World of Antiques & Art 75
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Transcript of World of Antiques & Art 75
AUGUST 2008 - FEBRUARY 2009ISSUE 75AUSTRALIA $16.95 NZ $20.95SINGAPORE $20.00 UK £7.00
US $13.00 €10.50
AUGUST 2008 - FEBRUARY 2009ISSUE 75AUSTRALIA $16.95 NZ $20.95SINGAPORE $20.00 UK £7.00
US $13.00 €10.50
Antiques &Arta magazine of art, design & collecting history
EXPLORING THE RENAISSANCE THROUGH PORTRAITURE:A MAJOR EXHIBITION AT THE
NATIONAL GALLERY IN LONDON
ASSESSING THE PRODIGIOUS OUTPUT OF LOUIS COMFORT TIFFANY
FOCUS ON PHOTOGRAPHY:REVIEW OF PHOTOGRAPHIC EXHIBITIONS IN CANBERRA
A LOOK AT SINGAPORE'S GROWING ART COMMUNITY
BRITISH CONTEMPORARY SILVER:SETTING THE BENCHMARK
FOR THE 21ST CENTURY
EXPLORING THE RENAISSANCE THROUGH PORTRAITURE:A MAJOR EXHIBITION AT THE
NATIONAL GALLERY IN LONDON
ASSESSING THE PRODIGIOUS OUTPUT OF LOUIS COMFORT TIFFANY
FOCUS ON PHOTOGRAPHY:REVIEW OF PHOTOGRAPHIC EXHIBITIONS IN CANBERRA
A LOOK AT SINGAPORE'S GROWING ART COMMUNITY
BRITISH CONTEMPORARY SILVER:SETTING THE BENCHMARK
FOR THE 21ST CENTURY
wor
ld o
f
ACQUISITIONS
156 Frank Lloyd Wright, Chair, c. 1904
Art Gallery South Australia
157 Daimaru Hokuho, Vase
Hamilton Art Gallery
158 Chantilly Porcelain Factory
National Gallery of Victoria
159 Anna Craig, Triangular chairs, c. 1905
Queensland Art Gallery
160 Elwyn (Jack) Lynn, Twenty Questions
Australian War Memorial
164 AROUND THE AUCTIONSAuction highlights from the major houses
ART
48 Iskandar Jalil: Singapore's master ceramicist
Helen Musa
54 The Tyler Print Institute:
a major arts injection for Singapore
Helen Musa
58 Portraiture in the Renaissance
Elena Greer
108 The De Brays: master painters of 17th century Holland
Ian Dejardin
116 Emily Kame Kyngwarreye:
canvases of culture and country
Margo Neale
138 Recording nature: botanical illustrations
Amanda Ahmed
148 Russell Drysdale's images of war
Vicky Dimcevska
75 ART NEWSA selection of international events to diarise plus a look at the
summer season of arts in London
183 CONTRIBUTORS
DECORATIVE ARTS AND DESIGN
28 An early Tasmanian silver cup and its historical significance
John Hawkins
38 George Owen: a recent discovery
Andrew Morris
68 Men's ceremonial dress at the Russian Imperial Court
Lesley Miller
98 Louis Comfort Tiffany's life and art
Jennifer Perry Thalheimer
154 William and Judith Bolinger Jewellery Gallery
Beatriz Chadour-Sampson
150 British contemporary silver
Corinne Julius
4 EDITORIAL
HERITAGE
104 Hidden Rome
Charles Fitzroy
120 The Foundling Museum:
art music and charity in the heart of Bloomsbury
Rhian Harris
126 Women in power: Caterina and Maria de' Medici
James Bradburn
134 The treasures of William Randolph Hearst
Mary L Levkoff
184 INDEX OF ADVERTISERS
LIBRIS
114 The first printed world map
Simon Dewez
130 Book Review: Printed: Images by Australian Artists 1885-1955
Colin Holden
131 Book Review: Oriental Carpets: A Complete Guide
Ross Langlands
143 Illuminations from Italian choir books
Barbara Drake Boehm
PHOTOGRAPHY
10 Portraits for the million
Gael Newton
64 Review: Vivid national photography festival in Canberra
Martin Terry
W O R L D O F A N T I Q U E S & A R T
2
COVERChristian Waller (Australia 1894-1954),Morgan Le Fay, c. 1927, linocut, printed incolour, from multiple blocks, hand-colouredwith gold paint; on thick cream wovepaper, printed image 26.9 x 18.3 cm,sheet 38.8 x 26.0 cm. National Gallery ofAustralia, Canberra
Contents
Gael Newton
‘Truly this is portraits for the million.’
Sydney Morning Herald, 12 May 1859,
on the introduction of the carte de visite
miniature portrait.
In the mid-1850s several variants of the
British wet collodion glass-plate
negative process of 1851 came on the
market in Europe – the French carte-de-
visite and the American ambrotype or
positive on glass and the tintype.
Together with the existing stereograph
photograph of the early 1850s, these
innovations fuelled the explosion in
numbers of photographs produced
worldwide in the 1860s. This greater
circulation brought the photographic
experience to all levels of society.
Ambrotypes were the most expensive of
the new formats and tintypes were
cheapest, but the most popular across
all levels was the carte de viste.
The carte de visite was patented in
Paris in November 1854 by Parisian
studio photographer Eugene Disdéri
Portraits for the million Novelty in the Fine Arts
The invention of carte de visites in the 1850s marked the beginning of a new age in the
quest for the perfect portrait. No longer confined to the wealthy and the aristocracy,
remembrances of family and friends became available to all, changing forever the role of
portraiture and its place in society.
Photography
W O R L D O F A N T I Q U E S & A R T
10
1 Nicholas Caire (Britain/Australia 1837-1918),Studio portrait of a man seated on a rock,1880-1884, albumen silver carte de visitephotograph, 9.4 x 5.4 cm, card 10.4 x 6.3 cm.National Gallery of Australia, Camberra. Giftof Gael Newton 1997
1
John Hawkins
Van Diemen’s Land, settled in 1803
as a penal colony, had by the 1830s
a thriving community with Hobart as its
centre, whose population at that time
was 6,000. Although initially regarded as
the ideal location for intractable
convicts, the island began to attract
many free settlers looking to establish
themselves in a new land.
One such migrant was Scottish-born
David Barclay from Montrose who arrived
aboard the Resource in 1830. A
watchmaker and silversmith by trade, he
set up a workshop in Elizabeth Street,
Hobart Town. Hobart, Australia’s second
oldest city, was at that time experiencing
expansion and development at a rate that
has never been repeated in its history.
A year earlier, convicted felon Joseph
Forrester arrived at the colony on board
the transport ship Thames. Very little is
An important early Tasmanian silver cupand its historical significance
A two-handled silver loving cup presented to George
Augustus Robinson, which was bought from the Hobart
watchmaker and silversmith David Barclay and made by
Scottish silversmith Joseph Forrester, who was his assigned
convict, links together many threads of Tasmanian history.
decorativearts & design
1
W O R L D O F A N T I Q U E S & A R T
28
1 David Barclay, Hobart, Manufacturer, madeby Joseph Forrester, Loving cup, 1835,silver, h: 20.2 cm, w: 750 gm. TasmanianMuseum and Art Gallery, gift of Mr and MrsBrown, Geelong, Victoria
Andrew Morris
George Owen’s mastery of reticulation
resulted in the production of some
of the most complicated ceramic objects
ever made. Reticulating had to be done
before firing when the clay was still wet,
and is difficult to achieve because clay
dries out quickly. A very complex vessel
would have to be kept in a ‘green’, that
is, wet state over a long period. Little is
known about Owen’s actual working
methods since he was extremely secretive
about his technique, as was usual for
craftsmen of that period. What is known is
he perfected the technique clandestinely,
working after hours while in the employ of
Royal Worcester. His extraordinary pieces
made for Royal Worcester were sold to
specialist collectors.
A recent discovery of a hand holding
a reticulated vase by Owen brings new
light to his oeuvre as it is a departure
from his usual work. It incorporates the
hand vase design, a popular model in the
second half of the nineteenth century. This
rare example reveals that Owen worked
with glazed Parian. Other pieces decorated
by Owen also included tinted inner liners in
double-walled pieces and vases with
coloured decoration all over. Many objects
were intentionally left bare in the glazed
white state, without the chased and
burnished gilt enrichments for which his
other pieces are celebrated.
The design for hand vases originated in
the middle of the nineteenth century.
Modelled after the hands of the wife of
James Hadley (Worcester’s then chief
modeller), the old factory workers used to
refer to it as ‘Mrs Adley’s ’and’.1 The
Worcester Porcelain Museum has the
original hand-drawn, hand-coloured
designs for the hand vase in a Kerr &
Binns Worcester pattern book dating to
the 1850s. This pattern book contains at
least 35 hands, each with different
decorations, some rather elaborate. The
decorators would have used these
drawings as a guide to paint each hand
vase with a specific motif.
George Owen – Master Craftsman ExtraordinaireA recent discovery
since its establishment in the eighteenth century, Worcester has been at the forefront of
developing and perfecting decorative techniques, producing some of the finest examples of
English porcelain. Among the many fine craftsmen employed by the Worcester Royal
Porcelain Company was George Owen (1845-1917). In his chosen field of expertise –
reticulating – piercing decorative porcelain objects, he was without equal, the quality of
his work unmatched through to today.
decorativearts & design
1
W O R L D O F A N T I Q U E S & A R T
38
1 Royal Worcester hand vase, c. 1880sdecorated by George Owen, h: 16 cm,shape 6/35, unmarked. Private collection
W O R L D O F A N T I Q U E S & A R T
The World of Antiques & Art is the
resource for collectors. Published for
45 years, articles from across the
globe are written by expert curators,
scholars and journalists.
This Australian-based bi-annual
journal challenges the traditional
approach to collecting, from covering
ephemera and the decorative arts to
fine art. Explore the myriad of
collecting options including textiles,
photography, philately, numismatics,
jewellery, porcelain, silver or furniture
– to name some key areas.
World of Antiques & Art has it
covered, from heritage to culture
to investment.
what is showing internationally?Understanding the thrust of a show, what works arebeing hung, recent discoveries, interesting insights
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