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TIM MCCORMICKCOLONIAL PAINTINGS • RARE BOOKS

PRINTS • PHOTOGRAPHS

MANUSCRIPTS • AUSTRALIANA

PURCHASED AND SOLD

92 QUEEN STREET WOOLLAHRASYDNEY 02 9363 5383

108 Queen Street Woollahra NSW 2025tel 02 9328 1712

www.michaelgreene.com.au

Tradition with a twist reigns supremein Sally Beresford’s new collection ofhand-made French Farmhouse tables.

The timeless pieces complement the alreadysought-after collection, which aims to inspirepeople to update their homes. Caretakers andproducers of antiques of the future, the FrenchFarmhouse team ensures all tables aresustainable and durable, and sure to remainclassic treasures in the home.

The new tables are designed for acomfortable lifestyle and for relaxedentertaining. Their construction using naturalproducts and soft organic lines gives eachtable an enduring appeal. Lighter tones bringa sense of conviviality to a space creating ahumble environment. In every design,Beresford keeps entertaining for largenumbers in the forefront in the design process,making each table a both stunning andfunctional household item. The range includesthe Bordeaux, Provence, Toulouse andintroduces Nice for outdoor entertaining.

The Bordeaux range marries contemporaryclean lines with 400-year-old French oaktimber. A lime washed burnt oak finishcreates a tactile surface with heavily figuredgrain and knots. Available as a table, sidetable and in simple elegant stools, Bordeaux isa perfect example of Beresford’s uniqueability to bring together unexpected designelements to create a timeless piece.

The lighter toned Provence table is made ofancient French oak; however, its pared-backdesign and light coloured limed finish create arelaxed atmosphere. The table has beendesigned for casual occasions and is ideal fora large family dinner party. The Provencecomes with optional extensions, which is anunusual addition for a more casual table.

Inspired by the 17th century tavern tables ofEngland and France, the Toulouse usestraditional construction techniques teamedwith a more refined finish. The Toulouse hasa quirky modern take to ensure its place in a21st century abode. The moulded pedestalwith raised stretcher base is teamed with

traditional pegs and interestingly angledmitred corners giving the table a uniquecontemporary twist.

Due to huge demand, Beresford and herteam have designed and constructed FrenchFarmhouse’s first outdoor table, Nice. Thetable is made of teak sourced from sustainableforests in New Guinea, with strong elegantlines and a central cross-based stretcher,finished with a driftwood-like warm tone.

Timber for the new collection was selectedon a recent buying trip to France, whereBeresford found an extraordinary French oaktree measuring over 1.2 metres in diameter.The walnut, sycamore, cherry, elm, chestnutand French oak used for the FrenchFarmhouse collection are sourced from forestsmanaged by the French Ministry ofAgriculture and Forests. They are transporteddirect and whole from the mills to Australia(minus branches, bark and roots).

Sustainability is at the forefront of theFrench Farmhouse philosophy. Oak trees aregrown from naturally regenerated acorns fromFrench oak trees, up to 600 years in age.Sustainable timbers combined with the lovingconstruction of tables by specially trainedartisans using time-honoured practices ensureFrench Farmhouse tables will endure forfuture generations.

Sally Beresford Antiques is on Queen StreetWoollahra and is filled with finds sourcedfrom regular buying trips to France. However,with French antique tables increasinglydifficult to find, the French Farmhouse bySally Beresford brand was born. The rangecan be seen at Sally’s Waterloo showroomwhere Beresford and her team have made aname for themselves as the authority inFrench antique furniture and the importationof French timber ●

FRENCH FARMHOUSE BY SALLY BERESFORD02 9319 0194www.sallyberesford.com.au

FRENCH FARMHOUSE TABLES BY SALLY BERESFORDSpecially trained artisans pair comfort and lifestyle with enduring appeal

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NOTICEThe publishers reserve the right to refuse and edit material. The opinions expressed in this publication are not necessarily those of the publisher. No responsibility will be taken for any decision made by the reader as a result of such opinions.

EditorialContentCOVERFrederick Ronald (Fred) Williams OBE (1927-1982)Tree loppers, 1955 oil on composition board Private collection © Estate of Fred WilliamsSee National Gallery of Australia presents Fred Williams: infinite horizons12 August – 6 November, page 98.

004 French Farmhouse tables by Sally Beresford

006 Out & about

008 Picturing Sydney: The first Australian printmakers and printers – Tim McCormick009 The Riviere College at the Hughenden a Queen Street college for girls, with a focus on the arts

010 Adornments: Native American earring designs

014 Meaningful valuation of jewellery = CSi + forensic analysis

015 Caring for and maintaining rugs and carpets – Ahmet Solak016 The A-Z of oriental rugs – Ross Langlands018 Fine furniture, art works and more in the heart of Bondi Junction

019 Pack & Send art and antique specialists

020 Master gilding techniques at The Art Gilding Academy – Brigitte Eggert021 Collecting industrial antiques: something as beautiful as a bobbin

022 New York style – Beverley Brown023 A collector’s heaven at Mitchell Road Antique and Design Gallery

027 Pack & Send now open at Botany

028 The Hagley proof 1930 penny

030 Noble Numismatics sale 96 realises $4.5 million – Jim Noble032 Stamp collecting – where do I begin? – Gary Watson034 Beatrice Kerr Australia’s regal water nymph – Daina Fletcher035 At the Australian National Maritime Museum – Scott’s last expedition

036 View the Australian coastline in French atlases at the National Maritime Museum

037 How long have you been here?

038 WJ Sanders and sporting history: the restiitution of an abandoned trophy – Bianca Fazzalaro040 Collecting cockerels, cats and cottages in Torquay pottery

042 Investing in rare currency

043 Resurrection – Sydney’s newest antique store

044 Dealing with water damaged precious family heirlooms – David Foster045 The Sydney Vintage Clothing, Jewellery and Textiles Show – Janel Morrissey046 Sideboards – Credenzas – Chiffoniers – Gary Auton 048 From Europe to Australia, exceptional pieces at Eliza Jane Antiques – Jane Rush050 The annual AAADA Sydney Antiques & Fine Art Show returns to Randwick

063 Madeleine Castaing (1894-1992) the first significant decorator of the 20th century – Denis Geoffray064 Reinvention of traditional craftmanship in 19th century England

065 Works opf art you can walk on: French provincial and handcrafted floors – John Fredriksson066 Balmain Road Antique Centre is the newest antique centre in Sydney

067 Balmain’s ‘Windows to watch’ Arts and Crafts – alive and well in the contemporary world

068 Congratulations Abbott’s Antiques – 80 years and going strong!

071 Profits to charity at the inaugural Northern Sydney Antiques and Collectables Fair

072 Vampires, steampunk, Goth and the antiques renaissance – Roy Williams075 The relentless pursuit of quality: the story of Noritake – Narelle Ward076 Islington Antiques in Newcastle since 1990

077 A nostalgic reflection of the way it was – Marilyn Collins078 Provenance – things that turn up in the Hunter Valley – M Lee080 Newcastle’s Antiques & Collectables on Darby offers a wealth of experience

082 The good life: Heartland - for sale with freehold

084 Repairing antique jewellery a task more difficult than customers realise – Ken Penfold084 The scenic Hunter Valley perfect for antique hunters

085 A working jeweller: In the workshop of Troy O’Brien

086 Windsor and Hawkesbury antiques and collectables trail

088 The world’s largest private teapot collection

089 Bygone Beautys cottages

090 Kerosene lamps

091 For the Diary: Annual Dubbo Antique & Collectables Fair – Carla Pittman092 Come and join in the good time at the Doll Collectors’ 30th Annual Doll Fair

093 Camden Quota Antique Fair bringing collectors and antiques together

096 Mixing it up – Decorating à la you! – Jane Crowley098 National Gallery of Australia, Art of Western Australia from the National Collection – Anne Gray100 National Gallery of Australia presents Fred Williams: infinite horizons – Deborah Hart102 A spring fair in Canberra

103 The Miller lamp – Juergen Weissner104 The beginnings of time in horology – Michael Colman107 Gazette Du Bon Ton – art modes and frivolites – Kathryn & Derek Nicholls108 2011 AAADA Melbourne Antique and Art Show breaks records!

110 Cadrys is bringing a special collection to Australia

Antiques & Art PO Box 324, Bondi Junction NSW 1355 f: +61 2 9387 7487

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Bandann Huq & Donna Braye Local StudiesLibrarian, Mosman Library

Jennifer Lawson & Greg Currie Sue Ryerson, Chris Giles, Belinda Finocchiaro

Mayor of Mosman, Anne Connon opening the show

Brian Wilder & Helen Wilder (President of Arts & Crafts Society NSW)

Val & Michael Gregg

Ally & Kylie Usher

Janel Morrisey,organiser of theWay We Wear Fairs

Demonstrating beauty tips from the 1940s Monika, Carrie, Morgan, Julie & Angela

Casey Simms Christine Skilton Tanya Igra Michelle Ryan & Sheridan Altorjay Phillipa Ryan

Marlene Reid & Rob Sturrock Linda Hoswell, Manager of Library Services

Bookends another chapter, an exhibition

held at Mosman Library in April, was

curated by Donna Braye, Local Studies

Librarian. The show was part of the annual

National Trust Heritage Festival and followed

this year’s theme of amazing stories.

The exhibition was opened by Anne Connon,

Mayor of Mosman, with introductory

remarks from Manager of Library Services,

Linda Hoswell.

TThe recent vintage fashion expo

that is the Sydney Vintage

Clothing Jewellery and Textile

Show held at Canterbury Racecourse

gave dealers and visitors the opportunity

to dress in themed retro fashions.

Organised by Janel Morrisey these now

regular fashion events are a must-visit

for collectors of textiles, early couture

and associated accessories. Over the

weekend, fairgoers were treated to

charm school demonstrations of beauty

tips from the past and fashion parades.

HERITAGE at MosmanOUT & About

VINTAGE FAIR

Donna Braye & Jennifer Lawrence

Candice De Ville & Jacinta Christian Erica Fletcher Jean & Josef Lebovic Samantha Burton Erin & Melanie Lockhart

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A MILESTONE for Four Winds

Four Winds Gallery in Double Bay,

Sydney, celebrated 30 years of trading

with an exhibition of jewellery by

internationally acclaimed Aleut artist Denise

Wallace and her daughter Dawn. This was

Denise’s third exhibition in Australia which

also included a book signing of ArcticTransformations by renowned New York author

and ecologist Lois Sherr Dubin. The book is

dedicated to the wearable sculpture created by

Denise and her family over the last 25years.

GLAMOUR OPENING forMelbourne’s AAADA show

Melbourne’s antique and art lovers put

on their party frocks and packed the

Royal Exhibition Building for the

opening celebration of the Australian Antique

and Art Dealers Show held in early May.

Guests admired the collections of antiques and

art for sale and chatted with dealers who were

eager to share their expertise.

NOMADIC RUGS diversifies

Having shown Indonesian textiles for

nigh on 20 years, the Vietnamese –

Laos exhibition titled Tai to Katu was

Nomadic Rug Traders’ first fully fledged

venture into the little-known animist cultures

of the central Vietnamese highlands and

southeastern Laos. Textiles and sculpture from

the Tai and Kinh in the north were also

exhibited. About 80 people attended the April

opening by Dr Alexandra Green, curator of

south and southeast Asian Art at AGNSW.

Having finished the successful May AAADA

Melbourne Fair, Nomadic Rug Traders then

opened their 21st Annual Special Sale in

late May.

Right: Denise Wallace, Jennifer

Cullen & Sylvia Rhodes

Far right:Lesley Wilson, Jeannette Arif,

Denise Wallace, JenniferCullen & Ashleigh Cullen

David Kelly & Michael DiamondGail Broadbent & Buddhas

Gil Green, Pam Gutman, Lindsay & Robyn Sharp Robyn Sharp, Alexandra Green, RossLanglands, Margaret Mackay

Leigh Mackay, Gail Broadbent, Michael Johnson, Shelley Rose, Margo Johnson, Josefa Green

Yukie Sato & Richard Nesbit

Front of House: Alethea Rose, AdrienneWilson, Keren Lewis

NSW exhibitors Sarah Mellish (Patina Antiques &Interiors) & Nicola Isherwood (IsherwoodAntiques & Interiors)

Ross Langlands (Nomadic Rug Traders, NSW)Dawn Davis (Eaglemont Antiques, Vic) Tarin D’EsteHolmes (Appleby’s Fine Art & Antiques, Qld)

AAADA Service provider, John Cherry & AAADANSW Chapter President, Jolyon Warwick James

Victorian exhibitors Jamie Allpress (Allpress Antiques) & Mark Koronowicz (Mark Koronowicz Antiques)

At the Silver Society Stand Tony Lewis, PatrickStreet and friend

Early views of Sydney form a uniquebody of work. Known as topographicimages, they are an invaluable record of

the beginnings of British settlement in Australia.Likened to a map, topographic image

focuses on the middle of the view, has aninsignificant foreground and usually thehorizon for background. The navigational andintelligence requirements for accurate visualrecords contributed to topographic drawing,also including natural history andethnographic subjects, with many drawingsengraved, printed and distributed widely.

By the end of the 18th century, topographicart was an established genre as picturesqueimages, giving way to romantic sublimelandscapes in the early 19th century, onlyreplaced after 1850 with the developmentof photography.

PRINTmaking processBy the close of the 18th century engravers

were using copperplates for printmaking asopposed to engraving on wood. The engravingprocess involved lines being incised into thecopper which would then hold ink. The inkwould transfer to paper when the copperplatewas pressed onto it. The resulting printed

image was then in some cases finished byhand with applied watercolour. Anotherprocess, lithography, was developed in the19th century, the principle being the samewith the transfer of a line either drawn orincised on the plate to paper.

MILITARY applicationThe navy and the military’s need for

accurate visual records contributed greatly tothe development of topographic drawing.These drawings used for navigational andintelligence purposes expanded to includeimages of natural history and ethnographicsubjects. Many of the pictures were laterengraved and printed to distribute the imagesto a wider public.

DEMAND for imagesUntil the arrival of the First Fleet in 1788

the east coast of Australia and the environs ofSydney were unknown and unrecorded. Therewas a demand in England for images of thisnew land, its natural history and itsinhabitants. Governors’ dispatches usuallyincluded views to illustrate the colony and itsprogress. Works by convicts supplementedthose by the officers and sailors. Drawingswere also sent as gifts to patrons; Sir Joseph

Banks, for example, received landscape andnatural history subjects.

In addition to the resident artists passingships brought amateur and professional artists.Their topographic drawings, in many cases,were then engraved for publication in bookson the history of the voyage.

The popularity of topographic viewscoincided with Australia’s settlement. Somepublications informed potential immigrantsand others to meet a growing demand acrossEurope for books on travel and natural history,which were translated into other languages.

COLONIAL printmakingThe history of topographic printmaking in

the colony has to be considered in relation toa general history of colonial printing. The firstpress, sent out in the First Fleet in 1788, wasattached to Government House. The Governorwas careful to control printing to avoid anyanti government seditious pamphletscirculating in a colony of convicts and misfits.The government printer, George Howe, in1805 facilitated the printing of the first locallyproduced engravings.

John William Lewin (1770-1819) was thefirst professional artist in the colony from1800, a specialist in natural history. In 1803he made the first engravings in Australia ofmoths, published as Prodromus Entymology,Natural History of Lepidopterous Insects of NewSouth Wales in 1805 in London. It was the firstbook to contain Australian engraved plates.

Lewin next engraved plates for his Birds ofNew Holland with Their Natural History,which was printed by J White and S Bagsterin London in 1808. Only six sets of the printsare known to exist today, each worthapproximately $500,000.

VIEWS of New South WalesAbsalom West sentenced to 14 years

transportation arrived in Sydney in 1798.After a conditional pardon in 1811 or 1812 hebegan to publish engraved views of thecolony, provided by artists John Lewin andJohn Eyre, a convict. Views of New SouthWales, 1813, was issued as a set of 12 orsingly and very rare, especially due to thepoor quality of colonial paper. West publisheda second set of 12 prints of Australianengraved plates.

John Eyre (b. 1771), a freeman and studentof drawing who nonetheless arrived in thecolony in 1801 as a convict for housebreaking,providing West with ten of the first 12landscapes for publication.

Philip Slaeger /Sligo (1755-1815) was asketcher and engraver convicted for anunspecified crime who arrived at Sydney in1807. His sentence expired in March 1812 –the same month his first two prints engravedand printed in New South Wales were issued.

Walter Preston (Presston) (b. 1777), anengraver, was transported for robbery andarrived in 1812 in time to assist West’spublishing. Preston eventually earned anabsolute pardon after engraving views ofNSW published in Major James Wallis’Historical Account of the Colony of NewSouth Wales (London 1821), also engraved byPhilip Slaeger.

NATUREIrish born Richard Browne (1777-1824)

arrived in Sydney in 1811. Shortly after hisarrival Browne was sent to the Newcastlepenal colony. Its commandant from 1811-1814, Lieutenant Thomas Skottowecommissioned Browne to create drawings of

PICTURING SYDNEY:The first Australianprintmakers and printers

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Continued page 12

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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 4863reservations@thehughenden.com.au 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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From the beginning of culturaldevelopment, mankind has had a desirefor adornment. This has manifested

itself in the wearing of pieces with subjectiveaesthetic and/or intrinsic value, such asjewellery, and has taken on many forms.Wearing different styles of jewellery candenote rank, affiliation to different groups ordemonstrate status and wealth. Today,enjoyment is the reason for wearing jewellery.

In the southwest USA turquoise, which isuniversally associated with the area, has bothsacred and economic value to the Zuni,Navajo and Pueblo Indians. The Pueblocalculate its value not only by the stone’squality but also by the amount of time it takesto produce an artefact from it.

Jewellery has taken on many forms and hasbeen worn on every conceivable part of thebody. Sometimes an area of the body needs tobe altered to attach an object; one commonmethod of adaptation is to pierce the earlobes, so the wearer’s face can be flanked byadornments – earrings. Native Americans of theSouthwest were no exception to these practices,with their earring styles evolving from a simplependant, using irregularly shaped stone or shelland bone, to complex examples of art usingmetal and other raw materials.

Both men and women wore earrings ofsimilar style, with a single piercing being

common practice both today and historically.However, the evidence shows one genderfavoured a specific form. For example, Pueblowomen exclusively wore a turquoise mosaicpendant earring made simply by bondingroughly squared turquoise pieces ontorectangular wooden or shell backing, oftenwith a square piece of shell in the centre, to

symbolise ‘blue corn stacked up.’ Late 1800sphotographs show Hopi women commonlywearing the distinct mosaic ear pendants, astyle that dates back to prehistoric times in theSouthwest. These earrings have significantceremonial meanings to the Hopi.

Jackla, meaning ear rope or cord, is anotherform of ear pendant, a tapering loop ofturquoise discoid beads associated with women.Navajo maidens upon marriage would removethe jacklas from the ears and tie them to beadnecklaces as pendants. This may explain whyseveral early sources noted that women havepierced ears but do not wear earrings.

METAL jewelleryEarly European explorers expanded the

possibilities of decorative auricularornamentation by introducing ear hoops ofmetal and new raw materials to the nativecraftsmen. The introduction of refined metalsbecame the catalyst for extensive changes intheir material culture.

At the time of Spanish contact in theSouthwest, rudimentary metallurgy usingsmall amounts of native copper was practisedand metal oxides were used in pottery glazing.In pre-contact time, metal was too scarce touse in jewellery making. Although variousamounts of ferrous and non-ferrous metalswere present in the historic Southwest andmost have been used in jewellery productionat some stage, the focus has been on silver.

Silver arrived in the Southwest via severalmeans and coincided with a crucial period ofcultural change. Despite not being anindigenous art form, silversmithing was soon

an important part of Navajo life beginning asearly as 1853 when Atsidi Sani was creditedas the first to learn silversmithing. In 1872 aNavajo passed on silver-working skills to aZuni, who, in turn passed knowledge of thecraft to a Hopi artisan. During the Navajointernment at Bosque Redondo between 1863and 1868, some learned metallurgy and afterre-location to the reservation the Navajocraftspeople became renowned silversmiths.

Earlier Navajo earrings were cut from flatpieces of iron. Copper and brass kettles werebroken up and used for jewellery at ZuniPueblo in the 1830s and 1840s. Through trade,copper and brass wire was available whichwas easily shaped and used extensively tofabricate the simple and popular ear hoop.Silver, unless procured as jewellery, requiredreshaping with tools and knowledge. Theearliest silver earring was clearly made withlimited resources; it is, nonetheless, of a stylethat continued into the early 20th century.

In the 1870s traders supplied native smithswith silver coins to use for jewellery andbrought in Mexican instructors, with the resultthat the non-indigenous population found thiswork much more appealing than that of acouple of decades earlier. Silver became thepreferred metal but the annular form of theold copper and brass earring remained. It was documented that ‘each of a Navajogreat circular loop contained at least one trade dollar.’

ADORNMENTS: Native American earring designs

Jewellery has taken onmany forms and has been worn on everyconceivable part of the body

”

“ Hopi woman wearing turquoise mosaicearrings and glass bead necklace, c. 1900

Turquoise mosaic earrings, c. 1860-90, most often associated with Hopi Jacklas (loops of turquoise beads), 20th century

Silver hoop and ball earrings, c. 1900 Turquoise drop earrings, c. 1900-1930

Silver hoops, c. 1880

Flat silver loops set with turquoise discs, c. 1910-1930

Silver drop earrings with silver wire and set with turquoise, c, 1910-1930 Commercial silver drop earrings set with domed turquoises, c. 1930

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Added to these popular hoops of plain orfile-marked round silver wire was often oneor more hollow silver beads or sometimes asilver squash-blossom pendant. Earrings camenext to the bracelet in importance, and wereworn by both sexes.

Mexican pesos were also used to makehoop and ball earrings and another styleshaped like flat, crescent moons. These wereoriginally decorated with file or punch workand later with stamping. When stone settingbecame part of the craftsman’s repertoire,turquoise was often added; sometimes it wasfound that stones had been set over the existingstamp work of an earlier style.

The third type of hoop earring documentedwas made of long strips of silver that areflattened, or with a single curvature, and thenformed into circular hoops giving the appearanceof short sections of large diameter tubing.

In a complete shift from the annularconcept, piriform drops of silver appeared.These were long tapering cones of silver closedat the wide end with a separate free-movingsquash blossom or pomegranate dangle whichwas attached by interlocking metal loops or bythong which passed up and out at the upper endso it could be attached to the ear.

Another southwestern metal workingtradition influenced the artisans and should benoted. It is the art of silver and gold filigree asexecuted by Hispanic plateros. Platero is theSpanish term for silversmith, which in provincialMexico and New Mexico came to designateanyone who worked with silver or gold, either asflat-ware, hollow-ware or as jewellery.

Filigree jewellery has a long history inEurope. Early references to it in this region areabout buttons worn on clothing. The travellingplateros found gold and silver was not readilyavailable which necessitated melting down andreworking older jewellery, making examples ofearly work very scarce today. The importance of

plateros is reflected in the late 19th centurytradition that a young male suitor would presenthis betrothed with a gargantilla that included anecklace with pendant, bracelets, brooch, rings,earrings and rosary, all of filigree.

Many forms of filigree were produced, eachdenoted by a Spanish word. The chuponesmay have been the models for silver beadssurrounded by rope-like twists of wire that werelater produced by native smiths attempting toreplicate this decorative unit. There are earringsof all kinds, again each with its descriptive name.In the late 1870s filigree jewellery gained muchpopularity and did not escape the notice of thenative population in New Mexico. Manyexamples of this influence are available in workfrom Acoma, Laguna and Isleta Pueblos, wherethe bent wire work is a version of the type usedon filigree earrings.

SETTING stones in silverThe Navajo began to set stones in

silverwork in 1878, with Zuni craftsmenfollowing a decade later. Turquoise was thestone of choice, however when it was notreadily available in the 1880s and 1890s othersemi-precious stones, jet and abalone shellwere substituted. Locally found garnets andeven bits of coloured glass, easily ground toshape, were used.

Turquoise, rivalling the blue of New Mexicoskies, held deep religious significance tonative peoples thus maintaining its preferenceand prominence. As new turquoise mines wereopened in the Southwest and local suppliesincreased, a curious change in earring fashiontook place. The early 1900s saw the re-emergence of the turquoise eardrop from aprevious age and the noticeable decline in thewearing of silver hoops.

Changing styles were also evident at ZuniPueblo. Earrings that had become anindispensable part of women’s apparel – the

only article of silver worn all the time – werenow commonly set with stone. By 1926, withthe increased use of turquoise, earring stylesbecame flat hoops set with turquoise discs thatshowed from both sides or long dangle earrings.

The traders expanded commercialism at thistime and employed more native smiths to producefor new markets beyond the reservations. Thecraftsmen were supplied with necessary rawmaterials and a variety of new jewellery toolsresulting in a more delicate style that would appealto the Anglo market. Now able to express their age-old affinity for turquoise, the Zunis abandoned theheavy Navajo style of jewellery making in favourof a lighter, stone-studded style, a style that Navajos

would eventually emulate in their own way.Women’s earrings reflected the changes that

took place in Zuni when the Zunis began tofollow their own tastes. The old flat hoopswere replaced by a more elongated drop withmultiple stone sets and often constructed intiers with free moving dangles from thebottom. The Navajo quickly adopted this stylethat, in innumerable varieties, has continuedwith little change to present day ●

FOUR WINDS GALLERY02 9328 7951www.fourwindsgallery.com.au

Navajo silverearring, c. 1869

Silver and turquoise hoop earrings, c. 1880-1900

his collections for Select Specimens FromNature of the Birds Animals &c &c of NewSouth Wales, Collected and Arranged byThomas Skottowe Esqr. The Drawings By T.R.Browne... New South Wales 1813.

Freed in 1817, Browne returned to Sydneywhere his illustrations concentrated on theIndigenous peoples with several appearingposthumously in A collection of portraits,predominantly of Aborigines of New SouthWales and Tasmania, ca. 1817-1849.

HISTORICAL accountsMajor James Wallis (c. 1785-1858) was an

amateur artist and commanded the Newcastlecolony. Wallis’ An historical account of theColony of New South Wales contains many ofBrowne’s watercolours and Lycett’s works,engraved by Slaeger and Preston, printed inSydney in 1819 and now very rare. Wallis re-printed the engravings in London in 1820.

Joseph Lycett (c. 1775-1828), a landscapeand miniature painter, transported as a forger,arrived in the colony in 1814 and from 1815he was an artist for Wallis in Newcastle. In1819 Governor Macquarie gave Lycettpermission to travel in NSW and possibly VanDiemen’s Land, with some of his imagesforwarded by Macquarie who pardoned Lycettin 1821. His pictures were published inLondon, firstly in monthly issues of fourdrawings in 1824 and later collated in JosephLycett, Views in Australia or New SouthWales, & Van Diemen's Land delineated, infifty views... (John Souter, London, 1824).

George William Evans and James Taylorwere colonial officers and amateur artists whoaccompanied Macquarie on tours includingVan Diemen’s Land in 1821. Lycett waspossibly indebted to their drawings.

By the mid 1820s the convict colony was acommercial outpost of Britain. The Europeandemand for exotic images of an unknownplace was subsiding. Professional artists’views were more accurate than earlier fancifulimages but lacked the allure of the amateurand convict artists’ topographical drawings ●

TIM McCORMICK02 9363 5383www.mccormickbooks.com.au

Further readingJan Fullerton, The World Upside Down,Australia 1788-1830 (Canberra: National Libraryof Australia 2000)Tim McCormick, First Views of Australia1788-1825 (Sydney: David Ell Publishing 1987)

1 Joseph Lycett (c. 1775-1828), North View of Sydney, 1824, coloured lithograph, 17.5 x 28 cm,inscribed ‘I Lycett, Delt. et Execute’ (drew the scene & carried out the engraving), printed byJ. Souter, London, 1825

2 James Wallis (c. 1785-1858), A view of Dawe’s Battery at the Entrance of Sydney Cove New South Wales, inscribed, ‘engraved by W Preston from an original drawing by Capt Wallis 46th Regt’ 1819

3 John Eyre (b. 1771), Sydney from the East Side of the Cove, 1810 (possibly 1808)4 Absalom West, publisher (Australia 1798-1814, England after 1814), View of part of Sydney,

the Capital of New South Wales Taken from Bene Long’s Point, drawn by J. Eyres [sic], engravedby W. Presston [sic], 1825

5 John Lewin (1770-1819), Climbing Trees, Plate 4, Field Sports &c. &c. of the Native Inhabitantsof New South Wales (London, 1813 or 1814)

6 John Lewin (1770-1819), Bombyx Banksiae, Plate 5, Prodromus Entymology, Natural History of Lepidopterous Insects of New South Wales (London, 1805)

2

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Continued from page 8

A N T I Q U E S & A R T I N N E W S O U T H W A L E S

12

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A N T I Q U E S & A R T I N N E W S O U T H W A L E S

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

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

In addition to all of the above, many years ofexperience are required. The most essential skill isthe ability to translate all the technical, design,historical and provenance data into what isrelevant in the current marketplace. Only then canone arrive at a ‘value’ that is meaningful for theend users of a written valuation, whether owners,insurers or probate.

VALUATIONS have manyinteresting challenges

One of the problems facing a practisingjewellery valuer is that any imaginable (and neverimagined) item can appear before you forvaluation: you are required to use a broad rangeof skills. For example, when identifying agemstone, a loose gem is much easier to identifythan a gem that is set, as testing procedures arelimited once set. Frequently valuers need todecide if an item of jewellery is a genuine antiqueor a modern reproduction.

A valuer often does not know the history of thejewellery and so has no information to start with.It can be likened to CSI and forensic analysis, soassumptions and identifications are determinedby examination and testing. In order to identifythe origin of the gemstone and metal mount alogical sequence of examination and testing needsto occur to arrive at the correct answers.1. The gemstone must be identified, whether

natural or synthesised in a laboratory.2. The precious metal needs to be tested and

identified, such as the grade of silver, whethersterling (.925 pure) or other grades(Scandinavian silver is frequently .800).

3. What about the method of manufacture – is it handmade or cast or a combination of both?

A GEMMOLOGICAL challengeValuers may be asked to value a necklace set

with a multitude of cut gemstones, which couldbe a mixture of amethyst, citrine, zircon, garnet,iolite, topaz, peridot, emerald and synthetic ruby.

Imagine the challenge from a large pearl necklace– are they from the South Seas or are theyfreshwater pearls? They look very similar to oneanother, but have totally different values.

There are now rubies on the market that are ofreally very low quality. They have been treated byheating and the addition of molten glass to fill thecracks in the stones which increases the eyevisible clarity. The value of this type of ruby isextremely low and can be very misleading for thepurchaser. There are other treatments of rubies, sodepending on the treatment, a wide range ofvalues can be attributed to each gemstone sold asa ‘ruby.’ This has the potential to defraudprospective buyers.

An interesting valuation was that of a lovelysapphire and diamond ring with a series of Englishhallmarks on the band. A closer examinationrevealed that the stamps were fake. The markswere actually cast into the ring and thereforeclearly a modern reproduction, and of coursefraudulent. The other sign that the ring was notantique was that modern cut diamonds that wereset in the ring did not occur until at least the 1950s.

Another valuer was presented with a blue stoneand diamond ring. The blue stone looked exactlylike a blue Ceylonese sapphire – testing provedthat it was an unusual blue stone called kyanite.This is a fragile stone and so the wearer has to bevery careful not to crack it. New deposits of themineral have recently been discovered, so it willbe seen more frequently on the market, yet fewwill know its true (low) value.

The above examples show just the tip of theiceberg of this vast subject. When seeking adviceor valuations, a qualified and experienced personis obviously required to unravel the science andcomplexities of jewellery, watches and otheritems of personal adornment.

The best thing about using a professionalvaluer is that you will get a precise description ofthe article along with an accurate currentreplacement price. A valuation is a legaldocument: it validates the existence of the itemsshould either damage or loss occur ●

NATIONAL COUNCIL OFJEWELLERY VALUERS NSW02 9232 6599 / 0418 616 849nsw@ncjv.com.au

MEANINGFULVALUATION of jewellery= CSi + forensic analysis

Name Company PhoneIan Abeshouse Ian Abeshouse Valuations 02 9223 9919Masis Baghdasar Agopyan Masis Jewellery 0418 266 675Alison Alford 02 9326 1588Jonathan Alford Jonathan Alford Pty Ltd 02 9222 9393Ken Anania Anania Australia Pty Limited 02 9299 4251Sirarpy Banbekian R.P’s Valuation Services 02 9261 3171Catherine E Barnett 0405 110 754Eli Baroud 02 9554 4408Michael Barrett Barrett’s Jewellers Pty Ltd 02 4296 1623David Benn David Benn Fine Jewellery 02 9233 4644Michael Berton Artima Products 02 9956 5606Michele Black Creations Jewellers 02 6295 1763Andrew Broadway Fine & Decorative Arts Services Pty Ltd 03 9421 0991Scott Brown Valuation Professionals 02 9283 0419David Bubb David Bubb & Associates Pty Ltd 02 9221 0288Carma Burchell 02 4862 2699Valerie Burgess West Wyalong Jewellers Pty Ltd 02 6972 2202Robyn Carmody 02 9420 8261Paul Carruthers 02 4929 4377Sheila Catterall Gemstone Valuation Services 02 9440 9981Narelle Chamoun 02 9708 1086Salina S Cheng Ricco Ricco Jewellery 02 9281 6899Patrick Cho Dixon Gem Studies & Valuation Services 02 9281 1182Raymond Clark Raymond Clark Jewellers 02 9232 7218John Clements J W Clements & Associates Pty Ltd 02 9232 1366Robert Cliff Robert Cliff Master Jeweller 02 8850 5400Brenda Colahan Brenda Colahan Fine Art 0414 377 227Julie Collins Jules Collins Jewellers 02 9331 6175Ben Connor David Connor Designs 02 9948 7444Douglas Crabbe Manly Jeweller 02 9977 6419

REGISTERED VALUERS IN NSW

Ronald Crisp R J Crisp Pty Ltd 02 9221 6262Jennifer Kate Criston J Farren Price 07 3229 6119Laura Cunning 07 5538 7832June Dangar June’s Jewellery & Gems 02 6772 7375Thomas Danos Professional Jewellery Services 02 9894 0204Melinda Di Pietro MP Valuations 0415 169 741Stephen Diegelman Rob Bennett Jewellery 02 9419 2296Patricia Donovan 02 6733 2062Nick Dracakis Dracakis Jewellers 02 9905 4344Menaka Drew Menaka Drew Valuations 0411 369 946John Ellis Frank Ellis The Diamond Centre 02 6962 2884Garry Estreich Gemplan Marketing 02 4861 2159Elias Fadel 02 9609 1070Warren Faust Dustins 02 9233 6999Stephen Fisk Giro’s Jewellery 02 9922 5812Janis Frost Frost Antiques Pty Ltd 02 9267 1304Thomas Gardner Thomas Robb Designs Pty Ltd 02 9264 3951Peter Gerrard JW Gerrard Pty Ltd 02 9232 4882Scott Godfrey The House of Fraser 02 9899 5848Nicholas Grant What Women Want 02 6651 9100Victoria Greene Michael A Greene Antiques 02 9328 1712Simon Gregory Gregory Jewellers 02 8850 7080Tanya-Louise Gregory TLG Valuations 02 9868 3444Donald Hansen 0438 630 183Paul Harangozo Coronet Jewellers of Distinction 02 6021 4282Eli Haski-Njoroge 0410 485 880Michael Hatzigeorgiou Hatzi Jewellers 02 9597 4877Vibeke Henriksen 0411 725 740Lynette Hobcroft 02 9420 8261Rachael Hogan Goldsmith Jewellers 08 8981 4448Catherine Horder G W Speirs 02 6962 7477Elizabeth Hoy Kareli Valuation Service 02 9267 4391Warren Hughes Normans of Mosman 02 9969 7766Ross Humphries LG Humphries & Son 02 9290 1505Rodney Hyman RHAS 02 9986 1877Ercan (John) Inan Crown Diamond Jewellers 02 4227 6224Heidi Inwood Regency Jewellers 02 6352 1203Vera Jarjo Starco Jewellers Mt Druitt 02 9832 9222Roslyn Jarrett Jarrett Jewellery 02 9267 1084Damien Kalmar Kalmar Antiques 02 9264 3663Suzy Kertesz 0411 511 222Mehran Keshishian D & R Valuation 02 98071020Harry Keverian Bond Street Jewellers 02 9413 9100Alexandra Kocsard 0439 994 732Linda Kotlyar 0414 283 627Alex Krawzow 0430 318 003Frank Lenane Hennings Pty Ltd 02 9639 6468Mike Levendi Levendi Jewellers 02 9231 1088Karen Lindley Karen Lindley Pty Ltd 02 9232 1611Cameron Marks Percy Marks Jewellers 02 9233 1355Roslyn A McKenzie 0416 379 782Colin McWilliam McWilliam & Associates Pty Ltd 02 9231 2388Leon Milch Leon Milch Pty Ltd 02 9264 3162Helen Miller McWilliam & Associates Pty Ltd 0434 728 863Robyn Minehan 02 6556 0241Mark Mitchell Valuation Centre of Australia 02 9476 4721Terence Mitchell The Valuation Centre of Australia 02 9419 7908Toru Miyauchi 02 9269 0804Hugo Morvillo 0425 306 725Robert Musson Musson Jewellers 02 9412 2780Roberta Neuman Neuman & Associates, Australia 02 9233 1355Michael Neuman c/- Mondial Jewellers 02 9267 7974Ann Newman Hunter Region Valuation Services 02 4930 1047David Nicholson Nicholson’s Hourglass Jewellers 02 6021 3744Robert Nicholson Nicholson’s Hourglass Jewellers 02 6921 2345Ralph Nicola Ralph Nicola 02 9223 8744Paul O’Neill Peter O’Neill Jewellery 02 4990 3810Alex Ozmen Jo Linda’s Jewellery 02 9558 5532Con Pappas Constantine Jewellery Design 02 9238 0577Odette Patrick Maxoddy Pty Ltd 0414 208 785Raymond Pinn R J & C R Pinn Pty Ltd 02 9412 4816Tim Pitcher McWilliam & Associates 03 9662 1755Elizabeth Proszkowiec Enigma Jewellers 02 4983 1188George Proszkowiec Terrace Jewellery Pty Ltd 02 4987 2290Gabrielle Radinger Erich Radinger Goldsmith & Jeweller 02 6295 0064Antony Rees Jewellery Brokers 02 6881 8318Stuart Reid Stuart Reid Jewellers 02 9262 5142Alison Renwick Alison Renwick Art Consultancy 0412 363 431Adam Rich Jan Logan Jewellers 02 9266 5379Geoff Richardson 0411 467 416Penelope Robson Penelope Ellen Jewellery 02 9567 6650Luisa Rose Luisa Rose Designs 02 9974 5466Sarah Rowe The House of Fraser 02 9899 5848Nicole Russell c/- Percy Marks 02 9233 1355Mark Saffer MN Jewellery 02 9371 8735Sharon Salucci Aldo’s Manufacturing Jeweller P/L 02 9940 3361Mark Sanders L Sanders & Son Pty Ltd 02 9233 5119Jiulio Sarno C E & J Sarno 02 9344 9577Robert Sawtell Umun Jewellery Studio 02 9484 0944Michelle Schellnegger 02 6829 0210Danielle Schlanger I Schlanger & Son Pty Ltd 02 9221 5916Bill Sechos 02 9264 8788Joel Sellings J Farren-Price 02 9231 3299Brooke Sheppard Sheppard’s Jewellers 02 6722 2114Phillip Skamperle Phillip Skamperle Manufacturing 02 4972 2111Colleen Sloane Colleen Sloane Design & Valuations 0438 889 714Anthony Smallwood Advanced Gemmological Services Pty 02 9545 5955Michael Smyth Artegold Jewellery 02 9221 6140Anthony Sofoulis The Village Jewellers 02 6295 7955Elizabeth Stevens Chilton’s Antiques 02 9524 0360Kerrilie Szymanski 0404 875 468Joseph Thang Vinson Jewellery 02 9281 8357Diana Thompson The Gem Connection 02 6295 9493Peter Tinslay 02 9966 9925Julia Tsiamis GS Gold Shops Pty Ltd 02 9264 4933Christopher Underwood Underwood Jewellers 02 9689 1022Robert-Marie Vella Accu-Val Jewellery Appraisals 0418 961 266Kimberley Wallace-Wells Old Technology 0427 499 150Doreen Wallman Spectrum Gems 02 9233 2932Kingsley Wallman Venerari 02 9222 9797John Newton John Newton Jewellers 02 9645 2465Tracy Wenban Tracy Wenban Jewellers 02 9979 3871Ra Wineera Lambert Jewellery 02 9233 5558Eric Wolf Deborah Windfield Jewellery 02 9953 8624Desiree Zincirkiran Duval Jewellery 02 9261 1212

PYRMONTA N T I Q U E S & A R T I N N E W S O U T H W A L E S

15

Whether you buy a rug, kilim orcarpet for decorative, practical orinvestment purposes, care needs to

be taken in order to ensure its longevity, toprotect its value and to ensure the aestheticqualities last.

As most of these textiles are used fordecorative floor covers, they are especiallyvulnerable to damage from dust, spillage, debriscarried on foot and especially pets’ accidents.

Cleaning and washingRegular vacuuming is essential in the care

of rugs. Floor textiles should be thoroughlyvacuumed at least once a week, or more iflocated in a high traffic area. Always vacuumin the direction of the pile, in order to ensurea smooth appearance. For a deeper clean, itis important to move the carpet from itsregular position and clean the surfaceunderneath, as well as shaking the carpet toremove deeply held dust.

If parts of a rug are placed under furniture orin dark areas or stored, they should frequentlybe cleaned and checked, as they are vulnerableto moth damage, which in its early stages cango easily unnoticed. If you find signs of mothsor their damage, quickly seek advice from arug professional to protect and repair.

Washing rugs is essential for theirmaintenance, however only entrust your rug toa recognised professional, every time. Mostrugs need to be washed every two to fiveyears, however in the case of stains orrepeated spillage, more frequent and at timesimmediate washing is necessary.

In particular, cat and dog waste (especiallyurine) needs to be dealt with immediately dueto its acidity which leeches the dye from therug, and if left can damage the carpet

permanently. In this case, it is necessary tohave the carpet professionally washed anddeodorised immediately.

A carpet cleaning professional will be ableto take into consideration the material, dyesand integrity of your rug, as well as use anappropriate technique and products to washand care for your rug.

Repair and restorationDepending on their use and condition, most

rugs will endure damage from everyday usebut most damage can be repaired. All rugswill show signs of wearing over time.Immediately seek assistance with any damageto rugs such as the ends fraying, tears, mothdamage, damage caused by pets andaccidents, and rot.

It is important to detect early signs ofdamage and to intervene, as delay could makerepairs costly or may render your rugirreparable. In most cases an experiencedprofessional can repair the area in need insuch a way that the rug should resemble itspre-damaged appearance

The correct way to store rugsTake special attention when storing rugs.

Due to the potential damage from humidity, itis important to store a rug in a dry area. Rugsshould not be folded as this may damage theirstructural integrity, or break them. Only storea rug by rolling and wrapping it in a cotton orlinen cover; never use plastic based covers ●

Ahmet SolakPERSIAN CARPET REPAIR ANDRESTORATION COMPANY02 9571 4411 / 0414 598 692www.persiancarpetrestoration.com

Caring for and maintainingRUGS AND CARPETS

Ahmet Solak 123 HARRIS ST (REAR ENTRANCE) PYRMONT SYDNEY NSW 2009

Tel: 02 9571 4411Mob: 0414 598 692 Fax: 02 8399 2078

www.persiancarpetrestoration.comemail: info@persiancarpetrestoration.com

EXPERT REPAIRS, RESTORATION, CONSERVATION,CLEANING & HANDWASHING OFANTIQUE & ORIENTAL CARPETS,

KILIMS & TEXTILES

A N T I Q U E S & A R T I N N E W S O U T H W A L E S

16

DYES

Colouring materials originallyobtained from natural sources such asplants and are now made synthetically.

Some dyes such as indigo (known as vat dyes)are applied directly to the fabric. Others requirea mordant (such as chromium salts) to fix themto the material (mordant dyes). The best dyesare fast to light and washing; otherwise theyare ‘fugitive’, which means they will eitherfade or run into adjacent areas of colour.

ERSARIA Turkoman tribe who, as nomads in the 19thcentury, inhabited areas of northern Afghanistanand southern Turkestan. They made tent carpetsand trappings using the ‘gul’ motif.

FARSA south Persian province the capital of whichis Shiraz, the traditional market for many ofthe south Persian tribal weavings from theQashqa’i, Lori, Khamseh and Afshar.

FERAGHANA plain outside the township of Arak (formerlySultanabad) in western Persia, significant forits production of village rugs since at least theearly 19th century. Characteristic in many rugsis the use of the Herati pattern and a rathercorrosive green dye.

FELTFelt is one of the oldest forms of non-wovenfabric which is built up of interlocking fibres. Thefibres become intermeshed by a combination ofmechanical work, heat and moisture. In mostparts of Asia, sheep's wool is used for felting.

FIELDThe central area of a rug enclosed by theborders. Field patterns may have a repetitiveor overall design or contain central medallionsbased on floral or geometric motifs.

FLAT WEAVEA general term for a rug without pile, forexample a kilim or a sumak.

FUCHSHINEOne of the early aniline dyes, first made in1859. It produces a brilliant magenta butfades badly in light.

GARDEN CarpetsA group of historically important carpetsfrom the 17th and 18th centuries whoseschematic composition was based on thelayout of the classical Persian garden withwater courses dividing rectangular beds offlower, shrubs and trees.

GROUND WeaveRight angled interlacing of warp (lengthways)threads and weft (widthways) threads,forming the basic structure of a fabric or rug.Also called the foundation.

GUL (GOL)An octagonal motif appearing as an infinitelyrepeating design across the field of rugsparticularly of Turkoman origin. A variety ofstylisations were used by the Turkoman tribesfor whom the ‘gul’ had special heraldicsignificance. Particular tribes were associatedwith certain ‘guls’ just as Scottish clans wereassociated with specific tartans.

HAMADANA township in western Persia and animportant market centre during the latter halfof the19th and early 20th centuries. Manyrugs made in and around the township bypredominantly Kurdish populations areknown as Hamadans.

HEGIRAThe name to Mohammed's flight from Meccato Medina in the year 622 AD. For thereading of dates sometimes woven into therugs the Islamic lunar year applies which isshorter than our solar year and the reckoningbegins with Mohammed's flight. The formulafor converting the dates on old rugs is: whereX = Islamic date: X divided by 33.7 = y thenx + 622 - y = date CE.

HERATIDesign found in a variety of 19th and early20th century Persian rugs of village origin.Comprises a central rosette within a diamondflanked on each side by four curved sickleleaves and showing pendant palmettes orrosettes at each point of the diamond.

HERIZA township in northern Persia and animportant centre for village production of theregion to the northeast of Tabriz.

ISFAHANShah Abbas's capital of Persia noted for itsmagnificent Safavid architecture andextravagant tile work. In carpet production itis most famous for the court workshops ofthis period where in all probability animportant group of silk and metal threadcarpets known as the ‘Polonaise’ carpets weremade. Nowadays the workshops of Isfahanproduce the most finely knotted of all modernPersian carpets with designs inspired not somuch by the magnificent Safavid knottedmasterpieces, but by the tile work of theSafavid mosques.

KASHANA township in central Persia and a focus ofmuch court workshop production in 16th and17th century Safavid Persia. One of theworld's most celebrated carpets, the Ardebilcarpet in London’s Victoria and AlbertMuseum, is signed and dated in a cartoucheat the top of the field, ‘Maqsud of Kashan...in the year 946 (1539).

It is not however certain whether thecarpet was actually made in a Kashaniworkshop or another of the major centres ofSafavid court production.

Kashan is also an important centreassociated with the revival of Persianworkshops from the middle of the 19thcentury. The most famous rugs during thisperiod of production are attributed to theworkshop of Motasham.

KAZAKA rug from the southern Caucasus of villageorigin and characterised by bold design,vibrant contrasting colour, relatively coarseweaving and a longish pile.

KELLEGHIA long carpet of which the length isproportionally twice the width. In the traditionalarrangement of Persian carpets within a palaceroom, it was the 'head' rug upon which the Shahor other leaders sat to hold audience. In front ofthis lay the ‘qali’ or main carpet flanked by two‘kenareh’ or runners.

KHELLILI GulA motif found predominantly in the trappingsand bags of the Turkoman (Turkmen) tribes andrepresenting a stylised flowering plant or treeand also referred to as the animal tree motif.

KHAMSEH (Khamsa)A south Persian group of tribes formed as apolitical confederation in the 1860s purportedlyto combat the might of the neighbouringQashqu’i tribes. A conglomeration of Turkic,Arab and Persian peoples, the Khamsehproduced rugs similar in character to those ofthe Qashqa’i. One particular design typeassociated with the Khamseh is the ‘murgi’ or‘chicken’ rug displaying numerous long neckedbirds pecking away at random across the fieldof the rugs.

KILIMMost specifically, a tapestry woven rug (asdistinct from pile) produced in Turkey, Persiaand the Caucasus. The term is often used in ageneric sense for all flat woven rugs whetherthey are a tapestry woven rug or woven insome other weft or warp faced technique.

KIRMANA township in southeast Persia with a longtradition of workshop carpet weaving both inthe 16th and 17th, centuries under Safavidrule and during the 19th century with therenaissance of workshop production to caterfor demand in the western world

KNOTSStrands of wool wrapped around the warpsand cut so that the ends project upwards toform a pile. Two basic types of knots are usedin oriental rugs.

KONYAThe early Seljuk capital of Turkey (from11th-13th centuries) and in the 19th century.Nowadays it is an important market centre incentral Turkey for the village production ofthe region. Famous for its Seljuk architecture.

KUBAA township in the northern Caucasus. Manycottage industry rugs associated withparticular designs such as Perepedil, Chi-chi,and Afshan, are attributed to the Kuba regionbut the distinction between old Kuba rugs andtheir counterparts from the Shirvan area tothe south often remains unclear.

KURDSThe Kurds, among the most ancientinhabitants of western Persia, are found alsoin great numbers in eastern Turkey and Iraq.Throughout the centuries, many Kurdishgroups have dispersed sometimes at thebehest of rulers to other parts of Iran (Persia).

Kurdish tribes inhabit the area aroundKuchan (Quchan). Kurdish weavings are assimilarly diverse and difficult to attributeprecisely but are produced by both nomadictribespeople and settled villagers ●

Ross LanglandsNOMADIC RUG TRADERS02 9660 3753www.nomadicrugtraders.com

Gul motif as found in Turkoman carpets

Herati motif as found in Bidjar carpets

Anatolian kilim showing a detail of the slit tapestrytechnique common to most flatwoven rugs

Kuba prayer rug, northern Caucasus, c. 1850

Symmetrical

Asymmetrical

Open to the left

Open to the right

THE A-Z OF ORIENTALANTIQUES

NOMADIC RUG TRADERSSPECIALISTS IN OLD ORIENTAL RUGS TEXTILES AND TRIBAL ART

VALUER OF ORIENTAL RUGS & SOUTH EAST ASIAN TEXTILES FOR THE AUSTRALIAN GOVERNMENT’S CULTURAL GIFTS PROGRAM MEMBRE DE LA CONFÉDÉRATION INTERNATIONALE DES NÉGOÇIANTS EN OEUVRES D’ART

MEMBER OF THE AUSTRALIAN ANTIQUE AND ART DEALERS ASSOCIATION

123 Harris Street Pyrmont NSW 2009 AUSTRALIA TEL 612 9660 3753 FAX 612 9552 4939

e-mail: nrt@pacific.net.au website: www.nomadicrugtraders.com

SALE!WAKE UP &

GET INEARLY

21ST AN

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A N T I Q U E S & A R T I N N E W S O U T H W A L E S

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BONDI JUNCTIONA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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Bellagio International has beenoperating at 1A Hollywood Avenue,Bondi Junction for more than a decade.

It has become the favourite place for interiordesigners, commercial producers and thosewho like fine and unique items. They sell andpurchase their stock from around the world.Each piece of furniture and art is unique.

Bellagio International carries a wide rangeof crystal chandeliers, beautiful oil paintings,gilded mirrors, fine porcelain, bronze statues,console tables, dining suites and bedroomsuites. They also offer a vast selection ofclocks, period and modern furniture andmuch, much more.

Items from their catalogue can be viewedon their website and ordered through their store ●

BELLAGIO INTERNATIONAL02 9369 49340416 131 015bellagiointernational@gmail.comwww.bellagiointernational.net

FINE FURNITURE, ART WORKS AND MORE in the heart of Bondi Junction

1A Hollywood Ave, Bondi Junction50 metres from Westfield

NEW SHOP LOCATED AT243 Oxford Street, Bondi Junction

Ph: 02 9369 4934 • Mob: 0416 131 015 ask for Ray

Open: Mon-Sat 11 am - 6 pm

Bellagio InternationalBUY ~ SELL ~ HIRE

BONDI JUNCTIONA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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Specialising in transporting art andantiques means that Pack & Sendsuperstores stock an extensive range of

packing supplies – including bubble wrap, airbags, tailor-made boxes and crates – for bothshops and individuals who choose to do theirown wrapping.

Museums, art galleries and antique dealersAustralia-wide are finding Pack & Send’sservice truly valuable when they ask them totake care of the entire logistical process: frompick-up to packaging to insurance, paperwork,freighting and safe door-to-door delivery. Noother company in Australia does this.

In relieving them of what can often be atime-consuming and onerous task, curators andcollectors are free to concentrate on their corebusiness. Pack & Send will personally managethe entire job and even computer-track the itemen route until it arrives safely and in pristinecondition at its destination.

PROFESSIONAL Packing ServicePack & Send is the only packaging and freightcompany that has access to InstapakFoam-in-Place technology, a system using softfoam that expands when two chemicals arecombined in contact with air.

Foam-in-Place moulds itself to fit the preciseshape of the item being packed and this productpossesses a density that aids in the prevention ofdamage from impact, vibration or from beingdropped. Instapak Foam-in-Place enables

glassware, paintings and various antiques to besent through the freight system withoutcompromising the safety of the item. Not onlythat, but Foam-in-Place is highly cost efficientand readily disposed of without harming the environment.

Pack & Send is the only freight company thatwill send as well as pack antiques and art foryou. When you consider the price of packing theitem yourself on top of another company’sfreight charges, Pack & Send’s price – as well asits hassle-free, one-stop shopping convenience –makes it a very attractive option.

SAVES Time and MoneyArt and antique dealers, galleries and museumsare now realising that using Pack & Send fortheir logistics is a means of providing a superiorlevel of service to their customers and actuallysaves them time and money.

Martyn Cook of Martyn Cook Antiques inQueen Street, Woollahra NSW is a fan. He usesPack & Send to send artworks worth manythousand dollars.

‘From long experience I know I can rely anddepend on Pack & Send. They collect fine art,pack and deliver for us nationwide and aroundthe globe. We’ve had no breakages so far,’ hesays with a smile. That’s good news to peoplesuch as the Miami, Florida, customer whopurchased some framed sailing prints, includingan 1830s copy of a French sailing ship headingout for a perilous expedition to the Arctic and asailing scene on Sydney Harbour in the 1880s.

Pack & Send Bondi Junction is open six days aweek, from 8.30 am to 5.30 pm, Monday to Friday,and from 9 am to 12 noon on Saturday. The team atPack & Send look forward to the opportunity tooffer their services in solving any packaging orfreight problem you might have ●

PACK & SEND02 9386 1644bondijunction@packsend.com.au

Excess baggage? Have your personal effects custompacked and sent home safely bythe professionals at Pack & Send

Your investment in professional careThe time and care you take when selecting your precious piecesshould not be compromised when you need to move them. PACK &SEND uphold the highest standards in customer service andpackaging methods, and possess a wealth of experience in handlingprecious items. PACK & SEND deliver you:

• Dependable and versatile transport options across town, interstate and around the world

• Complete assurance – ‘no compromise’ packaging solutions and protection against loss and damage

• Total convenience – we pick up from you and provide on-site quotes!

• Professional, no obligation advice from a team with a wealth of experience

Superstores... We Send Anything, Anywhere!

304 Oxford Street, BONDI JUNCTION NSW 2022 PH: 02 9386 1644 FAX: 02 9386 1760

bondijunction@packsend.com.au

PACK & SENDart and antique specialists

Museums, art galleries and antique dealers Australia-wide are finding Pack & Send’s service truly valuable when they ask them to take care of the entire logistical process

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Art Gilding StudioRestoration and frame conservation

Oil and water gilding servicesOn-site architectural gilding

We come to youFREE STUDIO QUOTES

Art Gilding AcademyHobby Workshops Weekend Classes

Master Classes (fully certified)FREE INFORMATION EVENINGS

For dates, free brochures and friendly advice

Call Brigitte now 02 9310 3007

99-101 Buckingham St, Surry Hills NSW(Entrance in Cleveland Street)

artgilding@artgilding.com.auwww.artgilding.com.au

Have you ever wished to have theskills to apply gold and silver leaf toyour furniture, frames, and artwork?

Or embellish your cornices, columns, wallsand ceilings with metal leaf? Work for yourselffrom home at your own pace? Master gilder Karl Eggert can make yourdream come true – and you need no priorknowledge of gilding.

In the past, this ancient craft with all itssecrets has been passed from father to son. Butin 1999, Karl Eggert, together with his wife

Brigitte, founded a unique teachingestablishment to make the wonderful craft of gilding available to anybody who wants to learn in Australia.

Learning in Germany from master gilders inframing, as well as in church restoration, Karlhas a broad knowledge and more than 45 yearsexperience in gilding. And this knowledge andexperience is reflected in his teaching program atthe Art Gilding Academy. Class sizes are kept toa maximum of six students to ensure the bestlearning experience.

Master ClassYou can learn every aspect of gilding in a two-week, fully certified Master Gilding class.

In this professional course, Karl teachesskills similar to those taught in three-yearapprenticeships. Gilding on plaster, timber,glass, metal and paper form part of theprogram. For framers and painters, the coursecan bring immediate benefits to yourbusiness, while many students come from thefields of art, craft and interior design.Students travel from all over the world toattend the Art Gilding Academy, making it atruly international academy.

On completion of the Master Class, theAcademy offers a Lifetime Membership inthe Goldfinger Club, with 20% discount onall gilding tools and materials as well asunlimited advice and support. We are there foryou until you do not need us anymore. Youwill find this truly priceless.

Imagine how peaceful it feels to learn thisexquisite craft, in this beautiful classroomwith a small group of like-minded people.This two-week full time professional gildingcourse has been designed to save you time andcreate an income as well.

Weekend ClassesSydney: Sat/Sun 10 am – 4 pm

Would you like to add skills andmore profits to your business?This class has been especially designed forpeople unable to attend week-day classes andis held once a month.

We know how difficult it is for smallbusiness owners to find time during the week,so our intensive weekend class may suit youperfectly. The classes run from 10 am – 4 pmSaturday and Sunday and participants aretaught, step-by-step, gilding techniques thatare applied to furniture, picture frames andmirrors, cornices and even walls.

Many students have found that gilding addsanother dimension to their business, which theyhave been able to capitalise on by adding a newprofit centre and, moreover, it’s fun!

The weekend class is very reasonably priced at$795. This includes the project – an Egyptianplaque – all tuition and materials. In certaincircumstances this fee could be claimed as a tax deduction.

Those able to benefit by acquiring this skillinclude artists, painters, framers, restorers andFrench polishers; in fact, anyone who wants toadd new skills and a new source of profit totheir business ●

For more information call Brigitte on02 9310 3007ART GILDING ACADEMYartgilding@artgilding.com.auwww.artgilding.com.au

Brigitte with gilding workshop project

Because of Karl’s special knowledge andteaching ability, you will learn intensively, butnever feel pressured

Gilded chair backs

Gilded French clock

By invitation only Free information eveningon gildingOnce a month, Art Gilding holds a specialinformation night (from 6 pm to 9 pm) onthe art of gilding. Karl conducts a gildingdemonstration, an informative video isshown and all questions on gilding areanswered. Food with gold leaf is served andeven the wine contains floating 24 carat gold.Gold and silver have been used for centuriesto embellish food and we assure you it isabsolutely safe to eat and drink.

Best of all, the evening is absolutely free.These very popular evenings are strictlyinvitation only, so please call Brigitte on 02 9310 3007 for dates and bookings.

New homes neededfor well-loved piecesWe no longer have the room for the following items in our new Surry Hill premises.

• French 18th century tapestry cartoonof figures in a landscape, 213 x 244 cm, $12000

• Set of 3 matching French basket gilded chandeliers, $900 each or $2500 for the set

• Ornate French wrought iron day bed,restored, gilded and reupholstered, $1500

Free delivery in the Sydney metropolitan area. Photos on www.artgilding.com.au or callBrigitte on 02 9310 3007 for more information.

Hobby workshopA DISCOVER GILDING WORKSHOP($200), held on a Saturday, is the perfect answerfor anybody who wants to learn gilding as a hobby.

In just four hours you can learn, step-by-step,how to apply gold size, Dutch metal leaf (fauxgold), seal your project with several coats ofshellac to make it durable, and then age theplaque to your taste. You will be very proud ofyour masterpiece and you can be assured thatyour family and friends will be impressed! Oncompletion of the gilding workshop, moststudents cannot wait to start gilding objectsaround their home.

MASTER GILDING TECHNIQUES ATThe Art Gilding Academy

SURRY HILLSA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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WATERLOOA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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The technical and mechanicalinnovations in the cotton and woollenindustries associated with the Industrial

Revolution, which began in the last quarter ofthe 18th century, resulted in many changes forworkers. Beginning in Britain, themechanisation of industry spread to Europeand to the United States. This economic growthsaw the emergence of mass markets formanufactured goods and the rapid urbanisation oftowns where factories were built.

In America, on average, women textileworkers toiled for 12 to14 hours a day andhalf a day on Saturdays with few breaks. Themill was a dangerous place to work withshuttles flying off looms, and a constanthumid 100-degree temperature. In response tothe poor working conditions, America’s firstworking women’s association was organised in1844, the Lowell Female Labor ReformAssociation (LFLRA) with Sarah Bagley thefirst president.

THE FIRST step to industrialisationIn 1733, John Kay invented the flying

shuttle, which contained a bobbin on to whichthe weft yarn was wound. The bobbin, orcylindrical reel, revolutionised textilemanufacturing. Made of wood, many textilemills had their own machine shops and theirfavourite bobbin shape, which accounts fortheir varied designs.

REPLACED by plasticsThe mid 1900s, with its relentless technical

advances, was a sad time for wooden bobbins.With the introduction of open ended spinning andplastic bobbins, traditional spinning and woodenbobbins quickly became a thing of the past.

Unfortunately, wooden bobbins had becomefar too commonplace to be valued, and wholemill stocks were destroyed. Bobbins were noteven valued as firewood as their high oilcontent created hazardous fires that burnedout of control. So, millions of wooden

bobbins were thrown away or burned inlandfills. While no one can be entirely sure, ithas been estimated that three quarters of thewooden bobbins made, many of which werestill in use in the 1950s, have been destroyed.

BOBBINS: objects ofcraftsmanship

Fortunately, collectors have begun toappreciate bobbins as objects of character andinterest from a time of true craftsmanship.They are busy harvesting these relics from thefew remaining mills as they either moderniseor close down. Wooden bobbins and shuttles

are becoming increasingly valuable as theybecome increasingly rare. Now is a good timeto start collecting. Wooden bobbins are stillaffordable and obtainable; they offer afascinating hobby and are great design pieces.

We have a large range of bobbins and allkinds of industrial antiques. You name it andwe may have it! When it comes to industrialantiques, Doug Up On Bourke is the place tovisit, look and shop ●

DOUG UP ON BOURKE02 9690 0962www.douguponbourke.com.au

Collecting industrial antiques: SOMETHING AS BEAUTIFUL AS A BOBBIN

901 Bourke StreetWaterloo NSW 2017

02 9690 0962web: www.douguponbourke.com.au

email: info@douguponbourke.com.au

TUESDAY TO FRIDAY 10 AM - 5 PM, SATURDAY 10 AM - 5 PMCLOSED SUNDAY, MONDAY & PUBLIC HOLIDAYS

Wooden bobbins are still affordable and obtainable; they offer a fascinating hobby and are great design pieces

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ALEXANDRIAA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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Whether it’s an aspiration to livein a Hamptons-style home inSydney’s Castle Cove, a Soho loft in

Darlinghurst, or a Manhattan pied-à-terreoverlooking the harbour, the popularity of theNew York style is undeniable.

The ‘look’ is found in everything fromglossy magazines to television sitcoms andmovies. The house featured in Something’sGotta Give received almost better reviews thanthe movie itself, or its famous stars. In the

Washington Post, staff writer Terri Sapienzaobserved that

‘The 2003 comedy Something’s Gotta Givestarred Oscar-winning legends DianeKeaton and Jack Nicholson. But for lots ofmoviegoers, the most memorable role wasplayed by the house, especially its big, light-filled kitchen.The airy, shingled Hamptons beach house iswalled with windows and built-inbookcases. The rooms are open, thefurniture slipcovered, and the walls andfabrics awash in creamy blues, whites and tans.The kitchen gleams with white glass-frontcabinets, vintage hardware, a commercial-style range and dark soapstone counters.With a backdrop such as that, who careswhether Keaton and Nicholson find mid-life love?Even when a movie’s stars seem dim andthe plot is plodding, those of us who can’tget enough of interiors can wallow in the setdesigns… But this house sparked interest ofan entirely new intensity.Designers started getting requests torecreate the house’s interior or to plan anentire remodel around it. Clients carried inthe video to show designers and contractorswhat they wanted.The president of Williams-Sonoma Homecreated a custom-upholstered headboardcollection after seeing the bedrooms. A NewEngland decorator blogged about how toachieve the look and got more hits on thatentry than she’d ever had. A rugmanufacturer in the Midwest produced aversion of the living room’s carpet and hassold 65 in the past two years. Oneoverzealous fan rented a helicopter and flewover Long Island until he located the actualhouse – then offered to buy it. The housewas not for sale.Linda Merrill, a Massachusetts designersaid, “It’s got to be the most popular interiorever.” An entry she posted on her blog aboutthe movie’s interior garners as many as 30hits a day. People from Australia, Canadaand Africa check her blog in search of rugs,artwork, lamps, furniture and fabric fromthe movie.It might surprise (and disappoint) fans tolearn that the exterior of the Southamptonhome was the only part of the set that wasreal. The interior and backyard were built ona Hollywood soundstage, and set designerscreated much of the furniture. And when thefilming wrapped, the entire set wasdismantled. Props were auctioned on eBayfor charity.’1

The popularity of this style is understandable.Today we are looking for a comfortable,welcoming home; individual, not too over-the-top, but with a richness of ideas culled from thewide range of product available to us fromaround the world. Whether we want a calmretreat or an exciting, colourful home thatmakes a very personal statement, inspirationcan be found in New York interiors ●

Beverley BrownLAURA KINCADE INTERIORS02 9667 4415www.laurakincade.com

Note1 Terri Sapienza, ‘They’ve Gotta Have It’, Washington Post,

22 February 2007. www.washingtonpost.com

NEW YORK STYLE

NEW YORK, NEW YORKSee exceptional quality handcrafted European and American furniture,

accessories and lighting, including New York designer collections inour Sydney showroom featuring the Hamptons and

Manhattan style room settings.

NEW SHOWROOMOpen Monday to Saturday 10am to 5pm & Sunday 10.30am to 4.30pm

80 O’Riordan Street, Alexandria (next door to Domayne)T: 02 9667 4415 • E: sales@laurakincade.com • W: www.laurakincade.com

ALEXANDRIAA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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As our fifth birthday approaches weremember the heady days whenMitchell Road Antique and Design

Gallery first opened, and the adventures weshared as new dealers joined us to become thethriving community we are today.

It is gratifying to note that in step with thegallery’s growth is the continued excitementwe see daily, from established customersmaking regular return visits to unearth evermore treasures, to fresh visitors who have justdiscovered us.

FINDING usThe gallery is in the old yellow and black

warehouse on the corner of Mitchell Road andFountain Street in Alexandria, above theauction house. Here is a large floor spacefilled to the brim with furniture and

collectables from all eras. The diversity andrange is extensive.

DIVERSITY plusThe gallery is home to nearly 70 dedicated

and enthusiastic dealers. They scour thecountry, finding and rescuing treasures fromthe past. These pieces are given a new lease oflife – cleaned, or where needed, restored sothat they are ready for a new generation ofappreciative collectors.

Collectors can find treasures from pre-Victorian through to Art Deco, retro and 20thcentury design, including special industrialpieces. Early Oriental and Pacific artefactsjostle with those from Europe, America andAfrica as well as art ware, ephemera andcollectables from Australia.

A DECORATOR’S resourceWe are a recycling powerhouse and a

favourite haunt for collectors, stylists, designersand those seeking something different to add to apersonal space.

Next time you watch an Australian film, mini-series, advertisement or browse through yourfavourite lifestyle magazine and wonder wherethose amazing pieces of furniture, artworks orbeautiful home wares have come from, they wereprobably sourced from Mitchell Road Antique andDesign Gallery.

Come in and meet Lyn and her helpful staff, andperhaps chat with the dealers manning their stands.Many of the stallholders hail from other countriesand enjoy sharing stories about their original homecountries and discussing their stock with other like-minded enthusiasts. We guarantee you hours ofhappy browsing ●

For more information contactMITCHELL ROAD ANTIQUE ANDDESIGN GALLERY02 9698 0907mitchellrdgallery@yahoo.com.auwww.mitchellroadauctions.com

A COLLECTOR’S HEAVEN AT Mitchell Road Antique and Design Gallery

THE MITCHELL ROAD ANTIQUE & DESIGN GALLERY

Antiques, 20th century designs, industrial and architectural heritage, toys and dolls, rustic farmhouse furniture, jewellery. A new industrial space in the inner west for lovers of design and curiosities.

Above Mitchell Road Auction Centre, 76 Mitchell Road, Alexandria NSW 2015 I Open 7 days 10 am - 5 pm

I P: 02 9698 0907 I E: mitchellrdgallery@yahoo.com.au I www.mitchellroadauctions.com

ALEXANDRIAA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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F A R M H O U S EA N T I Q U E S R E S T O R A T I O N S

IMPORTERS & RESTORERS OF ENGLISH, WELSH & CONTINENTAL ANTIQUE PINE & COUNTRY FURNITURE FOR 25 YEARS

Wednesday to Sunday 11 am to 5.30 pm or anytime on a phone call

358 Botany Road Alexandria NSW 2015

02 9698 2785www.farmhouseantiquepine.com.au

A N T I Q U E S & A R T I N N E W S O U T H W A L E S

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Eastern Suburbs Antique Restorations Pty Ltd

Traditional French polishing and all furniture repairsSpecialising in all upholstery and a wide range of discounted fabrics1603 Botany Road, Botany NSW 2019t: 02 9316 4445 m: 0416 048 222

ANGELA & CHRIS LISTER

Specialising in:Re-seating of chairsin cane, Danish cordand Restoration ofSeagrass furniture

02 9516 2851

www.foxantiques.com.au

THE LEATHER TOP DESK COMPANY

est. 1993

Traditional Gold Leaf Embossed• Leather Inlays for Desks• Leather Desk Mats• Complete Desk Restorations

Antique and Modern FinishesQuality Imported Leather

Large Range of Patterns and StampsRegular Pick-up and Delivery Sydney Metro Area

Mail Order Australia-wide4a Illoura Place Ph: 02 4234 1988Gerringong Fax: 02 4234 1994NSW 2534 Mob: 0429 994 664

mark_dempsey@bigpond.com

Antiques & Art onlineWant to find out what is happening in the other states?

Access the other free Antiques & Art publications at

www.worldaa.com

Presented by the

Rotary Club of Springwood, Incwith the support of the AMP Foundation

Springwood High SchoolGrose Road, Faulconbridge

Saturday 4 June 9 am - 4 pmand Sunday 5 June 10 am - 3 pm

Admission $7 Daily / $13 WeekendPensioner Concession available

ALL ITEMS FOR SALEWide range of fine estate, period and costume jewellery, English and

Australian furniture, sterling silver, precious gold, fine porcelain, glassand crystal, linen, clocks, prints and many other onteresting collectables.

INQUIRIES Valda: 02 4751 8277 or Ross: 0414 279 805

Antiques &Collectables Fair

antiqueconsultant

Auction Broker, Probate / DeceasedEstates

Would you like to know how andwhere to sell or buy?

Who gets the best prices? Over 20years’ experience

Please call DianeMendelsohn 0433 419 903

5 June • 3 July • 7 August • 4 September2 October • 6 November • 4 December 2011

ST PETERSA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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PERSIAN, ORIENTAL, KILIMS& ALL KINDS OF RUGS

CLEANED, WASHED AND REPAIRED

The spinning cabinet is specifically built to extract dirt and dust particles from rugs andkilims in preparation for a good wash. The rugs are placed in the cabinet in a mannerthat assures maximum cleaning. The cabinet spins swiftly in a clockwise direction andagitates the rug fibres to open slightly, allowing all foreign particles to fall off. Thisaction allows the rug to regain its original softness, brings out more of the shine andincreases the life of the rug.

We specialise in■ Conservation ■ Cleaning■ Restoration ■ Hand Washing■ Odour Removal ■ Stain Removal■ Handmade ■ Repairing■ Rugs and Kilims ■ Antiques

All Jobs are Guaranteed

Removes dust & beautifies the rugwhile helping to increase its life!

FREE PICK UP & DELIVERYALL SUBURBS

The healthiest way to rejuvenate your rugs and kilims!

The Rug Experts

409 Princes Hwy St Peters

1300 166 266or 02 9557 8677

www.rugexpert.com.au

BOTANYA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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Pack & Send Botany is open sevendays a week, Monday to Friday 8.30 am to 5.30 pm, Saturday andSunday by appointment. The team atPack & Send looks forward to theopportunity to offer their services insolving any packaging or freightproblems you might have.

PACKAGING....TO US IT’S AN ART FORM!PACK & SEND maintain the highest standards in customer service,packing materials and techniques that ensure your precious pieces arenot compromised when being moved. Our trained staff canprofessionally pack any item no matter how fragile, awkward orvaluable and then have it delivered anywhere!

PACK & SEND Botany offer:• Dependable and versatile

transport across town, interstate and internationally

• ‘No compromise’ packaging and loss/damage cover

• Total convenience including pick-up and on-site quotes!

• No obligation professional advice from our experienced team

• Tailor-made crates, cases and cartons at our site

456 BUNNERONG RD, MATRAVILLE NSW 2063PH: 02 9661 1144 FAX: 02 9661 1133

Email: botany@packsend.com.auwww.packsend.com.au/botany

PACK & SENDnow open at Botany

Art and antique dealers, galleriesand museums are now realising thatusing Pack & Send for their logistics

is a means of providing a superior level ofservice to their customers and actually savesthem time and money.

At Pack & Send we specialise intransporting art and antiques, which meansthat we stock an extensive range of packingsupplies – including bubble wrap, acid-freefilms and tailor-made boxes made ofcardboard, pine or plywood – for both shopsand individuals who choose to do their own packing.

Museums, art galleries and antique dealersAustralia-wide are finding our service trulyvaluable and asking us to take care of theentire logistical process – from pick-up topackaging to insurance, paperwork, freightingand safe door-to-door delivery. No othercompany in Australia does this.

By letting us take care of all the details,curators and collectors are free to concentrateon their core business. At Pack & Send wewill personally manage the entire job and evencomputer-track the item en route until itarrives safely and in pristine condition at its destination.

PROFESSIONAL packing servicePack & Send is the only packaging and freightcompany that has access to Instapak Foam-in-Place technology, a system using soft foamthat expands when two chemicals arecombined in contact with air. Foam-in-Placemoulds itself to fit the precise shape of theitem being packed and this product possesses adensity that aids in the prevention of damagefrom impact, vibration or from being dropped.

Instapak Foam-in-Place enables glassware,paintings and various antiques to be sentthrough the freight system withoutcompromising the safety of the item. Not only that, Foam-in-Place is highly cost-efficient and readily disposed of withoutharming the environment.

We are the only freight company that willsend as well as pack antiques and art for you.When you consider the price of packing theitem yourself on top of another company’sfreight charges, Pack & Send’s price – as wellas its hassle-free, one-stop shoppingconvenience and total service solutions –makes it a very attractive option.

PEACE of mindWith our specialist knowledge and ourexperience in the packing and freighting offragile, large, awkward and valuable items, weare able to insure even the most fragile art orantique item. Insurance against loss and ordamage is available through all Pack & Sendstores, giving you peace of mind when sendingvaluable items and one-off pieces.

NO JOB too big or too smallWhen you call Pack & Send, regardless ofwhether the job is large or small, we canprofessionally pack it and co-ordinate itsdelivery to anywhere in the world. Anythingfrom an envelope, archaeological artefacts, tolarge oversize paintings and 100-year-oldantique chandeliers, Pack & Send have theexpertise to transport it safely ●

PACK & SEND02 9661 1144www.packsend.com.au/botany

At Pack & Send we willpersonally manage theentire job and evencomputer-track the itemen route until it arrivessafely and in pristinecondition at itsdestination

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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 meteoricincrease in value of the Hagley proof1930 penny has ensured that it isregularly in the headlines. In a recentinterview, a colleague of Sydney Hagleyrecalled being offered the coin for just £300 in1964. He declined the offer simply because hecould not afford it at the time. His misfortunebecame clear in 1974 when the coin sold atauction in Los Angeles for $16,000. Thatunder bidder in 1974, now retired rare coindealer Laurie Nugent, still recalls his bitterdisappointment at missing out on the famouspenny, but he eventually acquired 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 importantit should never leave Australian shores. The newowner is a collector from Melbourne, so Moran’swish continues to be granted.

Until 2011, the previous recorded private sale ofa proof 1930 penny was of a specimen held by theBritish Museum. Coinworks sold that example in2005 to a Sydney family for $620,000.

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.The sale of these magnificent coins

demonstrates the ongoing strength of theAustralian rare coin industry. Coinworks isproud to be leading the way ●

COINWORKS03 9642 3133info@coinworks.com.auwww.coinworks.com.au

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.

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

THE HAGLEY PROOF1930 PENNY Australia’s most famouscoin sold by Coinworks

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

The Hagley proof 1930penny, one of only threein private hands

ROCKDALEA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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ph 02 9567 1322 fax 02 9597 1782

CITYA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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The auction year had an auspiciousbeginning with our large general sale of5775 lots attracting a record number of

internet bidders. The result was a 75 per centclearance at 105 percent of the estimate byover 500 bidders competing for the lotsconsigned by over 320 vendors.

SALE highlight: WWI VictoriaCross, Military Medal group

The highlight came in the final session withthe WWI Victoria Cross, Military Medalgroup to G.J. (Snowy) Howell of the 1st Bn,AIF realising $699,000 (including 16.5 percent buyer’s premium plus GST). It was adramatic and emotional time for thedescendants of Howell who attended thesession. They were relieved and proud to

know it will be displayed in the War Memorialin Canberra for all to see and read the storybehind it. It was the highest price achieved fora Victoria Cross group in one of our auctions.

EARLY sales The sale commenced with miscellaneous

Australian coins. A documented 1910 set, soldfor well over the $900 estimate bringing$1,748. The mis-strikes section saw strongbidding with several selling well overestimate, the full obverse George V pennybrockage (est. $500) realised $1,981 and adouble struck 1943 penny (est. $350) achieved$932. Highest price went to the double reversetwo cents, circa 1977 (est. $1,500) at $2,563. Adouble obverse five cents, 2007, recovered fromchange recently, sold for $1,515 (est. $1,500).

AUSTRALIAN and New Zealand tokens

The comprehensive collection of Australianand New Zealand tokens formed by RanaldHill of Toowoomba was offered in 464 lots insession three and half of session four thatafternoon. The opportunity presented by suchan offering was not lost on the advancedcollector who secured many important lots forhis collection bidding through me at the sale.

One of two rarest New Zealand varieties(A.8) (est. $2,000) achieved $2,796. Therarest Brookes, Brisbane penny went to aBrisbane collector (est. $500) at $1,095outbidding my advanced collector. A newprice was achieved for a Gilmour, NewPlymouth penny variety (est. $1,000) when anAuckland collector prevailed in a bidding warto $1,515.

A collector took home the prize lot, a Masonand Culley penny, (est. $20,000) at $25,630. Therarest variety of Tea Stores penny, 1852 (est.$17,500) was bought by the same collector for$24,465. He also took out the Petty mule penny(est. $10,000) at $16,310, as well as securingthe top priced token, Taylors’ WellingtonAustralian pattern penny (A.674) (est.$30,000) at $37,280. The Macintosh andDegraves silver shilling, 1823 (est. $30,000)was well bought at $27,960. In the otherproperties section of tokens a specimen-likeAnnand Smith & Co, penny realised a record$3,379 (est. $1,500).

AUSTRALIAN currency The cracked die Adelaide Pound, 1852 (est.

$90,000) sold for $104,850 and a good very finedump was well bought at $40,775 (est. $45,000).The best Sydney Mint sovereign, 1860 (est.$12,000) went for $17,475. An 1886 Melbourneshield sovereign bettered the estimate of $15,000by selling for $21,553. A rare variety of the 1887Sydney Jubilee sovereign also exceeded the$3,000 estimate, purchased for $8,854.

The top priced sovereign was the 1922Sydney (est. $17,500) which realised $29,125after a bidding duel in the room. The squarepenny (est. $50,000) was well bought at$54,755 and a 1938 crown was obviouslyhighly regarded because it easily beat its $300estimate selling for $1,223. A VIP 1910shilling with Commonwealth Treasury letter(est. $4,500) achieved a strong $5,825; sowhat is the letter worth! A nearly gem 1923threepence (est. $6,000) did well at $8,155.

An Australian decimal note, a polymer 50dollars of 2009 (est. $2,000) did best against

the estimate realising $4,660 while a PoliceFund pair printed in 1813 (est. $30,000)achieved $37,280. A five pounds ofKell/Heathershaw (est. $22,000) sold for$29,125, and the unpublished ten pounds(1924) (R.52d) (est. $35,000) went for$34,950. Another strong result was for theHay Internment Camp two shillings (est.$15,000) at $22,135.

AUSTRALIAN Presbyteriancommunion tokens

Australian Presbyterian communion tokensgenerally doubled or trebled their estimates, areflection of their true rarity. One collector wasparticularly successful, but not always, as in thecase of the Scots Church (est. $200) whichrealised $722. Highest price went to a NewZealand issue, Otahuhu, 1854 (est. $500) at$1,049. The Resolution and Adventure gilt medal(est. $4,000) realised $8,155 and the DanielSolander silver medal, 1778 (est. $3,000) went for$4,427 after a long bidding duel in the room.

AUSTRALIAN bronze penniesand halfpennies

The offering of first class Australian bronzepennies and halfpennies had good results. Ared 1912H penny (est. $800) beat the estimateat $1,165, and a choice 1917 (est. $500) racedaway to $3,029. The best 1930 penny (est.$22,000) achieved $25,048. The 1938-1964set of pennies easily beat the estimate of$1,500, realising $4,194. In the halfpennies asurprise came later when two 1945halfpennies (est. $300) attracted $2,447.

INTERNATIONAL coinageMost world gold lots sold for around

estimate, the exceptions were the two Russianplatinum coins for which a dealer flew infrom Moscow. He was unable to get from theairport in time so bid on the phone while inthe taxi. Needless to say he was successful ingetting the twelve roubles, 1830 (est. $7,000)for $19,223 and the six roubles, 1833 (est.$3,500) for $6,641.

The Year of the Child set of 12 (est. $6,800)sold for $9,903 after many bids were received.

The Canadian specimen set of 1921 (est.$200,000) went for $174,750, the secondhighest price in the auction. Chinese coinswere again very popular. A Kwangtung proof-like five cents (est. $100) from a deceasedestate finally sold to a floor bidder for $1,748.A lot of eight Republic and Taiwan issues (est.$120) surprised with a top bid of $1,981 and acopper accumulation of 160 pieces (est. $50)

NOBLE NUMISMATICS SALE 96 realises $4.5 million

VC for Bullecourt and MM for Demicourt to Cpl G.J. Howell

George V, 1921 Melbourne Mint pattern square kookaburra penny, in cupro-nickel

Adelaide pound, 1852, first type, with beaded inner circle on the reverse with ever present die break, fine milling or edge graining of the first collar used

CITYA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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was even more surprising when it achieved$1,631 after a bidding war. A Hong Kongsilver half dollar, 1867 (est. $1,000) sold for$3,495. Also sold above estimates were aRhodesian, Bank of Africa, ten shillings 1901(est. $3,000) for $3,495 and a Sudan GeneralGordon one piastre (est. $2,000) at $3,612.

A collection of British India 1835-1945coins (est. $600) went for $4,194, while themajority of the Ceylon and Indian issues soldaround their estimates.

In the New Zealand notes top price went forthe Lefeaux 50 pounds (est. $18,000) realising$16,893. A strong result was achieved for aHanna ten pounds (est. $300) that wentfor $1,864.

ANCIENT coinsA Syracuse gold 100 litrai (est. $18,000)

did well at $25,630 while the Roman aureusof Carinus (est. $10,500) raced away to realise$19,805. A Sydney collector successfullyoutbid strong bidding from overseas to win aSyracuse tetradrachm (est. $6,000) at $12,815.Another collector secured the Siculo-Punicissue (est. $3,000) at $6,641. An overseasbidder won the day on a keenly contested

Athenian owl tetradrachm of 460 BCE (est.$1,600) by paying $9,320. A choice Cassiusdenarius (est. $1,000) realised $2,447.

MILITARY medalsThese also achieved good prices, such as

the Waterloo Medal (est. $3,000) realising$4,893. The two bar Naval General ServiceMedal, 1847 (est. $4,000) sold for $5,243; theDFC group of six for a Path Finder MasterBomber (est. $4,000) went for $6,408. AChina War Medal trio for the Victoria NavalContingent (est. $3,500) did well at $8,155.Selling above estimate was a Spitfire Pilot andPOW escaper DFC (est. $5,000) bringing$7,573. In foreign medals a USSR Order ofthe Red Banner (est. $2,000) realised $4,660.

Our next sale takes place in Melbourne 26-28 July. To be offered is a choice series offlorins from our earlier Sales 11 to 23,highlighted by a proof 1915H ●

Jim Noble NOBLE NUMISMATICS02 9223 4578www.noble.com.au

We also purchase:Patek Philippe

CartierVacheron & Constantin

Le CoultreAudermars Piguet

UniversalInternational (IWC)

MovadoUlysse Nardin

OmegaChronographs

Military Watches

Visit us at

Shop 28, Ground Floor, Strand Arcade193 Pitt Street Mall, Sydney

PHONE: 02 9221 3373 MOBILE: 0411 194 188MONDAY to SATURDAY

We are strong buyers of all men’s and

ladies’ wristwatches inany condition

Dealer in Vintage TimepiecesCONSTANT INTEREST IN BUYING ALL KINDS OF ROLEX WATCHES

Dealer in Vintage TimepiecesCONSTANT INTEREST IN BUYING ALL KINDS OF ROLEX WATCHES

FREDMAN SVWF O R M E R L Y S Y D N E Y V I N T A G E W A T C H E S

Reminiscent of the French jewellery salons of the 19thcentury and located in the historic Strand Arcade, Victoria &Albert Antiques is a treasure trove filled with interesting andunusual antique, vintage and quality reproduction pieces.

With decades of experience, our knowledgeable staff willhelp you find the perfect gift, or special treat for yourself.

Mention this advertisement for a 10% discount off your purchase.

Victoria & Albert AntiquesShop 17, The Strand Arcade, 412 - 414 George St, Sydney NSW 2000

Ph: 02 9221 7198 Fax: 02 9221 7214Monday - Friday 9.30 am–5.30 pm Thursday 9.30 am–7 pm

Saturday - 9.30 am–5 pm Sunday 11 am–4 pm

WE BUY & SELL

Antique, vintage and selected new buttons

Shop 25 Nurses Walk, The Rocks(enter through Surgeon’s Court off George St, opposite Museum of Contemporary Art)

Ph: 02 9252 0833Email: dd@buttonsbuttons.net

OPEN 7 DAYS 10am - 5.30pm

Attica, Athens (460-455 BCE), silver tetradrachm

CITYA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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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, theyare usually available for a fraction of the prices of their unused counterparts. You willneed to learn about non-contemporary cancelsand other dodgy markings but that’s half 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 6009Sydney Office: 02 9004 7300sydney@prestigephilately.comwww.prestigephilately.com

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.

CITYA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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NAB reports record bank(note)

While NAB has reported record annual profits, this lovely banknote from its predecessor, the National Bank of Australasia,is also a big earner.Worth $8,500 in 2000, this One Pound Specimen is now valued at $37,500, making a very tidy compound capital growthof 14.44% per annum, or 340.92% over 11 years. (Past performance is no guarantee of future returns).If you’re serious about increasing your own profits, contact us and we’ll show you why there’s nothing like old money formaking new money.

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A N T I Q U E S & A R T I N N E W S O U T H W A L E S

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It is September 1906. Standing in aclingy woollen costume on a wooden plankhigh above the North Pier at Blackpool,

England, is 17-year-old Australian swimmerBeatrice Kerr. Spectators jostle to get a betterlook. The band plays and she dives gracefullyinto the cool waters below. The crowdapplauds. She calmly climbs out of the waterand continues her routine: somersaults, thestand-sit-stand dive, the running-buck dive, theback-front dive, the wooden soldier and thespinning top. Her bag of tricks also features thewaterwheel, walking the plank and the backstand-sit somersault; and she demonstratesswimming and life-saving techniques.

From 1906 to 1911 the young Victorianswimmer toured England performing in thesevaudeville-style aquatic events, with either akangaroo embroidered on her swimsuit, or asilver-spangled fish-scale suit.

ARCHIVE of a careerBeatrice Kerr kept all her handbills, posters,

advertisements and reviews. The magnificentarchive includes these plus selected letters,journals, appointment books, contracts andaccounting books. There are many familyphotographs and rare photographs of Kerr’sdiving performances. These amazingly candidaction shots show the young aquaticperformer at work, along with the moreroutine posed studio portraits.

All show a little of the world in which shemade her mark as a professional performerwhen swimming, life-saving and learn-to-swim campaigns were growing in popularity.It was a time when young swimmers couldearn money demonstrating how it was done.

PERFORMING in LondonThe collection reveals her hectic schedule

after she arrived in London in July 1906 whenshe immediately secured a contract atBlackpool performing with David Billington,the newly professional British-mile worldrecord champion. The contract shows theconditions of employment – provision of adressing room, permission to chargespectators a performance fee, monies earned.Accompanying press previews promote Kerras the ‘Australian Lady champion of fastswimming and ornamental diving andswimming.’ Reviews praise her as ‘the pluckyyoung lady whose graceful disportations inthe briny never fail to attract attention.’

SCHOOL daysThere is material relating to Beatrice as a

schoolgirl champion in Victoria, in theWilliamstown and the Albert Park Lake LadiesSwimming Clubs. The archive also documentsher crossing paths with older Sydney swimmerAnnette Kellerman who, while performing inMelbourne, awarded Kerr the first prize indiving at the 1905 Australian championships.Kerr was to take Kellerman’s placeperforming at the Baths the following seasonafter the older swimmer had left for England.

NATIONAL tourIncluded in the collection are documents

from Beatrice’s tour to Adelaide, Wallaroo,Fremantle, Kalgoorlie and to Broken Hillwhere the local silver-mining communitygifted her the spectacular silver fish-scale suitshown in her photographs. Saved pressclippings provide the story of the Australianpress anointing her worthy of Kellerman’smantle, and that when in London Beatricechallenged Kellerman to a swimming race.Despite a number of challenges the cannyKellerman never accepted.

MONTE Cristo Firebag trick Programs include that of Beatrice

performance of the Monte Cristo Firebagtrick in Adelaide. Sewn into a hessian sack,she was doused with petrol, set alight anddropped into the water, whereupon she freedherself to great applause. Although sheperformed this trick a number of times on herAustralian tour, it doesn’t appear on her programlists in England – not surprisingly, I suppose.

The collection of papers – letters, socialcards, autographs, portraits, citations in books,scrapbooks and clippings – provide insightsinto the closeness and camaraderie of theswimming and sporting fraternities in Australia,the United Kingdom and north America.

TRACING trends: History of the sport

Kerr’s interests mapped changes inswimming strokes, designs of the baths she swamin and the costumes she wore. The archive tracesthe rise of younger Australian swimmers likeFrank and Lily Beaurepaire, Cecil Healy, FannyDurack and Mina Wylie. Both Durack and Wyliewon medals at the Stockholm Olympic Games in1912, the first Games at which women wereallowed to compete.

Gifted to the Museum are her youthful diaryentries, the dried flying-fish wings she pressedinto her shipboard diary en route to England andher clipped notes on her performances.‘Performed the Monte Cristo firebag tricktonight…’ she wrote in one brief entry.

Beatrice did not campaign for the OlympicGames. In late 1911 she returned to Australia tomarry and begin a family. Her rival Kellermanmoved to America and became a silent movie starand women’s health advocate.

Both swimmers promoted the sport. As T WSheffield, Canadian swimming and life-saving

instructor wrote in Swimming in 1909: ‘MissBeatrice Kerr is the best and most experiencedlady diver in the world being closely followedby Miss Annette Kellerman, who is one of theneatest trick swimmers and divers … no doubtkeen interest taken by the public … has ledladies to take up the art more vigorously.’

A GIFT to the countryThis significant cache of personal papers

and photographs folded into a battered metalsuitcase was donated to the Museum throughthe Australian Government Cultural GiftsProgram by the Williams family, descendantsof Beatrice Kerr. For the museum this is afabulous collection that charts one woman’sspectacular achievements in an era long gone.After conservation treatment, the BeatriceKerr Collection will provide a rich resourcefor research and exhibition ●

Daina FletcherSenior CuratorAUSTRALIAN NATIONAL MARITIME MUSEUM02 9298 3777www.anmm.gov.au

BEATRICE KERR ‘AUSTRALIA’S REGAL WATER NYMPH’The Williams family, descendants of Beatrice Kerr donate a significant cache of personal papers to the Australian National Maritime Museum

Beatrice Kerr diving at Blackpool. ANMM. Gift from Williams family

Studio portrait of Beatrice Kerr in Australia swimming costume.ANMM. Gift from Williams family

Portrait of Beatrice Kerr in silver fish scale suit. ANMM. Gift from Williams family

Above: [Liverpool] Olympia – Treasure ship advertisement

for Beatrice Kerr and David Billington.

ANMM. Gift from Williams family

Above left: ‘Swimming gala’ colour billposter. ANMM. Gift from Williams family

DARLING HARBOURA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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One hundred years after its tragicend, the definitive story of Britishexplorer Captain Robert Falcon

Scott’s Terra Nova expedition to Antarctica isbeing told in a major international exhibitioncoming to the Australian National MaritimeMuseum this June.

Scott’s Last Expedition will reunite realartefacts used by Scott and his 65-man teamtogether with rare scientific specimenscollected during the 1910-1913 expedition forthe first time since their use in Antarctica.

When Scott set off on what was his secondjourney to explore the Antarctic on board theformer whaling ship Terra Nova, he could nothave predicted it would be his last. Tragically,he and four of his colleagues died on thereturn trek to the South Pole two years later,having lost the race to be first.

A FRESH perspectiveThe exhibition however will go beyond the

familiar tales of the journey to the Pole andthe death of the Polar party to explore theTerra Nova expedition from every angle.

Museum director Mary Louise Williamsexplains that ‘Over the years public perceptions ofScott have varied greatly, from hero to flawedleader, and discussions of what really happenedstill captivate people. This exhibition will givevisitors a unique opportunity to immersethemselves in this epic journey and theremarkable landscape of Antarctica.’

Visitors will uncover Scott the man, learnmore about the people who made up theexpedition and explore every fascinatingdetail of this historic journey.

EXPERIENCE Scott’s CapeEvans’ base camp

At the centre of the exhibition will be arepresentation of Scott’s Cape Evans’ basecamp. Visitors can walk inside the life-size hutand get a sense of the everyday realities for theexpedition’s members, from the crampedconditions and homeliness of the hut, to the wealth of specimens collected andexperiments conducted.

Original artefacts, equipment, clothes andpersonal effects will be displayed for the first time

in Australia and show the group’s attempts tomake life in one of the most hostile environmentson Earth as bearable as possible.

Food tins including Fry’s Cocoa, TrufoodTrumilk and Symington’s Pea Flour recoveredfrom the hut will be on display together with instruments, a microscope and evenScott’s gramophone.

STRUGGLING to survivePhotographs of the environment and life in

camp taken by expedition photographer HerbertPonting, the poignant letters and diaries byvarious expedition members create a vivid pictureof what life was like working in hostileconditions. These exhibits give visitors a sense ofthe struggles for survival and the strength ofhuman endurance and courage.

GROUNDbreaking scientific research

For many the Cape Evans’ hut is seen as thebirthplace of Antarctic science. The expeditionincluded a full scientific program with a largeteam of scientists making new discoverieswhich directly led to a greater understandingof Antarctica.

The scientists had to endure harsh Antarcticconditions to carry out their work. It was cold,windy and completely dark in winter. Aperson’s face could freeze if it touched atelescope. Despite the conditions, theexpedition left a rich legacy that continues toinspire and inform today.

COLLABORATIONSThe Natural History Museum, London,

Canterbury Museum, Christchurch, NewZealand and the Antarctic Heritage Trust, NewZealand, have collaborated to create thisexhibition to commemorate the centenary ofthe expedition and celebrate its achievements.

FREE exhibitionScott’s Last Expedition opens to the public,

admission free, on 17 June and will remain ondisplay until 16 October. The Australian NationalMaritime Museum is the first venue to host theexhibition, which will then tour to the NaturalHistory Museum, London and CanterburyMuseum, Christchurch ●

All inquiries to AUSTRALIAN NATIONALMARITIME MUSEUM02 9298 3777 www.anmm.gov.au

New exhibition at the Australian National Maritime MuseumSCOTT’S LAST EXPEDITION 17 June – 16 October

From left:Scott and the PolarParty at the SouthPole. Left to right:Captain LawrenceOates, LieutenantHenry Bowers(seated), CaptainRobert Falcon Scott,Dr Edward Wilson(seated), Petty OfficerEdgar Evans. Licensedwith permission of theScott Polar ResearchInstitute, University of Cambridge

Captain Robert FalconScott. Licensed withpermission of theScott Polar ResearchInstitute, University of Cambridge

A N T I Q U E S & A R T I N N E W S O U T H W A L E S

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The Australian National MaritimeMuseum has acquired an outstandingcollection of French 19th century large

format (folio) atlases and texts whichrepresent the first comprehensive surveys of

the Australian coastline. The five volumes –including an atlas of 32 charts of theAustralian coast and a collection ofbeautifully detailed watercolours and sketches– are a complete account of the Nicolas

Baudin expedition sent to survey and chart theAustralian coast in 1801-1803.

THE VOYAGE of Nicolas BaudinIn October 1800 Nicolas Baudin (1754-

1803) sailed from France in command of theexpedition and its two ships – Le Geographeand La Naturaliste – with 23 scientists andartists on board. However, only sevenscientists saw the whole trip out. Baudinsurveyed much of Australia’s westerncoastline, King George’s sound, the southcoast, Bass Strait and parts of the north coast.

Notably, Baudin’s voyage coincided withthat of the better-known British explorerMatthew Flinders on board the HMSInvestigator. They met on 8 April 1802,Flinders boarding Le Geographie before boththese captains continued their expeditions.

Although Flinders’ charts have come to beaccepted as the more detailed and accurate of thetwo, Baudin’s work was published three yearsbefore Flinders’ and so offered the firstcomprehensive surveys of the Australian coastline.

Baudin’s expedition produced a wealth ofnew geographical and anthropologicalinformation. Over 100,000 specimens of localflora and fauna were collected, together with

significant observations of the indigenousTasmanians and beautiful illustrations of thelocal population and wildlife.

Baudin replaced the worn-out LaNaturaliste with the locally-built Casuarinawhile in Port Jackson. Louis De Freycinet, theexpedition’s hydro-cartographer, wasappointed commander. Baudin died of malariain August 1803 when the expedition returnedto Mauritius, and so it was De Freycinet whostepped in to have the voyage accounts andcharts published.

FRENCH interest in AustraliaMuseum director, Mary-Louise Williams

says, ‘This collection of texts highlights theintense French interest in Australia in theearly 19th century. This voyage is particularlysignificant as it was this interest, and theresultant fear the French would establish acolony in Australia, that led to Britishsettlements in Tasmania and Port Phillip.

The strong Aussie dollar means our curatorscan now compete with other collectors inthese offshore markets to ensure importanthistorical objects – such as the Freycinetvolumes – can be acquired for all Australiansto see.’

The complete set of five Freycinet volumeswas purchased from a rare book dealer in the UKfor the competitive price of $43,000 and adds animportant missing link in the museum’s collectionrelating to early European exploration of thePacific and Australia.

IN THE collection: Maps andvoyage accounts

The museum holds a number of importantfolio atlases and voyage accounts includingthose of La Perouse, Flinders, D’Entrecasteaux,Cook and Vancouver. The addition of theFreycinet folios opens up significantopportunities for research, with plans todigitise the full collection in the future forgreater community access ●

THE AUSTRALIAN NATIONALMARITIME MUSEUM02 9298 3777www.anmm.gov.au

View the Australian coastline in French atlases AT THE NATIONAL MARITIME MUSEUM

Left: Portrait of Indigenousman from New Holland.Plate XIX Voyage deDécouvertes aux TerresAustrales (Atlas par MM.Lesueur et Petit), 1807

Below: View of Sydney 1803.Plate XXXVIII Voyage deDécouvertes aux TerresAustrales (Atlas par MM.Lesueur et Petit), 1807

Quolls. Plate XXXIII Voyage de Découvertes aux Terres Australes (Atlas par MM. Lesueur et Petit), 1807 Platypuses. Plate XXXIV Voyage de Découvertes aux Terres Australes (Atlas par MM. Lesueur et Petit), 1807

This is a question often asked by firsttime visitors. Those in the know willhappily travel miles to Architectural &

Antique Elements’ amply stocked two storeywarehouse in Leichhardt, the lucky ones juststumble upon us.

The well edited collection of 18th, 19th and20th century finds gathered from around theworld are a source of inspiration and a mustvisit if you are on the hunt for Frenchdecorative furniture, an assortment of one-offlamps and lighting and a vast selection of thebest antique doors on offer. The items aresourced directly from the owners’ travels toFrance, Belgium, India and South America, toname some of the countries visited. All thefinds are displayed in a rambling but artfullydecorated showroom – there are plenty ofreasons to visit us.

Alongside the usual mix of antique diningtables, French buffets, industrial finds andbeautiful French doors in all shapes and sizesare one-off pieces designed and created by theowners. Adaptive reuse of rich and historicpieces, like gothic iron work, ancient Indianpanels, or collections of old timber drawersare the starting point to creating these pieces.They are reused and reinterpreted –transformed – as a coffee table, a consoletable for the hallway, or a fabulous and uniquelight fitting.

The recent addition of an exterior walledgarden has added another dimension to

HOW LONG HAVEYOU BEEN HERE?

Elements. Find French limestone fountainsand water features as well as other elementsfor the garden. There is a great range ofvintage pots to decorate your courtyard,terrace or garden.

Architectural & Antique Elements is open10 am-5 pm Tues –Sat, but if you liveinterstate, or are just too far away you cannow get keep up to date via our blog atwww.elementsilove.com. Subscribe for aweekly fix where we will showcase ournewest finds, links to sites we love, beautifulimages of interiors, our travels and more ●

ARCHITECTURAL & ANTIQUEELEMENTS 02 9560 3067www.elements.net.au

LEICHHARDTA N T I Q U E S & A R T I N N E W S O U T H W A L E S

37

Over 420

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Showroom | Workshop Tues to Sat 10am - 5pm | 124 James Street, Leichhardt 2040 | 02 9560 3067

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which the border was cast in copper.Step 8. The copper border was then soldered

to the bowl’s rim. Step 9. Creating the foot of the bowl was

achieved by matching the design to the detailsgleaned from the archive photograph. A mouldwas created from which the foot was cast inbrass. This stronger metal ensures that bowlsits securely on the base.

Step 10. The brass foot was soldered to thebowl and the whole bowl completed.

Step 11. The next stage was to machinepolish the bowl and the foot to a high mirrorfinish. To do so without compromising thedecorative raised features required bypassingthe standard three-phase polishing technique.As cutting compounds range from highabrasive to fine, for this cup only the fine bluecompound, customarily reserved for a finalpolish, was used for the entire polishingprocess. The process took eight hours tocomplete, a long time for a piece smallenough to hold easily between one’s hands.

Step 12. Next, the interior and exterior wereelectro silver-plated.

Step 13. The finishing touch waselectroplating the interior of the bowl with a22-carat gold wash.

WOODEN plinthFortunately, WJ Sanders has an in-house

woodworker who was given the task ofrecreating the hexagonal wooden plinth.As often happens with hand-made pieces,the sterling silver base had not been madeperfectly symmetrical. This complicationrequired careful calculations to ensure that theplinth matched the base.

Once completed, the wooden plinth wasfinished in the manner of the original 1930sfashion – the timber was painted a black glossand then lacquered. The plinth alone tookanother 40 hours to create.

Although the upper part of the trophy is a21st century creation, it is an echo of thetraditions and skills passed to successivegenerations of talented men and women whocreate and are able to restore precious pieces.

The heritage value had been restored andthe trophy once again takes pride of place, acelebration of international sporting competitionbetween Australia and America, and a shiningexample of the collaborative skills ofcontemporary artisans ●

Bianca FazzalaroWJ SANDERS & CO02 9557 0086www.wjsanders.com.au

THE baseThe base, made in sterling silver was in a

sorry state. It was badly dented, the applieddecoration damaged and in need of a goodpolish. The first step was to hammer out thedents, done using various dollys.

The base was decorated with a golfingtheme – tiny golf clubs. The original designerhad created four clubs, possibly representingthe winning team of four who would win theevent. One was so badly damaged that a newclub had to be made, so working from thesurviving forms, the silversmith recreated insterling silver a replica of the original fourth.

After the repairs, the base was silverelectroplated. This part of the exercise requiredtwo experienced silversmiths working over atotal of 16 hours.

THE bowlRecreating the bowl was far more challenging

as the only photograph provided little detail.Before considering the design and thedecorative features, the correct dimensionshad to be established. This was achieved byworking backwards.

Step 1. Silversmiths measured the hexagonalbase, then referred back to the photograph andcalculated the dimensions to determine theproportions of the bowl. Candela Riveros, thedesigner and silversmith worked on this partof the project to design drawings replicatingas close as possible the archival photograph.

Step 2. Creating the bowl to be made ofcopper and later silver plated, WJ Sanders useda wooden chuck to spin the metal into thecorrect shape and size. Copper was chosen asit is a soft metal that allows hand chasing to beeasily applied.

Step 3. Before applying decorative featuresas seen on the original bowl, Candela neededto create a firm, stable surface on which towork. She achieved this by filling the bowlwith a mixture of melted tar and wax.

Step 4. The silversmith hand-chased thedecorations using time honoured techniquesand tools onto the bowl’s body.

Step 5. The centre band that sits around thebowl was made using the technique of spinningfollowed by shaping the metal. Once made, itwas spun onto the bowl using an earlymachine no longer used in manufacturing.

Step 6. Creating the design to the rim wasdone by Steven Penfold using the technique ofpiercing to recreate the fluted shape. Thisprocess took a full week and involved thecasting 24 pieces which were then soldered tothe rim mirroring the original design.

Step 7. As with the original, a border thatmirrors the rim’s form needed to be recreatedand then attached. A mould was created from

WJ Sanders was presented witha formidable task: the rebuilding ofwhat was once a prized golfing

trophy that had come to be dumped in a golfclub’s basement.

The Lakes Cup, once a prized and valuedsilver trophy, came to them as a large basecomplete with inscriptions was rescued, itslarge cup/bowl missing. Nothing else hadsurvived so it is conjecture that the bowlwould also originally have been made insterling silver.

HISTORY of the Lakes CupIn 1934, the Lakes International Cup was

first played between a team of Australianprofessional golfers and a team of Americanprofessional golfers. Organisers of thisprestigious event guaranteed the cost of bringingout a top American team and donated theLakes Cup for this new golf competition.It would become a silverware symbol ofAustralia’s emergence as golfing nation.

Thousands of spectators paid five shillingsa day at the inaugural 1934 match to watchtheir Australian golfing heroes playing world-renown American stars. It was same format ofrounds of 36-hole foursomes followed by 36-hole singles to decide the winning team as forthe Ryder Cup, the first competition betweena home PGA and American professionalgolfers, commencing in Britain in 1927.

The Lakes Cup was next played in 1936 inAmerica (America won both 1934 and 1936tournaments), revived in 1952 when again theAmericans won in Australia, and althoughAustralia won the 1954 rematch, the competitionlapsed. An old newspaper clipping of the last1954 event was discovered. The accompanyingphoto showed the Australian and Americanteams surrounding the cup. Soon after thisevent, the cup mysteriously vanished.

CONNECTIONSResearch undertaken by golf historian and

Lakes Golf Club member, Michael Sheret upondiscovery of the cup’s silver base, revealed thatthe WJ Sanders founder – William Sanders –was club captain of the Lakes Golf Club from1945 to 1947.

RESTORING the Lakes CupOnly grainy archival photographs exist to

imagine the original. From these the team atWJ Sanders began the process of rebuildingthe bowl and recreating the wooden plinththat the trophy had stood on.

This level of artisanship looks to techniquesand materials developed over millennia –modern day technology has no place inartisanship at such a high level. Their planrequired two parts: restoring the base andrecreating the bowl.

A N T I Q U E S & A R T I N N E W S O U T H W A L E S

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Completed cup with electro silver-plated bowland interior electroplated with a 22-carat goldwash, on plinth matching the original base

Designs hand-chased to the bowl’s body

The Lakes International Cup base.

Candela Riveros working on the bowl

WJ SANDERS ANDSPORTING HISTORY:The restitution of anabandoned trophy

MARRICKVILLEA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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AUSTRALIA’S PREMIER MANUFACTURING GOLD & SILVERSMITH

Sterling silver basefor painted emu egg

Sterling silverchalice

ManufacturingOur craftsmen continue to use their traditionalskills to hand craft beautiful pieces in gold,sterling silver, EPNS and brass. These include a wide range of trophies, tablesilverware and ecclesiastical metalware. The accompanying photographs show recent workcommissioned and crafted by W J Sanders.

Sterling silver presentation tray

W J Sanders & Co36F Fitzroy Street

MarrickvillePhone: 02 9557 0134Phone: Fax: 02 9557 0086

email: wjsanders@optusnet.com.auwebsite: www.wjsanders.com.au

WE USE MANY DIFFERENT TRADITIONAL SKILLS TO PROFESSIONALLY AND AUTHENTICALLY RESTORE MANY TYPES OF ANTIQUES —

BELOW ARE SOME EXAMPLES OF THE WORK UNDERTAKEN.

OUR SERVICES INCLUDEAuthentic and quality restoration of antique metalware

Restoration and replating of gold and silverwareRestoration, repair and engraving of trophies

Restoration of all church metalwareRestoration of old kitchenware and brass beds

Specialists in the complete restoration of brass & copperBaked enamelling of brass and other metals

Quality engravingFree no obligation repair and insurance quotes

Free advice on maintenance and careWhere possible, free pick up and delivery of restoration work

Antique Marine Onion LampAntique Spelter (Dashing) Statue

Take apartChemically clean

Scratch brushSolder arm and epée

File down edgesMachine hand polish

Patination of metal (bronze)Re-assemble

Final clean and wax

Antique NSW Fire Helmet

Antique Ericsson Telephone

Damaged Sterling Silver Chalice

Antique Spelter Fishergirl

Take apartChemically clean

Scratch brushFix dents and straighten

Make traditional brass skirt for top Make brass wire handle

Make protective ring around glassMachine hand polish all parts

Lacquer and bake enamel all brassRe-assemble

Take apart Chemically clean and scratch brush Fix dentsMachine hand polish Lacquer and bake enamel brass

Re-attach inside leather and hat strap

Take completely apartChemically clean all metal

Scratch brush all metalMachine hand polish all metal

Strip wood and re-varnishRe-plate all metal as original Re-assemble

Take apart Chemically clean and scratch brushFix dents in bowl Straighten stemFix dents in base Straighten base

Silver solder cup and base Machine hand polish Silver plate

24 carat gold plate insideFinal polish

Take apartChemically clean and scratch brush

Repair hand and baseMachine hand polish

Patination of metal (copper oxidize)Wax metal and assemble

The Torquay pottery industry had itsbeginnings with the discovery of fineterracotta clay in 1865. Found in the

grounds of Watcombe House during buildingwork, George Allen established the WatcombeTerracotta Clay Company Ltd in 1869. By1883 there were four pottery works and upuntil the mid 20th century Tourquay had atleast 22 potteries producing quality wares.

In the mid 1800s the wares produced werefor the newly prosperous middle class lookingto display their wealth. Watcombe initiallymade terracotta busts, statues, urns and vases.By 1870 Watcombe was making wares thatreflected the designs of Christopher Dresser.The company expanded their output to includedomestic wares including tea sets of angularand square shapes. Their vases were inspiredby Japanese motifs and featured dragonhandles or were decorated with applied animalmasks for example.

Other potteries followed. In 1875 TorquayTerracotta Company was established at HeleCross making similar wares. Aller Vale ArtPottery, which was originally established in1865 as J Phillips and Co, was rebuilt in 1881by John Phillips after a fire. Originallymaking terracotta domestic utilitarian waressuch as pots and pans as well as roofing tiles,pipes and garden edges, the pottery atKingskerswell, using local clay, made piecesin the Arts and Crafts manner.

The fashion for terracotta dwindled and wasreplaced by a different style of potterycatering for the tourists who flocked to Devonfor their holidays and who wanted somethingbright and cheap to take home as a souvenir.The potteries adapted their products to meetthe new demand. The usual type of decorationemployed at Aller Vale was glazed designsoften featuring a rhyme or proverb. This ware(motto ware) became what most people nowthink of as Torquay pottery.

WHERE to begin: choose a themeShould you decide to start a collection of

Torquay pottery it is always a good idea toadopt a theme, rather than buying odd bits andpieces. This will give you the opportunity todecide what designs and shapes appeal to youthe most.

Cockerel decoration seems to be thefavourite amongst Torquay pottery collectors,and these can be found painted on teapots,cheese dishes, cups and saucers, eggcups,hat-pin holders and candlesticks to name afew. The painting of cockerels dates to the1900s and was usually executed in black ormulti-coloured slips. They were a favouriteform of decoration and continued through tothe 1960s.

Cats were very popular during the Victorianand Edwardian era when the fashion was forthe strange and bizarre. Some of thesegrotesques, which are now rare, were alsoprobably stimulated by the grotesque Gothicrevival stoneware of Martinware Pottery basedin London. The fashion for cat caricaturesseems to have been quite widespread,probably stimulated by the work of artist andillustrator Louis Wain famous for hishumorous renditions of cats. Grotesque formsinspired by medieval gargoyles were designedby Blanche Vulliamy at Aller Vale Art Potteryduring the late 1890s.

COTTAGE ware and faiencedecoration

It would appear that Hart and Moist (DevonArt Pottery) were the first to introduce slipdecorated cottage ware and the earliest ruralscenes date from 1905. This was known asfaience ware.

There were many different rural scenes withsome designers basing their designs on reallife cottages. These were applied to a widevariety of items. Some were very large, suchas a magnificent plant pot and pedestal that

A N T I Q U E S & A R T I N N E W S O U T H W A L E S

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COLLECTING COCKERELS, CATS ANDCOTTAGES IN TORQUAY POTTERY

4 L to R: Faience ware cottage hat pin holder made by Watcombe Pottery, c. 1900; Hat pin holder decorated with a cockerel made by Watcombe Pottery, c. 1900

5 Large mottoware cottage ware biscuit barrel made by Watcombe Pottery, c. 1930s l

6 L to R: Three-handled vase made by Royal Torquay Pottery; moulded yellow cat with glasseyes made by Aller Vale Art Pottery, c. 1900

1 Shaving mug made by Longpark Pottery,c. 1930s

2 Three piece tea set made by Watcombe Pottery, c. 1915

3 Moulded teapot made by Bovey Art Pottery, S. Devon, c. 1922-1930

1

2

3

4

5

6

KOGARAH

41

stood 100 cm (39 inches). Many were made asgifts for employees of the potteries when theygot married and were decorated according tothe wishes of the bride and groom.

Cottage ware had mass appeal but as greatquantities of pots were made so the quality ofdecoration began to decline, particularly whenmany potters were called up for military serviceduring World War I (1914-1918). It was aboutthis time that the potteries began looking at amuch cheaper version of cottage ware with amotto scratched on the reverse side.

POST World War I decorationThe cottages were usually done in a

childlike manner – front door in the middleand two windows on either side. No attemptwas made at realism (doors were always toosmall or large and windows disappeared intothe roof). These cottage wares soon becametheir bread and butter lines and are soughtafter by collectors even though they aresomewhat crude in appearance.

SOUVENIR waresWith the opening of rail links between

London and the Devon coast, the Torquaypotteries started catering for the holidaymakers producing relatively cheap andcheerful seaside souvenirs, incorporating thecottage with the name of the resort.Unfortunately, fashion played a big part in theclosure of many potteries, a lack of clay in thearea, and the post war depression. By the1960s most potteries had closed ●

SOUTHERN ANTIQUE CENTRE02 9553 7843www.southernantiques.com.au

Referencewww.torquaypottery.com

7

8

9

10

7 Vase made by Aller Vale Art Pottery, c. 19008 L to R: Mottoware plate made by Watcombe, c. 1910; Teapot decorated with a cockerel made by

H. M. Exeter, c. 1900 9 Set of Cottage egg cups on a stand made by Watcombe, c. 1930s10 Large grotesque moulded cat known as ‘Tiny Tim’ fitted with glass eyes made by

Aller Vale Art Pottery, c. 1900

245 Princes Hwy, Kogarah(near St George Leagues)

20 minutes south of the City

southernantiques@bigpond.comwww.southernantiques.net.au

Phone: 02 9553 7843 Mobile: 0410 436 933

Southern Antique Centre30 SHOPS UNDER ONE ROOF

ANTIQUES • COLLECTABLES • BRIC-À-BRAC

CELEBRATING 15YEARS OF SERVICE

• OPEN 7 DAYS from 10 am • CAFÉ• We Buy - Sell & Hire

A N T I Q U E S & A R T I N N E W S O U T H W A L E S

no title deeds or certificates, allowing thecomplete confidentiality of your investment.

Rare coins and banknotes can be easily anddiscreetly stored according to the owner’swishes and readily moved anywhere, whichmeans clients are not limited to where or whenthey can move and store their investment.

No tax is payable on items while held. Thisresults in a full compounding effect, thusmaximising capital growth.

Rare coins and banknotes rank amongst themost liquid collectables in the country. SelectAustralian material is also in big demandoverseas. Careful selection of superior qualityitems in strong demand can make it easier toliquidate your investment in the long-term.

A PRIVILEGE TO OWN Historically, rare coins and banknotes have

been a safe store of wealth during suchupheavals as world wars and the GreatDepression of the 1930s. They also mirror theeconomic and cultural development of ournation. Many coin and banknote designs areconsidered works of art in their own right.The satisfaction and privilege of actuallyowning a piece of currency history is oneonly a select few investors will ever enjoy.

We strongly recommend that prospective

investors consult with a qualified and

accredited numismatic specialist and

financial advisor for professional advice

in this lucrative and enjoyable field

of investing ●

THE RARE COIN COMPANY1800 181 239www.rarecoin.com.au

The history of numismatics dates toaround 650 BCE and the Greekcivilisation of Lydia. Since then, people

of wealth and power have collected coins,appreciating the rich history and beauty onlythis form of collectable holds. Coins andbanknotes are an important historicalreference and a reliable store of wealth.

Historically, financial support for thenumismatic market has come from collectorswho have bought rare coins and banknotes fortheir beauty and heritage value. Yet it is thesubstantial profits realised by the owners ofhigh profile collections which have attracted

collectors in more recent times.Select Australian coin and banknote rarities

boast an outstanding record of strong anddependable capital growth. They have rankedas one of the highest performing asset classesavailable to Australian investors over mostperiods. In many cases, during the past 40years, their annual capital growth hasexceeded 15 per cent compounded per annum.As an example, one selected portfoliofeaturing a combination of quality rare coinsand banknotes has averaged 16.1 per cent perannum compounded, underpinning the strongand sustained market performance anddemand for such rarities.

SUCCESSFUL COLLECTORSAND INVESTORS

When the late Dr Alan Nicholson sold hisrenowned collection of 436 Australianbanknotes at auction in November 1995 for$2.2 million, the capital growth on just one

note was a staggering 34.12 per centcompounded per annum. This superscribedQueensland Government Treasury one poundnote purchased in 1970 for just $55, realised$84,700.

Prominent Australian collectors hail fromvaried backgrounds. Mick Vort-Ronald, whoonce owned Australia’s most comprehensivebanknote collection, was a South Australianpolice officer.

Richard Williams financed his superbcollection in the late 1970s through hisVictorian cotton farm. He bought only therarest numismatic material preserved in the

best possible condition. Following his death in1990, the collection of 605 items was sold for$605,000 – 20 per cent above the auctioneer’sestimate. His 1930 penny, regarded as thesecond finest known, sold for a strong$26,000. A similar example sold in late 2000at a Sydney auction for $85,000. This equatesto an 18.44 per cent compounded per annumrate of growth.

In 2009, the famed QuartermasterCollection of Australian gold coins sold atauction for a staggering $10.2 million dollars.Assembled in the late 1980s and 1990s, thiscollection, featuring the finest and rarestquality pieces, delivered the owner asignificant return on his original investment.

The goal of most investors is to employtheir money to generate funds for use inretirement or for some other objective.Numismatics has a very low to negativecorrelation to stocks and bonds. Investors canreduce their total portfolio risk by holding aportion of wealth in such items as they aretangible assets.

In the recession of the early ’90s, asuccessful business person who owned severalmedium sized hotels and motels discoveredthe benefits of diversifying his investmentportfolio. An airline pilots’ strike and theeconomic downturn severely reduced hisbusiness cash flow. Fortunately, he had chosento build a portfolio of high quality coins andbanknotes several years earlier. As thenumismatic market had continued to perform,by selling his collection he was able to workthrough a trying financial period.

THE BENEFITSAn investment in rare coins and banknotes

offers many advantages unavailable in otherasset classes. They are one of the fewremaining assets accumulated privately with

KOGARAHA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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Robert Jackman, co-founder and ManagingDirector of the Rare Coin Company

INVESTING INRARE CURRENCY

Resurrection is an exciting newantique store nestled in the back streetsof Carlton, Sydney. After five years of

sourcing for clients Australia-wide,Resurrection is now open to the public.

The focus is a new approach to antiques,emphasising on styling your home to reflectyour personality and to maximise use.Resurrection aims to see antiques enjoyed ineveryday life, valued equally for their beautyand their history.

Decorating your home with individuality isan adventure. Antique and vintage pieces offerthe perfect solution to injecting a unique senseof style and character into your environment.Older pieces are usually of superior qualityand can be adapted to offer supremefunctionality in the modern home.

Resurrection has a wide collection of pre-1940scharacter pieces. Furniture includes largestatement pieces to smaller decorator items.Many pieces are interactive and really come tolife when put to work in your home, such ascabinets with secret cupboards, drop frontdesks, fitted chests, unique vintage filingsystems and re-purposed music cabinets.Everything has a use and suggestions aboundon where to place or how to use an item tomaximise its capacity.

Accent pieces include eclectic pottery,lighting, fine art, vases and tea ware. Thereare limitless ways to display these items tocreate a unique and workable environment.Consider these suggestions for those spacesin your home that are often overlooked whenfurnishing with antiques.

HOME office with charmCreate an extremely practical yet authentic

home office, even in the smallest of spaces.Employ a drop front desk or secretaire, twopopular pieces that have stood the tests oftime and remain attractive and relevant. Acompact example will provide desk space,storage and foldaway convenience in anycorner of your home. If you have high ceilingsyou can maximise your vertical space with abureau or secretaire featuring a bookcase ontop and storage below.

If you have more room then acquire abeautiful old desk – whether elegant andcommanding or rustic and worn, an old deskwill instantly add presence to your space.Team with a sturdy eclectic chair and lineyour walls with bookcases. Varying the sizeand style creates interest and dimension.

Vintage filing options range fromtraditional filing chests to pigeonholecabinets, fitted cupboards, stackable rusticboxes and multi-drawer units.

MAKE an entranceBring life to your entrance way with an

antique hallstand or hat stand. Create awelcoming effect with a church pew orblanket box and a hanging rack mounted withcoat and hat hooks. A simple console table isanother option, whether alone or beside ashapely chair.

Accessorise with pieces you love, as thesmallest of touches can really make an impact.

Suggestions include a display of old suitcasesbeneath, a striking picture above, or a groupingof beautifully moulded and uniquely colouredvintage pottery. All these options will transformyour entrance way into a welcoming place fullof stories.

ROMANTIC touch to thebathroom

The bathroom is often the most modernroom of the house, and could benefit from atouch of old world charm. If it is a smallspace, then hang a beautiful picture or mirror,a vintage wall mounted cabinet or install anantique candelabra for a very special touch. Ifspace allows, a vintage pot cupboard orwashstand is the perfect piece for storingtowels and toiletries. Top with an earlywashbowl and jug for an immediate sense ofhistory and romance.

CREATE a reading nookEvery room can feature a reading nook, but

one is particularly appealing in a bedroom. Anelegant chair placed in the corner of a roomspeaks volumes so consider acquiring abeautifully designed single armchair for yourboudoir. If you have more space in yourbedroom, a pair of chairs is ideal. Add abookcase or two behind, a small table withcharacter and a cosy reading lamp, and next,fill the shelves with your favourite books andadd ornamental elements that reflect yourpersonality and experiences. Voila! An emptycorner has become the perfect retreat forstudy or relaxation.

To gather more ideas and view the widerange of unique pieces available, visitResurrection in Sydney at 55 Andover Streetin Carlton. We are open Wednesday toSaturday, between 10 am and 5 pm and canfacilitate delivery locally and interstate ●

RESURRECTION0404 327 909aslan@unwired.com.au

RESURRECTIONSydney’s newestantique store

CARLTONA N T I Q U E S & A R T I N N E W S O U T H W A L E S

43

Design your space with unique styleand a focus on function

Bringing character to your home

Resurrection is an antique store with a contemporary slant. We source unique versatilepieces to enhance the character of your home. Decorate in style with original furniture & accessories across a broad range of styles – everything from rustic industrial, vintage

cottage to classic traditional.

55 Andover Street, Carlton NSW 2218

OPEN Wed – Sat 10 am – 5 pm

Dave & Fiona 0404 327 909Email: aslan@unwired.com.au

Antique

Vintage

Rustic

Cabinets & Chairs

Desks & Tables

Fine Art

Tea Ware

Lamps & Vases

Rustic Boxes

Chests & Trunks

& much more…

Antique Vintage RusticResurrection

A N T I Q U E S & A R T I N N E W S O U T H W A L E S

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The 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 atadvice@howardproducts.com.au 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

corresponding to their much loved vintage car.Fortunately, many stall holders have clothingand accessories for both men and women.

Count on two-and-a-half days of entertainment,there are fashion parades and exhibitions,prizes for best vintage clothing, dancing andthe regular charm school demonstratingbeauty tips from the past and how to achieve alook that works for today’s lifestyle.

The cafeteria will be open all weekend andthe racecourse has ample free parking. For thecomfort of patrons the venue is air-conditioned and wheelchair friendly. While

close to Canterbury train station, there is afree shuttle bus from both Canterbury andStrathfield train stations.

The October show will again hostextraordinary exhibitors, amazing selection of clothing and collectables to buy, andfabulous entertainment to enjoy ●

For more information contact Janel Morrissey VINTAGE CLOTHING, JEWELLERY & TEXTILESwww.lovevintage.com.au

Vintage11TH SYDNEY

CLOTHING, JEWELLERY& TEXTILESShow

Over 60 dealers from all over Australia sellingVINTAGE & ANTIQUE CLOTHING & ACCESSORIES

ANTIQUE & VINTAGE JEWELLERYLINEN, LACE & TEXTILES

SMALL COLLECTABLES■ Parade of Vintage Fashions

■ Guest Speakers ■ Prizes to be Given Away for

Best Dressed in Vintage■ & Other Entertainment

■ Lucky Door Prizes & Raffle■ Cafeteria Open and Free Parking

■ Free Shuttle Bus fromStrathfield & Canterbury Train Stations

Fri 14 October 2011 5.30 pm - 9.00 pmSat 16 October 2011 9.30 am - 5.30 pm

Sun 17 October 2011 10.00 am - 4.00 pm

Canterbury Racecourse Function Centre King Street, Canterbury, Sydney

for details see www.lovevintage.com.au

Tickets available at the door

Inaugural Melbourne Fair: 27-29 May 2011

Whether you are a collector, adesigner or just in love withanything vintage then these twice

a year shows are for you. Exhibitors showand sell clothing from the turn-of-the-centuryto the 1980s. You will find fabulous beadedflapper dresses, 1930s Hollywood glamourgowns, sumptuous 1950s evening dresses andof course, crazy clothing from thepsychedelic 1960s. Accessories andcollectables ensure that every man andwoman, girl and boy can find something tofit their lifestyle and budget.

October 2011 Vintage Clothing,Jewellery & Textiles Show

The autumn Vintage Clothing, Jewellery &Textiles Show will be held on 14, 15 and 16October 2011 with lots of amazing things tobuy and fabulous entertainment to enjoy, at theCanterbury Racecourse Function Centre inKing Street Canterbury.

Because the workmanship in vintagegarments is universally recognised and theunique bygone creations are now very popularwith women and men, the clothing, jewelleryand accessories are much appreciated by allage groups and rapidly purchased by the many visitors.

The Sydney Vintage Clothing, Jewellery &Textiles Show is the largest of its kind inAustralia. It is a visual feast, featuring over 60exhibitors selling vintage and antique clothingand accessories, antique and vintage jewellery,linen, lace, textiles and small collectables.

Fashion collectables for sale are magazines,posters, fashion plates, sewing patterns, toolsand parasols. First timers are amazed at thevast array of items for sale, ranging from tinyantique buttons and hat pins to large ornatelyembroidered tablecloths and heritage quilts.

The quality and quantity of clothing andjewellery for sale are excellent. Theconvenience of all the exhibitors, fashionshows and entertainment being under one roofis a hit with fairgoers. Over the first night andthe next two days, many of the shoppers areon a mission to find a knockout outfit to wearfor their special occasions or a quality vintageaccessory for the current season.

Teenage girls, often accompanied by theirmothers are interested in an unusual dress fortheir school formal or graduation. Discerningbrides search for a period wedding dress orspecial piece of jewellery. Vintage car owners,who love travelling to their club outings inperiod clothing, are always looking forauthentic garments produced in the year

CANTERBURYA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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THE SYDNEY VINTAGE CLOTHING,JEWELLERY & TEXTILES SHOWis the largest of its kind in Australia

cupboards flanked by open semi-circular

shelves. Today, these more compact pieces of

furniture are used in apartments to balance out

a small dining area or in the entrance area as a

decorative and functional piece.

An iconic piece of Australiana is the meat

safe and I mention this because it is often

very similar to a chiffonier. I have seen the

cedar meat safe, in particular, deny its origins

to some extent, and sit most happily in more

formal settings.

DUMB-waiterThe dumb-waiter traces to around 1740 and

was described by Sheraton as a very useful

piece of furniture. It was designed to serve a

variety of purposes in the dining room, one of

them being to hold dessert plates, cutlery and

the dessert. An English innovation, its design

is of two to three circular trays of graduating

size revolving on a shaft resting on a tripod

base. This piece of furniture was very popular

at the turn of the 20th century and continues

to be very a well received item in a

contemporary setting ●

Garry Auton GLEBE ANTIQUE CENTRE02 9692 9577www.glebeantiques.com.au

ReferencesPercy McQuoid, A History of English Furniture(London: W. & G. Foyle Ltd 1938)J. Munro Bell, Chippendale, Sheraton andHepplewhite Furniture Designs (London:Gibbings 1900)Sir Francis Watson, The History of Furniture(New York: William Morrow and Company Inc1976)Louise Ade Boger, The Complete Guide toFurniture Styles (New York: Charles Scribern’sSons 1969)

A N T I Q U E S & A R T I N N E W S O U T H W A L E S

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Sideboards, credenzas and

chiffoniers all belong to the dining

room, but what of the distinction and

how have they evolved? Then there is the

question of dumb-waiters. You might ask: Is

the formal dining room an anachronism? In

some cases the answer is yes, but regardless

of lifestyle, the sideboard et al live on.

SIDEBOARDSUp until the last quarter of the 18th century

sideboards, or side tables as they were known,

were regarded as extra tables. They were

placed near dining areas for preparing and

serving food .They evolved separately from

the buffet and the court cupboard, the two

major living room pieces up until the 18th

century when sideboards were taken seriously

as decorative as well as functional items.

When Thomas Chippendale (c. 1718-1779)

produced the Gentleman and Cabinet Maker’sDirector in 1754 he illustrates sideboard

tables as rather simple tables sometimes with

a drawer. By 1770, as seen in the dining room

at Harewood House, sideboards were

fashionable. This example, designed by

Robert Adam, was made by Chippendale and

features detached pedestals surmounted by

vases of solid rosewood. Under the table sits a

magnificent wine cooler.

Robert Adam (1728-1792) created a new

treatment for classic ornament and

revolutionised the taste in architecture and in

the decorative arts. As a result, the last four

decades of the 18th century furniture and

domestic decoration were in the neoclassic

style. At this time the sideboard comes together

as one piece. Some of the 18th and 19th century

sideboards had brass galleries to hang material

so that walls were not spattered with blood and

grease, they also frequently held candelabras.

It was the burgeoning middle classes that

drove the vogue for this item of furniture

along with the formal dining room. Clients’

requirements affected design so that

sideboards also became storage units and

statements of style, reflecting the trend for the

dining room as the expression of wealth,

culture and sophistication. Hence they were

used to display silver and other exhibits of

wealth such as ceramics and glass.

By the mid 19th century the sideboard was

regarded as a chief piece of furniture, designs

incorporated high backs for displaying plate,

china or porcelain and cabinetmakers

incorporated enamel plaques and relief panel

decorations. It usually consists of a set of

cabinets, frequently containing a lead lined

cellaret or cupboards and one or more drawers

for cutlery, napkins etc., all topped by a flat

surface for holding food, serving dishes, and

even lighting fixtures. Larger mirrors, now

available, were a popular splash back

replacing the brass gallery. They gave depth

to the room and enhanced the light thrown out.

They became the vehicle of the

cabinetmaker’s skill and featured exotic

veneers, carving, inlays and any other iconic

fashion quirks of the time. Materials used in

sideboard manufacture included mahogany,

oak, pine and walnut. Today, sideboards are

no longer confined to dining rooms. These

highly functional and beautifully crafted

pieces have been given fresh uses and so may

be found in the home office, hallway, family

room or living room.

CREDENZA Originating in Italy, the credenza or

sideboard was in the 16th century a rough

table draped with a linen cloth. These serving

tables came to feature two to three doors

separated by panels or columns decorated

with carved friezes and have drawers above

the door areas. Today, they are regarded as

one of those elaborate Victorian dining room

pieces; having a marble top, mirror back and

doors, frequently serpentine fronted. Victorian

examples tend to be more for displaying than

for serving food, and in contemporary

apartments and town houses they are used to

display collections or feature pieces.

Recently, I have found that to some clients

a credenza is an office cabinet. In an office

setting, a credenza desk is usually used as a

secondary workspace. No space needs to be

left for someone to sit at the desk, so the area

under the top can be filled with cabinets,

drawers, and shelving for storage. The

additional workspace is extremely convenient

for people who like to spread out papers and

other materials while they work, and the

credenza also creates an accessible storage

area which can help to keep the work area tidy.

CHIFFONIERIn England, chiffoniers were very popular

during the 19th century. Their form was

probably influenced by the French chiffonnier,a small shallow cabinet topped with open

shelves and on occasion a drawer. In France it

was used to store ladies’ lightweight

garments, in England the chiffonier was a

more modest piece of furniture for a dining

room that was too small or unpretentious for a

full-scale sideboard.

They were mainly made of rosewood, the

most popular timber at the time. Knobs were

commonly made from brass. The most

popular design in the 1830s featured a

wooden backboard from which projected a

shelf. There were generally two cupboards to

the front, fitted with wire grille doors backed

with pleated silk. Later pieces had mirror

backs and doors were of wood or glass. They

became semi-circular in design with central

SIDEBOARDS – CREDENZAS – CHIFFONIERS

French Empire 19th century credenza, marble, pollard oak, cross-banded in Amboina, carved ormolu frieze to centraldrawer, bevelled glass centre door

Edwardian marbletopped credenza,c. 1910

Art Deco French sideboard, c. 1920s, with marble top

French Art Decowalnut sideboard,c. 1920s,featuring a bowfronted marbleserver, carvedpanels on drawerfaces, mirror backglass displaycabinets

William IV periodchiffonier, c. 1840,rosewood, marble top

Australiancedarchiffonier

GLEBEA N T I Q U E S & A R T I N N E W S O U T H W A L E S

47

GLEBE ANTIQUE CENTRE

Rosewood chiffonier $2250 English mirror back late Victorian,pollard oak sideboard, c. 1890.$6500

English Early Victorian mahoganychiffonier with over shelves and mirroreddoors, c. 1850. $1450

English Late Victorian mahogany mirrorback chiffonier, c. 1890.$2650

Australian Edwardian/Federationsideboard in walnut, mirror backslump glass doors, brushing slide,hand carved decoration. $2750

English Victorian mahogany two doorchiffonier. $1650

2 Levels at 62 Parramatta Road, Glebe (opposite Sydney University Vet Dept)www.glebeantiques.com.au • www.desksofdistinction.com.au • email: sales@glebeantiques.com.au • email: sales@desksofdistinction.com.au

OPEN 7 DAYS 10 AM - 6 PM Parking and other entrance rear of building at 74 Arundel St, Glebe Ph 02 9692 9577

Classic Australian cedar chiffonier.$1250

English Mid-Victorian mahoganymirror back sideboard, c. 1860.$4850

Desks of Distinction

French Arts and Crafts sideboard,c. 1890, solid oak, mirrored back,hand carved medieval inspireddecoration. $4500

Victorian walnut credenza, with serpentinefront and three mirrored doors, originalCarrera marble top. $4650

French Louis XV style breakfront sideboardin solid cherry wood, parquetry top,three-door, two-drawer. $4950

Large fine French Henry II style walnutdresser, c. 1890. $4650

The much anticipated arrival of ourcontainer from the UK and Europe hasfinally arrived and is now ready for

viewing. We are very excited about thisshipment as it contains one of our bestselections to date. On show are items to suitapartment living, or pieces that sit comfortablyin large homes, from diminutive functionalmarble top side tables and display vitrines tomagnificent imposing full height statelymirrors and majestic consoles.

The diverse range caters to many decorativestyles, from elegant restraint to flamboyantopulence, polished steel industrial pieces tointricately carved gilt wood and finely inlaidmarquetry surfaces. There is something totempt the most discerning and critical customer.

FORMAL piecesFrom Europe is a magnificent 19th century

French gilt wood console and mirror of grandproportions. Featuring a variegated blackmarble plateau that sits over a deeply carvedfoliate ribbon frieze applied to the base whichis supported by four reeded tapered legsjoined by a wish bone stretcher. The originalbevelled mirror, of 1.8 metres above theconsole table is set in a triple panelled carvedgilt wood frame, surmounted by a finely

executed hand-painted scene in the manner ofBoucher, in a central apex cartouche.

Originally this truly exceptional piecewould have graced a grand reception room ina French chateau, but one advantage ofcontemporary interiors is that we no longerconform to the strict rules for the placementof furniture. Where once this piece wouldonly have been placed only in a grandentrance or reception area, today, it can sitcomfortably as a sideboard in a lounge ordining room. Imaginatively, I have even seenconsoles and mirrors used to great effect asdressing tables in bedrooms.

FORM and functionAt the other end of the spectrum is a French

art deco wrought iron console and matchingmirror with scroll work decoration. Anotherwonderful piece is the vitrine. These werevery popular in 19th century France. They weremade not only to display treasured items butwere examples of the craftsman’s expertise.

My personal favourite is an early 19thcentury Italian hand-painted two piece vitrineset on its original open stand. The fine tinyproportions are enhanced by the wonderfuluntouched original patina, a visual delight,and also extremely functional. Form and

function – these two characteristics were thedriving force behind much of the decisionmaking, in the selection of the items forthis container.

MIRRORS for every roomAlmost every size and style mirror is in

stock. With careful placement, thesemarvellous decorator items can transformeven the blandest of rooms. Reflecting lightand colour, mirrors create an optical illusion,expanding the dimension of a room.

CREATE a libraryOur new range of bookcases adds an

interesting dimension to a room. A FrenchLouis XVI style two-door bibliothèque madeof walnut with brass accents is a statementpiece or for a more subtle approach there arethe popular free standing revolving bookcasesin oak.

LIGHTS for accentsMaintaining our reputation as a leading

antique lighting destination, the new stock oflighting from Europe is comprehensive.Choose from French art deco wrought ironscrollwork pendants, large gilt bronze multi-arm chandeliers to early heavy solid brassindustrial lights. These are ideal for kitchensand warehouse conversions. At the other endof the scale are delicate Daum glass table lamps.

FUNCTIONAL and decorativefurniture

To add an accent to a room there are Frenchcommodes, pairs of marble top bedsidecabinets, Empire bergères, Louis XIVfauteuils, Flemish and Italian cabinets andtorchères – samples of the many and varieditems now in stock.

This is small window to our new arrivals.We invite you to explore this exciting rangeof traditional and unusual at our Annandaleshowroom where you can be assured offinding that unusual quality item tocompliment today’s interior ●

Jane RushELIZA JANE ANTIQUES 02 9518 6168 / 0416 167 151www.elizajaneantiques.com.au

ANNANDALEA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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FROM EUROPE TOAUSTRALIAexceptional pieces atEliza Jane Antiques

Eliza Jane Antiques

* SPECIALISTS IN GENUINE ANTIQUE LIGHTING *Large showroom with an extensive collection complemented by quality furniture, timepieces and decorative & collectable items.

Wed – Sat 10 am – 5 pm, Sun 11 am – 3 pm, closed Mon & Tues

Phone 02 9518 6 16834C TAYLOR ST

ANNANDALE NSW 2038BUYING & SELLING

Full restoration service for lighting and metal polishing

www.elizajaneantiques.com.au

NEW SHIPMENT

Container now landed from France

KENSINGTONA N T I Q U E S & A R T I N N E W S O U T H W A L E S

49

12 Todman Avenue Kensington NSW T 02 8344 5404 www.lawsonmenzies.com.au

LAWSON~MENZIES FINE ART AUCTIONS

TIM STORRIER Starline and Blaze Sold February 2011: $69,000 (including Buyer’s Premium)

COLLECTCREATEDECORATE

A N T I Q U E S & A R T I N N E W S O U T H W A L E S

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After the success of the inauguralAAADA show in Melbourne, theAssociation and its members are

preparing for the annual Sydney show, now in its11th year. Organisers of this much heralded eventwill be returning to the Pavilion at the iconic AJCRoyal Randwick Racecourse.

Members from all over Australia will bringtogether, under one roof, the equivalent of morethan 40 specialist shops where visitors canperuse the highest quality items sourced inAustralia and abroad. For the convenience ofcollectors, view in one visit at the one venue in amatter of hours. Plan a return visit for thatmissed item and obtain a complimentary passout. This world-class display is the only officialannual AAADA show in Sydney and is not to be missed.

CODE of PracticeEvery exhibitor is a member of our association

and bound by our Code of Practice. Every item is vetted for accuracy of description. The showhas determined that 1950 is the latest date ofpermissible items. However, we do allowinclusion of appropriately described later items due to their artistry, rarity or because they are unique.

GALA previewThe show opens with a gala preview on

Wednesday evening, 7 September and continuesdaily until Sunday 11 September closing at 5 pm.

SPECIAL Fair EventsBesides the exquisite exhibits, decorative arts

societies will be displaying and providing detailsof their activities and advising on how you canjoin their respective organisations.

AON Risk Services will also be onsite to helpyou with insurance for antiques and art.

We will have some very interesting guestexhibitors joining us so please check our websitefor up-to-date information atwww.aaada.org.au/sydneyshow.

PARKINGAs in the past, free untimed parking will be

offered as this venue features a parking area threetimes the size of that previously available. Entryis at the Alison Road gate.

DININGVisitors will be able to enjoy informal dining

at the Show Café, whether looking for a lightrepast – including a variety of sandwiches,pastries and beverages – or a more substantialrepast choosing from a selection of the finest hotand cold dishes. The café is open all day from 11 am to 7 pm Thursday to Saturday and 11 amto 5 pm Sunday.

The annual AAADA SYDNEY ANTIQUES & FINE ART SHOW returns to Randwick7 – 11 September

Cloud Lucite purse, c. 1950, made in the USA and various Bakelite pieces dating to around 1930s

EXHIBITORS to date Abbott’s AntiquesAlan Landis AntiquesAllpress AntiquesAnne Schofield AntiquesApplebys Fine Art & AntiquesBrans AntiquesD.G. Barsby AntiquesEaglemont AntiquesElizabeth KwanGrafton GalleriesGreengrass AntiquesHarrington AntiquesHumble House AustraliaIsherwood Antiques & InteriorsJanet NivenJohn D. Dunn AntiquesJohn Pettit Rare BanknotesJudith Rutherford Antique Chinese TextilesKaren Deakin AntiquesKevin Murray Fine SilverL. J. Cook & CompanyLabyrinth

Leven AntiquesMark Koronowicz AntiquesMartin Gallon International ArtMichael A. Greene AntiquesMoorabool Antique GalleriesMossgreen CollectionOnline AntiquesPatina Antiques & InteriorsReflections AntiquesRichmond AntiquesRutherfordsSebra PrintsSimpson’s AntiquesStudio EclecticaTooronga Hall AntiquesValentine’s Antiques Gallery ●

For more information

AUSTRALIAN ANTIQUE DEALERSASSOCIATION03 9576 2275www.aaada.org.au

Alan Landis Antiques (NSW) is bringingthis Doulton Lambeth jug dated 1884,measuring 20 cm high. A particularlyappropriate piece as the Rugby WorldCup takes place in September in NewZealand. The jug is quite rare, and Alanhas only seen one other in 30 years

www.sydantcent.com.au

WOOLLAHRA / PADDINGTON / NEUTRAL BAY / BLUE MOUNTAINSA N T I Q U E S & A R T I N N E W S O U T H W A L E S

52

Chinese and JapaneseQuality antique and reproduction furniture and artefacts

ESTABLISHED 1989336 South Dowling Street, Paddington

www.specialpieces.net.au • 02 9360 7104Monday to Saturday 10 am to 5 pm - Sunday by appointment

FELL IAMELAS GALLERY

2 MONCUR STREET, WOOLLAHRAPH 02 9363 5616 FAX 02 9363 2080 MOB 0418 362 451

Email: art@fmelasgallery.com.au

Visit us at : www.fmelasgallery.com.au

WOOLLAHRA TIMES ART GALLERYMajor works by Crooke, Dickerson, Coburn, Storrier, Boyd,

Tucker, Coleman, Bromley and many others

1-3 STATION ST WENTWORTH FALLS 2782 PH: 02 4757 4775

ROTATE INTERIORS

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S E L E C T E D I T E M S B Y C H O I C E

RANDWICKA N T I Q U E S & A R T I N N E W S O U T H W A L E S

53

AUSTRALIANANTIQUE & ART DEALERS ASSOCIATIONSydney Show

7 11 SEPTEMBER 2011

www.aaada.org.au/sydneyshow

The 2011 AAADA Sydney Show offers for

AJC Royal Randwick RacecourseAlison RoadRandwick NSW 2031

OPENING TIMESWednesday, 7 September 6pmThursday to Saturday11am 7pmSunday, 11 September11am 5pm

INFORMATIONTelephone: 0401 99 55 01Email: secaada@ozemail.com.au

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CITYA N T I Q U E S & A R T I N N E W S O U T H W A L E S

54

Kalmar AntiquesSpecialising in antiques, fine jewellery, watches and objets de vertu

Shop 45, Level 1 Queen Victoria Building, Sydney 2000

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

Kalmar Antiques not only deal in fine jewellery,

but also have one of the largest selections of vintage and antique watches, pocket watches and clocks

ALEXANDRIAA N T I Q U E S & A R T I N N E W S O U T H W A L E S

55

80 O’Riordan Street, Alexandria (next door to Domayne)Open Monday to Saturday 10 am to 5 pm and Sunday 10.30 am to 4.30 pm

Telephone: 02 9667 4415 Website: www.laurakincade.com

Fine furniture and lighting from our American designer collections available in Australia only at

Porcelain, Glass, Lighting, Metalwork, Prints, Victorian, Edwardian & French Furniture, Ephemera, Watches, Statuary,

Ssetting a new standard

3

1

2

4

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

212–220 Parramatta Rd, Camperdown NSW 2050Phone 61 2 9550 5554 Fax 61 2 9550 4990Email: camperdownmews@bigpond.com Open 7 days 10 am–6 pm Off-street parking

WE BUY, SELL, HIRE AND TRADE

1 French mid 19th century brass inkwell $1,5952 Bronzed spelter inkstand $2,9953 Solid oak lectern with kneeler $1,2954 Perfume bottle, sterling silver crystal $1955 Lladro Figurine $8006 French Henri II style oak desk, c. 1880, with 9 drawers $6,8007 Vintage marble topped gaming table in excellent condition $2,1958 Sovereign case made by Dennison Watchcase Co (USA), c. 1895 $150 9 Victorian chatelaine magnifier $55010 Hand-painted framed miniature, signed $49511 Rosenthal lidded jar $75012 Ferdinand Preiss (Germany 1882-1943), Figure on onyx base,

c. 1930, signed 13 Ferdinand Preiss (Germany 1882-1943), Pomona, gilt, bronze, ivory on

marble base. Preiss & Kasler foundry mark14 D Winterhalter, Miniature portrait, $65015 French music cabinet, c. 1880, marquetry inlay $4,95016 Set of 18 carved dining chairs $15,000

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GLEBE ANTIQUE STRIP ON PARRAMATTA ROADA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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GLEBE ANTIQUE CENTRE62 Parramatta Road, Glebe NSW, 2037

(Opposite Sydney University Veterinary Hospital)

Two full levels of a wide variety of quality antique furniture, light fittings, jewellery, glass, porcelain and general collectables

Open 7 days 10 am to 6 pm

Phone: 02 9692 9577 Fax: 02 9692 8611

The largest collection of genuine antique furniture in Sydney!

Email: sales@glebeantiques.com.auWeb: www.glebeantiques.com.au

www.desksofdistinction.com.au

www.giltwood.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: peter@valentinesantiques.com.au 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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www.antiqueprintclub.com

Antique maps & charts circa 1600-1900

ANTIQUE PRINT & MAP COMPANYCamford Square corner Douglas & Dorsey Streets MILTON Brisbane

Wednesday – Friday 10-6 Saturday 10-4 Phone 07 3368 1167

Website: www.antiqueprintclub.com Email: sales@antiqueprintclub.com

www.antiqueprintclub.com

Antique Maps of all countries. Antique Prints of all subjects.

ANTIQUE PRINT & MAP COMPANYCamford Square corner Douglas & Dorsey Streets MILTON Brisbane

Wednesday to Friday 10– 6 Saturday 10 – 4 Phone 07 3368 1167Website www.antiqueprintclub.com Email sales@antiqueprintclub.com

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AUSTRALIA’S FINEST COLLECTION OF RARE AND IMPORTANT ANTIQUE MAPS

GOWRIE GALLERIES

The first printed map to show any of the Dutch discoveries in Australia, Jodocus HONDIUS c. 1624

Detail of Australian discoveries

Please note new contact details for Gowrie GalleriesPO BOX 276 TERRIGAL NSW 2260

Matcham studio: Phone: 02 4365 6399 Mobile: 0417 040 902 Fax: 02 4365 6096EMAIL: maps@sydney.net • WEBSITE: www.gowrie-galleries.com.au

OUR STOCK INCLUDES15th – 18th century world maps

Australian maps from the 17th century onwardsMaps of Southeast Asia and the Pacific

❖ ❖ ❖Expert advice on all aspects of map collecting

Full research, evaluation, restoration and framing serviceCollections and individual items always considered for purchase

Extensive range of decorative antique engravings

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worth the trouble, inspiration invariablycomes. I always tell clients that, above all, weshould not try to recreate a room as it wasduring another epoch. I don’t like to work forpeople who want an interior to improve theirstanding in the eyes of others. But I do like tocreate a mirror in which certain kind ofpeople can recognise themselves.‘

In 1943, after two years in the shop on therue du Cherche-Midi, Madeleine moved to abuilding at the corner of rue Bonaparte and rueJacob. Again, she painted the façade sparklingblack and on the long side of the shop, facingrue Jacob there were four large display windowswithout any signage: one might be a library, thenext a dining room and another a bedroom. Thearrangements were regularly changed as sheadded to her collection. One of Castaings’ two sons, Bernard joined her decoratingbusiness. The other son Michel became a dealerin manuscripts.

Castaing loved everything that shedisplayed and hated to part with any of hertreasures; some of them she refused to sell at

any price. More than objects, the things in hershop were anecdotes, recollections andtreasured memories.

When considering the decorating genius ofMadeleine Castaing, it is fundamental that shewas an antiquaire. Jacques Grange, herprotégé, best described her work as,‘Madame’s achievement is in interpreting thepast, rather than reconstituting it. The effectshe achieved was modern and fresh, despitethe fact that all the elements she used wereold.’ Her Paris apartment was the interior setfor the 1996 Ismail Merchant film, TheProprietor that starred Jeanne Moreau.

MAISON de Lèves She invented the colour ‘bleu Castaing,’

which was the major colour of her countrymansion in Lèves near Chartres, a five-bedroom house with nearly 14 1/2 acres ofland including box mazes and poplar alleys.The shutters were painted in a deep blue greenand all the ironwork was shiny black. Thewriter Maurice Sachs described a visit toMaison de Lèves in the 1920s with Castaingpresiding over ‘a dwelling full ofwhimsicality, invention, and audacity.’

Having also started my career nearChartres, I made a visit to her home and bidon some of her treasures during a 2004auction. Once inside her house you realisedthat everything had lightness. The mostdramatic room was the sitting room, a brilliantcombination of a ballroom, a salon and alibrary. Every chair was placed for comfortand the floor was covered in wall-to-wall inleopard print carpet. This carpet style is forme the pure Madeleine Castaing touch.

Everything in the house was old, fromanother era with its own story to tell. Many ofthe things were in less-than-perfect shape, butthis did not bother Madeleine. It was what shewanted, and worked hard to create the lookshe achieved in Lèves.

The life of Madeleine Castaing is acondensed history of the 20th century, mixed

with the flair of a great collector andinfluences from the works of the famouswriters Gustave Flaubert and Marcel Proustwhose descriptions of domestic life left anindelible imprint on her life and career.

She was the first decorator of the 20th century;her inspiration was a mix of the 20th century andmodernism with an important dose of aestheticism.She summarised her style and adulation in her later years, in response to sales staffsnickering at her appearance, ‘The hat I amwearing is by Paulette. My dress was designedby Balenciaga. I have been painted bySoutine. Try and do the same’ ●

Denis Geoffray UNIQUE FRANCE 07 3254 0404info@uniquefrance.com.auwww.uniquefrance.com.au

Further readingEmily Evans Eerdmans, The World of MadeleineCastaing (London: Rizzoli, 2010) Mitchell Owens, ‘For Sale: A Diva’s EccentricLegacy’, New York Times, 23 September 2004

MADELEINE CASTAING (1894-1992):

The first significant decoratorof the 20th century

Madame Madeleine Castaingremains one of the most populardecorators in France. The ‘Castaing

style’ she created remains an endless source ofinspiration and a reference in the world ofdécor. Unique France invites you to discover afairytale that started in Chartres whereMadeleine Castaing was born in 1894, andfollows the success story of the first decoratorof the 20th century.

The daughter of an engineer who built thetrain station in Chartres, Madeleine Magistrymarried early to an heir from Toulouse, the artcritic Marcellin Castaing. Her career started ina small shop on the left bank of Paris duringthe Nazi Occupation of France in 1941,thought to be ill timed by her father andhusband for opening a gallery specialising inantiques, but she was a true free spirit andnothing changed her decision.

Having been a collector of old furniture,fabrics and bibelots for years, she already hada reasonable inventory and soon supplementedwith things that she purchased at the Paris fleamarkets. Up before sunrise, she would rideher bicycle to the Marché aux Puces de Saint-Ouen where she loved to hunt for treasures.

From the beginning, Madeleine had anassortment of clients. Speaking of her clientsMadeleine said, ‘I have to know the people,and I have to like them. If the people are

Madeleine Castaing’s castle in Lèves, France.Photo by Francis Hammond. Courtesy TheNew York Times

Madeleine Castaing’s shop at the corner of rueJacob and rue Bonaparte, Paris, opened 1943

Chaim Soutine (1893-1943), Portrait ofMadeleine Castaing, 1929. MetropolitanMuseum of Art New York

Salon at Lèves, wall-to-wall leopard printcarpet, bleu Castaingaccents. Pair of stoolswith her monogram.Photo by FrancisHammond. CourtesyThe New York Times

Madeleine Castaing’s desk

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Emerging in the 1860s, the Arts andCrafts Movement was a rejection ofindustrial mass produced, often poorly

constructed pieces made in the Victorian era.This reform movement’s philosophy and goalswere to enhance the quality of life throughdesign, craftsmanship and its application,from the working environment to respect forthe artisan.

Strongly influenced by the writings ofleading art and architecture critic, JohnRuskin (1819-1900), William Morris(1834-1896) developed theories of hand-craftsmanship in the decorative arts. Bestknown for his textile and fabric designs basedon nature, Morris led a resurgence oftraditional textile arts and production methodsas part of the Arts and Crafts Movement. His1861 partnership with the Pre-Raphaelitepainter Edward Burne-Jones (1833-1898) andthe poet and artist Dante Gabriel Rossetti(1828-1882) would profoundly influence thearchitectural design and decoration ofchurches and houses well into the early 20th century.

Another significant influence came withthe re-opening of Japan to the West in 1853.Shown at the 1862 London InternationalExhibition were ceramics, ivories, textiles andprints from Japan. The designs and formswere to have a significant influence ondesigners including Christopher Dresser(1834-1904) and E W Godwin (1833-1886).

The movement was not contained withinGreat Britain, spreading to the United Statesand Europe, influencing all areas of thedecorative arts including metalwork, graphics,jewellery, ceramics, glassware and furniture.

FURNITUREArchitecture and interior fittings were

regarded as integrated projects and sofurniture was designed to enhance and createa decorative unity; architects included BaillieScott, Mackintosh and Voysey. A feature ofthis furniture was that dark oak was used formasculine spaces such as billiard and smokingrooms. Bedrooms, drawing rooms, kitchensand bathrooms had white walls and furniture.Oak was the main wood used in Britain andthe United States with exotic timbers such asmahogany and redwood used by arts andcrafts designers working in California.

Furniture designs were inspired bymedieval and natural forms, executed usingtraditional handicraft techniques. Othersources of inspiration came from myths andlegends. Philip Webb (1831-1915) designedrobust and simple furniture, somewhatmediaeval in style that became a hallmark ofthis movement.

Scottish prize-winning architect BruceTalbert (1831-1881) moved to England in1862. He was a prolific and influential

designer of furniture. He won a silver medalat the Paris Exhibition of 1867 and later thatyear he published Gothic Forms applied toFurniture, Metalwork and Decoration forDomestic Purposes. He designed for manyfurniture makers such as Gillows, Holland &Sons, James Lamb, as well in metals for theCoalbrookdale Iron Company and Cox &Sons, and exhibited interior designs at theRoyal Academy.

Talbert’s growing list of clients spreadthrough London, Bristol, Sheffield, Dundeeand Glasgow. He won the Grand Prix at theParis Exhibition of 1878 with the Juno cabinetmade by Jackson & Graham, but chronicoverwork led to his early death.

The firm of Shapland and Petter wasestablished in Barnstaple England by HenryShapland (1823-1909), a cabinetmaker andHenry Petter (d. 1907), an accountant. Duringhis 1848 American travels, Shapland heard ofa wave-moulding machine for timber.However, he was only allowed to see it if heleft the USA immediately. He reproduced themachine in England and in 1854 beganmaking furniture.

After their factory burnt down in 1888,they replaced it with a bigger and modernisedfactory where this innovative pair utilisedmachine technology as well as employingmany artisans for artistic embellishments.Pieces have frequently been misattributed toother makers, especially as their designsresemble those by Ashbee, Baillie Scott,Voysey and Talwin Morris.

Although the Arts and Crafts Movementphilosophy was in theory socialist, providingquality for the populous, the hand-madepieces were expensive and exclusive, limitedto the wealthy. Commercial companies likeLiberty & Co and Heal & Son produced lessexpensive pieces also in oak and versionsmade in mahogany and chestnut.

FIRST English industrial designerChristopher Dresser is perhaps the first

English industrial designer, his modern stylefocussed on the quality of materials andsimplicity of form. His influences wereJapanese, Egyptian and Asian art and design,as well as botany. The wide spectrum of hiswork includes furniture, metalwork, ceramicsand textiles, with his designs evolving fromearly decorative pieces to his later streamlinedminimalist style.

Lavin Antiques invites readers to see theselection of Arts and Crafts furniture inour showroom at 950 Stanley Street inEast Brisbane – open seven days a week ●

LAVIN ANTIQUES07 3391 2300info@lavinantiques.com.auwww.lavinantiques.com.au

FURTHER READINGDaryl Bennett, Shapland and Petter of Barnstaple,Arts and Crafts Furniture (Barnstaple England:Museum of Barnstaple and North Devon, 2005)Dictionary of Scottish Architects (Fife Scotland:University of St Andrews, 2008)John Fleming & Hugh Honour (revised ed), The Penguin Dictionary of Decorative Arts(London: Viking Penguin, 1989) Michael Whiteway (ed), Christopher Dresser: ADesign Revolution (London: V&A Publications, 2004)

The Arts and CraftsMovement A brief look at furnituredesigners

REINVENTION OF TRADITIONALCRAFTMANSHIP IN 19TH CENTURY ENGLAND:

ChristopherDresser design,

hallstand, castiron and marble

Oak sideboard, attributedto Bruce Talbert for Gillows

Display cabinet made byShapland and Petter,mahogany and inlay

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Made from reclaimed Australianhardwoods and imported Frenchoak, our floors are designed to last

several lifetimes, growing in beauty andappeal as they age.

Antique Floors was founded in 1996 underthe creative direction of John Fredriksson. Hispassion is taking salvage timber and giving itnew life in a new home. John’s quest for finewood stretches from century old French oak to Australian heritage buildings and old woolsheds.

The reclaimed timber is cut to size, sandedby hand and restored with natural oils, readyto create traditional designs to fit any roomand setting. The Balmain warehouse displaysthe finest quality handcrafted timber flooring.With these floors, you are walking on historywhile you are creating your own.

Antique Floors invites you to drop by theirlarge showroom specifically designed to showtheir floors in different settings. Here you see anextensive range of wood as well as the latestaddition of new leather floors imported fromPortugal. Also on offer is a bespoke range of

architectural elements including antiques, custommade tables, libraries and wine cellars.

While at the Balmain warehouse, take timeto visit the Red Door Gallery with itschanging art exhibitions ●

John FredrikssonANTIQUE FLOORS02 9810 8838info@antiquefloors.com.auwww.antiquefloors.com.au

WORKS OF ART YOU CAN WALK ON: French provincial and handcrafted floors

Almost 50 shops bursting withfresh stock for collectors are tradingat the Balmain Road Antique Centre,

which opened in Lilyfield in September 2010.This slick, exciting and diverse antique centrehas many rooms and varied shops. We areopen for pursuing, browsing and purchasingevery day of the week.

Dealers source antiques and collectablesfrom all over the world, filling this huge

warehouse space with unique and specialtreasures. This antique centre showcases avariety of styles and periods of furniture andobjects, with plenty of English and Australianantiques. The current popular styles that newand established collectors seek are stocked inabundance: early industrial, art deco, retro,mid-20th century modern as well as rustic andall manner of exotica.

As the antique centre’s stock is fresh and

continually being updated, you are sure to findamong the almost 50 dealers at least one item tosurprise you or a friend. We especially encourageanyone seeking a special piece to set off a room orto complement an established collection to cometo the centre first, as there are many items neverpreviously on offer in Australia’s antique industry.

SEVEN days a weekBalmain Road Antique Centre is always

open, seven days a week. We open at 9 am andplan to close at 6 pm, although we often stayopen later to accommodate customers and ourpassionate dealers. Note that during the festiveseason, we close on Christmas day and NewYear’s day, but are open all public holidays.

EASY to find and parkLocated 500 metres from Victoria Road

Rozelle, turn onto Darling Street that is renamedBalmain Road after five cross streets. Locallandmarks include the Callan Park health centreand the Sydney College of the Arts across the road.There is plenty of street parking and somecustomer parking from the Alberto Street entrance.

In terms of public transport, Balmain RoadAntique Centre is serviced by bus and light rail.Bus routes L37, 440 and 445 travel along BalmainRoad directly to the antique centre. Victoria Roadis a major bus corridor for buses travelling to andfrom the city. Lilyfield Light Rail Station islocated approximately 600 metres south andsmoothly conveys collectors and their treasures toDarling Harbour and Central Railway Station ●

Take a stroll through our huge warehousespace and browse the ever-updated stock onour website. You will be surprised anddelighted by what you discover at

BALMAIN ROAD ANTIQUE CENTRE is the newest antique centre in Sydney!

New exciting antique centre

Balmain RoadA N T I Q U E C E N T R E

Open 7 daysTrading hours 9 am – 6 pm

It’s here! Peruse to your heart’s content.Our fabulous stores –

RETRO! GLAMOUR! EXOTICA! CURIOS!You’ll find it all here!

483A Balmain Road Lilyfield NSW 2040Telephone 02 9818 4990

BALMAIN ROAD ANTIQUE CENTRE02 9818 4990info@balmain-road-antique centre.com.auwww.balmain-road-antique-centre.com.au

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BALMAIN / PARRAMATTAA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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During the late 19th century anexciting international designmovement was generated by artists

and craftsmen in Great Britain as theirresponse to increased mass manufacturing andindustrialised production – the Arts and Crafts Movement.

Instigated by English artist and designerWilliam Morris (1834-1896) and inspired bythe writings of leading art and architecturecritic John Ruskin (1819-1900), this was areaction against ‘the impoverished state of thedecorative arts and the conditions under whichthey are produced.’ The movement proposedeconomic and social reform. It was to last upto World War I. In its own re-formed way ithas spurred interest in honest handmade craftsand decorative arts today.

The movement advocated truth in traditionalcraftsmanship using simple forms and oftenromantic or folk styles of decoration. Forms fromnature and simplicity of materials were revered, inpart a search for authentic design andornamentation. William Morris championed ‘joyin labour and the moral and spiritual uplifting thatcame with the revival of making many specialobjects by hand.’

Arts and Crafts ideals were appropriatedby young designers throughout Europe andthe USA who adapted them to suit their owncountry’s individual identity in a rapidlyindustrialising world. The movement influencedarchitecture, painting, sculpture, graphics,illustration, book making, domestic design,furniture, woodwork, stained glass, leatherwork,jewellery, ceramics, glass and metalwork.

Keep your eyes out for small examples.Many experts predict that the Arts and Craftsera will be the next collectable surge.

Malcolm Antiques at Balmain frequentlyhas examples of furniture and decorativepieces influenced by the Arts and CraftsMovement, from small tables to wardrobesand mirrors beautifully adorned withenamelled, curved decorations.

From time to time at our shop hints of the flairof Scottish designer Charles Rennie Mackintosh(1868-1928) appear in chairs dating from theearly part of the 20th century. He is consideredBritain’s first designer of Art Nouveauarchitecture, marked by lightness, elegance andoriginality. Since the late 20th century there is arevival of interest in Mackintosh’s work – sobeware of reproductions elsewhere.

The Arts and Crafts Movement meldedwith the Art Nouveau and Aesthetic designmovements. Those influences can be seen inthe hammered copper, tin, coloured stones andbeautifully enamelled and curved decorativeadditions to furniture.

Examples at Malcolm Antiques are alwayssimple and fresh in appearance andinexpensive – probably why they arebecoming favourites for contemporary 21stcentury decorating.

Malcolm Antiques is open from noon eachTuesday to Sunday (closed Mondays) and isexactly halfway between Balmain andRozelle, at 450 Darling Street opposite thefamous Cat & Fiddle Hotel●

MALCOLM ANTIQUES 02 9810 9333 / 0409 037 651

BALMAIN’S ‘WINDOWS TO WATCH’Arts and Crafts – alive and well in thecontemporary world

WE CAN SUPPLY THAT ELUSIVE ONE-OFF PIECE,OR A COMPLETE HOUSEFUL

Please call in and peruse our diverse collection:• furniture 1800-1930 • porcelain & glassware

• Australian pottery & bottles • architectural antiques• kitchenalia & advertising • paintings & prints• and a ‘never ending’ collage of collectables

open 7 days ~ 10 am to 5 pm78 PITT STREET PARRAMATTA 2150 (next to freeway overpass)

PHONE 02 9633 3426 or 02 9891 1727

An unusual collection of porcelain, furniture, glassware, paintings and collectables

~WE BUY & SELL~

450 Darling Street Balmain, NSW 2041Ph: 02 9810 9333 AH: 02 9629 1302 Mob: 0409 037 651

Tues, Wed, Thur, Fri, Sat 12pm - 6.30pm, Sun 12pm - 5.30pm - Closed Monday

Friday 10 June is an important milestonefor the much respected family antiquebusiness, Abbott’s Antiques. It will have

been trading on Sydney’s north shore for 80 years.

FOUNDER Clarence AbbottThe business was founded by Clarence

Abbott in June 1931 after his retail business at604 George Street was acquired by HoytsCinemas to build the Plaza Theatre. He hadalways been interested in collecting silver andporcelain, so he gathered up a few pieces fromhis home to make a bit of a display andopened a shop at Neutral Bay.

He called the shop the Neutral Bay GoldExchange but soon found he was buying moresilver, china, glass, copper and furniture.Always quick to learn, Clarence acquired athorough knowledge of the goods he wasoffering for sale and was very happy to passthis information on in his pleasant and jovialmanner to those who were interested.

The stock came from over the counterpurchases, house calls and auction room saleswith some wonderful pieces filtering throughthe shop. There were also many interestinghouse sales, mainly held by Lawson’s whoalso held their regular decorative art salesevery two months at their Castlereagh Streetpremises. These auctions were quite anexciting experience and a highlight in theantiques calendar as well as being pleasantsocial occasions.

The war years (1939-1945) affectedeverybody’s life. Every night large metal wiregrills were erected over the shop windows toprevent glass shattering in case of a bombattack. There was also a change in the type ofstock offered. The shop stocked more silverplate when luxury goods stopped beingimported due to the war.

STEVE and Joy AbbottJoy Abbott came into the business in 1943

following her marriage to Steve, ClarenceAbbott’s son. She became absorbed in thefascinating world of antiques and used to saythat Mr Abbott senior was a hard task masterat times and his staff had to tow the line. Hewas fun to work with though and appreciativeof one’s efforts – life was never dull.

Clarence Abbott had a wealth of knowledgeto impart and a sound, but simple approachto retailing – buy it fairly and turn it over ata modest profit. There were cabinets fullof Georgian silver, beautiful hand-painteddessert sets, lovely early Worcester and allwith unbelievable price tags compared totoday’s prices.

Joy left the business in 1946 when her firstchild was born and devoted the next severalyears to rearing her young family. After thewar, Steve joined his father in the businessand took a hands-on approach, even repairingsilver, jewellery and furniture.

Mr Abbott senior had his first stroke in1954 but made a fairly good recovery, able tospend a few hours each day at the shop. Thiscontinued until 1956 when he suffered a fatalstroke. He was a jovial man, much liked andmuch respected for his fair dealings. He was aknowledgeable dealer and a gentleman. His

grandson, Brian, says it gives him enormouspleasure when people come into the shop andrecount happily the things they bought fromClarence and speak so highly of him.

In the early 1960s Steve decided to returnto his original profession so Joy then took thebusiness over and welcomed the opportunityto refurbish and modernise the old shop andstart anew. After a coat of paint, upgradedlighting and a parquet jarrah floor, the newlook Abbott’s was ready for business. Therewas now more room in the shop for smallitems of furniture such as work and Pembroketables, desks and chiffoniers, which were allsold for moderate prices.

Joy continued to sell sterling silver,porcelain, glass and interesting small pieces ata time when a lot more colourful, goodporcelain seemed to be about, particularlyMinton and Derby. Numerous dealers andkeen collectors would look in regularly to seewhat was ‘new.’

The Antique Dealers Association of NSWwas also in its infancy at this time and Joywas invited to join in the early months. Sheexhibited at their second fair held at theMenzies Hotel in October 1964. These earlyfairs were major events on the Sydney antiquecalendar and no doubt explains why the fairsran for eight days and were open 11 hourseach day!

Security wasn’t a problem then as it isnow and expensive silver and jewellerywas displayed in the shop window and leftthere overnight. A smashed window in theearly 1970s put paid to this and promptedthe installation of a burglar alarm for thefirst time.

BRIAN Abbott joins the family firmAs it became necessary to look further

afield for top quality stock, Joy began buyingoverseas and made her first trip to England in1973. This continued into the 1980s and 90safter Joy’s son Brian entered the business on afull-time basis in 1982 after completing aSotheby’s decorative arts course in London.They formed a very enthusiastic andknowledgeable team working together forover 15 years. During this time Joy and Brian usually exhibited at three antique fairseach year, including the NSW AntiqueDealers Association fairs held in Sydney and Canberra.

FROM Neutral Bay to TurramurraThe business relocated to Gordon in 1984

after 54 years trading at the original NeutralBay premises and then opened at EasternRoad, Turramurra where they have beentrading for 20 years. This proved a verysatisfactory move. The premises consist of alarge wide-fronted shop overlooking a scenicpark in an appealing part of Sydney.

With the passing of both his parents in the1990s, Brian now trades very successfullywith the help of Helen Horsburgh, a longstanding employee of 16 years, and two otherinvaluable staff members – Sue Farr andLawrence West. Brian’s wife, Nanette, alsonow lends a most appreciated hand both at theshop and at all their antique fairs.

LOOKING to the futureAs to the current state of the market, Brian

feels that good Georgian furniture is nowparticularly sought after due to its timelessappeal of quality construction and fineproportion. The traditional collecting fields ofceramics, glass and silver continue to bestrong while quality Art Nouveau and ArtDeco pieces are keenly sought. There isfeverish demand for Asian ceramics, ivoriesand jades at present and Brian has also founda strong niche market handling Max Dupainphotographs acquired from the Dupain estate.

Does he see himself celebrating 100 yearsof Abbott’s Antiques trading? Obviously onlytime will tell, but for the moment Brian, likehis grandfather Clarence before him, has that

passion to try and acquire interesting andgood quality pieces for customers ataffordable prices.

Brian is a former vice president of theNSW State Chapter of the Australian Antique& Art Dealers Association and is still on thecommittee after 15 years of service. He hasadvised the Powerhouse Museum, VaucluseHouse and Elizabeth Bay House on variouspurchases and is always happy to offeradvice on conservation and appraise itemson request ●

Brian can be contacted at ABBOTT’S ANTIQUES02 9449 8889www.abbottsantiques.com.au

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CONGRATULATIONSABBOTT’S ANTIQUES– 80 years and going strong!

The next generation?

Abbott’s AntiquesNow celebrating 80 YEARS of quality antique dealing

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

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

Memberwww.aada.org.au

George III sterling silver Argyle with shell mount, London 1788

Lalique frosted and swirl ribbed Vagues bowl,c. 1950

Royal Doulton specimen plate of Warwick Castlesigned ‘C. Hart’, dated 1923

Max Dupain posthumously printed Sunbaker (1937)silver gelatin photograph by Jill White, #84/90

19th century German painted porcelain plaquedepicting a courting couple, dated 1876

German Art Deco bronze female nude with ballsigned ‘Schwalenberg’, c. 1920

Victorian sterling silver mounted floral cutcrystal claret jug, Sheffield 1895

Royal Worcester kookaburra painted cup andsaucer signed ‘R. Austin’, dated 1912

George IV mahogany wine cellarettewith lined interior, c. 1830

Pair George III style sterling silver thread edge candlesticks, London 1909

19th century Meissen figurineof a street trader, c. 1850

Pair William IV mahogany carvers with scrollcarved centre rails, c. 1830

George III mahogany D-end dropside table withsatinwood cross-banded edge, c. 1790

19th century French finely carved figureof Joan of Arc, c. 1870

Royal Worcester roses painted pot pourri vasesigned ‘Sedgley’, dated 1923

George II mahogany tilt-top occasional tripod table c. 1750

NORTH SHORE TO HORNSBYA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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EPPINGA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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oopersof Epping

A N T I Q U E S & J E W E L L E R S

Antique Furniture,Jewellery & Timepieces

from Late Georgian,Victorian, AustralianColonial to Art Deco

Jewellery designed,handmade, restored

and re-modelled

Showroom open 5 daysTuesday to Friday 9:30 am - 5:30 pm

Saturday 9:30 am - 4:00 pm

14 Bridge Street, EppingPh 02 9876 2500

www.coopersofepping.com.au

The Lions Club of Berowra hosts theinaugural Northern Sydney Antiquesand Collectables Fair on the weekend of

Friday 2, Saturday 3 and Sunday 4 September2011. To be held at the Berowra CommunityCentre, with over 20 stalls displaying andselling a large range of antiques andcollectables from many dealers, both local andinterstate. Be among the first to view the fineEnglish and Australian furniture, most neveroffered for sale before this fair.

QUALITY and rarityDealers from New South Wales, Victoria

and South Australia are bringing Englishchina and ceramics. They include RoyalDoulton series wares, Beswick, Moorcroft andother quality English china makers. Don’tmiss out on the highly collectable ceramics.Dealers have selected fine glassware andsilver ware for the table.

The jewellery, military medals and badgesare worth the visit alone, with rare items forsale. To meet all budgets and interests, therewill be a great variety of retro and vintagehousehold items and books for all ages.

NOTE in your diaryThe gala opening on Friday 2 September,

from 6 to 9:30 pm includes light refreshmentsand a glass of wine, for an admission fee of$15. Be among the lucky viewers with thefirst opportunity to buy choice items.

The fair is open on Saturday 3 Septemberfrom 10 am to 5.30 pm and on Sunday 4September from 10 am to 5 pm. The fair chargeis only $5 for adults and $1 for children aged 5to 16 years. All profits go to charities supportedby the Lions Club of Berowra.

GETTING thereThe Berowra Community Centre is easy to

reach, two blocks from the Pacific Highway atthe traffic lights into Berowra Waters Road.

Take the second exit at the roundabout andthe Centre is down on the left in BerowraHeights. Berowra Railway Station is only afive minute walk from the Centre. There willbe signage to guide fair visitors and parkingis plentiful.

VALUATIONSThis fair offers an expert valuation service

on family or private treasures, including anestimate of value, all for a small fee that raisesmoney for charity. Go straight to the valuationregistration desk at the top of the stairs, asvaluations will be in order of your arrival– first come, first served! Please bring onlysmaller items or else bring a photograph ofa larger piece.

REFRESHMENTS and assistanceThere will be a café serving light teas,

home-baked cakes, coffee and tea, soft drinksand water. Here you can relax and discussitems you have purchased or indeed, items youare still thinking of buying. There are pleasantgrounds around the Centre should you wish tobring a picnic and enjoy the Berowra bush.

Members of Berowra Lions will be on handto assist you – easily identified by Lions Tshirts and name badges. Accept our invitationto browse the Northern Sydney Antiques &Collectables Fair and buy unique items, fromantique to vintage and retro, as well aspopular collectables. This is a fun day for all,especially for the collector in your family.

The NSAC fair website is updated regularly,for more information or dealer registrations,please contact the Lions Club of Berowra ●

NORTHERN SYDNEY ANTIQUESAND COLLECTABLES FAIR0424 023 220www.nsacfair.com.au

PROFITS TOCHARITY AT THEINAUGURALNORTHERN SYDNEYANTIQUES ANDCOLLECTABLES FAIR2 – 4 September 2011

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Where Berowra Community Center, BerowraWhen Friday 2, Saturday 3 & Sunday 4 September 2011Times Friday 2, Official opening – 7:30pm.

$15 Admission includes light refreshment and aglass of wine. Bookings are essential.Saturday 3, 10:00am – 6:00 pm Admission $5 eachSunday 4, 10:00am – 6:00 pm Admission $5 each

The fair features over twenty stalls displaying a large range ofantiques and collectables for sale. Dealers from all over NSW,South Australia and Victoria will be in attendance, providing anot to be missed trove of treasures, for view and purchase.

Expert opinions on your own piece of family treasure and anestimate of the item’s value will be available for a small fee,on a first-in-best-dressed basis each day.

Come browse at theNorthern Sydney Antiques and Collectables Fair

A fun day for all the family!Further information call 0424 023 220 or info@nsacfair.com.au

A N T I Q U E S & A R T I N N E W S O U T H W A L E S

‘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 choking pollution. Think ofJules Verne’s Nautilus, a submarine withvelvet and bullion fringe curtains and carvedmahogany and brass fittings.

Steampunk, Goth and Vampire subculturesand their influences impinge on the antiquesindustry as they are symptomatic of the generalzeitgeist of fascination with the past. Subculturespecialist shops stock girls’ corsets, Edwardiancollars and Victorian hats, canes, pocket watchesand 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

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

Boomerang shaped coffeetable with three cigar shapedsplayed legs

Steampunk enthusiasts from New Orleans, 2010

Steampunk computer

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Dural AntiquesWell Worth the Drive…

The largest range of antiques in the Hills DistrictA large 4000 sq foot showroom, plenty of parking, air-conditioned comfort

857 Old Northern Road, Dural NSW 2158Phone: 02 9651 2113 • Mobile: 0411 116 084

Trading hours: Open 6 days (closed Tues), 10:00am – 5:00pm, Sunday 10:00am – 4:00pmwww.duralantiques.com.au

Licensed

Dealers

WeBuy & Sell

CENTRAL COASTA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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A GUIDE TO

Antiques & Collectables DealersON THE CENTRAL COAST1. JAMES R & SUZANNE G

ISAAC-COLE106 Manns Road, Narara 2250Open Monday - Friday 9-5 Saturday and Sunday by appointment02 4324 7287james_workshop@ bigpond.com

Antiques and collectables, repairs and restoration,French polishing. Specialising in brass beds.

2. AVOCA BEACH ANTIQUESNow incorporating the Beecroft Treasure HouseSpecialising in antique jewellery with the largestrange on the coast and an exceptional range ofsilver and extensive selection of fine porcelainand rare collectables. 173 Avoca Drive, Avoca Beach Open 7 days 02 4382 1149 or 02 4381 0288avocabeach.antiques@bigpond.com

COLLECTORS’ COTTAGEANTIQUESNo longer trading from the Central Coast. Please ring 02 4389 1922 for any enquiriesor requests. Otherwise please visit our shopin Newcastle: Shop 7A & 7B, CentenaryAntique Centre,29 Centenary Road, Newcastle, (100 metres north of CivicStation) also: www.antiquesplus.com.au (search for Collectors’ Cottage) to see hundreds of items for sale.

Russian silver duck hunting horn flask, c. 1880, $980

Russian diamondand blue enamelring, c. 1920,$3200

12

Six different butterfliews handpainted on thebox, quality work of the 1920s and 30s, c. 1920,w: 20 x h: 11 x l: 23 cm, $350.

Australia Cup Treen, made from oak and NSWrosewood, features 6 cups locked by pegs on a revolving stand, c. 1930, h: 25 x d: 20 cm, $1200

Rosewood veneeredSheraton Revivalparlour cabinetfeaturing bevelledmirrors, turned columnsupports and stringinlay, c. 1890, $3750

Australian made (by Aronsons) 9 carat fob chain, 30g,c. 1930, $1350

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Baron Ichizaemon Morimura, founderof the Noritake company, was born in1839 to a family of merchants that acted as

purveyors to the feudal Tokugawa Shogunate incontrol of Japan during the last years of the Edoperiod. At this time, Japan was a highly insular,protectionist country that did not consider itself inneed of Western products, ideas or influence.However, that relationship with the world changedwith external pressure from Western powers andthe foundering of the country’s social andeconomic system, giving impetus to modernisationwith the Meiji Restoration in 1868.

Coming from a family of merchants,Ichizaemon Morimura realised in the very earlyyears of the new regime that the key tosuccessful business in Japan was overseas trade.During a visit to the world fair held in Paris in1855 he began to acquire the skills andunderstanding of the principles for successfultrade between Japan and the West. In 1859-1860when Japan sent a delegation to the UnitedStates, the opportunistic Baron Morimura wasamong the representatives. While there, hediscovered the popularity of Japanese chinaamong American consumers and quicklyrecognised the huge potential for exports to theUnited States, particularly in the area ofmanufacture and fine porcelain dinnerware.

When Japan officially opened its doors to theworld in 1868 Morimura found himself wellpositioned to help pioneer Japanese-Americantrade. In 1876, he and his younger brother Yutakaestablished Morimura-kumi, an import-exportcompany in Tokyo. The success of this ventureencouraged them to establish a trading branch inNew York in 1878 – Hinode Shokai (MorimuraBrothers). Goods sent to the United Statesincluded porcelains, ceramics and the moretraditional souvenirs such as umbrellas, paperlanterns, bamboo objects and other giftwarelines. It became the first imported goods shop tostock Japanese antiques and porcelain for theAmerican market.

It wasn’t long before the company expanded

and imports began to concentrate on the ceramictrade. Initially, porcelain blanks were purchasedin Japan and sent to subcontractor decoratingshops in Tokyo, Nagoya and Kyoto. However, thequality of the decorating and porcelain bodieswas inconsistent so in 1892, in order to ensurestricter quality control, Ichizaemon and the otherdirectors decided to centralise the administrationand production units by merging the independentporcelain manufacturers and decorators with theexisting company. By 1898, they had formed aconcern that would secure the growth of thecompany for decades to follow.

In 1902, in order to ensure the continuation ofthe highest quality of product, a factory wasconstructed to produce their own range of hand-painted porcelain for export overseas. On 1January 1904, their new ceramic company,Nippon Toki Gomei Kaisha was established nearNagoya. The factory site was situated on ricefields belonging to a powerful feudal clan namedNoritake. It was their name that was eventuallyadopted for the company.1

EARLY years It was during the early years of production – thefoundation period – that the ‘ fancy line’ of itemswhich are so desirable today were produced.Flower vases, candy holders, dressing table sets,etc. were the main products but they also madeutility items such as coffee and teapots, chocolatepots and sugar bowls. The majority of thesepieces made during these early years were clearlyinfluenced by the Art Nouveau style as seen inthe flowery curves and the tree and flowermotifs. But alongside these pieces the companymade tableware for the Japanese market anditems for export decorated with traditionalEuropean patterns.

Noritake first made a hard wearing whiteporcelain dinner plate in 1913 and by 1914 beganto export dinner sets to America. The earliestdinnerware items were mostly hand-painted, oftenwith liberal applications of gold, but by the early1920s, Noritake introduced assembly linetechniques which allowed for the mass production

of high quality, yet affordable dinnerware.After World War I, markets worldwide began

to demand cheaper, mass-produced tablewaremade to suit the new faster lifestyle, which led toa change in the decorative motifs. The handpainting and complicated curves gave way to asimpler style that incorporated straight lines anddramatic geometric shapes derived from motorcars, machines, high-rise buildings and othericons of the new, post-war, industrial age.

Demand continued to increase and by 1927the sale of dinner sets accounted for over halfof their entire export range, outselling theonce staple ‘fancy line’ range. These earlyNoritake products including those decoratedin the Art Nouveau and the Art Deco mannerare referred to by collectors as ‘Old Noritake’and are keenly sought.2

LATER years During World War II, the main factory at Nagoyawas seriously damaged and the factory’sproduction severely affected. As the UnitedStates was the largest customer of Noritakechina, the administration was well aware of thequality and reputation of the company. After thewar, the US government helped Noritake obtainthe raw materials, fuel, gold and financesnecessary to rebuild their business. The army thenensured a market for the company by orderingdinnerware for their troops and their families.However, the company was concerned that ashortage of raw materials and skilled labourwould affect their high quality, so from 1945 to1948 they labelled their products ‘Rose China’rather than ‘Noritake’.

In the years following, not content to rest ontheir laurels, the company branched out and in1956 started to produce stainless steel items. By1961, the production of crystal glassware andmelamine products commenced, followed byfurther expansion into the industrial andelectronics market during the 1970s.

Since its inception, the Noritake Company hasdiversified from a solely ceramics basedcompany to a cutting-edge company that is

successfully involved with the manufacture ofindustrial products, electronics, ceramics andmaterials and environmental engineering. Aboveall, their relentless concern for perfection andcommitment to growth has established Noritakeas one of the most prolific producers of porcelaindinnerware in the world.

These days, over five million pieces of chinaare manufactured each month in factoriesscattered around the world and everywhere thename Noritake is synonymous with consistentquality and elegant design. The Baron wouldbe proud ●

Narelle WardCOLLECTORS’ COTTAGEANTIQUES02 4389 1922

Notes1 Noritake china, which remained the unofficial

name of the wares for decades, was onlyregistered officially in 1981.

2 These early pieces are often referred to as‘Nippon’ ware. Up until 1921 most china leavingJapan bore the country of manufacture mark‘Nippon’ rather than the anglicised ‘Japan’ markthat was used post 1921.

ReferencesKarry-leeanne Fisher, Noritake for Australia andNew Zealand: A Collector’s Journey of DiscoveryJoan Van Patten, Collector’s Encyclopedia of Noritakewww.antique-china-porcelaincollectibles.com/noritakewww.noritake.co.jp/eng/tableware/history.htmlwww.noritakecollectorsguild.info

The relentless pursuit of quality:THE STORY OF NORITAKE

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OPEN 4 DAYS 10 am - 5 pm

Come and browse through our 2000 sq ft showroom where you will find a dazzling range of furniture,china and collectables. We stock an extensive range from Victorian through to retro, including some

stunning pieces from the art deco period. Recent additions to our collection include an inspiring range ofdecorator items, antique and art deco style wall mirrors that complement modern or traditional decors.When travelling to Newcastle and the Hunter Valley please pay us a visit, you will be glad you did.

• TRADING FOR 20 YEARS • FREIGHT CAN BE ARRANGED AUSTRALIA WIDE •• LARGE RANGE OF ROYAL DOULTON CHINA •

105-111 MAITLAND ROAD, ISLINGTON, NEWCASTLE Ph: 02 4961 0533 • Rod: 0414 610 533 • Tim: 0415 495 967

Open Friday, Saturday, Sunday, Monday 10 am - 5 pm • 3 km from the City centre

Welcome to over 2000 squarefeet of antiques and collectablesand furniture from Victorian

through to retro.At Islington Antiques we have a special

emphasis on quality Art Deco furniture ataffordable prices, most lovingly restored by ourskilled craftsman. If you want a special piecerestored, we will do it in our own workshop.Stripping, polishing, lock repairs and mirrorresilvering are a few of the services we offer.We restore old brass beds, including convertinga double to a queen size bed.

Royal Doulton is one of our specialties, in ashowroom housing an enormous range ofquality china and porcelain. We have 1500Royal Doulton pieces in stock includingdinner service pieces, Series Ware, Bunnykinsand Flambé. We also sell and stock a selectedrange of new Royal Doulton.

In our mirror showroom is a selection ofmodern, traditional and Art Deco mirrorsdisplayed in all their different shapes and sizes. Ifyou are renovating, redecorating or building wehave a mirror for every room in your home – fromlounge and dining to bedrooms and bathrooms.

ISLINGTON ANTIQUES in Newcastle since 1990

Decorator pieces are another enhancement tofind in our store. Hand-selected from importersfrom all around Australia, you can decide onlamps, figurines, paintings, prints and newfurniture, any and all of which will complementboth traditional and modern decors.

Our second store – Our Style Furniture andDecor opened six years ago and is dedicated tohandcrafted solid timber furniture which weimport directly. The stock includes traditionalEnglish styles in mahogany and cedar, Frenchprovincial dining suites, Louis-style chairs andsofas in fruitwoods and cream-painted

furniture are prominent features.Newcastle, the gateway to the Hunter

Valley, is a leisurely two-hour drive fromSydney. Please visit on your next trip. We canarrange freight Australia-wide ●

ISLINGTON ANTIQUES02 4961 0533

W E A R E O F F E R I N GR E A D E R S A N D

S U B S C R I B E R S A B O N U S

VALUE PLUSonline and hard copy

Read all the magazines onlineand still receive them by post

Inquiries to info@worldaa.com

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love by Harold who certainly hasn’t lost thepolishing knack learnt in his early years.

Can anyone remember the blue bag on a stringwhich your mother used to swish in the rinsingwater on wash day to keep the white bed linenbright or to dab on your leg when you were bittenby a bull ant? It’s right there hanging on a shelf.

Pick any product and Harold can tell you ayarn or two about it and its use in the home.Local schools often visit the museum on anexcursion as part of their educational studiescomparing yesteryear grocery stores withmodern-day supermarkets. Harold, the residentgrocer, dons his crisp white apron every secondand last Sunday of the month to entertain andeducate visitors with his interesting stories.

The corner store of the past played a vital rolein the community and family life of the day and ispart of Australia’s heritage and folk history. Thedisplay is clearly visible through glass windowswithin the centre adjacent to the café. School,

social and community groups who are keen tovisit the museum outside of these times canarrange an appointment by calling the centre.

Richard Owens has established a secondmuseum grocery store which can be visited athis Oakvale Vineyard and Cellar door, locatedin Broke Road, Pokolbin, in the Owens’ originaltimber slab hut.

The Centenary Antique Centre is open 7 daysa week, 10 am to 5 pm, and is located at 29Centenary Road, Newcastle (behind CrownePlaza Newcastle). It comprises Newcastle’slargest antique centre, with over 25 shopsdisplaying a variety of collectables from the1780s to the 1980s ●

Marilyn Collins on behalf of THE CENTENARY ANTIQUECENTRE02 4926 4547centenaryantiques@hunterlink.net.au

Once there was a time when youstepped into a corner general store andall your basic grocery and household

needs were met by an aproned gentleman incollar and tie. He was more than likely standingbefore shelves stacked to the ceiling with tins andboxes behind a sturdy, polished wooden counter.

Perhaps you might remember, if you are oldenough, your mother buying broken biscuitspacked in a brown paper bag selected from theArnott’s biscuit tin or giving you an occasionaltreat from the lolly jar on the counter?

One person who does remember, and has avibrant recollection of the good old days, is 90-year-old Harold Murray. He stands behind thecounter of a grocery store museum established inNewcastle’s Centenary Antique Centre and relatestales of yesteryear as if they happened yesterday.These memories and more can be relived by oldervisitors at the museum grocery store and theyounger generation can learn a thing or two aboutretail in the olden days.

In reality, Harold’s grocery career started 75 years ago. He was inducted into the retailgrocery trade at the age of 13. He learnt thegrocery business literally from the ground-up. Hisearly start was due to circumstances. Harold wasforced to leave school to assist his familyfinancially in 1931 during the Depression.

‘My headmaster and mother both agreed thatthe chance to gain work at the South LismoreGeneral store was preferable to school andlearning,’ he said. ‘I had no say in the matter. Iwas told to go.’

He started behind the scenes and commencedeach day polishing the brass on the front window,and sprinkling sawdust and kerosene behind thecounter before starting to fill the bottles withcastor oil and kerosene. The next promotion wasweighing out the onions and potatoes into bags.

He was given a weekend to learn how to ride theshop’s bicycle and on that Monday begandelivering boxes of groceries along country roadsup to 10 miles out of town. He delivered no matterthe weather conditions or time of day or night.

The weekly wage was five shillings and threepence, of which he kept the three pence to buy anapple every second day. His pay was always givento his mother. Those were the days when thegeneral store carried all your needs. ‘We had tolearn all the products and how they were to bedisplayed in proper order before we could workbehind the counter and serve.

Back in those days, we also had our marketingways,’ Harold recalled. ‘For example, tins ofsliced peaches were displayed with tins of Nestlé’scream and sold as a special for one shilling andthree pence. Service to the customer was alwaysof the utmost importance. Madam left hergrocery order and it was packed and deliveredright onto her kitchen table. The perishablebutter, lard, dripping and cheese were wrappedin water-soaked sugar bags and newspaper tokeep cool on the trip to her house and placedin the home’s ice chest by the delivery boy.

They were very hard times and long days, yet

as young fellows we didn’t dare complain, asthere were plenty of people wanting our job, sowe had to do what was asked of us by the boss. Iremember one time I had to peddle the bike to afarm and bring back to the store 36 dozen eggsbalanced on the handlebars.

When I turned 17, I learnt to drive the A modelFord owned by the boss.’

For the following ten years Harold worked atTom Walsh’s general store until he enlisted to goto war. After war service in New Guinea, Haroldreturned in 1945 to find the store had been sold.He then gained a job with Burns Phillip, who had42 branches of Pennies grocery stores throughoutnorthern NSW and Qld. Their motto was ‘Penniessaved you Pounds.’

Harold was the troubleshooter and responsiblefor establishing new branches for the company.

He married his Newcastle-born wife Ellenorand the couple finally moved to Newcastle. Aftera number of local positions, Harold commencedwork with Richard Owens, whose grandparents in1909 purchased a general store in Wollombi,bringing with him his wealth of experience in thegrocery trade.

‘My biggest regret in life is that I knew Ellenorfor ten years before we married and I wished Ihad done so earlier.’ Now a widower, Harold saidthey had 56 wonderful years together.

In the early 1960s, Richard Owens joinedhis father and uncles and took thesupermarket chain through many successfulchanges and introduced new shoppingconcepts to become one of the largest chainsin the region, known originally as Shoeys.

Harold worked at Richard Owens Food Storefor 23 years, until his 50 years in the trade endedwith retirement.

The museum concept was a chance to displaythe ever-growing collection of grocerymemorabilia collected by Richard Owens andfamily for more than 20 years. And there was nobetter person than Harold to be found to man thestore, hence his step out of retirement.

The museum is a replica of a typical grocerystore before cash and carry was first introduced inthe early 1930s and self-service supermarkets inthe early 1950s. It is reminiscent of a time whenshopping was a very personal experience and‘your grocer’ knew your requirements and brandpreferences as if his own, and customer servicewas the utmost priority.

The Centenary Antique Centre’s museum’soriginal fixtures include a genuine cedar counteroriginating from McKenzie’s Department store inGlen Innes, as did the large mirrors with theiroriginal advertising slogans.

The wooden shelves stretch to the ceiling, piledhigh with authentic bottles, jars, tins and boxes asthey would have in the store owned by RichardOwens’ grandfather.

The tin advertising placards were seen outsidemany a country store and every brand name,every tin or packet has its own story and familiarrecollection. The ornate brass cash register isalways keep meticulously polished as a labour of

A NOSTALGIC REFLECTION OF THE WAY IT WAS

Open 7 Days - 10 am to 5 pm29 CENTENARY ROAD, NEWCASTLE 2300

Phone: 02 4926 4547 centenaryantiques@hunterlink.net.au

www.centenarycentre.com.au

As featured on the ABC Collectors

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conserved and ready for another 150 years of service.

Last is the cedar miner’s couch which camefrom Anthony Hordern and Sons’ shoedepartment. One of the employees from theshoe section purchased it when the store wasbeing renovated. It was then passed onto herson and from there to us. It is circa 1885, has nice wear, good original finish, and a good provenance.

Obviously people and their furniture movedaround quite a bit and it is hard to know the fullstory, but if something is good it shouldn’t matterwhere it came from or where we found it. Weoften find outstanding pieces of furniture in themost unlikely places, indicating that these findswould have originally been for impressive homes.

It would be wonderful to have the history,but often we can only guess. Many years agowhen I purchased one of my first pieces ofcedar from an old dealer I asked if it had a

story. The reply was ‘No, but I can makeone up for you if you want’ ●

M LeeRARE FIND COUNTRYANTIQUES02 4969 3801 / 0418 684 724rarefind@bigpond.et.auwww.rarefindantiques.com.au

Customers are always interested inthe story behind a piece of furniture orits provenance. It’s nice to know where

a piece spent its life, and if possible whoowned it – especially if it was a famousperson. Even though our colonial furnituredates to the 1800s, it is still very hard to tracethe origins of pieces made 130 to 180 yearsago. Recently, we have had a few pieces offurniture turn up in the Hunter Valley. Weknow some of the history, but how they got towhere we found them is a mystery.

The Huon pine chest of drawers is a qualitypiece, beautifully made with choice veneers.It has all original hardware, the original finishand was probably made in Melbourne orSouth Australia. Yet it turns up in the HunterValley in an old house with hardly any otherantique furniture.

The Huon pine apprentice chest follows asimilar path. It was on a farm near Cessnockfor the past 90 years, but before that who knows.The chest dating to circa 1880, has secondarytimbers of red pine, common in South Australianfurniture and is beautifully made. How it came toCessnock is another story.

Another mystery piece is a timber axe. Thehead is of musk wood with a Huon pinehandle. Both the head and handle are the mostamazing figured timber and it has beensuperbly crafted – possibly as a trophy of somesort. From the timbers one would guessTasmanian but it turned up in a Hunter homewith a little story.

The cedar two drawer desk is an earlypiece, circa 1840, or possibly earlier. It hasfabulous timber throughout and the legs arefinely splayed and tapered. The cedar hasbeen prepared with an adze and all joints aremortice and tenon. It spent the last 80 years inMaitland and before that an early propertyowned by the family in Morpeth. Some of theother early pieces from this property were sentto the cabinet makers in the 1950s to beturned into ‘more useful’ coffee tables,occasional tables and nests of tables, so it wasvery lucky to survive.

The Huon pine dresser, circa 1860, found inan old dairy in the Hunter, has been traced toa Hobart bakery. As it turns out, this dresserfollowed a family member from Hobart to anhistoric Maitland property many years ago. Itwas sold, taken out of the district and endedup sitting on bricks in a dairy. It is now fully

PROVENANCE– things that turn up in the Hunter Valley

Rare Find Country Antiques

38 Denison St, HamiltonPh 02 4969 3801 Mobile 0418 684 724

Opening hours:Saturdays 10 am - 4 pm

or by appointment. We are there most of thetime as we live on-site.

The Hunter’s largest selection of genuineAustralian antique cedar furniture, most of

our stock is pictured on the website:www.rarefindantiques.com.au

A selection of our quality and rare Australian chests of drawers

Secretaire chest, c. 1869, labelled Lawson and Carter in three places

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NEWCASTLE & HUNTER VALLEY ANTIQUES TRAILfeaturing bed & breakfast accommodation and art galleries

The Centenary Antique Centre

UNIQUE ANTIQUE ECLECTIC29 Centenary Road, Newcastle

Ph: 02 4926 4547OPEN 7 days, 10 am – 5 pm

25 shops under the one roof: Newcastle’slargest antique centre with a great coffee shop

and the Old Grocery Store Museum.

Antiques & Collectables on Darby

1/158 Darby Street, NewcastlePh: 02 4926 3003

OPEN 7 days, 10 am – 5 pm15 dealers: collectables, china,

glass, jewellery, furniture and smalls.

Bowerbird Antiques& Collectables

94 Maitland Road IslingtonPh: 02 4961 0075

OPEN Friday to Monday 10 am – 5 pmA small shop with a surprisingly varied

selection of antiques, eclectic, French andcontinental collectables and furniture.

Brunker Road Antiques35 Brunker Road, Broadmeadow

Mob: 0437 417 512OPEN Friday – Sunday 10 am – 5 pm

The place to come when you want something different.

Coliseum Antiques118 Maitland Road, Mayfield

Ph: 02 4967 2088OPEN 7 days 10 am – 5 pm

A large centre within a heritage building. Buying and selling: furniture and collectables,

huge selection. Coffee shop and art salesGeorgian – Victorian – Retro.

LampworksAntique Centre

7/54 Clyde St, Hamilton NorthPh: 02 4927 6611

OPEN Monday – Saturday 10 am – 4 pmSunday 10 am – 3 pm

Selection of collectables, furniture, and antiques.

The Tyler Gallery106 Maitland Road, Islington

Ph: 0411 683 496OPEN Friday, Saturday and

Sunday 11 am – 5 pmSpecialising in contemporary art, with

jewellery, accessories, furniture and more.

Ambleside AntiquesCottage

108 Maitland Road, IslingtonPh: 02 4962 1532

OPEN Thursday to Monday 10 am – 5 pm Attractive decorator pieces to enhance your

home or that wanted item to add to yourcollection. Large affordable range: linen,tools, glass, china, furniture, jewellery,sewing items. Ample free street parking

nearby. Air-conditioned.

Islington Antiques105–111 Maitland Road,

Islington, NewcastlePh: 02 4961 0533

OPEN Friday, Saturday, Sunday & Monday 10 am – 5 pm

Trading in Newcastle for 20 years. We stock a large and varied range of

quality furniture, china and collectables in our 2000 sq ft showroom.

Memory LaneAntiques & Decor

82 Elder Street, Lambton (opposite Lambton Park)Ph: 02 4957 8233

OPEN Monday to Friday 10 am – 4 pmSaturday 9.30 am – 3.30 pm Closed Sunday

Affordable antiques – interesting china,jewellery, lamps and clocks. A range of

items to suit the discerning buyer.

Heartland Antiques & Arts

321 High Street, Maitland Ph: 02 4933 9923

OPEN Six days 10 am – 4 pm Closed TuesdayMost unusual mix of decorator pieces andtraditional antique furniture along with old

pine and period styles, china, chintz, pottery,paintings, posters and prints. All things

suitable for furnishing a country house, afarmhouse, a weekender or the odd ranch

with both flair and decorum.

The Exchange Galleries

327 High Street, Maitland Ph: 02 4934 3934

OPEN Thursday – Sunday 10 am – 4 pmAntiques, art and fine handcrafted furniture.Visit this transformed Art Deco pub and find

a treasure. Furniture, linens and laces, 20s – 50s jewellery, china and collectables.Art, paintings and prints, old and new. Finefurniture handcrafted from local timbers.

Cambridge Cottage21 Paterson Road, Bolwarra

Ph: 02 4930 1824 OPEN Fri – Mon 10 am – 5 pm

Antiques, cottage garden nursery and waterplants, recycled furniture, pottery and

paintings by local artists.

Steptoes105 Lang Street, Kurri Kurri

Ph: 02 4936 1511OPEN Monday – Friday 9 am – 5 pm

Saturday 9 am – 3 pmSunday 10.30 am – 3 pm

The largest antique and second-hand furniture warehouse in the Hunter.

Furniture is our forte.

Paul VinecombeAntiques & Decoratives

92 Wollombi Rd, West CessnockPh: 02 4990 9212, Mobile: 0418 635 658

OPEN Tuesday – Sunday 10 am – 5 pmClosed Monday

After 29 years now trading in Hunter Valley at Cessnock.

Rare Find CountryAntiques

38 Denison St HamiltonPh: 02 4969 3801, Mobile: 0418 684 724

Open by appointment onlySpecialists in Australian antiques,

specialising in cedar.

Antique Toy Collectables655 Hunter St Newcastle West 2302

Ph: John 0412 296 420OPEN Mon – Fri by appointment

(readily available) Sat 10 am – 4 pmSun 11 am – 3 pm

100's of vintage toys, dolls, teddies, trains(Hornby O) plus pedal cars and

doll prams. Largest range in Australia.*** JUST OPENED ***

Old Cinema Antiques 80 Maitland Road, Islington

Ph: 0450 103 633 or 0416 438 371Open Friday-Monday 10am-5pm

Dutch imports of antique furniture,paintings, clocks. Large collection of

collectables, French polishing.

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* In the interests of better servicefor our customers, if you enjoy theconvenience of this map, please tell

the shops you visit. Thank you.

TO ADVERTISE ON THIS PAGE PLEASE

PHONE 02 9389 2919

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Celebrating their first successfulsix months at their new location,Antiques & Collectables on Darby is

home to ten experienced dealers who havebeen in business for many years, with moresenior members trading in excess of 30 years.Covering many collecting interests, the centre’sknowledgeable dealers are happy to answerquestions about collecting and look forward tomeeting other like-minded enthusiasts.

To help customers get to know us a littlebetter we would like to introduce ourselvesvia short profiles outlining our time in thetrade and what we offer collectors.

GAYE and Chris DawsonOwner/managers of the new centre, Gaye

and Chris Dawson have been involved in theantiques trade in Newcastle for 20 years.Gaye’s involvement in antiques traces to theearly 90s when she started a business in theCanberra region while Chris, an avidcollector for many years, with Gaye turnedhis passion into a livelihood. Their mainfocus now is providing quality pieces offurniture from the Victorian era to funkyretro pieces and the ever-popular Art Deco era.

Gaye’s passion for jewellery and her loveof travelling translates to her sourcingantiques pieces from all corners of theglobe. On a recent trip to Europe sheacquired impressive pieces from EasternEurope, Vienna and Paris, which she hasbrought back to Australia.

Trading as Déjà vu Jewels, Gaye stocks alarge range of vintage costume jewelleryand fine reproduction pieces in gold, silverand gemstones. Complementing the range iscontemporary jewellery including Gaye’sown designs and special one-off pieces.

KRISTINE French: Combined Collectables

Kristine has been dealing in antiques,collectables and vintage clothing for 15years.Before deciding to become a dealer she wasan avid collector, especially of the unusual.Kristine moved to Newcastle three years agoand joined Antiques and Collectables onBeaumont Street, moving to the new Antiquesand Collectables on Darby.

Kris specialises in vintage clothes, especiallyfrom the 60s and 70s. She says, ‘I like to havecollections of things,’ so her stock extends toglassware, china, jewellery, and porcelain byGoebels, Beswick, Wade and SylvaC.

SHERRILL Grainger: Shop 9 Sherrill has been trading for over eight

years and her shop is a great source forvintage fabrics, quality Italian glass, vintageand retro handbags and shoes. Shop 9 also stocksa variety of collectable smalls, vintage jewelleryand small pieces of furniture. She has recentlyextended the range to include Japanese kimonosand small Japanese tansu chests.

JAN Walker: Shop 5Jan specialises in handmade 1920s style

cloche hats made from vintage and new silks,brocades and velvets. Her cocktail hats,mostly 40s inspired, feature silk layered leaveswith hand-tooled French flowers.

For the doll enthusiast, there are wonderfulhand-made Attic dolls. Each fabric piece hasbeen hand dyed and lace trimmed. Theseindividually crafted dolls feature rich colourcombinations; the three-layered petticoat areauthentic to the era, as are the satin pin tuckedundergarments, the ruched velvet, silkribbons, antique style jewellery and handpainted faces showing exquisite attention todetail. Signed by artist, every doll has been

individually named. Jan also has a largeselection of vintage, retro, new clothingincorporating her Jan Gee label and much more.

SAXON & Dean: Shop S & DSaxon & Dean of Shop S & D have been in

the business of eclectic vintage collectablesfor many years. They trade in a wide range ofchina, glassware and decorative householditems including small items of furniture andArt Deco tables and standard lamps. They alsohave a wide selection of costume jewellerydating from Victorian through to the presentday sourced mainly from the UK andaccumulated treasures over many years.

TRISH & Tony Aguado: Shop 8If you’ve ever had the opportunity to

browse through the treasures in Shop 8, you’llrealise that Tony and Trish, as well as beingdealers, have been serious collectors for manyyears. They offer a special collection ofinteresting and affordable items, ranging fromthe rare and beautiful to the quirky and rustic.

Their selection of desirable objects includesold cloisonné, jade, cinnabar, porcelain,and temple pieces from the Orient. As well,they have an extensive range of artworks,glassware, ceramics, lamps, and boudoir dolls,sourced overseas.

Exciting jewellery reveals Venetianmillefiori necklaces, European flapper beads,continental amber, Bakelite and early plasticpieces from the Art Deco period. Specialistinterests include bladed weapons, Chineselotus shoes and opium paraphernalia – thoughthey find these hard to part with!

GLORIA Meyer: Shop 12 Gloria has been trading in antiques in

Newcastle for more than 30 years and is thecentre’s most senior dealer with a wealth of

knowledge. Gloria specialises in glassware,French furniture, contemporary furniture,retro pieces, and lovely boudoir items. Shop12 brings a wide variety of interesting andfunky collectable items and lots of fun with alarge collection of M&M candy collectables –forever young!

JUTTA Perceval: Shop 2 Jutta deals in kitchenalia, linen and lace,

garagenalia – mixing vintage with retro andnew. Much of her stock is French, sourced inand out of Paris where she had a stall at theParis Flea market – Marche Paul Bert – for 10years before returning to Newcastle in 2009.

Jutta is going on a buying trip to France andplans on bringing back some of the buzz fromthe overseas market.

DENNIS & Ruth Redmond: Shop 100

Dennis and Ruth have been trading inantique centres for more than 25 years. Theyare excited to be at Antiques & Collectableson Darby and are looking forward to meetingnew clients and helping them with theircollections. In response to the ever-increasingnumber of younger collectors coming to thecentre, Dennis and Ruth are expanding theirrange to include edgier and more current displays.These pieces do not impact on the strongtraditional pieces they are known for, rather theyenhance an already comprehensive range ●

Do call in and chat with Gaye andChris, together with the dealers atANTIQUES & COLLECTABLES ON DARBY02 4926 3003

Newcastle’s ANTIQUES & COLLECTABLES ON DARBY offers a wealth of experience

PHONE 02 4926 3003CALL IN AND BROWSE OUR NEW SHOP WHERE WE WILL CONTINUE TO STOCK AN AMAZING

COLLECTION OF ANTIQUE AND VINTAGE CLOTHING, FURNITURE, JEWELLERY, CHINA, BOOKS, TOYSAND CURIO ITEMS, ALL UNDER ONE ROOF OPEN 7 DAYS

PLENTY OF PARKING AT REAR

A BIG THANK YOU TO ALL OUR LOYAL CUSTOMERS WE HOPE TO SEE YOU IN OUR NEW LOCATION

Antiques& Collectables on DARBY1/158 DARBY STREET NEWCASTLE

Formerly of Beaumont Street, Hamilton

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If the lifestyle of a country squireappeals then Heartland, a freehold antiquestore in Maitland, may be the answer.

Strategically located at the entrance to theHunter Valley, this beautiful heritage buildingis an opportunity to incorporate a businesswith a more leisurely country lifestyle – thebest of both worlds.

Maitland is now the fastest growing localgovernment area in NSW and locals arebenefitting from the injection ofentrepreneurial investments in the region. The artsand culture renaissance has resulted in foodfestivals, commercial growth and thedevelopment of historical themed programs suchas heritage walking tours before or after touristsvisit the vineyards of the Hunter region.

Maitland has been the hub of the Hunter formore than 150 years. It is steeped in historyand fascinating heritage buildings. Located onthe New England Highway, it is about 30minutes drive from Newcastle and is accessedfrom Sydney via the F3 taking approximatelytwo hours.

A FREEHOLD antique store in Maitland

This architecturally incomparable buildingis unique. There are three floors including alarge two level three bedroom apartment thathas been fully restored. The first floor isreached by a cedar staircase that featuresVictorian iron lace balustrades and thecraftsmanship of cedar joinery. A conservatorystyle roofline means that the centre of thebuilding is given lots of natural light.

The apartment is reached by another cedarstaircase that covers the two levels.

Why sell such an asset? The owners havecome to that time in their lives when age andnecessity have forced them to reconsider theiroptions. Now into retirement, they haveserious health issues that can be no longerignored. After a lifetime of being involved inthe antiques trade, they are leaving a businessthat has been kind to them and which hasgiven them a lot of pleasure.

It is time to pass the reigns onto the nextgeneration of collectors and dealers.Opportunity knocks for a younger person withvision and enthusiasm. Whoever acquires thisasset also gets the business for free and achoice of stock at value.

It is only by visiting Heartland that one cantruly appreciate the valueadded and charm of thisheritage site ●

To inspect this unique property, phone Marion on 0414 012 608 orafter hours on 02 4930 6984.

THE GOOD LIFE: HEARTLAND – FOR SALE WITH FREEHOLD

Magnificent Victorian mahogany half tester queen-size bed Original piano box buggy, c. 1910

Original Lloyd Loom chairs and cupboard

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FOR SALEThis wonderful restored heritage building known as the Queen Victoria Building of Maitland in the heart of

the Hunter Valley is FOR SALE with or without the Antique business. The large, ground floor houses mainly antiquefurniture and the first floor is an art gallery. The large two-storey, three bed apartment above has been fully restored

and there is back access with a secure yard for parking and loading.

Please phone 0414 012 608 or A/H 02 4930 6984 for further information or inspections.

Country prices and big discountsAll our stock sourced locally in the country

Why pay big city prices – we need to clearspace for stock held in storage

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From small shops specialising in musiccollectables or toys to the larger centres,the Hunter Valley caters for all tastes. You

will find everything from buttons and linen andstunning Art Deco pieces to exquisite Georgianfurniture, tools and old farm rustics todelightfully kitsch 50s and 60s home wares andcharming country pine furniture. Just a two-hourdrive north of Sydney, you could be enjoying themany delights of the Hunter Valley this weekend.

NEWCASTLEFounded in 1804 as a penal colony, Newcastleis a city rich in history. Discover Newcastle’sconvict past and the birthplace of Australianindustry; visit Victorian mansions and villas;marvel at the grand cathedral; or learn aboutthe area’s colourful maritime history and howFort Scratchley was built to protect the cityfrom possible Russian invasion.

Newcastle Tourism’s visitor informationcentre on Hunter Street will supply you withdetails on heritage walks through the city, artgalleries and museums, just a few of thedelights Newcastle has to offer.

Of course, another delight is hunting throughNewcastle’s many antique shops and centres. Afabulous city to explore, stay awhile and enjoythe comfort and history that Newcastle’s bedand breakfast homes can offer you.

Australia’s sixth largest city and the capitalof the Hunter region, Newcastle has much tooffer the visitor here on a short break or anextended stay. Newcastle is a beachside cityboasting a spectacular coastline with some ofAustralia’s best surfing beaches. Newcastlehas a large working harbour, its entranceguarded by Nobby’s breakwater andlighthouse, probably the most famousNewcastle icon.

THE MAITLAND RegionMaitland is a lovely heritage city in the heartof the Hunter Valley, a short drive from thefamous Hunter Valley vineyards andacclaimed wilderness areas. Just minutes fromMaitland you will discover the mostdelightful villages and towns.

East Maitland: The original city site, this isan architecturally heritage-rich town withmany beautiful buildings to appreciateincluding churches, the old Maitland Gaol andgreat antique hunting opportunities.

Rutherford: A few minutes on the other sideof Maitland is Rutherford, home to the historicAnnanbah House, where the Australian movie

15 Amore (2000) was filmed, with still moreantique hunting to enjoy.

Lorn: Located just over the bridge fromMaitland is Lorn. Fine examples of Federationhouses, together with wonderfully preservedlate Victorian homes set in magnificentgardens, make this place a true delight. Enjoythe Heritage Walk or just indulge in moreantique hunting.

Bolwarra: Just a few minutes along the roadis Bolwarra with even more charming historichomes and gardens and even more antiquehunting. This lovely town sits on the edge ofsome of the most beautiful, gentle farmland inthe region.

DUNGOG With the first European settlement of thetownship occurring in the 1820s and 1830s,historic Dungog has much to offer visitors.There are quality antiques to discover inDowling Street and a B&B set in magical rural surrounds in which to soak up thecountry atmosphere.

The Visitor Information Centre on thecorner of Brown and Dowling Streets (02 4992 2212) can supply you with maps anddetails on the many historic buildings in thisbeautiful township.

Dungog is the perfect base for exploring the nearby Barrington Tops National Park.This unspoiled World Heritage listed areaoffers so much to experience, from cascadingrivers and primeval wilderness to rare andendangered species of plants and animals. The many walking trails in the park cater toall, ranging from 20 minutes to the 22 kmLink Trail Walk ●

NEWCASTLE AND HUNTER VALLEY ANTIQUES TRAIL02 4974 2999www.newcastletourism.com

THE SCENIC HUNTERVALLEY perfect forantique hunters

Lake Macquarie Art Gallery. Image courtesy City of Lake Macquarie

REPAIRING ANTIQUEJEWELLERYA task more difficult than customers realiseNothing could more disappointing than

having a treasured piece of antiquejewellery damaged. But this is minor to

the annoyance and frustration when more damageis inflicted as a result of repairs going wrong.

The art and craft of jewellery repair is not onlya difficult one, with many challenges, but it is anarea of the trade that these days very fewjewellers want to venture into. There is no publicglamour and it is an area where both patienceand skill are required to achieve good results.

When jewellery is hand made there arenormally three melting point grades of solderused – easy, medium and hard. This is done toensure the piece's structure does not collapseduring the process.

To construct an item requires many differentassembly joins, often in close proximity to eachother. Early craftsmen used easy solder sparinglywith new work. This was a cautionary measurethat took into consideration the possibility ofalterations to the design or the need for repairs ifthe piece was damaged.

Soft or lead solder is never used on gold or injewellery repairs. It is corrosive, eating into andweakening the surrounding metal, which thenmakes it brittle. Lead mixed into melted goldcauses serious problems and will createsignificant issues for the jeweller working withthe now-contaminated gold. Most lead solderrepairs look grey-black around the area that hasbeen repaired. Also, there is often far moresolder used than necessary.

Today, most repairs can be done using non-heating and localised pinpoint solderinglasers. These machines are very expensive topurchase and we fortunately have access totwo machines which are shared with theoptical industry.

After gold work comes the job of replacinglost stones, an area that will always be a majorproblem. We cannot replace an old-cut diamondwith a new-cut stone. The difference betweenthe cuts is too significant and will be verynoticeable. Then there is the issue of colour.Not only have cutting styles changed, but alsothe old mines have been exhausted and sostones from some new mines do not quitecolour match earlier stones.

It can be very frustrating when there is a lackof appreciation for the degree of difficultyinvolved in sourcing matching stones. Findingold mine and European-cut diamonds is not asimple task. These are not shelf-line items andwhen faced with the task of finding smaller oldstones, this is very problematic as they areextremely rare and not cheap. Fortunately, thereis the Internet. So sourcing material is madeeasier, but it takes time. It can take up to tenmonths to acquire a small 1.5 mm rose-cutdiamond in the old style.

Let's say we have been given a Victorian dressring with a broken claw to repair. To do so willrequire replacing the claw and although thismight seem very simple, the ring is set withstones. Many antique pieces include semi-precious and precious stones such as emeralds,paste glass, pearls, turquoise and opals. Thesecannot come into contact with heat.

Nine carat easy solder has the lowestmelting point of about 620 degrees centigrade.If we were to heat these stones they would beruined. This might mean that we have toremove those stones set in the ring to do therepair. This then leads to another problem.Because the gold is old and brittle from age weare faced with the possibility of other clawscracking when the stones are extracted – morework. One damaged claw turns into a numberof claws requiring repairs.

Once the claw or claws are fixed and finished,the piece needs to be colour matched. If therepair required the gold to be plated it will thenneed to be re-gilded and then given an agedpatina. So you see, a small, one-claw repair canturn into an involved, complicated processrequiring much thought and expertise beforereturning the much treasured item to the owner ●

Ken PenfoldPENFOLDS JEWELLERS07 3221 7516penfoldjewellers@tpg.com.au

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With a flash of light Troy O’Brienrepairs a tennis bracelet linkwithout removing the stones or

running the risk of solder flowing into thehinge and destroying its mobility. Proprietorof Troy O’Brien Fine Jewellery in Sydney’sNeutral Bay, he undertakes repairs to allmanner of jewellery. An expert in finerestorative work, Troy can repair an antiqueenamelled pin without damaging the enamelor leaving visible signs of the restoration

work. Repairs to gemstone claws are achievedwithout removing the stones as would betraditionally required.

STATE of the art techniquesThe one tool that allows Troy to do each of

these jobs so expertly is a laser welder. This isstate of the art technology not found in mostjewellery workshops and manufacturingfacilities. Troy’s investment in this machineallows him to apply a sharply focused beam oflight that produces very high heat. Lasers

provide jewellers with the ability to accuratelydirect heat to a small area. This allows them toroutinely accomplish tasks that would oncehave been either impossible or too timeconsuming to be worthwhile.

‘It is like performing microscopic surgery onjewellery,’ says Troy. ‘We can work very closeto heat sensitive stones without damagingthem. Because you’re working under amicroscope, and because you’re able to adjustthe laser beam from two-tenths of a millimetreup to two millimetres in diameter, you can keepcomplete control of where you are firing thelaser. We can work as close as half a millimetreaway from heat sensitive stones.’

Repairs that once required multiple stepscan now be completed in a single step. Beforethe introduction of the laser it was necessaryto disassemble a piece. This involved un-setting stones, completing the repair, and thenre-setting the stones. Today, for example,natural emerald cluster rings can be repairedsafely and quickly, as opposed to the hours itcan take to remove and re-set the stones, plusthe associated risk of damage, explains Troy.

REPAIRING antique jewelleryThe laser’s concentrated heat also facilitates

delicate repairs without risking furtherdamage to fragile antique jewellery. ‘You canrepair missing bridgework in antique filigreepieces without solder,’ says Troy. ‘With ablowtorch, you just can’t do a nice job.’

The use of the laser welder can make atremendous difference in the value of a piece of

antique jewellery. ‘Once you remove the stonesfrom a piece of jewellery, you ruin the integrityof that piece,’ comments Troy. ‘No matter howgood you are, you’re never going to get it backtogether as it was before you started.

With the laser welder, you keep theintegrity of the piece by not removing heatsensitive stones, and the patina, the look thatan old piece of jewellery has is not destroyed.That patina tells a story. When trying to repairor restore a piece using a conventional torch,the patina is lost. The piece of jewellery getsoxidised, the colours change, and you need topolish the piece. This means a piece that is200 years old now looks like new.’

WORKING on contemporary designs

Not only can lasers help maintain the lookof antique jewellery in need of repair, but alsothat of newer designs. The laser is ideal forrepairing mesh bracelets and fine chains. ‘Apiece may have wire poking up and catching.With the laser you just push it back and zap iteasily. You don’t lose the intricacy of thedesign, which you would if you had solderflowing through, freezing the links. Manyother repairs are just so much cleaner andneater,’ Troy says.

Troy has found that he can repair watchcases and bands. It is especially effective withstainless bands. As he points out, ‘In the past,when we had links that separated, we had tocall the manufacturer and order a whole newbracelet. Now we are able to weld componentslike that back together.’ ●

For advice on the repair and care of your valuablejewellery Troy can be contacted at:

TROY O’BRIEN FINE JEWELLERY02 9908 3130tojewellery@bigpond.com.au

A WORKING JEWELLER:In the workshop of Troy O’Brien

101 OLD BELLS LINE OF ROAD, KURRAJONG • PHONE 02 4573 1683OPEN 7 DAYS 10 am - 5 pm

K U R R A J O N GA N T I Q U E C E N T R E

spanning 740 sq metres (8,000 sq ft)

Antiques and Collectables

UP TO 30% OFF ON VARIOUS CABINETS

LOTS OF NEW STOCK

Come up and visit our centre now with an increase to over 50 fully stocked

display cabinets with china, glass, silver, silver plate, jewellery, crystal, porcelain and bric-à-brac.

We have a large range of original art (oils, watercolours, etchings and lithographs), brass, as well as Victorian andEdwardian furniture (cedar, mahogany, pine and oak).

All in a lovely old Art Deco Cinema/Theatre

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Windsor and the Hawkesbury isrestablishing itself as a greatdestination for antiques, collectables

and old wares. Windsor is a comfortable drivenorth west of Sydney in the picturesqueHawkesbury Valley. It is a popular short break,weekender and day trippers location. It is also apopular stopover point for city folk heading tothe Blue Mountains, Hunter Valley, Central Westas well as the North and South Coasts.

Windsor boasts some magnificent historicbuildings, its own paddle wheeler and horsedrawn restaurant with the region being home togreat national parks and the picturesque

Hawkesbury River. Windsor and theHawkesbury is also home to 19 unique antiques,collectables and old wares shops within a shortdrive of each other.

On Sundays, you can enjoy the WindsorCraft Market in the mall from 9 am – 4 pm. Anovernight stay at one of Windsor’s boutiqueB&Bs ensures you miss nothing and allows aleisurely pace for browsing.

If visiting on a Saturday you must fit in a visitbetween 10 am and 2 pm to Empire Beds,which is about 3 km from Kent’s. Phil and PeterJurd’s workshop is good fun for blokes andfascinating for iron and brass bed enthusiasts.

Phil has been in beds for over 25 years and thisis Sydney’s one-stop brass bed shop for made toorder, restoration and extensions from double to queen.

Walking down George Street to New Streetyou will see Maureen’s delightful dusky pinkrendered store, Thompson’s CountryCollectables. Maureen has an elegant range ofantiques and collectables from 1750 to 1950, butspecialises in Victorian furniture, silver,jewellery, china and glass.

Around the corner from Maureen’s isWindsor Restoration Supplies. David hasarguably the Hawkesbury’s most comprehensive

range of supplies for the restorer including brassand period lighting, cabinet fittings and handles,traditional timber finishes and period homerestoration supplies. They also have an elegantrange of outdoor furniture.

Jump in the car and head out to TheJunkyard at Londonderry. Sue and Gary havefive acres of recycled farmyard and buildingmaterials, bric-à-brac from antiques to op shopstored in a variety of sheds, old bus and traincarcases. The astute collector can find realbargains here – its nickname is ‘the five acregarage sale’ and you should allow some seriousscrounging time here. One the boys will love for sure.

John and Anne Koster, of Kostercraft, furtheron in North Richmond can help you out whenyou have found that special piece, but it needssome TLC. They specialise in preservation andrestoration of antique and modern furniture and art. They can also repair and restore distressed ceramics.

Further along the trail, Kurrajong AntiquesCentre has a very large range of antiques andcollectables. Brian has several large rooms, anupstairs and a downstairs filled with Englishchina, glassware, art, furniture, toys – there’sprobably very little he hasn’t got. Brian’s is thekind of large rambling antiques emporium youremember from the old days and has a wonderfulyesteryear feel.

We all look forward to seeing you on our trailone day soon ●

Kurrajong Antique Centre

WINDSOR & THE HAWKESBURY Antiques & Collectables Trail

John Koster, Kostercraft

The Junkyard

Peter and Phil Jurd, Empire Beds

Windsor Restoration Supplies Maureen Partridge, Thompson’s Country Collectables

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1. Empire Beds, WilberforceProprietors: Phil Jurd & Peter Jurd

Phone: 02 4575 1223

Website: www.empirebeds.com.au

Email: jurdp1@optusnet.com.au

Opening Days & Times:Mon to Fri 9 am to 5 pm

Sat 10 am to 2 pm

Public Holidays: Closed

Address: 2/11 Ti-Tree Place, Wilberforce

2. Thompson’s Country Collectables, WindsorProprietor: Maureen Partridge

Phone: 02 4577 2381

Opening Days & Times:

7 days 10 am to 5 pm

Public Holidays: 10 am to 5 pm

Address: 11 New Street, Windsor

3. Windsor Restoration Supplies,WindsorProprietor: Dave Crawshaw

Phone: 02 4577 4853

Opening Days & Times:

Mon to Fri 9 am to 4.30 pm

Sat 10 am to 2 pm

Public Holidays: Closed

Address: 268 George Street, Windsor

4. The Junkyard, LondonderryProprietors: Gary & Sue Evans

Phone: 02 4572 5211

Opening Days & Times: 7 days

10 am to 4 pm (weather permitting)

Public Holidays: Closed

Address: 11 Bennett Road, Londonderry

(Just a 10 minute drive from the centre

of Windsor)

5. Kostercraft, North RichmondProprietors: John and Anne KosterPhone: 02 4571 1320 Mobile: 0412 571132Email: kostercraft@hotmail.comWebsite: www.kostercraft.com.auOpening Days & Times:Mon to Fri 9 am to 6 pmSat, Sun: Available for enquiries and drop offsPublic Holidays: Available for enquiries and drop offsAddress: 27 Elizabeth Street, North Richmond

6. Kurrajong Antique Centre,KurrajongProprietor: Brian BriggsPhone: 02 4573 1683Opening Days & Times: 7 days 10 am to 5 pmPublic Holidays: 10 am to 5 pmAddress: 101 Old Bells Line of Road,Kurrajong

WINDSOR & THE HAWKESBURYantiques & collectables trail

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To advertise on this pageplease phone

02 9389 2919Email: info@worldaa.com

BLUE MOUNTAINSA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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metal tea service on display is a rare find. Teaware made from this metal proved not sopractical as the plating did not respond well tothe constantly changing temperature.

On show is the first teapot that started thecollection more than 30 years ago. Much careand thought has gone into the displays andvisitors can explore the history of the variousstyles and learn about the origins of teataking. For example, a predecessor of theteapot is the c. 4000 BCE wine jug fromChina and which can fetch in excess of$200,000 at auction. A more recent example isthe 300-year-old cast iron Chinese teapot.

HIGH TEA experience Of course, you can buy a unique teapot or

sample fresh, fine-tipped tea served in thetearoom, which offers silver service – a highlyrecommended experience. The waiter, wearinga top hat and tails, serves tea in a shimmeringsilver teapot with finely rolled sandwiches asdone by the Ritz Hotel in London, freshly bakedscones, home-made jam and whipped creamand a range of delicate pastries served on finebone china. All this to the refrains of ‘Land ofHope and Glory’ combines to make anunforgettable experience – bring your camera.

High Tea is served daily and bookings are recommended.

The Tearoom provides a perfect backdrop tothe teapot collection where light gourmetlunches, soup, sandwiches, cakes, hot andcold refreshments are served.

For those memorable mountain spring,summer and autumn days, enjoy the ambienceof outdoor dining, soaking up the Federationpast among the magnificent rhododendronsand roses ●

BYGONE BEAUTYS ANTIQUES02 4784 3117info@bygonebeautys.com.auwww.bygonebeautys.com.au

Bygone Beautys, often described as anAladdin’s cave due to the sheer volumeof collectable and colourful items on

display, is a unique shopping experience. Thisemporium is overflowing with antiques,jewellery – both new and estate – collectables,gifts, furniture, lamps, an entertaining array ofgift cards, soft furnishings and much more.

Bygone Beautys Emporium is also home tothe world’s largest private teapot collectionand is one of the most popular attractions inthe Blue Mountains. Located one block eastof the Leura shopping centre, the antiquecentre is home to the collection.

Thirty-three years ago Ronald Hooper startedcollecting teapots and in 1992 joined withMaurice Cooper to establish Bygone Beautys.Cooper, affectionately referred to as the ‘teapotman,’ brought to the partnership his passion forteapots and so between them they have built asignificant and important display.

There are examples dating from 1680,1700s, 1800s to contemporary miniaturecollectables. Among the special pieces is ateapot commissioned by the Emperor of Japanin 1900. Another fine example is a piece fromJosiah Wedgwood’s first creamware rangemade in 1792. A mint condition Britannia

Much care and thoughthas gone into the displaysand visitors can explorethe history of the variousstyles and learn about theorigins of tea taking

”

“

The world’s largest private teapot collectionON DISPLAY AT BYGONE BEAUTYS

&Bygone Beautys Antiques

‘Treasured Teapot Collection’’

As seen on Getaway, Sydney Weekender, and in ABC Collectors Show

20~22 Grose Street, Leura Phone 02 4784 3117 Fax 02 4784 3078

info@bygonebeautys.com.au

www.bygonebeautys.com.auOpen 7 days ~ 10 am ~ 5:30 pm

Bus groups are welcome by arrangement, and you can organise a ‘Teapot Talk’ by contacting Bygone Beautys direct

Winner of Regional Tourism Business of the Year 2009

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RETREATS in the Blue Mountains

Located in the beautiful Blue Mountainswest of Sydney, Bygone Beautys Cottagesoffer a range of self-contained cottages at

Wentworth Falls and Bullaburra. Each is aperfect destination and base for a romanticweekend in the Blue Mountains or a family orgroup planning an active mountain holiday.

Enjoy the moderate summer temperatureswith a high of 22° C, 800 metres above thehot plains and sweltering suburbs. The noveltyof winter temperatures that average highs of9° C down to just above freezing makesburning log fires a welcome entertainmentand comfort, as well as keeping children busycarrying in logs from the ample supply.

Browse the largest private emporium ofantiques and collectables in the BlueMountains at Bygone Beautys in Leura, just ashort walk from the train station. Appealing tocollectors and those who appreciate history,here you will find jewellery, furniture, finechina and dinner services, dolls and toys andexcellent service by knowledgeable staff.

WENTWORTH FallsBoth Wentworth Falls and Bullaburra are on

the Blue Mountains rail line as well as reachedby a local bus that runs between Springwood andKatoomba. These transport options make returntrips easy for hikers and bicyclists who plan non-motorised exploration from their cottage.

For superb Blue Mountains scenery withoutgoing too far from civilisation, Wentworth Fallsis ideal. Canyons contain microclimatessupporting many ferns and soft leafed treeswhere you can hear lyrebirds. Cliff-top walks areless strenuous than valley walks and you may seecanyoners abseiling down Valley of the Waters.There are many craft and antique dealers through the area.

BullaburraLocated between Lawson and Wentworth

Falls, Bullaburra is nine kilometres east of Leura and 91 kilometres from Sydney. Locatedonly 10-12 minutes drive from the bustle of themajor tourist attractions, it is a sleepy villagealong the highway. Its attraction is that it is in theheart of the mountains and most areas areadjacent to bushland.

COSY comfortsOn arrival at a Bygone Beautys cottage, your

burning log fire is set and every bed freshlymade up with an electric blanket for chillymountain nights. Awaiting you are fresh fruit,flowers and chocolates. A country-style breakfastplatter is stocked for guests to prepare when andhow they choose in a well-equipped kitchen. Anample supply of fluffy towels and bath toiletriesensures luxury during your stay.

Bygone Beautys Tearooms in stylish Leurawill serve you a delicious complimentaryDevonshire Tea as part of your cottage booking.Enjoy the Bygone Beautys Treasured TeapotMuseum with over 3,000 teapots on display, oldand new from all over the world in an astoundingrange of styles, shapes and tastes.

PICK Your Winter GetawayBronte Cottage is a modern French

provincial style country house in Bullaburra,with beautiful established gardens and a full sizetennis court. It accommodates eight people.

Chalet Cottage is an elegant cedar chalet inWentworth Falls, designed for two people andaccommodating up to four.

Pine Lodge retreat is an elegant cedarfederation-inspired country house set in five acresof gardens in Wentworth Falls. It accommodatesten visitors, including ten comfortably seated at itstraditional dining room table.

Robin’s Nest is a very cute 100-year-oldcottage in one of Bullaburra’s quiet streetswith a lovely bush outlook. Come up and feedthe possums or spot the wallabies in the earlymornings and evenings, with accommodationfor four people.

Worker’s Cottage is a 1920s cedarweatherboard cottage set in five acres ofbeautiful gardens and a gentle half hour strollinto the village of Wentworth Falls. Itaccommodates four visitors.

Sharphens in the township of Wentworth Fallsis a charming 1940s cottage situated on three acresof bushland. It accommodates seven visitors.

Bring good friends and good cheer to yourBygone Beautys cottage and everything else willbe ready for your best Blue Mountains getaway ●

BYGONE BEAUTYS COTTAGESFreecall 1800 663 619 info@bygonebeautys.com.au www.bygonebeautys.com.au

From left: Pine Lodge’s elegant diningtable seats ten diners, in Wentworth Falls

Bronte Cottage, a modernFrench provincial style countryhouse in quaint Bullaburra

1920s Worker’s Cottage in fiveacres of beautiful gardens

Bygone Beautys COTTAGES

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Table lamps were produced well into the 20thcentury and are quite common. They have heldtheir value and have been generating consistentreturns during the last seven years. An iron baselamp with the original glass font, gallery andshade can sell for around $400 plus. A banquetlamp set on a marble or onyx base with a rubyfont and original ruby shade which incorporatesgold dust will fetch between $5,000-10,000.

Large numbers of Aladdin lamps made by theMantle Lamp Company were imported intoAustralia from 1923. The company was formedby Victor Samuel Johnson in Chicago, 1908.Originally selling the German ‘Practicus’incandescent mantle lamp and other importedlamps and parts, the company developed a muchimproved burner in 1909 – the ‘Aladdin’ lamp.

Model 11 was imported into Australia from1923 and quickly replaced those Miller andRochester lamps which were sent to Australiabecause the country was seen as the perfectdumping ground for obsolete models. In 1928,model 12 with the Lox-on mantle was released. Itwas made until 1935 and imported into Australiaup to the outbreak of the Second World War.

Aladdin Industries initially had a premise in theSydney suburb of Chippendale. In 1929 theyrelocated to William Street, Sydney. The four-storey building came to be known as AladdinHouse. If you stand at the Central Station busstop you can still see the Aladdin House sign.

In 1932 they began to manufacture fonts, vaselamps, parchment shades and oil pots. Thedesigns followed those produced in the UnitedStates but did not include exotic forms. Theceramic vase bases used by Aladdin weremanufactured in England by the firm of Fieldingsunder the name of ‘Crown Devon’.

During the war, there was an increased call foremergency lighting and the English SuperAladdin lamps were sold in Australia in 1941-42.Wartime shortages meant that steel was used inplace of brass and decorated with plain colours.As it was difficult to obtain mantles andchimneys these were manufactured by theAustralian Glass Manufacturers.

For collectors of Aladdin lamps, earliermodels are quite rare in this country as in 1940the company offered a trade-in on the newermodel 12. These older models were used forscrap metal. Other brands were also modifiedor converted. There are more examples ofbanquet and library lamps as these provided areasonable form of lighting efficiency againstthe low power of candlelight.

Collecting old lamps can be quite challengingas the stock is limited. But if you do come acrossan original piece they will make an interestingaddition to any collection ●

REFERENCEPeter Cuffley, Oil & Kerosene Lamps,The Oil Lamp Company, Victoria, 2004

VICTORY ANTIQUE CENTRE02 4787 6002www.victorytheatre.com.au

Growing up in the 1940s at Narrabeen,all we had was one electric light in ourkitchen, and this also served to plug in

the electric iron during the day. All our bedroomshad a kero lamp. Mine was a hurricane that hungon a hook next to the bed – the smell of keroseneburning brings back fond childhood memories.

The oil lamp seems to have been aroundalmost from the start of civilisation – there arenumerous references to lamps in the Bible, but wewon’t go back that far. Our interests are mostlyfocused on the end of the Georgian periodthrough to the Edwardian era. From the 18thcentury onwards ships were sent out to cover theworld’s oceans looking for whales so that theycould be harvested of their oil.

The font as we know it was apparently inventedin the 1770s by an American, Richard Wistar, afriend of Benjamin Franklin. The first of theselamps had a crude wick made from a rag or pieceof cotton inserted into a cork or plug placed intothe oil font. The brass and tin burner evolved over

the next few years. Camphor and turpentine wereexperimented with as a fuel source but was foundto be unsuitable as a smokey fume was produced.

In 1834, J Porte of Boston discovered that ifquick lime was added to the oil of turpentine andthe mixture was then distilled the smokey resinscould be removed. Alcohol was added and this waswidely used in America, sold as Porter’s fluid.

If a simple table lamp is divided into foursections we can trace the evolution of eachsection. At the top is the burner, next is the fontand the plug or foot, which fits into the base.Have I forgotten the chimney? The chimney wasnot used until the introduction of kerosene.

Metroz fonts seem to have come into use inaround the 1770s. The peg of foot can be tracedto the whale oil lamp patented by John Miles ofBirmingham, England, in 1787. He described it asan ‘agitable’ lamp as it could be used in carriagesor ships (the forerunner of today’s Gimble lamp).

Production of the simple table lamp in largequantities began in America in the early 19th

century. It was basically the glass manufacturerswho developed methods of making mouldedglass lamps in large quantities. They were verypopular in the US from the 1820s onwards. Awell-known manufacturers was the Boston andSandwich Glass Company, which was establishedat Cape Cod in 1826.

Swiss born Francois-Pierre-Ami Argand(1750–1803) developed the tubular oil burner andin 1782 he demonstrated his lamp with the metalchimney at the Academie de Monpellier. Heneeded a durable glass chimney for his lamp andfound the answer with a flint-glass chimneymanufactured by the English firm of Hurter &Sons. He travelled to England in 1783 andbecause of the success of his experiments inFrance was invited to stay with the Royal Family.

While at Windsor Castle he showed KingGeorge III his lamp. The monarch was veryimpressed and even though the initial attempts atpatenting the design were unsuccessful, Argandwent on to form a partnership with an Englishmerchant William Parker and industrialistMatthew Boulton. By the late 1780s Argand-designed lamps were found in Britain, Europe,North America and India.

In 1848 Russian engineer F N Semyenov wasresponsible for the first modern oil well, drilledon the Aspheron Peninsula, however, credit forthe first commercial oil well goes to James MillerWilliams and Charles Tripp drilling at BlackCreek, Ontario. The buckets of crude were toreplace the diminishing stock of whale oil andgenerated a whole new business.

A record of kerosene coming to Australia isfound in an 1861 Ballarat advertisement. Anotheradvertisement in 1863 by Blackwell and Curle ofDaylesford stated that there was available forpurchase kerosene lamps and kerosene at £1 forfour gallons.

The Victorian gold rush period was the perfectopportunity for American businessmen wellversed in the needs of the miners as a result of theCalifornian gold rush. In 1861 kerosene wasbeing imported into Australia by both Americaand Great Britain, with the US having themonopoly by 1865. Australians adopted theAmerican spelling of kerosene as opposed to‘kerosine’ and went further by dropping the nameparaffin (mineral oil) in favour of kerosene,turning it into the diminutive ‘kero’, which is nowpart of the Australian vocabulary.

In the 1880s lamps imported into Australiawere essentially from Britain and Europe. By theturn of the century, the majority of lamps werecoming from the US from manufacturers such asBradley and Hubbard and Edward Miller & Co.The English duplex lamp continued to be popularas was the German Bismarck and Kosmos lamps.

Cast iron table lamps range in design from thecommon pyramid base to tall, elegant and highlyornate lamps. Bases were given an added weight tostabilise them and a very popular finish was theantique bronze. The font was a milk glass with acolour wash. A popular font made in Sydney hadimpressed on it a pattern of flannel flowers.

KEROSENE LAMPS

BLACKHEATH, BLUE MOUNTAINSVICTORY THEATRE ANTIQUES & CAFE

17 Govetts Leap Road, Blackheathwww.victorytheatre.com.au

More than 50 dealers selling bric-à-brac, antiques & collectables

Largest antique centre west of SydneyOpen 7 days 10am–5pm Phone: 02 4787 6002

The Dubbo Regional Theatre andConvention Centre will be filled withthe splendour and quality of the annual

Antique & Collectables Fair hosted by theRotaract Club of Dubbo City Inc, with assistancefrom the Rotary Club of Dubbo City Inc.

INVITATION to gala Fridaynight opening 15 July 6 pm-9 pm Cost $20

The centre comes alive on the Friday nightfor the gala opening. Wine, canapés and localmusicians create an ambience not to bemissed. Tickets are sold at the door for theopening at 6 pm, offering a great opportunityfor the discerning buyer to get a first glimpseof the many wares on display and for sale.

FREE programsRunning on both fair days are free talks on

a diverse range of subjects. The talks, runningfor approximately 30 minutes, includesubjects such as Moorcroft pottery, silver,jewellery identification and care, andBeswick’s Beatrix Potter. These topics plus theother subjects will intrigue the avid collector,enthusiast and the interested browser.

As in the past, it is anticipated that over theweekend close to 2,000 visitors will visit thefair. It is an opportunity to view the specialpieces brought to this major regional event bymore than 20 antique dealers from New SouthWales, Victoria and South Australia. Fromintricate collectables, fine jewellery, elegantdinner services, to carefully craftedfurnishings, there is definitely something forevery taste and collecting interest.

VISITING DubboThe thriving city of Dubbo is at the cross-

roads of regional NSW and only five hours’drive north-west of Sydney, making theevent easily accessible to locals andSydneysiders looking to get away for aheritage themed weekend.

WHILE at the fairPast visitors to the fair know the café area

offers a welcoming break for tired shoppers.Here patrons socialise and recharge, enjoyingthe wonderful treats prepared and served bythe dedicated volunteers from the National

Trust and Vision Australia organisations. As well as providing home-style morning

teas, return for a substantial lunch later inthe day, you will not be disappointed. Forthe afternoon break, consider the DevonshireTea option.

PRIZES to be wonOn entering, you are provided with an entry

form for the numerous Lucky Door prizesdrawn throughout the day. Tickets for rafflesare also on sale. Before leaving the fairremember to fill out the survey for yourchance to win a prize.

SUPPORTING the communityMembers of the Rotaract Club of Dubbo

City Inc and the Rotary Club of Dubbo CityInc take pride in hosting this event, providingpatrons and participating antique dealers witha pleasurable experience. Profits from theweekend fair are part of the Club’s fundraisingprogram and used to assist local communitycharities including the Salvation Army, UnitingCare Burnside and Legacy, to name a few ●

For more information contactCarla PittmanROTARACT CLUB OF DUBBOCITY INCwww.dubborotaract.org.au

FOR THE DIARY:ANNUAL DUBBOANTIQUE &COLLECTABLES FAIR16 – 17 July 2011

DUBBOA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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DUBBO ROTARACT WITH THE ASSISTANCE OF THE ROTARY CLUB OF DUBBO INC.

PRESENTS:

&DUBBOANTIQUES

COLLECTABLESFAIR

DUBBO REGIONAL THEATRE AND CONVENTION CENTREOPENS 10.00AM TO 4.00PM | $5.00 DAY PASS | $8.00 WEEKEND PASS

15, 16 & 17 JULY

GALA OPENING NIGHTFRIDAY 15 JULY

OPEN 6.00 - 9.00PM | COST $20.00 | INCLUDES LIGHT REFRESHMENTS

www.dubborotaract.org.au | antiquesfair@dubborotaract.org.au

LIVERPOOLA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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Doll collecting is alive and well!Traditionally, on the last weekend ofJuly each year, doll makers, traders

and collectors from all states gather to buy,sell and update their collections at the annualNSW Doll Collectors’ Club fair. This is theDoll Collectors’ Club main event bringingmembers and the public together sharing theenjoyment they have with dolls of all types –old, new and everything in between.

BENEFITTING charityEach year a different charity is chosen by

members to be the recipient of proceeds fromthe fair and other functions organised by theassociation. Over the 32 years of the club’shistory many local and overseas charities havebenefited from the efforts of members andcommittees who have worked tirelessly to makethe fair a continuing success. The charity for2011 is the Leukaemia Foundation.

NEW venueIn earlier times the club held its doll fairs in

Parramatta Town Hall, after which the eventwas at the Whitlam Leisure Centre, Liverpool,for the next 23 years. Renovations thererequired a move to Blacktown, with a returnto Liverpool two years ago. This year’s fair isbeing held at the Liverpool Catholic Club, inthe heart of south western Sydney, fiveminutes from the M5 and right next door tothe M7 motorway.

INVITATION to Anniversary Dinner

A special 30th Fair anniversary dinner isbeing held at the Catholic Club on theSaturday evening, 30 July, with speakerClaudia Chan Shaw and entertainmentprovided by musician Danny Elliot. Bookingsare essential. Telephone 02 9389 0324 for areservation of what promises to be anentertaining night out.

DOLLS and more for saleNew and seasoned collectors will be able to

buy beautiful antique dolls and bears. Dealersare coming with new and vintage cloth dolls;bisque, composition, and plastic dolls fromthe 1930s to 1980s. Or purchase new kits andpatterns and make your own porcelain or clothdoll. Alternately, consider the teddy bear kitand pattern.

DOLL accessories andaccoutrements

Available will be dolls’ clothes andaccessories including shoes, old prams, dolls’houses and their miniature contents, as well asfabrics and laces. Doll furniture, books, toysand collectables of all shapes and sizes add tothe excitement of the weekend. Old dollmagazines can be bought cheaply and arequite valuable as many have patterns forclothes, dolls and bears, which are not nowreadily available.

VALUATION tableMembers of the public are invited to bring

their dolls along to the Club’s valuation table.There is a limit of three dolls per person andthe small fee charged will be donated tocharity. Manning the table are the club’s very

knowledgeable members who are able to valueand identify dolls for owners who may not knowmuch about them. Who knows, you may have atreasure just waiting for some acknowledgement!

WORKSHOPS and speaker programs

The public are invited to participate inworkshops and lectures running over the fairweekend. These include Claire Newell ofClaire Bears Ultimate Tours of Europe, andGayle Steele who will display her dolls andexplain why handmade dolls are moreexpensive. Gaye is also outlining the stepsinvolved with making a porcelain doll orfigurine. Wendy Frank will demonstrate howto make fairy wings for art dolls.

LIMITED editions to buyTwo limited edition dolls and one limited

edition bear have been created by members forthis fair. These select pieces are only available atthe fair and will be highly collectable.

A MEMORABLE day outSome traders have participated in every fair

the club has held. Each year there are newfaces amongst the traders and the visitors. Thefair draws people searching for that doll theylost when they ‘grew up,’ or collectors startinga new collection. Then there are those whoalready have dolls or bears and needaccessories to finish an outfit or a wig toreplace a missing original.

Some purists think that original, no matterwhat condition, is best, others like to make thebest of both worlds and dress their dolls ‘toimpress.’You will find old lace and possiblysomeone to advise you on how to turn it intosomething special. Gollies have made acomeback, and a Steiff bear with the metal buttonin the left ear is a treasure to find. The DollCollectors’ Fair is the place to search out thatelusive piece or just to enjoy an interesting dayout. The cost is Saturday $10, Sunday $5.Children under 15 free entry with an adult ●

DOLL COLLECTORS CLUB NSWFair inquiries: Jan 02 9525 8291dollfairnsw@gmail.comwww.dollclubnsw.com.au

Come and join in the good time at the DOLL COLLECTORS’ 30TH ANNUAL DOLL FAIR 30 - 31 July

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Armand Marseille doll, c. 1910 Japanese bisque head doll, c. early 1900s,has jointed body and very long legs

Unmarked German bisque headdoll, c. 1910, possibly made bySchoenau & Hoffmeister (Germany)

Large full composition Shirley Temple doll,c. 1940s, height 68.58 cm (27 inches). Thedoll was bought in a box of bits

Collection of modern wooden dolls

Porcelainsedan chair,early 1800s;doll’s housedoll dressed in periodcostume

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CAMDENA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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Antiques come in many different sizesand so do the collectors who admirethem. Camden Quota Antique Fair

held on the first weekend of August each yearhas been bringing collectors and antiquestogether for 25 years!

MAJOR ANTIQUE & collectable show

In 2011 approximately 30 well-knowndealers will bring fresh stock of antiquesincluding furniture, jewellery, linen andporcelain. These antique dealers come fromall around the state with an amazing array ofcollectable and rare items so you are sure tofind something special, and perhaps the itemfor which you have been searching.

PREVIEW eveningThe preview is on the evening of Friday 5

August from 6.30 pm to 9 pm. This is the bestopportunity to browse, buy, or considerbuying before the fair opens to everyone onthe weekend. The preview evening costs $12per person which includes a light supper.

Entry on Saturday and Sunday will be $6per person per day. A ticket in the lucky doorprize of an antique is included in youradmission fee.

In addition to buying treasured antiques andcollectables, support the raffle with its prizeof a valued antique and increase our donation to charities.

APPRAISAL serviceA well-respected professional valuer will

offer appraisals of your family and personaltreasures. You only pay $3 for appraisal of eachitem. Please observe the limit of only two itemsper person so everyone has a chance to receivethis important appraisal service. All appraisalfees are donated to charity.

COFFEE shopOver the weekend our coffee shop will be

serving delicious refreshments along with teaand coffee. Each year our Camden countrysoup, hot home-made pies and freshly-madesandwiches are a big hit. All profits aredonated to charity.

Helping othersThe fair is a fund raising activity of QUOTA

International of Camden, a not-for-profitorganisation which supports local, regional andinternational charities. Since our first fair,approximately $400,000 has been raised anddonated to many worthwhile charities.

Beneficiaries for this year’s fair willinclude the Camden SES and other charities.For over 24 years we have donated toCareflight, Guide Dogs, Bush Fire Brigades,State Emergency Services, LeukaemiaFoundation, palliative care services at localhospitals and to research on cures for cancerand heart disease ●

For more information about the fair contact Eileen RegentCAMDEN QUOTA ANTIQUE FAIR02 4655 5963

CAMDEN QUOTA ANTIQUE FAIR bringing collectors and antiques togetherSaturday 6 and Sunday 7 August 2011

25th ANNUAL

C A M D E NAntique Fair

Preview Evening, 5 August 20116.30 pm - 9 pm

Entry on Friday evening is $12 per person which includes a light supper

Saturday, 6 August 2011 – 10 am to 5 pmSunday, 7 August 2011 – 10 am to 4.30 pm

Entry Saturday and Sunday $6. per person. Children under 12 free. No concessions

Quality selection of antique furniture, jewellery, Australiana,linen and lace, fine china, porcelain and precious objects for sale

A well respected valuer will be available on Saturday and Sundayto give verbal appraisals of family heirlooms at a cost of $3 per item

Limit two items per person

Refreshments including soup, homemade pies, sandwiches, tea, coffeeavailable on Saturday and Sunday

Net proceeds to the Camden SES & other charitiesNSW Guide Dogs and other charities

A fund-raising initiative of QUOTA International of Camden Inc.

Enquiries about the Fair 02 4655 5963 Monday to Friday 10 am to 6 pm

CAMDEN CIVIC CENTRE, OXLEY ST CAMDEN(opposite Woolworths)

SOUTHERN HIGHLANDS / WINGENA N T I Q U E S & A R T I N N E W S O U T H W A L E S

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porcelain • fine arts • furniture • silver • books • & more

WINNER OF THE 1999 SOUTHERN HIGHLANDS OUTSTANDING BUSINESS AWARD FOR

B E S T R E G I O N A L A T T R A C T I O N

85-87 MAIN STREET • MITTAGONG

TELEPHONE 02 4872 3198 • FACSIMILE 02 4872 3216

OPEN EVERY DAY10.00AM TO 5.00PM

over 45 Antique Dealers plus a coffee shopall under the one roof!

VISIT THE HIGHLANDS

BestRegionalAttraction*

*

BURNING MOUNTAIN

ANTIQUES& PLOUGH INN

NEW ENGLAND HIGHWAY, WINGEN, NSW 2337TELEPHONE: 02 6545 0235

Barry and Stephen Daniel

FOR AUSTRALIANA AND COLLECTABLES

Everything from antique furniture, jewellery, memorabilia & other paraphernalia.

Housed in the Historic Old Post Office in Wingen,on the New England Highway about 20 minutes north of Scone

OPEN 7 DAYS • TELEPHONE: 02 6545 0235

VILLAGE ANTIQUES A TOUCH OF BRASSJellore Street, Berrima 257702 4877 1366Open Wed, Thur, Fri, Sat 11am - 4pmSun, Mon, Tues by appointmentHuge selection of antique beds in metal(fancy iron, and brass and iron) and varioustimbers, pine sleigh beds, mahogany half-tester beds, French beds, etc. All sizes.

BERRIMA

MITTAGONG ANTIQUES CENTRE85-87 Main Street (Hume Hwy) Mittagong 257502 4872 3198 Fax 02 4872 3216Open 7 Days 10am - 5pm650 sq metres (7,000 sq ft) with large variety of stock. Plenty of parking. Excellent loadingdocks. Eftpos & credit cards welcome.

ANTIQUES ON CONSIGNMENTOld Hume Highway, Nth Mittagong (Braemar)02 4872 2844 Mob 0416 251 946Kamilaroi c. 1906 has 6 rooms of French,English, Oriental and Scandinavian antiquefurniture, mirrors, clocks, chandeliers, porcelain,silver, jewellery, paintings, objets d’art anddecorative items.Also the Parterre Garden and the Barn andCottage with other exciting items.

Sutton Forest

PEPPERS MT BROUGHTONA SOUTHERN HIGHLANDS GRAND COUNTRY ESTATEKater Road, Sutton Forest 257702 4868 2355 Fax 02 4868 3257The estate’s extensive facilities include an à la carte restaurant, cocktail bar, swimming,tennis, cycling, volley ball, gym and walks throughthe glorious old gardens. A round of golf at theadjoining Mount Broughton Golf and Country Clubcan be arranged.

MITTAGONGMOSS VALE

SALLY BERESFORD DESIGNSMobile 0413 875 289www.sallyberesford.com.auFrench provincial furniture, industrial,architectural & decorative Items.

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HUNTERS & COLLECTORSANTIQUES

Trading in Antiques & Collectables from the 18th, 19th & early 20th century

With special interest in Australiana, antique firearms, advertising paraphernalia, daggers, bronzes, boxes, ivory, whaling items,

maritime, taxidermy, Whitby jet, vintage clothing & classic labels, leather gloves & vintage sunglasses.

All things interesting & unusual

Our new premises are at 8 Bowral Road, Mittagong, NSW 2575 (80 minutes south of Sydney)

Tel: (02) 4872 1661 or 0414 449 366 • www.huntersandcollectorsantiques.com

Open 7 days 10 am to 5 pm

Rod Cauchi & Kathy Kasz

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

Cameo vase, signed Le Verre, h: 23 cm Papua New Guinea crocodile head, c. 1940s,decorated with mud & shells, l: 82 cm

EPNS, Emu egg stand display, c. 1890s h: 18 cm

Gentleman’s flintlock pistol, c. 1810 l: 48 cm;Irish percussion pistol made by Lawler, c. 1850, l: 19 cm; Flintlock blunderbuss, c. 1770s, l: 50 cm

Art Deco Ivory figurine, signed L Sasson Royal Amphora bull dog, c. 1870s

Australian kauri pine lockers, c.1940s,176 x 202 x 30 cm

Taxidermy specimen of a penguin, c. 1960s,h: 45 cm, ex-museum

American carousel pig, c. 1960s, l: 126 cm

Taxidermy specimen of Bengal tiger, c. 1969,died in US zoo

Remued vase, c. 1930s, h: 18 cm Painting on canvas for Rosella TomatoSauce, c. 1930s

MEMBERMEMBER

We have been watching the riseof vintage over recent years andseen it become an integral part of

decorating styles. This acceptance of morerecent decades as sources of great furnitureand home accessories has given many peoplewho had previously only sparred withantiques when an elderly relative left them thedining room setting, the opportunity to diptheir toes into the world of exclusive highbrow

antiques. Vintage is a lifeline to the decades ofthe 20th century and a term that should betreasured rather than treated with scorn.

Vintage can be as young as 30 years old –back to the good old 1980s – when SpandauBallet and Boy George were at the height oftheir fame. When jackets with monolithicshoulder pads were modelled by the first ofthe super models and every suburban homehad Parker Knoll furniture. Who would have

thought that our family TV units and cocktailcabinets would be the antiques of the future?Certainly not me!

Then there is the fabulously wild, psychedelic1970s, all flares, tie-dyed t-shirts and plastic.After manufacturing processes were improvedin the 1960s the use of plastic and fibreglassin moulding furniture took off. By the 1970splastic furniture was available to everyone.Now furniture could be any colour yourheart desired.

The 1960s offers huge inspiration particularlyfrom Danish and Finnish designers. The iconicstacking chair of 1960 created by Verner Pantonand Eero Aarnio’s ball chair designed in 1968were hip, groovy and what every young rockfan wanted to own as well as pop art, spaceinspired coffee tables and rocket shapedteapots It was the era of rock ‘n roll.

Vintage, retro, whatever you wish to callthese decades, they open up homes to anoverflowing vault of design options.

By using the term vintage in such a broadsense we are opening up our senses to look atfurnishings and decorative items in a newlight. Previously – and I am particularly guiltyhere – we would have gone only into furnitureshops carrying styles suited to the era we weretrying to mimic. Any store where our stylewas not on display would have been given avery wide berth. Now, the freedom of vintageis an opportunity to explore shop windowsthat once were passed by, taking a bit fromhere and a bit from there and decorating witha sense of what is loved.

I was in the dentist the other day, reading amagazine. What a surprise! The magazine hada story on Ralph Lauren’s New York apartment.Now imagine what it looked like – was it alltartans and dark stained furniture beamed infrom the Scottish Highlands? Or perhaps youmay think it was more classic Hampton’s style,lots of stripes in good, strong blues and reds.

No, you are all wrong. It was completelydone out in white and glass. On the wall ofthe entrance foyer was an enormous photo atleast two and a half meters wide of amotorcycle engine. In front of the photo andoff to the side was a storm trooper costume,and just out from the wall a very stylishSwedish hall seat from the 1960s. It lookedbrilliant.

Look at what Mr Lauren has done. He hasselected three favourite items. They aren’trelated in any way, and they don’t represent anyparticular style. He has placed them togetherbecause (and here I’m not really trying to readhis mind, I’m just surmising) he loves thesethings and wants to have a bit of fun.

Mr Lauren isn’t the only one doing this. Topdecorators around the world are doing the

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MIXING IT UP– Decorating à la you!

same; mixing it up, putting old with new, andcreating the unexpected – decorating and havingfun. That is what it is all about; placingfabulously rustic oversized candlesticks in frontof a shabby French gilt mirror and then sittingback on the very modern black leather sofaand enjoying the play of reflected candlelight.

After a hard day at work homes need to behavens; a place to truly express who we are,be it bookish, be it full of nature’s artefacts, orbe it whimsical. Whatever your style, draw onthe inspiration of the 1960s, 70s and 80s andopen up the door to a plethora of goodies. Sogo on, and have some fun! ●

Jane CrowleyDIRTY JANES02 4861 3231janecrowley@crowleyandgrouch.comwww.dirtyjanes.com

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When settlers arrived in WesternAustralia nearly two centuries ago,they were mesmerised by the light,

heat, long horizons, and vast expanses. By the20th century art societies had formed, andlocal traditions had developed. The exhibition,Out of the West presents a starting point forvisitors to explore the art made from theseresponses to Western Australia, through adiverse range of media including painting,sculpture, watercolour, drawing, print-making,photography, video installation, jewellery,furniture, decorative arts and design.

The story of colonial European art andartists in Western Australia is unique; it differssignificantly from that elsewhere in Australia,and is a story that has largely been left out ofthe histories of Australian art. The early artistsin WA were mostly amateur and worked inpencil or watercolour on paper, easilytransportable materials, reasonably cheap andalso readily accessible.

Edmund Henderson arrived with the firstconvicts in the Scindian on 1 June 1850 asComptroller General in charge of convicts inWestern Australia, a position he held for 11years. He was a kind and just man, and the

initial success of the convict system in WAwas largely due to his wise administration. Atalented amateur artist, Henderson painted anumber of atmospheric drawings andwatercolours; not for any official purpose butsimply to express his response to place.

Henderson’s splendid watercolour Perth,Western Australia, 1862, is an importantimage of the past, depicting Mounts Bay Roadand the steam mills at the foot of MountEliza. But more significantly, Hendersontransformed the vista into a magical scene,full of air and sparkling light, revealing howhe had been captivated by his new world.

With the large gold discoveries atCoolgardie in 1892 and at Kalgoorlie in 1893,there was rush to the west in search of gold.Not surprisingly, jewellers flourished on thegoldfields, making items which were bothattractive and recognisably WesternAustralian. It is said that at least 50goldsmiths established business in the Westbefore 1900.1

One of the earliest and most prominent ofthese jewellers was George Richard Addiswho had previously worked in Melbourne andLaunceston. Dorothy Erickson has observed

that his 18 carat Kalgoorlie brooch of about1894-99 is strikingly similar to those made byDonovan & Overland, such as the SouthernCross and Marble Bar brooches. The broochmay have been purchased wholesale fromDonovan & Overland and then marked andassembled by Addis.2 In all of these broochesthe miner’s tools become decorative emblems,with fretted letters in an arch above.

In 1896 the artist James W R Linton wassent to the goldfields by his successful artistfather, Sir James Linton, who had invested inthe Miner’s Dream Gold Mines at BroadArrow, north-east of Kalgoorlie. Sir Jameswas concerned that his venture might beworthless. He was right, and like many otherLondon investors, he had been duped. His sonstayed in Western Australia and became oneof the foremost artists, teaching at the PerthTechnical School from 1902 until 1931,inspiring a new a generation of artists andencouraging a serious, professional approachto art.

Linton took up the applied arts because hisduties at the Perth Technical School requiredhim to teach woodwork and metalwork, andalso because while living on a limited budget

in a small isolated community he found it usefulto be able to make furniture and fittings for hishome. Linton’s jewellery and metalwork ischaracteristically practical, simple and spare indesign. Typical of his work is a casket with ibisand flower motif, c. 1935, in which he featured astylised cloisonné enamel ibis and incorporatedelements of a modern, geometric art deco style.

Out of the West is the first survey exhibitionoutside Western Australia to present a largesample of Western Australian art from pre-settlement until today. It includes knownimages together with new discoveries.

The National Gallery has a responsibility toshow the full gamut of Australian art – from allstates, over all periods. Vital to the exhibitionare important historical works from the NationalGallery’s Wordsworth Collection which showshow Western Australia was perceived during itsformation. It complements the rich public andprivate holdings of Western Australian art heldin Perth ●

Out of the West: The early years (from pre-settlement to the 1930s) will be displayed inthe Project Gallery. Art by more recentartists such as Herbert McClintock, HaraldVike, Elise Blumann, Guy Grey-Smith,Robert Juniper, Howard Taylor, BrianBlanchflower, James Angus and RodneyGlick will be displayed in Out of the West:Modern Times in the Orde Poynton Gallery.

Anne Gray Head of Australian artNATIONAL GALLERY OFAUSTRALIA CANBERRA02 6240 6411www.nga.gov.au

NOTES1 Dorothy Erickson, Gold & Silversmithing in

Western Australia: A History (Perth: University ofWestern Australia Press, 2010), p. 75.

2 Erickson, Gold & Silversmithing, p. 93.

NATIONAL GALLERY OF AUSTRALIA Out of the West: Art of Western Australia from the National Collection from 8 July 2011

From left: James WRLinton (1869-1947),Casket with ibis andflower motif, c. 1935,metalwork: patinatedbrass, polished brassmounts, cloisonnéenamel, 10 x 14.6 x 9.9 cm. NationalGallery of Australia,Canberra

George Richard Addis (1864-1937),Kalgoorlie brooch,1894-99, 18 carat gold 2.5 x 5.5 cm.National Gallery ofAustralia, Canberra

James WR Linton (1869-1947), Falls Road, late evening, 1926, watercolour, 54.6 x 75.4 cm. National Gallery of Australia, Canberra

Edmund Henderson (1821-96), Perth, Western Australia, 1862, watercolour, 35 x 50.6 cm. TheWordsworth Collection, National Gallery of Australia, Canberra

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OF TH

E

Canberra | nga.gov.au

Edmund Henderson Perth, Western Australia 1862 (detail), The Wordsworth Collection, National Gallery of Australia, Canberra, purchased 2010

from 8 July 2011 | Project Gallery and Orde Poynton Gallery

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The major retrospective FredWilliams: infinite horizons providesvisitors with the opportunity to engage

with the achievement of one of Australia’s greatartists. The exhibition focuses on Williams’paintings and gouaches from the late 1940s to1981, including works from private and publiccollections around Australia and from the TateGallery in London.

Williams’ inspiration often emerged fromthe unique qualities of landscapes aroundAustralia: from Upwey in Victoria to the BassStrait in Tasmania to Weipa in far northQueensland to the Pilbara region in WesternAustralia. Although his art is often associatedwith dry environments, some of the surprisesin the exhibition are his accomplished andinnovative works that reveal his fascinationwith water – ponds, seascapes, beaches,creeks, billabongs and waterfalls.

The show includes other unexpected finds,such as the quite magical intimate studies ofplants and animals, as well as portraits of familyand friends. Among the most notable portraits isone of artist John Brack, a lifelong friend withwhom he shared a studio in the late 1940s.

A seminal landscape in the exhibition Treeloppers, 1955 (front cover image AANSW), isan astonishingly powerful image painted on amodest scale. It reveals Williams interest inparing away inessential elements that wouldbecome a characteristic feature of his mature

art and forms part of a group of works in theretrospective from the 1950s that deserve tobe better known. Works focussing on trees,rocks and rivers were inspired byenvironments around Mittagong in theSouthern Highlands of New South Wales andEchuca and Sherbrooke in Victoria.

These formative works also convey theimpact of French painters whose art Williamsgreatly admired including Paul Cézanne andGeorges Braque. By the early 1960s,Williams’ forest and sapling paintings werebecoming increasingly abstract, revealingaffinities with a Japanese aesthetic. It was notthat Williams was aiming for this connection,but rather for a parallel understanding of thepotency of evocation – that less can be more.

Between 1963 and 1965, Williamsrevolutionised the way in which we see theAustralian landscape, conveying its spaciousnessand the scatter of elements. As he said in aninterview with James Gleeson in 1978,‘Obviously, it was too good a thing for me to passup. If there’s going to be no focal point in alandscape, then it had to build into paint.’ Hisworks were not about picturesque scenes, butrather a clear-sighted response to the local terrain.

Two series led the way: the You Yangs andthe Upwey landscapes. The former werebreakthrough works, moving from the verticalforests into open vistas enlivened by sensuoustouches of paint suggesting the scrubby

environment with no horizon. In the Upweyseries, Williams introduced a definite horizonline, a precise division between heavily workedgrounds and luminous clear spaces above,inflected with lively little plant-like notations.

In the mid-1960s Williams was painting anumber of remarkable series of workssimultaneously including hillsides thatemphasised the geometry of curves, diagonalsand circular forms, including the evocative Circlelandscape, 1965. By the end of the decade, hispaintings became increasingly minimal andopen-ended. In the perfectly balanced Silverand grey, 1969, Williams reached a pinnacle ofwhat he had been aiming for since the late1950s in the compressed energy and structureof the painting itself.

The studio, 1977, publicly exhibited in thisretrospective for the first time, is based onWilliams’ Taronga Road studio in the Melbournesuburb of Hawthorn. A painting within a painting,the work on the wall depicts ferns regeneratingafter bush fires. While living at Upwey, the artistexperienced terrifying bush fires in 1968. Hewitnessed different stages of the fire’s passage,including the aftermath when small plants sprangback to life. The organic forms of the fernscontrast with the geometry of the architecturalfeatures of the studio and the objects within it,reinforcing his passion for painting itself.

The 1970s saw a number of changes inWilliams’ works. Lightning storm, Walkerville,

1971, is a particularly striking small oil that hasaffinities with the strip gouaches that he painted inthis decade. The idea of painting in parallelhorizontal strips was in part inspired by earlycolonial drawings and watercolours. Showntogether, the group of gouaches and oils relatingto seascapes and beaches in various locations(including Erith Island in the Bass Strait) are arevelation, meriting greater recognition alongsidehis earlier classic landscapes. They reveal adramatic shift in his more-earthy palette to bluesand iridescent greens complemented by warmyellows, showing him to be a most subtle andremarkable colourist.

Williams’ abilities as a colourist were againrevealed in his series of Weipa gouaches andpaintings of the Pilbara region, including thebrilliant red Iron ore landscape of 1981. The seriescame about through the invitation of RoderickCarnegie of Comalco (now known as Rio Tinto, theprincipal sponsors of this retrospective). Theexperience of flying over the expansive landscapeof Western Australia made a profound impressionon the artist. His first paintings of this area wereworks on paper, some painted in the landscape,others back in his studio. A number of theseimpressive gouaches that haven’t been previouslyexhibited, as well as major oils that were among hislast works prior to his untimely death at 55 years ofage are being shown.

Over the years, Williams’ art has steadily beenbuilding a national and international reputation.He was the first Australian artist to have a soloexhibition at the Museum of Modern Art in NewYork, Landscapes of a continent in 1977, and inthe past decade his art has been shown at TateModern and the British Museum in London.

Twenty-five years after the lastretrospective, Fred Williams: infinite horizonsprovides the chance for a wide audience toengage with a range of Williams’ art overseveral decades, including many works thathad disappeared into private collections yearsago, with the aim of revealing afresh hisdistinctive and considerable artistic legacy ●

Deborah Hart Senior Curator, Australian Paintingand Sculpture post-1920NATIONAL GALLERY OFAUSTRALIA, CANBERRA02 6240 6411www.nga.gov.au

NATIONAL GALLERY OF AUSTRALIA presentsFred Williams: infinite horizons 12 August – 6 November

Far left: Fred Williams, The studio, 1977, oil oncanvas. Private collection © Estate of Fred Williams

Left: Fred Williams, Upwey landscape, 1965-66,oil on canvas. NationalGallery of Australia,Canberra. Purchased 1966 © Estate of Fred Williams

Fred Williams, Lightning storm, Walkerville, 1971-72, oil on canvas. Private collection © Estate of Fred Williams

Fred Williams, Weipa I, 1977, gouache on paper. National Gallery of Australia, Canberra © Estate of Fred Williams

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12 AUGUST – 6 NOVEMBER 2011

Fred Williams Forest pond 1974 (detail), Art Gallery of South Australia, Adelaide,South Australian Government Grant, 1975. © Estate of Fred Williams

Canberra | nga.gov.au

NerileeAntiques

(inc. Micawber Antiques)

antique jewelleryglass ◆ porcelain ◆ silverfurniture & collectables

Member of AAADA & NSW ADA

26 Allowrie StreetJamberoo NSW 2533

9 km from KiamaTel: 02 4236 0389

The Hall AtticCANBERRA’S NEWEST ANTIQUE SHOP

Looking for that elusive item or gift? You may well find it at The Hall Attic,an eclectic range of antiques,collectables, old wares and craft.

Located in the delightful village of Hall, ACT, take a browse through The Attic and then enjoy a Devonshire Tea at the local coffee shop. We are always interested in buying antiques and old wares. We also sell on consignment

Tim & Glenda Bloomfield6 Victoria St Hall ACT 2618Tel 02 6230 9377, Mob 0418 162 830 0pen weekends and public holidays 11am - 4pm

Offering personalised service and sales Specialising in Georgian, Victorian and Edwardian

mahogany and walnut furniture

Small silver items, both sterling and plate

Selkirk Antiques have selected pieces of Doulton,(including Flambé), Shelley & Moorcroft Ceramics

Furniture restoration service available

29 Summerland Circuit, Kambah ACT 290202 6231 5244

Fax 02 6231 3656 Mobile 0418 631 445

SelkirkANTIQUES & RESTORATIONS

in the

ALBERT HALLCOMMONWEALTH AVENUE CANBERRA

onFRIDAY NIGHT 12 August 2011 6 pm - 9 pmSATURDAY 13 August 2011 10 am - 5.30 pmSUNDAY 14 August 2011 10 am - 4 pm

Presented by Rotary Club of Canberra CityAdmission $7 Concession $5

(children under 14 years admitted free)

Established GenuineAntiques and Collectables Fair

Enquiries: 02 6231 5244 or 0418 631 445R E F R E S H M E N T S AVA I L A B L E

Proceeds to support local organisationsthat assist the less fortunate in the ACT

Wheelchair access is availableSponsors of the fairs include WIN TV,

Choice Liquor (Phillip) and COSMOREX Coffee

ACT SEASONAL ANTIQUE FAIRSpresent

2011 SPRINGTIMEANTIQUES AND COLLECTABLES FAIR

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Shake off the winter blues and come

and explore Canberra’s signature ACT

Springtime Antique Fair –one of the

longest running antique fairs in Australia. As

in years past, this highly anticipated event will

again be held in Canberra’s historic Albert

Hall in old gracious Yarralumla.

Presented by the Rotary Club of Canberra

City, the spring fair follows the traditional

autumn fair and promises to continue the high

standard of dealers. These successful and

well-run fairs always attract strong attendance

from knowledgeable and keen collectors.

24 DEALERS with fresh stockA Canberra institution, the fair always

features an excellent blend of high quality,

genuine, affordable antiques, old world

nostalgia and wonderful collectables, all for

sale. Whether you are seeking dining tables

and chairs, fine china, jewellery, linen or lace,

any one of the participating antique dealers is

sure to have something to help your collection

grow or select a special gift for someone

special. Adding an extra collecting dimension

is a new dealer bringing old glass.

CUSTOMER protection ACT Seasonal Antique Fairs have

distinctive customer protection. Organisers

assure prospective buyers of the quality and

authenticity of all items. Intending dealers

must agree to and follow these quality controls:

• Every item must be accurately described

• No reproductions

• No new merchandise

• Any restoration must be and will bedisclosed to a prospective buyer

CHARITY benefitsAs always, 100 per cent of the profits go to

charity. All monies raised go to local Canberra

charities. Since commencing 26 years ago,

more than $350,000 has been raised from the

proceeds of door receipts and raffles that are

part of every fair.

$7 ADMISSION, night or dayGala opening night is Friday evening,

12 August from 6 to 9 pm. For the first hour

(6-7 pm) there are complimentary drinks and

hors d’oeuvres, all for only costs $7 or $5

concession. Of course, donations will be

accepted for charity at this gala evening.

The fair continues on Saturday 13 August

from 10 am to 5.30 pm, and on Sunday 14

August from 10 am to 4 pm. Children 14

years and under are admitted free (with an

accompanying adult), so make this a family

excursion to visit childhoods from the past.

Wheelchair access is cheerfully organised, on

request to 0418 631 445 ●

For more information contactLes SelkirkROTARY CLUB OF CANBERRA CITY 02 6231-5244/ 0418 631 445

A SPRING FAIR INCANBERRA 12-14 August

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Edward Miller & Co. of Meriden,Connecticut, produced a large variety oflamps to suit every possible application

ranging from the very small bedside lamp tohighly decorative hanging lamps. In this issue,I will concentrate on banquet lamps togetherwith a couple of unusual lamps.

In the words of Edward Miller & Co.’sadvertising: ‘Banquet lamps were artistic, usefulas well as ornamental’. Banquet or parlour lampswere made between approximately 1890 and1920 and were used primarily for dining, sittingand drawing rooms. These lamps, with theirhighly decorative designs, added to the splendourof the house in which they were placed. Thelamps were not expensive given their style andfunction compared to their English counterparts.The lamp’s height was usually about 56 cm (22 inches) to the top of the burner. With the useof a ball shade instead of a dome shade, lightdiffuses throughout the room rather than beingconfined to a table—hence the name banquet orparlour lamp. They could also be supplied with adome shade to light a sideboard or table.

The fonts on banquet lamps were of twotypes: fixed and removable. The fixedvarieties were of embossed brass similar tothose used on table lamps. Figure 1 shows alamp with a fixed font using the No. 2 centredraft burner with the Miller patented liftinggallery which allowed the lamp to be litwithout removing either the chimney or shade,if you were careful.

The cherub figure column was made ofspelter and stood on a cast open-work base.The column was finished in satin gilt and theremainder of the lamp was polished gilt. Itwas supplied with either a ball shade or a 10inch (25 cm) dome shade.

Figure 2 is of the fixed font type, 46 cm (18 inches) in height and supplied in a giltfinish and a No. 2 burner rated at 60 candlepower. This was quite a quantity for thatperiod and it certainly took up less room than60 candles! The column is of onyx and is 15 cm (6 inches) high.

Other lamps of the type were supplied withglass columns painted on the inside to replicateonyx and marble, perhaps because there was ashortage of onyx. This lamp had a decorated ballshade 23 cm (9 inch) in diameter and it could alsobe purchased with a dome shade. The base was ofcast steel with a gilt finish.

Figure 3 is similar to figure 2 having a castspelter column. The height to the top of the burneris 48 cm (18¾ inches). This lamp was finished inpolished gilt and the base was of cast steel with aspread of 22 cm (8¾ inches). With the removablefont type of lamp, the fonts were made from brasswith an embossed top. These were the same as forthe hanging lamps and the font sat in a spelteropenwork head or brass head. This meant the fontcould be separated and taken to another room.

Figure 4 shows a lamp with thisarrangement. It stood 58 cm (23 inches) inheight. The column and openwork head ismade of spelter and finished in polished gilt,while the stand is openwork cast and finishedin polished gilt with a spread of 23 cm (9 inches). The lamp could also be suppliedwith either a ball shade or a 10 inch (25 cm)dome shade.

Figure 5 is very ornate with the body of thelamp being of brass with an embossed pattern.The collar around the body is of polishedbrass. The base is of cast steel with a giltfinish. It is equipped with a removable fontusing a No. 2 centre draft burner as with theabove-mentioned lamps.

Figure 6 is a little plainer. All the parts aremade of brass and the shade is finished withwreaths in relief. Figure 7 has the samedescription as figure 4 with a different columnof cast spelter, and is also finished in polishedgilt. The openwork head is of a differentdesign. The wall lamp in figure 8 uses thesame principle as the removable font banquetlamps and replaces the column and base witha wall bracket, giving it a completely differentlook, although with a very similar function.

Being on the wall meant it was not takingup space on the table or sideboard. The shade is

smaller and of etched glass instead of opalpainted glass. Fonts and burners were alsoavailable in various sizes such as No. 0 (as usedin bedside lamps), No. I (as used in small tablelamps) and No. 2 (as used in table, banquet andhanging lamps). The lamps were finished inbrass, antique brass or nickel finishes.

The lamp in figure 9 is called the ‘No. 2Empress’. It was used as a table lamp andpossibly was a feature of dining rooms beforethe introduction of the banquet lamp. Thelamp was made from embossed brass in anunusual style, quite different to other Millerlamps which are easily recognisable. Althoughit was of similar dimensions to later modelsand used a No. 2 burner with a patentedextinguisher; when the wick was turned downthe flame was automatically extinguished bythe flame spreader, an extra rim which sat onthe top of wick.

Figure 10 is called the ‘home lamp’. Thiswas an inexpensive lamp for everyday use. Itwas made of tin and brass plated with a No. 0burner rated at around 25 candle power. Thelamp was ideal for those trips at night fromthe bedroom to the smallest room in thehouse. The lamp could be supplied with a

reflector, as in the illustration, or with a 6 inch(15 cm) opal dome shade.

Bicycle lamps were another interestingproduct. The ‘Everlit’ illustrated in figure 11,was not as big as a headlight, but was of asimilar size to carbide lamps. It was made ofbrass, nickel plated with a hinged door andwith a 2½ inch (6 cm) convex lens. The fontwas removable for easy filling, which meantthat you didn’t have to remove the whole lampfrom your bicycle.

The student lamp in figure 12 was one ofMiller’s first student lamp designs; as with allstudent lamps the font is removable for filling.The head and container are very similar in designto the banquet lamps, except the font goes inupside down. The container and burner sectioncould be moved up or down the centre rod tofocus light on a single book or on the entire desk.The separation of the oil container and burnermechanism reduced the shadow over the workarea, reducing the strain to the student’s eyes ●

Juergen Weissner THE EVERBURNING LIGHT 02 6565 0104

oli-lamp@zip.com.au

THE MILLER LAMP

Figure 1 Figure 2 Figure 3 Figure 4 Figure 5 Figure 6

Figure 7 Figure 8 Figure 9 Figure 10 Figure 11 Figure 12

Antique, old and new Kerosene Lamps● Spare parts including shades, shade holders, burners,

mantles, lamp oil, specially treated wicks for better burning, custom made high quality chimneys.

● Aladdin Mantle Lamps that produce 60 watts of light with no smoke or smell, ideal for emergency lighting.

● Restoration and repairs, brass polishing, nickel plating, copper plating and antique copper finish for small items.

The Everburning Light2265 Pacific Highway, Clybucca NSW 2440. Phone: 02 6565 0104e-mail: oil-lamp@zip.com.au Website: www.zipworld.com.au/~oil-lamp/

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FROM 1000 – 1300 CE

The mechanical clock, considered by many as the greatest turning point in the history of science and technology,

has no defined beginning or single stroke ofgenius but rather appears as a gradual evolutionwith defined periods of further 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 original purpose.

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 thefoliot 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 waterclock escapement

Drawing crown wheel, verge and foliotWilars de Honnecourt, middle of picture left,1240-51

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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: michaelcolman@optusnet.net.au 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

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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: philips@philipsauctions.com.auwww.philipsauctions.com.au

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.

Gazette du Bon Ton was withoutdoubt the most influential fashionperiodical of its time. It was

published by Lucien Vogel in Paris between1912 and 1925 – except between 1915 and1920 (during World War I). Gazette du BonTon was circulated in Paris, London, Genevaand Buenos Aires, and was so much indemand that it was distributed by Condé Nastin the USA as Gazette du Bon Genre.

Translated approximately as the ‘journal ofgood style - art, fashion and frivolities’ eachmonthly issue contained articles on theatre,travel, sport and other pursuits of the wealthy,interspersed with small illustrative sketches.Personal presentation was the main subjectillustrated by pochoir fashion plates.

The style and quality of the illustrationswere the main reasons for the popularity ofthe Gazette. The finest artists of the daywhose reputations were usually establishedoutside the field of fashion used thedistinctive pochoir (French for stencil) style ofillustration to show the latest fashions byprominent French designers.

In use from the 15th century, pochoir was alabour-intensive method of printing, with adifferent zinc stencil cut for each colour toprevent the colours running together duringthe printing process. The colouring was doneby hand with gouache, watercolour and ink,by carefully placing each stencil in line withthe previous one and building up the intensityof colour and nuance of the image with eachsuccessive application of stencil.

ARTISTSThe illustrations had the distinctive styles of

various artists. Among the most prominentand popular were the spectacularcompositions by George Barbier (1882-1932),Pierre Brissaud (1885-1964), George Le Pape(1887-1971) and Andre Marty (1882-1974).The almost ethereal and free-flowing styles ofEduardo Garcia Benito and Pierre Mourguealso acquired a following, as did CharlesMartin (1884-1934) whose pochoirillustrations for the short stories and fables ofJean de La Fontaine (1621-1695) were aptlymore risqué than for the Gazette!

George Barbier was perhaps the mostinfluential artist on the style adapted for theGazette. Initially contributing illustrations to anumber of humorous journals, Barbierexhibited at the Salon des Humoristes in 1910under the name of Edouard William. From age30, he established his reputation as painterand illustrator, exhibiting regularly at theSalon des Artistes Décorateurs and receivingmany prizes.

He contributed to many fashion periodicals,but mainly to the Gazette, with hisimaginative presentation and confident styleresulting in increasing demand for his work.As well as illustrating catalogues and books,Barbier created décor and costumes for musichall, theatre and cinema. In addition toillustrating the designs of prominentcouturiers, Barbier illustrated many of his own designs.

When its distributor Condé Nast acquiredownership of Gazette du Bon Ton in 1925,Barbier’s contract as a fashion illustrator wastransferred along with that of Pierre Brissaudwho also provided delightful fashion chroniclesduring his years with the publication. Many oftheir illustrations showed fashions worn inappropriate settings, posed with or accompaniedby other stylishly attired individuals whosegestures and facial expressions provided anarrative of the situation, often with discretesymbolism for emphasis.

For instance, Brissaud’s Wedding at aChateau shows the bride and groom standingunder a tree with cupid on a branch abovewhile wedding guests look on. In severalpochoir the appended caption describing theoccasion depicted, particularly when indicatingthe niceties of polite behaviour, is probably asentertaining as the fashion study itself.

HAUTE couture fashionUnlike earlier times when designers did not

receive recognition for their fashion creations,Gazette du Bon Ton usually named the

designers whose work they illustrated.Between 1900 and 1925 there were around 20haute couture fashion houses in Paris, withCharles Worth (1826-1895) the first couturieracknowledged for his influence on fashionworn by the general public.

These illustrations circulated Frenchdesigners’ introduction of new styles, probablythe best-known today being Jeanne Lanvin.More prominent at the time was Paul Poiretwho introduced the new straighter silhouette,illustrated first by Paul Iribe in Les Robes dePaul Poiret in 1908, then in Les Choses dePaul Poiret by George Lepape in 1911. Lepapelater designed costumes for the Russian balletwhose bright colours greatly influenced him.As with Barbier and Brissaud, Lepape createdmany stylish pochoir illustrating his ownfashion designs for the Gazette.

Gazette du Bon Ton encapsulated aninteresting period of fashion, starting nearlyten years prior to the 1920s when it wasfashionable to drape fabric to accentuate thefigure. By the early 1920s, fashion designcompletely departed from previous sedatestyles, with skirt lengths considerably

shortened creating fashions that still appearmodern today. The beautiful colourcombinations, fabric and form were oftenincorporated in geometric designs thatanticipated Art Deco whose classic simplicityand stylish lines are still popular.

The lovely pochoir prints for Gazette duBon Ton were excellent portraits of both thelatest superior fashion and the lifestyle of thewealthy during the early Art Deco period.Since their initial publication they have beenappreciated, collected and framed – thesporting images being particularly collectable.One series of pochoir combines fashion andsport in advertisements for the Citroënmotorcar – showing fashions to be worn toview the sport – and the player in his element.

By combining elegant fashion with delicacyand charm of presentation, the pochoir imagesfrom Gazette du Bon Ton appeal to all ages –both male and female ●

Kathryn and Derek NichollsANTIQUE PRINT & MAP COMPANY07 3368 1167www.antiqueprintclub.com

GAZETTE DU BON TON – ART MODES &FRIVOLITÉS The most influential fashion periodical of its time

Faithfulness Rewarded

Original pochoir from Paris circa 1913-1925, illustrating the latest fashions.Available at our Camford Square Gallery, corner Douglas & Dorsey Streets, MILTON Brisbane

Wednesday to Friday 10am to 6pm, Saturday 10am to 4pmPhone (07) 3368 1167 Website www.antiqueprintclub.com Email sales@antiqueprintclub.com

Antique Print & Map Company

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Isola Bella

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It’s been years since Melbourne had anantique and art show worthy of thisbeautiful city so the inaugural AAADA

Melbourne Antique and Art show was highlyanticipated. Crowds flocked to the show heldover the Mother’s Day weekend in themagnificent surroundings of the historicRoyal Exhibition Building. It was a hugesuccess with many saying that the RoyalExhibition Building in the Carlton Gardenswas a fitting setting for the fine showing ofthe country’s best in antiques and art.

From a half hour before opening, queueswaited patiently to inspect the rare delights onoffer from over 50 of the nation’s mostrespected dealers. Many dealers travelled fromall over the country to display everything fromexquisite jewellery to superb furniture,historic silver, paintings, carpets, antiquitiesand quirky collectables. Pieces had beenespecially sourced for the fair and not seenbefore. As with all AAADA events, everyitem on display had been vetted by experts for authenticity.

MOTHER’S DAY treatsOn Sunday, as part of Mother’s Day,

mothers were given free entry. Adding an

extra flavour to the day, Wedgwood donatedcollector’s tins of special tea to the hundredsof mothers who attended. Quite a few werebrought by their families for the special HighTea held in the show cafe.

SPECIAL FAIR displaysThe special guest displays were also a hit.

Decollo Interiors and their outstanding displayshowed the art of mixing old and new. Visitorsto the stand were inspired to look afresh at theway their own homes were decorated.

Dr Genevieve Cummins’ remarkable displayof 18th and 19th century costumes onmannequins were accessorised with decorativechatelaines and original costume watches,which were worn as fashion accessories in thesame periods. Dr Cummins was on hand tosign her new release How The Watch WasWorn – A Fashion for 500 years. One visitorwas heard to say ‘It was very lovely to meetDr Genevieve Cummins – a real pleasure. Herknowledge and passion is outstanding.’

Other interesting exhibits were those of theNational Trust, Furniture History Society andthe Silver Society, who also provided detailsof their activities. All were pleased to beinvited and even more delighted to be

signing up many new members to theirrespective organisations.

By the show’s end, attendance figures werethe highest recorded for any event organisedby the Association in its long and successfulhistory. Judging by the happy faces clutchingcarefully wrapped and precious items as theyleft, not everyone came simply to look andlearn. Dealers subsequently reported that therewere a number of sales after the fair’s closeand follow up calls, adding to the lustre of thisinaugural Melbourne event.

FUTURE eventsWe are looking forward to next year’s

antique and art show, and already have veryinteresting guest exhibitors lined up. Buildingon this year’s success, many more antique andart dealer members are wanting to take part in2012. In the meantime, the next AAADAshow will be held in Sydney in September andwe can assure antique and art lovers that theyare in for another wonderful experience.

AAADA Show Sydney 2011The Pavilion, Royal Randwick RacecourseAlison Road, Randwick NSW7 – 11 September 2011

NSW LECTURE seriesFollowing on from the show, the popular

lecture series run by New South Walesmembers will commence again in October.The program of eight lectures concludes at thebeginning of December. The interesting anddiverse subjects offered in the series gives youthe opportunity to further knowledge on afavourite area of interest or perhaps pursue anew subject entirely.

For further information and bookings please contact Adrienne Wilson:adriennewilson@iinet.net.au, telephone 02 9332 3882 or PO Box 649, Woollahra NSW 2025.

BUY well!Look for the AAADA logo in galleries,

antique shops and centres as your guarantee ofquality, expertise and good service.

FREE nationwide list Contact the AAADA office for a free

nationwide list of members, services and

educational workshops or log on to ourwebsite www.aaada.org.au. The site offers agood selection of stock and new pieces arebeing added all the time. As well as offeringinformation about the AAADA shows inMelbourne and Sydney, the site is an easyway to establish contact with our members iflooking for specific items or wish to sell.Seize the opportunity of having a ‘hands-on’experience and the interaction of conversationwith your local or interstate AAADA dealer ●

AUSTRALIAN ANTIQUE & ART DEALERS ASSOCIATION03 9576 2275secaada@ozemail.com.auwww.aaada.org.au

2011 AAADA MELBOURNE ANTIQUE AND ART SHOW breaks records!

Decollo Interiors stand

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Meet the top people in antiques and artThe Australian Antique and Art Dealers Association is the national body that links the country’s most respected antique & art market professionals. It insists on and ensures the highest levels of conduct and probity by its members.

Dealing with an AAADA member assures you of quality, expertise and professional service.

The AAADA WebsiteLog on to a unique resource - a constantly changing shop window which will open your eyes to a wealth of treasures, as well as bringing you up-to-date news and articles from the antiques and art world.

Visit www.aaada.org.au

AAADA Directory & Essential Buyers GuideYour printed guide to:

– the shops, galleries and websites of the leading people in the antiques and art business, the people the experts deal with.

– plus listings of service providers for all your restoration, conservation, framing and valuation needs.

Order a free copy from secaada@ozemail.com.au or telephone 03 9576 2275

Integrity guaranteed

Kandahar is a special collectionexclusive to Cadrys. The designs,based on ancient motifs, have resulted

in floor furnishings that will add distinction toany room where they are featured. Thesebeautiful creations are woven in Afghanistanof the finest of hand-spun wools. The colours,created using natural dyes, ensure that therugs are a successful blending of a moderncolour palette with the charm if an even wornvintage appearance.

Robert, Mark and Jared Cadry talk aboutthis new collection that has taken theAmerican and European markets by storm andnow is available for the Australian market.Robert says that he was introduced to thecollection through a very close friend andleading dealer from Milan. ‘I was reallysurprised; they have a unique handle exactlylike an evenly worn antique collector’s piece.The exquisite refined traditional designs arebased on 16th century masterpieces yet withthe amazing restrained colour palette that canlook as comfortable in an ultra-modern settingas in a traditional environment.’

Mark also was very taken with thecollection. ‘I can truly say I had never seensomething so beautiful and eye-catching, wewere all amazed. Jared comments that ‘for

me, being at my first trade show with Dad andMark was amazing, but when we discoveredthese rugs, I too was in awe.’

As Mark says, ‘In essence, they havecreated their own category – like a modernclassic or a transitional work of art.’ Robertfurther points out that typically the designsare based on the finest antique rugs from the16th to18th centuries and cover famous rugmaking regions of Persia, Turkmenistan,Agra and Khottan.

Cadrys are known for their classic andcontemporary collections, and the Arianacollection adds another dimension to therange of designs based on traditional motifs,but which are as appealing in a modern,uncluttered space as in a classic setting. Visittheir showroom and you’ll see that rugs arenot just a business, but also a tradition.Discover for yourself the inherent beauty andlasting quality that only a hand-woven rugfrom Cadrys can offer and let their timelessappeal and charm enhance your surroundings ●

For more information contactCADRYS02 9328 6144www.cadrys.com.au

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CADRYS IS BRINGINGA SPECIAL COLLECTIONTO AUSTRALIA

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