Collectables Trader 99 Teaser

WINTER WARMERSVINTAGE STYLEPuddings from the recipe filesof Mrs Beeton the originaldomestic goddess

TEXTILES & DESIGNFashions that capture historical moments and areworks of great beautyLace before mass production:exploring techniques andhandworking

TRAVELLERTried and tested: scenery ~ culture ~ history Sri Lanka and New Zealand – two very different holiday destinations

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9 771445 816006

ISSN 1445-8160

AUST $9.95 NZ $13.95

online@ worldaa.com trader

99TH ED

ITION

A u s t r a l a s i a ’ s l e a d i n g a n t i q u e s a n d c o l l e c t a b l e s m a g a z i n e

COLLECTORS SHAREWood working tools: buildinga specialist collection of hand planes Captivated by a nativeAustralian: the kangaroo in allits forms

FEATURE ARTICLES16 Staffordshire potters interpretation

of the exotic Orient

Veronica Moriarty

60 Following the collecting trend

in numismatics

Peter Lane

64 From ancient times to the modern day

There is something special about

amulets

Melody Amsel-Arieli

SPECIAL FEATURE: TEXTILES & DESIGN IN BRITAIN6 Lace and the wedding dress

Eleanor Keene

26 British fashion designers past and

present and their bridal designs

Edwina Ehrman

KNOWLEDGE BASE48 Interior decorating 2500 years ago

Roman wall hangings

AT HOME

22 Mrs Beeton’s winter puddings

Timeless recipes for today

38 No prescription necessary:

pharmaceuticals that challenge

Collecting from the pre-prohibition era

COLLECTING FOCUS: TWO MEN’S SHEDS12 Driven to collect hand planes

Rob Ditessa

32 A fascination with an Australian icon

Inspired by the kangaroo

Peter Lane

TRAVEL FEATUREMargaret McNiven has visited these

destinations for readers

54 Sri Lanka awaits appreciative

collectors

68 Collecting on New Zealand’s

South Island

REGULAR FEATURES42 Online magazines

43 Conundrum

45 Collectables fairs

74 Out & about

76 Recent books for collectors

77 Collectables subscription form

78 Bulletin board

80 Marketplace: buy and sell

87 Advertising rates

88 Advertisers’ Index

T R A D E RCollectables

WINconundrumenter our prize draw

See page 43

CollectablesTrader 3

6 CollectablesTrader

Lace and Royal weddings

It’s all about the

Images courtesy Bonhams

Dresses are records of fashion and historical

change. Wedding dresses worn by Royals are

symbolic and globally scrutinised down to the

tiniest of details. Royal wedding dresses mark

the beginning of new fashion trends, these

change over time but often repeat themselves

paying tribute to their original influences


Rob Ditessa

As an apprentice carpenter andjoiner back in Ireland in 1966,David Lynch visited his localhardware store to kit out his box oftools. As the store sold Recordrather than the Stanley brand handplanes, some 40 years ago when hebegan to collect tools, Lynchfocused on the Record brand.Moreover, he developed a keeninterest in hand planes the companymade between 1931 and 1939.

There was something in hismindset, he says, that led him toprefer Record to Stanley, recalling

that everyone was always talkingabout Stanley, but he found theRecord made planes every bit asgood if not better.

Inspired to collectHis interest in the idea of

collecting was sparked by hismother’s curiosity in all types ofobjects and particularly her interestin collecting little brass figurines ofmice and whatnots. He fondlyremembers she owned a boot withthree little mice in it. ‘She used tobe always looking for these things. I suppose this was something in theback of my mind.’

His profession became the

starting point to a

significant collection of

hand tools that a

woodworker would well

appreciate and collectors

everywhere understand

what it is that drives one

to collect

For the woodworker:a collection of

hand toolsto enjoy

David Lynch and his Record brand planes

1


ROMANTICISING THE EAST– A BRITISH INTERPRETATION BY THE

These image makers had good commercial instincts –

responding to the public’s interest and demand for

intriguing pieces to decorate their chimney mantles

Veronica Moriarty

2

1

Come on a collecting journey,travelling around Australia with adedicated collector who shares hisstories of how he acquired unusualkangaroo-inspired pieces and thereason for wanting them.

Kangaroos are partof the Australiancoat of arms

John’s* first purchase was afurniture plate with an Australiancoat of arms, made of silver gilt,and was found at the SydneyAntique Centre. A dealer had justmoved into the centre a few daysearlier and as part of his shopfittings he had glued the plate to ahalf swing door. John told the dealerthat he was impressed with thestock and asked if everything wasfor sale, the answer was yes.

Having spied the plate on thedoor, he asked how much? ‘Well, it’snot for sale,’ replied the dealer.After some discussion, the dealer,who was keen to make one of hisfirst sales, said $200, and the dealwas done. Luckily the glue had notfully dried and plate came off thedoor without a hitch. This furniture

plate was made around the time

of Federation (1900) and John

holds this piece to be the star item

in the collection.

Metal architecturalwares

The next item he came across

was an A. Simpson & Son of

Adelaide brass safe plate with the

arms of Australia on it, circa 1880-

1920. He acquired the plate via his

wife’s family. Her paternal

grandfather had worked for the firm

and owned the plate. Exactly how

he got it remains a family mystery.

It was found in an old wooden box

where it had been lying for years

gathering dust.

Another Simpson-made item to

come his way was a cast iron stand,

made around 1900. It was found in

a gift and antique shop in a country

town in the foothills of Perth. The

asking price was a modest $20. Iron

stands that have a motif are hard to

find, but despite this they are usually

reasonably priced. Expect to pay

$50 upwards for similar iron stands.

Peter Lane

Australian coat of arms, made of silver gilt, c. 1880-1910

As one of Australia´s

best known and loved

icons, images of the

kangaroo are featured

on coins and have

been used as mascots,

souvenirs, toys,

emblems and logos.

They have been made

from just about every

kind of material known


FOLLOWING:

a trail of

AUST $9.95 NZ $13.95

online@worldaa

.com


collectablestrader

98TH ED

ITION

MA

Y –

JU

NE

20

11

HERITAGE, HISTORY

AND SURVIVAL

Codes in quilts

Camouflage in silk

Textiles will never be the

same again

COLLECTING

AUSTRALIAN ART WARE:

CERAMICS TO JEWELLERY

Artists to look out for from the

last century to works made today

COIN COLLECTING FOR

THE VERY YOUNG

How to make it interesting

and fun without breaking

the bankFROM HOLLYWOOD

MOVIES TO ENGLISH

ECCLESIASTICAL

TRADITIONS

Profiling very different interests

WINTER WARMERS

VINTAGE STYLE

Puddings from the recipe files

of Mrs Beeton the original

domestic goddess

TEXTILES & DESIGNFashions that capture

historical moments and are

works of great beauty

Lace before mass production:

exploring techniques and

handworking

TRAVELLERTried and tested:

scenery ~ culture ~ history

Sri Lanka and New Zealand

– two very different

holiday destinations

JU

LY -

AU

GU

ST

20

11

9 771445 816006

ISSN 1445-8160AUST $9.95 NZ $13.95


99TH ED

ITION


COLLECTORS SHAREWood working tools: building

a specialist collection of

hand planes

Captivated by a native

Australian: the kangaroo in all

its forms

TOSUBSCRIBE

NOW

CLICKHERE

WELCOME TO THE INTRIGUINGWORLD OF COLLECTINGCollectables is

published bi-monthly

with each edition bringing

fresh insights and fun

collecting themes. Discover

the latest collecting craze;

explore the quirky and

traditional collectable; learn

how best to start a

collection. There are tips on

preserving and caring for

valued possessions. Read

the diary and plan a visit

to a fair.

More to read • Book reviews • Memorabilia • Trader: Buy & Sell


Rob Ditessa

As an apprentice carpenter andjoiner back in Ireland in 1966,David Lynch visited his localhardware store to kit out his box oftools. As the store sold Recordrather than the Stanley brand handplanes, some 40 years ago when hebegan to collect tools, Lynchfocused on the Record brand.Moreover, he developed a keeninterest in hand planes the companymade between 1931 and 1939.

There was something in hismindset, he says, that led him toprefer Record to Stanley, recalling

that everyone was always talkingabout Stanley, but he found theRecord made planes every bit asgood if not better.

Inspired to collectHis interest in the idea of

collecting was sparked by hismother’s curiosity in all types ofobjects and particularly her interestin collecting little brass figurines ofmice and whatnots. He fondlyremembers she owned a boot withthree little mice in it. ‘She used tobe always looking for these things. I suppose this was something in theback of my mind.’

His profession became the

starting point to a

significant collection of

hand tools that a

woodworker would well

appreciate and collectors

everywhere understand

what it is that drives one

to collect

For the woodworker:a collection of

hand toolsto enjoy

David Lynch and his Record brand planes

1


A comprehensivecollection

Today, Lynch possesses all buttwo of the Record planes madebetween 1931 and 1939. ‘Thereare two block planes that I’ve notbeen able to get, and I have notseen one for sale in 30 years. Theymanufactured them before the warperiod for only a very short time,maybe four or five years, and theyprobably didn’t manufacture manyof them. I would dearly love to getthem but I think that the chances ofgetting them are very slim.’

It is interesting, he adds, that theRecord planes were copies ofStanley planes whose patents hadrun out but there was nocompromise on the quality. UnlikeStanley, Record did not make 01size only 02 and both made sizes to08. Amongst the defining qualitiesof the planes from this period werethe use of rosewood handles, heavierbody casts and the use of tungstensteel for the cutters. After the war,the company did not resume fullproduction, and the company’sownership changed hands.

For the collector:catalogues providereliable information

Much of the information that heknows about the planes, other toolsand the history of Record, Lynch haslearned from studying about 200 ofthe company’s catalogues that hehas also collected. Each one, hesays, ‘is a sort of time capsule.’

Lynch’s knowledge, passion, and

collection, has made him an expert.He attracts visitors to his displays,and each month receives around 40emails from around the world, andmore than 5000 hits on hiswebsite. Having to spend numerousspells in hospital over the last tenyears for an injury, Lynch wouldcompile information from thecatalogues into notebooks.

Sharing knowledgeand information

His son Sam suggested he couldshare his knowledge by establishinga website. This lead to acollaborative effort between fatherand son with Lynch typing up thetext and taking pictures and Samlearning how to put up the site.‘The internet and email has madeexchanging information,communicating, finding andobtaining objects much easier andquicker,’ says Lynch.

There are many serious collectorsof hand tools in general, not justRecord, and there are dealers as well,although Lynch cannot estimate howmany. There are very few collectorswho are in it for the money, he adds.However, the price of Record planeshas increased since Lynch launchedhis website, and he says he neverimagined for one minute that therewere so many collectors of Recordtools. It has become a morecompetitive area for collectors.

There are many waysto acquire pieces

When Lynch came to Australiasome 35 years ago, he would visit

2 3

4

5

1 Full set of Record’s improved shoulder rabbet plane

2 Record plane no 02 is rare

3 Record plane no 06, made in 1932

4 Record plane no T5 with 2¼ cutter

5 Record circular plane

COLLECTORS SHAREFrom workplace to valued collectable an

assemblage of woodworking tools are the

delight and passion of one collector

www.worldaa.com

Come on a collecting journey,travelling around Australia with adedicated collector who shares hisstories of how he acquired unusualkangaroo-inspired pieces and thereason for wanting them.

Kangaroos are partof the Australiancoat of arms

John’s* first purchase was afurniture plate with an Australiancoat of arms, made of silver gilt,and was found at the SydneyAntique Centre. A dealer had justmoved into the centre a few daysearlier and as part of his shopfittings he had glued the plate to ahalf swing door. John told the dealerthat he was impressed with thestock and asked if everything wasfor sale, the answer was yes.

Having spied the plate on thedoor, he asked how much? ‘Well, it’snot for sale,’ replied the dealer.After some discussion, the dealer,who was keen to make one of hisfirst sales, said $200, and the dealwas done. Luckily the glue had notfully dried and plate came off thedoor without a hitch. This furniture

plate was made around the time

of Federation (1900) and John

holds this piece to be the star item

in the collection.

Metal architecturalwares

The next item he came across

was an A. Simpson & Son of

Adelaide brass safe plate with the

arms of Australia on it, circa 1880-

1920. He acquired the plate via his

wife’s family. Her paternal

grandfather had worked for the firm

and owned the plate. Exactly how

he got it remains a family mystery.

It was found in an old wooden box

where it had been lying for years

gathering dust.

Another Simpson-made item to

come his way was a cast iron stand,

made around 1900. It was found in

a gift and antique shop in a country

town in the foothills of Perth. The

asking price was a modest $20. Iron

stands that have a motif are hard to

find, but despite this they are usually

reasonably priced. Expect to pay

$50 upwards for similar iron stands.

Peter Lane

Australian coat of arms, made of silver gilt, c. 1880-1910

As one of Australia´s

best known and loved

icons, images of the

kangaroo are featured

on coins and have

been used as mascots,

souvenirs, toys,

emblems and logos.

They have been made

from just about every

kind of material known


FOLLOWING:

a trail of

An Australian iconmade in England

A mounted silvered kangaroo made inSheffield, was spotted at one of thelargest out of town antique centres –Tyabb Antique Village, Tyabb Victoria. Itwas purchased minus the base for $95and a good friend made the wooded basefor him.

Cottage industryDuring a visit to the Blue Mountains,

NSW, John came across the VictoriaTheatre Antique Centre in Blackheath.Here he found a wooden box with aFederation Coat of Arms of Australiacarved on the lid. At an asking price of$200 it required some hard thinking, butin the end John purchased it. While mostboxes sell for much less, this examplewas crafted by a sensitive competentamateur carver and as such wasconsidered well worth the asking price.

Interestingly, it was not until he foundthe receipt that he remembered theasking price. This is a reminder topotential collectors that the value is inthe pleasure a piece gives, faroutweighing the initial cost, which at thetime may seem high.

Australian jewellers Spotted at the Adelaide shop of Peter

Walker Fine Art was a J M Wendt(Wendt’s Jewellers Pty Ltd, Adelaide)kangaroo mould made of lead with onebrass leg, which had been used in theproduction of making silver emu eggs.John purchased this most unusualkangaroo item for under $400.The dealer stated it came from theTimothy Wendt collection, which givesthis piece provenance and enhances itsvalue.In a Melbourne auction catalogue


Safe plate made by A. Simpson & Son ofAdelaide, c. 1880-1920

About JM WendtThe firm of J M Wendt (est. 1854)

set up by Joachim Matthias Wendt

(1830-1917) silversmith, produced

silverwork that ranks with the finest

produced in Australia in the second

half of the 19th century.

About A Simpson & SonEstablished in 1853, this Adelaide

business merged with Pope Industries in

1963 and today the Simpson brand is

owned by Electrolux.

A grandson of the founder, Allen

Simpson, who had worked for the firm,

was a member of the SA branch of the

Royal Geographical Society of

Australasia, and was involved in survey

work in central Australia. The Simpson

Desert was named in his honour.

Gold brooch depicting a kangaroo, c. 1860-70s

Wooden box with a Federation Coat of Arms carvedon the lid, c. 1900-1930

Mounted silvered kangaroo made by JM Wendt, c. 1900-1920


ROMANTICISING THE EAST– A BRITISH INTERPRETATION BY THE

These image makers had good commercial instincts –

responding to the public’s interest and demand for

intriguing pieces to decorate their chimney mantles

Veronica Moriarty

2

1

Almost as terrifying for the

Staffordshire potters and their

audience, and every bit as exotic to

them as aliens and UFOs are to us,

were non-Westerners. These were

people who personified the

mysterious unknown and gave flesh

to nagging concerns about a

changing, expanding world that

was filled with new uncertainties

and questions about British

imperialism and identity.

Romantic writingsand art to inflamethe imagination

Explorers and travellers to theEast touched the British public’simagination through publication oftheir memoirs, diaries and letters.Lord Byron’s poem Don Juan (1819-1824) of the hero living disguisedas a woman in the sultan’s haremtitillated the imagination. Otherpoets including Shelley, Coleridgeand later, Tennyson, also gloried inOrientalism. They drew from it intheir verse for characters and plots.

Lord Frederic Leighton (1830-1896) and other painters revelled insemi-naked Odalisques. The Pre-Raphaelites produced paintings ofsloe-eyed beauties swathed in easternfineries, while the American artistJames McNeill Whistler (1834-1903)brought Japanese decorative art anddesign into homes.

The exotic East:Fertile fodder forthe imagination

The East became synonymouswith mystery, wealth, excitement,danger, and magic. Here was asource of the exotic in attire andcustoms. Romanticism thrived onthe ideal of the Noble Savage andexotic landscapes. Monarchserected pleasure palaces andpavilions in what they consideredoriental style, most notably theRoyal Pavilion built in Brighton bythe Prince Regent, later George IV,between 1787 and 1823.

The very rich and theintelligentsia were long able to supon Eastern aesthetic delicacies totheir hearts’ content through traveland the purchase of fine art andexotica. It was not long that thegrowing middle and working classeswanted a share of this world. Theywanted their portion of theexcitement generated by foreigners andtheir world that represented everythingthe British public was not and prideditself on not being: heathen, primitive,savage, polygamous, and not ofCaucasian appearance.

Translatingexoticism intoceramic forms

To 19th century Britons, anyonesprung from anything other thansolid Anglo-Saxon stock wasimmediately suspect, but managedto exert a monumental influence onpopular music, fashion, interiordesign and the decorative arts. TheStaffordshire potters developed afully-fledged love affair with allthese weird, threatening, andalluring cultures. They producedeverything from Arabian potentates

and their harem girls and camels, toChinese mandarins and dancers.

Everything the British public wasnot, but wanted to know about, andwanted to be seen knowing about it, wascaptured in clay and made safe. But forthose who purchased them, thesefigures were still exotic and excitingenough to transform an occidentalmantle into an oriental wonderland.

CELEBRITIES INTHE 19TH CENTURY

Lady HesterStanhope (1776-1839)

One of the potters’ favouritesubjects was of English women whohad gone ‘Amazon.’ The modern dayequivalent is ‘going native’ and


Lord George Byron (1788-1823)

arrived in Missolonghi, Greece

in 1823 to take part in the

Greek uprising against the

Ottoman Empire, dying three

months later of disease – not a

romantic ending.

1 Staffordshire ornamental Moorish themed figuregroup of seated musicians

2 Staffordshire moulded earthenware figures

3 Selection of Staffordshire modelled face vasesinspired by the fashion for Moorish ornaments

4 Staffordshire moulded ornamental figure group ofboy and camel with applied underglazed colours

5 Staffordshire figure group of Byron and his Greeklover Theresa Macri, the ‘Maid of Athens’

6 Staffordshire figurine of Theresa Macri

3 4

6

5

VISIONS OF THE EXOTICCRAFTED IN ENGLANDWhile toiling away at their potter’s

wheel, the Staffordshire potters

dreamt of far flung reaches of the

Empire, much to the delight of

Victorian consumers


Lace and Royal weddings

It’s all about the

Images courtesy Bonhams

Dresses are records of fashion and historical

change. Wedding dresses worn by Royals are

symbolic and globally scrutinised down to the

tiniest of details. Royal wedding dresses mark

the beginning of new fashion trends, these

change over time but often repeat themselves

paying tribute to their original influences


Eleanor Keene

While Pippa Middleton’s derrierewas the key interest for many royalwedding watchers, with thousandsof Facebook followers joining anappreciation page overnight, othersof us remember the wedding for theamazing dress.

A feat of Britishcouture

Kate, now Catherine, wore awonderful feat of British couturedesigned by Sarah Burton, who hadrecently stepped into the shoes ofthe sadly mourned (Lee) Alexander McQueen. Sarah Burton, previously anunknown designer, certainly stepped upto the mark. The success of the dresshas helped cement her place at thehelm of McQueen with both the mediaand public.

The dress paid homage to somany earlier royal weddings, notablythe dress Grace Kelly wore whenshe married Prince Rainier III ofMonaco in 1956, designed by MGMcostume designer Helen Rose, whohad been designing Grace’swardrobe for the film High Society.This dress had a finely worked fittedlace bodice with a high neck andlong sleeves, a silk skirt with a longtrain, and finished off with a simplenet veil with lace edging.

From queens of thesilver screen toBritish royalty

Grace’s dress, which justhappened to have been displayed at

an exhibition on Grace Kelly Styleat London’s V&A museum in 2010,is undoubtedly the inspiration forCatherine’s dress.

According to MGM press, GraceKelly’s dress was made of ‘antiquerose point lace.’ This fine style ofneedle lace, with its characteristicraised three-dimensional rose heads,is also known as Point de Gaze. Aswith Catherine’s dress, Grace’s dresshad further reworking with morelace appliquéd to the already lavishlacework bodice, to give theplacement and coverage thedesigner desired, along with theaddition of pearl beads.

Drawing on pasteras: earlyVictorian style

Another tribute to past royalwedding dresses was the lace motifsused in Catherine’s dress, symbolsof the British Isles: rose (England),shamrock (Ireland), thistle(Scotland) and daffodil (Wales) –this last symbol is not commonlyfound. This style of motifs isindicative of Honiton lace and wasfamously used for Queen Victoria’swedding dress when she marriedPrince Albert in 1840.

Victoria’s choice of Honiton lacewas significant because the laceindustry had taken a knock in theearly 19th century. Fancy lace hadgone out in favour of fine muslingowns, and fashions were now aboutsimplicity and clean straight empirelines. Decorations favoured were self-coloured embroidery and needle-runtrims, such tamboured lace.

At the same time, the technicaladvances of the machine age meantlace could be produced much fasterthan by hand. In the early-19thcentury machine-made net wasbeing introduced as a base for lace,and by the mid-19th centurymachine-made lace was getting tosuch a high technical standard thatit was hard for the untrained eye toalways pick whether it was made bymachine or hand.

By the time Victoria was planningher wedding, the time-consuminghand production of lace had alreadystarted to dwindle with machineproduction taking over many of thehand crafters’ roles. Many hadalready started to find work in otherindustries, so there were difficultiesfinding enough lace makers to seethe commission through, particularlyconsidering more than 200 of themwere needed to complete the work,which took from March to Novemberof 1839.

Victoria’s Honiton wedding dresssaw a fashion revival for Britishhand-made lace, and Victoriabecame an instrumental figure inkeeping lace in fashion throughout

1 Group of Point de Gaze lace items

2 Point de Gaze flounce

3 Honiton lace featuring birds

4 Honiton lace featuring motif designs usedon Victoria’s coronation gown cuffs

5 Honiton lace featuring rose and thistle

3 4

2

5

COUTURE AND COLLECTING –KNOW YOUR LACE From protection against the elements to

status symbols – clothing, style and

embellishments are a fascinating study;

no more so than the wedding dress.

Discover the skills and lavish laces used

in dresses that have captured the

imagination and are sources of

inspiration for today’s couture designers

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AN ICONIC AUSTRALIAN MAKESAN IDEAL COLLECTABLEFrom a stuffed toy to featuring on the

Australian Coat of Arms the beloved

kangaroo has been made from just

about every kind of material as one

keen collector has discovered

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collectables

trader

98TH ED

ITION

MA

Y –

JU

NE

20

11

HERITAGE, HISTORY

AND SURVIVAL

Codes in quilts

Camouflage in silk

Textiles will never be the

same again

COLLECTING

AUSTRALIAN ART WARE:

CERAMICS TO JEWELLERY

Artists to look out for from the

last century to works made today

COIN COLLECTING FOR

THE VERY YOUNG

How to make it interesting

and fun without breaking

the bankFROM HOLLYWOOD

MOVIES TO ENGLISH

ECCLESIASTICAL

TRADITIONS

Profiling very different interests

WINTER WARMERS

VINTAGE STYLE

Puddings from the recipe files

of Mrs Beeton the original

domestic goddess TEXTILES & DESIGN

Fashions that capture

historical moments and are

works of great beauty

Lace before mass production:

exploring techniques and

handworking

TRAVELLER

Tried and tested:

scenery ~ culture ~ history

Sri Lanka and New Zealand

– two very different

holiday destinations

JU

LY -

AU

GU

ST

20

11

9 771445 816006

ISSN 1445-8160AUST $9.95 NZ $13.95


99TH ED

ITION


COLLECTORS SHARE

Wood working tools: building

a specialist collection of

hand planes

Captivated by a native

Australian: the kangaroo in all

its forms

SUBSCRIBE TO THE

ONLINE EDITION& SAVE 42%

www.worldaa.com

Collectables Trader 99 Teaser

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Transcript of Collectables Trader 99 Teaser