today, bevelled glass is amark of quality in a mirror.
Each era has popularised mirrors in itsfashionable forms: the curve and floral art ofart nouveau styles, the charm of the arts andcrafts movement or the more geometric design ofart deco mirrors. These are smaller than overmantle mirrors and still add decoration andpractical drama to any room. Place them andlarger mirrors in your home where their powers toreflect views or light are maximised.
‘I will never know who long ago has staredinto these old mirrors. Mirror, mirror on thewall what stories you could tell us about whowas the fairest of them all,’ muses Marion.
Malcolm Antiques is open from noon eachTuesday to Sunday (closed Mondays) and isexactly halfway between Balmain andRozelle, at 450 Darling Street opposite thefamous Cat & Fiddle Hotel ●
MALCOLM ANTIQUES 02 9810 9333 / 0409 037 651
REFLECTION IN BALMAIN’S ‘WINDOWS TO WATCH’
An unusual collection of porcelain, furniture, glassware, paintings and collectables
~WE BUY & SELL~
450 Darling Street Balmain, NSW 2041Ph: 02 9810 9333 AH: 02 9629 1302 Mob: 0409 037 651
Tues, Wed, Thur, Fri, Sat 12pm - 6.30pm, Sun 12pm - 5.30pm - Closed Monday
WE CAN SUPPLY THAT ELUSIVE ONE-OFF PIECE,OR A COMPLETE HOUSEFUL
Please call in and peruse our diverse collection:• furniture 1800-1930 • porcelain & glassware
• Australian pottery & bottles • architectural antiques• kitchenalia & advertising • paintings & prints• and a ‘never ending’ collage of collectables
open 7 days ~ 10 am to 5 pm78 PITT STREET PARRAMATTA 2150 (next to freeway overpass)
PHONE 02 9633 3426 or 02 9891 1727
NORTH SHORE TO HORNSBYA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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In this edition I deal with the tricky subjectof investment collecting. As collectors, youmay like to consider a shift into collecting for
profit as well as for enjoyment.As proprietor of Edith Elizabeth Antiques,
located in St Ives Shopping Village, I comeacross many items that I consider to be goodinvestments such as sterling silver, Georgianfurniture, porcelain, art, postcards, toys,clocks, and jewellery. There are a variety ofprice ranges, suitable for any budget, withineach of these areas.
This article relates to antique sterling silver.The price of silver in the market is increasing.With the price of gold becoming almost out ofreach, I believe hallmarked sterling silvermakes a great investment.
When considering a sterling silver piece, the two most important things youshould have are an eyeglass, or loupe, and asmall hallmark book that can found in mostbookshops. Condition is the most importantfactor to look for in an investment piece. If apiece has been damaged, repaired, or partsreplaced, bear in mind that it may be difficultto resell.
BEGINNING a collectionAn investment collection can be simply
started for as little as $85 with the purchase ofa hallmarked sterling silver spoon. Forsomeone just starting to collect, the hallmarkson spoons are very clear and easy to find.
HALLMARKSThey are distinctive stamps on the back of
the spoon. If you see a lion passant (a heraldiclion walking with one paw raised) you mayhave found a piece of English sterling silver.The hallmark will also show a town mark, adate letter, and possibly a maker’s mark. If onespoon isn’t enough, you may want to collect awhole set of table silver. You can collectindividual pieces to make a harlequin set orbuy a complete set with matching dates andmaker’s marks.
COLLECTING by eraThere are many variables within silver
collecting. The price, and resale value, willvary depending on the age and the maker ofthe piece. One way to collect silver is byconcentrating on a certain period. Forexample, you may choose to collect 18thcentury silver, which is becoming rare anddifficult to find. Victorian and Edwardiansilver are easier to find.
COLLECTING by makerAnother way of collecting silver is by the
maker. Over the centuries, there have been anumber of silversmiths whose work farsurpassed other makers. Arguably, the threemost notable London silversmiths were Paulde Lamerie (1688-1755), Hester Bateman(fl.1761-1793) and Paul Storr (1771-1844).While there are thousands of silversmiths tochose from, also look out for Nathaniel Millsand George Unite, who made mainlysnuffboxes and vinaigrettes; their work is easyto find and collect.
COLLECTING by objectAnother way to compile your collection is
by objects, for example tea or coffee ware,cruet sets, drinking vessels, or even jewellery.The choice is entirely up to you.
Remember, with sterling silver, you are notonly surrounding yourself with beautifulobjects, you are also building a soundinvestment for the future.
SOME POINTERS whenassessing a piece • Design – does the object fulfill the function
it was intended for? Then consideraesthetics. Is it well proportioned? Do the decorative elements harmonise with the form?
• Workmanship – is it substantial? Does itfeel right? Expertise in this area comes with experience.
• Colour/ patination antique silver in finecondition has a ‘blue/grey colour. A relatively inexpensive piece is an 18th century table spoon for example,which will provide a good benchmark tostudy other pieces.
• Condition – look for repairs, if worn, doesit need restoration
• Maker – known maker will add to the priceand value
• Marks – sharp struck marks plus maker’smark adds value
Edith Elizabeth Antiques currently has alarge collection of antique sterling silver,including a fine set of HMSS table silver inthe ‘fiddle and shell’ pattern. We also have apair of Adam-style sauce tureens, a pair ofcandlesticks, a pair of grape shears, and silver salvers ●
Adam MudeEDITH ELIZABETH ANTIQUES02 9440 4400
INVESTMENT COLLECTING – Sterling silverSterling silver card case. Birmingham 1906 Sterling silver snuff box. Birmingham 1870. Maker George Unite Collection of antique sterling silver including Adam style sauce tureens
Pair of early 19th century sterling silver grape shears
EDITH ELIZABETH ANTIQUES
EST.1979
Specialising in antique jewellery, sterling silver and Georgian furniture
Monday to Friday 9am - 5.30pm Saturday 9am - 5pm, Sunday 10am - 4pm
ST IVES SHOPPING VILLAGEShop 61,166 MONA VALE ROAD, ST IVES NSW 2075
PH: 02 9440 4400 Fax: 02 9440 1075EMAIL:[email protected]
NORTH SHORE TO HORNSBYA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Abbott’s AntiquesThe Established Name for Quality Antiques since 1931
14 Eastern Road, Turramurra NSW 2074 • Tel 02 9449 8889Visit www.abbottsantiques.com.au for a further selection of current stock
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
Memberwww.aada.org.au
French bronze classical male nude figure,c. 1890 by Barbedienne, Paris
Regency period mahogany sofa table with bird’s-eye maple banded edge, c. 1810
George IV sterling silver and cut crystal 7 bottle table cruet, Sheffield 1822
19th century cased salmon glassgilt decorated lustres, c. 1860
12 Fine Royal Crown Derby plates with paintedgame scenes by D Birbeck dated 1950
Victorian 86 piece sterling silver King’s patterncutlery service for 12, London 1883
Royal Worcester specimen plate ‘KenilworthCastle’ signed J. Stinton, dated 1926
George III sterling silver bright cut teapot,London 1804
19th century walnut teapoy with a tapered and reeded pedestal, c. 1840
Victorian sterling silver and cut crystal 3 bottledecanter stand, Birmingham 1865
Thomas Webb floral decorated cameo glass vase, c. 1880
Ridgway 45 piece Imari pagoda pattern stonechina dinner service, c. 1830
Max Dupain, Jean with Wire Mesh, 1937, silver gelatin photograph
Thea Proctor (1879-1966), Design for a fan,c. 1920, pencil and watercolour on paper
Max Dupain, Summer at McMahons Point,c. 1970, silver gelatin photograph
Mary Edwards oil on board, titled Soul of Fiji,signed and dated ‘Suva 1936’
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VISIT Lavin Antiques Variety and quality is our aim at Lavin
Antiques, specialising in European furnitureranging from the 18th to 20th century,including a selection from the UK andAustralia. Our collection includes the threepieces illustrated as well as other examples ofthe same high standard, including Wilkinson& Sons.
We are located at 950 Stanley Street East(corner of Longlands Street), East Brisbane ●
If in Sydney, hopefully you are attendingthe 18–22 May 2011 Great Sydney AntiquesFair, as Lavin Antiques will be bringing finepieces for collectors. If you would like toreceive complimentary tickets, please contact
LAVIN ANTIQUES07 3391 [email protected]
Further readingLouise Ade Boger, The Complete Guide toFurniture Styles (New York: Charles Scribner’sSons 1969) Ralph Fastnedge, English Furniture Styles(London: Penguin Books 1962) Helen Hayward (ed), World Furniture: An IllustratedHistory (Feltham: Hamlyn House 1972)
From about 1735, furniture stylesbegan to change more rapidly inEngland with many innovations of style
by designers and manufacturers of furniture. However, it was unusual for English
furniture makers to identify their work.Normally this was done by stamping thecompany’s name on the furniture. Englishmakers who identified their furniture were ofthe more prestigious companies. It thereforefollows that stamped furniture from arecognisable maker is highly desirable. Meet threefurniture makers who identified their furniture bystamping their names – and those names havevariations that reflect their commercial status atdifferent times or locations.
GILLOWSThe Gillows family firm was established in
Lancaster in the early 1730s. Remarkably,
almost all its order books and salesmen’snotes remain in archives to provide specificprovenance and artisan details. The practice ofstamping GILLOWS LANCASTER startedaround 1780 and continued until 1817 whenthe company moved to London. Gillows fittedout entire buildings in London providingwallpapers, fixtures and fittings. Between1780 and 1830, they remained leaders in thefurniture trade.
In the early Victorian period, Gillows was aleader in making ‘sub-classical’ furniturebased on Regency patterns and alsoinfluenced by the designs of the architect A WPugin. Furniture made in mid-Victorian timesfeatured crisper curves and more inlay. In thisperiod, pieces were stamped ‘Gillow and Co.’and sometimes with a number following thatmay refer to a stock number.
A Gillow small games table, based onRegency designs and richly veneered andinlaid, was stamped ‘Gillow 7585’. The entrydated 4 May 1869 in the Gillows OrdersBooks records it as a Princess Table. It wasrepeated the next year as a Prince’s Table forthe Duke of Northumberland.
Their late Victorian pieces, in an era ofeclecticism and ‘Free Renaissance’ revivals,were made by Waring and Gillows (Contracts)Ltd. One such piece was a rosewood cabinetcarved and inlaid with ivory and mother-of-pearl, stamped ‘Gillows, 16575’ that appearedin an 1887 edition of The Art Journal. A cardtable made by Gillows & Co about 1886 wasof amboyna and ebonised with parcel gilding.
By 1894, Gillows had absorbed acompetitor, Collinson and Lock that had alsotypically stamped its name on its furniture.
EDWARDS & RobertsThis Victorian furniture manufacturer
specialised in reproductions of earlier styles.It was possibly founded in 1845 but only firstlisted in the 1854 Kelly’s Post Office Directoryof London. The manufacturer was described as
‘antique and modern cabinet makers andimporters of ancient furniture.’
A chair in the Victoria & Albert Museum,London bears an imitation ivory label stampedEDWARDS & ROBERTS, 148-160WARDOUR ST, 532 OXFORD ST.LONDON. It is therefore likely that is wasmade after 1892, as this is when the firmoccupied premises at these locations.
They became one of the leading Londoncabinetmakers and retailers. They also wererestorers of the finest antique furniture.Edwards and Roberts specialised inmarquetry, inlay and ormolu, with a desk atestimony to their excellence.
HOLLAND & SonsHolland & Sons was founded in 1803. Soon
in partnership with Stephen Taprell, the firm wasknown as Taprell and Holland until 1835, thenTaprell Holland and Sons for ten years andHolland and Sons after 1843. Its furniture bears astencilled label of Holland and Sons. In 1852, itincorporated Thomas Dowbiggin and workedfrom their Mount Street premises in London.
Holland and Sons received commissions forfurnishing many government buildings inLondon in the 19th century as well as royalcommissions including Buckingham Palaceand Windsor Castle.
Holland and Sons won a prize at the GreatExhibition of 1851. The Victoria and AlbertMuseum, London now hold one notable piecesent to the 1855 Paris Exhibition. GottfriedSemper, an exiled German architect, designedthis cabinet and stand in ebony, withWedgwood plaques and gilt mounts. Anotherpiece in the museum is an inlaid cabinet withgilt mounts, part of a suite made in 1868.
A piece of functional furniture made withexceptional timbers is a mahogany press. It isstamped Holland & Sons and dates from the mid-Victorian period, c. 1870. Holland and Sons usedthe most modern machinery available in theirworkshops. They closed in 1942.
A look at three significant ENGLISH FURNITURE MAKERS
Desk, late 19th century, made by Edwards and Roberts, England
Gentlemen’s press, c. 1870, made byHolland and Sons, England
Card table, c. 1886, stamped Gillows & Co. 4632, amboyna and ebonised with parcel gilding
English makers whoidentified their furniturewere of the moreprestigious companies
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Dural Antiques857 OLD NORTHERN RD, DURAL NSW 2158
02 9651 2113 • MOBILE 0411 116 084AWARD WINNING BUSINESS • ESTABLISHED 1988
We buy and sell • Licensed Dealers
Large 4,000 square foot showroom and restoration workshop plus plenty of off street parking
Largest range in Hills District of antique and estate jewellery – fob chains, guard chains, seals,
medallions, lockets, brooches, rings and things too numerous to mention!
Victorian, Edwardian and 1920s furniture, china, crystal, glass, silver,silver plate and collectables
‘WELL WORTH THE DRIVE’ OPEN Monday, Wednesday to Saturday: 9.30 am - 5.30 pm, Sunday: 10 am - 4 pm (Closed Tuesdays)
www.duralantiques.com.au
CENTRAL COASTA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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A GUIDE TO
Antiques & Collectables DealersON THE CENTRAL COAST1. JAMES R & SUZANNE G
ISAAC-COLE106 Manns Road, Narara 2250Open Monday - Friday 9-5 Saturday and Sunday by appointment02 4324 7287james_workshop@ bigpond.com
Antiques and collectables, repairs and restoration,French polishing. Specialising in brass beds.
2. AVOCA BEACH ANTIQUESNow incorporating the Beecroft Treasure HouseSpecialising in antique jewellery with the largestrange on the coast and an exceptional range ofsilver and extensive selection of fine porcelainand rare collectables. 173 Avoca Drive, Avoca Beach Open 7 days 02 4382 1149 or 02 4381 [email protected]
COLLECTORS’ COTTAGEANTIQUESNo longer trading from the Central Coast. Please ring 02 4389 1922 for any enquiriesor requests. Otherwise please visit ourshop in Newcastle: Shop 7A & 7B,Centenary Antique Centre,29 Centenary Road, Newcastle, (100 metres north of CivicStation) also: www.antiquesplus.com.au (search for Collectors’ Cottage) to see hundreds of items for sale.
3. TOOWOON BAY ANTIQUES Shopping Centre, Toowoon Bay Open Thursday to Monday from 10 am 02 4334 1775 [email protected]
Fine porcelain, glass, furniture and jewellery.
Large and finelymodelled Majolicacomport supported by acherub upon a basesurrounded with sealife. Attributed to EnochWood, c. 1875. $1,650
Pair Victorian silver and applied gold drop earrings,c. 1880, $750
12
3
Gold-plated Australian silver coins, $400
Pair of JapaneseMiddle Period chargers, c. 1875,$645 pair
SHOP ONLY ONLINE
AFTER FEBURARY 2011Superb quality English 4 piece silverplated AfternoonTea & Coffee Service, ex family of Sir Henry Parkes,$625 the set
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Gouda Pottery is a generic term usedfor the brightly coloured and profuselydecorated matte glazed early 20th
century earthenware, art pottery that wasoriginally produced in factories and workshopslocated in the area of South Holland known asGouda. Because of the marked similarities instyle, colour and design, whether produced inthe town of Gouda, Arnhem, Schoonhoven orother pottery making towns in nearby Belgium,all ceramic wares of this type are referred to asGouda Pottery, or in Dutch Goudsch Plateel.
During the 17th and early 18th centuries theNetherlands possessed the largest and mostpowerful navy and merchant fleet the world hadever seen. It enabled colonisation and trade withareas as far afield as South East Asia, Japan, theWest Indies, Africa and the Caribbean. Theenterprising Dutch trading company, the UnitedEast India Company or VOC, sponsored largescale commercial ventures throughout theseregions, enabling the importation into theNetherlands of unique arts and crafts from allover the globe.
The striking designs and innovative colourcombinations on these luxurious imported wareswere forever to have a profound effect on theDutch sense of style and aesthetics. This legacyis never more evident than in the brightlycoloured and profusely decorated earthenwarepottery produced in the late 19th and 20thcenturies in the town of Gouda.
Gouda is situated on the banks of the riverGouwr and the river Ijssel in the south ofHolland. With the two rivers acting as transportarteries, it was known as The Heart of Holland.Its efficient road, river and canal transport systemenabled the development of strong trade linkswith other areas, ensuring a continual andrefreshing interchange not only of goods, butalso artists, craftsmen, skills and ideas.
From the Middle Ages on, the Gouda areawas a thriving commercial centre, tradingoriginally in textiles, but also, by the 1700s, in atype of tin glazed earthenware, later known asDelftware, that was made to simulate importedChinese porcelain. These wares became aleading export for the country and weresuccessfully traded for many years.
Nevertheless, by the beginning of the 19thcentury, the supremacy of the Netherlands as aceramic producing nation had greatly deterioratedand it was foreign factories such as Sèvres and
Limoges, Meissen, Wedgwood and Minton thatcontrolled the decorative ceramics market. Dutchpotteries in towns like Gouda could not competewith the technically sophisticated and well-designed imported ceramics, and they refocusedon the manufacture of pottery for domesticconsumption. These functional pieces includedkitchen and farm ware, building bricks and rooftiles but by far the most important item producedwas the long, thin pottery pipe preferred by themultitude of Dutch smokers.
However, times were changing and by themid-to-late 19th century, many areas in Europe,including the Netherlands, found a rapidlygrowing middle class emerge who chose todisplay their financial success with the obviousparading of material possessions, especiallydecorative arts. Consequentially, the trade indecorative pottery items and home furnishingsbecame immensely profitable.
Towards the end of the 19th century, theDutch Government, in order to stimulate theceramics industry and encourage nationalproduction of these more lucrative pottery items,relaxed its tax laws. In addition, the Governmentbegan to strongly support art appreciation andeducation. This resulted in the opening of newart institutes and colleges that activelyencouraged and promoted art and design. Agrowing number of technically trained designersand craftspeople emerged to help the resurgenceof the Dutch ceramics industry.
During this period, the fashion for pipesmoking began to wane. The leading pipe-makers realised that the importance of pipemanufacturing was fast diminishing. Having thenecessary business expertise, clay-workingknowledge and factory equipment, as well ashighly skilled employees, and encouraged bythe revised government attitude, they eitherfounded new companies, or converted their oldpipe manufacturing businesses to producedecorative ceramics.
PLATEELBAKKERIJ Zuid-HollandOpening in 1898, Plateelbakkerij Zuid-
Holland (Pottery Factory South Holland) orPZH was not only the first, but also the largestand ultimately, most important, of the newGouda factories. Until 1915 they were the onlyGouda factory to produce decorative high-glazed pottery.
The earliest wares consisted of elegant,stylised decorations covered in a high gloss
finish. One of its earliest design groups was theBlue and Grey series with patterns influenced byboth the Arts and Crafts and Art Nouveaumovements. Production began around 1898, butby 1905 it had been phased out, and todayexamples are particularly hard to find.
Other early wares included Gouda Decor andPorcelain Decor. Though named PorcelainDecor, this line was produced in earthenwareand featured swirling flowers, birds andbutterflies painted primarily in blue, yellow, greenand purple with dark lines shading the secondarypastel coloured patterns on a whitish ground.
Gouda Decor wares had hand-painted patternsa dark ground. The first designs were usuallyworked in Art Nouveau style abstract and free-flowing patterns. Later designs became moresymmetrical with carefully outlined patternareas. Colours frequently included black, greenand purple with accents in blue, orange andgolden tan.
Soon other companies (some of which hadoriginally been pipe factories), includingRegina, Goedewaagen, and Zenith, opened inGouda and nearby towns. In an attempt tobenefit from the success of the PZH factory,they too began to produce this style of high-glazed, decorative pottery.
In 1909, PZH introduced a transparent matteglaze named ‘Damascus’. However, it was thematte glaze process named ‘Rhodian’, thatwould be PZH’s biggest success. It wasdeveloped around 1910, and apart fromimproving firing and enabling more uniformdesigns, the ‘Rhodian’ glaze process allowed agreater variety of colours with clearer andbrighter tones. Hand-painted floral or abstractdesigns in brilliant colours of orange, gold,blue and white featured on a mottled mattegreen background.
This was the first matte glazed Gouda Potteryand it would form the basis for all of the GoudaPottery that was to follow. Considered tooexperimental and primitive for PZH’s mostsophisticated customers, it was exported mainlyto Dutch colonies and non-European countries.By 1911 however, the company realised itsgrowing potential and designated top designersto its production.
The success generated by PZH awoke otherstudios to the potential of this new matte glaze.Once more other factories including Regina,Ivora, Zenith, Eskaf, Arnhem, Distel/
Goedewaagen, Noordwijk and Schoonhovenlearned to reproduce this new, appealing mattegloss formula. It proved to be so popular, that bythe early 1930s high gloss wares of any kind wererarely produced by any of the Dutch factories.
With the end of World War I came anexplosion in the demand for matte finishGouda Pottery. Still leading the way, the PZHfactory achieved a massive output in innovativewares by using a constantly changing array oforiginal shapes and patterns. Then, in 1920,though the demand for the company’s mattegreen wares was still strong, they adopted anew-look, satin-finish, semi-matte glaze thatwas used over brightly coloured designs, oftenbordered in black.
Other factories soon adopted the new style.These revamped designs took the public bystorm and dozens more artists were hired tosatisfy the demand. In the search forinnovation, they began to create designsinfluenced by Egyptian, Islamic and North,South and Central American Indian culturesand more angular and stylised patterns inspiredby the Art Deco movement. This second GoudaPottery style was so popular that by 1923, theoriginal green background style was made onlyby special order.
Matte glazed Gouda Pottery reached its peakof production towards the end of the 1920s. Atits height, the number of workers ranged from afew in the small workshops to more than 400men, women and children at PZH. Almost halfof Gouda’s population of 80,000 was connectedto the pottery industry in some way. But all toosoon domestic woes, the Depression and anotherWorld War, would take their toll on theindustry’s survival ●
Narelle WardCOLLECTORS’ COTTAGE ANTIQUES02 4389 1922
ReferencesPhyllis T. Ritvo, The World of Gouda Pottery,Font and Center Press, Weston MA, 1998.Phyllis T. Ritvo, ‘The World of Gouda Pottery’,Journal of Antiques, November 2000.
GOUDA POTTERYA short but brilliant flowering
WEST CESSNOCKA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Aynsley tea warescame in a varietyof shapes withnames such as Eugene,Florence, Twistand Diamond
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Made since the late 18thcentury, Aynsley china is one ofthe best-known names in ceramics,
not surprising with its 240 years of history.Originally from little Harley Towers, nearNewcastle upon Tyne, John Aynsley (I) (1752-1829) came to Lane End in Staffordshire
about 1770 in search of new opportunities andcommenced his business, circa 1775.
In approximately 1788 he opened Aynsley& Company in Lane End. From 1802 to 1826he operated as a designer, engraver, printer oftransfers and decorator at this address. Duringthis period he supplied transfers to otherpotteries and purchased earthenware in thewhite to which he applied his transfers. Careful
examination of some transfer-printed viewsand romantic scenes will reveal
‘J. AYNSLEY’ in microscopic print.They were one of the principalmakers of marked lustreware.
James, the son of John Aynsley (I), went intopartnership with his father, but that businessfailed and he left the pottery industry, dying in1841. His son, John Aynsley (II) (1823-1907)started work at the age of nine for a localearthenware manufacturer, lighting firesunderneath drying kilns for 12 hours a day andreceiving two pence in pay. He later recounted, ‘Iused to get up at five o’clock in the morning andgo off whistling to work.’
FROM lusterware to fine chinaIn 1840, he was apprenticed as a thrower at
a pottery in Longton and in 1844 he joinedthe famous Minton factory in Stoke where hecompleted his apprenticeship. In 1857 heformed a partnership with Samuel Bridgwoodas the new John Aynsley and Company thatwould focus on fine bone china.
In 1861, he commenced the Portlandpottery in Longton, much of which stillstands, and in the same year acquired the NewHall Works in Hanley. In 1873, he establishedHerbert Aynsley and Company as anearthenware producer for his eldest son,Herbert James Aynsley. John Aynsley (II) isremembered for his concern for the well-beingof his workers and entrepreneurial spirit,exporting tea, breakfast and dessert wares toNorth America.
Fine domestic waresFine breakfast services and dessert wares
with fruit and flower decoration are highlightsin the early references to Aynsley porcelains.The Pottery Gazette observed in 1881 thatJohn Aynsley and Sons had acquired anenviable reputation for richness of colour andartistic designs. Much of the wares wastraditional in inspiration, with patterns afterDerby, the blue and gold decorationreminiscent of 18th century Chelsea china andraised jewelling.
NOTABLE patternsAynsley tea wares came in a variety of shapes
with names such as Eugene, Florence, Twistand Diamond. In the years precedingWWI, John Aynsley and Sons was oneof the largest manufacturers of chinaproducing neatly patterned tea andbreakfast wares, coffee cups andsaucers, dessert services andspecialities in china ranging frommedium to the highest quality.
New designs in the 1920sand 1930s are characterised bydainty shapes painted asflowers such as Tulip, withbutterflies as handles. By the1950s, John Aynsley and Sonsenjoyed a worldwide reputation forhigh-quality traditional wares.
ROYAL seal of approvalRoyal connections date from when Queen
Victoria gave John Aynsley (II) a royalcommission, and Queen Elizabeth II andDiana Princess of Wales each selectedAynsley services as their wedding gift fromthe British pottery industry. Other royal linkswere Aynsley commemorative wares for thecoronation of George VI and Elizabeth in1937, and their 1939 royal visit to Canada.
Range of waresAynsley small hand-painted multi-coloured
porcelain items include buttons, thimbles andstickpins, known as florals. Aynsley hired floraldesigners to arrange porcelain flowers to ensure arealistic bouquet in the finished brooch or pin.Aynsley China Ltd was bought from Waterford in1987 for £17.5 million, with Waterfordcontinuing as a distributor through its UK andkey overseas markets.
Although most old Aynsley wares are in privatecollections, significant Aynsley wares are in anumber of distinguished English museums: AllenGallery, Alton Hampshire; Fitzwilliam Museum,Cambridge; The Potteries Museum and ArtGallery, Stoke-on-Trent; The Royal Pavilion, ArtGallery and Museums, Brighton; and the Victoriaand Albert Museum, London ●
Paul VinecombeANTIQUES & DECORATIVES02 4990 [email protected]
Further reading Frank Ashworth, Aynsley China(Buckinghamshire UK: Shire Publications 2002)Rayner W Hesse, Jewelry making throughhistory: An encyclopedia (Santa Barbara USA:Greenwood Publishing 2007)G Bernard Hughes, Victorian Pottery &Porcelain (London: Country Life Limited 1965)
AYNSLEY CHINA - 240 years of perfection
Paul VinecombeANTIQUES & DECORATIVES
After 27 years
Now trading in Hunter Valley at Cessnock
92 Wollombi Road West Cessnock 2325
Ph: 02 4990 9212
Fax: 02 4990 9213
Mob: 0418 635 658Web: www.paulvinecombeantiques.comEmail: [email protected]
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The Hunter region’s interest inantiques is booming and Newcastle –the sixth largest city in the country – is
the ideal base for visiting the scenic Hunterregion. The city is only two hours’ drive fromSydney, and has much to offer. There isenough diversity to cater to all types ofholiday interests. Looking to immerse in thecolour of early settlement days? Then therejuvenated waterfront, known as theHoneysuckle Precinct, is full of historicalmaritime buildings and huge old warehousesthat are the social hub of the city, soconducive to family enjoyment.
From this base explore Lake Macquarie inthe south to Port Stephens in the north and thehistoric towns of Maitland and Cessnockinland. Take in the famous wine regions of theHunter Valley in the west, or closer to the citycentre, within five kilometres, dotted aroundthe area are many small individual antiqueshops and five large and varied antique centres.
AT THE CENTENARY AntiqueCentre there is something for everyone
Opening over 18 years ago, the CentenaryAntique Centre is in an old, historic woolwarehouse nestled in the heart of theHoneysuckle Precinct. It is the longestrunning antique centre in Newcastle andamongst the oldest and most successfulcentres in NSW.
Put aside a good couple of hours, for thiscentre is BIG. With almost 1400 squaremetres of antiques and collectables, it isspacious with wide wheelchair and pram-friendly aisles. Always clean, the stock is wellpresented in well-lit cabinets. Manager AgnesDando and her staff do their best to be helpfuland efficient. They are frequentlycomplimented about the appealing andinspiring displays of goods that are arrangedin the foyer. Moreover, it has a reputation foraffordable prices.
Our 25 dealers display a huge variety ofgenuine antiques and old and interestingcollectables, covering a huge range of stylesand eras. Many of the dealers prefer to offeran eclectic mix of items from the wild towhimsical, plastic to precious, refined torustic, whereas others tend to specialise.
Several lady dealers particularly love theirbuttons, linen, lace and sewing collectables.Robyn Greenwell’s passion is sewing items fromthe past – fabrics, patterns, lace, braid and trims,craft and sewing tools. She is a specialist inantique and vintage buttons, and offers a hugerange and expert knowledge and advice.
Others such as Serendipity and Timeworn
Antiques specialise in vintage furniture fromall styles and all periods. Patinations presentsa constantly ranging array of childhoodparaphernalia and toys, while Alec Andersonspecialises in model cars.
Frank Piotrowicz of Gumleaf Antiques isan avid tool collector. He is happy to helpcustomers identify old tools, give advice oncorrect use and restoration of tools, as well ashaving a wide range of tools available for sale.Jeffrey Raberg is our clock man, offeringrepairs, restoration and a variety of clockstyles for sale.
Old Technology offers possibly the largestrange of genuine antique jewellery for sale inthe Hunter region. Kimberley Wallace Wellsis a gemmologist and valuer, as well as beingan antique and estate jewellery specialist. Hisother stock includes the largest selection oforiginal and modern Moorcroft in NSW.
Lynne Blacklow of the Black Owl isparticularly passionate about glass andamongst other items, offers a wide range ofScandinavian, Italian, Stuart, Webb,Whitefriars, crystal and pressed glass.
Australiana, especially pottery is wellrepresented through the centre, notably withAnne Livingstone of The CompulsiveCollector, Janice and Frank Piotrowicz ofGumleaf Antiques and Patricia Mitchell ofPatinations. Together they offer a vast range tocollectors of all things Oz.
Narelle & Graham Ward of Collectors’Cottage are specialists dealers in good examplesof anything pre-1980, and especially keencollectors of old oriental wares. Jutta Percevalmakes an annual pilgrimage to France to findinteresting and affordable French antiques andvintage decorator items that are so hard to sourcehere. It is always an exciting time when the latestcontainer arrives!
On the other end of the collecting time line,the girls from Greyhound Rd and Shop 8adore vintage clothing and retro. They searchhigh and low to offer the coolest vintagecollectables, records and retro clothes, shoes,handbags, belts, jewellery, scarves, hats thatthey can find and are particularly popular withthe bargain hunting younger collectors –particularly from Sydney – who reckon thesavings are worth the drive.
THE GROCERY MuseumThe most unique and colourful feature of
the centre is the famous Grocery Museum. Itis a replica of an early 1930s grocery storeand is full of historical grocery memorabiliacollected by the centre’s owners, the Owensfamily, since their initial entry into thebusiness in 1909.
On open display all year, on every second andlast Sunday of the month visitors are transportedback in time by the energetic and engagingproprietor, Harold Murray. He began work in thegrocery trade in 1930 and worked for the Owensfamily’s grocery stores for over 23 years. Haroldgraciously shares his knowledge of the businessand his passion. This is a free event.
Now a youthful 92, Harold talks about hisextensive experience in the grocery industryas though it was yesterday. He enjoys tellinghis stories to the curious youngsters who arefascinated by the items from way back when,while older customers who remember thefriendly corner shops are happy to reminisce.
So whether an avid collector or the curioustourist, Newcastle has much to offer and thesmart traveller would be wise to put aside afew days to explore the city and its treasures.Centenary Antique Centre is open every day,10 am until 5 pm. Closed Christmas Day,Boxing Day, New Year’s Day, Good Fridayand Anzac Day ●
Narelle WardCENTENARY ANTIQUE CENTRE02 4926 4547centenaryantiques@hunterlink.net.auwww.centenarycentre.com.au
TREASURE HUNTING NEWCASTLE STYLE: Mix it up – from exploring the region to discoveringcollecting delights – there is something for everyone
Harold Murray
Open 7 Days - 10 am to 5 pmVisit our Old Grocery Store Museum
29 CENTENARY RD, NEWCASTLE 2300 100 metres from Civic Railway Station
Phone: 02 4926 4547 [email protected] www.centenarycentre.com.au
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Rare Find Country Antiquesspecialises in Australian cedar and inparticular chests of drawers. One of the
most common questions we hear is ‘Why arethose two pieces different in price when theyboth look much the same?’ Let’s explore thedifferences between similar pieces of furnitureto discover clues to various degrees of quality– because price mirrors quality.
CHESTS of drawersWe will start by looking at three similar chests
of drawers. Each has the same six-drawerarrangement; all are made of cedar; each has arevived original finish. However, they are vastlydifferent in quality and therefore, price.
The first chest is of Hunter Valley origin,dated to about 1880. It has cedar front sidesand top, with the rest of the timber being pine.Having secondary timber as pine is notunusual, however earlier and better chests areusually fully cedar. The selection of timber in
the drawer fronts is good, although not highlyfigured or matching. These sorts of cheststypically retail for $2,000 to $3,000.
The second chest is also of Hunter Valleyorigin but is earlier, approximately 1850, andis totally made from cedar. The timber showsa high degree of figure and the chest has dustcovers underneath each drawer. The feet arelarger and the chest is cantilevered, with halfcolumns rising to underneath the top drawers.Cross banding dominates this piece: the top,the blades between each drawer and themoulding to the base are all cross-banded.
All of these features indicate that the makerwent to an enormous amount of effort andtrouble to produce this quality item. Chests ofthis quality typically sell from $4,000 up to$6,000 – which are still relatively low prices,considering the amount of work and finematerials in such chests.
The third chest is again a notch above thesecond, and although found in the Hunter it
was probably Tasmanian or Sydney made.This chest dates to about 1845. It has apanelled back, tight ring turned feet, dustcovers under each drawer and lovely figuredand matching timber in each drawer andsides. The top, sides, blades and base are allcross-banded. The dovetailed joints are fineand indicate quality cabinetwork – you canfeel the quality in this sort of chest, andunderstand prices commencing from $6,000.
CHIFFONIERSOnce again, age and quality of manufacture
dictate prices for chiffoniers with good originalor minimally revived finishes. The firstchiffonier dates to circa 1880. Its untouchedoriginal finish has applied carving to the back. Itis well made but the timber is fairly plain andpine has been used as a secondary timber.
The second chiffonier is earlier, about 1870, andis made entirely of cedar. Importantly, the maker’sname is on the back, J. Osborne Singleton. The topis cross-banded and the backboard is carved. Thetimber is more highly figured and the shield doorsare more intricate. The maker’s stamp and thehigher quality together place this chiffonier asslightly better than the first.
The third chiffonier was found in Maitland.The lovely original finish highlights theexceptionally choice cuts of cedar used for thebackboard, top, drawer and doors. The carvingin the backboard is fine and restrained, as arethe lovely turned half columns on the base.The shelf and top are cross-banded and theraised shields are book matched. This dates toapproximately 1845 and is a superior piece.
The fourth chiffonier is the same standardas the third, but its superbly carved backboardadds to its value. The choice of timber in thebase is inferior to the third, but it compensateswith its full columns rather than half columns,and the lavish cross banding under the doors, thetop and shelf. Although found in a Maitlandhouse it was probably made in Sydney.
WHICH is best?Many factors determine which piece of
furniture is the best. How much time andeffort went into making a piece of furniture?What are its age, the class of the handworkand its originality? Look at the grade of thetimber, see if it cross-banded or cock beaded,and gauge the excellence of any carving.Importantly, does it have provenance or amaker’s label? The price to pay depends on allthese things and of course, on personal taste –there are no rules for that!
The Hunter was one of the richest sources ofcedar for 19th century furniture makers and overour decades of trading we have recorded manyrare finds.
Good pieces are becoming increasinglyhard to find yet every now and again oneturns up – hopefully in the back of our truckon its way to a grateful customer. Our aim isto find unusual and quality furniture suitablefor all Australian homes, with an emphasis on
original Australian furniture from 1840 to1920. We also undertake restoration andconservation work.
We are usually on site so there are no setshop hours. Arrange an inspection at a time tosuit and enjoy discovering your own rare findsin our warehouse in Hamilton ●
M Lee RARE FIND COUNTRY ANTIQUES02 4969 3801 / 0418 684 [email protected]
Rare Find Country Antiques
38 Denison St, HamiltonPh 02 4969 3801 Mobile 0418 684 724
Opening hours:Saturdays 10 am - 4 pm
or by appointment. We are there most of thetime as we live on-site.
The Hunter’s largest selection of genuineAustralian antique cedar furniture, most of
our stock is pictured on the website:www.rarefindantiques.com.au
A selection of our quality and rare Australian chests of drawers
Secretaire chest, c. 1869, labelled Lawson and Carter in three places
Cedar 19th century chiffonier made in Sydney
1. Hunter Valley chest, c. 1880, made ofcedar and pine
Chiffonier, c. 1880 made of cedar and pine3. Cedar chest, c. 1845, place of manufactureuncertain, either Tasmania or Sydney
2. Hunter Valley chest, c. 1850, made of cedar
Cedarchiffoniermade by J. OsborneSingleton,c. 1870
Cedarchiffonier,c. 1845found inMaitland
HUNTER VALLEY CEDAR – A rare find
NEWCASTLE / HUNTER VALLEYA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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NEWCASTLE & HUNTER VALLEY ANTIQUES TRAILfeaturing bed & breakfast accommodation and art galleries
The Centenary Antique Centre
UNIQUE ANTIQUE ECLECTIC29 Centenary Road, Newcastle
Ph: 02 4926 4547OPEN 7 days, 10 am – 5 pm
25 shops under the one roof: Newcastle’slargest antique centre with a great coffee shop
and the Old Grocery Store Museum
Antiques & Collectables on Darby
1/158 Darby Street, NewcastlePh: 02 4926 3003
OPEN 7 days, 10 am – 5 pm15 dealers: collectables, china,
glass, jewellery, furniture and smalls
Bowerbird Antiques& Collectables
94 Maitland Road IslingtonPh: 02 4961 0075
OPEN Friday to Monday 10 am – 5 pmA small shop with a surprisingly varied
selection of antiques, eclectic, French andcontinental collectables and furniture
Brunker Road Antiques35 Brunker Road, Broadmeadow
Mob: 0437 417 512OPEN Friday – Sunday 10 am – 5 pm
The place to come when you want something different
Coliseum Antiques118 Maitland Road, Mayfield
Ph: 02 4967 2088OPEN 7 days 10 am – 5 pm
A large centre within a heritage building. Buying and selling: furniture and collectables,
huge selection. Coffee shop and art salesGeorgian – Victorian – Retro
LampworksAntique Centre
7/54 Clyde St, Hamilton NorthPh: 02 4927 6611
OPEN Monday – Saturday 10 am – 4 pmSunday 10 am – 3 pm
Selection of collectables, furniture, and antiques
The Tyler Gallery106 Maitland Road, Islington
Ph: 0411 683 496OPEN Friday, Saturday and
Sunday 11 am – 5 pmSpecialising in contemporary art, with
jewellery, accessories, furniture and more
Ambleside AntiquesCottage
108 Maitland Road, IslingtonPh: 02 4962 1532
OPEN Thursday to Monday 10 am – 5 pm Attractive decorator pieces to enhance your
home or that wanted item to add to yourcollection. Large affordable range: linen,tools, glass, china, furniture, jewellery,sewing items. Ample free street parking
nearby. Air-conditioned.
Islington Antiques105–111 Maitland Road,
Islington, NewcastlePh: 02 4961 0533
OPEN Friday, Saturday, Sunday & Monday 10 am – 5 pm
Trading in Newcastle for 19 years. We stock a large and varied range of
quality furniture, china and collectables in our 2000 sq ft showroom
Memory LaneAntiques & Decor
82 Elder Street, Lambton(opposite Lambton Park)
Ph: 02 4957 8233OPEN Monday to Friday 10 am – 4 pm
Saturday 9.30 am – 3.30 pm Closed SundayAffordable antiques – interesting china,jewellery, lamps and clocks. A range of
items to suit the discerning buyer
Heartland Antiques & Arts
321 High Street, Maitland Ph: 02 4933 9923
OPEN Six days 10 am – 4 pmClosed Tuesday
Most unusual mix of decorator pieces andtraditional antique furniture along with old
pine and period styles, china, chintz, pottery,paintings, posters and prints. All things
suitable for furnishing a country house, afarmhouse, a weekender or the odd ranch
with both flair and decorum
The Exchange Galleries
327 High Street, Maitland Ph: 02 4934 3934
OPEN Thursday – Sunday 10 am – 4 pmAntiques, art and fine handcrafted furniture.Visit this transformed Art Deco pub and find
a treasure. Furniture, linens and laces, 20s – 50s jewellery, china and collectables.Art, paintings and prints, old and new. Fine
furniture handcrafted from local timbers
Cambridge Cottage21 Paterson Road, Bolwarra
Ph: 02 4930 1824 OPEN Fri – Mon 10 am – 5 pm
Antiques, cottage garden nursery and waterplants, recycled furniture, pottery and
paintings by local artists
Steptoes105 Lang Street, Kurri Kurri
Ph: 02 4936 1511OPEN Monday – Friday 9 am – 5 pm
Saturday 9 am – 3 pmSunday 10.30 am – 3 pm
The largest antique and second-hand furniture warehouse in the Hunter.
Furniture is our forte
Paul VinecombeAntiques & Decoratives
92 Wollombi Rd, West CessnockPh: 02 4990 9212, Mobile: 0418 635 658
OPEN Tuesday – Sunday 10 am – 5 pmClosed Monday
After 28 years now trading in Hunter Valley at Cessnock
Rare Find CountryAntiques
38 Denison St HamiltonPh: 02 4969 3801, Mobile: 0418 684 724
Open by appointment onlySpecialists in Australian antiques,
specialising in cedar
Antique Toy Collectables655 Hunter St Newcastle West 2302
Ph: John 0412 296 420OPEN Mon – Fri by appointment
(readily available) Sat 10 am – 4 pmSun 11 am – 3 pm
100's of vintage toys, dolls, teddies, trains(Hornby O) plus pedal cars and
doll prams. Largest range in Australia
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* In the interests of better servicefor our customers, if you enjoy theconvenience of this map, please tell
the shops you visit. Thank you.
TO ADVERTISE ON THIS PAGE PLEASE
PHONE 02 9389 2919
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Welcome to the new home of Antiques& Collectables on Darby Street. Gayeand Chris Dawson moved this iconic
antiques and collectables business fromBeaumont Street Hamilton to Darby Street inCooks Hill, which is a popular shopping andrestaurant area.
This established business is well-known asa specialist store for antiques and collectables.The fine stock of furniture is complimentedwith a wide range of ceramics, porcelain,figurines and glass. Explore quality items ofsilverware and silver-plate with interestingpieces cast from bronze, brass and othermetals. Come to us for one of our exquisiteVictorian lamps that will add mood lighting inyour home.
JEWELLERYWe have a large range of gold, silver,
vintage and costume jewellery. We also stocknew and designer jewellery. View thecreations of Renée Blackwell who combinesethnic beads and gemstones with excitingcontemporary designs. Her rare and exotic
treasures are prized and collected around theworld, hand created from sterling silver andgemstones, each always one of a kind. Wecarry Déjà Vu Design jewellery for originalcontemporary pieces. Buy for yourself or asgift for a special person.
VINTAGE plusJust arrived is a fabulous collection of
vintage wall posters. Add an interestingdimension to your décor with one of ourheritage tin signs and create a talking point.
From wall art to fashion is our large stockof vintage clothing and accessories includingfabulous cocktail hats and vintage clothingdesigns by Jan Gee.
MORE for our clientsWe will continue to open seven days from
10 am to 5 pm. The new location has thebenefit of more parking at the rear of thebuilding for the convenience of patrons. Thisstrategic relocation also means that as we arenow in the arts precinct in Newcastle, aftervisiting us, check out this thriving area of
boutique shops and restaurants, convenientlysituated just five minutes from NewcastleHarbour and Foreshore.
For tourists and locals, enjoy this diverse,friendly and very relaxed cosmopolitandestination with over 20 cafes and outdoordining spots. After visiting Antiques &Collectables on Darby Street, which is anideal stop if you are looking for that specialgift, browse the art galleries, photographystudios and home ware shops.
EVENTS to diariseMake sure you visit us next June for the
Darby Street Coffee Festival and in Octoberfor the Darby Street Fair.
We would like to thank all our patrons fromBeaumont Street and invite you see the freshstock in our new location, 158 Darby StreetCooks Hill, just up from the Delaney Hotel.
ANTIQUES & COLLECTABLES ON DARBY STREET02 4926 3003
AN EXCITING MOVE FOR ANTIQUES &COLLECTABLES ON DARBY STREET
This establishedbusiness is well-knownas a specialist store forantiques andcollectables. The finestock of furniture iscomplimented with awide range of ceramics,porcelain, figurines and glass.
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NEWCASTLEA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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PHONE 02 4926 3003CALL IN AND BROWSE OUR NEW SHOP WHERE WE WILL CONTINUE TO STOCK AN AMAZING
COLLECTION OF ANTIQUE AND VINTAGE CLOTHING, FURNITURE, JEWELLERY, CHINA, BOOKS, TOYSAND CURIO ITEMS, ALL UNDER ONE ROOF OPEN 7 DAYS
PLENTY OF PARKING AT REAR
A BIG THANK YOU TO ALL OUR LOYAL CUSTOMERS WE HOPE TO SEE YOU IN OUR NEW LOCATION
Antiques& Collectables on DARBY1/158 DARBY STREET NEWCASTLE
Formerly of Beaumont Street, Hamilton
NEWCASTLEA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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OPEN 4 DAYS 10 am - 5 pm
Come and browse through our 2000 sq ft showroom where you will find a dazzling range of furniture,china and collectables. We stock an extensive range from Victorian through to retro, including some
stunning pieces from the art deco period. Recent additions to our collection include an inspiring range ofdecorator items, antique and art deco style wall mirrors that complement modern or traditional decors.When travelling to Newcastle and the Hunter Valley please pay us a visit, you will be glad you did.
• TRADING FOR 20 YEARS • FREIGHT CAN BE ARRANGED AUSTRALIA WIDE •• LARGE RANGE OF ROYAL DOULTON CHINA •
105-111 MAITLAND ROAD, ISLINGTON, NEWCASTLE Ph: 02 4961 0533 • Rod: 0414 610 533 • Tim: 0415 495 967
Open Friday, Saturday, Sunday, Monday 10 am - 5 pm • 3 km from the City centre
Welcome to over 2000 squarefeet of antiques and collectablesand furniture from Victorian
through to retro.At Islington Antiques we have a special
emphasis on quality Art Deco furniture ataffordable prices, most lovingly restored by ourskilled craftsman. If you want a special piecerestored, we will do it in our own workshop.Stripping, polishing, lock repairs and mirrorresilvering are a few of the services we offer.We restore old brass beds, including convertinga double to a queen size bed.
Royal Doulton is one of our specialties, in ashowroom housing an enormous range ofquality china and porcelain. We have 1500Royal Doulton pieces in stock includingdinner service pieces, Series Ware, Bunnykinsand Flambé. We also sell and stock a selectedrange of new Royal Doulton.
In our mirror showroom is a selection ofmodern, traditional and Art Deco mirrorsdisplayed in all their different shapes and sizes. Ifyou are renovating, redecorating or building wehave a mirror for every room in your home – fromlounge and dining to bedrooms and bathrooms.
ISLINGTON ANTIQUES in Newcastle since 1990
Decorator pieces are another enhancement tofind in our store. Hand-selected from importersfrom all around Australia, you can decide onlamps, figurines, paintings, prints and newfurniture, any and all of which will complementboth traditional and modern decors.
Our second store – Our Style Furniture andDecor opened six years ago and is dedicated tohandcrafted solid timber furniture which weimport directly. The stock includes traditionalEnglish styles in mahogany and cedar, Frenchprovincial dining suites, Louis-style chairs andsofas in fruitwoods and cream-painted
furniture are prominent features.Newcastle, the gateway to the Hunter
Valley, is a leisurely two-hour drive fromSydney. Please visit on your next trip. We canarrange freight Australia-wide ●
ISLINGTON ANTIQUES02 4961 0533
Street with partners that she bought out. Stayingin central Sydney she relocated several times overthe years including Castlereagh Street, Pitt Streetand Martin Place. During the Depression she hadpremises in Market Street, staying there untilretirement in 1946.
From 1922, her niece Dorothy also relocated toSydney where she completed schooling whileliving with Wager. In 1928, Dorothy, who hadwatched Wager working in Fiji, joined the firm asa jewellery apprentice. Rhoda was Dorothy’smentor, teacher and aunt all in one.
Others working with Wager were VioletDupre, Victoria Blashke and Dora Sweetapple.Walter Clapham, her chief assistant, workedwith Rhoda from 1919 until her retirement in 1946.
Wager married Percival (Percy) GeorgeAshton, son of Julian Ashton the artist. Hewas later general manager of Sydney Ferries.Several years after their retirement, theymoved to Queensland in 1951 where Rhodadied in 1953.
One aspect that I find absolutely amazingabout the work of Rhoda Wager is hermeticulous detail. She made every tiny littlepiece of gum leaf and foliage decorationindividually by hand, and then each tiny piecewas soldered on individually.
She mentioned that opals and yellowsapphires were her favourite stones because of their light reflection with the sun. She
used Australian and imported stones. Some of her favourites were moonstones, turquoise, lapis lazuli, black onyx, cornelian,coral and chalcedony.
Her maker’s mark is on jewellery such asbrooches and pins. She soldered a little plateon the reverse with the word (in capitals)WAGER. Rhoda Wager never signed her ringsbut they do have her signature double band.For pieces that look like Rhoda’s work but donot have the WAGER nameplate, then thechances are her niece Dorothy (Wager) Judgemade them. Some of Dorothy’s early workswere displayed as designed by Rhoda Wagerand made by Dorothy Wager.
Rhoda Wager’s contribution to theAustralian jewellery industry was immense;her hand wrought designs of the highestquality workmanship in the arts and craftstradition. Examples of her works can beviewed at the National Gallery of Australia in Canberra.
Kellies Antiques want to share its smallcollection of Wager and Wager-attributedjewellery. If you own a Wager piece andwould like more information about it, please drop by to Kellies Antiques on theGallery Level of the Brisbane Arcade. Allcollectors are invited to see firsthand worksby Rhoda Wager, a truly amazing jeweller and businessperson ●
Moira DrexlerKELLIES ANTIQUES07 3221 4825www.kellies-antiques.com.au
Further readingKenneth Caville, Graham Cocks & Jack Grace,Australian Jewellers, Gold & Silversmiths –Makers & Marks (Roseville: C.G.C. Gold, 1992)Anne Schofield, Kevin Fahy, AustralianJewellery 19th and early 20th Century (Balmain:David Ell Press 1990)
continued from page 27
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FOR SALEThis wonderful restored heritage building known as the Queen Victoria Building of Maitland in the heart of
the Hunter Valley is FOR SALE with or without the Antique business. The large, ground floor houses mainly antiquefurniture and the first floor is an art gallery. The large two-storey, three bed apartment above has been fully restored
and there is back access with a secure yard for parking and loading.
Please phone 0414 012 608 or A/H 02 4930 6984 for further information or inspections.
Country prices and big discountsAll our stock sourced locally in the country
Why pay big city prices – we need to clearspace for stock held in storage
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From small shops specialising in musiccollectables or toys to the larger centres,the Hunter Valley caters for all tastes. You
will find everything from buttons and linen andstunning Art Deco pieces to exquisite Georgianfurniture, tools and old farm rustics todelightfully kitsch 50s and 60s home wares andcharming country pine furniture. Just a two-hourdrive north of Sydney, you could be enjoying themany delights of the Hunter Valley this weekend.
NEWCASTLEFounded in 1804 as a penal colony, Newcastleis a city rich in history. Discover Newcastle’sconvict past and the birthplace of Australianindustry; visit Victorian mansions and villas;marvel at the grand cathedral; or learn aboutthe area’s colourful maritime history and howFort Scratchley was built to protect the cityfrom possible Russian invasion.
Newcastle Tourism’s visitor informationcentre on Hunter Street will supply you withdetails on heritage walks through the city, artgalleries and museums, just a few of thedelights Newcastle has to offer.
Of course, another delight is hunting throughNewcastle’s many antique shops and centres. Afabulous city to explore, stay awhile and enjoythe comfort and history that Newcastle’s bedand breakfast homes can offer you.
Australia’s sixth largest city and the capitalof the Hunter region, Newcastle has much tooffer the visitor here on a short break or anextended stay. Newcastle is a beachside cityboasting a spectacular coastline with some ofAustralia’s best surfing beaches. Newcastlehas a large working harbour, its entranceguarded by Nobby’s breakwater andlighthouse, probably the most famousNewcastle icon.
THE MAITLAND RegionMaitland is a lovely heritage city in the heartof the Hunter Valley, a short drive from thefamous Hunter Valley vineyards andacclaimed wilderness areas. Just minutes fromMaitland you will discover the mostdelightful villages and towns.
East Maitland: The original city site, this isan architecturally heritage-rich town withmany beautiful buildings to appreciateincluding churches, the old Maitland Gaol andgreat antique hunting opportunities.
Rutherford: A few minutes on the other sideof Maitland is Rutherford, home to the historicAnnanbah House, where the Australian movie
15 Amore (2000) was filmed, with still moreantique hunting to enjoy.
Lorn: Located just over the bridge fromMaitland is Lorn. Fine examples of Federationhouses, together with wonderfully preservedlate Victorian homes set in magnificentgardens, make this place a true delight. Enjoythe Heritage Walk or just indulge in moreantique hunting.
Bolwarra: Just a few minutes along the roadis Bolwarra with even more charming historichomes and gardens and even more antiquehunting. This lovely town sits on the edge ofsome of the most beautiful, gentle farmland inthe region.
DUNGOG With the first European settlement of thetownship occurring in the 1820s and 1830s,historic Dungog has much to offer visitors.There are quality antiques to discover inDowling Street and a B&B set in magical rural surrounds in which to soak up thecountry atmosphere.
The Visitor Information Centre on thecorner of Brown and Dowling Streets (02 4992 2212) can supply you with maps anddetails on the many historic buildings in thisbeautiful township.
Dungog is the perfect base for exploring the nearby Barrington Tops National Park.This unspoiled World Heritage listed areaoffers so much to experience, from cascadingrivers and primeval wilderness to rare andendangered species of plants and animals. The many walking trails in the park cater toall, ranging from 20 minutes to the 22 kmLink Trail Walk ●
NEWCASTLE AND HUNTER VALLEY ANTIQUES TRAIL02 4974 2999www.newcastletourism.com
THE SCENIC HUNTERVALLEY perfect forantique hunters
Lake Macquarie Art Gallery. Image courtesy City of Lake Macquarie
KURRAJONGA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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With a flash of light Troy O’Brienrepairs a tennis bracelet linkwithout removing the stones or
running the risk of solder flowing into thehinge and destroying its mobility. Proprietorof Troy O’Brien Fine Jewellery in Sydney’sNeutral Bay, he undertakes repairs to allmanner of jewellery. An expert in finerestorative work, Troy can repair an antiqueenamelled pin without damaging the enamelor leaving visible signs of the restoration
work. Repairs to gemstone claws are achievedwithout removing the stones as would betraditionally required.
STATE of the art techniquesThe one tool that allows Troy to do each of
these jobs so expertly is a laser welder. This isstate of the art technology not found in mostjewellery workshops and manufacturingfacilities. Troy’s investment in this machineallows him to apply a sharply focused beam oflight that produces very high heat. Lasers
provide jewellers with the ability to accuratelydirect heat to a small area. This allows them toroutinely accomplish tasks that would oncehave been either impossible or too timeconsuming to be worthwhile.
‘It is like performing microscopic surgery onjewellery,’ says Troy. ‘We can work very closeto heat sensitive stones without damagingthem. Because you’re working under amicroscope, and because you’re able to adjustthe laser beam from two-tenths of a millimetreup to two millimetres in diameter, you can keepcomplete control of where you are firing thelaser. We can work as close as half a millimetreaway from heat sensitive stones.’
Repairs that once required multiple stepscan now be completed in a single step. Beforethe introduction of the laser it was necessaryto disassemble a piece. This involved un-setting stones, completing the repair, and thenre-setting the stones. Today, for example,natural emerald cluster rings can be repairedsafely and quickly, as opposed to the hours itcan take to remove and re-set the stones, plusthe associated risk of damage, explains Troy.
REPAIRING antique jewelleryThe laser’s concentrated heat also facilitates
delicate repairs without risking furtherdamage to fragile antique jewellery. ‘You canrepair missing bridgework in antique filigreepieces without solder,’ says Troy. ‘With ablowtorch, you just can’t do a nice job.’
The use of the laser welder can make atremendous difference in the value of a piece of
antique jewellery. ‘Once you remove the stonesfrom a piece of jewellery, you ruin the integrityof that piece,’ comments Troy. ‘No matter howgood you are, you’re never going to get it backtogether as it was before you started.
With the laser welder, you keep theintegrity of the piece by not removing heatsensitive stones, and the patina, the look thatan old piece of jewellery has is not destroyed.That patina tells a story. When trying to repairor restore a piece using a conventional torch,the patina is lost. The piece of jewellery getsoxidised, the colours change, and you need topolish the piece. This means a piece that is200 years old now looks like new.’
WORKING on contemporary designs
Not only can lasers help maintain the lookof antique jewellery in need of repair, but alsothat of newer designs. The laser is ideal forrepairing mesh bracelets and fine chains. ‘Apiece may have wire poking up and catching.With the laser you just push it back and zap iteasily. You don’t lose the intricacy of thedesign, which you would if you had solderflowing through, freezing the links. Manyother repairs are just so much cleaner andneater,’ Troy says.
Troy has found that he can repair watchcases and bands. It is especially effective withstainless bands. As he points out, ‘In the past,when we had links that separated, we had tocall the manufacturer and order a whole newbracelet. Now we are able to weld componentslike that back together.’ ●
For advice on the repair and care of your valuablejewellery Troy can be contacted at:
TROY O’BRIEN FINE JEWELLERY02 9908 [email protected]
A WORKING JEWELLER:In the workshop of Troy O’Brien
101 OLD BELLS LINE OF ROAD, KURRAJONG • PHONE 02 4573 1683OPEN 7 DAYS 10 am - 5 pm
K U R R A J O N GA N T I Q U E C E N T R E
spanning 740 sq metres (8,000 sq ft)
Antiques and Collectables
UP TO 30% OFF ON VARIOUS CABINETS
LOTS OF NEW STOCK
Come up and visit our centre now with an increase to over 50 fully stocked
display cabinets with china, glass, silver, silver plate, jewellery, crystal, porcelain and bric-à-brac.
We have a large range of original art (oils, watercolours, etchings and lithographs), brass, as well as Victorian andEdwardian furniture (cedar, mahogany, pine and oak).
All in a lovely old Art Deco Cinema/Theatre
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Windsor and the Hawkesbury isrestablishing itself as a greatdestination for antiques, collectables
and old wares. Windsor is a comfortable drivenorth west of Sydney in the picturesqueHawkesbury Valley. It is a popular short break,weekender and day trippers location. It is also apopular stopover point for city folk heading tothe Blue Mountains, Hunter Valley, Central Westas well as the North and South Coasts.
Windsor boasts some magnificent historicbuildings, its own paddle wheeler and horsedrawn restaurant with the region being home togreat national parks and the picturesque
Hawkesbury River. Windsor and theHawkesbury is also home to 19 unique antiques,collectables and old wares shops within a shortdrive of each other.
On Sundays, you can enjoy the WindsorCraft Market in the mall from 9 am – 4 pm. Anovernight stay at one of Windsor’s boutiqueB&Bs ensures you miss nothing and allows aleisurely pace for browsing.
If visiting on a Saturday you must fit in a visitbetween 10 am and 2 pm to Empire Beds,which is about 3 km from Kent’s. Phil and PeterJurd’s workshop is good fun for blokes andfascinating for iron and brass bed enthusiasts.
Phil has been in beds for over 25 years and thisis Sydney’s one-stop brass bed shop for made toorder, restoration and extensions from double to queen.
Walking down George Street to New Streetyou will see Maureen’s delightful dusky pinkrendered store, Thompson’s CountryCollectables. Maureen has an elegant range ofantiques and collectables from 1750 to 1950, butspecialises in Victorian furniture, silver,jewellery, china and glass.
Around the corner from Maureen’s isWindsor Restoration Supplies. David hasarguably the Hawkesbury’s most comprehensive
range of supplies for the restorer including brassand period lighting, cabinet fittings and handles,traditional timber finishes and period homerestoration supplies. They also have an elegantrange of outdoor furniture.
Jump in the car and head out to TheJunkyard at Londonderry. Sue and Gary havefive acres of recycled farmyard and buildingmaterials, bric-à-brac from antiques to op shopstored in a variety of sheds, old bus and traincarcases. The astute collector can find realbargains here – its nickname is ‘the five acregarage sale’ and you should allow some seriousscrounging time here. One the boys will love for sure.
John and Anne Koster, of Kostercraft, furtheron in North Richmond can help you out whenyou have found that special piece, but it needssome TLC. They specialise in preservation andrestoration of antique and modern furniture and art. They can also repair and restore distressed ceramics.
Further along the trail, Kurrajong AntiquesCentre has a very large range of antiques andcollectables. Brian has several large rooms, anupstairs and a downstairs filled with Englishchina, glassware, art, furniture, toys – there’sprobably very little he hasn’t got. Brian’s is thekind of large rambling antiques emporium youremember from the old days and has a wonderfulyesteryear feel.
We all look forward to seeing you on our trailone day soon ●
Kurrajong Antique Centre
Windsor Restoration Supplies
WINDSOR & THE HAWKESBURY Antiques & Collectables Trail
John Koster, Kostercraft
The Junkyard
Maureen Partridge, Thompson’s Country Collectables Peter and Phil Jurd, Empire Beds
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1. Empire Beds, WilberforceProprietors: Phil Jurd & Peter Jurd
Phone: 02 4575 1223
Website: www.empirebeds.com.au
Email: [email protected]
Opening Days & Times:Mon to Fri 9 am to 5 pm
Sat 10 am to 2 pm
Public Holidays: Closed
Address: 2/11 Ti-Tree Place, Wilberforce
2. Thompson’s Country Collectables, WindsorProprietor: Maureen Partridge
Phone: 02 4577 2381
Opening Days & Times:
7 days 10 am to 5 pm
Public Holidays: 10 am to 5 pm
Address: 11 New Street, Windsor
3. Windsor Restoration Supplies,WindsorProprietor: Dave Crawshaw
Phone: 02 4577 4853
Opening Days & Times:
Mon to Fri 9 am to 4.30 pm
Sat 10 am to 2 pm
Public Holidays: Closed
Address: 268 George Street, Windsor
4. The Junkyard, LondonderryProprietors: Gary & Sue Evans
Phone: 02 4572 5211
Opening Days & Times: 7 days
10 am to 4 pm (weather permitting)
Public Holidays: Closed
Address: 11 Bennett Road, Londonderry
(Just a 10 minute drive from the centre
of Windsor)
5. Kostercraft, North RichmondProprietors: John and Anne KosterPhone: 02 4571 1320 Mobile: 0412 571132Email: [email protected]: www.kostercraft.com.auOpening Days & Times:Mon to Fri 9 am to 6 pmSat, Sun: Available for enquiries and drop offsPublic Holidays: Available for enquiries and drop offsAddress: 27 Elizabeth Street, North Richmond
6. Kurrajong Antique Centre,KurrajongProprietor: Brian BriggsPhone: 02 4573 1683Opening Days & Times: 7 days 10 am to 5 pmPublic Holidays: 10 am to 5 pmAddress: 101 Old Bells Line of Road,Kurrajong
WINDSOR & THE HAWKESBURYantiques & collectables trail
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To advertise on this pageplease phone
02 9389 2919Email: [email protected]
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Josiah Wedgwood’s first creamware rangemade in 1792. A mint condition Britanniametal tea service on display is a rare find. Teaware made from this metal proved not sopractical as the plating did not respond well tothe constantly changing temperature.
On show is the first teapot that started thecollection more than 30 years ago. Much careand thought has gone into the displays andvisitors can explore the history of the variousstyles and learn about the origins of teataking. For example, a predecessor of theteapot is the c. 4000 BCE wine jug fromChina and which can fetch in excess of$200,000 at auction. A more recent example isthe 300-year-old cast iron Chinese teapot.
HIGH TEA experience Of course, you can buy a unique teapot or
sample fresh, fine-tipped tea served in thetearoom, which offers silver service – a highlyrecommended experience. The waiter, wearinga top hat and tails, serves tea in a shimmeringsilver teapot with finely rolled sandwiches asdone by the Ritz Hotel in London, freshly bakedscones, home-made jam and whipped creamand a range of delicate pastries served on finebone china. All this to the refrains of ‘Land ofHope and Glory’ combines to make anunforgettable experience – bring your camera.
High Tea is served daily and bookings are recommended.
The Tearoom provides a perfect backdrop tothe teapot collection where light gourmetlunches, soup, sandwiches, cakes, hot andcold refreshments are served.
For those memorable mountain spring,summer and autumn days, enjoy the ambienceof outdoor dining, soaking up the Federationpast among the magnificent rhododendronsand roses ●
BYGONE BEAUTYS ANTIQUES02 4784 [email protected]
Bygone Beautys, often described as anAladdin’s cave due to the sheer volumeof collectable and colourful items on
display, is a unique shopping experience. Thisemporium is overflowing with antiques,jewellery – both new and estate – collectables,gifts, furniture, lamps, an entertaining array ofgift cards, soft furnishings and much more.
Bygone Beautys Emporium is also home tothe world’s largest private teapot collectionand is one of the most popular attractions inthe Blue Mountains. Located one block eastof the Leura shopping centre, the antique
centre is home to the collection.Thirty-two years ago Ronald Hooper started
collecting teapots and in 1992 joined withMaurice Cooper to establish Bygone Beautys.Cooper, affectionately referred to as the‘teapot man,’ brought to the partnership hispassion for teapots and so between them theyhave built a significant and important display.
There are examples dating from 1680,1700s, 1800s to contemporary miniaturecollectables. Among the special pieces is ateapot commissioned by the Emperor of Japanin 1900. Another fine example is a piece from
Much care and thoughthas gone into the displaysand visitors can explorethe history of the variousstyles and learn about theorigins of tea taking
”
“
The world’s largest private teapot collectionON DISPLAY AT BYGONE BEAUTYS
&Bygone Beautys Antiques
‘Treasured Teapot Collection’’
As seen on Getaway, Sydney Weekender, and in ABC Collectors Show
20~22 Grose Street, Leura Phone 02 4784 3117 Fax 02 4784 3078
www.bygonebeautys.com.auOpen 7 days ~ 10 am ~ 5:30 pm
Bus groups are welcome by arrangement, and you can organise a ‘Teapot Talk’ by contacting Bygone Beautys direct
Winner of Regional Tourism Business of the Year 2009
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Bygone BeautysCOTTAGES
Pine Lodge’s elegant dining table seats tendiners, in Wentworth Falls
Bronte Cottage, a modern French provincialstyle country house in quaint Bullaburra
1920s Wentworth Falls Worker’s Cottage in fiveacres of beautiful gardens
RETREATS in the Blue Mountains
Located in the beautiful Blue Mountainswest of Sydney, Bygone Beautys Cottagesoffer a range of self-contained cottages at
Wentworth Falls and Bullaburra. Each is aperfect destination and base for a romanticweekend in the Blue Mountains or a family orgroup planning an active mountain holiday.
Enjoy the moderate summer temperatures witha high of 22° C, 800 metres above the hot plainsand sweltering suburbs. The novelty of wintertemperatures that average highs of 9° C down tojust above freezing makes burning log fires awelcome entertainment and comfort, as well askeeping children busy carrying in logs from theample supply.
Browse the largest private emporium ofantiques and collectables in the Blue Mountainsat Bygone Beautys in Leura, just a short walkfrom the train station. Appealing to collectorsand those who appreciate history, here you willfind jewellery, furniture, fine china and dinnerservices, dolls and toys and excellent service byknowledgeable staff.
WENTWORTH FallsBoth Wentworth Falls and Bullaburra are on
the Blue Mountains rail line as well as reachedby a local bus that runs between Springwood andKatoomba. These transport options make returntrips easy for hikers and bicyclists who plan non-motorised exploration from their cottage.
For superb Blue Mountains scenery withoutgoing too far from civilisation, Wentworth Falls
is ideal. Canyons contain microclimatessupporting many ferns and soft leafed treeswhere you can hear lyrebirds. Cliff-top walks areless strenuous than valley walks and you may seecanyoners abseiling down Valley of the Waters.There are many craft and antique dealers through the area.
BullaburraLocated between Lawson and Wentworth
Falls, Bullaburra is nine kilometres east of Leura and 91 kilometres from Sydney. Locatedonly 10-12 minutes drive from the bustle of themajor tourist attractions, it is a sleepy villagealong the highway. Its attraction is that it is in theheart of the mountains and most areas areadjacent to bushland.
COSY comfortsOn arrival at a Bygone Beautys cottage, your
burning log fire is set and every bed freshlymade up with an electric blanket for chillymountain nights. Awaiting you are fresh fruit,flowers and chocolates. A country-style breakfastplatter is stocked for guests to prepare when andhow they choose in a well-equipped kitchen. Anample supply of fluffy towels and bath toiletriesensures luxury during your stay.
Bygone Beautys Tearooms in stylish Leurawill serve you a delicious complimentaryDevonshire Tea as part of your cottage booking.Enjoy the Bygone Beautys Treasured TeapotMuseum with over 3,000 teapots on display, oldand new from all over the world in an astoundingrange of styles, shapes and tastes.
PICK Your Winter GetawayBronte Cottage is a modern French
provincial style country house in Bullaburra,with beautiful established gardens and a full sizetennis court. It accommodates eight people.
Chalet Cottage is an elegant cedar chalet inWentworth Falls, designed for two people andaccommodating up to four.
Pine Lodge retreat is an elegant cedarfederation-inspired country house set in five acresof gardens in Wentworth Falls. It accommodatesten visitors, including ten comfortably seated at itstraditional dining room table.
Robin’s Nest is a very cute 100-year-oldcottage in one of Bullaburra’s quiet streetswith a lovely bush outlook. Come up and feedthe possums or spot the wallabies in the earlymornings and evenings, with accommodationfor four people.
Tarcoola Cottage was built in the 1930s inBullaburra, set in a traditional garden on one acrewith an elevated canopied verandah overlookingthe Blue Mountains National Park. Itaccommodates up to ten guests and its duckpond with koi carp will entertain children whilethe cooks rule in the fully equipped kitchen.
Wentworth Falls Worker’s Cottage is a1920s cedar weatherboard cottage set in fiveacres of beautiful gardens and a gentle half hourstroll into the village of Wentworth Falls. Itaccommodates four visitors.
Blue Haze cottage is an ideal bushwalkingretreat, set opposite the Red Gum Park inBullaburra. This 1950s weatherboard cottage ison the edge of the National Park andaccommodates four people.
Sharphens in the township of Wentworth Fallsis a charming 1940s cottage situated on three acresof bushland. It accommodates seven visitors.
Bring good friends and good cheer to yourBygone Beautys cottage and everything else willbe ready for your best Blue Mountains getaway ●
BYGONE BEAUTYS COTTAGESFreecall 1800 663 619 [email protected] www.bygonebeautys.com.au
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As a proud expatriate NewZealander, I started collectingcarved Maori artefacts as a reminder
of my origins and as a connection with myhomeland. To me, these pieces represent thestrong independent spirit that has infusedmodern New Zealand culture.
INSIGHTS from a new collectorThe first thing I discovered as a new
collector was that collecting is not a hobby,but relentless obsession! Holidays back toNew Zealand were no longer just to reconnectwith places, family and friends, but became anopportunity to add new pieces fromcontemporary artists to my collection. So tripsback to New Zealand suddenly became a lotmore expensive.
As with any new interest, the learning curvewas steep. I started collecting the simple teko
teko (totem) carvings, replica carved paddlesand boxes that make the majority of the piecescarved for tourism sales. I tried to choosepieces with carving that was more intricateand of better quality. Regretfully, there werevery poorly executed pieces made for thetourist market. Given the volume of itemsavailable, I needed to learn more.
BUILDING a knowledge baseAn important reference book I was
fortunate to receive was Maori Treasures ofNew Zealand: Ko Tawa co-authored by PaulTapsell. It documents 27 of the 247 taongathat make up the Gilbert Mair Collection atthe Auckland War Memorial Museum –Tamaki Paenga Hira. This book is especiallyimportant to me because it introduced andclarified the concept of ‘taonga’, bestexplained in Tapsell’s well-researched words.
‘A taonga can be any item, object or thingthat represents the ancestral identity of akin group in relation to particular lands orresources. Taonga can be tangible like acloak, a greenstone weapon or a warcanoe, or they can be intangible like theknowledge to be able to carve, recitegenealogy or sing a lament. As taonga arepassed between generations, they becomemore valuable as the number ofdescendants increases. They are seen asthe spiritual personifications of particularancestors either as direct images orthrough association.’
ETHICAL collectingLearning what is associated with taonga
changed the focus of my collecting. Collectorswill generally seek out older or more originalpieces, deeming them rarer and moredesirable. This was not possible for mycollecting focus.
Firstly, it would mean removing someone’sfamily history from its country, as did collectorsof the late 19th and early 20th century. I wouldnot emulate that colonial attitude.
The second reason I could not collect olderpieces was that it is illegal to remove Maoriitems from New Zealand if they are over 60years old, and are of national historic, artisticor cultural value (Antiquities Act, 1975).
My current focus is on contemporarypieces, mainly carved in the early to mid-20thcentury for the tourist trade – not of historicor cultural value. In the spirit of taonga, I tryto find pieces that have a special meaning orattachment to the particular time and place inwhich I find them, or perhaps have ahistorical connection to something in my life.
A SPECIAL pieceHaving learned of taonga and its lore, I believe
I have taonga in my collection, in just one itemthat is not much older than I am. A number ofyears ago a local wished to dispose of a desk thathe no longer needed, so I agreed to view the deskand subsequently purchased it.
While at his home, he noticed my slightNew Zealand accent and told me that his wifewas from New Zealand. He showed me alarge blanket box belonging to her; it wasintricately carved with Maori motifs. Hementioned that when I picked up the desk, hiswife would be home and would be happy totell me the box’s origins.
Upon my return, the lady of the house and Ichatted for a good hour over coffee before shetold me the box’s history. Her father had madeit for her mother; he decided to carve theMaori motifs and designs that she loved intothe box’s surface. The original drawings forthe box that her mother had made on thefamily business letterhead were still inside the
box. Although I knew that there was littlehope, I said that if ever she planned to sell thebox, I would be very interested in buying it.
In that very direct New Zealand way shefixed me with a glare and asked me, whatwould I do with the box if I got it? I told herthat it would form the basis of my collection,which was just starting at that time. She thenasked if I would ever sell my collection. I laughed and said that if I ever tried, mydaughter would protect it as she alreadyviewed the collection she loved as hers. The lady next told me that she would never beable to sell something that had been made byher parents. Her next words floored me: ‘Iwant you to have it. I want you to have it foryour daughter. I have no kids – I’m giving itto you.’
Sadly, I have lost contact with thiswonderful woman. However, she will alwaysbe remembered in my family for generationsto come, through this taonga, this beautifulblanket box with Maori motifs and designs.
TIES that bind: Provenance Does the concept of taonga have any
parallels in non-Maori or ‘pakeha’ culture?The answer is yes, although in lesser forms.The Cambridge Dictionary defines a keepsakeas ‘a small present, usually not expensive, thatis given to you by someone so that you willremember that person.’
In the antiques industry, it is very desirableto know the provenance of any piece: whomade it, for whom, who purchased it andwhere has it lived since. Such information isvery important for many people, especiallyabout pieces that have been in the family forgenerations, to provide a connection with thepast. Unfortunately, for others, it is just a wayto improve an antique’s value.
I encourage visitors and clients whomention something left to them by familymembers to record its details. For example,write down when, where and from whom thepiece came, with a history of the peopleconnected and then keep the record with thepiece. Even if you already know where thepiece came from, will later generations know?Applying the lessons of taonga will enhancethe collecting experience, whether beginning,adding, or exploring new directions ●
Roger GarnerVICTORY THEATRE ANTIQUE CENTRE02 4787 [email protected]
Further readingPaul Tapsell, Krzysztof Pfeiffer, Ron Crosby,Maori Treasures of New Zealand: Ko Tawa(Auckland War Memorial Museum, 2006)
HERITAGE AND COLLECTING: Maori artefacts and the importance of taonga
BLACKHEATH, BLUE MOUNTAINSVICTORY THEATRE ANTIQUES & CAFE
17 Govetts Leap Road, Blackheathwww.victorytheatre.com.au
More than 50 dealers selling bric-à-brac, antiques & collectables
Largest antique centre west of SydneyOpen 7 days 10am–5pm Phone: 02 4787 6002
Club carvedfromgreenstone,New Zealand
Blanket box, New Zealand, carvedwith Ma ri motifs and designs
Club carvedfromwhalebone,New Zealand
Carved wood decorative objects, New Zealand
SOUTHERN HIGHLANDS / WINGENA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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porcelain • fine arts • furniture • silver • books • & more
WINNER OF THE 1999 SOUTHERN HIGHLANDS OUTSTANDING BUSINESS AWARD FOR
B E S T R E G I O N A L A T T R A C T I O N
85-87 MAIN STREET • MITTAGONG
TELEPHONE 02 4872 3198 • FACSIMILE 02 4872 3216
OPEN EVERY DAY10.00AM TO 5.00PM
over 45 Antique Dealers plus a coffee shopall under the one roof!
VISIT THE HIGHLANDS
BestRegionalAttraction*
*
BURNING MOUNTAIN
ANTIQUES& PLOUGH INN
NEW ENGLAND HIGHWAY, WINGEN, NSW 2337TELEPHONE: 02 6545 0235
Barry and Stephen Daniel
FOR AUSTRALIANA AND COLLECTABLES
Everything from antique furniture, jewellery, memorabilia & other paraphernalia.
Housed in the Historic Old Post Office in Wingen,on the New England Highway about 20 minutes north of Scone
OPEN 7 DAYS • TELEPHONE: 02 6545 0235
VILLAGE ANTIQUES A TOUCH OF BRASSJellore Street, Berrima 257702 4877 1366Open Wed, Thur, Fri, Sat 11am - 4pmSun, Mon, Tues by appointmentHuge selection of antique beds in metal(fancy iron, and brass and iron) and varioustimbers, pine sleigh beds, mahogany half-tester beds, French beds, etc. All sizes.
BERRIMA
MITTAGONG ANTIQUES CENTRE85-87 Main Street (Hume Hwy) Mittagong 257502 4872 3198 Fax 02 4872 3216Open 7 Days 10am - 5pm650 sq metres (7,000 sq ft) with large variety of stock. Plenty of parking. Excellent loadingdocks. Eftpos & credit cards welcome.
ANTIQUES ON CONSIGNMENTOld Hume Highway, Nth Mittagong (Braemar)02 4872 2844 Mob 0416 251 946Kamilaroi c. 1906 has 6 rooms of French,English, Oriental and Scandinavian antiquefurniture, mirrors, clocks, chandeliers, porcelain,silver, jewellery, paintings, objets d’art anddecorative items.Also the Parterre Garden and the Barn andCottage with other exciting items.
Sutton Forest
PEPPERS MT BROUGHTONA SOUTHERN HIGHLANDS GRAND COUNTRY ESTATEKater Road, Sutton Forest 257702 4868 2355 Fax 02 4868 3257The estate’s extensive facilities include an à la carte restaurant, cocktail bar, swimming,tennis, cycling, volley ball, gym and walks throughthe glorious old gardens. A round of golf at theadjoining Mount Broughton Golf and Country Clubcan be arranged.
MITTAGONGMOSS VALE
SALLY BERESFORD DESIGNSMobile 0413 875 289www.sallyberesford.com.auFrench provincial furniture, industrial,architectural & decorative Items.
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When you hear the name DirtyJane’s, perhaps images begin toform in your mind – some of them
may be not so good! However, this new storeand antique market in the heart of Bowralshows there is more to a name than firstimpressions. Dirty Jane’s definitely deliverswhen it comes to variety, quality and quantityof stock and value.
OUR namesake Dirty Jane arrived in Australia in 1840
aboard the convict ship Surrey I. She was sentto Gundagai to assist the owner of the localgeneral store where she found her true calling:identifying items of rarity and value andpurchasing them to resell for profit. Shegradually took on the role of running thebusiness when the original proprietor saw how
well the business was doing under her mantleof Dirty Jane, as she was widely known. Shelived for the thrill of the sale – able to sniffout a treasure in the morning and sell it bysunset. Her career as Australia’s first femalesecond-hand dealer spanned 40 years until shedied in 1883 of old age, as the story goes.
At this destination store in Bowral, you willnot find any convict girls serving behind thecounter! Instead, Jane Crowley and her father,Athol Salter who started The Shed inMittagong, have combined their knowhowwith the experience of their team to bringDirty Jane’s to life.
DIRTY Jane’s EmporiumThe Emporium on Bong Bong Street in
Bowral is a vast array of beautifully presentedfurniture and decorative items. Many areantique and all are second-hand. The frontwindow boasts the quote ‘the best in vintage’and it is easy to see why. Decoy ducks fromthe USA and cheese boards from France arenestled amongst some of the finest examplesof country style ten-seating dining tables andoverstuffed couches this side of Sydney. Weship fresh stock regularly from Europe, theUK and recently North America to keepgiving you new choices.
RECYCLED Rags Jane began Recycled Rags within the
Emporium, and ten months after opening, theclothing sales have grown to three rooms inthe establishment from just one room. Twiceevery week new consignments of clothing,including Bally shoes and bags, Escadadresses and Jigsaw blouses, replenish theracks. ‘We price everything in the Emporiumto sell quickly,’ said Jane, ‘We love thechallenge and sight of new stock coming inand sold stock going out.’
THE Antique MarketBehind the Emporium is the Antique
Market in several vast sheds that originallyhoused the machinery for the ElectricityCommission. Now they house over 20 dealerswho display their wares.
The market is fresh and relaxing, reflectingthe fact that it is located in a country town.French furniture, industrial and retro, English
pine and Tibetan antiques all share the space.The team has been very careful to structurethe antique market so that it is not tooupmarket and or over-selective.
Local artists show their pieces, cabinets arefull of beautiful 1950s beads and jewellery;there is garden ware and many wonderfulfound objects. All the stallholders takeenormous pride in the presentation of theirstands and the market seems to stockeverything from gorgeous French enamelware,Welsh pine dressers to vintage Americancollege pennants.
This ever-changing montage is a feast forthe eyes and still growing! By next yearanother three warehouses will be open formore stallholders and variety. ‘We have a listof dealers wanting to take space in the market,we simply need to complete some buildingwork and then we hope to have up to 50stallholders in Bowral’s first permanentantique market,’ says Athol.
FIND us in BowralOn your next visit to or through Bowral
stop in and wander through Dirty Jane’sEmporium & Antique Market. If you aredriving from Sydney, drive on Bong BongStreet to the south end of town whereBanyette Street crosses the main street at aroundabout – we are on your left at theroundabout. There is plenty of off-streetparking off Banyette Street beside our buildings.
The namesake might be a vision of the past,but this shop and market bring the thrill of thefind well and truly into the 21st century.Incorporating antique furniture, lighting,architectural, beautiful quality pre-loved homefurnishings and our fabulous Recycled Rags,it is the one-stop shop for style on a budget.
Dirty Jane’s Emporium & Antique Marketis open 10 am – 5 pm daily, closed Christmasand Boxing Days (25 and 26 December) andon New Year’s Day (1 January) but open on allthe public holidays ●
DIRTY JANE’S EMPORIUM &ANTIQUE MARKET, BOWRAL02 4861 [email protected]
DIRTY JANE’S EMPORIUM & ANTIQUE MARKETFind the unusual rather than the usual in Bowral
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10 December 2010 -20 March 2011
Ballets Russes: the art of costumecelebrates the centenary of the firstParis seasons of the legendary Ballets
Russes, the company that revolutionised balletwith its sensational fusion of art, movementand music in new productions organised by itsfounder, the Russian-born impresario SergeiDiaghilev (1872-1929).
SERGEI Diaghilev (1872-1929)As a producer and creative director,
Diaghilev rejected conventional ideas ofballet. He encouraged the collaboration ofcontemporary artists, designers,choreographers and composers and was thefirst to bring Russian culture to the Westernstage. Diaghilev integrated traditional dancenarratives with modern design, folk art,contemporary music and new approaches tochoreography, bringing modernity and a newexcitement to ballet.
By raising every aspect of danceperformance – dancing, choreography, music, stage and costume design and publicity– to an equal level of creative invention andexcellence, Diaghilev unleashed a torrent ofcreativity to European theatre. He placed themoribund art of ballet into the modernistframework of early 20th century design and culture.
Diaghilev’s first designers for the BalletsRusses’s costumes and sets were Léon Bakstand Alexandre Benois, long-standingcolleagues from his formative years in StPetersburg when they worked together ontheir influential art journal Mir Iskusstva(World of Art) from 1898 to 1904.
RUSSIAN and European avant-garde artists
From 1910 other artists of the emergingRussian and European avant-garde alsobecame associated with Diaghilev and thecompany. Among them were Michel Larionov,Nicholas Roerich, Natalia Goncharova,Georges Braque, Pablo Picasso, HenriMatisse, Giorgio de Chirico, José Maria Sert,André Derain, Robert and Sonia Delaunay,Georgy Yakulov and Pavel Tchelitchev.
Igor Stravinsky launched his career with theBallets Russes and was Diaghilev’s closestmusical collaborator. Diaghilev employedsome of the 20th century’s most innovativechoreographers to develop performances forthe company. Among these whosechoreographic innovations laid a foundationfor later 20th century dance were MichelFokine, Vaslav Nijinsky, Léonide Massine,Bronislava Nijinska and George Balanchine.Performances by émigré Russian dancers suchas Vaslav Nijinsky, Tamara Karsavina, SergeLifar and Adoph Bolm became legendary.
LES BALLETS Russes de Monte Carlo
After Diaghilev’s untimely death in 1929,several new companies were formed tocontinue and develop his legacy. The mostimportant of these was Les Ballets Russes deMonte Carlo, formed in Monaco in 1932 bythe Russian entrepreneur Colonel Wassily de
Basil. Using some of the original Diaghilev sets and costumes, de Basil’scompany revived many of the BalletsRusses’s earlier productions andcommissioned new works in the innovativespirit of Diaghilev’s earlier company.
Following the Ballets Russes tradition,prominent artists and designers were invitedto design for these productions, includingAndré Masson, Oliver Messel, Étienne deBeaumont, Jean Lurçat, Natalia Goncharova,and the Australians Sidney Nolan andKathleen and Florence Martin.
De Basil’s companies, which ceased withhis death in 1951, toured in Australia, underseveral names, three times from 1936 to 1939-40 creating enthusiastic new audiences forballet and an appreciation for the avant-garde.This set in train the formation of moderndance companies across Australia from 1940by former Ballets Russes associates.
COSTUMESThe costumes designed and made for the
Ballets Russes had been conceived in thecontext of powerful and emotional artisticcollaboration and they command attention aspersuasive works of art in their own right longafter they ceased to be worn on stage. Theiringenious design, cut and construction,innovative colours and patterns, along withtheir use of a variety of fabrics and trimmaterials, come together with the purpose ofbeing worn in complex action by athleticdancers for maximum visual impact on stage.Even while bearing the ravages of time, useand neglect, they are tangible reminders of thecraft of their makers and their wearers.
The National Gallery of Australia holds oneof the world’s most extensive collections ofcostumes from the productions of the SergeiDiaghilev and Wassily de Basil periods of theBallets Russes and is an important part of theinternational legacy of dance and stage designfrom the early 20th century.
NGA conservation projectThe exhibition reveals the result of a major
Gallery conservation project over the past fiveyears with 140 of these costumes, many ofwhich were previously too fragile and
deteriorated to be put on display, having beenfully restored. Included are some of theGallery’s most famous costumes:
Alexandre Benois’ costume forPetrouchka, worn by Nijinsky in the 1911ballet of the same name
Léon Bakst’s costume for the Blue Godworn by Nijinsky in Le Dieu Bleu 1912
Henri Matisse’s powerful costume for amourner from Le Chant du Rossignol 1920
Natalia Goncharova’s joyous folkcostumes from the 1914 and 1937 productionsof Le Coq d’Or
Mikhail Larionov’s cubist costumes forChout Chout [The Buffoon] 1921
Giorgio de Chirico’s surrealist vision forthe young man in Le Bal 1929
Leonard Massine’s futurist costumes forthe symphonic ballet Les Présages 1933
These costumes are only parts of the largercontext of the productions for which they weremade, but each retains the power to evoke theintimacy and emotional charge betweendesigners, performers and audiences that wascentral to the Ballets Russes experience.
Through these fragments we can glimpsethe work and passion of Diaghilev and hisdesigners, dancers, collaborators andsuccessors. They provide insights into theirinterpretations of both the great romanticstories and legends of history against theframework of the moral contradictions of theemerging 20th century.
This exhibition aims to celebrate thecentenary of the Ballets Russes by showinghow its spirit continues for our time and place ●
Dr Robert Bell AMSenior CuratorDecorative Arts and DesignNATIONAL GALLERY OFAUSTRALIA02 6240 6411www.nga.gov.au
All costumes are from the collection of theNational Gallery of Australia, Canberra.Photography: Brenton McGeachie, NationalGallery of Australia.
National Gallery of AustraliaBALLETS RUSSES: THE ART OF COSTUME
Natalia Goncharova (1881-1962), costume for aseahorse from Serge Diaghilev’s Ballets Russesproduction of Sadko 1916
Léon Bakst (1866-1924), costume for the Blue God from Serge Diaghilev’s Ballets Russes production of Le Dieu Bleu [The Blue God] 1912
Mikhail Larionov (1881-1964), costume for a buffoon’swife from Serge Diaghilev’s Ballets Russes production ofChout [The Buffoon] 1921
Henri Matisse (1869-1954), costume for a mourner from SergeDiaghilev’s Ballets Russes production of Le Chant du Rossignol [TheSong of the Nightingale] 1920
CANBERRAA N T I Q U E S & A R T I N N E W S O U T H W A L E S
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Canberra | nga.gov.au
10 December 2010 – 20 March 2011
Tickets: nga.gov.auHotel and ticket packages: 1300 889 024
Principal PartnersPresenting PartnerLéon Baskt
Left: Tunic from costume for the Blue God c.1912 (detail) from
Le Dieu Bleu National Gallery of Australia, Canberra, purchased 1987
Right: Illustration of the Blue God costume (detail) page 29
in Official programme of the Ballets Russes at the Théâtre
du Châtelet May–June 1912 National Gallery of Australia, Canberra
The National Gallery of Australia is an Australian Government Agency
Art meets design, dance and music – 150 costumes and accessories by Matisse, Picasso and renowned artists from the early 20th century.
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One hundred years ago, BalletsRusses (French for Russian Ballets)revolutionised dance with a
sensational fusion of art, movement andmusic. Directed between 1909 and 1929 bySergei Diaghilev, the touring companyperformed in many countries includingEngland, the USA and Spain. Many dancersoriginated from the Imperial Ballet of SaintPetersburg and after the 1917 RussianRevolution, younger dancers trained in Paris.
A number of Ballets Russes types ofcompanies formed after Diaghilev’s death in 1929. Between 1936 and 1940, three such companies visited Australia, allorganised by Colonel Wassily de Basil with 44 works performed. Their panorama ofchoreography, music and design were new to Australian audiences.
Due to WWII, some dancers remained orreturned to Australia, founding now-legendaryAustralian ballet companies – the Kirsova,Borovansky, West Australian and the PolishAustralian Ballets. A few Australians dancersjoined, including the 14-year-old ValreneTweedie OAM (1925-2008) who auditionedfor Colonel de Basil in Sydney and touredwith his Original Ballet Russe in 1940 – asIrina Lavrova, dancing several rolesmentioned in this article.
THEATRE costumes presentunique problems for theconservator
The NGA textile conservation teaminvested three decades and thousands of hoursto return the Gallery’s 150 Ballets Russescostumes and accessories to their formersplendour, some weighing several kilograms.Over 6000 fibres were identified andhundreds of metres of fabric were dyed toundertake repairs, with every aspect of themanufacture of the costume and its historydocumented.
Every thread, fibre, dye and stain must bestudied to determine its composition and stability.For example, silk is very fine and easily damagedwhen in contact with metal braids, sequins andpainted designs, while later synthetic fabric anddecorative elements are inherently unstable andprone to deterioration.
HISTORICAL recordsThe hand painted designs, composite
fabrics and the predominance of metallicdecorative elements ensured the costumes werenever washed when worn – thus accruing stains,dust from the stage floor, mould, corrodedfasteners, and transferred or lost dyes resultingfrom inferior storage. These contribute to thechronology of the life of the costume.
NOT ALL stains should be removed
Sometimes stains are so important they areretained. For example, makeup stains providea unique insight into the stage appearance ofdancers before the advent of colourphotography. Bodice linings have inscriptionsby the dancers who wore them, theproductions they were intended to be worn inand occasional customs stamps from tours.Careful cleaning leaves these importanthistorical aspects intact.
COMMON damageMost costumes of the Ballets Russes were
constructed to a very high quality, often bythe leading costumers of the day. Inevitablystress occurred from the physical nature ofdance, years of being packed, unpacked andstorage. Alterations and repairs were constantduring tour and for replacement dancers:seams let out or taken in, hemlines raised orlowered, but rarely with great precision.Regrettably, alterations cause damage such aspulled threads, holes from crude stitching andsplit seams.
IMPACT of unstable materialsAs some costumes were made of unstable
materials these have deteriorated over time. Twosuch examples are the blue skirt of Chiarina fromLe Carnival (based on Robert Schumann’sCarnaval for piano) and that of Squid from Sadco(Rimsky-Korsakov’s greatest opera). The
fabric became brittle, leading to extensivesplitting and disintegration.
The silk was in such poor condition thatnormal conservation techniques could not beapplied. Instead, the conservators unpicked thecostume, dyed a support fabric to match andfused it to the reverse of the original fabric,which provided new structural support.
The process requires each thread to beexactly positioned and attached to theadhesive and support fabric. This is achievedusing a tiny iron, no larger than the nail on thelittle finger.
COSTUMES are designed to beworn not displayed
Costumes were never designed to be onconstant display for many months. To avoidthe extreme pressure on seams and stitches,especially to those costumes that weighseveral kilograms, special display forms weredesigned and built. These custom mannequinsprovide maximum support and reduce the riskof damage from the stress of gravity duringdisplay. The mannequins are individuallytailored to each costume and have taken manyweeks to construct.
The Ballets Russes have delighted lovers ofballet, costume, fashion and design for acentury. Continuous conservation by the NGAtextile team, even daily monitoring of costumeson display, ensures these remarkable costumeswill inspire audiences well into the future ●
Many highly skilled conservatorshave restored the NGA BalletsRusses collection and contributed to this article:Micheline Ford, Hannah Barrett,Chandra Obie, Jane Wild, BlaideLallemand and David McRobertsNATIONAL GALLERY OFAUSTRALIA02 6240 6411www.nga.gov.au
Above: Restoredoverdress of costumefor Aurora from LeMariage d’Aurore, c. 1922 designed byAlexandre Benois,Left: Stains, pulledthreads, damaged fabricon front waist of dress
Above: Restoredcostume forChiarina from LeCarnaval, c. 1910,designed by Léon Bakst Left: Detail of thefragile blue silk skirtbefore treatment
Above: Detail ofrestored costume for theChief Eunuch fromSchéhérazade, c. 1910designed by Léon BakstLeft: Stencilled appliquéhearts on the overskirt ina very fragile state
The conservator’s role in preparing textiles for display: THE COSTUMES OF THE BALLET RUSSES
Above left: Restored costume for a Squid fromSadco, c. 1916 designed by NataliaGoncharova. Courtesy ADAGP. Licensed by Viscopy 2010Left: Poor condition of blue silk
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Canberra | nga.gov.au
Now showing until 6 February 2011
IN THE SPOTLIGHT:Anton Bruehl photographs 1920s - 1950s Free entry
Now showing until 27 February 2011
SPACE INVADERS:australian • street • stencils posters • zines • stickers Free entry
10 December 2010 - 20 March 2011
BALLETS RUSSES: The art of costumeTickets: nga.gov.au
OPENING SEASON
Don’t miss these special exhibitions: Ramingining Artists The Aboriginal Memorial 1987-88 (detail), National Gallery of Australia, Canberra, purchased with the assistance of funds from the National Gallery admission charges and commissioned in 1987
The National Gallery of Australia is an Australian Government Agency
Explore the new Aboriginal and Torres Strait Islander Galleries
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In autumn the deciduous northernhemisphere trees that dot Canberra turnsthe nation’s capital into a visual feast of
vibrant colours. A picture perfect setting forsightseeing and a visit to the capital’s antiquesand collectables fair planned for autumn.
The 2011 Autumn Antique and CollectablesFair is in the Albert Hall in old graciousYarralumla. Albert Hall is one of the city’smajor historical buildings and has undergonemajor restoration. Now returned it to itsoriginal glory, it is a fitting setting for fineantiques, artworks and collectables.
A CANBERRA institution The fair is noted for its consistently high
standard. Dealers who support the eventalways feature an excellent blend of highquality, genuine, affordable antiques, oldworld nostalgia and wonderful collectables, allfor sale. Whether you are seeking diningtables and chairs, fine china, diamonds, linenor lace, any one of the 23 antique dealersshowing at the fair is sure to have something
to help your collection grow or select aspecial gift for someone special.
All dealers who attended the Spring 2010ACT Seasonal Antique Fair immediatelybooked for this next Autumn ACT SeasonalAntique Fair – with a queue of dealers a milelong waiting to get in.
ACT Seasonal Antique Fairs havedistinctive customer protection.Organisers assure prospective buyers ofthe quality and authenticity of all items.Intending dealers must agree to andfollow these quality controls:• Every item must be accurately described• No reproductions • No new merchandise • Any restoration must be disclosed to a
prospective buyer.
SUPPORTING the community Almost $250,000 has been raised for
charities in Canberra since the seasonal ACTSeasonal Fairs commenced 24 years ago. The
Rotary Club of Canberra City and allexhibitors are proud of the standard of eachfair. They are equally proud of how they giveback to the local community through theproceeds from the events.
The 2011 Autumn Fair will help the ACT Lions Youth Haven dormitory buildingproject where youth have a residentialalternative to unhappy home life and cancontinue their education in a positivesupportive environment.
SPONSOR supportProudly supporting the Rotary Club of
Canberra City’s annual Autumn Antiques andCollectables Fair are WIN TV, First ChoiceLiquor Superstore Phillip ACT and Cosmorex Coffee.
GALA opening nightGala opening night is Friday evening,
25 March from 6 to 9 pm. For the first hour(6-7 pm) there are complimentary drinks andhors d’oevres, all for only costs $7. Of course,donations will be accepted for charity at thisgala evening.
For each of Saturday and Sunday, all-dayentry is still only $7 and just $5 forconcession holders. Children 14 years andunder are admitted free (with anaccompanying adult), so make this a familyexcursion to visit childhoods from the past.Wheelchair access is cheerfully organised, onrequest to 0418 631 445 ●
For further information contactLes SelkirkROTARY CLUB OF CANBERRA CITY02 6231 5244 / 0418 631 445
THE ROTARY CLUBOF CANBERRA is holding their annualAutumn Antique andCollectables Fair 25-27 March
in the
ALBERT HALLCOMMONWEALTH AVENUE CANBERRA
onFRIDAY NIGHT 25 March 2011 6 pm - 9 pmSATURDAY 26 March 2011 10 am - 5.30 pmSUNDAY 27 March 2011 10 am - 4 pm
Presented by Rotary Club of Canberra CityAdmission $7 Concession $5
(children under 14 years admitted free)
Established GenuineAntiques and Collectables Fair
Enquiries: 02 6231 5244 or 0418 631 445R E F R E S H M E N T S AVA I L A B L E
Proceeds to support local organisationsthat assist the less fortunate in the ACT
Wheelchair access is availableSponsors of the fairs include WIN TV and other local businesses
ACT SEASONAL ANTIQUE FAIRSpresent
2011 AUTUMNANTIQUES AND COLLECTABLES FAIR
NerileeAntiques
(inc. Micawber Antiques)
antique jewelleryglass ◆ porcelain ◆ silverfurniture & collectables
Member of AAADA & NSW ADA
26 Allowrie StreetJamberoo NSW 2533
9 km from KiamaTel: 02 4236 0389
Offering personalised service and sales Specialising in Georgian, Victorian and Edwardian
mahogany and walnut furniture
Small silver items, both sterling and plate
Selkirk Antiques have selected pieces of Doulton,(including Flambé), Shelley & Moorcroft Ceramics
Furniture restoration service available
29 Summerland Circuit, Kambah ACT 290202 6231 5244
Fax 02 6231 3656 Mobile 0418 631 445
SelkirkANTIQUES & RESTORATIONS
The Hall AtticCANBERRA’S NEWEST ANTIQUE SHOP
Looking for that elusive item or gift? You may well find it at The Hall Attic,an eclectic range of antiques,collectables, old wares and craft.
Located in the delightful village of Hall, ACT, take a browse through The Attic and then enjoy a Devonshire Tea at the local coffee shop. We are always interested in buying antiques and old wares. We also sell on consignment
Tim & Glenda Bloomfield6 Victoria St Hall ACT 2618Tel 02 6230 9377, Mob 0418 162 830 0pen weekends and public holidays 11am - 4pm
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On 2 January 1866, the masterplumber, Albert Graetz, and hisdistributor Emil Ehrich, founded the
Lampen-Fabrik Eric & Graetz OHG or theEric & Graetz Lamp Factory Unlimited.
The factory was located on DresdnerStreet, Berlin. Albert Graetz set out to end thedark times when vegetable oil lamps wereused. He developed and introduced hisimproved lamp designs and Erich & Graetzmanufactured and sold them verysuccessfully. Graetz also invented the Akaria,the Iris and the Matador burners.
By 1889 Emil Ehrich had left the companyand then Albert Graetz relinquished hismanagerial position to his sons Adolf and Maxwho assumed joint leadership of the company.
Max Graetz, an inventor and athlete, wasvery familiar with the latest manufacturingmethods, as he had stayed a long time in theUnited States where he met Henry Ford. Adolfacted as the distributor.
The brothers were soon well knownworldwide due to the large exports of theirproducts. In 1899, they moved the company intothe Berlin suburb of Treptow and employedaround 1000 workers. They opened overseasbranches including factories in BridgeportConnecticut, London, and Paris.
In 1905, the Graetz gas igniter wasintroduced which used a pressure wave in thegas supply to ignite the gas burners and soeliminated manual lighting of streetlights. Anelectric light bulb was introduced in 1908with the name Esso.
Kaiser Wilhelm II awarded the highest civilhonour of Kommerzienrat to the Graetzfamily on 9 November 1909, but Max paid3000 gold marks for this honour.
Max Graetz was the driving force with hisnew and refined products. In 1909 theGraetzin Light was developed, the first ofmany coal gas fuelled lamps that used anincandescent mantle, increasing the lightoutput from 200 to 1000 candlepower. Itsdesign proved to be reliable, safe and veryportable. Max Graetz was known to workwith petroleum, which is the German wordfor kerosene, so some friends suggestedcalling a pressure lamp after him ‘Petro-Max’instead of Graetzin Light. The Petromaxname was registered on 5 November 1910.
Due to war reparations that Germany had topay the Allies, the Erich & Graetz Company lostits overseas factories after the World War I. In the1920s, two new factories were built, in Lunzenauin Saxonia Germany and in Bregenz, Austria.
On 9 April 1921, a refined lantern design withvertical vaporiser was added to the patentregistry. The Petromax design was a worldwide
success, the result of cooperation between severalcompanies, and is still used today, withproduction mounting well into the multi-millions.
On 20 May 1922 the Ehrich & Graetz AG wasfounded, the shareholders were Max Graetzand his sons Erich, Fritz, Hans and Rudolfand his son in law Pahl. Once more, theEhrich & Graetz AG had enormous successdue to efficient engineering, designs andmarketing focussed on exports. Many newelectrical products were developed and ErichGraetz further improved many of them. Alltypes of electrical items such as irons, electrickettles and room heaters were sold under thename Graetzor.
In the 1930s, Erich Graetz introduced thefamous Graetz radio, which took him manyyears to develop. The best years for the salesof the Petromax were undoubtedly the 1930s.On 9 May 1935 the famous blowtorch pre-heater, named Petromax Rapid was patented.
More than 500 Berlin Jews were bound toforced labour at the Ehrich and Graetzfactory in Berlin Tureptow between 1940 and1943 until the last remaining Jewish forcedlabourers were seized, interned and thendeported to concentration camps. Towards theend of the war, two employees saved thepassport photographs of the over 500 forcedlaborers in their company which are now ondisplay in the permanent exhibition at theJewish Museum in Berlin.
About this time, probably in 1943, Ehrichand Graetz AG became Graetz AG, as EmileEhrich had departed long ago. The logochanged slightly, with the EG combinationreplaced by G.
Earlier in 1928, Ehrich & Graetz acquiredan interest in Jacob Hirschhorn AG whomanufactured under the brand AIDA,considered by some the ‘mother’ of thePetromax. This culminated in the 1942 fulltakeover by Graetz AG that continued to usethe name AIDA on their lanterns, so Graetznow controlled around 80 per cent of theworld market in kerosene pressure lamps.
After the Russian invasion of Germany at theend of World War II, Soviet invadersappropriated the Graetz family main productionfacility in East Berlin, the family estate inBrandenburg and the factory in Bregenz.
The original Graetz Company AG keptproducing the Petromax pressure lantern inthe Berlin plant under Russian management.On 8 February 1948 the Graetz plant inBerlin was renamed VEB Graetz. Werk(People’s Enterprise Graetz Factory). Thename changed on 4 February 1950 to VEBFernmeldetechnik Treptow (People’sEnterprise Communications Factory
Treptow). It mainly producedtelecommunication equipment and pressurelamp manufacturing ceased soon thereafter.
Erich and Fritz Graetz and three workersstarted a new production line in Westfalen,Altena in West Germany. The Graetz KG wasfounded (Graetz Ltd), listed and financed onthe stock market, a major change from itsfamily-owned history.
Graetz KG achieved a comeback withproduction of pressure lamps rising to thehundreds of thousands in the 1950s and into themillions in the 1960s. Almost all (99%) was forexport, the remaining one per cent supplied theGerman railway, army, construction companiesand the postal service. The Graetz companystarted new factories in Altena and other WestGerman cities.
The Graetz Company now concentrated onelectronics, with the Petromax pressure lanternplaying a very small part. Erich Graetz sold 74.5per cent of Graetz KG to Standard-Electronic-Lorens AG in 1961, 95 years after hisgrandfather founded the original company.Westfalia Copper and Brass FactoriesCorporation held the remaining 25.5 per cent.
The Petromax pressure lantern was built inGermany until the 1970s and then productionwas moved to Portugal. A Chinese companynow manufactures the lantern ●
Juergen WeissnerTHE EVERBURNING LIGHT02 6565 [email protected]/~oil-lamp/
EHRICH & GRAETZ:lamps for the 20th century
Esso lightbulb Graetz Carburettor
Max Graetz, (1861-1936)
Kosmos burner
Single burner gas lamp
Salvator 16 linematador burner
Antique, old and new Kerosene Lamps● Spare parts including shades, shade holders, burners,
mantles, lamp oil, specially treated wicks for better burning, custom made high quality chimneys.
● Aladdin Mantle Lamps that produce 60 watts of light with no smoke or smell, ideal for emergency lighting.
● Restoration and repairs, brass polishing, nickel plating, copper plating and antique copper finish for small items.
The Everburning Light2265 Pacific Highway, Clybucca NSW 2440. Phone: 02 6565 0104e-mail: [email protected] Website: www.zipworld.com.au/~oil-lamp/
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Babylonians, Hebrews and later Muslims chosesunset. The Romans chose sunrise to mark thestart of a new day but later midnight waschosen because of the variable length of theday. Most of Western Europe adopted sunriseas the start of the new day until the arrival ofthe mechanical clock in the 14th century.
Astronomers like Ptolemy (c. 90-170 CE)chose midday as the start of the day and thisstayed as the beginning of the astronomicalnew day until 1 January 1925 when, byinternational agreement, the astronomical daywas made to coincide with the civil day.
The first man-made solar, sun or shadowclock was from Egypt and dates from around1500 BC. It was shaped like a T-square withmarks on each side therefore giving noshadow at noon. This type of instrument,however, did not allow for changes in theseasons such as the longer and shorter days ofsummer to winter.
The oldest surviving shadow clock (1479-1425 BCE) is missing the top of the T andwithout it is now similar in layout to the letterL. But it is an improved model as it takes intoaccount the changing seasons. It has irregularmarked intervals on its length, to compensatefor a faster moving shadow, the further the sunmoves from its zenith. The shadow clock wasfaced east before noon and west after.
Star clocks were used as a night timinginstrument. This incorporated a ‘merkhet’which was basically a plumb line hung froman L shaped and marked holder. Through themerkhet astronomers could observe selected
stars moving across the meridian (zenith) ofthe night sky. While doing this theydiscovered that certain stars crossed thismeridian at a roughly even nature and at acertain point. In conjunction with this theyused another instrument called a palm leaf(palm rib of the observer of the hours) whichwas basically a stick with markings that wereroughly Y shaped with a slot at the top forsighting and setting the point for observationswith the merkhet.
The Egyptians were the first to set 365 daysto the year, broken into three seasons of fourmonths and then 12 months of 30 days andfive additional days at the end of each year.They created a very good calendar and theEgyptians matched the day to the night bydividing the day into 12 intervals – 10 intervalsfor daylight and two extra for twilight.
The Egyptians were also the first to use awater clock to measure the duration of nighthours. Later, the Greeks called this devicea‘clepsydra’. This basically required a taperedcontainer to be marked into set parts to matchthe leakage of water that gave a time frame ofwater loss.
The Egyptians also created the 24-hourpattern from the night stars. These were 12‘decans’ (each of the three divisions of azodiacal sign) or diagonal star-clock calendars.These periods were carefully monitored by thepriests who chose a new star every 10 days,creating 36 decans a year, three decans permonth plus five days for the full year.
The Babylonians left us with the firstastronomical computations which were in asexadecimal (60) system instead of ourdecimal system. These were taken up byGreek astronomers creating equal hours,breaking them into 60 firsts or minutes andeach of these also into 60, creating seconds.
The first sundial appeared in Greece in the4th century BC. Scholars studied theseinstruments mathematically creating muchgreater accuracy for future generations. Theirsundials were very robust and simplistic intheir construction and were eventually adoptedby the later early Christian communities andspread to Central and Western Europe.
The Greeks were great philosophers andstorytellers and by the 5th century BC werethe first to record history in a chronologicalmanner. For the first time in history thepassage of time became more relevant, notonly in the written form but in laws, contractsand expectations of the community.
Rome’s first sundial clock apparently wasbrought from Sicily in 263 BC. It was veryinaccurate, as it was set from where it wasmade and, for example, 4 degrees latitudesouth gave incorrect time readings because ofthe angle of the sun. It was almost 100 yearslater before one was made appropriate toRome’s latitude in 164 BC and within only sixyears Scipio Nasica set up a public clepsydrain Rome.
Following this, clepsydras were installed inRoman law courts to formalise a time in law.It is reported that many wealthy members ofthe Roman population would pay the ‘clock’watcher to slow down the clock so they wouldnot be late for their day in court!
By the time of Caesar, water clocks wereused in the military camps to time the fournight watches; evening, midnight, cock crowand morning. Around this time wealthymembers of the upper class obtained privatewater clocks and special slaves wereappointed to look after, read and announce thehours to their masters. This is the first timeclocks became a significant status symbol.
Even with improvements in these clocks,they still could not agree or keep equal rate ofloss. This led the Roman writer Seneca tocomplain ‘that it was impossible to tell theexact hour, since it is easier for philosophersto agree than for clocks!’
When the Romans started using the Greekcalendar, the months were equal of 30 dayswith 5 days of celebration. But the Romanswere never as mathematically precise as theGreeks and after political manipulation andcorruption the Roman calendar was always outby almost three months from the true solstice.
This was the position when Julius Caesarintroduced his calendar on 1st January 45 BCE.By the advice of the Greek astronomerSosigenes, Caesar extended the previous year46 BCE to 445 days to correct the anomaly ofpolitical power games where months had beenshortened or lengthened at whim to prolong orshorten terms of office.
Julius Caesar fixed the civil year at 365 andintroduced the leap year of 366 every 4 yearsto compensate for the extra quarter day. Heordered January, March, May, July, Septemberand November to have 31 days and all othermonths to have 30. The exception wasFebruary with 29 days except in leap yearswhen it would have 30.
Augustus interfered in 7 BCE and renamedSextilus after himself and assigned the same
Alabaster cast of an outflow clepsydra,Karnak Temple, 1415-1308 BCWaterclock by Ctesibius of Alexandria (fl. 285-222BC)Chinese great steelyard arm clepsydra of Keng Husn and Yuwn K’ai
The BEGINNINGS OF TIME in Horology
Reconstruction of the Antikythera mechanism Byzantine portable sundial calendar in brass c. 520 AD
The term ‘horology’ stems from twoGreek words, hora, which means time,and logos, which means word or telling.
The modern dictionary defines horology asbeing the ‘science of time.’
Where does one start on understandingtime? A good starting point would be whenman began to record time. Two famous Greekphilosophers in the 6th century BC definedtime as follows. Pythagoras (c.582-c.507 BCE)stated that ‘time is the procreation element ofthe universe’ whereas Parmenides argued,‘Time does not pertain to anything that istruly real.’ So our time base is the result of aGreek modification of an Egyptian practicecombined with Babylonian numericalprocedures. Sound confusing? Let us start atthe beginning.
Many thousands of years ago time wasrecorded as one day at a time. Time was ‘dayto night’, ‘hungry or full’. Then, as mandeveloped and understood the environmentbetter, time started to be recorded by moreaccurate means. Days would have been addedtogether to the time frame of the moon, thenthe moon to the seasons and so a generalstructure started to develop.
Clearly, time became less haphazard as manbegan to develop the ability to predict theseasons. Suddenly, they knew when it wastime to plant crops or harvest the grains andthey had a better knowledge of how long theycould store their food.
Dawn was chosen by the Egyptians torepresent the start of a new day, whereas the
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number of days as the months before andafter. He stole (or perhaps bought) the day offFebruary (probably a poorer rich familyrepresented the smallest month). To avoidhaving three months of 31 days, Septemberand November were reduced to 30 andOctober increased to 31. Hence the calendaronce again reverted to an illogical number ofdays in the months and has been copiedthroughout most of the world. Christianityoriginated from the world of the RomanEmpire, so it was natural to start the Christiancalendar on the Imperial Roman model thathas continued more or less to this day.
The Islamic world became the truesuccessor of the former intellectual capital ofthe Hellenistic world – Alexandria. Alexandriahad been a city of the Eastern Roman Empire,which outlived the Western Empire.Fortunately it was not over-run by barbariansand managed to keep intact much of thewritings of the ancient worlds. Most Greekworks were translated into Arabic by the endof the 9th century.
The Muslim religion requiredmathematically educated people who coulddetermine the astronomically defined times ofprayer and the direction of Mecca. It is notsurprising that many portable instruments fordetermining time were required, the chiefinstrument being the astrolabe. Thisinstrument can be traced back to Ptolemy inthe 2nd century CE and was the forerunner ofthe sextant. Some of these became elaboratedouble-sided instruments and later mechanicaldevices. Still the principal clock mechanismwas the water clock, with added featuresgiving sunrise, sunset indicators, month, moonand a celestial layout.
Many of the ancient water clocks wereinstruments of incredible complexity as manywere constructed to indicate the hour whichvaried from the sunrise starting point duringthe year. This required a complex in-builtmeans of changing the starting and settingpoints. Although there were no mechanicalclocks in antiquity mechanical advances weremade for devices to reproduce the movementof the heavenly bodies.
One remarkable Hellenistic gearedmechanism that has survived was discoveredin 1900, in the wreck of a Greek ship nearAntikythera, off the south coast of Greece. In1974 D.J. de Solla Price reported on theresults of x-rays and gamma rays of thecorroded remains of this bronze mechanism.He concluded that it was a calendricalcomputing device, determining the positionsof the sun and moon in the zodiac andinvolved a series of wheels and fixed gearratios for working out the metonic cycle inwhich 19 years correspond to 235 Lunarmonths. This was possibly the closest to a
mechanical clock found in antiquity. But in 1983 four fragments of a geared
instrument of early Byzantine origin possiblymade around the reign of Justinian I (483-565) were acquired by the British Museum. Ithas been possible to reconstruct the completeinstrument, which was a brass sundial with ageared calendar that showed the approximateshape of the moon and its age in days andmay also have shown its position and that ofthe sun in the zodiac. Two of the fragmentshave gears of 59 and 19 teeth and of ten andseven teeth. This instrument appears to besimilar to an instrument described by thePersian scientist al-Bruin (973-1048). Thiswould appear to be a direct practical linkbetween the Greek and early Islamic times.
In ancient China, time keeping wasrecorded using water clocks and sundials. Thegreat steel yard arm clepsydra of Keng Husnand Yuan Kau (CE 610) seems to be themissing link between the normal in-flow orout-flow clepsydra and the one following. Thesteel yard arm or beam balance weighedwater, along the beam was a containersuspended by the controlling weight allowingthe container to be lowered or raised acting asan in-flow and out-flow into a reservoir. Thecontainer was lowered into the water holdercausing in-flow, filled to a certain point, thenthe clock observer would move the counterweight backwards raising the container,causing out-flow. This in effect was the firstescapement, whereby the counter weight wasmoved as the escapement with the help of ahuman, in effect the weight could be changedin many positions allowing for the change in seasons.
In China many astronomical devices hadbeen made. Some of these had copiedEuropean lines, particularly with Greekscience making its way from Alexandria,down through to India and then into China.An example is at this time there were threeclans of Indian astronomers working in thecapital. They manufactured a variety ofastronomical instruments and clocks alongthese principles and also invented new waysof keeping the heavens synchronised for observations.
Chang Sui (682-727), a Tantric Buddhistmonk, known as I-Hsing with the help of ascholar named Liang Ling-Tsan explored theconcept of self-running escapements. LiangLing-Tsan is credited with developing asolution to the problem of elliptically mountedsighting tubes over the more commonequatorial sighting system. Using these twosystems together gave the astronomers theability to make better observations and I-Hsing was able to develop a better calendarable to accurately predict eclipses, for example.
The emperor Hsuan Tsung in 723 gave
permission for the bronze casting of newastronomical instruments to be used by I-Hsung, Liang Ling-Tsan and other capablemen. This was a water wheeled system andapparently is the first time in history that anescapement used scoops filled with water. Asthe water flowed in a trip system it advancedthe scoops.
The Chinese also used incense burners as aform of time keeping. These apparently burntuniformly making them suitable. Some weresingle incense sticks and others were placed ina track system like a maze burning at certainintervals. I am not sure when they startedusing this form of time keeping but these werefar more accurate than the candle clock beingdeveloped in Europe during this period.
The candle clock was the next major
invention in keeping time and is attributed tothe Anglo-Saxon King Alfred (848?-899).According to his biography, Alfred the Greatdevoted eight hours to public duties, eighthours to studying, eating and sleeping witheight hours for worship. To apportion his time,he took 72 pennyweights of wax and made 12candles each a foot long. Each burned for fourhours or, an inch in 20 minutes. One of hischaplains, charged with the keeping of thecandle, reported that they burned quicker in adraft. So the king devised a lantern (lanthorn)with frames of wood and sides of hornscraped thin enough to be translucent ●
Michael ColmanCOLMAN ANTIQUE CLOCKS03 9824 8244www.colmanantiqueclocks.com
A drawn example of a Roman hemicycle andexamples of Hemicyclium or Scaphe shadowclocks
Cleopatra’s Needle once stood at the Templeat Heliopolis where its shadow kept the hour
Roman Scaphe shadow clock of truncated form(hemicyclium). The gnomon was placed in its holeat the top parallel to earth, the hour read offindicated scale, c. 100 CE
Byzantine portable sundial calendar in brass, c. 520 CE
Colman Antique ClocksWAT C H & C L O C K R E S T O R E R S
1421 Malvern Road Malvern, Victoria 3144 AustraliaPh: 03 9824 8244 Fax: 03 9824 4230
Email: [email protected] Website: www.colmanantiqueclocks.comMember of the Watch and Clock Makers of Australia (formerly HGA) and the BHI
A u s t r a l i a nAn t i q u e an d A r t D e a l e r sA s s o c i a t i o n
English mahogany cased bracket clock,19th century on original wall bracket madeby Smith & Son’s, of Clerkenwell, London.
George II double fusee verge bracket clock,c.1760, England, signature maker’s case,mahogany, ormolu mounts by Ellicott
(England: London), profusely engravedback plate with pull cord repeat, in fine
original condition
French 18th century waisted Boulle bracket clock c. 1760,on original wall bracket. Original finish and fittings, brassinlay, tortoise shell veneered case. The dial made of cast
and chased surround with 25 fired enamel cartouchenumerals, superb hand chased blued steel hands. Thirty daymovement and large proportions, 5 turned shaped pillars,
shaped plates engraved with maker’s name to rear plate andfitted with recoil escapement, Sun King pendulum
French mantel clock c. 1880 in fire gildedormolu on bronze finish with 3 hand painted
Sèvres panels possibly depicting 16th century Prague with cartouche style dial
French Louis Philippe carriage style mantelclock, c. 1840 in tortoise shell veneer with
fine ivory Inlay by Barbot, 9” handle up.
French Empire figured mantel clock, c. 1810. Bronzeormolu finish with simple automaton, signed to dial LeCointe - Renard à Laon. Secretly signed Pons to thependule de Paris silk thread movement striking on
silvered bell Pons, Honoré Pons DePaul awarded 2 silver &3 gold medals in French Industrial awards as ébauche maker
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F I N E & D E C O R A T I V E A R T S ,A N T I Q U E S & J E W E L L E R Y
HEAD OFFICE: 47 GLENFERRIE ROAD, MALVERN 3144 T: +6 3 9509 6788 F: +6 3 9509 3455email: [email protected] 005 240 200
Fine and Decorative Arts Sunday 28 FebruaryModern and Antique Jewellery Monday 1 MarchEntries close Thursday 4 FebruaryViewing Mon 22 to Sat 27 February
Fine and Decorative Arts Sunday 11 AprilModern and Antique Jewellery Monday 12 AprilEntries close Thursday 18 MarchViewing Tues 6 to Sat 10 April
Fine and Decorative Arts Sunday 23 MayModern and Antique Jewellery Monday 24 MayEntries close Thursday 29 AprilViewing Mon 17 to Sat 22 May
1. Zebra shoulder mount, complete with full mane,h:76 x w: 37cm. SOLD $12694
2. Teardrop shaped diamond pendant on wheat linkchain, 18 ct white gold, brilliant cut diamonds.A.T.D.W.: 4.70 ct. SOLD $9809
3. Victorian diamond set serpent bracelet, 9 ctyellow gold, enamel, sapphire set eyes, threebrilliant-cut diamonds, totalling 0.45 ct, concealedpin clasp. SOLD $3000
4. French three piece regulator clock set, c. 1880,marble, white enamelled dial, Roman numerals,visible escapement, matching pair of pedestalshaped garnitures, h: 47 x w: 71 x depth: 17 cm.SOLD $1731
5. Royal Worcester lidded urn, c. 1911, decoratedby H (Harry) Davis (signed), almond shaped formfeatures lion mask lugs, relief acanthus leafdecoration, central cartouche of a riverside scenewith heavy gilt highlights on a deep cobalt ground,h: 27 cm. Stamped to base. SOLD $4154
6. Chinese globular vase with elephant head lugs,Qianlong mark ( 1736-1796), flared rim heavilypatterned in famille jaune depicting repeatchrysanthemum, bats and Buddhist motifs, h: 39 x diam: 25 cm. SOLD $1731
7. Tanzanite and diamond cluster ring, 18 ct whitegold, tanzanite approx 11.95 ct, claw 18 brilliant-cut diamonds, total approx 2.00 ct. SOLD $9232
8. Art Deco panel ring, 18 ct white gold, grain setonyx, old-cut diamond 0.40 ct, 12 diamonds,total wt: 0.16 ct. SOLD $3346
9. William IV Ladies mahogany desk, c. 1830,leather writing slope, adjustable mirror over sixsmall lockable drawers set on twin pedestal base,hinged folding top, faux drawers to back, h: 83 x w: 107 x d: 57 cm. SOLD $2638
AUCTION SCHEDULE 2011
Call for details or to receive a complimentarycatalogue when you mentionthis advertisement
Visit www.philipsauctions.com.au for details of all current lots
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NEXT AUCTIONSSunday 6th February 2011
“Annual Blokey Auction”Car Swap Weekend
Saturday 19th February 2011“Antique Bottles & Stoneware”
Bottle Show Weekend
WE AUCTIONWe are Australia’s leading auction house for:
◆ Australiana, pottery and carnival glass◆ Advertising signs, tins and pub mirrors◆ Antique bottles and stoneware
We conduct both ‘In House’ auctionsand ‘On Site’ sales
We will travel anywhere in Australia for major collections.
For professional and confidential serviceand the very best results
Contact Graham: 0418 730 904
Lancaster’s Auction Rooms3 Railway Street
TOOWOOMBA QLD 4350
Ph: 0418 730 904Fax: 07 4613 1111
Email: [email protected]
View Catalogue & PhotosOne Month Prior to Each Sale:
www.gdlauctions.com
WANTEDFor Next Auctions
◆ Enamel Signs
◆ Garagenalia
◆ All Things "Blokey"
◆ Antique Bottles
◆ Whole Collections or Quality single items
Sold $6,650
Sold $330 & $1,220
Sold $13,500
Sold $5,550
Sold $12,750
Sold $18,200
Sold $20,000
Sold $11,000
Sold $19,400
Sold $16,650
Sold $4,450
Sold $4,800
WE BUYWe are always interested in buying or consigning
entire collections or quality individual itemsWe are especially interested in antique bottles,
advertising signs,
Australiana & pottery.
We pay top cash prices for good collectables!
For prompt service and the best price
Contact Graham: 0418 730 904
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What an incredible achievement!Twenty-four years of providing theperfect setting for browsers and
collectors while raising an amazing amount offunding for distribution to the needy.
The fair will be held at Jupiters,Broadbeach on the Gold Coast 6-9 January,and later in July (22-24) we are running our
mid-year fair at the Albert Waterways. The annual fair is a major Rotary Club of
Palm Beach fundraising project, so make apoint of visiting. Enjoy the buzz of browsingamong a stunning array of antiques andcollectables presented by dealers from around Australia.
The elegant Jupiters ballroom will be
overflowing with an alluring range ofporcelain, silver, linen, furniture, jewellery,lithographs, prints, maps and postcards,historical documents and much more to temptthe discerning buyer.
Books of every kind will cater to thosecollectors with a taste for the written word,with an enticing selection of literary treatsgathered from many parts of the world –including old and rare volumes, weightytomes, children’s classics and books coveringa wide range of subjects and pastime pursuits.
The Rotary Antiques Fair & Gold CoastBook Fair has a special ambience, and theelegant surroundings, together with thediverse range of items available and thehelpful assistance and interest of the manyorganising Rotarians, all contribute to theenjoyment, guaranteeing a memorableexperience for all.
The outstanding venue provides a superbsetting for the display of fine pieces, whileoffering the astute visitor the opportunity to enjoyspectacular entertainment and excellent dining.
Highly regarded by dealers and collectorsand supported by the tourism industry,proceeds from the fair have assisted youth,aided in disaster relief, fulfilled communityneeds and contributed help to many areas ofhealth, locally, nationally and internationally.
Whether you are into serious collecting, or
simply enjoying looking, allow time forrelaxed viewing among the alluringassortment of collectables and antiques. Theoverwhelming variety of treasures willguarantee that something will catch your eye.
Lucky Door prizes drawn at regularintervals during the fair are a specialattraction. Who knows, it could be you –wouldn’t that be nice?
Twenty-four years of ‘doing it right’ hasearned the Palm Beach Rotary Antiques &Book Fair the reputation for being one of themost varied and professionally presented inthe country. Club members look forward towelcoming one and all in January 2011 andthank dealers, sponsors and public for theircontinued support ●
ROTARY ANTIQUES FAIR& GOLD COAST BOOK FAIR07 5598 8188www.rotaryantiquesfair.com
Antiques – Antiques: Celebrating 24 years of the ROTARY ANTIQUESFAIR & GOLD COAST BOOK FAIR6 - 9 January 2011
ROTARY ANTIQUES FAIRjewellery, porcelain, china, silver, clocks, pottery,furniture, historic documents – and much more!
� and �
GOLD COAST BOOK FAIRrare books, prints, posters, maps and postcards
Antiques on The Gold Coast - January 2011by The Rotary Club of Palm Beach at Jupitors
January 2011 Fair Dates AdmissionThursday 6 Jan 6 pm – 9 pm Adults $12Friday 7 Jan 10 am – 6 pm Concessions $10Saturday 8 Jan 10 am – 6 pm Under 17 FreeSunday 9 Jan 10 am – 4 pm
PROCEEDS TO CHARITY Enquiries: Phone +61 7 5598 8188 www.rotaryantiquesfair.com
Over 70 dealers present all types of antiques including estate jewellery, rare books,prints, posters, works of art, furniture and much, much more
Don’t forget our Mid-Year Fair: 22 - 24 July at Waterways Centre
Celebrating Our 22ndCelebrating Our 24thCelebrating Our 24th
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Australia’s internationalreputation in the colourfuldepartment is often with respect to
our colloquial expressions, as well as thenative flora and fauna. In contrast, colourful isa word that one associates with most aspectsof China: a huge landmass with a long historyof grand battles, ceremonies with richly huedcostumes, exotic architecture, transport,entertainment and professions; and thedistinctive public punishments andsuperstitions observed.
China’s population is 1.3 billion in 2010,while during the Ming dynasty (1368-1644)the population was already over 160 million.The Ming dynasty was a stable period ofgovernment, with strict hierarchy and traditionsestablished when the merchant class rose inpower. In 1616 a feudal group in the northformed what became the Qing dynasty (1616-1911, overlapping the Ming Dynasty), andattempted to create more equality. Corruption bylater rulers triggered social unrest and eventuallythis dynasty’s decline, but art and scientificachievements still thrived.
In the 16th century, trade between Europeand the Far East was almost monopolised bythe Portuguese who zealously protected theirknowledge of the Spice Islands: a Portugueseenvoy was the first European to set foot inChina. In 1513, Jorge Alvares landed in thePearl River Delta on Lintin Island. Three yearslater Raphael Perestrello (a cousin ofChristopher Columbus) became the firstEuropean to reach mainland China, withregular trade commencing in 1514 afterFerneo Pires de Andrade arrived in Cantonfrom Portugal.
Silk was probably the most glamorouscommodity exported from China to Europe,and Chinese porcelain was, for many years, atantalising subject for the European artisanswho tried to emulate it.
The British in India cultivated opium,specifically for export to the large customerbase they had established along the Chinesecoast, developing the opium trade. Britishwarships were sent from India to protect theirmerchant ships and trade, resulting in the firstOpium War (1839-1842) and ending with theTreaty of Nanking when Hong Kong wasceded to the British. Foreign entry to Chinawas no longer restricted.
THOMAS Allom, Englisharchitect and artist
One of the first to capitalise of thetremendous British interest in China wasEnglish architect and artist Thomas Allom(1804-1872). Born in Suffolk the son of acoachman, at 15 years Allom was apprenticedto the architect Francis Goodwin, remaining
for seven years. He then studied art at theRoyal Academy School. Allom was afounding member of what later became theRoyal Institute of British Architects. Hedesigned of a number of prominent buildingsin London, and collaborated on several othersincluding the Houses of Parliament.
Allom’s passion was historical art and hebecame best known as a topographical artist.From the late 1820s, Allom travelledextensively through Britain and Europe,noting the differences in architectural detailsand styles. He later provided finely detailedsketches of the distinctive buildings, peopleand costumes of Istanbul and Asia Minorfollowed by China and Hindustan. Allom’sviews of China provide a comprehensiveoverview of the country, the people and theircustoms. His love of history, appreciation ofarchitectural detail, and artistic ability enabledhim to sketch an amazing range of scenes.
Thomas Allom beautifully portrays thedistinctive architecture of the porcelain tower,grand gates and temples, the important homesof mandarins and wealthy merchants, and theelaborate dress of the ruling classes and theirretainers. He reveals to the outside world thelife of the general populace, their celebrations,sports and entertainment including an opium den.
He illustrates the processes in theproduction of silk, rice, cotton and tea; kilnsfor the production of porcelain; and itinerantprofessions and trades. With captivatingdetail, Allom depicts the mood and action ineach situation he sketches. Other distinctiveillustrations of China are the spectacular landand rock formations tortuously carved bynature, the Great Wall of China painstakinglybuilt by man, and ingenious engineeringstructures, including a bamboo aqueduct andan irrigation wheel. Allom shows a colourfuldragon boat, sampans and junks – and eventhe British military presence in China, withsailing ships, battles, victories and woes.
Eminent English topographical engraverswere commissioned to carve Allom’s sketchesonto steel plates for publication. Most of thesesteel engravings were traditionally hand-tintedwith watercolour to highlight their fine detailand decorative appeal. We are fortunate thatThomas Allom had the artistic skill,dedication and passion to create thesemarvellous images. These fascinatingillustrations are wonderful historic records ofthe period.
SELLING: Thomas Allom’s China& the Chinese antique engravings
Prompted by current international interestin China, Antique Print & Map Company inBrisbane is currently presenting an exhibition
at our Antique Print Club gallery in Brisbane.We are located at Camford Square at thecorner of Douglas and Dorsey Streets inMilton, just five minutes from Brisbane’sCBD, off Park Road between CoronationDrive and Milton Road. All works are for sale.
These antique hand-coloured steelengravings (c. 1842 to 1845) are from ‘China& the Chinese. A series of views, fromoriginal sketches, displaying the scenery,architecture, social habits, etc., of this ancientand exclusive empire by Thomas AllomEsquire.’ These works are displayed with rarecopperplate-engraved maps of China from the17th to the 19th centuries.
These antique engravings will also beavailable at the Rotary Antiques Fair atJupiters in Broadbeach from 6 to 9 January.
Preview these rare and affordable works ofhistorical art at your convenience on ourwebsite www.antiqueprintclub.com.
We been dealing in antique maps and printsfor 30 years and are members of theInternational Map Dealers’ Association, theInternational Map Collectors’ Society, and an associate member of the Confederation Internationale des Négociantsen Oeuvres d’Arts ●
Derek and Kathryn NichollsANTIQUE PRINT& MAP COMPANY07 3368 [email protected]
CHINA REVEALED TO THE WESTERN WORLDAntique hand-coloured steel engravings, c. 1842 to 1845
Antique Print & Map CompanyCamford Square corner Douglas & Dorsey Streets
MILTON Brisbane Wednesday – Friday10 am – 6 pm
Saturday - 10 am - 4 pm Phone 07 3368 1167
M: 0412 442 283
Email [email protected] Print Club gallery in Milton, Brisbane closes Christmas day until Wednesday 26 January.Antique Print Club exhibits at Broadbeach Jupiters’ Rotary Antiques Fair from 6 to 9 January.- featuring special collections of Antique Maps, Antique Prints of Allom’s ‘Views of China’,Gazette du Bon Ton 1920s Fashion Pochoir, and John Gould Birds and Australian Mammals...
Antique Print ClubMember discounts
for website purchases
www.antiqueprintclub.com
Batteries of Bacca Tigris Irrigation wheel Itinerant barber Loading tea junks
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The Australian Antique & ArtDealer’s Sydney show is acknowledgedas the most important showcase of art
and antiques in the region. Nowhere else willbuyers and browsers find such an exquisitecollection of the items that make a collector’s heartbeat faster! Next autumn, the new ‘sister’AAADAshow commences in Melbourne.
AAADA dealers came to Sydney lastSeptember from all over Australia bringingtheir finest stock, most of it never seen beforeand much of it specifically sourced for theshow. The Pavilion Building at RoyalRandwick Racecourse was the AAADA venuefor 2010 and helped make the show aresounding success as visitors enjoyed twoconsiderable benefits: easy access andabundant free parking. The restaurant/cafe waspopular with visitors and dealers.
All AAADA members guarantee theauthenticity of their stock and all items at theshow are reviewed and authenticated beforethey are offered to the public. This and thesuperb range of quality works are two reasonswhy Australians say that the AAADA showranks with the world’s best.
Dealers were pleased with the in-the-roundlayout, which meant that all stands had equalprominence and all treasures were in view,offering an eclectic range of rare andfascinating pieces ranging from magnificentjewellery to early colonial items, porcelain,glass, memorabilia, important furniture andart. The majority of members had their bestfair in years. We look forward to welcomingyou again to the 11th show at Royal Randwickfrom 7 to 11 September 2011.
A RIGHT Royal AAADA show inMelbourne 5–8 May 2011
The AAADA is mounting an antiques andart show at Melbourne’s Royal ExhibitionBuilding that offers a magnificent setting forantiques and art. Set in the in the lovelyEuropean-style Carlton Gardens it is easy toaccess from all areas of Melbourne, close tothe CBD and near an extensive choice of accommodation.
The gala preview is on Thursday 5 Mayfrom 6 pm. Opening hours are 11 am to 7 pmon Friday 6 and Saturday 7 May. Mothers willenjoy free entry on Mother’s Day, Sunday 8 May, with prizes and events to celebrate.
We will have several special guest exhibitorsand some interesting new members who arebringing great attractions. All items will befully vetted and of course, for sale. We lookforward to seeing you there!
EVENINGS to treasureAdrienne Wilson, secretary of the AAADA
NSW Chapter recommends the Spring series ofantique seminars run by the AAADA’s NSWchapter. ‘These lectures are really more of anintimate evening as they are held in our dealers’premises, where small groups can get to know theexpert and handle treasures that they would nevernormally experience.’
In the 2010 series, at Hartley Cook’sGrafton Galleries, Hartley discussed winerelated antiques and illustrated the subject witha diverse range of decanters, wine glasses, rarebottles and corkscrews.
Jolyon Warwick James, one of Australia’sleading experts on silver, held a connoisseursevening, where attendees brought favouritepieces for discussion and identification.
Liz Stevens of Chilton’s Antiques held anevening focusing on the jewellery of thewomen’s suffragette movement.
Ben Stoner’s workshop evening involveddemonstrating his talk with furniture currentlyin his workshop, pointing out constructiontechniques and issues that collectors shouldlook for when they are choosing a good piece.
At the Nicholson Museum, well-knownjewellery expert Anne Schofield gaveparticipants a slide presentation and then amemorable tour of Beauty and Betrayal. Anneserved as advisor on this exhibition ofneoclassical jewellery.
Planned for next year’s antique seminars area fabulous selection of topics and collectorscan look forward to many memorableevenings. Beginners and old hands areencouraged to attend these lectures so checktopics on www.aaada.org.au or contact theAAADA NSW Secretary Adrienne Wilson on02 9332 3882 or [email protected].
NEWS from New South Wales members
Sarah Mellish from Patina Antiques &Interiors in Military Road, Mosman, hosted anevent for key clients and designers inNovember. Themed the ‘new contemporary,’Karen McCartney, group editor of Newmagazines spoke about the role antiques canplay in defining modern spaces and enhancingrooms by mixing styles. She also spoke aboutthe importance of having a statement piecethat brings character and patina to a home.
Frank and Georgina Howell of Howell &Howell at 84 Queen Street Woollahra importersof 17th to 19th century, French, Spanish andItalian furniture and decorative arts, have a newshipment in store featuring an excellentselection of very interesting, original and hardto find pieces – see www.howell-howell.com formore details.
Roger Carter of Humble House Australia hasmoved to new premises with a showroomdownstairs and a gallery upstairs. A museumspace will feature the rarest and oldest pieces aswell as hold exhibitions on themes, such as datemarking on Chinese furniture. This broad andinclusive gallery encourages exhibitions fromcontemporary Australian artists as well asinternational artists, inviting exhibitions of mediasuch as pottery, glass and sculpture. The antiqueChinese furniture showroom is now open andother spaces will be open in the New Year.
THE Australian Antique & ArtDealers Association
For a copy of the AAADA’s Essential BuyersGuide for Antiques & Art which lists all currentmembers and service providers, please contact ourExecutive Secretary by [email protected] phone 03 9576 2275.
The advantages of buying andselling antiques and thedecorative arts through aregistered member of theAAADA members• Members of the AAADA are fully qualified
professional dealers in their chosen disciplines. • The AAADA represents around 130 members
Australia wide with a collective of some 5000years experience in the industry, their disciplinesand interests stretch across all fields of thedecorative arts and collecting.
• Unlike non-member dealers and auctioneers,all members are governed by a strict code ofethics and practice.
• The AAADA operates a conciliation service that assists buyers to resolve anydispute that may arise with any of its dealer members.
WHAT members of the AAADA do for you• Buy and sell quality antiques, decorative arts
and related items.• Provide after sales service to ensure you will
continue to enjoy your purchases.• Guarantee all items with written
authentication when selling goods.• Give you the agreed price immediately when
you sell your antiques to an AAADAmember – no commissions charged as byauction houses.
• Abide by a strict code of ethics and business practice.
• Offer additional services to the public:restoration, valuations, educational forumsand seminars, lecturing services and adviceon selling ●
AUSTRALIAN ANTIQUE & ARTDEALERS ASSOCIATION03 9576 [email protected] www.aaada.org.au
AAADA SHOW SYDNEY – Antiques in a brand new setting
Anne Schofield’s talk at the Nicholson Museum
Spring 2010 AAADA Show at Royal Randwick Racecourse
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Meet the top people in antiques and artThe Australian Antique and Art Dealers Association is the national body that links the country’s most respected antique & art market professionals. It insists on and ensures the highest levels of conduct and probity by its members.
Dealing with an AAADA member assures you of quality, expertise and professional service.
The AAADA WebsiteLog on to a unique resource - a constantly changing shop window which will open your eyes to a wealth of treasures, as well as bringing you up-to-date news and articles from the antiques and art world.
Visit www.aaada.org.au
AAADA Directory & Essential Buyers GuideYour printed guide to:
– the shops, galleries and websites of the leading people in the antiques and art business, the people the experts deal with.
– plus listings of service providers for all your restoration, conservation, framing and valuation needs.
Order a free copy from [email protected] or telephone 03 9576 2275
Integrity guaranteed
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Jacques Cadry’s all-consuming passionand infinite knowledge of the rugbusiness is legendary. He more than
inspired his sons and their children whoselatest rug pursuits represent future heirlooms,and are among the best in the world.
He was the proprietor of Sydney’s firstPersian-owned Persian carpet shop. A highlyrespected rug dealer, scholar and philosopherJacques Cadry loved to share hisencyclopaedic knowledge. He sharedfascinating tales from the magical sources ofhis latest rug treasures, from the bustlingbusiness centres of Iran, Armenia or Turkeythrough to the remotest villages – wherever hefound the unique antique turkomans, kazaksand kilims adorning his historic sandstoneshowroom in Edgecliff.
There was much more to Jacques Cadrythan carpets. He was a zealous collector ofquality and significant antiques: Russianicons, over 90 rare historical portrait carpets,19th-century Russian silver teaspoons,perfume bottles and ikat ceremonial gownsfrom Uzbekistan. Works on paper includedhand-written Korans, illustrated Persianmanuscripts of the 16th and 17th centuriesand rare old books.
An inveterate collector of people,surrounded by a treasure trove of rare andexotic rugs, he welcomed a constant stream ofartists, philosophers and judges along with thechildren of friends long passed for whom heacted as a mentor. Ecumenical in outlook, hereceived rabbis from Jerusalem universities,archbishops of obscure Eastern rite Christianchurches and a Catholic priest who was a leadingIslamic scholar, as well as historians, museumcurators, Francophones, Francophiles and carpetlovers. A notable Australian visitor was therenowned designer, Florence Broadhurst.
Jacques Cadry was also a visionary,something his younger son Bob cherishedfrom an early age. ‘I would be on a buyingtrip with my father, and he would buy aparticular carpet, something I knew would notsell quickly in the shop. When I asked himwhy he was buying it, he would simply say,“Because you will never be able to find something
like this again.”’His vision created a legacycollection of international standing comprisingsome of the rarest tribal, village and city weavesfrom Persia, the Caucasus and Turkmenistan.
An eye for the unique, the irreplaceable andthe beautiful informed Jacques’ aesthetics,that remain the raison d’être of the familybusiness. Heritage played a part, as the son ofHajji Israel Cadry who started the familybusiness during the 1860s in Tehran.Inclination and education were otherinfluences. Travelling from Teheran toboarding school in Paris, Jacques journeyedfor 15 days through places where he saw finecarpets treated as admired works of art.
His shop at the corner of New South HeadRoad and Glenmore Road has been a Sydneylandmark for the past 50 years. Eddy and Bobinherited their father’s expertise, passion andknowledge, already passed to the nextgeneration as Bob’s son, Jared recently joinedthe family business.
CONTEMPORARY and Custom Gallery
Another grandson, Mark (Eddy’s son) hastotally made over the contemporary rug selection.Across the street from the traditional showroom,enter Cadrys Contemporary and Custom Galleryat 498 Glenmore Road to see their extraordinaryvariety of ever-changing rugs, including rugs byleading European designers, such as German-based Jan Kath. European works complementone-of-a-kind contemporary hand knotted rugsfrom Afghanistan, India and Nepal.
Mark has transformed the Florence BroadhurstDesign Library into a tribute to the genius of oneof Australia’s most creative and accomplishedwomen who epitomised style and flair for overfive decades. Cadrys have translated a selectionof Florence Broadhurst’s iconic designs intoexquisite hand-woven rugs, made in Nepal usingTibetan wool, silk and natural fibres creatingtextiles of unparalleled quality, innovation andvalue. Cadrys will customise her designs to suitclients‘ preferences.
Mark Cadry says, ‘All our contemporaryrugs are hand knotted as opposed to handtufted and are made in an authentic andtraditional manner that has existed forcenturies which will ensure lasting quality andvalue. For us it was of primary importancethat each piece was made with high-qualitymaterials and produced in an ethical andsustainable manner.’ Cadrys can make any rugdesign, from the simplest rug with subtlenuances of colour to a massive colourfulmasterpiece in pure silk and pashmina.
VINTAGE Patchwork CollectionTraditional rugs that are the worse for wear
are given a fresh lease of life through theVintage Patchwork Collection. Bob explains,‘We take old damaged rugs and recycle theminto a new form of patchwork rugs, which wecan then overdye. The dye takes differently oneach piece of the patchwork, but the tone isthe same. The result means we can createsomething original and fresh out of an oldkilim or fragment of rug which would haveotherwise been thrown away.’
Jacques Cadry would have loved the idea thateven rugs past their prime could be reworked andreborn into something modern and useful, as wellas become a piece of history for which anotherperson could fall in love.
Bob Cadry laments that ‘fashion designedtufted rugs are tomorrow‘s landfill, whereasan authentic hand woven rug is a piece oftimeless beauty and intrinsic quality that willbe loved and admired for decades. They willbecome heirlooms and works of art for yourfloor that tell a story about an exotic place, apeople, a craft and a time.’
The two rug collections, traditional andcontemporary, share the same hallmarks oflasting quality, beauty and value that mark theCadrys values ●
CADRYS HANDWOVEN RUG SPECIALISTS02 9328 6144 Traditional02 9328 9188 [email protected]
WOVEN IN TIME: The heirs and the heirlooms The enduring legacy of Jacques Cadry (1910-2003)
Jacques Cadry (1910-2003)
THE COUNTRY TRADER
DISCOVER SYDNEY’S ANTIQUE AND DESIGN RESOURCE
EVENTS DESIGN PYD
Opening Hours: See website for details
PYD Building - 197 Young Street Waterloo 2017 Tel: 02 9698 4661
Online Gallery: www.thecountrytrader.com.au
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