Antiques & Art in Victoria

IN VICTORIAAPRIL - AUGUST 2011

antiques&art

(Coin pictured) 1813 Madrid Holey Dollar

DIVERSIFY YOUR INVESTMENT STRATEGY.

1040

CW

- H

D

VALUE 1995 $57,000. VALUE 2011 $650,000.

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In 2010, top quality numismatic rarities enjoyed another year of solid growth (average 11 per cent). Coinworks commitment

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HIGH STREETA N T I Q U E S & A R T I N V I C T O R I A

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PHOTOGRAPHYRUSSELL WINNELLSpecialising in antiques and artworks

0415 929 712QUALITY WORK • COMPETITIVE RATES

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

ADVERTISING SALESAndré Jaku 02 9389 2919 / 0412 229 117

Fax 02 9387 7487Harry Black 03 9813 8585 / 0418 356 251

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COPY EDITORDr Margaret [email protected]

DESIGN AND PRODUCTIONBrian Cass, Kylie Kennedy, Jonathon Schneider & Kathy O’[email protected]

PRINTERSRural PressBells Line of Road, North Richmond NSW 2754Caxton Web45 Huntingwood Drive Huntingwood NSW 2148

NOTICE TO DEALERSPlease send us any articles for publication inAntiques & Art in Victoria. Length up to 1,000words, preferably typed on disk, or email withaccompanying captions. Mail pictures as prints,transparencies or digital images on CD. Article is conditional on advertisement being taken. Next issue will be distributed in August 2011 Booking deadline 27 June 2011. Copy deadline 4 July 2011.

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antiques&artIN VICTORIA

PETER ARNOLDANTIQUARIAN BOOKSELLERS

606 HIGH STREET, PRAHRAN 3181

TEL 03 9529 2933 FAX 03 9521 1079

RARE BOOKS

MAPS & PRINTS

AUSTRALIANA

ART BOOKS

BOUGHT & SOLD

Hurnall’sAntiques & Decorative Arts

612 High Street, East Prahran, Victoria 3181Tel and Fax: 03 9510 3754

Mobile: 0407 831 424

By appointment

Condition of all items guaranteed

Specialist dealer in Australian Colonial Furniture (c. 1830-1950) and Australian DecorativeCeramics including works by Remued, the Boyd family, McHugh, Melrose, Campbell,

Douglas, Seccombe, P. James, Perceval, Ricketts, Jolliff, Klytie Pate.

SPECIAL EXHIBITIONS HELD REGULARLYContact us to be included on our Mailing List and to receive detailed illustrated catalogues

Established 1976

Member AAADA& CINOA

Specialising in French antiques and Art DecoPlease contact us for more information

491 High St Prahran Vic 318103 9510 8522

Warehouse by appointment only 0412 560 371


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Trends in interior decorating go in

and out of favour all the time – antiques

do not escape these trends either!

The heavy furniture made popular during

the Victorian era found a fresh audience with

Australia in the 1980s. These dark pieces so

appropriate for large colonial and Victorian

styled homes have given way to pieces

designed for a more casual lifestyle found in

the 21st century home, which do not generally

feature formal rooms and big dining rooms.

There is the increase in city apartment

dwellers who are opting for small-scale

furniture pieces, as in every major city, from

Melbourne and Sydney, to London and

New York.

FRENCH furniture revivalThe revival of interest in French furniture is

because it is lighter, easy to move around,

more delicate and is functional. I believe that

a piece of furniture has to be beautiful as well

as useful, and classic French furniture never

goes out of fashion.

Small apartments are not a recent invention.

When the French court moved to the palace at

Versailles, the aristocracy living in the palace

had compact apartments. Furniture designers

developed new furniture concepts, with

various uses and serving several purposes, and

especially made for small rooms. A lady’s

poudresse table was a dressing table, writing

desk and a breakfast table. Another space

saver was the bureau d’abattant, a compact

upright writing desk.

VANGUARD of fashionFrance became the vanguard of fashion to

the world since the Renaissance. As the

arbiter of styles and tastes, especially in

furniture and fashion designs, the world

quickly either copied or wanted to imitate.

Many styles originated in France, from the

heavily carved medieval furniture to the

splendour and grandeur of the Louis XIV

style; from the graceful and asymmetrical

curved lines of the Louis XV style to the

softer lines and colours of neo-classicism or

the Louis XVI style.

The majestic First Empire style is grand

and architectural in proportions. The light

wood and beautiful clean lines of the Charles

X style inspirited Biedermeier, followed by

the simpler, more restrained rounded lines of

the Louis Phillipe period. The eclectic

Napoleon III or second Empire style came

into fashion, followed by ornate and heavily

carved Henry II or Renaissance revival.

Early in the 20th century, the French art

nouveau style with its flowing lines,

asymmetric design and nature-inspired curves

enjoyed a short-lived popularity. The art deco

style, with its elegant, bold and geometrical

features is again very popular.

For your home to look fantastic, add a few

antique pieces such as a crystal chandelier, a

gilded chair or an occasional table that all

successfully blend in a modern house or

apartment. The diversity of styles and

materials as well as the accompanying history

of French antiques add sophistication and

charm to any interior.

COLLECTING antiquesThere are quality antiques to suit all

budgets. Some wonderful 19th century French

antiques are less expensive than mass-

produced imitations. Antiques are also an

investment that gain value with time and can

be handed down the generations.

Enjoy the aesthetics of beautiful woods and

decorations. Appreciate an antique piece that

has survived and still displays the skill and

patience of the original cabinetmaker.

If you are new to antiques, I recommend

starting with small genuine items of quality

that are of interest to you. Many collectors

have found that what was originally thought

to be an extravagant purchase at the time is

now a sound investment. Some people buy an

antique piece just to look at, but that is not the

point. You should be able to use it, as was the

intention when made.

L’IMPERIALE treasuresAt L’Impériale, we pride ourselves on a

sound knowledge of antiques and happily

share our knowledge, expertise and guidance

when clients come to buy antiques. Our stock

is imported directly from European sources

that have acquired distinctive antiques pieces

for many years. Fresh stock arrives several

times a year, a boon to collectors from all

over Australia and overseas.

Our focus is on the furniture, lighting and

decorative arts of the wonderful periods of the

Napoleonic Empire, Charles X, Louis

Phillipe, the Second Empire or Napoleon III

and also on the revivals of the Louis XIV, XV

and XVI styles.

We have a broad range of stylish and

beautifully sophisticated furniture, as well as

gold leaf mirrors, bronze statues, objets d’art

and chandeliers. Our lighting fixtures range

from magnificent six-foot tall bronze

chandeliers; Versailles style chandeliers

draped with finely cut Baccarat crystal to

simpler dressings. Many of the lighting

fixtures were made for candles and later

converted to electricity. We also have a

beautiful selection of girandoles or table

candelabras featuring Baccarat crystal with

original candleholders or electrified.

Complementing the range is a selection of

18th and 19th century fine art and the finest

French and continental porcelains including

Sèvres and Vieux Paris.

All of our pieces are authentic antiques,

made with the finest materials and rare

woods, displaying excellent artisanship, rarely

paralleled today.

We are providers to designers, decorators,

architects, contractors, and collectors in

Australia as well as overseas. We take

personal pride in our ability to quickly

respond to and satisfy requests for unique

pieces, so we save you hours spent searching

for a desired item.

In addition, we can arrange for packaging

and delivery in Australia and worldwide ●

Mario Dominguez-GorgaL’IMPERIALE FINE FRENCHANTIQUES03 9576 [email protected]

THE ART OF COLLECTING FINE ANTIQUES

Fine French Antiques859 High Street Armadale Victoria 3143

Phone 03 9576 1282

www.imperiale.net.au

L’Impériale


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NOW ONLINE Australia’s foremost magazines on the decorative arts - antiques, art & collecting vintage & retro

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.

FRONT COVERGrace Cossington Smith (Australian 1892-1984), Interior onto a garden, 1960, oil on board, 91.2 x 62.1 cm. Art Gallery of Ballarat © The Estate of the late Grace Cossington Smith See p. 38

Editorial Content

04 The art of collecting fine antiques – Mario Dominguez-Gorga06 Vintage Posters: some frequently asked questions answered – Sam Johnston08 The art of French clocks at Leclerc Antiques09 Expressions Gallery10 Silver K Gallery presents The Swinging 60s, the art of Ronnie Wood and images of rock ‘n roll11 François Jaggi sculpture at Veronica George Gallery12 The creative legacy of Marguerite Mahood14 The beginnings of time in horology – Michael Colman16 The Hagley proof 1930 penny17 Malvern Artists’ Society exhibitions, workshops and classes18 Cold buying in France – Trish & Guy Page20 Graham King AM (1915-2008): dedicated to the art of printmaking – Jillian Holst21 Be inspired at Image de France – George Manoly23 The which and what of wristwatches – Ron Gregor24 Toorak Village Sculpture Exhibition: a decade of sculpture – Malcolm Thomson25 Pack & Send’s global challenges26 Meaningful valuation of jewellery = CSi + forensic analysis28 Schots Home Emporium for Portuguese and handmade Italian tiles29 It’s all about the coin – or the note30 The Melbourne Society of Women Painters and Sculptors 102nd annual exhibition31 The Victorian Artists Society Autumn-Winter program32 Annual Kenneth Jack memorial award and watercolour exhibition – Glyn Clarke Lewis33 Vampires, steampunk, Goth and the antiques renaissance – Roy Williams34 Art Deco Nubians and Hagenauer bronzes – David Freeman36 Anton Bruehl (1900-1982) at the Monash Gallery of Art in Melbourne37 Collecting portrait miniatures – Dawn Davis38 Mid-year exhibition program and events at Art Gallery Ballarat51 American Dreams: 20th century American Photography from George Eastman House52 The evolution of time53 Di King Gallery – John Thomas54 Stamp collecting – where do I begin? – Gary Watson55 Sherbrooke Art Society Gallery exhibitions, classes & artists’ studios56 Without Pier exhibition program58 Schots Home Emporium where you can unearth the uncommon58 Stylish accents for your home, Bently Chair, Atlanta Desk and Tacoma Trunk59 Maling pottery 1762-1963 – Barbara Thomas61 Sorrento and Flinders Fine Art Galleries62 Cheryl Peterson Galleries contemporary to figurative – and everything in between63 McClelland Gallery + Sculpture Park exhibition schedule64 What’s on at Hamilton Art Gallery66 Ceramics: a question of restoration – Paul Rosenberg67 Geelong Gallery’s exhibition program, April-September68 The diversity of art celebrated at Eagles Nest Gallery69 At QDOS Prue Kirkcaldie’s progressive thinking73 The White Wedding Dress: 200 years of wedding fashions74 Ballarat 2011 Collectables Fair 75 The gallery shop and café at the Art Gallery of Ballarat76 Adventures and stories from Shiraz in southern Iran – Majid Mirmohamadi77 The Victorian Antique Dealers Guild member profile78 Dealing with water damaged precious family heirlooms – David Foster79 The Riviere College at the Hughenden a Queen Street college for girls, with a focus on the arts80 National Gallery of Australia: Art and agression: Varilaku – Crispin Howarth83 Australia, with reindeer and elephant – Glen Marguerite Ricketts84 Inaugral AAADA Melbourne Show86 Robert Baines: Metal at Geelong Gallery

Size (hxw) B&W Colour News Colour Gloss1 unit 67 x 65mm $132 $187 N/A2 units (vertical) 134 x 65mm $264 $374 N/A2 units (horizontal) 67 x 130.5mm $264 $374 N/A1/4 page 168.5 x 130.5mm $544.50 $764.50 $9901/2 page (vertical) 337 x 130.5mm $1045 $1375 $19251/2 page (horizontal) 168.5 x 261mm $1045 $1375 $1925Full page 337 x 261mm $1980 $2420 $3289Double page 380 x 552mm POA POA $5920All rates are inclusive of GST

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

AMANDA ADDAMS AUCTIONS194 Bulleen Rd, Bulleen, Victoria 3105 Tel: 03 9850 1553 Fax: 03 9850 1534

www.aaauctions.com.auDavid Freeman 0419 578 184 Amanda Freeman 0419 361 753

Member of the Auctioneers and Valuers Association of Australia

QUALITY SINGLE ENTRIES OR LARGE COLLECTIONS (ANTIQUES, ART,COLLECTABLES, DECORATIVE ARTS AND DECEASED ESTATES)

ARE ALWAYS INVITED FOR SPECIAL AUCTIONS

AMANDA ADDAMS AUCTIONSAuctioneers and Valuers AMANDA

ADDAMS AUCTIONS

Jeffrey Smart (Australia 1921- ), The BatherBondi, oil on board, 48 x 76 cm, signedlower left. Exhibited South Yarra Galleries1962 Catalogue Number 7 – Estate ofJean Ramsey, Toorak, in the collection since1962. Illustrated in The Beach by GeoffreyDutton, 1985. Illustrated in Jeffrey SmartUnpublished Work, 1940-2007April 2008. Illustrated cover AmandaAddams Auction catalogue 13 April 2008. Sold for $336,255, a new Australianrecord for an early 1960s Jeffery Smart

AUCTIONS HELD ON THE FIRST MONDAY NIGHT

OF EACH MONTH AT 6.30 PM

Receive all the latest news.Register for our new email

newsletter and receive all theauction details and catalogues

SALE DATES 2011Monday 2 May 6.30 pmViewing: Saturday 30 April 11 am – 2 pmMonday 2 May 10 am – 6 pmMonday 6 June 6.30 pmViewing: Saturday 4 June 11 am – 2 pmMonday 6 June 10 am – 6 pmMonday 4 July 6.30 pmViewing: Saturday 2 July 11 am – 2 pmMonday 4 July 10 am – 6 pmMonday 1 August 6.30 pmViewing: Saturday 30 July 11 am – 2 pmMonday 1 August 10 am – 6 pm

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A N T I Q U E S & A R T I N V I C T O R I A

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WHAT is an original poster?

An original poster, quite simply, is thefirst printing of a graphic promotion.Later reproductions, although

decorative, have no real value.

DO YOU sell reproductions?In a word, no. Vintage Posters Only deals

only in original posters. As stated above,reproductions have no intrinsic value andtherefore of no real interest.

CAN you tell me where I canfind a reproduction?

Once again, the answer is no. Since we do notdeal in reproductions, it is not something that wetry to keep current. It is not an issue of snobbery;reproductions are just not our business.

WHY should I be interested inpurchasing an original poster?• Because it is the world’s most popular

art form• Its documentation is exceptionally diverse –

at once historic, artistic, graphically wide-ranging and nostalgic

• In addition, posters are decorative • Some of them are stunning and imaginative• Others are just downright pretty• Their appeal is timeless. They strike a chord• They are rare

• Plus, above all, they are original• They can be vintage or they can be

contemporary. Remember that today’s latest advertising graphics are the classics of tomorrow.

HOW many copies of a posterwere printed?

In all honesty, we do not know. It isimpossible to say how many copies weremade for pasting on the walls of any given city.

THEN why are the remainingposters valuable?

In fact, the quantity of the original run ofthe poster does not relate to its value – thequantity printed does not really matter. Whatdoes matter is how many copies were savedon the day that it was printed. There is no‘Day 2’ for original posters.

During the height of the poster craze in thelate 1890s, printers would overrun an editionof a design and sell these extras to posterclubs, advertisers, individual collectors, etc.These are the copies that have come down tous. They are the very few posters saved fromthe original overrun.

WHAT is a maquette?A maquette is the original artwork from

which a poster is taken. A majority of thetime, this artwork is used to create thefinished poster. However, there are caseswhere incredibly beautiful artwork is neverused to create a printed poster. The precisereasons for the absence of artwork are amongthe mysteries of vintage posters.

WHAT are the most popularthemes in vintage posters?

Whatever turns you on: art, cars and bikes,cinema is big, events, food and beverage,fashion is major, health and safety, political,sport and of course travel are all popularsubjects of fantastic original vintage posters.

WHEN is Vintage Posters Only open?

I’m open seven days a week, between 10 am and 5 pm.

CAN you help me find aparticular poster?

Ring me

Sam JohnsonatVINTAGE POSTERS ONLY03 9500 2505 / 0419 588 [email protected]

VINTAGE POSTERS: some frequently asked questions answered


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VINTAGE POSTERS ONLY

1136 High Street Armadale Victoria 3143

Wanting to buy original lithographic posters from the turn-of-the-century to 1970. Condition not important!

Paying Australia’s best prices.

Contact: Sam Johnson 03 9500 2505 Email: [email protected]

www.vintagepostersonly.com


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Fr over 20 years, Leclerc Antiques hasimported fine quality timepieces fromFrance and Belgium. French-born Pascal

Leclerc, a dedicated clock collector, has longbeen fascinated by the beauty and intricatemechanisms of French clocks, and thispassion inspires his search for beautiful itemsto bring to Australia.

The best European horologists were reveredartists. Their creations required the skill ofmany master craftsmen such as sculptors,casters, chasers, engravers, gilders andporcelain dial makers and painters.

France has produced some of the greatesthorologists. Among the most famous are Jean-Andre Lepaute (1709-1789), Swiss-bornAbraham-Louis Breguet (or Bréguet) (1747-1823), Basile-Charles Leroy (1765-1828),Isaac II Thuret (1630-1706) and his sonJacques III Thuret (1669-1738), and JeanAntoine Lépine (1720-1814).

FRENCH clocksOrmolu clocks were produced as early as

1750 under the reign of Louis XV. Romantic,oriental or mythological subjects appealed to thecourt’s fascination with refined taste and exotictales, and often inspired their adornment.

Beautifully executed porcelain clocks werealso produced in the 18th century, with someFrench makers importing cases fromrenowned German artisans in centres likeDresden and Meissen.

Decoration of clocks using models ofanimals such as dogs and horses was popular.Decorating with more exotic animals, forexample, lions, elephants, rhinoceros andcamels, became fashionable in the mid-18thcentury. These pieces are very sought after byserious collectors.

A typical French movement runs for eightdays, striking the hour and half hour on a bell.Some more complex mechanisms also strikethe quarter hour. The early pieces employed silk suspension before steel suspension was invented.

The late 19th century saw the introductionof more affordable decorative clocks, oftenconstructed in marble and white metal that was ametal alloy containing silver and pewter,commonly called spelter. These clocks werefrequently designed as a decorative set, comprisinga timepiece and matching candelabra.

BUY qualityLeclerc Antiques imports a broad collection

of clocks to Australia, along with objets d’art,lights and furniture, in a range of styles andmaterials that appeal to our diverse anddiscerning clientele. In the case of clocks, weaim to acquire the highest standard examplesfrom late 1700s to 1940s. Quality antiquesoffer privileged investment, as you use andenjoy the beauty of the object every day.

It is not only in the field of clocks thatbuying the very best has proven most sensible.Fine quality 19th century furniture hassignificant interest and growth in value,notably as increasing global wealth introducesnew buyers into the market for rare piecesfrom countries such as China and Russia.

Quality antiques are an international currencyand can be traded anywhere in the world.

Anyone considering acquiring antiqueswould be well advised to buy the best theycan afford, as they will never regretpurchasing a top-quality piece. Aside from thepleasure of living with the item and admiringit each day, its beauty and value are enduring.In contrast to contemporary purchases thathave short-term fashion appeal and fallingworth, antiques are appreciated and treasuredfor the long term and increase in value.

Caution should be taken when consideringunrestored or non-functioning clocks, asrestoration of an antique clock (assuming it isrestorable) can be an expensive exercise.When you purchase from a reputable antiquesdealer, a clock’s authenticity and workingorder is guaranteed.

At a time when discussion in the mediaconstantly reminds us of the planet’sdwindling resources, contrasted with readyavailability of dull mass-produced objects, werealise the preciousness of unique handcraftedpieces that bring beauty and value to our lives.Not only is the acquisition of antiquespotentially lucrative, but also a responsiblechoice for our environment and the benefit offuture generations.

If you are interested in exploring optionsfor acquiring a fine European clock or otherantique, visit Leclerc Antiques at their Prahranshowroom or Williamstown warehouse whereyou have a superb range of items and expertadvice to draw upon.

Pascal Leclerc looks forward to assistingyou with all your enquiries ●

PASCAL LECLERC ART DECO & ANTIQUES03 9510 8522 / 0412 560 371

THE ART OF FRENCH CLOCKSAT LECLERC ANTIQUES

Our high quality fine art limited editionsare available at an affordable price. A pleasureto own, they will hold their value andbrillance for many years to come. Expressions Gallery also offer high qualityframing in their onsite studio workshop ●

EXPRESSIONS GALLERY03 9500 [email protected]


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Expressions Gallery offer a widerange of fine art limited editions from

leading Australian artists including John Olsen, Jeffrey Smart, Howard Arkley,Lin Onus, Sidney Nolan, Arthur Boyd,Charles Blackman, Fred Cress, Garry Shead, Frank Hodgkinson, David Boyd, JasonBenjamin, Melissa Egan, Clifton Pugh andHelen Norton.

John Olson, Sydney Sun, 1965

1110 High Street, Armadale Vic 3143 AustraliaTel/Fax 03 9500 [email protected]

also at332 Malvern Road Prahran Vic 3181 • Mob: 0413 992 501

FINE ART LIMITED EDITIONSVINTAGEPOSTER LINEN BACKING

CUSTOMER FRAMINGHoward Arkley, House with Native tree

Jeffrey Smart, The Guiding Spheres ll

John Olsen, Tropical Lily Pond

JK, Cuban Missile CrisisJohn Olsen, Frogs & Banana Leaf

Expressions Gallery offer a wide range of fine art limitededitions from leading Australian artists.

“

”

EXPRESSIONS Gallery


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Ronnie Wood is one of rock’s trueoriginals. He toured the world withnumerous bands including The Birds,

The Jeff Beck Group, The Faces and ofcourse, the Rolling Stones. Today he is bothan internationally acclaimed musician and arecognised artist.

Wood grew up on a working-class Englishcouncil estate. He was the first generation ofhis water-gypsy family to be born on dry landand his greatest loves from a young age weremusic and art. He was born in Middlesex in1947 to an artist family and his artistic abilitybecame very evident in his early years. As achild his drawings were featured on a BBCtelevision program, Sketch Club, on which hewon one of its competitions. He refers to thisearly achievement as his ‘awakening to art.’

PORTRAITUREHe received formal art training at Ealing

College of Art in London. While his musicalcareer progressed, Ronnie continued hispainting and drawing. His subjects rangedfrom musicians he admired, knew andsometimes played with, to family and closefriends, and self-portraits.

The mixing of art and music has been part ofhis life from his musical beginnings. It was onlynatural from those early years onwards to findRonnie with a pencil or with a guitar, drawingportraits of contemporaries and findinginspiration from his musical influences.

PRINTMAKERIn the early 1980s in the USA, Ronnie

produced his first prints – three woodcuts anda series of monotypes. His art works up tothen were always one off originals. At that

time he was not an experienced printmaker, sowith great enthusiasm he seized theopportunity in 1987 to spend several monthsworking in a professional print making studioin London. This was really the launching padof his international art career. Since thoseearly days, Ronnie has devoted a considerableamount of time to printmaking and hasproduced many stunning images using varioustechniques – etching, dry point, screen printand digital.

With his journey into printing and creatinglimited editions, the international world of artcollectors has opened to Ronnie’s own artworld. He is an artist with great dimension.One of his great gifts is capturing his musicalmates and his paintings, drawings and printsfrequently feature icons of the pop culture atthe time.

Keith Richards, his great mate is one of hisfavourites. In a recently released image, weare taken on a wonderful journey in thedevelopment of a Ronnie Wood art piece. Thispainting is from life, started as a studysketched during rehearsal. He remembers thisparticular moment vividly, as he was taken byhow lost in deep thought Keith was – Ronnienever knew what Keith was thinking aboutthat evening. Whatever it was, Keith wasobviously offering it great thought. So Ronniegave a title to reflect most exactly where Keithwas, that had to be Pensive.

Besides Ronnie’s great gift for capturing hismusical mates, he has also ventured to capturethe many other subjects that collectivelyconstruct his passionate life. His love for wildlife is reflected in many works. He is atraditionally trained artist, so life drawing andrendering of the human form are included inhis art portfolio. He has also created beautiful

landscapes, some based on the rich green hillsof his home in Kildare Ireland.

MAJOR Australian exhibitionRonnie Wood has exhibited all over the

world and Silver K Gallery is delighted to bepresenting the largest show of his art everseen in Australia. Ronnie is a true journeymanin the world of art and several of hispaintings, including a work commissioned byAndrew Lloyd-Webber, are displayed atLondon’s Drury Lane Theatre. As an artist, hecontinues to go from strength to strength.

As a true reflection of his standing in theinternational art world, in September 2010Ronnie was honoured by a show at the ButlerInstitute of American Art in Ohio, his firstmuseum-based exhibition in the USA. Thatshow was five years in the making and filledthree galleries with 30 original paintings, 22pen and pencil drawings and seven works inmixed media.

Australian fans and collectors should notmiss this rare opportunity to view one of thefinest collections of Ronnie’s art presentedworldwide. Complementing the art areoriginal photographs by Dezo Hoffman,Robert Freeman and Astrid Kirchherr. Aspecial highlight is the first ever showing inAustralia of original photographs featuring theRolling Stones and The Beatles taken byPhillip Townsend – all hand signed by thephotographer ●

SILVER K GALLERY 03 9509 5577 www.silverkgallery.com.au

This exhibition of over 160 works is a mustfor rock ‘n ‘roll fans.

A small admission fee (adults: $10,children: $5) includes the catalogue.

SILVER K GALLERY presents The Swinging 60s:THE ART OF RONNIE WOOD AND IMAGES OF ROCK ’N ROLLShowing until 10 July


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Veronica George Gallery is locatedin the heart of Melbourne’s arts andantiques precinct in High Street

Armadale. The site was purpose-constructedto serve as a showcase of the gallery’s ever-changing art glass pieces, stunning handmade jewellery and new exhibitions. Thegallery celebrates its 10th anniversary inSeptember 2011.

Art glass and jewellery draw almost everypasser-by into the gallery, attracted to thecollections of unique pieces crafted by well-known Australian artists. From one-of-a-kindart glass to studio glass and collectables, thereis something for every collector.

The gallery offers creative gift-givingoptions. When looking for those significantgifts such as wedding, graduation, anniversaryor company achievement awards, your searchwill succeed at the Veronica George Gallerywhere well-informed staff assists in sourcingan appropriate piece for your occasion.

FEATURED artistFrançois Jaggi was born in Saint-Loup-

d’Ordon in Burgundy, France, migrating inchildhood with his family to Switzerland. Afterfinishing school, he completed his jewelleryapprenticeship and diploma at the School of Artsin Geneva. François worked as a freelancejeweller for Rolex, Cartier, Boucheron andAudemas Piguet in Switzerland.

François eventually moved to Australia wherehe began to sculpt, finding it more exciting withlimitless possibilities. Exhibiting since the mid-1990s, his work is admired and is represented inAustralian and overseas collections. He is amember of the Sculptors Society.

Look for François’ commissions and publicsculptures when visiting Wollomombi andArmidale’s Civic Park in NSW. Notable earlycommissions include a 1999 gift for theGovernor General of Australia, with others forPrime Minister’s Department and theVictorian Racing Club.

ARTIST’s statement Australia gives me exciting and limitless

possibilities in sculpture, giving me theopportunity to work full time as a sculptor. Firstworking with drawings; representing withdifferent mediums, returning them to idealisedform, giving them light and graceful movement.

THE PROCESS In the 2010 works inspired by a mare and

foal, these graceful animals are given apowerful presence transforming the spacesurrounding them. Their creation involvedseveral steps. First, Jaggi created a mouldfrom wood. Then using the sand cast method,the forms were cast in solid bronze. After thecasting process, he finely sands the sculptures,applying a patina and polishing them.

There is no maintenance required as a lacquercoating is applied to the sculpture. Please do notuse any cleaning products or polishing cloths, asthese will affect the surface finish.

Conveniently, Veronica George Gallery is openseven days a week. Another advantage is that thegallery arranges safe delivery of purchases. Ifdestined out of Australia, purchases are sent tax-free and insured – worldwide ●

VERONICA GEORGE GALLERY03 9500 9930veronica@ veronicageorge.com.auwww.veronicageorge.com.au

François Jaggi sculpture atVERONICA GEORGE GALLERY

From left:François Jaggi, Bird of Paradise, bronze, 180 x 380 cm, edition of 30

François Jaggi, Mare and Foal, bronze, 2010,mare edition 55/80, foal edition 55 /80

François Jaggi, Leap For Freedom, bronze,60 x 30 cm, edition of 30

François Jaggi, The Stallion, bronze, 25 x 26 cm, edition of 80

veronica george G A L L E RY

1082 High St, Armadale Melbourne 3143Ph: 03 9500 9930 Fax: 03 9500 [email protected]

Open 7 days Mon to Sat 10 am to 5.30 pm and Sun 11 am to 5.30 pm

The Veronica George Gallery represents a large number of leading Australian

glass artists and showcases many of theircomplex glass techniques.

In addition to the wide selection of tasteful gifts and special pieces for

the interior, we have unique works of artfor the collector.

As well as the magnificent variety oforiginal hand-blown glass, there is a fine

collection of contemporary jewellery bywell-known Australian artists.

Phil StokesAmorphous Drip Bottle

Gordon Glass


12

Marvin Hurnall

For many, the tactile quality of ceramicsgives a very personal dimension tocollecting. Items can be held, moved

around and displayed in a variety of ways tocapture natural or artificial light. But mostimportantly, they are distinctive insights to anowner’s personality.

In the history of Australian ceramics,Marguerite Mahood is at the forefront interms of originality, variety, taste andtechnical skill.

Early YearsBorn in Richmond in 1901, Mahood

attended Presbyterian Ladies College prior tobeginning art classes in 1915 at the NationalGallery School, Melbourne, under theguidance of Frederick McCubbin. Showingearly promise she exhibited successfullyfrom her mid-teens at major Melbourne andSydney galleries.

Marguerite Mahood was a significantpublic figure in the Australian arts scene. Herweekly radio broadcasts for the AustralianBroadcasting Commission were a first for anAustralian female artist. The broadcastscovered a wide range of her interests from thehistory of art to interior design.

Mid CareerFrom 1934 to 1950 she exhibited regularly

at the prestigious Sedon Galleries in CollinsStreet, Melbourne and the art gallery in DavidJones, Sydney. Her significance as a sculptorwas recognised in William Moore’s The Storyof Australian Art (1934), the first majorpublished history of Australian art, and herwork featured in the 1956 MelbourneOlympic Games Arts Festival.

An established and respected artist sheplayed an influential role in the MelbourneSociety of Women Painters and the Arts andCrafts Society. Mahood was also a foundingmember of the Australian Ceramics Societyand the Victorian Sculptors’ Society.

A person of great energy, enterprise andskill she taught pottery, managed a textilefirm and published widely in the popular andspecialised press on art and sculpture. Heryounger contemporary, the distinguishedceramicist Klytie Pate (b. 1912), was an inspired admirer and like Margueritewas interested in feline images.

Many of Mahood’s paintings, drawings andlinocuts illustrate her interest in Art Nouveauand all things feline, which was a particularfeature of that art movement. Anotherinfluence was the large-scale ceramicsculptures of William Ricketts (1898-1993)working at Mt Dandenong in Victoria from 1934.

Shifting interestIn the 1930s and 1940s her interests

broadened, producing cartoons for childrenand writing and illustrating two books. In the1950s she returned to study and developed aheightened interest in politics. Along with herhusband she became a member of theCommunist Party of Australia and opposedfascism and all forms of racism. At the age of69 Mahood was awarded a PhD at theUniversity of Melbourne; her thesis – thehistory of Australian political cartoons.

Unusually, her choice of subject did notfollow the social realism of others withsimilar political interests. Rather, her interestin Art Nouveau, Pre-Raphaelite and neo-gothic styles and in fantastical grotesquesboth set her apart from others and have beenthe basis of her continuing wide appeal tosuccessive generations of Australiancollectors. The success of her objects isenhanced by her use of vibrant glazes and therange of carefully applied colours.

Creative processMahood was personally involved in all

stages of ceramic production; beginning withselecting and digging the clay through tostoking the kiln – a task that could take up to10 hours. Her pieces are noted for their highlevel technical skill. The double walledpierced work vessels continue to arouseenthusiasm from practicing potters.Commentators on her work have stated thatMarguerite’s keen sense of balance,proportion and scale derives from an innateability to compose a piece using a subjectiveform of mathematics.

Similar attention to detail and skill is shownin her preliminary drawings. These trace aninitial idea through successive stages intofinal images. Of extraordinary fastidiousdetail, they are executed in mixed mediums ofeither watercolour, Indian ink, pencil, crayonor hand-coloured linocuts.

ValueAlong with other prominent Australian

ceramicists, the value of Marguerite Mahood’sceramics has soared over the past twodecades. Because of the variety of her work,ranging from small objects to stunningcomplex pieces, prices range from hundreds of dollars to well in excess of $20,000.Limited supply has meant that new workscoming on the market have aroused keeninterest and competition.

CollectionsMarguerite Mahood is held in all major

Australian public collections and is wellrepresented in private collections. Holdings ofnote include the National Gallery of Australia,Canberra; National Gallery of Victoria; ArtGallery of New South Wales; Shepparton ArtGallery, Victoria; Powerhouse Museum, Sydney.

The forthcoming exhibition of works byMarguerite Mahood at Hurnall’s DecorativeArts offers a unique opportunity to review herplace at the centre of the development ofAustralian arts and crafts.

New and interesting material sourced fromthe Mahood family archives and collectionwill be on show together with fine and rareexamples that she modelled.

This comprehensive exhibition of over 200items includes 50 ceramic objects comprisinghighly desirable examples of face masks,characteristic winged dragons, pierced potsand figurines, all dated from 1931 and incisedwith Mahood’s personal code, which providesthe strongest provenance. All items will beillustrated in the printed catalogued and onwww.hurnallsantiques.com.au ●

The exhibition commences26 April to 2 May,12 noon to 5 pm atHurnall’s Decorative Arts612 High StreetEast Prahran, Melbourne.

Hurnall’s Decorative Arts 03 9510 3754 0407 831 424 [email protected]

Marguerite Mahood (1901-1989), Puppet, handmodelled ceramic head, hand stitched velvetclothing. Made for members of her immediatefamily. Private collection

Marguerite Mahood (1901-1989), Lap of Luxury, linocut, with applied watercolour,23 x 30 cm (image), 43 x 50 cm (framed)

Marguerite Mahood (1901-1989), Native Possum,linocut with applied watercolour, 19 x 20 cm(image), 39 x 39 cm (framed)

Marguerite Mahood (1901-1989), vase, c. 1936,hand modelled glazed earthenware decoratedwith applied fantastical dragon, 16 x 11 cm,signature inscribed in base

Unknown photographer, Marguerite Mahood,c. 1940s

THE CREATIVE LEGACY OFMARGUERITE MAHOOD(1901-1989)

MALVERNA N T I Q U E S & A R T I N V I C T O R I A

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FINE & DECORATIVE ARTS,ANTIQUES & JEWELLERYHEAD OFFICE: 47 GLENFERRIE ROAD, MALVERN 3144 T: +61 3 9509 6788 F: +61 3 9509 3455email: [email protected]

AUCTION SCHEDULE 2011

Fine and Decorative Arts MAYModern and Antique JewelleryViewing a week prior to sale

Fine and Decorative Arts JULYModern and Antique JewelleryViewing a week prior to sale

Fine and Decorative Arts AUGUSTModern and Antique JewelleryViewing a week prior to sale

Fine and Decorative Arts SEPTEMBERModern and Antique JewelleryViewing a week prior to sale

Visit www.philipsauctions.com.aufor details of all current lots

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1. Victorian miniature secretaire cabinet, c. 1860. Sold $2328

2. Large Chinese famille jaune floor vase bearing Guangxu mark (1875-1908). Sold $1398

3. Meiji period (1868-1912) Satsuma koro. Sold $2796; Meiji period (1868-1912) Satsuma vase.Sold $2563; Meiji period (1868-1912) Satsuma tea caddy. Sold $1398

4. Bohemian art glass vase, attributed to Loetz, c. 1900. Sold $369; Tiffany Favrile iridescent glasstrumpet vase, c. 1910. Sold $1384

5. Le Verre Francais ‘Charder’ glass cameo vase, c. 1925. Sold $2538; Le Verre Francais ‘Lauriers’cameo vase, c. 1925. Sold $1154; Legras glass vase, c. 1910. Sold $1154

6. Brass telescope made by E.G. Wood (London), c. 1850. Sold $815

7. IWC Novecento Perpetual Calendar wristwatch. Sold $10,485

8. Emerald and diamond line bracelet. Sold $2077

9. Claret jug, c. 1905. Sold $461l; Silver tea caddy made by Theodor Hartmann (Augsburg,Germany), c. 1904. Sold $634; Sterling silver salver made by Hawksworth Eyre & Co Ltd(London), c. 1917. Sold $577

10. Patek Phillipe ‘Caltrava’ Pp 1741, c. 1960. Sold $5126

11. Bonheur du jour, c. 1860. Sold $6347

11.


14

FROM 1000 – 1300 CEThe mechanical clock, considered

by many as the greatest turning point in the history of science and technology, hasno defined beginning or single stroke of genius but rather appears as agradual evolution with defined periods offurther development.

Chinese recording of events was furtheradvanced than in the West. The early inventionof printing in China (8th-9th century CE) andbetter attention to record keeping have givenus faithful reproductions of original texts ofearly horology work in China, even when timekeeping was secondary to the device’s originalpurpose.

Possibly the first timepiece with a betterperformance level than the clepsydra was theremarkable water-driven astronomical clockdesigned by the monk Su Sung in 1088 andcompleted in 1094. His clock has not survived,but a description by its inventor has. Modelshave been made from these documents. Themechanical improvements of this instrumenttook it way beyond anything previously made,possibly only passed 600 years later with theinvention of the pendulum.

The essential feature of this clock was a linkwork escapement quite different from the

foliot escapement invented later in Europe.Water poured from a reservoir into a constantlevel tank, then into one scoop after another ofa large waterwheel with a controlling device,which would not release until each scoop wasfull. As the scoop filled, the weight tipped thelever, allowing the main wheel to ‘escape’ itsposition. In effect this astronomical instrumentrecorded the number of scoops filled withwater, which was then converted into time elapsed.

Producing an effective escapement action,between the scoops and levers, this was morethan a clock. It was over 11 metres tall, withwheels 1.5-2.5 metres across, with five half-storeys. It was calibrated by a sighting tubepointed at a selected star and was far moreaccurate than anything before. It had acelestial globe, an armillary sphere, gave hoursof the day and quarters on bells and drums andstruck the night watch on gongs. China usedan equal 2 x 12 hour cycle for the day with100 minutes and had done so since about 500 CE.

During the Middle Ages the significance oftime recording was not appreciated, possibly asthey were ill equipped to measure it. Waterclocks were rare and expensive. Sundials werecheaper to manufacture but were generally

inadequate in Europe, as skies were oftencloudy. During the Middle Ages time was notthat important to people, except for the Church.

In 1220 in Cologne there was a specialstreet called Uhlogengasse, or ClockmakersStreet. This is the first evidence of aprofessional Guild of Clockmakers, makingwater clocks. Imagine their frustration inwinter! Guild Craft Associations were forjourneymen, apprentices and employers, whoformed to set working conditions,apprenticeships, prevent unfair practices andmaintain high standards of craftsmanship, anddate from the 12th or 13th century. It isfeasible that many of the Chinese instrumentideas had made their way from China, throughIndia, into Islam and finally Europe.

The origin of the mechanical clock remainsa mystery, but it probably occurred towards theend of the 13th century. The incentive todevelop it possibly came from the medievalmonastery, where punctuality was a virtue thatwas rigorously insisted on, and late arrival atdivine service or meals was punished. Clockswere useful to regulate the strict monastic life.At this time, remember that the churchcontrolled education. The word ‘clock’ isrelated to the medieval Latin word clocca andthe French word cloche, meaning bell. Thefirst clocks did not have dials and these clockshad clock makers whose sole job was to mind,watch the wheels and as certain parts of thewheels went past, strike a bell to indicate time elapsed.

An early treatise on astronomy, writtenabout 1271 by Robert the Englishman, statesthat ‘clockmakers are trying to make a wheel

turn controlled, for one equal circle, (constantequal speed) … and if they could, they wouldmake an instrument better than any available’.The text describes how they were using aweight suspended by a rope, looped around an arbour to friction-control the rate of awheel turn.

A similar device in an architectural drawingof 1240-51 by Wilars de Honnecourtresembles this description. The descendingweight would turn the figure of an angel onthe roof of a church. This would point tofollow the Sun, even when the sun could notbe seen, indicating the time of day. Such angeldevices were installed on the roofs of ChartresCathedral and old St Paul’s, London.

No definitive link has been found betweenthe first mechanical clocks and the earliergeared astronomical instruments. Perhaps thelack of a dial on these early clocks indicatespart of another instrument as the origin.

Another outstanding clock designed was theAstrarium (astronomical) clock by Giovanni daDondi (1318-1389) of Padua. This is theearliest drawing of a clock escapement knownas a ‘crown wheel and verge.’ This type ofescapement was regulated, with difficulty, byadjusting the weight supplying the power. TheItalian brass clock was far finer than theclumsy English forged iron clocks. The clockwas incidentally made for time keeping, whichit did with the start of the day at sunset, calledItalian hours. This was truly a kind ofplanetarium and much more elaborate thansimilar clocks like the Strasbourg clock. DaDondi describes his clock as ‘a common clock’with the ‘usual’ beat.

The BEGINNINGS OF TIME in Horology

Su Sung’s water clock c.1088-1094, miniature reproduction

Wilars de Honnecourt, middle of picture left, 1240-51

Su Sung’s water clockescapement

Drawing crown wheel, verge and foliot


15

FROM 1300 – 1400 ADThe mechanical clock appeared around

1280-1300, along with the crucial invention ofthe ‘crown wheel and verge’ escapement. Thisdevice requires a crown wheel, with an oddnumber of teeth to the side, like a hole-cuttingsaw blade mounted vertically. Across thecrown wheel is a vertically mounted arbor orshaft, with a balance wheel on top. Two smallprojections of steel called pallets are mountedon this arbor (the verge). Each pallet facemeets a tooth of the crown wheel alternatelyspinning the balance wheel each way, allowingthe crown wheel to escape (release) one toothat a time.

The regulating of this escapement wascontrolled by adjustable driving weights, andrequired frequent adjustment to time. Thecrown wheel was held, the verge lifted out, thetrain let run freely to the desired time, stoppedon crown wheel and verge replaced and setgoing. This required an attendant of someskill; considering that the clock may havetaken two years to make, a mistake would becostly. The basic crown wheel and vergeescapement lasted with several improvementsfor almost 500 years.

An alternative soon appeared to the crownwheel and verge. A horizontal bar wasattached to the arbor in place of the balancewheel and suspended by pig or horsehair. Ateach end of the bar were notches whereweights could be moved in for faster or out forslower. The new escapement was a ‘crownwheel and verge foliot’, known as a vergefoliot. It worked the same way as the vergebalance but was able to be regulatedindependently. This system was very robust,would tick away almost forever as long as itsmoving parts were kept oiled. However it wasstill a very poor timekeeper, but better than thecrown wheel and verge.

The oldest surviving clock in England is inSalisbury Cathedral. It was verge foliot, has nodials but strikes the hour. It was made about1386, for historical accounts show that in 1386provision was made for a house for the use ofthe clock keeper. Ralph Erghum was bishop ofSalisbury and was a regular visitor to the courtof King Edward III. He later moved to WellsCathedral in Somerset and commissioned

another clock in 1388, having it installed in1392. Both these clocks are the oldestsurviving clocks in England and have beenfound in more recent times to be made by thesame craftsmen. These two clocks have nowbeen attributed to Johannes Lietuijt, or thebrothers Johannes and Williemus Vrieman, agroup of three clockmakers invited to Englandin 1368 by King Edward III from the Low Countries (Holland).

The Salisbury clock was replaced by a newmechanism in 1884. It was saved fromoblivion in 1929 when TR Robinson drewattention to its great antiquity. As can be seen,the wrought iron clock frame is held togetherwith wedges. These earlier clocks wereground-mounted like the water clocks. Theweights were suspended from pulleys higherthan the clock. Eventually these clocks wereput in a tower with weights hung below,becoming known as Turret or Tower Clocks.

In 1931 the original mechanism was cleanedup and put on display, and finally in 1956,with the help of Rolls-Royce, certain partswere X-rayed to see what was original. Byusing original parts and some new, it wasrestored back to verge foliot from a previouspendulum alteration. The restored Salisburyclock is probably the oldest clock in the worldtoday still running.

The Wells Cathedral clock of 1392 strikesthe quarters as well as the hours. It has twodials, one astronomical and three separateautomata. The original movement now residesin the Science Museum in London, havingbeen replaced in 1835 and that movement inturn replaced c.1890. The originalastronomical dial at Wells Cathedral is thefinest still preserved in England.

Around the early 14th century the hourglassfinally appears to have been developed. Thefirst known illustration of the hourglass is inan Italian fresco painted between 1337-1339 inthe Palazzo Pubblico in Siena; the sandglass isheld aloft formally indicating something ofgreat or of new importance.

The invention of the hourglass or sandglasshad required a form of breakthrough intechnology. Not in the glass, but rather in theneed for an alternative to sand. Sand, becauseof its abrasiveness, would soon grind andenlarge the hole thus destroying the timekeeping. The introduction of the hourglassrequired a man-made medium, and this wasfinally overcome with the use of evenlycrushed eggshell.

The hourglass was used widely for timing atsea where it was not affected by the sway of

the ship, often used to set the four-hour watch.In industry, it was used as a timer inmanufacturing. On Sundays it was used totime the sermon, where it was also known as asermon or pulpit glass. If the clergy were so inclined they would say ‘Brethren, we will take another glass’ and turn the glassupside-down to continue the sermon foranother hour ●

Michael ColmanCOLMAN CLOCKS03 9824 8244www.colmanantiqueclocks.biz

Salisbury Cathedral clock of 1386

Hourglass or sand-glass held by figure at right, shown in an early frescoWells Cathedral clock outer dial

Further readingJoseph Needham, Wang Ling & Derek J. Price,Heavenly Clockwork, Cambridge University PressEric Bruton, The History of Clocks & Watches,Little, Brown & Company, 1979Colin Wilson, The Book of Time, Jacaranda PressG. J. Whitrow, Time in History, Oxford University PressKristen Lippincott, The History of Time, Merrell Holberton

The invention of the hourglass or sandglass had required a form of breakthrough in technology

”

“

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.bizMember 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


16

Rare coin investors will be excited tohear that the Hagley proof 1930 penny hasestablished a new record price for an

Australian coin. They will not be surprised for thecoin is truly spectacular, more than worthy of itslegendary status. The details are confidential, butwith its current market valuation of $1.65 million,Coinworks confirms that the sale price isdefinitely a new record for an Australian coin.

THE KING of raritiesNamed after Sydney Hagley, a former

owner and a pioneer of the Australian rarecoin industry, the Hagley proof 1930 pennyhas often been called the king of raritiesbecause of its special place in Australian coinhistory. As a proof coin, it was never intendedfor circulation. It was created as a museumpiece, a work of art to be held as a perfectexample of the circulated coin.

The quality is simply beyond comparison –it is absolutely stunning, as befits an object ofart. The striking is razor sharp and the coloursare magnificent. Under lights, you can see thebrilliance of the original copper from whichthe coin was struck. It is also incredibly rare.Just six proof examples were ever struck, andof those only three are in private hands.

VALUE that keeps growing and growing

The ongoing and almost meteoric increasein value of the Hagley proof 1930 penny hasensured that it is regularly in the headlines. Ina recent interview, a colleague of SydneyHagley recalled being offered the coin for just£300 in 1964. He declined the offer simplybecause he could not afford it at the time. Hismisfortune became clear in 1974 when thecoin sold at auction in Los Angeles for$16,000. That under bidder in 1974, nowretired rare coin dealer Laurie Nugent, stillrecalls his bitter disappointment at missingout on the famous penny, but he eventuallyacquired it in 1981.

In 1982, the proof 1930 penny’s star statuswas confirmed when Australian nursing homemagnate Doug Moran bought it for a reported$100,000. For Moran, it was a matter of nationalpride – he declared that the coin was so important

it should never leave Australian shores. The newowner is a collector from Melbourne, so Moran’swish continues to be granted.

Until 2011, the previous recorded privatesale of a proof 1930 penny was of a specimenheld by the British Museum. Coinworks soldthat example in 2005 to a Sydney family for $620,000.

THE COIN that captivated a nation

The three privately owned proof 1930pennies are clearly the top of their class. Even non-proof examples of the 1930 penny –those that went into circulation – have alwaysheld a special place in the imagination of theAustralian public. Only a small number wentinto circulation, and those were by accident,so the 1930 penny became a popular talkingpoint as well as a valuable collector‘s item.Right up until the arrival of decimal currencyin 1966, Australians would check the dates ontheir pennies in the hope of finding that onein a million coin that could be worth – eventhen – a small fortune.

It still does not quite explain the mystique of the 1930 penny. In many ways,Australians always loved their copper coins,perhaps because – unlike the early goldsovereigns – they were accessible to theaverage person. So the thought that a commonpenny might be highly valuable was sure tospark the imagination.

TOP END rare coins creatingnew records

The record sale of the Hagley proof 1930penny is yet another example of how classiccoin rarities at the top end of the market haverisen above the economic turmoil of the lastfew years. Coinworks has already set newprice records in 2011 with these other recentrecord breakers:• 1920 Type 1 square penny, for $725,000• 1852 cracked die Adelaide pound

(Australia’s first gold coin), a premiumexample, for $550,000

• 1899 Perth Mint proof half sovereign, for $450,000.

COINWORKS03 9642 [email protected]

The sale of these magnificent coinsdemonstrates the ongoing strength of theAustralian rare coin industry. Coinworks isproud to be leading the way ●

The cracked die 1852Adelaide pound, Australia‘s first gold coin.Value $550,000

THE HAGLEY PROOF 1930 PENNY Australia’s most famous coin sold by Coinworks

Type 1 1920square half penny.Value $725,000

The Hagley proof 1930 penny, one of only three in private hands

Ke Ming Shen

Malvern Artists’ Society wasfounded in 1957 as a non-profitself-supporting organisation whose

prime aim is the promotion, enjoyment andteaching of art. The Society was a forerunnerin providing Melbourne suburban art classes,which continues today offering day andevening art classes in a variety of media overfour terms each year. Over the years, theSociety has been home to many of Victoria’sprominent artists.

Malvern Artists’ Society’s premises, abouteight kilometres from the city, are centrallylocated in the City of Malvern. The buildingincludes a well-equipped two-room moderngallery, a well-lit studio for art classes, akitchen and an office. Recent renovationsinclude a new hanging system, which almostdoubles the hanging capacity of the gallery,studio extensions and a reception foyer.

Throughout the year there are frequentexhibitions of members’ work in addition to anumber of private shows by artists who hirethe MAS gallery. The Society offers a varietyof day art classes on a term-by-term basis.

SPECIAL Event: Artists at Work Saturday 25 June Malvern Town Hall, 10 am - 5 pm

The City of Stonnington proudly sponsorsArtists at Work, the annual full day of livedemonstrations by some of Melbourne’sleading artists. You will enjoy seeing manyartists at work in the Banquet Room. Ticketsare available at the door. The gallery is openseven days each week during exhibitions.

AUTUMN Exhibition6 May-15 MayTuesday– Friday: 10 am-4 pm, Saturday –Monday: 11 am-4 pm

An exhibition of selected members’ artworkexecuted in oil, watercolour, pastel, drawingmedia and mixed media. The official opening ison Friday 6 May at 7.30 pm. Proudly sponsoredby Senior Art Supplies of Malvern.

ART ClassesThe Malvern Artists’ Society Studio hosts

all classes at 1297-99 High Street Malvern.Each term is nine weeks, with enrolment on a

term-by-term basis. Non-members are verywelcome, with a discount for members oneach class. Term fees are from $225. Phone03 9822 7813 to enrol in your chosen classand nine-week term.

Mondays

• Pastels with Marlene Frances4.30 – 7 pm

Tuesdays

• Watercolour with Julien Brewer(starts Term 3) 9.30 am – 12 noon

Wednesdays

• Oils with Don James 9.30 am –12 noon

• Open studio (acrylic, oil & pastel) with Michael Goff 12:30pm – 3 pm

Thursdays

• Oils with Ke Ming Shen 10 am – 12.30 pm

• Acrylic with Craig Penny 1pm – 3.30 pm

Fridays

• Mixed media (pastel, watercolour& acrylic) with June Woods10 am – 12.30 pm

• Oils with Carmel Mahony 1pm – 3.30 pm

• Watercolour with Joan Richard9.30 am – 12 noon $22/class

MAS provides easels and tables. Someclasses provide a model for several lessons.Please bring your own art materials (listavailable upon enrolment).

Term 2: 2 May – 2 July

Term 3: 18 July – 17 September

Term 4: 3 October – 3 December

For full exhibition, class list or gallery hireinformation please phone MAS officebetween 10 am and 2 pm, Tuesday to Fridayor leave a message outside these hours ●

MALVERN ARTISTS’ SOCIETY03 9822 [email protected]


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MALVERN ARTISTS’SOCIETY Exhibitions,Workshops and Classes

MALVERN ARTISTS’ SOCIETYPresents

ARTISTS AT WORK

Admission $20 Non-members$15 Members, Students (MAS) and PensionersPre-booking not necessary. Tickets available at the door

Refreshments available all day

ENQUIRIES 03 9822 7813e: [email protected], w: www.malvernartists.org.au

ARTISTS DEMONSTRATINGINCLUDE:Julian Bruere (watercolour), Joan Richard (watercolour),Michael Goff (pastel), Paul Margocsy (watercolour),Maxine Wade (watercolour), Keming Shen (oil), Alan Rawady (pen & wash), Craig Penny (acrylics), and many more!

Full Day of Art Demonstrations 10 am – 5 pmSaturday 25 June 2011At the Malvern Town Hall, Banquet RoomCorner Glenferrie Road and High Street, Malvern

Proudly Sponsored bythe City of Stonnington

Come and enjoy a full day of wonderful demonstrations with us

Penny Pihan Craig Penny

CANTERBURYA N T I Q U E S & A R T I N V I C T O R I A

18

Page Antiques has been tradingfor 30 years and is still going strong.Another important milestone was

reached last December with Guy and Icelebrating our 25th wedding anniversary.Consequently, we decided to complete ouroverseas buying trip in Paris to celebrate in style.

What we had not counted on was a blizzard,with snow and ice in abundance. ThisEuropean trip started in late November whenit should not be too cold. However, in only acouple of days, the first snow fell and thelocal dealers were as surprised as we were.Even though this first lot of snow did notsettle, from then on it would be a different story.

Apart from European dealers beingobsessive buyers and hoarders, they are alsoextremely frugal when it comes to basiccomforts like heating and floor coverings. Myfeet felt frozen so buying warm boots andsocks was a priority. Their answer to the cold

was drinking endless cups of coffee, that wasalways brewing and the first word after everygreeting was… café?

An early drama was trouble hiring a car andfinally we found one in a neighbouringvillage. So we ventured to collect it, only tofind a mix up as we were not expected untilthe following day. Luckily, a very good-natured friend used his French and humour towin over the attendant, and miraculously a carwas available!

With temperatures continuing to drop, Guywho normally does not feel the cold needed awarm jacket that he purchased in a nearbystore. Pleased that we had bought well, soonwe were deflated by a finding a parking ticket.The saga continued with our attempt to paythe fine at the town hall. I directed Guy into acobbled courtyard where cars were parkedwith no restriction signs, and went to pay the fine.

On returning, we found our exit blocked byanother car that turned out to belong to thetown’s mayor. The staff seemed horrified atthe thought of asking the mayor to move andpointed out that we should not have beenthere. Luckily, the mayor saw our predicamentand returned to let us out. We definitely madean impression.

Another town we visited was in the pastfamous for manufacturing shoes, and thedealers we bought from lived in the largeimpressive house that had belonged to theman who had run the shoe business. It broughtto mind the employees of the shoe company inthe Robin Williams film, Jumani (1995).

The temperatures kept on dropping and thesnow kept falling as we travelled north, so thesupposed 45 minute trip (according to theGPS) took two and a half hours. Along withdriving in snow conditions that we were notused to, we also had to contend with drivingon the other side of the road and enteringroundabouts in the reverse of how we drive inAustralia. In addition, the GPS did not alwayswork on the motorways as they had alteredsince the GPS was programmed.Consequently, getting about was a challenge:looking through smudged windows and fallingsnow, lanes disappearing before our eyes andthe GPS giving wrong directions. FortunatelyGuy’s previous knowledge of areas and greatsense of direction got us through.

Freezing temperatures were another test.When Guy stopped to get petrol he lasted onlya few minutes at the bowser, hopping back intothe car and declaring that it was too cold tostand and read the instructions. The petrol wouldhave to wait as it was minus 18 degrees Celsius!

Heading south again, at times we followedthe dirty tyre tracks in the snow, or the rearlights of the car ahead for guidance. By thetime we reached Paris it was a barmy plus twodegrees Celsius. But the next day snow beganto fall, deteriorating into blizzard conditions.The footpaths and roads merged under a whitecovering of snow.

Cars were sliding and streets becameimpassable. Luckily, we had booked a taxi tothe airport, as they were otherwise impossibleto get. Waiting anxiously for our taxi to arrive,we offered to share with another guest andafter several attempts to find streets that wereopen, we were on our way. Snug in our taxi,we had two concerns: would we be on timefor our flight and would it depart?

In a last minute attempt to show us Paris’sbeauty, out came the sun with beautifully clearblue skies. The good weather meant runwayscould be cleared and we would be able toreturn home, even though many flights aroundEurope were cancelled due to snow in othercountries. On the plane we could finally relax,or could we, as it was a 380 airbus!

Happily we made it home and our freshstock is available for collectors to preview andpurchase. As the exchange rate was kind to the

Australian dollar, we bought at good prices andplentifully. In our showroom you will see somefantastic bedroom furniture, dining room andstudy pieces, along with numerous clocks andstatues. So visit us soon in Canterbury or contactus via phone or email, or check some of the stockon our website ●

Trish & Guy PagePAGE ANTIQUES03 9880 [email protected]

COLD BUYING IN FRANCE

Guy Page

PAGEANTIQUES

Formerly of High Street Armadale

HUGE RANGE OF QUALITY FRENCH BEDS

“The best selection of queen-size beds”

PAGE ANTIQUES WAREHOUSE323 CANTERBURY RD, CANTERBURY VICTORIA 3126PH 03 9880 7433 10 AM – 5 PM 7 DAYS (SUN 11 AM - 4 PM)

Email: [email protected] 0411 175 320 www.pageantiques.com.au

Huge shipment just u

nloaded

RINGWOOD / CITY / MOONEE PONDS / CAMBERWELL / CANTERBURY / SURREY HILLS / MONT ALBERTA N T I Q U E S & A R T I N V I C T O R I A

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Ms ROBIN KELLY’S

ROBIN HOOD

ANTIQUES & BEDSThirty Beds. All Restored.

All sizes including QUEEN SIZE and also KINGHalf Canopies and Lace Canopies, Furniture, Collectables,

Kitchenalia, Dayton Shop Scales, Linen, Photographs and Bookroom

245 CANTERBURY RD(opposite Canterbury Station)

CANTERBURY, VICTORIAEstablished 40 years

Open Tues/Frid 11 am - 4 pm, Sat 11 am - 5pm, Sunday 12 -5 pm or by appointment

Ph: 03 9836 8014 Mob: 0407 548 [email protected]

MACKLEY FINE ARTANTIQUES & DECORATIVE ITEMS

Established 1966PROPRIETORS: SIMON & EVAN MACKLEY

5 MAROONDAH HIGHWAY RINGWOOD VICTORIA 3134OPEN SATURDAY, SUNDAY AND MONDAY 1 PM – 6 PM

PHONE: 03 9870 0767 – 0427 821 233www.mackleyfineart.com.au

SPECIALISING IN AFFORDABLE AUSTRALIAN ART, TO SUIT THE COLLECTOR & INVESTOR ALIKE

ARTISTS INCLUDE

• PRO HART • DAVID BOYD BILL COLEMAN • ERNEST BUCKMASTER• WILLIAM BOISSEVAIN

SIDNEY NOLAN • JOHN SANTRY • CHARLES BLACKMAN • LES REESJOHN OLSEN • HUGH SAWREY • JOHN BORRACK • BRAD BOYD

DAVID BROMLEY • JOHN PERCEVAL • BILL BEAVANRAY CROOKE • CLIFFORD POSSUM • ROBERT DICKERSON

MAREK WILINSKI • JOHN COBURN • GREG IRVINE • GERARD LANTSJOHN VANDER • CELIA PERCEVAL • DERMOTT HELLIER

A.T. BERNALDO • C.D. WOOD • CHARLES BILLICH • DOROTHY BRAUNDANDRIS JANSONS • LEON HANSON • JASON DENARO • CAROLE MILTON

AMBROSE GRIFFIN • PIERS BATEMAN AND MANY MORE

RESIDENT ARTIST: EVAN MACKLEY

ANTIQUE & DECORATIVE ITEMS INCLUDE:DOULTON, WILLIAM RICKETTS, MURANO GLASS,

SELECTED ANTIQUE FURNITURE & COLLECTABLES, ROYAL DUX, MOORCROFT, AMPHORA, CARLTON WARE,

INDOOR AND OUTDOOR FIGURES & SCULPTURE

OUR OTHER GALLERY IS ATTHE OLDE HORSHAM VILLAGE

WESTERN HIGHWAY HORSHAM VICTORIA 3400OPEN EVERY AFTERNOON

PHONE: 03 5382 1233 OR 5382 2306VISITORS PLEASE PHONE BEFORE LONG TRAVEL

REMINDER!

TraskAntique

Restorations

French polishing Upholstery

Phone/Fax 03 9372 08500418 458 420

PRESTORING ANTIQUES OF TODAY

6 Hinkins StreetMoonee Ponds 3039

Watchmakers and JewellersEst. 1947

209 Elizabeth Street, Melbourne 3000(Opposite GPO)

Ph 03 9670 5353 Fax 03 9670 4236

• Largest watch repair centre in Melbourne

• We repair all brands of quartz automatic andmechanical watches and clocks

• We do pressure testing to all brands of watches

• We have the biggest range of watch bands andbatteries in Melbourne, custom fitted

• Expert restoration to all vintage wrist andpocket watches

• Valuations and deceased estates a speciality

• Will buy old watches and jewellery in any condition

• We have the largest range of pocket watches in Melbourne

• We stock vintage watches

• Expert jewellery repairs

• Seiko Repair Centre

• Premier stockist of Thomas Sabo in Melbourne

• Stockist of Swiss Military Hanowa watches

EXCLUSIVE FOR MELBOURNE

Luminox watches – Swiss madeIN STOCK NOW

Seanic Antiqueshas relocated to a

new larger showroom

673 Whitehorse RoadMont Albert Vic 3127

P: 03 9899 7537M: 0418 326 455

View all current stock online

www.seanicantiques.com.au

ART RETREAT

Dookie Art Attack28th, 29th & 30th May

Dookie Campus University of MelbourneNorth East, Victoria

Ron Muller: Romance of watercolourTerry Jarvis: Passion with watercolourRegina Hona:The magic of water in pastelJohn Wilson: Masterclass in oilsGlenn Hoyle: Getting started with oilsJanet Matthews: Drawing natureAnne Randles: Excite your creativityHelen Cottle:A fresh approach with acrylicsDavid Reynolds: Botanical art

Accommodation available if required.

For prospectus contact

Glasson’s Art World03 5822 0077

[email protected]

Camberwell A N T I Q U E C E N T R E

25-29 Cookson Street

Camberwell VIC 3124

Tel 03 9882 2028 or 03 9813 1260OPEN 7 DAYS

In the years between 1935 and 1945there were a number of artists in Australiaproducing work which was different both in

kind and quality. There had been an artisticrevolution hitting Europe since the World War I,but it had not reached Australia with anyimpact until the mid 1930s. The centre of thismovement was to be found in Melbourne,largely due to the influence of one art teacherof genius, George Bell.

Bell was an academic painter in the classicalmode who was one of the few artists toappreciate and fully understand what had beenand was happening in Europe. He had formed,with fellow artist Arnold Shore and then on hisown, a school where students could not onlygain knowledge of preparing the groundworkfor their art, but the appreciation of form andformal values. His home in Toorak became thecentre for the modern movement. Reproductionsof Cézanne, Matisse, Picasso and other greatswere discussed at length. In 1938 Bell, with agreat deal of support and enthusiasm fromartists and friends, founded the ContemporaryArt Society.

In 1939 The Melbourne Herald had anexhibition of French and English art shown inMelbourne. For the first time students andfollowers could actually see original work bysome of the great modern European masters. Itaffected everyone who saw it, particularlythose students and colleagues of George Bell.

Melbourne at this time was also home tomany intellectual groups – there were theteachers such as Bell, William Frater, MaxMeldrum, George Lambert and Rupert Bunny.There were the immigrant artists from Englandand Europe such as Yosl Bergner, SaliHerman, Desiderius Orban and IanFairweather and there were also those verywell-known patrons of the arts such as theCaseys, Sir Keith Murdoch and John andSunday Reed – all of whom added theirpersonal enthusiasm, talents and abilities tothis new movement.

It was during these heady days thatGrahame King entered the George Bell Schoolto learn painting and drawing. In the 1930s

Grahame had worked as a lithographer inMelbourne learning the then newly introducedtechnique of photo-lithography. Between 1934and 1939 he studied at the National GallerySchool of Art. It was during this time thatWorld War II broke out and in 1942 he wasseconded to be an illustrator of technicalhandbooks. This must have been a veryfrustrating time for Grahame having tosuppress so much of his natural ability that theexperience of studying with Bell must havecome as a great relief.

In 1945 he exhibited in a group show in theMyer gallery. His paintings drew commentfrom art critic Clive Turnbull ‘... theirexperiments in form lead one to look on himas one of the coming painters.’ In commonwith many other artists of this period,Grahame had turned to social realism, drawinghis subjects from shearing sheds, wharves andmining operations.

In 1946 he became secretary to theVictorian Artists Society. In this capacity hedeveloped the skill of organisation, planningand management, which would keep him ingood stead in his future years as one of thefounders of the Print Council of Australia.

In 1947 he left for England. At the LondonCentral School he studied drawing withBernard Meninsky and experimented withetching and lithography, but was frustratedthrough the lack of equipment. He turned backto the production of monotypes which were sentback to Melbourne for an exhibition in 1949.

The years between 1947 and I 951 weretremendously important to King. He travelledthrough Europe and England meeting, workingand observing other artists. It was during thistime that he met the sculptor, Inge Neufeld,who was to become his wife. They returned toMelbourne in 1951 and over the next 10 yearsthere were several joint exhibitions – Ingeshowing her sculpture, reliefs and jewelleryand Grahame exhibiting his paintings.

It was not until 1962 that Grahame’s interestin lithography was revived. The RMIT hadopened up their printmaking facilities toartists. Grahame joined with Fred Williams,

Tale Adams, Barbara Brash, Herta Pott and JanSenbergs in the use of the print room.Grahame was at this stage a highly recognisedand respected artist in non-representational(abstract) work. The exciting days spent atRMIT exploring and expanding his knowledgemade it possible for Grahame to further his‘excursion into colour, the form, the mark.’

Grahame’s decision to pursue lithographyenabled him to travel vast distances freely andwithout constraint. He used his great love ofmusic and nature to create imagery that didnot attempt to give form to externalappearances. His work strikes at the senses,sometimes dramatic with great curving lines,others showing glimpses of dancing lightforms that are elegantly poetic. These moodsmay intermingle to create hints andsuggestions that will be interpreted differentlyby individual viewers of his work.

In 1965 he, with other like-minded artists,decided that printmaking as an art formneeded promotion. They decided to ‘promotethe production and enjoyment of hand-printedgraphics in Australia.’ They founded the PrintCouncil of Australia. Their plans were verymodest: an annual print exhibition for Australia,a quarterly bulletin and limited edition printscommissioned for distribution to a membershipdrawn from all sections of the community.

As secretary, Grahame worked tirelesslycarrying much of the responsibility for thesociety alongside his teaching at RMIT whichhe had begun in 1964. What little free time hehad, was spent in his studio working onprintmaking and painting.

The members of the Print Council, much ofit through Grahame’s hard work, were able toexhibit in prestigious exhibitions overseas andaround Australia. Grahame’s work wasreceiving critical acclaim in these exhibitionsand many found their way into publiccollections including the Smithsonian Institute,USA and the Victoria and Albert Museum,London which acquired Prelude of 1968.Within Australia, the National Gallery ofAustralia, Canberra has approximately 158 ofhis works and all state galleries together with

many regional galleries in Australia purchasedhis beautiful lithographs.

In 1974 Grahame decided to concentratemore time to his printmaking so he steppeddown as secretary. He continued to maintain aclose association with the council and it wasonly in the early 1990s that he resigned fromhis position as president.

Grahame King’s contribution to printmakingin Australia and his promotion of the mediumas an art form is immense. Lithographydominated his artistic output, it was thevehicle used to explore closer textures, formsand patterns to create artistic statements. Hisextreme technical skills matched with hiscomplex and elegant expression foundexpression in his powerful works and hisservices to art in Australia earned him the title‘Patron Saint of Printmaking.’ ●

Jillian HolstEASTGATE & HOLST03 9818 1656www.eastgateholst.com.au


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GRAHAME KING AM (1915-2008):Dedicated to the art of printmaking

Untitled, c. 1960, oil on hardboard, 61 x 68 cm

Two men, 1943, coloured crayon, 29 x 44.5 cm Fantasia, 1995/96, acrylic on canvas, 80 x 171 cm

Open hearth, 1960, oil on hardboard, 90 x 130 cm Men by a ship in dock, 1943, charcoal, 28 x 38 cm

Two men, 1943, charcoal, 29 x 37 cm

Three men weighing goods, 1943, charcoal,35 x 43 cm

Phoenix, 1995/96, acrylic on canvas, 171 x 112 cm

Italian landscape with lake, 1948, oil on canvas,45.5 x 58 cm

PRAHRAN / HAWTHORNA N T I Q U E S & A R T I N V I C T O R I A

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Australians have an enduring loveof beautiful homes and quality design.In terms of furniture, French antiques

are unparalleled in the world. It is notsurprising to find many Australiansexquisitely decorating their homes in formalFrench style and constantly searching for anew experience that triggers the Australianlove affair with Paris.

FRENCH-style patisserie Look no further than in the heart of

Prahran; immerse yourself in the essence andbeauty of French furniture, lifestyle, art anddécor. Enjoy our new French-style patisserie all inthe one location at 317 High Street Prahran, theImage De France Gallery and Café.

The quintessential French appreciation forbeauty and fine art perhaps has beenperceived as overly formal. However, themove towards French style shows recognitionthat some of the rich shapes are actually filledwith warmth that adds to the casual elegancefor which we strive.

WONDERFUL atmosphere Throughout Image De France galleries,

delicate porcelain Sèvres, antique clocks andbronze figurines rest upon intricately handcarved cabinets while classical paintings line

the

walls. The ceilings are filled with beautifulchandeliers and the atmosphere is trulyamazing.

Customers and visitors are invited to enjoya hot or cold drink with the owners in thiswonderful atmosphere. Browse through one ofthe many furniture books in the gallerieswhile looking at the pieces on hand. Manypieces within the galleries have a story thatstretches from one of the most artistic andopulent periods in French history, to present-day Australia. The sense of occasion that thiscreates within the gallery is met with anappreciation for the commitment required insourcing and bringing the pieces together.

Architect George Manoly started hisbusiness to fulfil his passion for high qualityhandmade French style reproduction furniture.He recognises high quality furniture and goodartisanship when he sees it. Meet George atthe gallery and he will take you on aneducating journey through European andespecially French history.

So come and wander through our galleryof French furniture, oil paintings, bronzestatues, chandeliers, clocks, Sèvres vases andglassware. We have something to liven upevery room of your house ●

George ManolyIMAGE DE FRANCEPRAHRAN GALLERY03 9529 5003HAWTHORN GALLERY03 9815 [email protected]

BE INSPIRED AT IMAGE DE FRANCE

SOUTH YARRAA N T I Q U E S & A R T I N V I C T O R I A

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www.gouldgalleries.com

SOUTH YARRAA N T I Q U E S & A R T I N V I C T O R I A

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The idiotic fashion of carrying one’s clock on themost restless part of the body, exposed to the mostextreme temperature variations, on a bracelet,will, one hopes, soon disappear. —Prof. H. Bock, Hamburg, 1917

In Elizabethan England, the Queendecorated her wrist with an ornamental watch,heavily encrusted with jewels and gold. While

no one is sure who invented the wristwatch, DavidRousseau made a watch that was 18 mm indiameter in the late 1600s, a marvel ofminiaturisation. And while ornamental watcheswandered in and out of fashion for a time, nothingserious became of the wristwatch for 300 years.

In 1880 Girard-Perregaux, among other Swissfirms, provided wristwatches for the GermanNavy. They were round watches made of gold andthe cases were worn on a metal chain band. Thesewere presumably the first wristwatches in series(and serious) production.

The wristwatch first proved itself as a practicalmilitary device during the Boer War. Thisexperience had a positive effect on the civilianmarket. Wristwatches gained worldwide use inWorld War I. Soldiers on both sides realised thatmodern warfare no longer allowed one the luxuryof unbuttoning an overcoat and uniform jacket tolook at one’s watch. But the first significantsuccess of the wristwatch was before 1910 amongwomen who were both style conscious andemployed. Women’s pocket watches were oftenconverted to wristwatches but after 1910, thewristwatch, as opposed to these ornamentalwatches, became an important product for Swiss manufacturers.

Many turned back to the pocket watch after theArmistice for it had become a symbol of the

‘good old days’. The younger generation, though,held on to the more practical wristwatch. Conceptssuch as modern, sporting and progressive werenow linked to the wristwatch, while the pocketwatch attracted the more con servative buyer.

In 1904 Cartier made a special modelwristwatch for Brazilian air pioneer SantosDumont (the original ‘Cartier Santos’) whileCharles Lindbergh relied on a wrist chronographby Longines for his 1927 trans-Atlantic flight.When in 1927 Mercedes Gleitz swam the EnglishChannel with a Rolex Oyster on her arm, theadvertising success impressed many.

In 1928 for the first time wristwatches outsoldpocket watches, and by 1935 over 85% of watchesproduced were wristwatches.

Early in 1930 the Rolex Watch Co introducedthe Rolex Oyster Perpetual – the first waterproofand self-winding wristwatch. By 1940wristwatches came in all shapes and sizes.

After years of neglect and ignominy, includinghaving movements cannibalised for spare partsand their cases melted down for gold and silvercontent, old wristwatches, particularly modelsfrom the early 1920s-40s, have come into theirown. Vintage Rolex and collectable Cartier, etc areachieving record prices.

It is eloquent testimony to the persistent highstylishness of premium wristwatches that jewellersin Rome and Paris will display a 1920s PatekPhillipe right next to a new model. Antique storesin London will sell a Reversible Jaeger LeCoultre,or a vintage Audemars Piguet as decorativejewellery like a piece of Fabergè.

Right now Australia is the cheapest place inthe world for quality vintage wristwatches. Thenumber of shops building up a decent collectionand providing a full restoration and repair service

is grow ing. But this is not going unnoticed byoverseas dealers and tourists. The number of goodwatches sold in this country but ending up onlucrative markets overseas is staggering.

To today’s collector, these older watches haveappeal. They are hand-made wonders of technicalmastery that, while less accurate than quartz watches,satisfy a deeper need than perfection. Watches fromthe 1920s-40s are the most popular. They areattractive investments because they are portablewealth of intrinsic value. People buy and wear thembecause they have technical features of interest.

When choosing a vintage wristwatch, buywhat you like to look at. But consider otherfactors, especially condi tion. A good watch willhave had a good caretaker in years gone by. Thedial should be original, not repainted. Check thecase for signs of repair or wear. Are the movementand bracelet (if permanently attached) the samemake as the case?

Brand names are important. The mostsought after is Patek Phillipe; other top namesinclude Audemars Piguet, Vacheron &Constantin, Cartier, Tiffany and UniversalGeneve. With the top collectors specialisingalmost exclusively on these names (and a few

others), there are thousands of watches oflesser known names out there. These watchesare not necessarily lacking in style, charm ortechnical reliability.

The increase in popularity of Art Decowristwatches has rendered the less trendy olderwatches better buys. It is not unusual to find asolid 9 ct gold lady’s 1920s wristwatch in somebric-à-brac shop or market for around $100. Witha little restoration from a reputable restorer, thesewill become valuable antiques in the future.

For the serious collector, the joy of finding say a1930s Rolex Oyster or an original Patek Moonphaseis unimaginable. The range and diversity of theearly wristwatch is mind boggling: silver and goldhalf-hunter wristwatches, Longines cushion shapedor chronographs, Jaeger Reversos, Rolex PrinceDoctor’s watch, Junior Prince or Sporto models,hooded bubble backs, military watches, aviatorsmodels, etc.

Whatever you to buy and wear, will be aconstantly ticking reminder of a time gone by ●

Ron GregorCOLLECTIONS FINE JEWELLERY03 9867 5858www.collectionsfinejewellery.com

The WHICH AND WHAT of wristwatches

WATCHES WANTEDPATEK - ROLEX - OMEGA - IWC

Collections Fine Jewellery will consider any wrist or pocketwatch. Cash paid for Cartier, Breitling, Tudor, Jaeger LeCoultre, Vacheron Constanin,

Tag Heuer, Chopard, Panerai, Audermars Piguet, Breguet,Chronoswiss, Girard-Perrigaux, Glashutte, A. Lange & Sohne,

Longines, Piaget, Zenith, Rolex, to name a few

NOW BUYING $$ CASH PAID $$ FOR YOUR UNWANTED GOLD JEWELLERYChains, bracelets, rings, pendants, fob chains, cufflinks. Also buying gold coins, ingots, bullion, sovereigns

COLLECTIONS FINE JEWELLERY • Tel 03 9867 5858148 Toorak Rd, South Yarra • www.collectionsfinejewellery.com

Open Hours Monday-Friday 10am-5.30pm, Saturday 10am-4pm

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www.collectionsfinejewellery.com

Martin Hodge, Turret 1 Lucy McEachern, Australian Pelican Anthony Vanderzweep, Cat on Stand


24

Now in its 10th year, the Exhibitionof Sculpture held in Toorak Village is

showing 99 sculptures displayed in

the shop windows and bolted to the sidewalks

of the Toorak Village precinct. Created in

2002 by Ken Scarlett AM and the coordinator

of the Toorak Village Traders Association

Xenia Holt, it is a unique collaboration

between artists and businesses and has been a

consistent and important event in the City

of Stonnington.

The exhibition has given many new artists

their first opportunity to exhibit work, as well

as being a constant exhibition location for

many established and successful sculptors.

Over the years, many works have been sold to

collectors. This exhibition is also a resource

for schools and educators to learn about

developing trends in sculpture.

The Toorak Village businesses are

congratulated for staging this show. Every

year in May they turn over their very valuable

window space for sculptures that create so

much interest and curiosity. The support of all

sponsors and the City of Stonnington has been

important in the history of the exhibition. The

Council’s tri-annual financial support has

given the exhibition the stability that is

required in the organisation of this exhibition.

This year many new sculptors have come

from interstate and Victoria. Some prior

winners of the award over the last ten years

are showing new works. These sculptors are

Faustas Sadauskas, Roman Liebach, Brigit

Heller, James Cattell and Fatih Semiz.

EXTERIOR sculpturesFifteen works will be exhibited outside on

the street including:

� John Gardner, a well-established sculptor from NSW with Starship atMercedes-Benz Toorak

� Roman Liebach at the entrance to theTrak Centre

� Lucy McEachern’s perfect and beautiful life size bronze Australian Pelican

� Damian Vick’s Crash a rusted steel crashed aeroplane is at the entrance ofToorak Village

� Moz Moresi’s 2-metre tall, green praying mantis will be in the atrium of theTOK H Shopping Centre.

SCULPTURE in the shopsSelectors chose 81 works for exhibition in

shop windows. Anthony Vanderzweep,

Michael Meszaros, Gael O’Leary, Craig

MacDonald, Julia Anderson and Neil Barker

exhibit works in bronze all using the material

in different ways to bring out their passion for

that material.

Found objects give sculptors the opportunity

to reuse and recycle materials and objects to

create innovative and powerful works.

Examples include works by James Cattell,

Anna Robertson, Robert Waghorn, Robbie

Rowlands and Brigit Heller.

Carved sculptures by Brian Paulitz, Faustas

Sadauskas and Anthony Syndicas indicate

that carving stone is still an important method

of expression.

MAY exhibitionVisit Toorak Village during May and enjoy

the many sculptural works and the trader’s

hospitality in the 10th year of this exhibition.

Allow plenty of time to view all the works,

and visit the fabulous shops hosting this

exhibition. Obtain your catalogue from any of

the shops and remember that all sculptures are

for sale.

To come and view the sculptures, catch the

number 8 tram from Federation Square along

Toorak Road to stop number 35 ●

Malcolm Thomson, CuratorTOORAK VILLAGE SCULPTUREEXHIBITION0438 542 713www.tooraksculpture.com.au

TOORAK VILLAGE SCULPTUREEXHIBITION – a decade of sculpture

Petra Svoboda, Gokko-Inu

Faustas Sadauskas, Weather Vane 111

Neil Barker, In Anticipation of Spring

Robbie Rowlands, State

Anna Robertson, Commedia dell’ArteMoz Moresi, Praying Mantis


25

Challenge # 1A taste for the arts 1 Transport 12 large pieces of Colourbond®

steel to prominent artists throughout

Australia and abroad 2 Await their transformation into artworks, 3 Promptly collect each when finished and

return the 12 new artworks to Sydney4 Deliver 12 artworks on time for installation

and display at The Rocks, Sydney

Situated close to their advertisingagencies and corporate clients of NorthSydney, Kathy and Brian Goodwin of

Crows Nest NSW Pack & Send were used tohandling the large and the unusual. However,nothing prepared them for the surprise of thisrecent call.

About to celebrate the production of itsone-millionth tonne of Colourbond® steel,BHP Billiton decided it would use Australia’smost lauded artists to create artworks out ofthe steel itself, after which it would celebrate instyle with an extravaganza art exhibition. Theonly problem was finding a logistics expert tohelp make it happen smoothly and on time. Whobetter to call but the Goodwins’ Pack & Send.

Twelve large pieces of steel were to becollected, professionally packaged and sent to11 famous Australian artists around thecountry. The twelfth would need to fly acrossthe globe, a hop, skip and a jump over toworld-famous Aussie singer and painter, RolfHarris, currently residing in London.

Trying out the Pack & Send ‘no limits’policy for size, Brian decided this was justthe job for him. Once the artists completedtheir projects, Brian’s custom-designed travelcrates returned to North Sydney withtransformed artworks of steel.

‘For a while it seemed the storeroombecame an impromptu art gallery, all ofour own,’ said Brian. ‘I even have a signedpackage from Rolf Harris in my store as amemento. Once all had returned, theartworks were sent to The Rocks inSydney for installation and the greatunveiling by the manufacturer.

Challenge # 2Determination pays off 1 Urgently deliver a passport from Melbourne

to the New Zealand Consulate in Sydney2 Overcome bureaucratic rules to cut waiting

time from 14 days to half day for visa3 Chase the passport to Sydney near deadline4 Return the passport to client in Melbourne

in time for departure

Jim Blamey from Pack & Send Tullamarinereceived a request from the USA ConsulateGeneral in Melbourne to expedite a passportto Sydney and return it quickly to the clientin Melbourne. Pack and Send was totransport a passport from Melbourne airportto the New Zealand Consulate in Sydney andafter the visa processing, return the passportsafely to Melbourne.

Sending and returning the passport byFriday would be a routine Pack & Send job.The passport in question was for the Russian-born travel companion of an Americanaviation engineer who travelled to air showsall around the world.

‘Consider it done,’ Jim thought, setting thewheels in motion. On the customer’s arrival atMelbourne airport, Jim sent her passportstraight to the New Zealand Consulate-Generalin Sydney. By Thursday, Jim had no news orreturn confirmations as to whether the visawould be completed in time, so he decided tocheck with Sydney. The office of the Consulate-General told him that the visa would take aminimum of two weeks to process.

‘Not on my shift!’ was Jim’s response. Heknew the customer needed it no later thanSaturday morning or she could not flyanywhere. On behalf of his client, Jimpersisted and his determination paid off.

On Friday afternoon, at 12.45 pm, the NewZealand Consulate-General notified Pack &Send that the passport was ready to be pickedup in Sydney.

The Blameys kept the pace rolling. Jimflew his daughter, Jenny, to collect thepassport in Sydney before the New ZealandConsulate-General office closed at the end ofbusiness, as that was the only way to get the

passport back to Melbourne on time for theclient to fly on Saturday.

However, when Jenny arrived in Sydneyshe found the Consulate had already sent thepassport to Melbourne with a slower courierservice. There was no way the courier wouldbe able to deliver the passport to Melbourneby Friday afternoon. How would the clientdepart on Saturday?

‘I’ll track it down,’ said Jenny. Finally shedid, first racing to Sydney airport to catch aplane back to Melbourne. Did we mention thebad weather? Like it or not, Jenny flew overthe storm clouds and landed first in Canberra,before continuing on to Melbourne.

Arriving late in Melbourne, the chase wason to deliver the passport to the client. Jimcollected Jenny (her fourth airport in oneafternoon) and fought the Friday nightMelbourne traffic to reach the client,reuniting the passport with the woman.

A few days later Jim received a note of thanksfrom the Consulate General of the United Statesin Melbourne, from its visa section. It thankedthe team at Pack & Send Tullamarine forperforming an ‘absolute miracle’ ●

PACK & SEND1300 668 000www.packsend.com.au

PACK & SEND’S GLOBAL CHALLENGES

For a while it seemed thestoreroom became an impromptu art gallery, all ofour own, said Brian. ‘I even have a signedpackage from Rolf Harris in my store as a memento

”

“


26

An expert valuer requires many basicqualifications, commencing withknowledge in all of gemmology,

diamond grading, jewellery manufacturingtechniques, antique and period jewellery,wristwatches and pocket watches, hallmarkingof jewellery and precious metal testing.

In addition to all of the above, many yearsof experience are required. The most essentialskill is the ability to translate all the technical,design, historical and provenance data intowhat is relevant in the current marketplace.Only then can one arrive at a ‘value’ that ismeaningful for the end users of a writtenvaluation, whether owners, insurers or probate.

VALUATIONS have manyinteresting challenges

One of the problems facing a practisingjewellery valuer is that any imaginable (andnever imagined) item can appear before youfor valuation: you are required to use a broadrange of skills. For example, when identifyinga gemstone, a loose gem is much easier toidentify than a gem that is set, as testingprocedures are limited once set. Frequently avaluer needs to decide if an item of jewelleryis a genuine antique or a modern reproduction.

A valuer often does not know the historyof the jewellery and so has no information tostart with. It can be likened to CSI andforensic analysis, so assumptions andidentifications are determined by examinationand testing. In order to identify the origin ofthe gemstone and metal mount a logicalsequence of examination and testing needs tooccur to arrive at the correct answers. 1. The gemstone must be identified, whethernatural or synthesised in a laboratory. 2. The precious metal needs to be tested andidentified, such as the grade of silver, whethersterling (.925 pure) or other grades(Scandinavian silver is frequently .800). 3. What about the method of manufacture – isit handmade or cast or a combination of both?

A GEMMOLOGICAL challengeThe jeweller may be asked to value a

necklace set with a multitude of cut gemstones,which could be a mixture of amethyst, citrine,zircon, garnet, iolite, topaz, peridot, emeraldand synthetic ruby. Imagine the challenge froma large pearl necklace – are they from theSouth Seas or are they freshwater pearls? They

look very similar to one another, but havetotally different values.

There are now rubies on the market that areof really very low quality. They have beentreated by heating and the addition of moltenglass to fill the cracks in the stones whichincreases clarity. The value of this type of rubyis extremely low and can be very misleadingfor the purchaser. There are other treatments ofrubies, so depending on the treatment, a widerange of values can be attributed to eachgemstone sold as a ‘ruby.’ This has thepotential to defraud prospective buyers.

An interesting valuation was that of alovely sapphire and diamond ring with a seriesof English hallmarks on the band. A closerexamination revealed that the stamps werefake. The marks were actually cast into thering and therefore clearly a modernreproduction, and of course fraudulent. Theother sign that the ring was not antique wasthat modern diamonds that were set in the ringdid not occur until at least the 1950s.

Another challenge was with a blue stoneand diamond ring. The blue stone lookedexactly like a blue Ceylonese sapphire –testing proved that it was an unusual bluestone called kyanite. This is a fragile stoneand so the wearer has to be very careful not tocrack it. New deposits of the mineral haverecently been discovered, so it will be seenmore frequently on the market, yet few willknow its true (low) value.

The above examples show just the tip ofthe iceberg of this vast subject. Whenseeking advice or valuations, a qualified andexperienced person is obviously required tounravel the science and complexities ofjewellery, watches and other items ofpersonal adornment.

The best thing about using a professionalvaluer is that you will get a precisedescription of the article along with anaccurate current replacement price. Avaluation is a legal document: it validates theexistence of the items should either damage orloss occur ●

NATIONAL COUNCIL OF JEWELLERY VALUERSwww.ncjv.com.au

MEANINGFULVALUATION of jewellery= CSi + forensic analysis

John Adam 03 9885 6847 John Adam Jeweller

Michael Albrecht 03 9670 8384 Albrecht Jewellers

James Alfredson 03 9509 0311

Mary Alfredson 03 9671 3955

Sarah Alaysh 0438 070 909 Julavou

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Ronnie Bauer 03 9654 1501 Klepner’s Jewellers & Valuers

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Anne Berry 03 9509 0311 Catanach’s Jewellers Pty Ltd

Peter J. Bird 03 9650 3830 Abrecht Bird Jewellers

John Bourke 03 9663 2658 NatLab

Jessica Bowen 03 9593 1385

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Amanda Catanach 03 9509 0311 Catanach’s Jewellers Pty Ltd

Leon Corn 03 9650 3830 Abrecht Bird Jewellers

Monica Crofts 03 9654 2057 I Crofts Pty Ltd

Marlene Crowther 03 9500 9659 Catanach’s Jewellers

Claire Cutrupi 03 9827 0229 Diamond Consulting Australia

Chantelle Denbrok 0403 147 568 Chantelle Jewel Pty Ltd

Bronwyn Dunn 03 9728 6646 B.E. Dunn Jewellery Valuation Services

Elise Dunn 0408 303 408

Barry Ensil 03 9830 0199

Bronwnyn Evans 03 9583 9299

Geoffrey Farmer 03 9431 5478 AGR Matthey

Denise Farrell 03 9580 1867 Little Gem Valuations

Frank Fedele 03 9525 0987 Fedele Jewellery Pty Limited

Bradley Finn 03 9497 2993 Bradley Finn Jewellers

Michael Glendenning 03 9702 3365 Gilbert & Jones

David Grounds 03 9465 6677 Grounds Jewellers

Rebecca Gruber 0401 374 258

Perry Hannah 03 9523 6603 All Gem Jewellers

Chris Holdsworth 03 9827 2747 Holdsworth Bros Jewellers

Clinton Hosking 03 6324 2355

Michael Ivanyi 03 9822 5957 Stuart Master Jewellers - Armadale

Stephan Jenkinson 03 9650 7221 Australian Gem Testing Laboratory

Greg John 03 9650 3830 Abrecht Bird Jewellers

Amira Kay 0411 566 027 M Kamin & Co

Pauline Kushnir 03 9602 3712 Simons Prestige

Antony Lane 03 9654 0531

Lesley Longmuir 0412 327 536

Darren Lucas 0409 616 669

Stewart Lynas 03 5821 4679 Purdeys Hourglass Jewellers

Daniel Madia 03 9654 1866 Grounds Jewellers

Paul Mahajan 0430 448 833 A Wiener & Co

Katrina Marchioni 0419 937 885

Lisa Masciovecchio 03 9650 3371 Robert H Parker & Sons Pty Ltd

Rikki McAndrew 03 9867 3827

Alison Mills 03 5975 0467

Paul Minzenmay 03 5975 2439 Minzenmay’s Jewellers

Robyn Montrec 0412 687 604

Stevan Morrow 03 9826 1835 Imp Jewellery

Claire Oriander 0411 512 652 Hollowoay Diamonds

Neil Rickard 03 9663 9002 Wesselton Fine Jewellery

Morry Rubenstein 03 9848 4428 David East Jewellers

Bernie Santen 03 9557 9555 Bentleigh Jewellers

Lynda Scott 03 5223 2800 Brett’s Artworks Pty Ltd

Patricia Sedgwick 03 9508 9901 Sothebys Australia

Rox Yogendran Selladurai 03 9533 0601 Jewel Testing Lab

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Cliff Stephens 03 9882 3906 Stephens & Miller

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Alan Thomas 03 9593 1385 Precious Metals Fine Jewellery

Jamie L Thomas 03 9650 5555 Thomas Jewellers

Jeremy C Thomas 03 5331 1311 Thomas Jewellers

Maria Torres 03 9663 5088 Torres Jewel Co Pty Ltd

Glenn Travaglini 03 9469 2205 Paton Place Jewellery

Mark Trickey 03 9878 7459 B & VO Trickey

Mike Walsh 03 9873 5121 The Jewellery Valuers

Mary-Lou Walsh 03 9654 1585 The French Jewel Box

Paul Whittaker 03 5222 2044

Brett Wood 03 5223 2800 Brett’s Artworks Pty Ltd

Kathryn Wyatt 03 9569 5391 Imogene Antique & Fine Jewellery

REGISTERED VALUERS IN VICTORIA

CITY / HAWTHORN EASTA N T I Q U E S & A R T I N V I C T O R I A

27

Kangxi period 1662-1722, large Chinese porcelain dish, boldaster design in underglaze blue, diam. 38.7

JOSHUA McCLELLANDPRINT ROOM

15 Collins Street, (2nd Floor) Melbourne 300003 9654 5835

Early Australian

Prints & Paintings,

Natural History

Prints, Etchings

& Linocuts

of the 1930s,

Chinese Porcelain

and other Oriental

Works of Art.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 for our next auction

Be part of our success in 2011.

NOBLEN U M I S M A T I C S P T Y L T D

Vintage1ST MELBOURNE

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

Fri 27 May 2011 5.30 pm - 9.00 pmSat 28 May 2011 9.30 am - 5.30 pm

Sun 29 May 2011 10.00 am - 4.00 pm

Exhibition HallMelbourne Showgrounds, Ascot Vale

NEW STALLHOLDERS WELCOME

SYDNEY VINTAGE CLOTHING SHOWheld twice a year in April and October

for details see

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and wall tiles, Schots presents an exclusiveand unique range across classic andcontemporary styles in natural textures,including marble, travertine, limestone andceramics. This impressive selection of qualitywill dazzle your senses.

View our complete array of bathroomfurnishings and accessories as well as threefloors of amazing home and architecturalfurnishings at Schots Home Emporium, open seven days ●

SCHOTS HOME EMPORIUM1300 463 353www.schots.com.au


28

Latest additions to Schots HomeEmporium’s ever increasing lineupof tiles are Portuguese and hand-made

Italian tiles. They encapsulate the serenityof a perfect finish with the character ofhandmade ceramics.

RUSTIC rangeThese new tiles come in two ranges.

Together they bring a rustic charm with animpressive gloss for easy cleaning andcontinuity among a range of wall tiles.

Designed to build a feature of your bathroomor kitchen wall, the stylish hay-coloured tile withan embossed olive design sits with a subtlemajesty against its surround of plain tiles. The15.4 x 7.7 cm (6 x 3 inches) tile is available in

white, ivory and hay, with a 15.4 x 15.4 cm (6 x 6inches) olive feature tile, in hay.

In contrast, the classic style of the Naturarange of square white and ivory tiles standswith an understated rustic form, which forgesa timeless ambience. They are 13 cm2 whiteand ivory tiles with 13 x 6.5 cm capping tiles.Completing your arrangement of tiles, thewhite and ivory capping tiles, again handmadeto continue the rustic charm, deliver acomplete and finished effect with a fine bullnose moulded edge.

Amazingly, these tiles sell from just $2.80each. Schots Home Emporium will deliver alasting effect, a timeless character and aninvestment in your home and lifestyle.

PORTUGUESE inspirationThe equally inspired Porto wall and border

tiles deliver a Portuguese inspiration, bringingartisan skills to a classic design. The midnightblue repeat pattern reflects a traditional Delftinspiration drawn from the traditional Englishand Dutch crafts of the 17th century. Celebratingthe rustic, the distressed repeat presents a pre-aged effect to mirror the expected crazing of anatural glaze.

Appointing a feature with the Porto tilesfrom Schots will create your world of classictimeless design, priced from only $2.50 forborder tiles and $4.50 for wall tiles.

DAZZLE your sensesAdding to an impressive array of flooring

They encapsulatethe serenity of a perfect finishwith the characterof handmadeceramics.

“

”

SCHOTS HOME EMPORIUM FOR PORTUGUESE AND HANDMADE ITALIAN TILES


29

In 2002, a 1916 specimen proof set

became available for sale at auction. The

catalogue value was $30,000, while the

pre-auction estimate was just $25,000. We

acquired the set for $60,000.

Our winning bid drew gasps from the

auction audience and set a new record. The

question is: were we foolish to pay over

double the auction estimate? Our answer is

very simple. It’s all about the coin.

The auction item was a cased presentation

set of four silver coins – one of only eight

original sets known. It had been created by

the Melbourne Mint in 1916 to commemorate

the inaugural striking of Australian silver

coins at the Mint and presented to politicians

and other dignitaries.

This particular set came from the Royal

Australian Mint archives. It had

accompanying documentation and was

considered to be the finest known – a status it

still retains. Today, we estimate the set’s value

to be $275,000.

PURCHASE decisions need toreflect the coin – and its potential

The set, which is still held by a Coinworks

client, has clearly achieved an outstanding increase

in value. But that wasn’t our primary focus.

At Coinworks, our mantra is: it’s all about

the coin – and, naturally, the banknote. In a

nutshell, we believe that if you acquire a high

quality piece at a fair market price, growth –

over a reasonable time frame – will follow.

However, in recent years it seems like

almost all we’ve heard across the industry are

cries of ‘the return, the return, the return.’ In

fact, we regularly take calls where the very

first question is, ‘So what level of return can

you deliver?’ It’s almost as if the coins

themselves are an afterthought.

Of course, whether someone pays $5000 or

$100,000 for a coin, they should expect value

for money. They should also expect that,

given time, their investment will grow in

value. But the starting point must always be

the coin itself.

IT’S all about the coin – qualityWe believe that quality must always come

first. Prime quality is the best insurance

against market fluctuations and importantly,

high quality pieces are always highly liquid.

Quality isn’t just about price. While it’s true

that Coinworks is associated with high value

pieces, we guide clients at all dollar levels. In

January, we sold a choice uncirculated 1918

Perth half sovereign for $15,000. We also had

a very fine 1956 proof Perth penny on the

web priced at $13,000. We had an amazing

response when we posted this coin finding our

office inundated with calls.

The key is to look for genuine quality in an

area of the market that suits your budget. That

is why we advise against purchasing a coin

that has been discounted because of damage,

like edge knock.

IT’S all about the coin – rarityAlthough we place a higher priority on

quality, we obviously also look for rarity.

Rarity is an important consideration in any

coin or banknote purchase because, with

fewer specimens available, there will be a

higher comparative demand, and less

likelihood that a price will be challenged in

the market. That helps insulate the coin

against downward price pressures.

IT’S all about the coin – historyThe other characteristic we look for in a

coin is history. By that we mean both the

historical significance of a coin and its history

of ownership.

Specimens that are historically important

will almost always be in continuous demand.

In a supply and demand market like the

numismatic investment market, that is critical

to sustaining growth.

Highly historical pieces, such as holey

dollars and dumps, are the showpieces of the

industry. It is their history that underpins their

continuity of demand, and that in turn ensures

an ongoing increase in value.

QUALITY and price – a critical relationship

Of course, buying quality doesn’t

mean buying at any price. The balance

between quality and price needs to be

carefully considered to maximise the

investment opportunity.

Buying a house in Toorak or Cottesloe for

$10 million probably means you have

purchased quality, but if the market value of

the house is only $5 million you may have to

wait many years before going into profit. With

a good property, it will happen eventually. But

it will take a long time.

When deciding on a price for a coin or

banknote, we take account of all the key

factors. After quality and rarity, we look at

market movements and current price guides.

We also do extensive historical research.

The extra yards we put in are the key to the

results we deliver for our clients. Our

purchase of the 1916 specimen proof set in

2002 is just one example of those results.

AN important part of abalanced investment strategy

We would never suggest that our industry can

guarantee the best returns, or that our clients should

place all their funds in numismatic investments.

But we do believe that rarities can and should form

part of a balanced investment strategy.

Naturally, consideration must always be

given to your overall financial goals.

Many of our clients take a high risk position in

shares, but balance that with a low risk

numismatic investment portfolio. The benefits of

this kind of thinking were there for all to see in

2009 when share prices plummeted.

It is important to remember coins and

banknotes need to be thought of as a genuine

investment, not a short term speculation. The

owner of the famous Madrid Collection was

always more interested in steady growth than

spectacular overnight returns. He showed no

concern if his valuations did not alter greatly

over a 12 month period, instead looking for

growth over several years. His patience was

handsomely rewarded.

In the end, it is about understanding the

market and knowing the direction the market

is heading – and that is Coinworks strength ●

COINWORKS03 9642 3133www.coinworks.com.au

IT’S ALL ABOUT THE COIN – OR THE NOTE

EAST MELBOURNEA N T I Q U E S & A R T I N V I C T O R I A

30

It is over ten years since the Melbourne

Society of Women Painters and Sculptors

(MSWPS) exhibited at the venerable

Galleries of the Victorian Artists’ Society.

Returning to this venue enables a small

historical display to pay homage to the

significant heritage of our Society. This

will be in the Cato Gallery, giving context to

the four galleries of works by current

MSWPS members.

Over 100 women artists have been selected

as full members of The Melbourne Society of

Women Painters and Sculptors (MSWPS).

Most will exhibit two recent works in this

prestigious annual exhibition. The diversity of

art works range from skilful traditional

paintings to innovative contemporary

approaches. Three-dimensional works and

sculptures will be alongside paintings,

drawings and printmaking in a variety of

media and approaches. All art works are

for sale.

Note that before exhibiting with MSWPS,

members must have clearly demonstrated

artistic integrity in their chosen style and

genre. This thorough process secures the

ongoing reputation of the Society achieved

over so many years. We are proud of this high

standard, which will be apparent to all

viewing the 102nd annual exhibition.

ACTIVE art historyDr Juliet Peers, art historian and author

wrote in the commemorative catalogue, InCelebration of the 100th Annual Exhibition(2009), ‘At least with the MSWPS, artists’

societies can no longer be dismissed as a

backwater cut off from the mainstream art

world. Members are increasingly being shown

in public galleries, including in major art

competitions, selected for exhibitions

organised by professional curators and

organising painting and cultural tours to

Europe, as well as teaching and exhibiting

widely. Therefore the future is more dynamic

and diverse, promising expansion and further

development for MSWPS.’

This fine landmark catalogue presents

images of works by all the MSWPS artists

exhibited in the centennial exhibition as well

as Peers’ scholarly essay. The personal, social

and artistic history of the Melbourne Society

of Women Painters and Sculptors, More thanjust Gumtrees, also written by Peers, is a

delightful read. Both publications will be for

sale at this exhibition.

OFFICIAL opening invitation23 June at 7 pm

We invite you and your friends to join us at

the official opening of our 102nd annual

exhibition. We are delighted that the Deputy

Lord Mayor of Melbourne, Susan Riley, will

officially open the exhibition. Susan Riley is a

highly regarded businessperson with a career

in publishing and media spanning at least 25

years. She is a dedicated community member

and a passionate supporter of women in

business. At the opening, the artists and

Dr Peers will be available to sign

your catalogues and books.

Andrew Mackenzie, leading art historian,

heritage consultant, art judge and generous

supporter of the arts will judge this exhibition

and present the Annie Davison Oliver Award.

Later in the year, another award will be

presented to the artist whose work receives

the most votes from her peers exhibiting in

this show.

SPECIFIC exhibition informationRefer to MSWPS advertisement on this

page for exhibition information. Details of

other events associated with this annual

exhibition will be on our website,

http://home.vicnet.net.au/~mswps.

We look forward to sharing this exhibition

with art lovers from all over Victoria

and Australia ●

THE MELBOURNE SOCIETY OFWOMEN PAINTERS ANDSCULPTORS [email protected]://home.vicnet.net.au/~mswps

The Melbourne Society ofWomen Painters and Sculptors102nd ANNUALEXHIBITIONat VAS Galleries23 June–12 July

Melbourne Society of Women Painters

& Sculptors

For information on exhibition eventshttp://home.vicnet.net.au/~mswps

Official opening on Thursday 23 June at 7pm

Judged by Andrew MacKenzie

102nd Annual Exhibition23 June - 12 July 2011

The Victorian Artists Society Galleries430 Albert Road East Melbourne

Gallery hours 10-4pm weekdays 1.30-4.30pm weekends

Gwen Krumins, Inta

Helen Carter, Light of the silvery moon Gillian Lodge, Realms of Fin and Feet and Wing

Fiona Bilbrough, Packem Pears Ev Hales, Stretch marks

EAST MELBOURNEA N T I Q U E S & A R T I N V I C T O R I A

31

THE VICTORIAN ARTISTSSociety Autumn Exhibition Showing until 6 MayUndine Award for Landscape Painting

The Undine Award was established by

one of our most respected sponsors, Mr

Colin Jones, in memory of his late wife,

Undine Padoms who was a distinguished oil

painter and had a great love of the landscape.

One of her works forms part of our permanent

collection. Mr Jones wished to honour his

wife’s approach to painting and to encourage

landscape painting. The award is incorporated

into the Society’s autumn exhibition and is

open to all members wishing to participate.

Colin devised a simple set of conditions for

artists to comply with in order to win the

award, as follows:

• Subject matter must be landscape

• Medium is to be oil or acrylic

• Painting size to be 61 x 91 cm or larger

• The award is acquisitive and carries a prize

of $2000

A few noted past winners are Pauline Cross,

Ray Hewitt, David Mellows and Clive Sinclair.

AUSTRALIAN LINGNANChinese Art Association16-23 May

See at least 100 paintings by the Australian

Lingnan Chinese Art Association, established

in Melbourne in 1992 by renowned artist

Patrick Lam. It will be an exquisite show and

artists will be demonstrating onsite for visitors

on the weekend of the exhibition, Saturday

22 and Sunday 23 May.

Visitors warmly welcome.

MAI Maddisson18-24 May

With a modernistic approach and a story to

tell, Mai’s work is always interesting,

colourful and honest with a quality only

gained by dedication.

MELBA Exhibition27 May – 4 June

Celebrating the 150th anniversary of the

birth of Dame Nellie Melba (1861-1931), this

exhibition features works by invited and guest

artists. It is a premier event on the calendar of

Victorian Artists Society. The two parts of the

exhibition features a selection of portraits by

leading portrait artists and paintings depicting

Melbourne and all things ‘Melba.’

JOSEPH Edelman 7-15 June

A retrospective exhibition that covers

prominent artist Joseph Edelmans’s earliest

Russian works and his imagination works on

arrival in Australia.

PORTRAIT week 21 July – 2 August

July will once again see the Society host itsPortrait week. The first weekend has annualspecial events that sell out quickly, so makeyour plans and make your bookings soon.

Bookings open 23 June at the VAS

office: 03 9662 1484 (10 am – 4 pm,

Monday – Friday) ●

VICTORIAN ARTISTS SOCIETY03 9662 1484admin@victorianartistssociety.com.auwww.victorianartistssociety.com.au

THE VICTORIAN ARTISTS SOCIETYAutumn-Winter program

21 July Grand opening Cocktail party and demonstrations VAS members $30

by many award winning artists and guests $35

23-24 July People Painting VAS portrait painters will be painting Book from 23 June

(weekend) People self-sponsored prominent men Daily fee: VAS members

and women achievers. $30 and guests $35

Afternoon Tea Scrumptious home-cooked treats Included in daily fee

at the Vics and silver service

2 – 5:30 pm

Gwendoline Krumins displays her talents duringthe People Painting People weekend 2010

Peter Smales, Portrait of Anthony Warlow

Joseph Edelman, Still Life

Triptych landscape by Christine Wrest-Smith was an entry in the Undine Award in 2010

ELTHAMA N T I Q U E S & A R T I N V I C T O R I A

32

28 May – 14 June

The art of watercolour painting hasenjoyed a worldwide resurgence inpopularity over the past two decades.

Enthusiasm has spread from Europe andEngland in particular to Singapore, Malaysia,the USA and Australia.

The epicentre of this renaissance, it hasbeen said, is in Melbourne. This city has morewatercolourists of international standard thanany other single location. At the recentcelebration of the watercolours of HansHeysen at Hahndorf South Australia, many ofthe artists were Melbourne-based, withfeatured artists including Greg Allen, AmandaHyatt, Terry Jarvis, Lorraine Lewitzka, RossPaterson, Herman Pekel and David Taylor.

Other notable Melbourne watercolourists areReg Cox, Jan Martin, John Orlando Birt, EvHales and Walter Magilton.

ANNUAL Kenneth JackMemorial Award

After a void of 25 years, in 2007 the firstmajor watercolour exhibition in Melbournewas held at the Victorian Artists Society. TheState Governor, Professor David de KretserAC, opened the first annual Kenneth JackMemorial Award and Watercolour Exhibitionand Robert Wade OAM was judge of almost200 works. Peter Perry, Director of theCastlemaine Gallery, opened the secondsuccessful award exhibition.

In 2010, the newly formed WatercolourSociety of Australia partnered the Jack family

and held the third annual Kenneth JackMemorial Award and Watercolour Exhibitionat historic Montsalvat – the artists’ mecca ofthe 1950s and 1960s. Ballarat Fine ArtGallery Director, Gordon Morrison, judgedthe 250 hung works. The winner of theKenneth Jack Memorial Award was JulianBruere (Snow Gums) who received amagnificent bronze plaque generously donatedby the Jack Family and presented by Betty Jack.He joined David Taylor and Ross Paterson to bethe third artist to receive the most prestigiouswatercolour award in Australia.

The Graeme Clark Foundation AwardAs part of 2010 exhibition, the Graeme

Clark Foundation instigated the Graeme ClarkFoundation Award, with the criteria forjudgement being ‘Dare to be Different.’ Thefirst winner of this prestigious award wasKathlyn Ballard OAM in 2010.

On the opening night, Professor Graeme ClarkAC spoke about his invention of the bionic earimplant and his friendship with Kenneth Jack,both professional and personal. The Jack familyvery kindly donated four of Ken’s works to sellduring this exhibition to raise money for theGraeme Clark Foundation. The exhibition wasopened by Dr Jerry K Ellis, a director of theGraeme Clark Foundation, past CEO of BHPMinerals and a company director.

2011 KENNETH Jack MemorialAward Watercolour Exhibitionand Watercolour Festival

The Watercolour Society of Australia and theJack Family are proud to announce that theKenneth Jack Memorial Award WatercolourExhibition and Watercolour Festival 2011 will beheld in the Great Barn Gallery and the LongGallery at Monsalvat in Eltham.

This year, interstate watercolourists arestrongly encouraged to enter as well as theMelbourne coterie, to ensure a trulyAustralian representation.

Invitation to gala openingnight soirée

The gala opening night soirée is on Tuesday31 May. This elegant black tie and formaldress evening features music and supper, from6:30 to 9:30 pm. Tickets will be availablethrough the contacts at the end of this article.

ARTIST Profile - Kenneth JackAM MBE RWS (1924–2006)

Kenneth Jack’s career as an artist reallycommenced during his military service whenhe created more than 500 drawings andwatercolours in the islands north of Australiafrom 1943 to 1945. Most of these works arepart of the collection at the Australian WarMemorial in Canberra.

Trained as an art teacher after the war, Kenbecame involved in setting up printmaking andpainting departments at Caulfield Institute. Hedeparted teaching in 1968 to become a full-timeartist. Drawing and draftsmanship were thehallmark of Ken’s art and he expounded theimportance of these elements as the propergrounding and equipping for artists. He excelled incalligraphy, signwriting, pen, ink, pastel, gouache,oil painting, acrylic painting and watercolour forwhich he is widely recognised as a master.

Ken mainly concentrated on hiswatercolours over the last 15 years of hiscareer. Many of his works were large with thepinnacle of his watercolour art achieved in histriptychs, which measured at least four metresacross. Ken was represented by galleries acrossAustralia, is now represented in all Australianstate gallery collections and widely overseasincluding the British royal collections.

Ken was President of the WatercolourSociety of Victoria 1979-81, Patron from 1981and Honorary Life Member of AustralianGuild of Realist Artists. In 1983, he becamethe only Australian-born artist to be a fullmember of the Royal Watercolour Society inLondon (RWS). Ken was an elected memberof Australian Watercolour Institute from 1955to 2006. The award of an MBE in 1982 and anAM in 1987 recognised his significantcontribution to Australian art ●

For updates and entry forms for the 2011competition, exhibition and gala bookings,please contact the Watercolour Societyof Australia

Glyn Clarke Lewis, PresidentTHE WATERCOLOUR SOCIETY OF AUSTRALIA 03 9876 0700www.watercoloursocietyofaustralia.com.au

Kenneth Jack (1924-2006), Opal Diggings, White Cliffs NSW, 1997, watercolour

Julian Bruere, Snow Gums, 2010, watercolour. Winner 2010Kenneth Jack Award

ANNUAL KENNETH JACK MEMORIALAWARD AND WATERCOLOUR EXHIBITION

Kenneth Jack (1924-2006), Hotel of the far inland Gwalia WA, 2005, watercolour

Presentation of the 2010Kenneth Jack Award (left) GlynClarke Lewis, Gordon Morrison,Betty Jack, Kathlyn BallardOAM, Julian Bruere (winner) andProfessor Graeme Clark AC

CLIFTON HILLA N T I Q U E S & A R T I N V I C T O R I A

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www.Roys-Antiques.com.au

‘Those who cannot remember thepast are condemned to repeat it,’ saidnoted Spanish philosopher George

Santayana (1863-1952). However, I propose thatsince the past will repeat itself regardless, thosewho remember the past or study history canpredict the future.

There was a lot of 1970 in 2010. This will notsurprise anyone with an eye on the cycles offashion, be that clothing, interior decoration,music, or whatever. Fashion can be followedthrough the centuries as a wave graph, movingbetween two aesthetic extremes.

One extreme embraces geometric,architectonic forms, and is generally seen ascerebral, disciplined, ‘masculine’ andscientific. Its corollary is characterised bycurves and irregular organic shapes. Is lush,‘feminine’ and celebrates the emotive andspiritual. Our fashion pendulum swingsregularly as clockwork from one to the other.

Examples of the former style includeSheraton, Empire, early Biedermeier, Arts andCrafts, Art Deco, early modern and minimalism.Opposing styles include Rococo, mid-VictorianRococo revival, Art Nouveau, 1960s bio-organicand contemporary maximalism.

At this point it is useful to look atAustralia’s unique experience. The advent ofthe World War I (1914-1918), the GreatDepression (1929-1934) and World War II(1939-1945) meant that very little influence ofArt Deco or modernism reached Australiauntil the 1950s. Many designs of Art DecoEurope were not readily available in Australiauntil the 1960s.

It will disappoint those collectors that havevery romantic ideas about fashion that mostnew styles are the direct result of changes inlegislation, advances in technology oravailability of new materials. Chromed tubularsteel and plywood contributed greatly to thelook of European Art Deco furnishings.

After World War I many tubular steelfactories remained, but the need for thebicycle – that essential of Edwardian wartimelife, military and civilian – had diminished.Similarly, the war-time demand for plywoodwith which to make airplanes had diminished.The material was used to other purposes,developed for affordable mass producedfurniture – designs by Alvar Aalto and MarcelBreuer for example. However, it was afterWorld War II that major technologicalbreakthroughs resulted in plywood beingmoulded into inexpensive organic sculpturalforms – such as the celebrated designs ofArne Jacobsen.

However, it would not be until the 1950sthat Australia would embrace a domesticsphere of modernist tubular steel, fleckedFormica, and textured vinyl with contrastingpiping. Naturally, after five decades of povertyfrom the 1890s recession to the end of WWII,making do with hand-me-down furniture,Australians wanted nothing to do with woodfurniture in general, and Victorian inparticular. These were burned or given away.Brass beds were used to reinforce concretedriveways for the prized new family car.

Baby Boomers who grew up in hygienicplastic and metal streamlined lounge roomswere as contemptuous of tubular steel andvinyl as their parents had been of old woodenfurniture. By the end of the 60s theydemanded the warmth of Scandinavian oiledwood furniture, and factory made brownglazed pottery that looked hand crafted.Regrettably, the ‘Earth Mother’ stage alsocompelled many to take up macramé and

make endless badly potted wine goblet sets. Bio-organic forms in furnishings, now

associated with the Festival of Britain, werealso popular in the reaction against post-war‘clean lines.’ Notable was the kidney orboomerang shaped coffee tables with threecigar shaped splayed legs.

Most excitingly, by 1970 the beginning ofthe antiques and heritage boom that was tobecome a frenzy in the 1980s was afoot. In1970 there were comparatively few antiqueshops. Most people were just discovering thepleasure of ‘antiquing’ in op shops and junkstores. Wooden furniture, including Victorianand Edwardian era pieces, was cheap and onecould sand it down and do it up as oiled woodlike new Scandinavian or teak furniture.

Gradually, people buying cheap oldEdwardian hallstands for $15 and Victorianteapots for $1 became curious about theseobjects, and over the next decade there was anexplosion of books about all kinds ofantiques. It became fashionable to furnishwith antiques and to be able to talk aboutthem competitively after dinner.

By the 1980s Victorian suburbs likeMelbourne’s Fitzroy and Carlton were gentrifying.Neo-Victorian clutter was embraced and everycredenza sparkled with silver plate and crystal.Antique shops proliferated.

After the 1989 crash people could notafford this abundance and minimalism was therationale for the six pieces of chipboardfurniture that occupied space in homes. Mytheory is that so much time and emotionalenergy was consumed by keeping up withrapidly changing technology that few had anyenergy left for a complex environment. Asimple empty space provided welcome relieffrom the demands of technological upheaval.Fortunately, since minimalism in Australiawas a particularly bleak experience, it is nowquite dead.

Happily, we find ourselves in a remake of1970. Once again there is a reaction againstsimplicity and ‘clean lines.’ This seems to beas much due to generational change as anyother stimulus. While Generation X (roughly,people in their 30s and 40s) continues to bemesmerised by technological gadgetry, Gen Yis quite a contrast.

There are a number of subculturesexperiencing a renaissance at present,principally, but not exclusively, with Gen Y.The most obvious of these is the vampirecraze. This is not a morbid craze. Forcenturies parents told their children cautionarytales, such as Little Red Riding Hood(originally Red died!) and Hansel and Gretel(who escaped, but others had not!).

In the days when children grew up in a safeenvironment where everyone in the villagenurtured the children, infants had to bewarned that not everyone was kind, safe andtrustworthy. In our age of helicopter parentsand television, contemporary children mustlearn the opposite lesson: that not all peopleoutside the nuclear family are wicked anddangerous. Hence the upbeat, celebratoryvampire tale which explores the concept thatsome strangers are actually kind and good.Apart from this there is the traditional appealof being able to live forever, stay young andbeautiful and be able to wear fabulous clotheswhile having superhuman powers.

Steampunk, so named in 1979, isrejuvenating. It proposes an alternate historywhere the technological developments of theIndustrial Revolution delivered a morepositive effect: flying machines rather than

just trains and chokingpollution. Think of JulesVerne’s Nautilus, asubmarine with velvet andbullion fringe curtains andcarved mahogany and brassfittings.

Steampunk, Goth andVampire subcultures andtheir influences impinge onthe antiques industry as theyare symptomatic of thegeneral zeitgeist of fascinationwith the past. Subculturespecialist shops stock girls’corsets, Edwardian collars and Victorian hats,canes, pocket watches and goggles for the boys.

These are just three conduits to theRomantic past that cannot help butreinvigorate the antiques industry, and I meanantiques, not vintage, here. Even within themainstream, shopping malls are filled withVictorian style clothes, typically jackets withbias binding edges and military frogging, aharkening of the Regency period is alsopopular. So history repeats, finding freshexpressions with each passing generation ●

Roy WilliamsROY’S ANTIQUES03 9489 8467www.roys-antiques.com.au

Vampires, steampunk, Goth AND THE ANTIQUES RENAISSANCE

Steampunkenthusiastsfrom NewOrleans, 2010

Steampunkcomputer

Antelope chair designedby Ernest Race forFestival of Britain, 1951.Plywood moulding wasused for the seat

Boomerang shaped coffeetable with three cigar shapedsplayed legs


34

Art Deco items are highly collectablebut not many collectors know aboutHagenauer. As a collector of

Hagenauer pieces for many years, I want toshare the Hagenauer history, introduce itssculptures and busts, and provide hard-learnedcautions to new collectors.

Austrian designer Carl Hagenauer (1872-1928), established Hagenauer Werkstatten in1898 and produced works designed in themodernist and Jugendstil styles. His factoryalso manufactured pieces by outside designerssuch E J Meckel, Josef Hoffmann and OttoPrutscher. The firm exported its waresworldwide, while many of the other smallerfactories produced the so-called Viennabronzes. Hagenauer entered many exhibitionsin London, Paris and Berlin where theirinnovative designs won numerous awards.

His son Karl Hagenauer (1898-1956), joinedthe firm in 1919. After Carl’s death in 1928,Karl, together with his brother Franz (1906-1986), managed and expanded the workshop’soutput to include furniture and domestic

accessories in a variety of materials.Responding to the impact of African

American jazz singer and dancer JosephineBaker, Hagenauer expanded its sculpturesection producing African-inspired works thatwere lithe and elegant with elongated limbs andfaces, their European interpretation of Africans.

Hagenauer produced a wide range offigures that are considered either African orwestern. At the entry level are African figuresmodelled as stick figures, typically in tribalcostume and may be carrying metal or woodimplements; they also made African animals.Most were produced in the 1930s and againafter World War II in the late 1940s and early1950s, reflecting the popular fascinationwith colonialism.

More desirable are the larger wood andmetal African figures and busts, with stylisedbodies and sculptural poses. The mostvaluable are distinctly art deco style designsof African inspiration, this includes masks,some on a scale similar to authentic Africanmasks. They consist of multiple elements andmaterials and are reminiscent of Picasso.

Hagenauer western subjects are lesscommon, including figures in stylish costumes,mainly in sheet metal or brass. These wereoften on a large scale as they were used in shop displays.

COLLECTOR cautionsFake reproductions originating in South

America and Switzerland entered the marketin the 1980s. Many are made in sheet metaland there are brass figures and large Africanbusts in chrome and gilt brass. Even majorauction houses have sold fakes, confusing thepurported authenticity for a later buyer.

RR on the base stands for Richard Rohacwho left Hagenauer after World War II to startup his own factory producing a range ofdesigns identified with his stamp. It mayconfuse the collector with Hagenauer’sproduction for Rena Rosenthal’s exclusive giftshop at the Waldorf Astoria in New York. Thesepieces made from the mid-1930s to the early1950s are always impressed Rena on the base.

Seek professional advice and onlyafterwards purchase any rare items, even

though they may be accompanied byimpeccable provenance.

FAMILY traditionAlthough the Hagenauer workshop

officially ceased production in 1956 thefamily continued to cast a selection ofHagenauer forms from original moulds. Theseare acceptable to Hagenauer collectors.

Smaller forms such as animals and figuresare affordable costing several hundred dollarswhile larger Hagenauer reproduction figuresand busts can cost up to $30,000 as thesewere cast from rare models.

Ron Hagenauer, Karl’s grandson, sellsHagenauer items in his Vienna shop, rangingfrom about 5 cm to 180 cm in height. Hehopes to publish a book and organise aretrospective exhibition of HagenauerWerkstatten. If you were planning to collectHagenauer items, now is the time to start ●

David Freeman AMANDA ADDAMS AUCTIONS03 9850 15530419 578 184www.aaauctions.com.au

Art Deco Nubians andHAGENAUER BRONZES

BULLEENA N T I Q U E S & A R T I N V I C T O R I A

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36

Monash Gallery of Art presents Inthe spotlight, Anton Bruehlphotographs 1920s-1950s an

exhibition of the first Australian photographer tomake it big in New York. A major retrospective ofthe photographs of Anton Bruehl, an Australian-born photographer whose work was seen bymillions over four decades, will be exhibited atMonash Gallery of Art, Melbourne from 23 Juneto 11 September 2011.

Anton Bruehl (1900-1982) was one of themost successful celebrity portraiture,advertising and fashion photographers in NewYork from the 1920s to the 1950s, retiring in1966. His photographs appeared on frontcovers and in advertisements for publicationssuch as Vogue, The New Yorker, Vanity Fairand House & Garden. As curator of theexhibition Gael Newton says, ‘A generation ofAustralian photographers such as Max Dupainand Athol Shmith admired his work anddreamed of his success.’

PHOTOGRAPHER to the starsThe exhibition includes a who’s-who of

screen and stage, from Marlene Dietrich,Gene Tierney and James Cagney to KatherineHepburn. There are images from stage showsas diverse as Carousel, Porgy and Bess to theBallet Russes of Monte Carlo.

Gael Newton explains, ‘Bruehl alsomastered the art of high quality colourphotography three years before Kodakreleased the Kodachrome colour film in 1935.In partnership with photo technician FernandBourges, he pioneered a new colourseparation process and produced hundreds ofcolour photographs for magazines such asVogue and Vanity Fair’. These elaboratelystaged, densely coloured advertisements andtheatrical tableaux lead Americanphotographer Ansel Adams to describe hiswork as being ‘entirely contrived, and yetabsolutely sincere’.

BACKGROUND Bruehl was born in the rural town of

Naracoorte, South Australia in 1900. Hetrained and then worked as an electricalengineer in Melbourne until 1919, when heand his brother Martin immigrated to NewYork to work for Western Electric Co.

Bruehl changed direction after four years atthe company, to pursue his passion forphotography. He studied and later taught atthe renowned Clarence H White School ofPhotography where he explored the creativepossibilities of commercial photography.

In 1926, Bruehl opened his photographystudio and his brother Martin later joined ayear later. He remained at the top of hisprofession for 40 years, regularly producingwork for the top Condé Nast publications andphotographing the stars of stage and screen.

The exhibition displays Bruehl’s impressiveportfolio of still-lifes and portraits from his

trips to Mexico, which show a deep affinitywith his subjects.

Shaune Lakin, MGA Director states, ‘Weare thrilled to be exhibiting this majorretrospective of Anton Bruehl, arguably one ofthis country’s most successful internationalphotographers. Although remarkably little-known in Australia, Bruehl was aphotographer to the stars and was hugelyinfluential: for decades, other fashion andglamour photographers borrowed his bold useof colour and striking design sense.’

In 2006, Anton Bruehl Jr presented over100 of his father’s photographs and extensivearchival material to the American Friends ofthe National Gallery of Australia Inc, NewYork. This touring exhibition introducesAustralian audiences to an outstanding butformerly unfamiliar figure in the developmentof photography in the 20th century.

Enjoy free entry to MGA. We are easy tofind on Ferntree Gully Road (#860) inWheelers Hill (Melways 71 J10).

MGA is closed on Mondays and publicholidays, open Tuesday to Friday, between 10am and 5pm, and weekends from12 Noon to 5pm ●

MONASH GALLERY OF ART03 8544 0500 [email protected]

All photographs courtesy National Gallery ofAustralia, Canberra. Gift of American Friends ofthe National Gallery of Australia Inc., New YorkNY USA, made possible with the generous supportof Anton Bruehl Jr, 2006.

The National Gallery acknowledges fundingsupport from the Australian Government throughthe National Collecting Institutions TouringOutreach program.

Anton Bruehl among studio spotlights,Manhattan, c. 1932

Anton Bruehl, Esquire Canteen: Puerto Ricansinger and rumba dancer Marga andaccordionist puppeteer Bil Baird of the ZiegfeldFolies, 1944, published Esquire February 1944

Anton Bruehl, Harlem number, Versailles café,1943, colour photograph, colour print, dyeimbibition (Kodak dye transfer) print made after1946. Image courtesy of George EastmanHouse, International Museum of Photographyand Film

Anton Bruehl, Model Ruth Curlett in red sunhat, 1936, colour print. Published Vogue 1 July 1936,

Anton Bruehl, Portrait of Marlene Dietrich,Hollywood, 1935, direct positive colour photograph

Anton Bruehl, swimsuit advertisement, 1951,dye-transfer colour photograph

Anton Bruehl, Knitted-to-order sport clothes,1932, gelatin silver photograph. Advertisementfor Bonwit Teller department store

IN THE SPOTLIGHT: ANTON BRUEHL at Monash Gallery of Art in MelbourneA National Gallery of Australia Exhibition, 23 June – 11 September

Miniature portrait of a Countess by RichardCosway (English, 1742-1821)

Miniature portraits come in a wide variety of subjects and frames

Since March 2011, Eaglemont Antiques &

Interiors at Plenty is open every second weekend

of each month and by appointment, at your

convenience – just phone me. The address is

49 Happy Hollow Drive, Plenty – such a lovely

name for a unique shop in a heritage area!

Dawn DavisEAGLEMONT ANTIQUES &INTERIORS AT PLENTY 0408 530 [email protected]

PLENTYA N T I Q U E S & A R T I N V I C T O R I A

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Small portrait images known asportrait miniatures have a passionatefollowing among collectors and museums

due in some part because these personal andintimate paintings have their own unique qualities.Portrait miniatures evolved from manuscriptillumination. The word ‘miniature’ came from theLatin minium meaning the red lead pigment usedin manuscripts. There is no reference to the sizeof the painting.

There are several key identification points for atrue portrait miniature. First, it is a very specific artform defined by its medium. Initially, a tiny portraitis only a true miniature if painted in watercolourson vellum, just like a manuscript. From the early18th century these portraits were executed inwatercolour on ivory. This was the preferredsupport until the end of the 19th century.

Unlike oil portraits hung in public galleries,miniatures were always private portraitsintended for a specific recipient. Theirpurpose was intentionally quite different tothat of the large oil paintings that could beused to inspire awe in a number of spectators,and so they were real to life, making theminvaluable historical records.

In 16th century England miniature paintingwas considered a higher art form than easelpainting. The most famous artist working in

the genre at that time was Nicholas Hilliard(1547-1619) who was chosen by QueenElizabeth I to paint her in miniature from1572 until her death in 1603. During the reign ofCharles I Peter Oliver (1589-1647) was the artistchosen by the monarch to paint miniatures afterthe masters in his painting collection.

An examination of a later original signed18th century miniature portrait is of aCountess shown in a powdered wig and largeplumed hat. She wears a beautifully drapedgown holding a rose and floral nosegay.

The exquisitely detailed portrait on ivorymeasures almost 9 cm high. It is framed in aheavy bronze ormolu period 18th centuryframe with French bowed ribbon. Thesignature is of Richard Cosway, one of themost highly collectable miniaturists of the18th and early 19th centuries.

Richard Cosway (1742–1821) The leading portrait miniaturist of the

Regency era, Cosway’s success derived fromhis ability to enhance the beauty and eleganceof all his sitters. Cosway exhibited his firstworks in London in 1762, aged just 20 andwas quickly in demand in fashionable circles.

He painted his first portrait of George IV in1780; in 1785, he was appointed Painter to the

Prince of Wales. Cosway enjoyed continuouspatronage from the Prince. As theseminiatures were often exhibited and engraved,Cosway had considerable influence over theofficial image of the Prince.

He married the Anglo-Italian artist MariaHadfield in 1781 and together they influencedLondon’s fashionable elite and the art world.He painted many European royals includingMadam du Barry, mistress of King Louis XVof France.

Collecting miniature portraits is sometimeslike a lucky dip, as one never knows who willshow up next ●

From left: Miniature portrait of gentleman, 19th century

COLLECTING PORTRAIT MINIATURES Miniature portrait of King George III by RichardCosway (English, 1742–1821)

French oil on card miniatureMiniature portrait, French, oil on card

Miniature portrait of a bourgeois gentleman

Eaglemont Antiques & Interiors can be foundat 49 Happy Hollow Drive, via McLaughlansLane off Route 46, Plenty.


Local TreasuresOn show until 13 June

Celebrating the collecting by past andpresent citizens of the gold richBallarat community is an exhibition

titled Local Treasures. The show combinestwo groups of objects. The larger componentcomprises works of art and artefacts fromprivate collections currently in Ballarat andsurrounding regions. To these have beenadded a select group of items that wereformerly in local collections but which have –largely through the generosity of the originalowners – passed into the collection of the ArtGallery of Ballarat.

Important and fascinating works from presentday private collections abound:a splendid group of early 19th century Englishagricultural prints including the ‘original’ DurhamOx, paintings by George Bell, William Dargie,Ian Armstrong and Roland Wakelin and drawingsby Thea Proctor, Russell Drysdale, James Wigleyand Weaver Hawkins. Contemporary art is wellrepresented with paintings by Shay Docking andGareth Sansom, George Tjapaltjarriand timeless images of Wandjinas byIgnatia Djanghara.

Local citizens have been extraordinarilygenerous to the Gallery since its establishmentin 1884. The first regional gallery in thecountry, Ballarat Art Gallery has occasionallycelebrated the activities of local collectors.The last time such an assemblage of workswas brought together was in 1970. Some ofthe paintings that are on display here now alsofeatured in that exhibition.

In the collection are two magnificentgrotesque alabaster ewers from ErcildouneHomestead, donated by Lady Currie in 1949along with many of the other items offurniture and art that graced the Scottishbaronial homestead just outside Ballarat.However, they came into the collection infragments, and until a member of the public‘adopted’ them in the Gallery’s recent drive tosecure public funds for conservation of thecollection, they were not fit to be displayed.

Colonel Richard Crouch was the majorbenefactor of the Gallery in the first half ofthe 20th century. Representing his collectingand generous benefactions is a beautifulwatercolour by French artist Paul Signac ofthe Breton fishing port Lomalo, which hegave to the Gallery in 1944.

Eugene von Guérard: Australian landscapesOn show until 13 June

Eugene von Guérard (1812-1901), theGerman artist who spent many years workingand teaching in colonial Victoria, is thesubject of a major exhibition at the NationalGallery of Victoria. The Art Gallery ofBallarat complements that display byfeaturing a series of large prints which vonGuerard published in 1866/67.

Australian Landscapes comprises 24magnificent lithographs featuring some of themost remarkable and spectacular parts of NewSouth Wales, Victoria and South Australia andTasmania which von Guérard had encounteredup to that time. The prints are remarkable forthe meticulous attention to detail which vonGuérard prided himself on and the highquality of the lithography and production.

38

The Stony Rises Project7 May – 26 June

During May and June, the Gallery will presentThe Stony Rises Project which brings together tencontemporary artists and designers in aninvestigation of the rich, layered histories of thewestern district of Victoria, in an exhibitiondeveloped by RMIT Design Research Institutemanaged by National Exhibitions TouringSupport (NETS) Victoria.

Following a four-day artists’ camp in April2009, works were made in response to thearea to the southeast, south and southwest ofLake Corangamite distinguished by the basaltrocks erupting from the landscape formingStony Rises, as well as volcanic cones andcrater lakes. Designers, artists, curators andcommunity members were able to interactwith and learn from each other in order tocreate informed works.

The resulting exhibition focuses on thehistories of the area, the intricate relationshipsof people with place, foreigners on new lands,and colonial and Indigenous narratives. Thisexhibition has facilitated a unique collaborationand intersection of creative practices – the artist,the designer, the architect, the landscapearchitect, the historian, the geologist, and thelandscape archaeologist.

Let it all hang out – the art of the 70s18 June – 7 August

The 1970s were a time of enormous socialand political change, internationally andlocally.This is reflected in the art of the

period. Personal had become political andsuddenly, any statement, whether overtlypolitical or not, was measured in terms of itspolitical implications. Apolitical works wereregarded as naively conservative.

The Gallery has dug into its stores to mounta selection of works from that era. This is anintriguing and sometime challenging show,including works that are confronting, unusual,often humorous but always political in someshape or form. The period saw a move fromabstraction to figurative art, and figurative artwhich clearly took on big issues of personaland other politics including sexual liberation.It was a time of challenges and a re-evaluationof what art meant, what it stood for, even whatit was.

Australian Modern Masterpiecesfrom the Art Gallery of New South Wales30 September – 4 December

Art Gallery of Ballarat will be one of onlytwo galleries around the country to host atouring exhibition Australian ModernMasterpieces from the Art Gallery of New South Wales. This touring exhibitionfeatures iconic works from the 1920s to the1960s which have come down from display to allow the New South Wales gallery to be refurbished. More details in thenext issue ●

ART GALLERY OF BALLARAT03 5320 5858www.artgalleryofballarat.com.au

MID-YEAR EXHIBITIONPROGRAM AND EVENTSAT ART GALLERY OF BALLARAT

Laurene Vaughan, Craft Exchange 1, 2009,cloth, digital print and embroidery.Courtesy the artist

Eugene von Guerard, Hamel & Ferguson Castle Rock. Cape Schank (detail) 1867. Colour lithograph onpaper. Art Gallery of Ballarat. Purchased, 1987

Unknown maker, garden ornament fromErcildoune (detail), not dated, alabaster. ArtGallery of Ballarat. Gift of Lady Currie inmemory of Sir Alan Currie, 1949

BALLARATA N T I Q U E S & A R T I N V I C T O R I A

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Art Gallery of Ballarat40 Lydiard Street North

Ballarat Victoria 3350

Telephone: 03 5320 5858

artgalleryballarat.com.au

Let It All Hang OutAustralian Art of the 70sSat 18 Jun - Sun 7 Aug 2011

Image: Frank Littler, Pro News (detail), circa 1975, oil on composition board. Collection: Art Gallery of Ballarat, 1977

ARMADALEA N T I Q U E S & A R T I N V I C T O R I A

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TOORAK / CANTERBURY / GEELONGA N T I Q U E S & A R T I N V I C T O R I A

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CLIFTON HILLA N T I Q U E S & A R T I N V I C T O R I A

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BATHROOMS & ACCESSORIESLIGHTINGOUTDOOR, TEAK AND IRON

FIREPLACES TILES AND PARQUETRYDOORSSOLID BRONZE HARDWARE

FURNITURE

THERE’S MORE TOSCHOTS HOME EMPORIUMWith more than 30 years of experience in timeless design and superior quality,Schots Home Emporium today deliver’s Australia’s largest collection of unique home and architectural furnishings across an expansive three story showroom.

Specialising in the uncommon, come in today for a journey into diversity, style and an amazing array of options.

COME ON A VOYAGE OF DISCOVERY AND UNEARTH THE UNCOMMON

400 HODDLE STREETCLIFTON HILL, VICTORIA1300 463 353 www.schots.com.au

Corner Elizabeth & Johnstone St, Castlemaine Victoria 3450 Phone: 03 5470 5989

Web: www.xxxxantiques.com / www.xxxxantiques.netEmail: [email protected]

OPEN 7 DAYS 9.30 am to 5 pm

Thousands of itemson display to suit the

in one of the

largest showrooms

in Australia

collector & connoisseur

WHEELERS HILLA N T I Q U E S & A R T I N V I C T O R I A

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National Collecting Institutions Touring & Outreach Program

GEELONGA N T I Q U E S & A R T I N V I C T O R I A

47

BENDIGOA N T I Q U E S & A R T I N V I C T O R I A

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WORLD PREMIERE Bendigo Art Gallery 1 August – 6 November

Tickets on sale now – Call 03 5434 6100For more event information and accommodation packages, freecall the Bendigo Visitor Centre on 1800 813 513 or visit www.bendigotourism.com

SASI 201270:8B

Media Partner42 VIEW ST, BENDIGO VICTORIA 3550 BENDIGOART GALLERY.COM.AU

Exhibition organised by the Victoria and Albert Museum, London

www.bendigotourism.com


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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

Georgian mahogany tilt topbreakfast table

Georgian walnut 3 drawer lowboy

Early Victorian ovaltoleware tray –

Greenwich Palace

Georgian mahogany 4 drawerdrum table

William IV mahogany 2 drawerpartners deskFrench walnut cylinder top desk

with ormolu mounts

Georgian mahogany slopefront fitted sewing cabinet

Early Victorian 4 tier what-not


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42 VIEW ST BENDIGOVICTORIA 3550AUSTRALIAT +61 3 5434 6088

BENDIGOART GALLERY.COM.AU

Bendigo Art Gallery

Walker E

vansTorn P

oster, Truro, M

assachusetts1930gelatin silver contact printPurchased w

ith funds from N

ational Endow

ment for the A

rtsC

ollection of George E

astman H

ouse, International M

useum of Photography and Film

20TH

CEN

TU

RY

PH

OT

OG

RA

PH

YFR

OM

GEO

RG

EEA

ST

MA

NH

OU

SE

BEN

DIG

O

AR

T G

ALLERY

16 APR

IL – 10 JU

LY2011

This exhibition is supported by La Trobe University

This exhibition is indemnified by the Victorian Government through Arts Victoria


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The 20th century witnessed dramatic

changes in art – and equally dramatic

advances in photography. Photographs

from the important archive of the George

Eastman House, International Museum of

Photography and Film highlight some of the

remarkable moments that occurred in

photography over this dynamic period.

American Dreams shows the work of 35 of

the most influential American photographers

of the 20th century. Their photographs track the

crucial aesthetic and technological advances in

the medium that occurred over this time when

photography came of age, as it transitioned from

being a purely mechanical process for

documenting or recording important events to

becoming a major player in contemporary art.

It was also during this time that

photography – like other visual art forms –

became a vehicle for the expression of the

preoccupations and concerns of the maker.

Each of the artists exhibited made a

profound contribution to the photographic

canon, imparting crucial insights into the

aesthetics of photography and the social

and political circumstances of the era.

See more than 80 significant

photographs by some of America’s most

influential photographers, such as Ansel

Adams, Diane Arbus, Walker Evans,

Gertrude Käsebier, Dorothea Lange, Edward

Steichen, Cindy Sherman, László Moholy-

Nagy and Alfred Stieglitz.

American Dreams is the first exhibition in

Australia drawn entirely from the collection

of George Eastman House. Bendigo Art

Gallery is the exclusive venue for this

exhibition. Admission fees apply ●

BENDIGO ART GALLERY03 5434 6088bendigoartgallery@bendigo.vic.gov.auwww.bendigoartgallery.com.au

George Eastman (1854-1932),

the founder of Eastman

Kodak Company, is regarded as the

father of modern photography and

the inventor of motion picture film.

His stately house, contents and

gardens in Rochester, upstate New

York became the world’s first

photography museum in 1949, one

of America’s oldest film archives.

The not-for-profit museum is a

leader in film preservation and

photograph conservation, educating

archivists and conservators from

around the world. The collection

includes more than 400,000

photographs and objects.

See www.eastmanhouse.org.

László Moholy-Nagy Laboratory 1938 gelatin silver print. Purchased from Sybil Moholy-Nagy withfunds provided by Eastman Kodak Company. Collection of George Eastman House.

Gertrude Käsebier The Sketch (Beatrice Baxter) 1903 platinum print. Gift of Hermine Turner.Collection of George Eastman House.

Dorothea Lange, Kern County California, 1938,gelatin silver print. Exchange with Roy Stryker.Collection of George Eastman House

EXCLUSIVE to Bendigo Art GalleryAMERICAN DREAMS20th century American Photography fromGeorge Eastman House 16 April – 10 July

ORMONDA N T I Q U E S & A R T I N V I C T O R I A

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Antique and Modern Clocks and Watches

Repairs and Sales

Friendly professional serviceFree quotes

Guarantee on major repairs Clocks bought and sold

Leigh Fist493 North Road, Ormond VIC 3163

Open: Tues – Fri 9 am - 5 pm & Sat 9 am - 1 pmPh: 03 9578 6960

From an early age, mankind tried todivide time into segments that all couldagree upon. For this there are few given

divisions: the day – one complete turn of theearth; the month – one revolution of the moonaround the earth; and the year – one full circleof the earth around the sun. The obviousdivision for the day is sunrise, high noon and sunset.

Someone noticed that the shadow fallingfrom a tree points to different directions duringthe progression of the day and so the day couldbe broken down into further segments –consequently, a stick in the ground became thefirst clock.

The stick in the ground was greatlyimproved some 4,000 ago by the Chaldeans,the first people to divide day and night intotwelve hours each. However, the length of theday was measured from sunrise to sunset, sothe length of an hour could differ considerablyfrom day to night.

There are a variety of shadow clocks, portableor stationary, but as the sundial is rather uselesson a cloudy day and at night, other means ofmeasuring time had to be developed.

Egyptians also measured time by how muchwater escaped from a vessel with a small hole.Since there is greater pressure in a full vesselcompared to an empty one it became apparent

that the amount of water flowing through thehole varied in a vertical container. A containerwith 70° tapered sides allowed the water toflow at an even rate.

The Chinese developed some very intricatewater clocks. One such clock was made by amonk in the 7th century. It had an escapementthat allowed small amounts of water to drive agear. But in winter, water clocks might freeze.

In Europe during the Middle Ages, candleand oil lamps were used in monasteries to tellthe time for morning prayer. In China, fireclocks using incense were burned through amaze or along a circular pyramid. Theseincorporated little metal balls which wouldfall onto a metal dish as the incense burnedalong its path.

The hourglass was known in the 14th centurybut used only widely in the 15th century,especially by mariners at sea. The besthourglasses were made in Nurnberg, Germany.

Between the late 13th and early 14thcentury the mechanical clock was invented.No one really knows who developed the firstmechanical clock and exactly when it wasmade. The mechanism was completely madeof iron and weight-driven, working on thesame principle as a bucket going down a welland forcing the handle around. To prevent theweight from running down faster and faster, adevice called the escapement was developedto allow the driving force of the weights toescape only bit by bit. These clocks had nocase or a simple case.

In Italy by the 15th century, and shortlyafter in southern Germany, weights werereplaced by springs. Initially these clockswere shaped like a drum and had the face onthe top and were small enough to sit on a

table. A development of these drum-shapedclocks was the addition of an alarmmechanism. Eventually, in Augsburg,Germany, upright clocks were made. Since thespring driven clock was more compact thanthe weight-driven, clockmakers started to putmore and more emphasis on the cases as well.

Medieval clocks were luxuries and though asource of pride to their owners, they were notat all accurate and for this reason they mostlyhad an hour hand only.

In 1582 Galileo Galilei, watching the to-and fro- swing of a lamp in Pisa Cathedral,discovered that the time of a pendulum’sswing depends only on its length, and foresawits use as a timekeeper. In 1657 ChristiaanHuygens, a Dutch scientist, realised Galileo’sdream, inventing the pendulum clock. Thisimproved the accuracy to such a degree thatminute hands became the rule and later,second hands were added.

Creating mechanical clocks not only beganthe Machine Age but also began ourdependence on clocks, leading to theincreasing demand for clocks, as well as thedevelopment of different shapes, sizes andkinds. But not until the 20th century with theelectric clock, and later use of quartz crystalsin clocks and watches, did the basicapplication of weight, spring and pendulumalmost disappear, bringing the evolution of thetimekeeper towards today’s accuracy ●

THE CLOCKWORKS03 9578 [email protected]

THE EVOLUTION OF TIME‘Time is man’s angel’, Schiller

HEALESVILLEA N T I Q U E S & A R T I N V I C T O R I A

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There is always a wide selection offine art for sale at all times. Althoughthere is not a current exhibition, on

entering the gallery and seeing Di’s diverseartworks, one could be excused for thinking itwas a major art exhibition.

As previously written in Antiques & ArtVictoria, Di is such a versatile artist andbrings to the gallery at all times the on-goingreality of excellent craftsmanship andenjoyable viewing.

ABOUT Di KingBeing the master artist that she is only

comes about by sheer hard work and absolutededication, and those close to her (includingmyself) are always in awe of her ability tobalance her work and her leisure. She is oneof the finest oil painters in this wonderfulcountry of ours.

One could ask of someone so industrious,‘Do you ever get to do the normal things, likefamily matters and a home life, etc?’ Di isequally loved and admired as a wonderfulmother to her two beautiful daughters and asthe most devoted grandma to her three loving

grandchildren, her personal friends and allwho associate with her.

All of these things together and much moreare what makes Di King – Di King.

Call in and say hello. The gallery is openfor viewing at any time – just ring on thenumbers listed below to check that we arehome and visit to suit your schedule ●

John ThomasDI KING GALLERY03 5962 2557 / 0414 404 [email protected]

03 5962 25570414 404 798 - 0414 404 792

Corporate and privateviewings can be arranged

OPEN ANYTIME BY APPOINTMENT32 Maroondah Hwy, Healesville [email protected]

DI KING GALLERY

She is one of thefinest oil painters inthis wonderfulcountry of ours

“

”

been destroyed to supply this demand. Multiplesof many stamps are now very elusive. Despitethis, many dealers sell such items without addingthe significant premium that they deserve. Apartfrom being scarce, blocks are obviously morevisual than single stamps.

Illustrated envelopes. You may collectprinted or hand-painted envelopes, humoroustypes, advertising or political subjects. This isan area where art and philately truly meet.

Fine used stamps. Most used stamps arepoorly cancelled or have faults, butfine used stamps are a different matter. Well-centred, neatly cancelled stamps are, to me, far more appealing than mint. Plus,they are usually available for a fraction of the prices of their unused counterparts. Youwill need to learn about non-contemporarycancels and other dodgy markings but that’shalf the fun.

NO limitsFinally, I recommend that new collectors

avoid the limits imposed by catalogue listings,printed albums, and so on. Be bold in yourcollecting. Buy things because you like them,not because they may increase in value(though they very well may). Above all, enjoythe pursuit of new material and relish thechallenges of developing something fromscratch. Who knows? You may end up with acollection of great merit and value ●

Gary WatsonPRESTIGE PHILATELY03 9762 6009www.prestigephilately.com

BORONIAA N T I Q U E S & A R T I N V I C T O R I A

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While the philatelic (stamp)market tends to be less driven bythe herd mentality than, say, art or

fashion, most people concentrate on stamps oftheir own country. However, there is no reasonwhy you should not collect anything thatappeals. Perhaps you have affection for Asiaor are fluent in a foreign language. This couldprovide an ideal starting point for a philateliccollection. An entomologist might collectstamps featuring insects, while a professionalsoldier could pursue wartime mail.

SEEK knowledgePhilately is a knowledge-based discipline.

A good way to get a ‘feel’ for the market is to

attend stamp shows in the major centres. Askquestions of appropriately qualified peopleand there are a number of general referenceworks that can be accessed through publiclibraries. For Australian stamps there are acouple of useful general catalogues, and afantastic multi-volume specialised work.

The best guide to prices is results frompublic auctions, especially for non-traditionalareas such as postal history and postalstationery. In these areas there are often noup-to-date reference works and auctioncatalogues may be the best, perhaps the onlyuseful guides to these subjects.

Most auction firms will send youcatalogues free of charge for a year or so.

BE QUALITY consciousIn all fields you will start to recognise the

good from the bad, and the expensive from therun-of-the-mill. Care taken in this area fromthe outset will be handsomely rewarded asyou develop your collection.

Pay particular attention to issues of quality,such as perforations, centring and cancelling.With envelopes, look for repairs, enhancedpostmarks and stamps that don’t belong.

Regardless of the field you decide topursue, you will need some basic tools. Mostof the better retail dealers can provide youwith accessories such as albums, tweezers,perforation gauges, mounts, magnifiers, etc.

You can buy a quality stock book, areference catalogue and the basic gadgets forless than the cost of a good tennis racquet oryour golf club membership. Ask the dealer forhis advice, but be mindful that it is falseeconomy to skimp in this area.

To contact leading dealers and auctioneersconsult the industry website www.apta.com.au.

COLLECTING suggestionsNew clients often ask what they might

consider collecting. The number of possibilitiesis limited only by your imagination, so here are afew ideas that may appeal.

Australia 1901-1912. Even after federation,the six states issued their own stamps until1913. These are properly Commonwealthissues but most collectors have treated themas the tail-end of the colonial period. Very fewhave made a serious assault on this area and itremains significantly undervalued.

Destination mail. It is easy to obtain coversfrom Australia to Great Britain, New Zealandand Germany. Try finding covers fromAustralia to Colombia, Tunisia or Mongolia. Acollection of such material would provide asignificant challenge without putting a greatstrain on the budget.

Postage dues. This is one stamp area whereanyone has the chance to own items nobodyelse has ever seen. One routinely hears of thediscovery of previously unrecorded watermarkand perforation varieties. Many of these haveliterally been found in bundle ware or junky collections.

Scenic letter cards. From 1911 until 1924, Australia issued postal stationery withviews from around the nation on the reverse.A basic collection can be put together withoutmuch effort. Many of the views are rare,others are common but rarely seen onparticular issues, and of some scenes, two or more versions exist.

Blocks of 4. Most collectors want only singlestamps, resulting in sheets and blocks having

STAMP COLLECTING – WHERE DO I BEGIN?

Postage due stamps with attractive andlegible postmarks are highly sought after

Between 1911 and 1924, Australian letter cards had a photo on the reverse.These often have thematic interest; in this case, railways and waterfalls

State issues from 1901-12 are Australian stamps.This shows the South Australian EIGNT error

A beautiful example of a printed illustratedenvelope, flown on the 1926 Pacific Survey flight

Collecting is an individualistic pursuit. What you collect shouldreflect your personal interests and temperament.

BELGRAVEA N T I Q U E S & A R T I N V I C T O R I A

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Sherbrooke Art Society, a respectedinstitution in the traditional art world,always welcomes new members.

Throughout the year, the Society hostsmonthly social painting programs including‘paint outs’ (or a paint-in if weather is notsuitable) and another in the studio. At monthlymeetings invited special guest artistsdemonstrate their technique.

GALLERYThe Sherbrooke Art Society Gallery sits at

the edge of majestic verdant Sherbrooke Forestbeside Clematis Creek at 62 Monbulk Road,Belgrave. The spacious main gallery adjoinstwo smaller spaces and three working studios.Visitors are always welcome to browse anexhibition of members’ paintings; watch artistsat work in the gallery; or attend a freedemonstration or workshop in one of the studios.

OPEN Weekend – 28 & 29 May Sherbrooke Art Society has its open

weekend in the final weekend of May, inassociation with Dandenong Ranges OpenStudios. The gallery will be open from 10:30am until 5 pm on Saturday 28 and Sunday 29May. You will see a working art society inaction with artists demonstrating and freeworkshops. Sit and chat with artists over a cupof tea or coffee.

LEARN art techniquesSherbrooke Art Society has long maintained astrong focus on teaching, with three teachingstudios and classes conducted by professionalartists across all mediums.Current classes in traditional painting include:

• pastel• oil• watercolour • acrylics • children’s classes• life study • portraiture

MEET the Society’s tutorsThe Society has range of tutors catering to

all levels of experience in all mediums.

Jeffrey Murphy will be conducting a paint-out in the lovely gardens beside the creek.

Nick Costello will be conducting a freestudio demonstration. More details onsherbrookeartsociety.blogspot.com or phonethe gallery on 03 9754 4264, between 11 amand 4 pm.

See www.burrinja.org.au for details of theDandenong Ranges Open Studios. Book for our next artist demonstrations. MayJohn Duncan-Firth: Landscape in pastelJuneJoanne Seabury: A Venice scene in pastel

BARB BEASLEY-SOUTHGATE:Retrospective exhibition

September 2011Barbara’s dynamic yet restful paintings are full

of freshness, energy and movement, inviting all toshare her enthusiasm and insights into the nature ofthings. She has travelled extensively, exploring herinner vision and redefining her spiritualrelationship with the Australian environment, andrecently the British, European and New Zealandenvironments, and most recently that of the USA.

Barbara has held regular solo exhibitionsincluding her 1998 and 2000 very successfulsolo exhibitions in England.

Our relationship goes back 40 years, whenshe won the 1971 Annual Award of theSherbrooke Art Society, the first of her over100 awards and prizes.

CONTACTSThe Sherbrooke Art Society Gallery is

located at 62 Monbulk Road, Belgrave and isless than 1 km from the Belgrave Township onthe right. For any inquiries, please phoneduring Gallery hours: 11 am to 4 pm,Wednesday to Sunday. ●

SHERBROOKE ART SOCIETY 03 9754 4264info@sherbrookeartsociety.comsherbrookeartsociety.blogspot.comwww.sherbrookeartsociety.com

SHERBROOKEART SOCIETYGallery Exhibitions,Classes & Artists’ Studios

SherbrookeGallerySherbrooke Art

Society IncEstablished 1966

Monbulk Rd

Burwood Hwy to MelbBelgrave Station

Puffing Billy

To Monbulk

Sherbrooke Gallery

Open Studio Saturday 28 and Sunday 29 May 2011

IN CONJUNCTION WITH THE DANDENONG RANGES OPEN STUDIOS

Free Painting Workshops and DemonstrationsRelax and take in the artworks for sale with a free tea or coffee

62 Monbulk Road, Belgrave 3160Tel: 03 9754 4264Gallery Hours: Wednesday - Sunday 11 am - 4 pm

www.sherbrookeartsociety.comBlog: http://sherbrookeartsociety.blogspot.com Melway Ref 75 F8

Che

rry

Man

der

s

Janet Matthews, Morning Meeting. Winner McCubbin Award 2011

Di King, ‘An Early Autumn’.Winner Streeton Award 2011

Barb Beasley, Thornton, Pastel Barbara McManus, Gypsy.Winner Roberts Award 2011

Di King, An Early Autumn.Winner Streeton Award 2011

these shapes are fabricated into metalsculptures, often working on three or fourpieces at once. I am enjoying the recycling ofsteel while working, many of these worksevolving from an off cut of a previous piece,the negative space of one becoming the positivespace of another.

This group of sculptures is part of a stream,related to past works and pieces yet to be made.Recurring symbols are a part of this stream andwill travel with me and continue to reflect mylife view. So too, the landscape in which I live,the vast sky and plains of the Wimmera and thecrispness of reflection and silhouette.’

REGINA NoakesAfter a long spell we are very happy to re-

introduce Regina Noakes. Her paintings can becategorised into observed and imaginativeworks. They convey a considerable range ofemotions and complex psychological states infigurative compositions that are notable fortheir pared down power. Often there is a senseof drama emanating from an interior space.

The figures in her painting look out at the worldwith stares that seem to reach beyond the viewerinto some other and much greater space. Thequality of the gazes contributes to the spiritualpower of the works. They are hypnotic and at thesame time contain a sense of reverie. Her paintingsare as much about looking away from something,and trying to retain its reality in the mind’s eye, asthey are about actually looking.’

TONY SowersbyTony Sowersby has been a professional artist

for nearly three decades but it is only in recentyears that he has turned his attention toexhibiting. From the early 80s to the presentday he has worked continuously in the fields ofboth community and public art most often as amuralist, but also as a cartoonist and comicbook writer and artist. His first exhibition withus in 2010 was a great success and we are thrillto show his work again this year.

Artist’s statement‘The works in my upcoming exhibition

continue my fascination with the particularand sometimes ominous beauty of the cityand suburbs at night. I enjoy the way eventhe most mundane street can be transformedon a wet night into a world of neonreflections. However, rather than just arecording of lighting effects, I also try toimbue these works with social comment orhumour or pathos. This is also true of myother paintings that portray both historicaland contemporary scenes.’

ROSS WilsmoreEven though the majority of his career was

as a graphic artist, from the beginning, RossWilsmore always dabbled in art. Now he is asophisticated emerging collectable artist whosework is instantly recognisable and is held incorporate and private collections. He takessimple locations such as an outback air strip or seaside dock and builds a powerfullandscape image.

Ross paints with acrylics, accentuating themood with colours, perspective, angles and thecomposition. His images are thought provokingin their simplicity, the colours and mood oftensurreal. Through the juxtaposition of elementsof art in the landscape, he points to thecharacter in both and that in turn, becomes apiece of art. ‘Sometimes,’ he says, ‘the result isart within art.’

STEWART WestleStewart is one of our most popular artists.

His work this year will cover the vineyards ofthe Mornington Peninsula and Western Port.He is revisiting the land he is so familiar withas he lives on the Peninsula and its terrain isetched into his memory. Westle’s enthusiasmfor the Australian landscape and seascape isevident in the colour, freedom of applicationand raw energy emanating from his paintings,though which he has evolved a distinctivelanguage for landscape.

SARA Paxton: Love ColourOpening 1 May at Cheltenham Gallery

If you love colour, Sara’s new works are amust see. Her ability to explode colour offthe canvas and into the hearts of those who

view her work is most powerful.This, combined with an expressive

contemporary style, provides a dramaticconvergence for an exciting new visualexperience. Love Colour brings together Sara’slatest oil on canvas works which show a newhigher level of energy and intensity with adistinctive edgy feel.

Sara grew up in an environment of a creativeand artistic family. She moved to Sydney fromthe UK and then to the Bellarine Peninsularwhere she has continued to study and developher unique style.

CHRIS SeaterChristopher Seater has focused his attention

on the purity of the unquestioning devotedcompanion the dog, the hound of our affectionswith a series of semi-abstract emotive caricatures.His captures the essence, that feeling we havewhen face to face with man’s best friend, thecanine that holds our affection and amusementwith unconditional trust and love.

‘Outside of a dog, a book is probably man’sbest friend, and inside of a dog, it’s too dark toread.’ Groucho Marx

‘He is your friend, your partner, yourdefender, your dog. You are his life, his love,his leader. He will be yours, faithful and true,to the last beat of his heart. You owe it to himto be worthy of such devotion.’ Unknown

CONCHITA CarambanoAfter a very successful first show with us in

2010, we are delighted to have Conchita backin May. Conchita’s work is abstract mixedmedia on canvas as well as beautiful works inmixed media on paper.

Her multi-layered and richly texturedpaintings reflect both the scale and antiquitythe Australian landscape. She uses a strongpalette, overlaid with gold and silver leaf foil.Her paintings express a mythical presenceabout the land that imbues them withmetaphysical as well as personal meaning.

She is currently represented in the NationalLibrary of Australia collection and has won foursignificant art prizes. Conchita is in numerousnational and international collections. Conchitasays, ‘Being an artist is my life, and in no waycould I imagine being or doing anything else.’

DONAL Molly-DrumArtist’s statement

‘These new works began with a series of penand charcoal drawings of iconic retro caravans.Their shapes inspired in me further probing anda concentration on form, volume and balance.From chalk drawings on my workshop floor


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Conchita Carambano, Steps to the Nest, mixed media on canvas,112 x 112 cm

Sara Paxton, Yellow, 92 x 92 cm

Regina Noakes, The Linen Hat, oil on canvas,122 x 92 cm

Chris Seater, One of the Dogs, mixed media on canvas 100 x 100 cm

WITHOUT PIER Exhibition program

From left: DonalMolly-Drum,Funkytown Three,mild steel, 24 x 44 x 14 cm

Tony Sowersby, August in AclandStreet, acrylic on canvas, 152 x 240 cm

Left: StewartWeslte, WesternPort, oil on linen,122 x 122 cm

CHELTENHAM / HAMPTONA N T I Q U E S & A R T I N V I C T O R I A

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Artist’s statement‘My aim as a landscape painter is to express

what being in the bush means to me. I hope topaint the joy, excitement and wonderment of thenatural world. Of course it’s great when theseemotions are shared with the viewer.’

DAVID Beaumont: Land and SeaArtist’s statement

In this recent body of work I am continuing toexplore my love of the maritime environment. Icontinue to be interested in textural surfaces andilluminating use of colour. The suggestion of a pieror perhaps the hull of a boat or maybe anapproaching storm, my work leaves muchopportunity for ambiguity and interpretation. Thisis important – I want someone who looks at mywork to be able to go back again and again as thepainting reveals itself. The often subtle multilayering can only best be captured in the “flesh” soto speak.

My landscape works are heavily influencedby many outback painting trips, in particularthe Gammon Ranges, just north of theFlinders Ranges. This wonderful place is bestcaptured as the sun comes up or sets with anintensity of red that seems to glow on thepicture surface. This landscape deeplyresonates with me and I find myself beingconstantly drawn to this magical place.

DARREN Doye Melbourne artist, Darren Doye, has told many

an historical tale through the portrayal ofMelbourne landmarks, some famous and othersknown only to true locals. Darren watches keenlyas the urban sprawl swells into townships,providing a lively impetus for his paintings thatoften depict the theme of country versus city.

In his latest instalment, many of the currentMelbourne icons that generations of Melbournianshave grown up with are featured. These nostalgicimages adorn iconic international vehicles likeKombi vans and Vespas, hinting at the European

influences that Melbourne is famous for. This richimagery is then juxtaposed within idyllic rurallandscapes describing the contention and rivalrythat exists between the city and the country.

This exhibition encourages the viewer toquestion Australian’s identity, with a particularfocus on Melbourne and referencesmulticultural influences that continue todefine our diverse society.

MICHAEL JenkinsMichael Jenkins sources his ‘art’ materials from

the most unusual of places. His collections ofrecycled goods encompass much time searchingfor materials that represent aspects of his modernworld and that of a bygone era.

A natural affinity with the notion of recyclinghelps his creative ability to complete assemblagesin wide range of mediums incorporating thecolours of time, movement and textures. Eachpiece of artwork created is an expression ofindividuality where material composition enables astylised unique perception of a cutting edge artform that challenges the notion of what is art.

In a relatively short time as an exhibiting artist,there has been a rapid appreciation of his workwhich is now showing in galleries throughoutAustralia as well as being sold internationally.

ROBYN RankinArtist’s statement

‘Children at play have been an enduring themeof my work. I have been inspired by observation ofmy own two young ones as they explored theirworld, expressing joy and wonderment, andreflecting on fragmented memories of my ownchildhood, old fashioned, simple pleasures.

My passion for recording my children at play inphotographs became enhanced by a new outlet,paint! It seems I have not strayed far away from thisspecial place myself, taking delight in representingthat childhood world and its delights, its unguardedreveries, its reverence for simple joys, its lack ofself consciousness. My style has evolved from a

place of childhood naivety. For this collection, I want to reflect on

childhoods past, as if reminiscing through an oldfamily album. Each painting needs to stand alone,to be its own memory. I hope that every visitor tothis exhibition will find one moment that is part oftheir own story.’

ANNIE Glass: Steel wire sculptorShowcasing in August

Glass has been producing her whimsicalcreations for over ten years since graduating with aFine Arts degree at Monash University in 1998.Having studied under some of Australia’s greatsculptors such as Peter Corlett and Les Cossats, theyoung artist moved through various media intobronze before finding a unique way of shapinggalvanized steel wire into incredibly lively andengaging pieces.

Annie’s subject matter ranges from Hills Hoistsbearing pregnant ladies and children to pier sceneswhere diving youths and their pets invokememories of carefree holidays and endless summerdays. ‘The spirit of fun and adventure form thebasis of the quintessential Australian way of life,’says Glass.

She says that the thin gauge wire allows her tobuild movement and character into the pieces.Many actually sway in the breeze or bounce whenthe viewer walks near them.

PETER Ferrier: The ClubPeter Ferrier’s The Club is an exhibition of

paintings celebrating the spirit of football. Exploredin the works is not only the physical action of thegame but rather the camaraderie and mateship thatuniquely defines Australian Rules Football. Havingexhibited solo regularly since 2004 Ferrier’s latestoffering promises to be his best!Artist’s statement

‘As an immigrant from Scotland 22 years ago Iwas completely awe struck at the passion displayedby the “barracking” fans. Then as a father watchingmy son play his first club footy I realised how goodthis game really is. The Club exhibition is myinterpretation of what evokes these emotionsin the great Australian game!’ ●

WITHOUT PIER GALLERYCheltenham 03 9583 7577Hamilton 03 9598 [email protected]

1/320 BAY ROAD CHELTENHAM 3192 VICTORIAp: 03 9583 7577417 HAMPTON STREET HAMPTON 3188 VICTORIAp: 03 9598 5006e: [email protected]

MANSFIELD EASTER SHOW 22 – 26 April Masonic Hall Highett Street MansfieldSARA PAXTON 1 – 16 May Cheltenham GalleryCHRIS SEATER 6 – 21 May Hampton GalleryCARAMBANO & MOLLOY-DRUM 22 May – 5 June Cheltenham GalleryREGINA NOAKES 5 – 18 June Hampton GalleryTONY SOWERSBY & ROSS WILSMORE 19 – June – 3 July Cheltenham GallerySTEWART WESTLE 6 – 20 July Cheltenham GalleryDAVID BEAUMONT 24 July – 7 August Cheltenham GalleryDARREN DOYE & MICHAEL JENKINS 7 – 20 August Hampton GalleryROBYN RANKIN & ANNIE GLASS 21 August – 4 September Cheltenham GalleryPETER FERRIER 26 August – 10 September Hampton Gallery

Established 15 years, now in two prominent locationswww.withoutpier.com.au

David Beaumont, Cape, oil on linen, 102 x 101 cm Darren Doye, Urban Kombi with 6 boards, woodcut & oilon canvas, 92 x 92 cm

Michael Jenkins, Assemblage,metal number plates

Robyn Rankin, Come Back Peter, acrylic oncanvas, 132 x 100 cm

From left: AnnieGlass, A Dog’s Life,steel wire sculpture

Peter Ferrier,The Club, mixedmedia on canvas

This new range is already available atSchots Home Emporium. Each is animmaculate reflection of old and new, with abrilliant gleam and a subtle hue. See thesenew additions to an increasing range of homeand architectural furnishings at Schots HomeEmporium located at 400 Hoddle Street,Clifton Hill, Victoria or online atwww.schots.com.au ●

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VictoriaA N T I Q U E S & A R T I N V I C T O R I A

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Luna Pendant Lamps

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Celebrating an industrialaesthetic and revisitingthe golden era ofmechanical progression,Schots Home Emporiuminvites you to savour ournew range of furnishingsthat offer iconicstatements

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MENTONEA N T I Q U E S & A R T I N V I C T O R I A

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For 201 years, Maling potteryproduced good quality functional waresfor British domestic customers,

European markets, and for trading companiesthat exported their wares.

Early 19th century creamwares and 19thand 20th earthenwares by Maling pottery areregarded of particular significance in theLaing Art Gallery in Newcastle, managed byTyne & Wear Archives & Museums.

The Victoria and Albert Museum holds aMaling piece, c. 1817-1840. This decoratedplate of lead-glazed earthenware with a naïvedesign hand-painted in enamels, shows acottage with trees and a border of formalflowers with green foliage. It was made at thefactory of Robert Maling in Ouseburn Bridge,Newcastle-on-Tyne that operated from 1817 to 1840.

Maling is notable for having produced thelargest volume of earthenware jam jars in the19th century and up to the 1930s, these weresynonymous with Rington’s tea and Keiller’smarmalade. It was replaced by glass jars

which were more cost-effective and morepopular with consumers.

BUSINESS modelThis pottery was distinguished by its

modern manufacturing techniques thatenabled high volume production. These builton the traditions of the founder, WilliamMaling, who in today’s language achieved‘integration’ of his business interests in coal,timber and shipping.

Founded in 1763, his Hylton Pot Works onthe banks of the Wear near Sunderland fittedwell as pots fired in his kilns used his localcoal. These wares were then sent to markets inhis ships, which brought timber back fromEurope for domestic markets.

After the pottery moved to Newcastle in1815, there were increasingly larger works,the final that began in 1878 eventuallyoccupying a vast 5.7-hectare site. ChristopherThompson Maling’s initials formed an earlyfactory mark – CTM inscribed verticallyinside a triangle – and inspired a later tradename, Cetem Ware.

FEATURES of Maling potteryMost Maling pottery was plain, although

customers could ask for decorative features,such as a company and/or product name. Itwas the first northern county pottery toproduce transfer-decorated earthenware. In thefirst half of the 19th century, it was celebratedfor its pink lustre ware.

In the late 19th century, more attention wasgiven to design and decoration. In 1908, thesuccessful Cetem Ware range was introducedas ‘semi-porcelain,’ in table and toilet wares.In the 1920s, highly decorative designs on ablack background were released to greatsuccess, their popularity boosted by thefashion for Oriental wares.

In 1926, a Staffordshire designer, LucienBoullemier joined Maling to improve designsand introduced lustre glazes, gilding and goldtransfer prints.

DECLINE of Maling The last of the Maling family involved

with the business died in 1937. As with manypotteries, WWII was a force of change, from

the shortage of factory workers due tomilitary efforts, through to wartimerestrictions on production. New ownersgradually lost the contracts that built theMaling pottery and it closed in 1963. Today,Maling is collected all over the world ●

Barbara ThomasMENTONE BEACH ANTIQUE CENTRE03 9583 [email protected]

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

MALING POTTERY 1762-1963

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French Heritage AntiquesThe French Furn i tu re Spec i a l i s t E s tab l i shed 1984

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FRENCH HERITAGE ANTIQUES03 9583 3422

NOW TRADING FROMMentone Beach Antique Centre

68 Beach Road, Mentone, Vic 3194Email: [email protected]

Open: Thurs-Fri-Sat-Sun-Mon 11 am - 5 pmwww.antiquecentrementone.com.au

We have a good selection ofFrench antique furniture

at the best prices in Victoria

• Provincial tables to seat 6 - 12 people

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

MENTONE BEACHANTIQUE CENTRE‘Where a t reasure i s wa i t ing to be found’

68 Beach Road, Mentone, Vic 3194 (opposite Mentone Life Saving Club)

03 9583 3422Email: [email protected]

Open: Thur-Fri-Sat-Sun-Mon 11 am - 5 pmwww.antiquecentrementone.com.au

The best and most interesting selection of:• Antique furniture from

France - England - Europe

• French Clocks - Prints

• Art Deco Figures and Clocks

• Antique Ceiling Lights - Lamps

• Mirrors - Paintings

• English & Australian Silver

& Silver Plate

• Art Glass - Collectables

• Estate and Costume Jewellery

• Doulton - Beswick - Shelley

• Wedgwood - Limoges Porcelain

• Royal Winton - Carlton Ware

• Murano Glass

• Men’s and Ladies’ accessories

Maling tablewares Maling vase Front and reverse of a Maling decorated dish

MORNINGTON PENINSULAA N T I Q U E S & A R T I N V I C T O R I A

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6. SORRENTOSORRENTO AND FLINDERS FINE ART GALLERY3301 Point Nepean Rd Sorrento (Opposite Rotunda)10/33 Cook St Flinders (Opposite Hotel)Winter Hours: Friday - Monday10.30 am - 5.30 pmSummer Hours: Sorrento: Open daily; Flinders: Open daily, closed TuesdayOther times by appointment.The finest selection of paintings by recognisedAustralian and international artists includingDavid Chen, Robert Wade, Ivars Jansons,Charlie Tong, Lyn Mellady, John Bredl, Cathy Hamilton, Rodney Symmons,Ron Hancock, Craig Davy, Lyn Mellady, Robert Knight and more.

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1 ➞Antiques & arton the Mornington Peninsula

1. MENTONEMENTONE BEACH ANTIQUE CENTRE68 Beach Road Mentone(opposite Mentone Beach Life Saving Club)03 9583 3422Open Thur, Fri, Sat, Sun, Mon, 11am - 5pm.Specialising in fine quality antique furniture,collectables and objets d’art. ‘Where atreasure is waiting to be found.’

2. MORNINGTONMORNINGTON PENINSULA REGIONAL GALLERYCivic Reserve, Corner of Dunns and Tyabb Road,Mornington03 5975 4395Open 10 am - 5 pm, Tuesday - SundayClosed Mondays and some public holidaysThe region’s premier art gallery offers adynamic program of nationally significantexhibitions of contemporary and historicalart by Australia’s leading artists, together withacclaimed exhibitions focusing on theMornington Peninsula’s rich cultural life.Recent memorable exhibitions have reflectedon the work of the Boyd family, ArthurStreeton and Fred Williams.

3. TYABBTYABB PACKING HOUSEANTIQUESMornington-Tyabb Road, Tyabb (opp Tyabb Railway Station)03 5977 4414Open 10 am - 5 pm, Thursday - SundayThis unique complex is Australia’s largestcollection of antiques and collectables. Spendthe day browsing, talk to the dealers, mosthave over 20 years experience. Visit thetearooms then take a ride to the workingcraft village, art gallery and kiosk. Wheelchair and pushers available. Coaches welcome.

4. MT MARTHAMEADS ANTIQUES & COLLECTABLESThe Clock Tower ArcadeShop 3, 34 Lochiel Avenue, Mt Martha03 5974 8577Open 10 am - 5 pm, Wednesday - SundayWe have an eclectic selection from the 1800sto the 1970s including unusual and interestingglass, china, toys, pictures, small furniture andjewellery. We buy and sell.

5. RED HILLMONTALTO VINEYARD & OLIVE GROVE33 Shoreham Road, Red Hill South Vic 3937Mel Ref: 256 B2Tel: 03 5989 8412 Email: [email protected] Web: www.montalto.com.auOpen 7 daysMontalto Vineyard & Olive Grove's 50 acreamphitheatre property is the ideal setting forwine, food, nature and art. Awarded the TopWinery Destination in Victoria 2006. Thepermanent outdoor sculpture collection canbe enjoyed throughout the year withadditional exhibitions.An acclaimed restaurant overlooks theproperty. Award-winning estate wine andolive oil for tasting at the cellar door.

MARLENE MILLER ANTIQUES120 Ocean Beach Road, Sorrento03 5984 1762 or 0438 537 757Open 10 am - 5 pm, every day exceptChristmas Day and Good FridayEstablished in 1986, this unique antique shopis set in an historic limestone building andhouses an amazing amount of beautifulfurniture, china, bronzes, lamps, books andinteresting bits and pieces. The shop isrenowned for its jewellery as well asGeorgian, Victorian and Art Deco antiques. We have top quality Melbourne jewellers Stephen Pascoe, Simon Prestige, Armon Donald O’Grady, Monique Bijouxand others. All items available at reasonable prices.

7. FLINDERSTHE STUDIO@FLINDERSGALLERY65 Cook Street Flinders, Vic 392903 5989 0077Email: [email protected]: www.studioflinders.comOpen 10 am - 5 pm. Closed Tuesdays.Closed Mondays. Mid June – mid September.An artist run gallery promoting qualityAustralian work. We have three majorexhibitions a year where participatingartists have the opportunity to be creative. Exhibitions run for approx three weeks overEaster, mid June and mid September.

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Mornington Peninsula’s major

classic and contemporary fine art

galleries are the Sorrento Fine Art

Gallery and the Flinders Fine Art Gallery.

Both display only the highest quality

paintings from the Peninsula, including

seascapes, landscapes, still life, figures and

wildlife in traditional to contemporary styles,

providing works to suit everyone.

More than paintings, our galleries promote

local jewellers with beautiful handmade

sterling silver and gold jewellery with pearls,

silver, beads, glass beads, precious and semi-

precious stones.

STAY up to dateYou can stay up to date on our

easy to remember website,

www.peninsulagalleries.com.au. Vast

collections of works from all the artists

represented are updated regularly. Better still,

add yourself to the VIP invitation list for

opening nights for the first chance to by

emerging and established artists – email your

details to [email protected] to

receive invitations to meet the artists.

2011 AT SORRENTO and Flinders Galleries

Sorrento and Flinders Fine Art Galleries

will be taking our artists’ works to Melbourne

mid-year for a massive group exhibition.

Keep in touch by our website and Antiques &Arts Victoria for details.

Craig Davy, a local artist is making an

impact in the art world and winning major art

awards. He is having his first exhibition at

Sorrento Fine Art Gallery in January,

exhibiting landscapes, seascapes and works

just a little different.

Gail Rutland Gillard also had a fabulous

exhibition with the majority of her works sold

and many commissions arranged. Now

Gail is back at the easel and busy creating, so

look on the web or visit either gallery to see

Gail’s newest works. Flinders and Sorrento

are the only galleries to exhibit Gail’s works

in Victoria.

John Stroomer’s unique crystalline

ceramics offers vases, ovoids, urns and jugs.

John has now expanded to jewellery to offer

individual design of rings, necklaces,

pendants and bangles.

SERVICES by GalleriesSorrento and Flinders Fine Art Galleries

offer lay-by, home viewing, gift vouchers,

commissions and transport worldwide.

Purchases may be made over the phone as

well as by visiting the galleries. All artwork is

professionally packages and fully insured.

The Galleries also offer:

• Private viewing appointments

• In-home art placement

• Collector consulting about our artists.

Our proud support for Australian artists,

jewellers and potters makes Sorrento and

Flinders Fine Art Galleries the places to find

unique, individual and quality Australian fine

art and objects ●

SORRENTO FINE ART GALLERY 03 5984 3880FLINDERS FINE ART GALLERY 03 5989 [email protected]

Jansons Ivars David Chen Craig Davy, Edge of the Green

Gail Rutland Gillard Sian DoddRon Hancock, Minnamurra Falls, 100 x 100 cm

SORRENTO AND FLINDERSFine Art Galleries

MORNINGTON PENINSULAA N T I Q U E S & A R T I N V I C T O R I A

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Before Cheryl Peterson fulfilled herdream of opening her own gallery in2007, she worked as a book and

magazine illustrator and also a jewellerydesigner. Since then, Cheryl has workedtirelessly to establish herself and now has athriving business.

A GALLERY in SomervilleOpen every day, Cheryl Petersen Galleries

lies in the heart of the beautiful MorningtonPeninsula, just over one hour’s drive fromMelbourne CBD and only 11 km fromFrankston. Cheryl Petersen Galleries is shop 7at 8 Edward Street in picturesque Somerville(Melways 107 E12), right in the thriving hubof creative activities. A wander through hergallery is a marvellous experience that ishighly recommended, with works by over 40artists on view in rotating exhibitions.

Over the past four years, Cheryl hasgradually developed and extended her gallery.It is now the light-filled spacious home toover 200 works displaying a diverse range ofpainted artwork, ranging from contemporaryto figurative – and everything in between.Take a sneak preview of available works onwww.CherylPetersenGalleries.com.

Cheryl will arrange purchases that youchoose from the website as well as when youcome to the gallery to make your final choice.

Importantly, a valuation certificate comes withevery piece of artwork purchased, for peace ofmind. Cheryl Petersen Galleries is happy to offera lay by system, by which your artwork can bepaid off gradually over three months.

EVERYTHING is an inspirationCheryl’s inspiration stems from a purely

intuitive source. ‘I paint according to mymood. Just letting the colours and theme

develop and grow… I have never beendisappointed.’ Brilliant colour is a trademarkof her paintings together with uplifting,positive themes.

The broad range of styles and subject matterson display demonstrate this artist’s versatility. Hergallery features canvases adorned with birds,owls, dragonflies and contemplative girls. Shealso paints bright abstracts and stunningbeachscapes. As the resident artist, visitors to hergallery have a unique opportunity of seeing hercreate original artwork.

Commissions are welcome and Cheryl regularly paints specific works to cater for client’s special tastes, subjects andcolour themes.

CLASSES for artistsCheryl shares her knowledge and

experience with budding artists. She conductsweekend workshops each month that allow

potential artists to create and to complete afinished painting. Her inspired teachingprovides fantastic motivation to all participants.

Class themes cater for a wide range ofartistic interests, such as birds and swirls,funky animals, poppies and a class on modernart for beginners. Adult art classes are heldthroughout the year.

Many collectors have asked Cheryl to showher work more widely. Her works can now beviewed at Gallery Sorrento at 141 OceanBeach Road in Sorrento. Handy for cityviewers, Cheryl’s work is at the SuburbanGallery at 312-318 New Street in Brighton.

Cheryl Peterson Galleries is open daily atshop 7, 8 Edward Street in picturesqueSomerville, one block off the Frankston-Flinders Road (Melways 107 E12). Tradinghours are Monday & Thursday (9:30 am – 9 pm); Tuesday, Wednesday & Friday (9:30am – 6 pm); Saturday (9:30 am – 5 pm);Sunday (9:30 am – 4:30 pm) ●

CHERYL PETERSEN GALLERIES03 5977 87240408 833 [email protected]

CHERYL PETERSEN GALLERIESContemporary to Figurative – and everything in between

CHERYL PETERSENGALLERIES

SHOP 7, 8 EDWARD STREETSOMERVILLE 3912www.cherylpetersengalleries.com

PHONE: 03 5977 8724MOBILE: 0408 833 260

Commissions availableOver 200 artworks on display

Painting Lessons

Cheryl Peterson, Autumn Landscape Cheryl Peterson, Flame Tree Cheryl Peterson, Purr-Fect Cheryl Peterson, Spring Landscape

Cheryl Peterson Cheryl Peterson, Girl and Bird Cheryl Peterson, Happiness #2

LANGWARRINA N T I Q U E S & A R T I N V I C T O R I A

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inspired paintings use contemporary culturalicons drawn from everyday life and massmedia. He is fascinated with creating playfulvisual puns using a variety of images amassedinto dramatic tableaux which are encapsulatedby his comment, ‘I went out of the museumand down to the news stand.’

Parallel with the evolution of his paintings,David Wadelton has conscientiously photo-documented the changing world of innersuburban Melbourne. His photographs, whichhave been a source of inspiration for hispaintings, range from black and white imagesof the 1970s and 1980s to contemporarydigital suburban snapshots. They record theephemeral culture of everyday life, fromvisual anomalies and puns to culturalincongruities and consumer clichés.

Over 300 photographs, initially publishedonline under the banner of the NorthcoteHysterical Society, are exhibited together forthe first time in a gallery context. Theycomplement a selection of paintings from the1980s to the present.

Simryn Gill: InlandUntil 15 May

This is the first survey of photography bythis Singapore-born artist, who currentlyworks in both Australia and Malaysia. Itbroadly draws upon works created over thepast two decades. While photography forms asignificant part of her practice, the artist doesnot consider herself a photographer.

Simryn Gill embraces this conundrum as away of considering her artistic practice, and asto how photography might function morebroadly as a way of engaging with the world.

Her work is an intimate series of handprocessed Cibachromes that emerged out of ajourney from northern New South Walesacross to Western Australia, surveying interiorimages of homes she visited, while eschewingthe predictable images of representingrural Australia.

This is a NETS Victoria touring exhibitiondeveloped by the Centre for ContemporaryPhotography, presented in association with theMelbourne International Arts Festival.

Your Move: Australian ArtistsPlay ChessA Bendigo Art Gallery Travelling Exhibition29 May – 7 August

Inspired by the international exhibition TheArt of Chess, Bendigo Art Gallerycommissioned 13 of Australia’s leading artiststo respond to the notion of the game of chess.The resulting exhibition, Your Move:Australian Artists Play Chess brings togetheran intriguing range of works that highlight theexceptional skills and dynamism inherent toAustralia’s contemporary art scene.

This exhibition includes the artisticcompetitiveness of artists Benjamin Armstrong,Lionel Bawden, Sebastian Di Mauro,Michael Doolan, Emily Floyd, Claire Healy andSean Cordeiro, Robert Jacks, Danie Mellor,Kate Rohde, Caroline Rothwell, Sally Smartand Ken Yonetani.

Mike Nicholls: Primitive soul29 May – 7 August

Best known as a sculptor, Mike Nichollscreates powerful, expressively carved forms inwood that share characteristics with tribal artand reductive, semi-abstract figuration.

The hand and shield have been dominant andreoccurring motifs within Nicholls’ sculpture.This exhibition aims to uncover the genesis ofthese motifs and the personal significancethey continue to play in his work.

Nicholls has continued to work withimmediacy in the chosen medium of wood.His works are often determined by theinherent form, grain and line within thetimber, with the surface of the sculpturesrevealing the trajectory of chisel andchainsaw. These textured surfaces are oftenheighted by the application of mutedblacks and white pigments. Nicholls hasdeveloped his work into a highly personalvocabulary that speaks with a resoundingauthority and strength ●

Open between Tuesday and Sunday, from10 am until 5 pm, entry is by a donation.Ten minutes drive from Frankston Station(buses and taxis operate) the grounds areperfect for a picnic or plan a luscious lunchor afternoon tea at McClelland Gallery Café.

MCCLELLAND GALLERY +SCULPTURE PARK03 9789 1671www.mcclellandgallery.com

McClelland Sculpture Surveyand Award 2010Until 17 July 2011

The McClelland Sculpture Survey 2010is the fourth in the series of sculpturebiennales. It is the most influential and

prestigious exhibition of outdoor publicsculpture in Australia, surveying a wide rangeof styles from emerging to mid-career throughto established sculptors.

The judge of the McClelland Award 2010was Tony Ellwood, the Director of QueenslandArt Gallery and Gallery of Modern Art. Therecipient of the McClelland Award for 2010,valued at $100,000, was Louise Paramor withTop Shelf.

The Frankston City People’s Choice Award2010, sponsored by Frankston City Counciland valued at $20,000, goes to an artist whosework is voted the most popular by visitors tothe 2010 McClelland Sculpture Survey. Thiswill be awarded on 18 June 2011.

The McClelland Sculpture Survey & Award2010 is presented in equal partnership withthe Elisabeth Murdoch Sculpture Foundationand The Balnaves Foundation.

The McClelland Sculpture Survey 2010 hasbeen open since 21 November 2010.

David Wadelton:Icons of SuburbiaUntil 15 May

David Wadelton’s vibrant techno-pop

MCCLELLAND GALLERY +SCULPTURE PARKExhibition Schedule

David Wadelton, Starcrazy, 2002, oil on canvas,91 x 198 cm.Collection McClelland Gallery + Sculpture Park.The Fonari Bequest, 2003 ©The artist

influential in Western art, started as thecommon person’s theatre souvenir or poster.In 2009, the gallery received a generous giftof Japanese prints that are on public displayfor the first time; this exhibition explores theirsubtle variations.

‘THERE’S something in this andI think you know’ Graeme Finn VideosUntil 5 June

Six short text-based videos created inEurope by Graeme Finn (b. 1966) are themedaround his impressions of six European cities,the result of his recent three years in Europe.The Hamburg Contemporary Art Museumpurchased the full series. Graeme trained as apainter at the Victorian College for the Arts(1994-1996) and now lives near Hamilton.

THE SPIRIT in the Land McClelland Gallery + Sculpture Park travellingexhibition & NETS Victoria touring exhibition19 May – 10 July

The landscape has been an enduring subjectin the history of Australia art and vital to theongoing formation of images of our nationalidentity. Within this tradition, Spirit in theLand explores the connection between 11Australian artists, historical andcontemporary, Indigenous and non-indigenous, and their respective specialappreciation of and engagement with thespiritual ethos and power of the land.

The more than 40 works are by LorraineConnelly-Northey (b. 1962), John Davis(1936-1999), Russell Drysdale (1912-1981),Rosalie Gascoigne (1917-1999),Emily Kame Kngwarreye (c. 1910-1996),Dorothy Napangardi (b. c. 1952),

(Sir) Sidney Nolan (1917-1992), John OlsenAO OBE (b. 1928), Lin Onus (1948-1996),Rover Thomas (c. 1926-1998) andFred Williams OBE (1927-1982).

CONTEMPORARYAustralian glass 24 May – 31 July

Works by the masters of contemporaryAustralian studio glass, on loan from a privatecollection and from Hamilton’s permanentcollection, draws the work of these artiststogether. Australian artists have excelled inglass production in recent years and gained aninternational reputation for their production.

AUSTRALIAN Drawings 31 May – 24 July

Drawings by various artists are on showfrom our permanent collection. Thisexhibition celebrates the art of the pencil!

ACCA Artists in ResidenceAustralian Centre for Contemporary Art(ACCA) Project4 July – 18 September

As part of its program of extendingcontemporary art to regional Australia, theAustralian Centre for Contemporary Art,Melbourne is organising artists to work inregional areas and show their works in theassociated galleries.

Installation artists Alex Pittendrigh andKate Daw will work at Hamilton Art Galleryand in the local community, exploring themesrelated to the Gallery’s collection and itsconnection with the community. Similar

Enjoy the diverse exhibitions ofsilver, porcelain and glass, paintingsand prints from our rich permanent

collection and visiting exhibitions at theHamilton Art Gallery. Current highlightsinclude art deco from private collections,contemporary Australian video and glass artists,while Imagining the Orient focuses on theexoticism and romanticism of the old Orient for19th century Europe and British travellers.

FRIENDS Art Deco loanexhibition Until 15 May

Art deco style items from privatecollections of members of the Friends ofHamilton Art Gallery are on loan for thisexclusive exhibition of classy art deco –today’s vintage and tomorrow’s antiques.A wide range of decorative arts items in silver,ceramic and glass represent art deco styles intheir earlier forms and some later interpretations.

IMAGINING the Orient National Gallery of Victoria touring exhibitionUntil 1 May

An evocative exhibition of paintings, printsand drawings as well as artefacts, explores theOrient’s mystery and fascination. Orientaltracery inspired European design anddecorative motifs on all kinds of objectsincluding ceramics and glassware. In the 19thcentury, when the exhibited works werecreated, the Orient was a collective name fortoday’s near and Middle East.

JAPANESE prints First public viewingUntil 22 May

The Japanese woodblock print, so

programs are at Horsham and WarrnamboolArt Galleries, all sites recommended to visit.

Sandby’s Tours in Wales 18th century prints from the permanent collection2 August – 2 October

Paul Sandby, the ‘father of Englishwatercolour,’ visited Wales a number of times andinevitably, these tours were explored in picturebooks depicting scenic landscapes and buildingshe visited. His famous aquatints from these tourstrace Sandby’s journeys and explain the technicaland artistic significance of the aquatints hecompleted as a record of his journeys.

On permanent displayTaylor Gallery: Australian art from the

permanent collectionGaussen Gallery: 18th century landscapes

by Paul Sandby, the ‘father of Englishwatercolour’

Barber Gallery: Oriental ceramics andAsian artefacts

Hamilton Art Gallery is open 7 days aweek: Monday to Friday 10 am to 5 pm,Saturday 10 am to 12 noon and 2 to 5 pm,and on Sunday between 2 and 5 pm.Admission is by a donation. ●

HAMILTON ART GALLERY 03 5573 [email protected]

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WHAT’S ON ATHAMILTON ART GALLERY

Eileen Gordon, Leaf vase Edward Heffernan, Nude Paul Sandby, South Gate of Cardiff Castle, Glamorganshire

Russell Drysdale, The crow trap 1941, oil on fibro-cement panel. Newcastle Region Art Gallery, Gift of Dr Roland Pope, 1945

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This vehicle is a replica of the 1886 Benz patent motor car, the world’s first car. It was built recently in Avoca by DudleyTownsend taking 3000 hours to complete. The original is housed in Germany and thereare only a few other examples in the world. Itwill be one of the highlights of the Avoca Fair.

www.avocaantiquefair.com.au


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Ceramics are vulnerable things.They are also often valuable, as adecoration or a useful object and for

sentimental reasons. If the inevitable happensand a piece is damaged, then a decision ismade as to the course of restoration to beundertaken. Value plays an important role indetermining how this is to be undertaken.

Restoration has been a focus of collectingin the Lorraine Rosenberg ReferenceCollection of Ceramics. Often, a seriouslydamaged piece is unsellable, but it has a lot tocontribute as a reference. Cost is another factor,as the rarest ceramics are often far too valuable toconsider purchasing and keeping just for studypurposes. A damaged piece for a fraction of themarket price can fulfil the purpose of a studypiece just as well as a costly perfect piece and beavailable to many more scholars than insulatedprivate collections.

INGENIOUS recycling BCE The earliest piece in the collection that

shows restoration is a remarkable ChineseNeolithic bowl, c. 2600 BCE that wascracked. Rather than throw it out, pairs ofholes were drilled either side of the crack anda cord was obviously threaded through,binding the piece tight and making it usable.

Fast-forward 2,000 years and a Greek blackglaze cup from c. 550 BCE had a handle knockedoff. Obviously valued at the time, holes werecarefully drilled into each join from the inside ofthe cup. Into this, a clever craftsman inserted abronze rod, the ends of which can still be seen.Both examples show the ingenuity of peopleusing primitive technologies.

REWORKING pieces in the 18th century

Some other types of repairs extended thelife of a useful vessel in the 18th century.During this era, vast quantities of porcelainwere imported to Europe and of course, somebroke on the long sea journeys from the FarEast. Heaped together and sold off cheaply onarrival, such broken items engaged theingenuity of the local artisans who achievedsome fascinating restorations.

In Bristol, a technique known as glass-bonding was developed which involved fusingtogether the two sides of a cleanly brokenvessel. They used a glass frit, which oncefired became a superb join – it wasunmatched until modern glues were invented.The only giveaway is a slight crease in theglaze and a line when you hold it to the light.

A large Chinese mug, c. 1750 was brokenin two and missing its handle. A cunningrestorer probably purchased this straight offthe dockside, crafted a beautiful hammeredbronze handle which was covered in wovencane and used the glass frit technique to fuse

the sides back together. It is still watertight,over 250 years later. He has even signed hiswork ‘Turner’ to the base.

MASTERFUL restorationtechniques

The rivet or staple was the traditionalbonding method. In 18th century Japan, theuse of the rivet was an art in itself. Valuedpieces that unfortunately had a break wererepaired and enhanced by a procession ofbronze butterfly rivets, each engraved as aminiature piece of art. In Europe, thetravelling tinker would do any patching jobs.To fix a broken ceramic piece, he would startby drilling pairs of holes, delicately drilled atslight angles on either side of a break. Theniron or brass rivets were heated to expandthem and they were carefully inserted into thedrilled holes and allowed to cool in place. Theresult was a tight, clean restoration that waswatertight. Often it is not apparent until youturn the piece over and see the rivets.

In some cases, small missing segments weremade from tin or lead, inserted and then colouredto disguise the insert. A remarkable Chinese piecein the collection is an ornate dish, c. 1750. It wasobviously from a dinner service, as acorresponding piece from the rim of another dishhas been sliced off and riveted into place. Theclue is in the mismatch of the pattern.

Some repairs of missing parts areremarkable creations worthy of study in theirown right. A Chinese teapot, c. 1760 with an

ornately moulded spout was quite probably acasualty of the long trip from China. Ratherthan discard it, an ornate replacement wascreated and carefully fitted. This restorationresulted in an item of beauty that continued toserve its practical purpose. The use of silverindicates that a high value was given to thepiece, while the sophistication suggests asilversmith rather than a tinker wasresponsible for this creative restoration.

The teabowl alongside is from the sameperiod. It had been broken in two, with asingle rivet keeping the base together. The rimhas a collar of brass, which when polishedlooks just like the gold rim that isundoubtedly beneath. Once again, here is abeautiful and usable restoration.

CURRENT restoration practicesIn recent decades, restorers would

deconstruct prior restorations with rivets andthen re-assemble the piece in a way to coverup any evidence of damage. Modernrestoration thought is that rivet repairs are apart of the story of the piece. A moderntrained restorer will attempt to keep theevidence of riveting visible to respect theearlier restorer’s skill – of course, most clientswould rather see them gone!

In an age where everything is disposable,this collection of carefully restored usableitems is testament to the possibility ofrestoring and reusing rather than replacing. Itis nothing less than 18th centuryenvironmentalism, although they did notrealise it at the time ●

Part 3: In the next issue of Antiques & ArtVictoria I will be discussing decorative repairs– the art of ceramic restoration.

Paul RosenbergMOORABOOL ANTIQUES GALLERY03 5229 [email protected]

Chinese Neolithic pottery bowl, c. 2,600 BCE Greek Attic pottery bowl, black glaze, 550 BCE

Japanese bowl, 18th century Chinese mug, c. 1750

CERAMICS: A question of restoration

Chinese dish, c. 1760

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PENNY BYRNE: CommentariatDeakin University touring exhibition23 April–26 June

Described as a political cartoonistworking in the ceramic medium,Penny Byrne’s work deals with various

contemporary issues, from the environment, toAustralian and American politics. Originally aspecialist ceramics conservator, Byrne’sartistic practice sees her remodelling ceramicfigurines to create works notable for theirconfronting, witty and unapologetic imagery.Penny Byrne coined ‘commentariat’ for theexhibition title as a combination ofcommentator and proletariat.

ROBERT BAINES: Metal7 May–3 July

Robert Baines is one of Australia’s mostprominent and influential jewellers andgoldsmiths with a career spanning more than30 years. This internationally respectedgoldsmith creates jewellery and large,complex wire works. He often combinesprecious metals gold and silver with plasticand powder coated elements, frequentlyreferencing archaeology and the abstract. Thisis an Object Gallery touring exhibition, part ofLiving Treasures: Masters of Australian Craft series.

BEYOND Big Land 7 May–3 July

Four artists explore their interpretation ofthe notion of ‘Australia Felix’ by alluding todifferent aspects of the contemporarylandscape. Topics range from the impact of the mining boom in Western Australia tothe romantic pictorialism of the high country.

The exhibition includes photomedia-basedworks by Christine Adams, Lesley Duxbury,Les Walkling and Stephen Wickham thataddress issues of environmental conservation,land-use on an industrial scale and the alteredlandscape since European settlement.

MODERN ink wash paintingfrom the National Art Museum of China16 July–11 September

In recognition of 2011 as the Year ofChinese Culture in Australia, this specialexhibition from the National Art Museum ofChina, illustrates modern interpretations ofthe venerable Chinese tradition of ink andwash painting.

Exclusive to the Geelong Gallery, the exhibitionincludes works by nine leading contemporaryChinese artists working in the genre. They explorethemes as widely ranging as city and suburbanlife, landscape and atmospheric impressions, theworld of dreams, historical allusion and therelationship of Chinese opera and painting.

SHELL ARTS – GEELONGREGION ARTISTS PROGRAMChristopher Heathcote: When lights are low23 April–5 June

Recent abstract paintings by Christopherwere inspired by the geometry of urbanarchitecture and music.

Geelong Gallery’s EXHIBITION PROGRAM April – September

From left: Les Walkling, In my garden, 2010,pigment print. Courtesy of the artist

Lesley Duxbury, Available light(detail), 2010, inkjet print.Courtesy of the artist and GalerieDüsseldorf, Perth

Stephen Wickham, Blackish byreasons of ice #1, 2010, E-typeprint. Courtesy of the artist andStephen McLaughlan Gallery,Melbourne

Liu Qinghe, Wind and water, 2010, ink. Collection of the National Art Museum of China, Beijing

Barry Gillard: The Ulysses series11 June–24 July

See Barry’s recent large-scale charcoaldrawings on paper ●

For more details about theforthcoming exhibitions contactGEELONG GALLERY03 5229 [email protected]

Penny Byrne, War on terror waltz, 2009,porcelain figurines, vintage action manaccessories, miniature service medal,retouching medium, powder, pigments. DeakinUniversity Art Collection. Image reproducedcourtesy of Sullivan and Strumpf Fine Art andthe artist. Photographer: Jeremy Dillon, ThePhotography Department

Geelong Gallery’s outstanding collection of paintings, sculpture and decorative arts spans theart of Australia from the colonial period to the present day.

Little Malop StreetGeelong VIC 3220

03 5229 3645

Open daily 10am to 5pmClosed – Christmas Day, Boxing Day,

New Year’s Day and Good Friday

SPECIAL EXHIBITIONS

23 April to 26 JunePenny Byrne – CommentariatA Deakin University touring exhibition

7 May to 3 JulyRobert Baines – MetalAn Object Gallery touring exhibition and part of the Living Treasures: Masters ofAustralian Craft series

7 May to 3 JulyBeyond big land

16 July to 11 SeptemberModern ink wash painting from the National Art Museum of China

SHELL ARTS – GEELONG REGION ARTISTS PROGRAM

23 April to 5 JuneWhen lights are low – Christopher Heathcote

11 June to 24 JulyThe Ulysses series – Barry Gillard

Guided tours of the permanent collection Saturday from 2pm

FREE ENTRY

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The town of Aireys Inlet, on the

spectacular Great Ocean Road is known

for its wealth of writers, musicians and

artists. Following on from successful writers

and music festivals over the last few years, we

are excited to showcase our artistic talents.

Eagles Nest Gallery is thrilled to be able to

exhibit the works of 15 artists in an exhibition

titled The Art of the Aireys. These artists draw

their inspiration from and live in this vibrant,

eclectic seaside town. The display will include

paintings, etchings and sculptural pieces

ranging in style from the traditional to the

more contemporary.

The Art of the Aireys Susan Romyn is considered one of the best

artists in the district. Trained as a printmaker,she has progressed to vibrantly colouredcanvases which reflect her place in this seaside

town. The layers and textures used on eachpainting reflect the layers and textures of ourpersonalities. This, with a sense of whimsy andoften tongue in cheek social comment is theessence of her work. Her extraordinary talentand creativity has extended to vintage buttonjewellery and more recently to beautiful hand-crafted silver jewellery.

Bill Jackman’s is artwork reflects the ever-changing nature of the seascape and bushland.Bill has produced many beautiful watercolourpaintings, but his sculptural pieces are whatmake him a much sought-after artist. Bill useslocal wood and metal to create special piecesthat include the fauna of the area.

Dianne Leslie usually starts with a subject,often derived from music, poetry, books oraphorisms and then developed by experimentingwith different materials. She loves textures,shapes, colour and the contrasting tactile aspects of ceramics and sculptures both modernand ancient.

Since moving to Aireys Inlet, Dianne hasbeen exploring offset printing combined withpen work, acrylics and joss paper on canvas.Her ‘pot’ paintings have evolved from allthese influences.

Pat McKenzie’s painting is greatlyinfluenced by the beautiful surroundings of theGreat Ocean Road and Otway National Park.The subject usually dictates which mediumshe will use, whether watercolour, pastel,pencil or oil. The Australian bush, boats,rocks, reflections and buildings are amongsther favourite subjects.

After leaving his native Czechoslovakia, Jiri

Tibor Novak’s discovery of Australia helpedto re-invent his own sensibility with newcolours and new shapes. In his work he isinviting you to share in his powerful magical landscapes.

Jeff Raglus is living proof that success isnot determined by how well one performs atschool. High school did not suit Raglus wholeft early and chose to follow an alternateartist’s life. He bought an airbrush and spray-painted surfboards. As a musician he went onto play trumpet in many bands and maintainedhis artistic skills by printing t shirts andposters. He joined the iconic Sydney basedgraphic company Mambo, working there formost of the nineties during which time hedeveloped his signature ‘Surf-Folk-Pop’ style.Raglus has gone on to have many sell-outshows around Australia. He has written andillustrated several children’s books, of whichSchnorky is Raglus’ most well known work.

More recently, Raglus is working as asinger song writer, playing the trumpet inseveral musical ensembles. Although hiscareer has taken fresh directions he continuesto paint.

After a life of teaching in Victorian statesecondary schools and at Trinity GrammarSchool, Kew, Ray Woods took up painting as afull-time activity. The influence of landscape isevident in his watercolour paintings and etchings.The subject matter – landscapes and mountainsbathed in soft hazy light – seem to best suit hisstyle. Ray has won many awards for painting andprintmaking and is represented in collections inAustralia, United Kingdom and the USA.

Catherine Morgan has been painting forseveral years. Having grown up in the easternsuburbs of Melbourne, recently she underwenta sea change and now lives with her family atAireys Inlet. Her style is modern with avibrant and colourful edge. Circles are afeature of her work; she loves the texture andfeels that circles in motion give to her art.

Peter Day has lived on Victoria’s westcoast for over 30 years. He works inenvironmental education and makes furnitureand sculpture. He is also a seasoned surferand his recent artwork is a culmination ofthese passions.

Peter’s affinity with land and sea country isthe inspiration for over two decades offurniture making and artwork using driftwoodand found objects. Fish Project is a series ofassemblage and ephemeral sculptures ofmarine life. Peter sources the materials fromVictoria’s rugged coast. The driftwood,

plastics, flotsam and jetsam take days to find.To find these materials requires localknowledge and an understanding of theocean’s moods. Peter’s work tells of thewonder and mystery of the unseen creatureswhich inhabit the sea and estuaries foundalong this coastline.

Born and raised in Mildura, the Mallee hasbeen the home of Eddie Warhurst for thegreater part of his life. Many of his expressivelandscapes are descriptive of this arid, semi-desert region.

Trained as a secondary school art teacher,he has held a number of successful soloexhibitions in regional galleries. He has alsopainted extensively for clients on acommission basis.

Eddie does not see himself as a realisticpainter of birds, but acknowledges that theyare an integral part of the environment.Having permanently relocated to Aireys Inlet,Eddie is looking forward to the challenge ofcapturing the surf coast environment in his canvases.

John Wilcox lives amongst the rawness ofnature in Aireys Inlet, and so his work isinfluenced by the natural flow of the weatherand its effects on the sea. Years of surfinghave reinforced the ingrained understandingof the strengths of simple line and flow, itsability to move the eye and reflect movement.

Working with rocks, wood and steel, Johns’work merges elements of found objects withhand-formed shapes to create pieces that havea simple yet strong flow and design. Thepiece for the Lorne sculpture trail, titledCrescent reflects a powerful shape in nature;tidal, lunar, repetitive, and flowing withmovement. Made from steel and standingapproximately 3.6 metres tall, Crescent is asmall vignette of a larger scape taking theviewer through a journey in five phases.

Laurie Adamson has enjoyed painting fora number of years, beginning with oil paintingunder the tutelage of Bernice Ireland andBrian Nash. He progressed to watercolourunder Bruno Callori and more recently withRay Woods. Laurie draws his inspiration fromthe beauty of the surf coast as well as countryVictoria and his landscapes and work onnative fauna are rich in colour and texture.

Lisa Simmons says that living in AireysInlet you can’t help but be inspired by thebeauty and nature of the coastal environment.Discovering my passion for sculpture about12 years ago, my focus has mostly been onthe human element, though I have always hada special interest in the role and history of theSplit Point Lighthouse. Currently I amenjoying experimenting with abstract formsinfluenced by the sea and its surrounds. Myworks included in the Aireys by Aireysexhibition are a portrayal of the ebb and flowof coastal life ●

EAGLES NEST GALLERY03 5289 [email protected]

Exhibitions:

1 – 30 April Contemporary Works Lindy Banner

9 – 30 April The Art of Aireys Group ExhibitionChampagne Opening: Saturday 9 April, 3pm

1 – 31 May Landscapes Philip Kininmonth

1 – 30 June Contemporary Works Amanda Fraser

Open: 10 am – 5 pm Friday - Monday

P: +61 03 5289 7366 E: [email protected] Great Ocean Road Aireys Inlet 3231 www.eaglesnestgallery.com.au

CONTEMPORARY ANDTRADITIONAL PAINTINGS,GLASS, CERAMICS,SCULPTURE AND JEWELLERY

Peter Day Pat McKenzie Eddy Warhurst Jeff Raglus

THE DIVERSITY OF ART CELEBRATEDAT EAGLES NEST GALLERY

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Artist Prue Kirkcaldie is holding amajor exhibition of her work at QdosArts in Lorne, opening at 3 pm on

Easter Saturday, 23 April, and running forthree weeks. Her work looks deeply at theconnection between Australians and the bush,and the impact that an expanding populationis having on our fragile environment as morebushland falls prey to the ceaseless march ofurban sprawl.

The exhibition contains a diverse array ofpaintings that demonstrate Kirkcaldie’s keenobservations on humanity and its relationshipto nature. The works are rich in the detail andcomplexities of their messages, andenlightening in the way they connect theviewer to the landscape. However, the word‘painting’ fails to capture the full extent ofKirkcaldie’s art, as her unique technique ispowerfully intelligent with a scope thatbridges into sculpture.

To express her ideas, she works withthousands of mass-produced, equal-sized balsasticks, which she glues to a base. She thenindividually sculpts each stick into its desiredstate, and paints and treats them in a varietyof ways to create her sought-after, often three-dimensional result. Her striking visuallanguage comes from using a combination oftools and application methods, involving oils,wood and canvas enhanced by photography,and computer graphic programmes.

ARTIST’s statementThe balsa sticks are my metaphor for the

human race – for people as individuals, asgroups and as parts of society as a whole. Byusing the sticks individually or in numbers, Ican tell stories about the human condition andits relationship to the natural world.

I’ve called this new exhibition ‘progressivethinking’ and used the bush as symbolic iconologyto explore Australia’s unprecedented populationgrowth and our collective perceptions ofpermanence. This has contemporary echoes ofwhat Henry Lawson wrote in his famous poem,The Roaring Days, where he said, ‘The flauntingflag of progress is in the West unfurled; the mightybush, with iron rails, is tethered to the world.’

IMPRESSIVE body of workThere is more to Kirkcaldie’s work than this

suggests. It is not merely a simple lamentationabout the effects of society’s intrusion into thenatural world – it is a complex reflection onthe natural cycle of destruction and rebirththat we all recognise as being a part of theAustralian bush.

Floods, fire and human infrastructure willcontinue to come and go, but in Kirkcaldie’sworld, there is still a slender chance for boththe survival of the mighty bush and thesurvival of humanity. Her work is filled withthis undercurrent of hope, which is reflectedin the energy of the forms and colours

Kirkcaldie chooses to convey the narrativeembodied in her works. They carry clearsignals that can be immediately grasped, aswell as ambiguities that raise questions in theviewer’s mind.

This exhibition is an impressive body ofwork by an artist whose practice, already heldin some significant collectors, is just nowbeing exhibited for a wider audience ofcollectors and admirers.

SCULPTURE Park When you visit Qdos on Allenvale Road in

Lorne, allow time to visit our Sculpture Park inthree acres of thick towering eucalypts. It featuresa decorative pond surrounded by works of ourleading sculptors, perfect for a picnic ●

For more information contactGraeme Wilkie, DirectorQDOS ARTS 03 5289 1989www.qdosarts.com.au

AT QDOS PRUE KIRKCALDIE’SPROGRESSIVE THINKING exhibition exploresbush fragility as a human metaphor 23 April – 15 May

Prue Kirkcaldie, Move over, 200 x 80 cm Prue Kirkcaldie, Immigration, 120 x 100 cm

Prue Kirkcaldie, Captured torchered ,120 x 80 cm

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3. CASTLEMAINEXXXX ANTIQUE COMPLEX(THE BOND STORE)5-9 Elizabeth Street, CastlemaineCorner Midland & Pyrenees Highways, next toCarrier’s Arms Hotel03 5470 5989Open 7 days 9.30am - 5.30pmOne of the largest independently owned selections of quality antiques and collectables.Thousands of items on display to suit either thecollector or the connoisseur.

CASTLEMAINE COLLECTORS CENTRE Inc71 Forest Street (Melbourne Road), Castlemaine03 5470 6968Open 7 days 10am - 5.30pm12 stallholders present an interesting and varied selection of antiques, old wares, collectables, furniture, glassware, pottery, jewellery, lamps, artwork, handcrafted teddies, dolls, garagenalia etc, books, records and comics.

4. DAYLESFORDEX LIBRIS89 Vincent Street, Daylesford03 5348 1802Open every day 10am - 5pmGreat selection of antique European prints, mostly 18th and 19th century, focused on architectural, botanical, topographical and earlyAustralian engravings. New and exciting printsby Australian artists also featured. Other decorlines include Italian cushions, photo frames, Victoria Spring jewellery and homewares.

MILL MARKETS ANTIQUES ANDCOLLECTABLES CENTRE105 Central Springs Road, Daylesford03 5348 4332Open 7 Days 10am - 6pmSuperb display of Victorian and Edwardianfurniture, collectables, clocks, vintageclothing, porcelain and china. Over 100stallholders, 2.5 acres, all under cover with acafé serving homemade food and a variety ofhot and cold drinks.

1. BALLARATART GALLERY OF BALLARAT40 Lydiard Street North, Ballarat03 5320 [email protected] daily 9am - 5pmThe oldest and largest regional gallery in thecoutry, the Ballarat gallery’s magnificentcollection allows you to walk through thehistory of Australian art. Also excitingtemporary exhibition program.

ANTIQUE EFFECTS110 Urquhart Street, BallaratPhone/Fax: 03 5331 3119Open Monday to Saturday in the restored oldco-op store buildingwww.antiqueeffects.com.auA range of antiques, collectables, jewellery, bric-à-brac and restored products as well as directimporters of mahogany, teak and pine furniture.

ANTIQUES AND COLLECTABLES CENTRE BALLARAT 9 Humffray Street North, BallaratAt Humffray Street SchoolCorner Main Road & Humffray St03 5331 7996AH: Colin Stephens 03 5332 4417Open 7 days 10am - 5pmSpecialising in a wide range of antiques andcollectables. Off-street parking. Off street parking and now also incorporating aheritage museum.

THE MILL MARKET IN BALLARAT 9367 Western HighwayBallarat03 5334 7877Open 7 days 10am - 5pmThe Mill Market is now in lovely Ballarat atthe Great Southern Woolshed on the WesternHighway, Melbourne side.Come and fossick for that special piece, thatfunky item, the bit that’s missing, the groovyfashion and all things interesting.Antiques, vintage, retro, art & craft, bric-à-brac, collectables, clothes, jewellery, books,records and giftware. Over 70 stall holdersunder one roof all working to please you. Freeentry and plenty of parking. Come and sharethe experience.

2. BENDIGOBENDIGO ART GALLERY42 View Street, Bendigo03 5443 4991 Fax: 03 5443 4486bendigoartgallery@bendigo.vic.gov.auwww.bendigoartgallery.com.auEntry by donationOpen daily 10am - 5pmExcept Christmas DayGallery Café/Gallery ShopOne of the oldest and largest regional galleriesin Australia, Bendigo Art Gallery hasoutstanding permanent collections of 19thcentury European art, Australian art from the19th century to the present and a diversetemporary exhibition program.

VALENTINE’S ANTIQUE GALLERY369 Hargreaves Street, Bendigo03 5443 7279 Mob: 0418 511 [email protected] 9am - 5.30pm Monday to Friday9am-1pm Saturday, closed SundayImporters of fine quality antiquesspecialising in Georgian, Victorian andEdwardian furniture, ceramics and glassware.

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5. MARYBOROUGHMARYBOROUGH STATIONANTIQUE EMPORIUM, LICENSEDCAFE AND REGIONAL WINECENTRERailway Station38c Victoria Street, Maryborough03 5461 [email protected] 10 am to 5 pm Sunday, Monday &Wednesday, Thursday & Friday 10 am to 11 pm, evening meals available until 9 pm. Saturday evenings by appointment(closed Tuesday) Group bookings and functions welcome.An 1890 National Trust classified building.Quality antiques, collectables, wine, foodand art. The wine bar has selected regionalwines at cellar door prices. Homestyle mealsand cakes prepared and baked on premises

6. MALDONBEEHIVE OLD WARES &COLLECTABLES72 Main St, Maldon03 5475 1154 A/H: 03 5475 [email protected] 6 days - 11am - 5pm (closed Tuesdays)We buy, swap and sell old wares, antiques andfurniture. Various traders providing a goodselection including furniture, china,collectables, books and records.

MARYBOROUGH

AVOCA

ANTIQUES AND ART in Central Victoria

For advertising onthis map please

phone Harry Blackon 0418 356 251

7. AVOCA– 15 minutes from Maryborough

McMURRAY GALLERIES103 High Street, Avoca 03 5465 3060lauriemcmurray@mcmurraygalleries.com.auwww.mcmurraygalleries.com.auwww.lauriemcmurray.com.auHours: Open most days from 10.30 am - 5 pm Please ring if travelling a long distanceCollectable artworks from the late 1800s tothe present day by local, national andinternational painters and sculptors.Nude and portrait artworks by residentclassical realist artist Laurie McMurray.

WESTBURY ANTIQUES119 High Street, Avoca03 5465 3406 Fax: 03 5465 3455www.westburyantiques.com.auEnglish and Continental 17th and 18thcentury furniture and decorative arts, alsovaluation services.

8. TRENTHAMGOLD STREET STUDIOSWORKSHOPS AND GALLERY700 James Lane Trentham East Vic03 5424 1835ellie@goldstreetstudios.com.auwww.goldstreetstudios.com.auDirector Ellie YoungRepresenting photographers Bob Kersey,Karl Koenig, Hans Nohlberg, Chia N-Lofqvist Tim Rudman, John Studholme,Steve Tester, Mike Ware, Gordon Undy EllieYoung including albumen, carbon, gumbichromate, gum oil, lithograph, chrysotype,new cyanotype, photogravure,platinum/palladium, salt, silver gelatin andziatypes photographs. Hours: byappointment. Check the website forworkshops in these processes.

MARYBOROUGHA N T I Q U E S & A R T I N V I C T O R I A

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Market AffairMarket runs from 8 am till 4 pm

Over 50 stalls

For dates and more details contact Glenda 03 5461 4683

www.stationantiques.com

STATION ANTIQUEEMPORIUM

LICENSED CAFE & WINE CENTREOld wares • Collectables • Regional wines

Open 6 days • 9.30 am to 5 pm Sunday, Monday, Wednesday9.30 am till 11 pm Thursday, Friday and Saturday,

For details of next Market Affair contactGlenda James

Ph: 03 5461 4683 • Fax: 03 5460 4988RAILWAY STATION, 38C VICTORIA ST

MARYBOROUGH VIC 3465

Email: [email protected] • Website: www.stationantiques.com

Maryborough Railway Station Antique Emporium & Cafe

Tourist Complex, Antique & Collectables & Licensed Restaurant

Maryborough Railway Station in Central Victoria is a majortourist attraction. Restored to its original beauty by Victrack, theGrand Station built in 1892, is steeped in history. Marvel at theworkmanship of 118 years ago.

Station Antiques & Cafe – operating for the past 15 years –offers fine dining, relaxation, a extensive selection of local wines,quality antiques and art for your perusal.

Enter via the main foyer into the large dining room, originallythe first class silver service dining room. The ceiling is crafted ofkauri pine and there is a centre lightwell. Experience themagnificent original fireplace with a roaring open fire in wintermonths whilst enjoying a great selection of fine foods and superblocal wines.

Wander through the large display of antiques and find abargain. Further on is the formal dining/sitting room featuringantique furniture and gallery of Phillip Adam’s paintings.

Come with friends or arrange a bus group. Live entertainmentevery Friday evening featuring local artists and on Sundays listento the live harp music of Carolyn Brophy. Enjoy excellent food,coffee, teas and wines, a perfect place to relax.

Weddings, large and small functions welcome.

The Railway Station Market is a terrific experience.

Enjoy the ambience of the grand Victorian station with warm friendly hospitality.

M A RY B O R O U G H R A I LW AY S TAT I O NFine regional wines, antiques, quality food, art & Market Affair

American Sessions clock, working, $445

Vintage Beswick(England) camel,$375

Three-handled sterlingsilver vase, $395

Set of three 19th century Mason’s ironstonegraduated jugs, $695

Desk lampmade by Eller,original shadeand base, $735

Button baseladies chair,$550

Lacquered Chinese c. 1840s sewing box, $795

Edwardian tubchair, $195

OriginalArtNouveauamberlamp, $75

ShelleyMoonlightvase c. 1910,$195


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www.bendigotourism.com


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Drawing on the V&A’s outstandingcollection of wedding gowns from theearly 1800s to the present, the

exhibition traces the history of the weddingdress. Individual garments and their historiesare used to illuminate ways in which societyhas responded to economic, cultural andtechnological change, expressed in wedding fashions.

WHY white?Exquisite gowns have represented the

single largest investment in clothing in alifetime for many. However, why did the whitewedding dress became the garment of choicefor fashionable brides in the early 1800s? Seehow designers and couturiers interpreted thetradition from the late 1800s through to today.Investigate why the public has such anenduring fascination with society andcelebrity weddings.

The exhibition encompasses historicalbridal dresses, veils, corsetry, millinery, shoesand other accessories. There are gowns bycouturiers and designers including CharlesFrederick Worth, Norman Hartnell, CharlesJames, Zandra Rhodes, Vivienne Westwood,Vera Wang, Christian Lacroix, Lanvin, PhilipTreacy and Stephen Jones.

Edwina Ehrman, curator of the exhibitionsays, ‘This exhibition presents the mostromantic, glamorous and extravagant weddingdresses from the V&A’s superb collection andhighlights the histories of the dresses,revealing fascinating details about the lives ofthe wearers and offering an insight into theircircumstances and fashion choices.’

AUSTRALIAN wedding fashionsBendigo Art Gallery will curate an

additional section for the exhibitionhighlighting wedding costume in Australiafrom colonial settlement to contemporarywedding fashion.

Make your plans to visit Bendigo ArtGallery for this and other outstandingexhibitions. Tickets on sale now, visit theGallery's website for further information ●

BENDIGO ART GALLERY03 5434 6088bendigoartgallery@bendigo.vic.gov.auwww.bendigoartgallery.com.au

WORLD PREMIERE AT BENDIGO ARTGALLERYThe White WeddingDress: Two HundredYears of WeddingFashions From the Victoria and AlbertMuseum, London 1 August – 6 November

American Dreams: 20th century photography from George Eastman House

16 April – 10 July

The White Wedding Dress: 200 years of wedding fashionsorganised by the V&A, London

1 August – 6 November

Wedding dress by Charles James (Engish), worn by Miss Baba Beaton on 6 November 1934. © Victoria and Albert Museum/V&A Images

Silk wedding dress, over-sleeves andpelerine, trimmed with blond silk lace,British, 1828. Worn by Eliza Larken for hermarriage to William (later 6th Baron)Monson © Victoria and AlbertMuseum/V&A Images

Adult admission is only $5 and childrenunder 14 years of age accompanied by anadult will be admitted free of charge.

New traders are most welcome. For furtherdetails on the fair, ring Graham or Pearl Rose ●

BALLARAT COLLECTABLES FAIR03 9585 6567 or 0428 394 249

74

Graham and Pearl Rose have planswell in hand for this year’s BallaratCollectables Fair to be held on

Saturday, 2 July. Well known for thesuccessful collectables fairs they run inGeelong and in Melbourne, Graham and Pearl

organised their first Ballarat Collectables Fairin 2009.

Ballarat is a popular collectors’ stop, andthe fair is offering more in one place on oneday than collectors could find on their own.This year’s fair is in the modern and spaciousWendouree Sports and Events Centre.

Meet the organisersThe Roses have over 40 years of involvement

as collectors and traders in antiques andcollectables and their well respected fairs attractstrong support from the antiques industry.

Regular patrons acknowledge that theyattract diehard collectors – and courteoustraders. The Ballarat fair is filled with manyfamiliar faces from a long list of regular andprivate sellers coming from metropolitan andregional Victoria.

Stock galoreThere will be the usual special collectables

such as fine English pottery from RoyalDoulton, Beswick, Shelley, Clarice Cliff andCarlton ware. This year there will be manydifferent types of collectable glassware,kitchenalia, ephemera, antique prints, vintagetoys and die cast models and dolls.

Tiny collectables, suitable for travellingcollectors without much spare space, willinclude swap cards, football cards, stamps andcoins, jewellery, tins, badges and watches.Popular stock includes Coca-Colamemorabilia, sporting and advertisingmemorabilia – and racks of vintage clothingand linen. With literally thousands of items onoffer, whatever your special interest, you aresure to find something to satisfy yourcollecting passion at this fair.

Early bird collectors To take advantage of the early starting time

of 9 am sharp arrive early, as there will be anorderly queue to enter with the opportunity offirst pick of the goods.

As this is a one-day event closing at 3 pm,there is only six hours of browsing andcollecting. Keen collectors know this isthe ultimate one-stop fair for all types ofpopular collectables.

Getting to the fairBallarat is linked with a dual highway all the

way from Melbourne and is easily reached frommany regional centres. The fair venue is easy toaccess from the Midland Highway exit on the M8Western Freeway, with plenty of free parking onsite. When you work up an appetite for food,catering will be offered all day.

COLLECTABLESFAIR

BALLARATSaturday 2 July 2011

WENDOUREE SPORTS & EVENTS CENTRENORMAN STREET

9 am – 3 pm

Items of interest will include china, silver, swap cards, linen, glass,toys, stamps, coins, medals, antique prints and much more

A ONE STOP FAIRFOR ALL TYPES

OF COLLECTABLES

LOCAL, REGIONAL & INTERSTATE TRADERS!

For further details and bookings:Graham & Pearl Rose on 03 9585 6567 or 0428 394 249

NEWVENUE!

ADMISSION:$5 ADULTSCHILDRENUNDER 14FREE

BALLARAT 2011 COLLECTABLESFAIR on Saturday 2 July

Tin toy plane. Childhood toys bought for pennies – now worth many dollarsCollectable cartoon character figurines

At the Ballarat Collectables Fair, you find agreat selection of fine china and othercollectable ceramics from renowned Englishfirms such as Royal Doulton, Shelley, RoyalWinton, Beswick and Carlton Ware

Royal Doulton figurines



75

When you visit the Art Gallery ofBallarat, include time to explorethe gallery shop, which not only

stocks a range of gallery souvenirs, includingpostcards and exhibition catalogues, but anextensive selection of art books and designergifts including jewellery made by localartisans and accessories. Brand names you’llfind at the shop include Elk, Me Olde China,Angus & Celeste, Kai Kai, Ruby Pilven,Mattt, Mekko, B.Sirius, and D/Lux.

The gallery shop also specialises in works bylocal ceramic artists. The Ballarat region has a longtradition of producing high quality ceramics andsome of the artists whose work you’ll find in theshop include Peter Pilven, John O’Loughlin, BarryWemyss, Kath Wratten and Koji Hoashi.

For young visitors is a fantastic range ofchildren’s toys and books in the children’scorner, which is supplied with pencils andpaper so children can have fun while parentscan browse at their leisure.

Scholarly and informative catalogues fromcurrent exhibitions and earlier shows are availablefor purchase. Exclusive to the shop are thosecatalogues published by the gallery. Among theinteresting titles available is Highlights Of TheCollection, published in 2006, which gives a briefhistory of the gallery and shows the range andstrength of the collection. It makes a wonderfulpresent for art lovers or guests from overseas.

Sweet Decadence at the GalleryTake time out to indulge your senses at

Sweet Decadence, the gallery’s new café,

which is fittingly named after the first coffeeshop at Locantro in Daylesford, and the firsthandmade chocolate shop in country Victoria.In the café are the same quality produce,coffee and chocolates as well as deliciousfood made from locally sourced ingredients.Whether a local or visitor, the culinaryexperience promises to be different to whatwould see and taste anywhere else.

Take home the special handmadechocolates. Made on the premises arechocolates for all occasions, from gift boxesto specialty packs for corporate and privateevents. Using chocolate, fresh cream, driedfruits, nuts, flavourings and alcohol, theingredients are stirred in a heavy pan over heat.Each mixture is poured into a stainless steel

tray to set. Then it is turned out onto a benchand cut with a large knife. The chocolates areindividually dipped in and decorated withmelted chocolate.

For coffee aficionados, Sweet Decadence isthe first café in country Victoria to serveBelaroma coffee – 100% Arabica beans roastedin Australia and packed within minutes,guaranteeing freshness, flavour and aroma.Together with the gourmet treats, this café isthe perfect place to take time out during yourvisit to the Art Gallery Of Ballarat ●

ART GALLERY OF BALLARAT03 5320 5858

THE GALLERY SHOP AND CAFÉ ATTHE ART GALLERY OF BALLARAT

www.visitballarat.com.au

GIPPSLANDA N T I Q U E S & A R T I N V I C T O R I A

76

There is a measure of anxiety in thisera of globalisation that traditionalcultures, like the nomadic groups of Iran,

are endangered and will soon be lost. However,these vibrant cultures are adapting theirtraditional lifestyles to fit the demands andconditions of a contemporary urban society.

On a buying trip I saw that trucks werereplacing animals for transport, wovensaddlebags had given way to sewing togetherpieces of fabric, crops were being cultivated inrented plots and, best of all, children wereattending schools in towns and cities. Suchinnovations were in tandem with traditionalcultural expressions of the nomads, whosestories I share with readers.

QASHQAI nomads and rug making

For the past few decades, nomads have hadless access to the plants from which to makevegetable dyes, as they grow more rarely in thewild and nomads are not travelling as widely. Toaddress this decline in raw materials merchantsbegan to buy natural dyes to sell or give tonomads who had settled, to weave specificallyordered carpets. This has proved to be veryhelpful for the Iranian carpet industry and hasbeen replicated in other countries.

Nomadic women now weave as contractorsand their products for sale rather than for theirown use. Rugs still feature traditional designsalthough some have been varied for customers.

Adventures and stories from SHIRAZ IN SOUTHERN IRAN

We are open from 10am to 5pm Thursday to Sunday and Public HolidaysPh: 03 5659 4215 Mob: 0412 459 260

Email: [email protected]

www.carringtons.com.au

Visit historic Loch Village and browse through Carringtons’ uniquerange of antiques, art, fine English bone china,

old wares, lamps & reproduction mahogany furniture

LOCH VILLAGE FOOD & WINE FESTIVAL

Queen’s Birthday Weekend10-13 June 2011

Friday 10 June – Festival Opening 8pm – ’60s themeSaturday 11 June – ‘A Taste of Gippsland’

Sunday 12 June – The Main Eventfeaturing over 50 food & wine producers

Monday 13 June – Enjoy local food and wine

Ph: 03 5659 4215

CARRINGTONS OF LOCHVICTORIA ST LOCH VILLAGE

Merchants like Zolanvari have asked forlandscape designs featuring animal figures withvibrantly coloured vegetable dyed wool, toachieve a bold and modern effect.

These so-called Gabbeh rugs have quicklybecome very popular in the western market, littleknowing that they functioned as mattresses in pre-settlement nomadic times. Traditionally they weremade with uncoloured wool, had very coarseknots, unshaved pile and minimal designs.

DONKEYS and Qashqai tentsQashqai tents in a summer camp are

traditional, but the donkeys’ saddlebags are nowmade of fabric. Sewing up fabric is faster thanweaving a khorjeens for months. ‘We have notime to make one, this bag does the same jobanyway,’ one girl explained.

Western clothing has replaced the riders’colourful traditional dress. They live in Shiraz during the school term and in tents onlyfor summer.

SADAT Khanoom, Afghanirefugee weaver

The woman whom I call Sadat Khanoom(which means a woman deserving of greatrespect) is a refugee from Afghanistan and nowlives among the Turkish-speaking Qashqaipeople near Shiraz. She wears less traditionalclothing and her method for spinning wooldiffers slightly from theirs. Her spinning ball ismore spherical, and she doesn’t have a stickprotruding from it. In Sadat khanoom, Afghaniculture and textile techniques negotiate withPersian nomadic surroundings. I encounteredthis combination of tradition and adaptationrepeatedly in my time with the nomads.

A NOMADIC child’s life Shahin, a twelve-year-old boy, has a bike

which he uses to help care for livestock. It is hisjob to take them to higher ground in themorning and bring back before nightfall. Heshoulders this responsibility easily, with amaturity beyond his years, tempered by a child’slaugh. He spoke of the effect of the drought thatrequires the livestock to make increasinglylengthy journeys up the mountain for greenfodder. When I asked if he is involved withcarpet making, he answered that it is women’swork, for his sister.

I encountered children on their way to thenearest cheshmeh (stream) to wash dishes leftdirty from the funeral ceremony of a familymember. Now cars are used for journeying, sofor these children, the idea of traveling withhorses and camels has become the stuff ofstories from the past.

When I was near Shiraz I encounteredFatimeh and her younger sister busily weaving aQashqai kilim for winter. There was only twomonths left of the summer camp before their

family migrated to warmer areas for winter sothey wanted to finish it and take it from theloom. Fatimeh had spun and dyed the wool fromthe spring shearing. She said most dyes werepurchased because plants for natural dyes suchas madder and jasheer (a fennel-like plant), wererarely found in the mountain. Fatimeh’s designwas created as she wove and her younger sistermirrored her sister’s work.

CULTURAL shiftsOn the edge of a dried lake I saw black tents

of Khamseh nomads (Arabic-speaking nomads)who were farming on rented land. Sunflowerswere in full bloom and family members werepicking green beans to sell at the market to fundtheir winter migration. Non-traditional modes ofproduction, such as the cultivation of crops, havebeen incorporated here with the nomadic cycle.

MAINTAINING links Nine-year-old Yasaman and 13-year-old

Maryam moved to the city where their fathernow works at building sites and their motherweaves carpets in their front yard. They enjoystaying with relatives who live in tents in themountains, yet are happy living in the city andgoing to school. Maryam wants to weave herown design one day. Their grandmother isunhappy living in the city, but is pleased that thegirls are staying at home and weaving carpets intheir leisure time.

Women seemed to maintain links with theirnomadic lifestyle even in the city, through theirclothing and carpet weaving. However, city boyshave less tangible connections with nomadicgender-based roles.

For Qashqai women spinning wool in theirtent is a typical afternoon activity for nomadicwomen. Almost every woman I saw was sittingin the black tent, leaning against their beddingbags and chatting away while they all spun wool.

Women appeared to relish beingphotographed, while nomadic men were lesspleased by our presence.

CULTURAL resilienceThese examples of combining tradition and

adaptation assure us that some of the best partsof the nomads’ cultural traditions will survive ina changing globalised urban society ●

Majid Mirmohamadi MAJID PERSIAN & ORIENTAL CARPETS03 9830 [email protected]

From left: Qashqai rug, 226 x 150 cm

Khamseh family picking green beans for themarket near Shiraz, to pay for their wintermigration

Fatimeh and her younger sister weaving a Qashqaikilim under the shade of trees near Shiraz

Shahin, a young shepherd talks with Majid

Qashqai rug, tree of life design in Majid’s collection

VICTORIAN ANTIQUE DEALERS GUILDA N T I Q U E S & A R T I N V I C T O R I A

77

Starting out: when did it begin?Graham has been a dealer for nearly 20

years, trading through antique centres andfairs. He registered his business, PaveyCollectables & Antiques in 1990. He iscurrently at Camberwell Antique Centre.

What sparked the interestin antiques?

Graham’s interest in antiques andcollectables started over 40 years ago whenpurchasing for private and domestic use. Aftera 35-year career in advertising and marketing,he decided to fulfil his passion and become anantique dealer.

What is the most enjoyable areaof being an antiques dealer

For Graham, it is the researching of items,finding out all about the maker, period andsocial context of objects. His profile of stockis primarily that of interesting and differentsmalls. The range is eclectic and diverse,covering categories including Georgian glass,small tureen items, interesting metal objects,boxes, ceramics and ephemera.

Favourite piece in stock atthe moment

A pair of English wax figurines of afisherman and fisherman’s wife, dated 1804.

Graham’s antiques tip forthe future

There will always be a market for antiques.

What’s the best advice receivedto date

Everything is saleable; it’s just a matter ofthe price and time.

What advice would you pass onto others

Knowledge is power, so learn as much aspossible about all aspects of the antiques thatinterest you.

Any other comments you’d liketo add

Being an antique dealer is the best fun youcan have with your clothes on.

Where to find GrahamPavey Collectables & Antiques is at

Camberwell Antique Centre, 25-29 CooksonStreet in Camberwell. Visit Graham in shop11 or phone him before visiting on03 9596 1602 / 0411 437 511 ●

Victorian Antique Dealers GuildEstablished in 1982, the Guild’s motto is‘Service and Protection.’A member of the Victorian Antique DealersGuild, Graham maintains a professionalstandard and a code of ethics by which allmembers abide.To take pride in presentation and the properidentification of antiques and collectables.To foster interest in collecting antiques.To display professional conduct at all times.To generate the honesty and integrity ofguild members towards clients.

THE VICTORIANANTIQUE DEALERSGUILD Member profile

VICTORIAN ANTIQUE DEALERS GUILD INC.

Six excellent reasons to buy with confidence from a member of the Victorian Antique Dealers Guild Incorporated, knowing your antique is genuine.

■ Guild members guarantee the description of the antiques andcollectables they sell

■ Guild members must meet requirements of integrity, experience andknowledge of the goods and services they provide

■ Guild members must be professional in both their displays of goodsand dealings with the public

■ Guild members are required to have been trading, in a professionalmanner, for a minimum of three years

■ Guild members must be registered second-hand dealers

■ The VADG Customer Protection Policy covers a purchase from a Guild member

A.B. Furniture 630 Glenhuntly Road, South Caulfield, Vic. 3162Phone: 03 9523 8050 Mobile: 0407 822 115

Antik@Billy’sMailing Road Antique Centre, Canterbury, Vic. 3126Mentone Beach Antiques Centre, Beach Road, Mentone, Vic. 3149Maryborough Station Antiques Centre, Maryborough, Vic. 3465Mobile: 0402 042 746

Armstrong Collection42 Station Street, Sandringham, Vic. 3191Phone: 03 9521 6442 Mobile: 0417 332 320

Dalbry Antiques & Collectables at Mentone Beach Antique CentreBeach Road, Mentone, Vic. 3149

Camberwell Antique CentreCookson Street, Camberwell, Vic. 3124Phone: 03 9836 2301 Mob: 0418 373 940

David Freeman Antique Valuations194 Bulleen Road, Bulleen, Vic. 3105Phone: 03 9850 1553 Mobile: 0419 578 184

Diana Bradyat Circa AntiquesMollison St, Kyneton Vic.Stall 7, Dalysford Mill Market, Vic.Mobile: 0438 048 260

Donvale Antique Clocks 12 White Lodge Court Donvale, Vic. 3111Phone: 03 98744 690 Mobile: 0409 744 690 Email: [email protected]

Ern Opie Valuer 3/1 47 Roslyn Road, Belmont, Geelong, Vic. 3216Phone: 03 5244 4521 Mobile: 0417 575 484

French Heritage at Mentone Beach Antique Centre68-69 Beach Road, Mentone, Vic. 3194Phone: 03 9583 3422 Mobile: 0437 121 040Email: [email protected]

Imogene410 Queens Parade, Fitzroy North, Vic. 3068Phone: 03 9569 5391 Mobile: 0412 195 964

Irene Chapmanat Irene Chapman Antiques126 Bay Street, Brighton, Vic. 3186

Phone: 03 9505 0032Ivanhoe Collectibles Corner Tearoom231 Upper Heidelberg Road, Ivanhoe, Vic. 3079Phone: 03 9497 1935

Julian Phillipsat Tyabb Packing House14 Mornington-Tyabb Road Tyabb, Vic. 3913Phone: 03 5977 4414 Mobile: 0438 086 708

Kilbarron Antiques & CollectablesBy appointment only:1 Laurel Grove Blackburn, Vic. 3130Phone: 03 9878 1321 Mobile: 0417 392 110

Marquis Antiques105 Central Springs Road, Daylesford, Vic. 3460 Phone: 03 5348 4332 Ah: 03 5474 2124 Mobile: 0402 888 439Email: [email protected]

Tanya Galeat Camberwell Antique Centre25 Cookson Street Camberwell, Vic. 3124Phone: 03 9882 2028 / 03 9882 2091 Mobile: 0418 586 [email protected]

Page Antiques Warehouse323 Canterbury Road, Canterbury, Vic. 3126Phone: 03 9880 7433Mobile: 0411 175 320Email: [email protected]

Pavey Collectables – Antiquesat Camberwell Antique Centre25 Cookson Street, Camberwell, Vic. 3124Mobile: 0411 437 455

Seanic Antiques419 Melbourne Road, Newport, Vic. 3015Phone: 03 9391 6134Mobile: 0418 326 455 www.seanicantiques.com.au

REGIONAL AND INTERSTATE MEMBERSBaimbridge Antiques64 Thompson Street, Hamilton, Vic. 3300Phone: 03 5572 2516 Email: [email protected]

Glenross Antiques147 Hume Highway, Holbrook, NSW, 2644Phone: 02 6036 3122 Mobile: 0408 363 122

Morrison Antiques55 Carey Street, Tumut, NSW, 2720

Phone: 02 6947 1246 Mobile: 0408 965 336

Neville Beechey’s Antiques & Fine Furniture208-210 Murray Street, Colac, Vic. 3250Phone: 03 5231 5738 Mobile: 0418 523 538

Selkirk Antiques29 Summerland Circuit, Kambah, ACT, 2902Phone: 02 6231 5244 Mobile: 0418 631 445

VICTORIAN ANTIQUE DEALERS GUILD INC. MEMBERSMore than 26 Years Service to Antiques Collectors

Direct enquiries to any of the Guild Committee Members

ANTIQUES – ULTIMATE RECYCLING

Guild Committee members you can contact for expert advice and where to buy antiques:PRESIDENT: Alan Duncan, Donvale Antique Clocks, Donvale Ph: 03 9874 4690 or Mob: 0409 744 690TREASURER: Guy Page, Page Antiques, Canterbury Ph: 03 9880 7433 or Mob: 0411 175 320SECRETARY/EDITOR: Barbara Thomas, Mentone Beach Antique Centre Ph: 03 9583 4322 or Mob: 0437 121 040COMMITTEE: Alastair Wilkie, Marquis Antiques, Daylesford Mob: 0402 888 439

Graham Pavey, Pavey Collectable Antiques Ph: 03 9596 1602 or Mob: 0411 437 511Diana Brady, Circa Antiques, Kyneton Mob: 0438 048 260Tanya Gale, Camberwell Antique Centre, CamberwellPh: 03 9882 2028 or Mob: 0418 586 764

Graham Pavey, VADG Member

Meet Graham Pavey ofPavey Collectables & Antiques

NEW SOUTH WALESA N T I Q U E S & A R T I N V I C T O R I A

78

The flooding in regional Australia,in particular Queensland and its capitalcity Brisbane, has destroyed or badly

damaged many homes and their contents. No photograph, item of memorabilia or piece

of furniture is as precious as human life andthat is a given. However, those who havesurvived intact but who have had their homesand possessions badly damaged face adreadful clean-up.

For some people the loss of links to theirlives, such as furniture that has been passeddown through generations, is a real body blow.

There is a way to restore badly waterdamaged furniture – as long as the wood andthe basic construction of the piece are sound.Murky, polluted flood water will strip awayfurniture surfaces and leech out all the naturalprotective oils and resins that the wood maycontain. This leaves good furniture lookingworn and stippled with white, blotchy water marks.

Howard Restor-A-Finish – a product wellknown to restorers and fine furnitureenthusiasts around the world – has the abilityto penetrate the surface, going into the wooditself and resurrecting old shellac and othermaterials from previous coats hidden belowthe actual surface.

These elements, once released to thesurface, are worked until they re-set as a lightcoating. Making it relatively easy to repair theworst problems in furniture by yourself forrelatively little cost.

Have a look at these photographs of seriouslysmoke and water damaged furniture in a house

which was saturated by high pressure fire hoses.The proof is in these genuine before and aftershots. These repairs were carried out by one ladyusing Howard Restor-A-Finish, four zero gradesteel wool, Feed-N-Wax, Howard Orange Oiland Restor-A-Shine. The work was donevirtually unaided.

If any reader of this article has been caught in this horrendous flood situation and needs advice, please email us [email protected] or ring 1800 672 646 and we will get you theinformation and products you need at thecheapest price we can.

Alternately, I can be contacted direct on0419 403 627 if you prefer ●

David FosterHOWARD PRODUCTSwww.howardproducts.com.au

DEALING WITH WATERDAMAGED precious family heirlooms

Water damaged china cabinet China cabinet after treatment

Water damaged dressing table

Dressing table after treatment

Water damage, rings, heat marks,scratches… not a good look! But

these blemishes are easy to get rid of.Let me share my secret with you.

Restor-A-Finish,simply miraculous

Restoring-A-Finish on grandma’s bridge chair


79

Riviere College was ahead of itstime with a syllabus focusing onmusic, literature, painting, and offering

young women important educationalopportunities. Subjects studied includedgeography, history, English generalknowledge, composition, arithmetic, Germanand music.

The school was established by Professorand Mrs Georgs, circa 1877, and initiallyhoused in an imposing two-storey, turn of thecentury building with lawned surroundings inWallis Street, Woollahra. Professor Georgs, aprofessor of music, adapted the German mottofor his college: Des Fleisses Lohn (Rewardsof Work and Diligence).

Some of Australia’s leading women wereeducated at Riviere College including LillianDe Lissa, a pioneer in early childhoodeducation who later founded and wasprincipal of the Adelaide KindergartenTraining College (1907); Dr Dame ConstanceD’Arcy nee Stone who the first woman to beregistered as a doctor in Australia andpioneered antenatal care; and Dr MargaretEstelle Barnes one of Australia’s first twofemale dentists (1906).

In 1888, the college moved to the gracious‘Esher’ on the corner of Nelson and QueenStreet where the Misses Hall ran it until 1895.The next headmistress appointed in 1890 wasEdith Emily Dornwell, Adelaide University’sfirst woman graduate who received first classhonours in physics and physiology.

The following headmistress was MatildaMeares in 1896, a woman pioneer graduate of

Sydney University, awarded honours ingeology and French and later earned a Masterof Arts in classical philosophy and history. In1912, Riviere College found its final home atThe Hughenden where it operated until 1920by the now married Mrs Mitchell-Meares. Thelogo of Riviere College can be viewed in theRiviere wing of The Hughenden, etched in theglass plate along with a cabinet containingstudent memorabilia.

TRADITIONS continueIn the tradition of education, literature and

the arts, many of Australia’s renowned writersand illustrators frequent The Hughenden. It ishome to the Society of Children’s BookWriters & Illustrators Australia & NewZealand (SCBWI).

The Reading Room exhibits the works ofsome of the illustrators who stay at or visitThe Hughenden. Special works includeillustrations by multi award-winning artistssuch as Nina Rycroft, Sarah Davis, PixieO’Hara, Donna Rawlings and Shan Tan.Discover in corridors and rooms theirautographed prints by much-loved Diary of aWombat duo – Jackie French and BruceWhately – and those of I Am Jack duo –Susanne Gervay and Cathy Wilcox ●

More information on Susanne Gervay’slatest children’s book, Always Jack(Sydney: HarperCollins, 2010) is foundat: www.sgervay.com.

THE HUGHENDENFree call 1800 642 43202 9363 [email protected] www.thehughenden.com

THE RIVIERE COLLEGE AT THE HUGHENDENA Queen Street college for girls, with a focus on the arts

In the traditionof education,literature andarts, many ofAustralia’srenowned writersand illustratorsfrequent The Hughenden

“

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80

Amajor exhibition of over 60 worksfrom the Solomon Islands can be seenat the National Gallery of Australia –

Varilaku: Pacific Arts from the Solomon Islandsuntil 29 May in the Orde Poynton Gallery.

The nation of the Solomon Islands consistsof a chain of mountainous islands that stretchin a south-easterly direction from its northerntip near Papua New Guinea towards Vanuatuin the south. At first glance the SolomonIslands have a long history of conflict. Thesehave ranged from the inter-tribal skirmishesassociated with head-hunting practices, toconflicts with colonial powers that enforcedspiritual conformity through the advent ofChristianity and the cessation of head-huntingthrough naval might.

By the 20th century, the islands enduredwarfare on a massive scale during World War II.Tens of thousands of foreign troops broughtdifferent goods and technologies thatmarkedly affected the local communities.Aspects of traditional culture (Kastom) wereabandoned through foreign influence.

It is this period of history for the SolomonIslands distinguished by the great changes thatthe works showing in Varilaku: Pacific Artsfrom the Solomon Islands are drawn from.Each work was selected from collections heldin Australia, museums, heritage centres andprivate collectors. Through Australia’s longrelationship with the Solomon Islands asurprisingly great number of cultural arts havefound their way into this country.

Aspects of both beauty and aggression canbe found in the works on show, with eachsurprisingly connected in many ways. Both Effigyof Paruvu and Portrait bust of a young man holdin their gaze a much admired personal qualitycalled varilaku in the Marovo Lagoon area. It isperhaps best defined as a calm but aggressiveconfidence warriors drew upon for their courage.Warriors may have prepared for headhuntingraids by calling upon magic, but varilaku wasmore important than any rifle, axe, spear ormagical assistance.

In Solomon Islands art certain physicaltraits were represented in sculpture. Theexaggeration of the human nose into a narrow,lineal form with an upwardly pointing top andthe reduction of lips into a thin line, were buttwo admired biological features. There wasmuch a Solomon Islander could do to affecttheir appearance. Neatly cropped hair wasbleached and lightening with applications oflime. The ear lobes of both men and womenwould be pierced and stretched toaccommodate large decorative ear plugs.

The adornments featured in this exhibitioninclude marvellous works of clam shell,woven orchid fibre and tiny glass trade beadsworn for all sorts of events, from marriage tocelebrating victories in warfare.

In the Solomon Islands men lived in aconstant state of maintaining an air ofhostility and antagonism to outsiders with the

practice of head-hunting being the mostremarkable element. Head-hunting was apractice particularly common to the WesternSolomon Islands. Head-hunting was both asocial and religious practice.

The communities of the Marovo Lagoon, andto a greater extent Roviana Lagoon of NewGeorgia, spent a great part of their time buildingspecial canoes, making alliances, planning raids,observing rituals and organising celebratoryevents around this practice. Each warrior wouldwear special protective amulets and their finestadornments, paint their faces and ensure their hair was looking its best before joining a head-hunting expedition.

Even the canoes used in warfare weredecorated; small carved figure heads were placednear the waterline of the war canoe lookingoutwards. Commonly called Nguzu nguzu theseminiature masterpieces have prognathic, dog-like,faces that jut forwards and a piercing gazeintended to intimidate the spirits of the seas andseek out the warrior’s quarry.

Varilaku concentrates arts related to thehuman form created between 1860 to around1940. The exhibition showcases compellingworks in fibre, stone, giant clam shell, turtleshell and wood. There are intriguingabstractions of the human form found in thework selected from the northern islands.

Ancestral figures from Buka with bulbousheads and bodies of concise angularsymmetry reflect different sculpturalapproaches within the northern islands whencompared to the Urar of Bougainville, whoseforms follow the natural twisting inclinationsof mangrove wood. In the south-easternSolomon Islands the sculptural arts are morereliant upon pure form. Here, the intricatelycut and positioned inlay of iridescent sectionsof nautilus shell common to art from thewestern Solomon Islands becomes larger andis applied across entire surfaces. Artistseschewed incised surface embellishments andopted for the power of sheer clean plains ascan be seen in the Adaro spirit figure and theCentre post from a ceremonial house.

These works are the creations of artistswho, in most cases, remain unknown. Indeed,which exact village or community an objectoriginated from is often lost to us due to thenature of acquisition through trade and barter,collected by missionaries as examples of heathenidolatry, or simply as souvenired curiosities byearly travellers. Those objects over time changedhands and have found their way into Museum andArt Gallery storerooms or private hands duringthe 19th and 20th century.

Melanesian arts, particularly those of theSolomon Islands, have not received theattention they deserve here in Australia, yetwe hold some of the greatest reserves of thesearts in the world. Varilaku: Pacific Arts fromthe Solomon Islands is a fantastic opportunityto encounter first hand some of theseremarkable works ●

Crispin HowarthCurator, Pacific ArtsNATIONAL GALLERY OFAUSTRALIA02 6240 6411www.nga.gov.au

New Georgia Group,Western Province,Solomon Islands,Seated woman, 19th century, wood,fibre, shell 65 x 38 x 65 cm.Australian Museum

Roviana Lagoon, New Georgia Group, WesternProvince, Solomon Islands, Portrait bust of a young man,1870-1900, wood, paint, shell, hair, 33 x 26 x 22 cm.National Gallery of Australia, Canberra

Marovo Lagoon, New Georgia Group, WesternProvince, Solomon Islands, Effigy of Paruvu,1910-1930, wood, paint, 45 x 13 x 14 cm. TheSouth Sea Islands Museum

New Georgia Group,Western Province,Solomon Islands,Mother and child,19th or early 20thcentury, wood, paint,fibre, shell, glass, 30 x 23 x 11 cm.Australian Museum

NATIONAL GALLERY OF AUSTRALIA

ART AND AGGRESSION:VARILAKUShowing until 29 May

CANBERRAA N T I Q U E S & A R T I N V I C T O R I A

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www.johnpettit.com

[email protected]


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Vincenzo Coronelli, Three gores from Terrestrial Globe including the map of Australia with reindeer and elephant (right, centre), c. 1696 Vincenzo Coronelli, Mare del Sud – the Pacific, c. 1696

Vincenzo Coronelli, Isole Dell’ Indie, South-east Asia c.1696

Vincenzo Coronelli (1650-1718) wasone of Italy’s most illustrious map andglobe makers. His prodigious output

represents the most complete geographicalknowledge of the world in the late 17th century.

A member of the Franciscan order and aDoctor of Theology, he was founder of thefirst geographical society in the world, theAccademia Cosmografica degli Argonauti in1684. In 1685, he was appointedCosmographer to the Venetian Republic. He isgenerally regarded as Italy’s finest mapmakerwith his maps noted for their accuracy and fortheir grandeur, elegance and lyrical nature, soclearly illustrated here.

In 1681, Coronelli was commissioned toconstruct two substantial globes for thereigning Louis XIV. He moved to Paris andcompleted in two years these remarkableworks that combine art and science. Theglobes are 4.57 meters in diameter and weighapproximately 2032 kg. A door in the side ofthe globes allowed around 30 people to standinside. The globes are displayed at theBibliothèque Nationale François Mitterrand in Paris.

In 1688, he produced a printed version ofthe globes measuring 110 cm in diameter.

Whereas the earlier globes were drawn andpainted by hand these were based on twelveprinted gores and separate polar calottes. Assuch, they formed the largest printed globesto date. Because of the expense of producingsuch globes, only nobility and wealthyclients could afford them.

In order to appeal to a wider audience, thegores were re-printed in atlas format andappeared first in the 1696-97 Isolario (thesecond part of Coronelli’s Atlante Veneo) andlater in Coronelli’s Libro dei Globi in boththe 1693 and 1701 editions.

In one edition, the gore representingAustralia includes the map itself and at thebottom, a section of the large elaborate andbeautifully drawn cartouche of dedication.This continues into the next gore, andincludes a self-portrait of the artist,surrounded by delightful cherubs.

Despite his renown, and reputation forprecision in recording the most currentgeographic discoveries of the day, Coronellisomewhat wistfully or whimsically addedreindeer and an elephant to his vignettes ofnorthern Australia. Did Coronelli, map-makerand artist supremo, perhaps enjoy a relaxedmoment of allowing imagination, rather thanreality, to run wild?

Definitions Calotte: literally a skullcap, especially wornby priests; thence the caps at the poles of a globe.Cartouche: literally a structure or figure, oftenin the shape of an oval shield or oblong scroll,used as an architectural or graphic ornamentor to bear a design or inscription. Gore: one of usually twelve printed sections

of a celestial or terrestrial map which when laid to a sphere, join to form a complete globe ●

Glen Marguerite RickettsGOWRIE GALLERIES PTY LTD02 4365 [email protected]

AUSTRALIA, with reindeer and elephant

Vincenzo Coronelli, Asia Divisa – double page map of Asia, c. 1696

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


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The premier prestigious antiqueshow on the Victorian calendar comesto the Royal Exhibition Buildings in

Carlton this Mother’s Day weekend. Only avenue of this calibre can match the quality offare on display and for sale under the bannerof Australia’s leading art and antiques dealers,the AAADA.

NEW FEATURE: guest exhibitorsThe 5-8 May show will debut special guest

displays. Jo Archibald, Arabella Tremlett andDeirdre Douglas Leijten of Decollo InteriorDesign will present a showcase of antique andmodern furnishings and accessories as atangible lesson on complementary styles.

Dr Genevieve Cummins, author of How theWatch was Worn: A Fashion for 500 Years, isanother guest presenter. Watches will beattached in the styles of the eras tomannequins dressed in original 18th and 19thcentury outfits. Examples include chatelaines,guard chains, vest chains and brooch watches,with original engravings and photographs.Genevieve will be signing her book.

The National Trust and decorative artsocieties have exhibitions, such as theFurniture History Society and the SilverSociety. AON Risk Services will be onsite tohelp you with insurance for antiques and art.

MEMBERS exhibitingOnly Australia’s leading dealers can become

members of the Australian Antiques and ArtsDealers Association. The standards are evidentby three of Australia’s finest textile and rugdealers exhibiting at this show. There arestands from internationally recognised dealersin antique jewellery.

Specialists in art from the 15th to the 21stcenturies, as well as experts in 17th to 19thcentury copper-engraved, hand-colouredbotanical engravings mounted in modernframes are present. Also attending areauthorities on the best English and Europeantown and country furniture from the 16th tomid 19th century, Georgian, Regency and top-line Victorian furniture and rare art decopieces and sculptures.

MOTHER’S Day treats The AAADA Melbourne Show will be a

feature of Mother’s Day in Melbourne from2011 onwards. Celebrate your Mother’s Daywith an extraordinary day exploring thewonderful treasures and perhaps buy her aspecial and memorable gift. On Sunday8 May, entry will be free for all mothers. Thefirst 250 mothers to enter the show willreceive a canister of fresh tea as a gift fromWedgwood. Treat your mother to a specialafternoon tea under the grand dome of theRoyal Exhibition Building.

CHOOSING antiques and artThe objects and works of art sold by

members of the AAADA represent all timesand all cultures. These items are stylish, lifegiving and beautiful. Whether wearable, aswith jewellery, an antiquity from the most far-

flung reaches of human artistry, superb 18thcentury furniture, rare Chinese textiles or aninvestment quality Australian banknote, thechoice is enticing and the collecting endless.

Speak and meet with dealers and discussyour needs or dreams. Their advice may rangefrom an excellent new area to collect; how torationalise your current items; or start newfields of collecting. Other guidance mayinclude how to live with style and how tospend wisely. You may meet or berecommended to one of the AAADA Service Providers, chosen and recommendedby our members for their abilities to provideancillary services and specialised skills formaintaining, repairing and safekeeping ofyour treasured objects.

BUY wellFind a dealer, such as at the AAADA

Melbourne or Sydney show, or in the 2011Essential Buyers Guide for Antiques & Art.Visit www.aaada.org.au to identify a businessthat deals in your chosen area or respond to anitem in a member’s gallery.

As a new buyer of antiques and art, theAAADA allows you to buy well, accuratelyand with purpose. There is no other way topurchase antiques and art where the object isguaranteed, the transaction of the highestprofessional standard, with a worldwideaccess to specialists in all fields. Members ofthe AAADA represent the peak in their fieldin Australia.

All members of the AAADA are alsomembers of CINOA, the ConfédérationInternationale des Négociants en Oeuvresd’Art, founded in 1935, representing 28 artand antique associations from 19 countriesand at least 5,000 affiliate dealers worldwide.CINOA membership is limited to associationswhich require their members to adhere toextremely strict quality and standards of expertise.

Explore purchasing a wonderful object froma member. Look for the AAADA logo in

galleries, antique shops and centres as yourguarantee of quality, expertise and goodservice. Contact AAADA for your free nation-wide list of members, services andeducational workshops ●

AUSTRALIAN ANTIQUE & ARTDEALERS ASSOCIATION03 9576 [email protected] www.aaada.org.au

Inaugural AAADA MELBOURNE SHOW5-8 May

Edwardian diamond bow brooch with central knot and articulated ribbon swags, total weight of diamonds 17.3 ct,H-J colour

Double faced jar, made by Robj (active Paris, late 1920s-early 1930s), signed, c. 1930

AAADA, The Essential Buyers Guide ForAntiques & Art


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Baines is widelyacclaimed for hismultifaceted practice thatembraces his work as anartist-goldsmith, critic andcommentator oncontemporary craft

“

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Australian metalwork and jewelleryhas long been a feature of thedecorative arts and design collections

at Geelong Gallery, with a particular focus onthe achievement of leading 19th centurysilversmith, Edward Fischer. Now, recent workby Robert Baines, one of Australia’s mostprominent and influential contemporaryjewellers and goldsmiths, takes centre stage in Geelong’s exhibition spaces from 7 Mayuntil 3 July.

Baines is widely acclaimed for hismultifaceted practice that embraces his workas an artist-goldsmith, critic and commentatoron contemporary craft. He is a lecturer in goldand silver smithing and researches historicaltechniques and archeometallurgy, a highlyspecialised field of research that has informedBaines’ own work. He makes complex,colourful and intricate objects – brooches,neckpieces and bracelets.

His breathtakingly original compositionsassimilate influences as disparate as Etruscangold ornament and the ubiquitous soft drinkcan. Frequently his works incorporate smallfound objects and are as notable for theirmasterly precision of technique as for theirabiding wit and humour.

The Robert Baines exhibition is the sixthin a series mounted and toured under the

rubric, Living Treasures: Masters ofAustralian Craft. In Victoria, Geelong Galleryis the exclusive venue for this exhibition. Asignificant 120-page monograph on the artistand his work with essays by Sophia Errey,Rudiger Joppien and Judith O’Callaghan willbe available for purchase.

Baines is represented in prestigious publiccollections here and abroad and he has wonvarious major national and internationalprizes. It has been observed that hispainstaking historical research into earlymanufacturing techniques imbues his ownwork with a sense of ‘continuity with (thework of his) ancient colleagues and (provides)a platform to toy with the mythology of ourown culture.’ ●

GEELONG GALLERY03 5229 [email protected]

This touring exhibition is part of the Living Treasures:Masters of Australian Craft series. Robert Baines: Metal issupported by Visions of Australia, an AustralianGovernment program supporting touring exhibitions byproviding funding assistance for the development andtouring of Australian cultural material across Australia.

ROBERT BAINES: METAL At Geelong Gallery7 May–3 July

Right: Robert Baines, Wreath, copy – Funerarywreath from a tomb in Armento (South Italy),silver, powder coat, electroplate collectedobject. Photographer: Jeremy Dillon

Below right: Robert Baines, brooch, Bloodierthan black, 2008, silver, powder coat,electroplate. Photographer: Jeremy Dillon

Below: Robert Baines, Disc, circa 4th centuryBCE Greek, 2008, gold, enamel. Photographer: Jeremy Dillon

www.geelonggallery.org.au

158 Burwood Road Hawthorn 3122 03 9818 1656 Monday to Friday 9 – 5 Saturday 10 – 4Directors: Jillian Holst and Rod Eastgate [email protected] www.eastgateholst.com.au

Dealers in Fine Art

July to August

RICHARD CRICHTON – Works from the Studio

April to May

GRAHAME KING ‘Selected Works’ 1938-1996

Tree and the City, 1958, oil on hardboard, 61 x 92 cm

Beach Totems, 1963, oil on board, 60.5 x 68 cm

Antiques & Art in Victoria

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