Antiques & Art in Queensland

IN QUEENSLANDMARCH - JULY 2011

ART OF Peter J Hill

LillyPond

Hidden Falls

Glen Eagles Falls

MountWarning

Drover Dan Tara Pond

Breaking the Turf

Christmas Creek

Along the Albert

Near Beaudesert

Water by the Road

Darling Downs

After six years on the corner of LongRoad and Eagle Heights Road, Peterand Judy have decided to pack up and

move two doors up north to 136 Long Road,also known as Gallery Walk.

They are moving into the premises whichonce housed another famous gallery –Crafters. Part of the charm is the sense ofhistory as this was one of the original antiqueand art shops on Gallery Walk. Peter and Judyare looking forward to moving into thisfreshly renovated and updated space that willbe a wonderful showcase for Peter’s works.

Another update is their website, which isattracting a lot of interest in Australia andinternationally. So with a new gallery andfresh website, there is also a new collectionthat Peter is working on.

It has been 17 years now since Peter andJudy moved up north from the Gold Coast tothe Hinterland, so now at last Peter seeshimself as a local artist. During this time, hehas formed many close friendships with the

people in the area as well as the manyfarmers, graziers and cattle kings throughoutQueensland and beyond. Peter’s latest venturewill take him out and about the bush paintingall the scenery for a book being written andpublished by Neale Stuart, the famous ‘voiceof the outback’ and well-known Brisbaneradio announcer and reporter.

P.J. Art Gallery won’t be hard to find. Thereis plenty of signage and our familiar flagpoleat the front flying the Australian flag.Positioned at the front door is our signaturebig horse. Alternately, you can see the gallerywhen you turn into Gallery Walk from thenorthern end.

ARTIST profileBorn in 1937, Peter is a self-taught artisthaving started to paint as a hobby when hewas 19 years old. Turning professional in the1970s, Peter’s art works now hang incorporate boardrooms, hotels, clubs and inprivate collections both in Australia andaround the world. Nearly every continent canclaim to have at least one of his oil paintingson its walls.

Peter lived in Melbourne in the 1970swhere he owned and operated his own galleryat Olinda in the Dandenongs. When he movedlater to Canberra, the Australian governmentpurchased examples of his art for presentationto visiting heads of state.

During a recent television interview ajournalist asked Peter how he would describehis art. Peter answered ‘When I paint a horseit looks like a horse; when I paint cattle theylook like cattle. So I guess you would call mea traditional artist. I paint my paintings theway I see them, which is why so many peoplecan relate to the places and scenes that I paint.’ ●

P J Art Gallery is the only gallery where thename Peter J Hill is signed on everypainting that hangs on its wall. A Canadiancustomer once said, ‘To get to see theoutback one only has to step into the galleryand take a look around. It is like steppingfrom the coast into the country in one step.’

Judy M Hill, Gallery DirectorP. J. ART GALLERYjudyandpeter09@bigpond .com.auwww.pjart.com.au

P.J. ART GALLERY IS MOVING NORTH

GOLD COAST / MOUNT TAMBORINEA N T I Q U E S & A R T I N Q U E E N S L A N D

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P.J. Art Gallery won’t be hard to find. There is plenty of signage and our familiar flagpole at the front flying the Australian flag.

“

”

“ P. J.”ART GALLERY

140 Gallery Walk Eagle Heights Qld 4272

Ph: 07 5545 0089 Mob: 0428 259 014Email: [email protected] • [email protected]

Web: www.pjart.com.au

Peter’s paintings suit all budgets and can be packed and freighted throughout Australia and overseas

Open 7 days 10 am - 4 pm

Owned and operated by internationally known artist Peter J Hill and his wife Judy

Relocating to 136 Long Road, ‘Gallery Walk’


4

An artist’s career began for MargaretGoldsmith as a professional potter fortwelve years after studying for the

Diploma in Ceramic and Sculpture in 1975 at the then-Coorparoo College of TAFE in Brisbane.

Her first painting classes were at theinnovative Brisbane Institute of Art in the early1980s. Soon Margaret enrolled at Kelvin GroveCAE in the Diploma in Visual Arts, Painting,Drawing and Sculpture, majoring in painting.She simultaneously studied sculpture underGeorge Verine. Through her art studies,Margaret was fortunate to have great tutors,including William Robinson, David Paulson,Irene Amos, Andrew Sibley and Joe Furlonger,all of whom are great artists as well as beingwonderful teachers.

ARTIST’S statement‘These and many other superb artists

encouraged me. Through my paintings andglasswork, I attempt to capture a language thatdoes not know stillness, only motion. My workis full of happy predictions, vital paint colours,fresh and vibrant moments of intense pleasureand the uncontrollable happiness of a dance oncanvas or paper. My aim is to simplify the figurefurther. My love of strong colour interwovenwith rhythmic design is obvious. I paint from theheart in an expressionistic style in a painterlyfashion of directness when I paint and draw it isfor you the viewer. If it pleases you, then yoursoul is running in tangent with mine.’

Margaret has won a good number of prizesand awards for her abstract expressionistpaintings, and it tickles and delights her that thejudges are enjoying her works.

In 2010 she won second prize in the Portraits/Figures sub-category of the d’Arcy Doyle ArtAwards. In 2009 she won the Nundah VillageFestival Art Exhibition prize for portraiture. In thepast 20 years, Margaret has held many soloexhibitions in regional and commercial artgalleries and been in numerous major exhibitions.

MARGARET Goldsmith Art Gallery

Seventeen years ago, Margaret established afine art gallery open to the public. Here sheshows her work on her property at Bateke Road,Tamborine Mountain. The gallery is set in themidst of beautiful gardens and orchards withspectacular views to the Gold Coast.

Margaret and her husband Neil havecollaborated in the creation of art glass, theirdynamic designs and exciting colours in glasscome in the form of large platters, vases, bowls,framed pictures, masks and large wall hangings.The Goldsmiths welcome commissions and havecompleted projects both large and small forcorporate and private clients, including largewall hangings for restaurants and many smallercommissions. Last year they completed asignificant commission for the QueenslandGovernment Parks and Wildlife Department,comprising eight large plaques for the ShoalhavenNational Park in the north of the state.

Margaret is very excited with yet anothernew direction, laminating glass. The techniquelearnt after completing a specialist workshop.This mouth-blown sheet glass is really beautifulfor lamination in large panels and wallhangings. This requires excellent craftsmanship,physical strength, and above all, a well-developed sensitivity. It is the only way toachieve the unmistakeable individuality ofmouth-blown sheet glass.

Readers are invited to Margaret Goldsmith’sgallery at the top of Henri Robert Drive (at thegolf course end of Tamborine Mountain), openfive days from Wednesday to Sunday, between10 am and 4 pm ●

MARGARET GOLDSMITH ART GALLERY07 5545 2727 / 0407 145 [email protected] www.margaretgoldsmithartist.com.au

Right: ColourfulCreation, 51 x 87 cm framed,mouth-blown sheet glass

Far left: True Blue AussieFrom Wee AussieBattler series

Middle: MargaretGoldsmith.PhotographChelsi Foskett

Right: Solitude,oil on canvas

MARGARET GOLDSMITH ART GALLERY

Open Wednesday to Sunday 10am- 4pm (or by appointment)

83 Bateke Rd, Mt Tamborine Qld 4272(take Henri Robert Drive to the top, pass Guanaba Park and the next left is Bateke Rd)

One hour from Brisbane… 30 mins from Gold Coast

Ph/Fax: 07 5545 2727 • Mobile 0407 145 535Email: [email protected]

Superb views of the Gold Coast from the gallery

MARGARET GOLDSMITHART GALLERY

Recent glass commissions and paintingsMiddle: Lemon Purity,51 x 87 cm framed, mouth-blown sheet glass

Left: Platter, Celebration, glass, kiln fired, 34 x 34 cm

A N T I Q U E S & A R T I N Q U E E N S L A N D

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55 Silky oak masterpiece – an Australian work of art – Manfred McIntyre56 Being square is definitely ‘in’ when it comes to rare coins58 Saving the past for the future at Silversmiths and Platers59 Kilkivan Fine Art & Antiques giving everyone a little something back60 All roads lead to Salts Antiques – Roy & Roger Salt61 Lancaster’s Toowoomba Antique Centre 16 years old and going strong62 Sharing Timeless secrets, how do we know what we know? – Mark & Lynne Bennett64 Ipswich Art Gallery is being invaded by monsters & beasts66 Collected works, heritage collection display at Ipswich Art Gallery67 The Riviere College at the Hughenden, a Queen Street college for girls, with a focus

on the arts68 The Art Gilding Academy where you can learn professional gilding in just two weeks69 Dealing with water damaged precious family heirlooms – David Foster70 Holding a mirror up to themselves, realistic sculpture from the Solomon Islands

– Crispin Howarth73 Stamp collecting - where do I begin? – Gary Watson74 Woolloongabba Antique Centre is breathing new life into antiques

– Sarah Jane Walsh & Megan Rizzo

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

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NOTICE TO DEALERSArticles for publication in Antiques & Art in Queenslandshould be up to 1,000 words in length, preferablytyped as a word document and saved to a disk oremailed. Pictures can be supplied as prints,transparencies or digitally as jpegs either saved to adisk or sent by email. It is desirable that images beaccompanied by captions. Publication of articles is conditional on anadvertisement being taken.Next issue will be distributed in July 2011. Booking deadline 6 June 2011. Copy deadline 13 June 2011.

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FAIR ORGANISERS PLEASE NOTEPlease send us dates and other details of antique fairsfor a free listing in our next issue.

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EditorialContent

a n t i q u e s & a r t IN QUEENSLAND

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

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

front cover

Jacques Antoine Coinchon (French 1814-1881), Figure group, c. 1880, bronze, h: 42 cm. Courtesy Graham See, Brisbane Antiques For exhibition viewing and public program details see pages 24/39.

03 PJ Art Gallery is moving North – Judy Hill04 Margaret Goldsmith Art Gallery recent glass commissions and paintings06 Antiques on the West Side07 Ceramics a general introduction – Sheridan Bryant08 If adding to your collection or starting a new one there are quality finds at the

Gold Coast Antique Centre09 Furnish your home with inspiration at Old Empire – Tom & Tisch Nancarrow10 Award exhibitions showing at the Gold Coast City Gallery11 Gold Coast City Gallery mid-year exhibitions12 Spirit of Australia Gallery home to authentic Australian-made products13 Spirit of Australia Gallery19 Watling Galleries a new location – a grand opening exhibition20 Books with the looks at Voyager21 Kellies Antiques offers a helping hand22 Rolex, hallmark for prestige and performance – Natalie McLaughlin23 Repairing antique jewellery, a task more difficult than customers realise – Ken Penfold24 Queensland’s leading antiques event, QADA Antique Fair is coming up25 Art in Queensland architecture on display at the State Library of Queensland26 Identification of antique maps – Derek & Kathryn Nicholls27 At Paddington Antique Centre an exhibition of Japanese craftsmanship28 Madeleine Castaing (1894-1992) the first significant decorator of the 20th century

– Denis Geoffray29 Cultural exchanges – Eilisha Little30 At Collectors Corner Antiques it’s business as usual – Lyn & Ralph Muller31 Quality antiques, collectables and a wide variety of decorator items at

Commercial Road Antiques & Decorative Arts Centre – Ian Thomson32 Appreciating antique and period jewellery, one-of-a-kind finds at

Brisbane Antique Emporium – Karen Klaich & Michael Moyle33 Pack & Send art and antique specialists – Stephen & Janet McCartney34 My favourite things – Jill Phillips43 Military medals to collect from Harringtons Antiques – Sharon Semmens44 Reinvention of traditional craftmanship in 19th century England45 Meaningful valuation of jewellery = CSi + forensic analysis46 Bowed stringed instruments, refitting turning pegs – Ilja Grawert47 Collecting antique dolls – Jason Bridge48 Mastercraftsmen legacy for future generations50 Surviving the 2011 floods – Graham See51 At Glassworx restoring leadlights is a healing process – Denise Allen52 Expert framing advice, looking at moisture damage – Stefan Aleksiev53 Advice on collecting toy and novelty cameras – Rob & Di Metcalfe54 At Harrington Antiques a fine antique demi hunter made by Charles Frodsham

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 [email protected]

Avisit to North Tamborine is amemorable day trip from Brisbane orthe Gold Coast. Take in the

breathtaking views to the west while visitingWitches Falls National Park – the firstNational Park in Queensland – and be sure tospend time at the picnic areas, local shops,antiques and art galleries and cafés. It isrumoured that the name Witches Falls stuckafter residents west of Tamborine Mountainsaw lights on the side of the mountain manyyears ago and attributed them to the ‘Mountain Witches.’

Visitors with an interest in the arts andantiques find this village a perfect destination.Here they are able to explore the high-qualityshops on the Main Western Road in NorthTamborine in addition to enjoying thewonderful surrounding natural views.

Witches Falls Gift House at 98 MainWestern Road is next to Witches FallsNational Park – the oldest National Park inQueensland. Come and meet Noelina andPhil in what appears to be a small shop but isin reality a well-stocked gift store. Searchthrough the vast array of old and collectableobjects including Shelley, Royal Doulton,Crown Derby, Wedgwood, Royal Dux, Lladroand other fine names.

They have old and estate jewellery,antiques, curios and beautiful furniture inmahogany, walnut, oak and other rare andexotic timbers.

Phil combines his furniture making skillswith a flair for bringing old pieces back tolife. Furniture repair and restoration is hispreference, while Noelina is a skilled artisanwith her sewing machine.

Odd’n’Olde can be found at 97Main Western Road, opposite WitchesFalls Antiques and Gift House. As thename indicates, proprietors Ron andSheridan Bryant carry an eclectic rangeof antiques and collectables, fromfurniture to glass, porcelain and silver,to name some of the collectinginterests. There is sure to be somethingto appeal.

Further along at 69 Main WesternRoad is Marks and Gardner Gallery.Here Janene and Mary will tempt youwith their art gallery showingcontemporary works, or their delightfulSecret Garden bookshop. If tired fromwandering through the plethora ofshops, sit for a while at their verandahcafé and let it all soak in ●

ANTIQUES ON THE West SideOdd ‘n’ Olde

Antiques

& Country


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Phil & Noelina Jackson

98 Main Western RdMt Tamborine QLD 4272P: 07 5545 0885F: 07 5545 0076 M: 0418 647 452

E: gifthouse@winshop.com.auwww.witches-falls-antiques-and-gifts.com.au

OPENING HOURS Wed, Fri, Sat & Sun 10 am - 5 pm inc. Public HolidaysClosed Christmas Day and Good Friday Open Anzac Day 12 - 5 pm

Other times by appointment

The ShopTime Forgot&Kittys Vintage& Kitsch

A basic knowledge, at least of thevarious aspects of the potter’s craftand the terms used to describe them,is essential for anyone hoping tobuild a collection. You will learn asyou go along, getting to know thephysical feel of the things, theirtexture and weight, as well astheir outward appearance.

First, there is thedistinction between twoallied materials. The wordpottery is used in ageneral sort of way tocover just abouteverything made by apotter. In a special

sense, it describes variouskinds of earthenware and stoneware

as distinct from porcelain or china.Pottery is the name for anything made of

common clay – earthenware – and allowed todry in the heat of the sun or baked – fired – ina kiln. It is usually porous unless glazed, andis opaque so that not even a strong light canpass through it.

Stoneware is very hard pottery, which isfired at a high temperature and often saltglazed when salt is thrown in the kiln. At itsbest, it is so hard and close-grained that it requiresno glaze to be watertight, and can even be cuton a wheel like flint glass. It is usually opaque,but can sometimes be semi-transparent.

Porcelain (hard paste) is the true porcelain,which was made first in China and later in

Europe by mixing china clay (kaolin) withrotten china rock (petuntse) and firing it at avery high temperature (about 1,350 degreesCelsius). It is very hard in texture and usuallyin appearance. It is translucent except whenused in a solid mass, as for figures.

Porcelain (soft paste) is false porcelainmade by adding materials other than chinarock to china clay. For example in England,bone-ash and soap-rock were added, whileglassy substances were used on the Continent.It is fired at lower temperatures than hard-paste, and is translucent to very varying degrees.

Bone china is an English modification ofhard-paste made by the addition of bone ashto the formula and has been in general use inBritain since the early 19th century. It is stableand consistently translucent.

Glaze is a glassy coating applied to the surfaceof a pot by dipping or brushing on and it can beeither clear or coloured. In the Far East, the glazewas usually applied to the pot after it had driednaturally (leather-dry) but before the first firing.In the West, it was applied after the first or biscuitfiring. Unglazed porcelain is thus known asbiscuit or bisque, and when enamel colours arepainted directly on to the unglazed body, theprocess is termed enamelling on the biscuit.

Under glaze and over glaze: If the pot is to beglazed, the range of colours that can be appliedbefore glazing is limited to those that willwithstand the temperature necessary to vitrify theglaze. Painting in these colours, of which thecommonest is cobalt blue, is called under glaze

decoration. A far wider range of enamel colours,and gilding, can be applied over the glaze, afterthe first firing, and are then burnt in at a relativelylow temperature that does not harm them.

Marks are of great interest and usefulness, butthey are not always reliable evidence for thecollector as pirating and forging of marks hasbeen prevalent for centuries. Until well intothe 19th century, only a few Europeanfactories were consistent with their systems ofmarking, and a great many first class pieceshave no marks whatsoever.

Books on marks are helpful in understandingthe language spoken by enthusiasts for ceramicsin general, and can give a more detailed accountof the main classes of pottery, as distinct fromporcelain. It is not easy to separate them indiscussion, so closely do they resemble eachother at certain times and in certain places.

Often the materials were in fiercecompetition with each other as many factories(for example Spode and Swansea) madepieces in both at the same time. Otherpotteries claimed to have made porcelainwhen in fact their product was a variety ofstoneware. It is customary to deal with potteryand porcelain under separate headings, partlyas there is a marked tendency by collectors toconcentrate on one or the other ●

Sheridan BryantODD ‘N’ OLDE ANTIQUES07 5545 [email protected]

Witches Falls

Antiques

& Gift House

CERAMICSA GENERAL INTRODUCTION


7

Rather than discuss the Rococo styleof furniture in this issue as planned – I decided to introduce ceramics and

return to furniture topics in another issue. From the earthenware of ancient times to

the products of the 18th century that havebeen produced the world over, there is awealth of ceramics from which to choose.Therefore, the collector needs knowledgecombined with taste and enthusiasm whenassessing pieces for a collection.

95 Main Western Rd, North Tamborine

Ph 07 5545 1141Ah 0408 884 346www.oddnoldeantiques.com.au

REPAIR &RESTORATION

SERVICE AVAILABLE

• Colonial & country furniture: meat safes, kitchen cabinets, silky oak& cedar dining tables, dressers, chairs, architectural items, tools…

• Victorian & Edwardian porcelain & glass • Comprehensive collection of English & Deco porcelain & china• Fully restored Colonial telephones• Australian pottery, crystal, sterling silver, hand-made beaded lamp

shades, together with a large range of trinkets & treasures, with newstock arriving weekly

Something to suit every budget!

We invite you to come and browse our extensive rangeof antiques, country wares & collectables including:

Specialising in the 1920-70sWe have a great range of imported Vintage Fashion & Hats

Art Deco, Retro, stunning Bakelite & KitchenaliaSomething for everyone !

97 Main Western Road, North TamborineOPEN MOST DAYS 10 AM TO 4 PM

ph 07 5545 [email protected]

www.KittysVintageKitsch.blogspot.comBuying & Selling

Unable to stop collecting genuinequality antiques? The Gold CoastAntique Centre can help you select

from our extensive range. Whether porcelainor ceramics, fashion or jewellery, wheneveryou need to add to your collection or want tostart a new one, make a special trip to ourcentre or our website to view and purchasefrom our massive and fine quality stock.

PORCELAIN and glassOur dealers carry a variety of fine quality

Royal Albert, Royal Doulton, Pilkington andShelley, among many collectable brands ofporcelain and ceramics. We have on show awide range of Australian pottery.

The high quality glassware offeredincludes the finest crystal such as French,Swedish and Venetian, including names likeLalique, Orrefors and Murano, as well aspopular Depression glass.

FASHION and jewelleryDiscover designer and vintage clothes from

New York, Paris and London. Classic stylesfrom past eras never really date and remainstylish today. Buttons from the past centuryare a fun collectable, adaptable for jewelleryor a stylish accent for a plain garment.

Find Georg Jensen’s timeless sterling silverin elegant Scandinavian designs. We havelovely jewellery in sterling silver fromEngland and Europe from the past twocenturies. Currently very fashionable are theBakelite jewellery that we have in a variety ofstyles, as well as Lucite handbags.

SILVERFor the connoisseur of fine silver, we show

the best of sterling through to hardycontinental silver. Ideal special occasion giftssuch as weddings and anniversaries, we haveit: ewers, comports, tablewares, picture framesand candlesticks. A few special fine crystaland silver combination pieces are sure tocatch the eye of designers and collectors.

INVENTIVE and timelessAmong many treasures, here are beautiful

old instruments, old records and players.Several represent the brilliance of one of ourfavourite inventors of internationally knownproducts, Thomas Alva Edison (1847-1931).This American inventor, scientist andbusinessman developed many devices thatimproved life. His inventions ranged from thephonograph and motion picture camera to thelong-lasting electric light bulb – along withthe means of producing electric power forhomes, businesses and factories.

Holding 1,093 US patents and more in othercountries, most of Edison’s inventions assistedand promoted mass communications and the yet-unnamed field of telecommunications, informedby his first job as a telegraph operator. Edison’swork led to many collectable items: the stockticker, a mechanical vote recorder (a problemin the 2004 USA Presidential vote counting),a battery for an electric car, the phonograph,recorded music and motion pictures.

His first invention to gain public noticewas his phonograph in 1877, recorded ontinfoil around a grooved cylinder. AlexanderGraham Bell, Chichester Bell and CharlesTainter followed in the 1880s with aredesigned model using wax-coated cardboardcylinders. Edison triumphantly andimmodestly introduced his PerfectedPhonograph in late 1888, using a new type ofwax cylinder. He also designed andmanufactured a talking doll as well as a pre-cursor to the jukebox, further applications ofthe phonograph wax cylinder.

The Centre has a wide range of vintagetelephones from the 1930s, all reconditioned toperfect working order, including modern colouredErica phones to classic Bakelite phones.

Speaking of moving pictures, if you collectmovie memorabilia, make a special trip to sortthrough John’s fine collection of vintagemovie posters that date from the 1930s.

ARTS from Asia We also specialise in high quality

authenticated Asian antiquities, antiques andart that are timeless and revered. We haveitems from Japan, China, Tibet, Thailand andKorea with more stock arriving weekly. Seeour selection of furniture, porcelain, bronzesand netsuke, as well as Chinese and Japaneseivory carvings and lovely jade, all guaranteedold and in fine original condition.

MORE like an Aladdin’s caveView and purchase many inventions fromcreative people such as Edison. There are theceramics of Clarice Cliff whose art decodesigns were within the budgets of mostfamilies – and within your budget at ourcentre. Stunningly innovative and popularwhen first introduced, Art Nouveau and ArtDeco items are among our specialties, fromsmall to large furniture, lamps and decorativeitems to suit everyone’s budget.

Fossick through our later 20th centurydesigns and toys, furniture and clothing, booksand art. The goal of the Gold Coast AntiqueCentre is to guarantee genuine and authenticpieces, from antiques to collectables, includingrecent and popular retro items, that are allcorrectly labelled and competitively priced.

Gold Coast Antique Centre is convenientlylocated on the Gold Coast Highway in thecentre of Miami, halfway between the airportat Coolangatta and the heart of Surfersparadise, and only one hour south of Brisbane.We are open every day, between 10 am and 5 pmfrom Monday to Saturday, and on Sundaystrading from 10 am to 4 pm ●

GOLD COAST ANTIQUE CENTRE 07 5572 0522 / 0414 338 [email protected]

Acknowledgementwikipedia.org/Thomas_Edison


8

If adding to your collection or starting a new onethere are quality finds at the GOLD COAST ANTIQUE CENTRE

Furniture and Quality Giftware… new stock in store now …

discover the unexpected!

Stockist of:• Adorabella tapestries• Miners Cottage French style

furniture• Solid mahogany antique re-

productions• Fitz & Floyd ceramics• Katherine’s decorative collect-

able dolls• Painted Pony collectors fig-

urines• The Woodworkers & Weavers

tapestries from North America• Tiffany-style and leadlight

lamps• Reflective-style classic and

modern lamps• Fob watches, quartz and me-

chanical• Stunning range of ceramic,

porcelain home and tableware• Diverse range of tassels, tie

backs and table runners• Gorgeous artificial flowers

134 Long Road, Eagle Heights‘Gallery Walk’, Tamborine MountainPhone 07 5545 1777Open daily: 10am - 4pm

Old Empire on Tamborine Mountainand formerly of the Gold Coastcontinues its tradition of quality gifts

and home wares including tapestries andfurniture pieces from around the world.

Well-established after more than six years atEagle Heights on magnificent TamborineMountain, we offer our diverse ranges withpride. Our stock is sourced from over 60suppliers and represents an eclectic array fromthe far corners of the globe. It is no wonder

that our store is regularly referred to as adelight, a treasure trove, a must-see and aknock-out, from our new and our regularcustomers who return time after time.

The ground level of our store at GalleryWalk is brimming with exciting ranges whichTisch has acquired on her many buyingsprees. Tom’s ‘Upper Room’ displays itsspeciality of tapestries, wall hangings andhand-picked furniture pieces. He also has aselection of gifts for the guys.

As stockist for Angad’s Impressions Fashionhome furnishings we can now offer an evenmore extensive range. Choose from cushions,throws, table-runners and beautiful bedspreads among our soft furnishings,decorative ornaments, glass products andhomewares. New designs and colours arearriving as this article goes to print.

Located in Gallery Walk at 134 Long Road,we invite you to ‘come in and delight yoursenses’ when you next visit our beautifulTamborine Mountain. You are very welcometo let us know in advance of your trip whatyou are seeking by phoning or emailing your‘wish list’ to us.

We look forward to seeing you soon andsharing our superb increased range with you ●

Tom & Tisch NancarrowOLD EMPIRE07 5545 [email protected]

stock is sourced from over 60 suppliers and represents an eclectic array from the far corners of the globe

FURNISH YOURHOME with inspirationat Old Empire

GOLD COAST / MOUNT TAMBOURINEA N T I Q U E S & A R T I N Q U E E N S L A N D

9

”

“

contemporary photographic practice within

Australia today. A concept explored is that of

materiality and the artists stretching the limits

of photography.

In transit # 4 by Rebecca Beardmore

depicts a blurred and ambiguous scene. She

has constructed hazy fog of muted tones and

shapes, the components forming the overall

image which is intricately detailed,

incorporating embossed typewriter text.

The materiality of photography is also a

focus for Harry Nankin. He does not use a

camera to record an image, but instead uses a

flash to record the migratory kinetics of

locusts herded onto light sensitive photographic

paper, thereby creating a photogram. The

result is a striking play between negative

space and shadows.

Artists also use the capacity of photography

to show the unseen, extracting an object from

its surrounds and placing it in a void space.

Anne Ferran focuses the viewer’s eye onto the

physicality and movement of objects, giving

them life and agile movement. Helen Pynor

places the object into another world; enhancing

its beauty and ethereality.

Cultural identity and personal presentation

to the world are another key area of issue for

artists. Joanne Saad’s photo of a woman

sporting a traditional Arab scarf questions

what this accessory symbolises to a wider

community. Liam Benson, who most recently

won the 2011 Mardi Gras artist award,

literally paints himself in the Australian flag

and a halo to make an ironic comment on the

limitations of this one-dimensional view of

contemporary Australian cultural identity.

Portraiture has a strong presence in the

2011 exhibition. Rod McNichol’s PhillipMotherwell: Actor, Writer, Playwright andFriend is an engaging piece. The drama of the

sitters’ full frontal gaze is emphasised by the

subdued dark background. The drama of the

gaze is also evident in Danny Cohen’s arrestingly

surreal image of a woman riding a hyena.

Gold Coast Quilters GuildExhibition2 – 24 July

The biennial Gold Coast Quilters Guild

exhibition is a revealing display that explores

not only the materials and techniques that

form these exquisitely made quilts but also

the narratives behind quilt making. The quilts

in this exhibition range from small art pieces

to larger traditional sized quilts.

There are over 100 works on display from

more than 70 members of the Gold Coast

Quilters Guild, which ensures a variety of

styles, shapes and colours. One component of

the 2011 Quilters exhibition will focus on a

Christmas in July theme. Members were set a

challenge to make a small quilt representing

the idea of ‘Chrissie down under.’

Originally a domestic medium, quilts are

increasingly becoming works of art to be

hung on a wall and admired. Patchwork and

quilting is an accessible craft which appeals to

a variety of ages and often strengthens inter-

generational bonds. The artisans have often

been taught by their mothers and grandmothers

and are employing techniques passed down

the family line.

All visitors to the exhibition will be asked

to vote for their favourite quilt. The winner of

this competition will receive a Bernina 350PE

patchwork edition sewing machine, kindly

donated by Bernina. Raffle tickets will be

available for purchase to visitors of the

exhibition. Prizes include a beautiful quilt,

and three baskets of goodies.

Some quilts and handmade Christmas

decorations will be available for purchase. All

proceeds go to Little Souls charity, a Gold

Coast based child care and early intervention

centre for children with autism ●

GOLD COAST CITY GALLERY07 5581 6567www.theartscentregc.com.au

Helen Pynor, Liquid ground 5, 2010, type cprint on glass. Finalist 2011 Josephine Ulrickand Win Schubert Photography Award

Darren Sylvester, What happens will happen, lightjet print. Finalist 2011Josephine Ulrickand Win Schubert Photography Award

Berniece Sayer, Magic medallions. Winner,Viewers’ Choice Award 2009, Gold CoastQuilters Guild exhibition

GOLD COASTA N T I Q U E S & A R T I N Q U E E N S L A N D

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Liam Benson, A Christian country, 2011, digital print, finalist 2011 Josephine Ulrick and Win Schubert Photography Award

Gold Coast City Gallery135 Bundall Rd Surfers Paradise 421707 5581 [email protected]

Josephine Ulrick and Win Schubert Photography Award 2011On show until 9 April

The Josephine Ulrick and Win

Schubert Photography Award is one of

the most important annual surveys of

contemporary Australian photographic

practice. In recognition of the quality and

interest in the award, the Josephine Ulrick and

Win Schubert Foundation have increased their

support. The foundation is giving a $20,000

outright prize to the 2011 winner. In addition

to this, a selection of significant photographs

by finalists will be acquired to strengthen the

Gold Coast City Gallery collection.

This year’s selection made by Shaune

Lakin, Director, Monash Gallery of Art, is of

54 artists whose work reflects the multitude of

thematic and technical strands of

AWARD EXHIBITIONSSHOWING at the GoldCoast City Gallery

Vernon Ah Kee, from cantchant 2007, colour photograph

An Institute of Modern Art touring exhibition. This exhibition is supported by the Contemporary Touring Initiative through Visions of Australia, an Australian Government program, and the Visual Arts and Craft Strategy (an initiative of the Australian Federal, State and Territory governments).

IMA receives financial assistance from the Queensland Government through Arts Queensland (major sponsor), from the Visual Arts Board of the Australia Council (the Federal Government’s arts funding and advisory body), and through the Visual Arts and Craft Strategy (an initiative of the Australian Federal, State, and Territory Governments). IMA is a member of CAOS.


Vernon Ah Kee: cantchant 7 May – 26 June

I n cantchant Brisbane-based artistVernon Ah Kee takes on the iconic subjectof the beach, casting a critical eye on its

special role in forming Australian identity.cantchant pushes aside the commonsense idea of the beach as a place of leisure,relaxation, and fun, and presents it instead as a cultural battleground.

Works include surfboards decorated withnorth Queensland rainforest shield designs inred yellow and black, the colours of theAboriginal flag. On the reverse of thesurfboards the eyes of Aboriginal warriorssilently gaze at their audience. Bold textworks line the walls, and a spectacular three-screen video installation of interleavingimages covers one whole wall. The video, setto Warumpi Band’s heart-thumping anthem,‘Stompin Ground,’ includes symbolic imageryand that of Aboriginal pro-surfer DaleRichards displaying effortless grace andmastery of the waves.

Vernon Ah Kee was born in Innisvale andmoved to Cairns in his high school years. Hestudied at Queensland College of Art.Elements of this exhibition were included inthe Australian group exhibition OnceRemoved at the Venice Biennale (2009) and inthe Sydney Biennale (2008). He has exhibitedin France, Germany, Austria, Canada, and theUK. He is represented in the collections of theQueensland Art Gallery, Brisbane; theNational Gallery of Australia, Canberra; theMuseum of Contemporary Art, Sydney and abroad.

Peter Walker: Fluid and Hollow Wooden Surfboards Gerry Wedd: RIP Surf and Sea CeramicsMichael Aird: WoogoompahMy Country – My Swamp28 May – 10 July

Surfing and beach culture are integral to theGold Coast lifestyle. This is a culture that isalso a great source of inspiration to artistswho engage with the rich stories and visualimagery of this dynamic sport.

We present two distinct but connectedexhibitions in the gallery. One features a

new series of beautifully crafted woodensurfboards by furniture maker and designerPeter Walker, the other is ceramics by artist Gerry Wedd. The works reference both ancient and contemporary myths and legends of the perils of the sea and the underbelly of the surf world.

A surfer who was born in Sydney, Peter Walker now divides his time betweenAdelaide and New York where he serves asAssociate Professor at the Rhode IslandSchool of Design. Always fascinated by handskills and fine craftsmanship, Walker’sawareness of the complexity of surfboardperformance and design led him to startmaking his own wooden surfboards which heembellished with the work of leadingAustralian contemporary artists.

Walker has researched and referencednotable surfboard designers from the past withhis series of new hollow boards, including theAmerican surfer Tom Blake who lived inHawaii in the 1920s and who was an earlyproponent of the surfing lifestyle. He inventedthe ‘skeg’ or fin which helped to stabilise aboard through the water. Walker also refers toCalifornian Bob Simmons who in the periodimmediately following World War IIincorporated the new technologies offibreglass, Styrofoam resin and plywoodconstruction with his experience as an aircraftengineer to experiment with the dynamics ofdrag and turbulence.

The beautiful boards are all meant to be used – yet they take on a presence ofsculpture within the gallery space.

Gerry Wedd also knows surf culture well,winning state titles in the 1970s. He continuesto surf off the breaks near his home at PortElliot just north of the Coorong in SouthAustralia. He will present a monumental new group of urns, a series of tiles, plates and even thongs made with the traditionallook of blue and white ware, but withcontemporary references.

The exhibition title RIP hints that thestories told deal with some of the darker, lessacknowledged aspects of surf culture. Thephysical challenge of engaging with a force ofnature so much greater than the individualcompels the surfer to acknowledge theirhuman frailty. However, this is often not part

Vernon Ah Kee, from canchant 2007, colour photograph Gerry Wedd, (M.P.) Michael Peterson, 2005, ceramic. Gold Coast City Gallery

Peter Walker, Burnt fish 6’4”, 2009, decoratedwooden surfboard made from Paulownia


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GOLD COAST CITY GALLERY mid-year exhibitions

GOLD COAST CITY GALLERY07 5581 6567www.theartscentregc.com.au

of the heroic imagery associated with elitesurfing. Wedd also references the destructivedrug culture that grew up around surfing inthe 1970s and, like Walker, mines the historyof surf design and culture to produce animportant body of new work.

To complement the exhibition in Gallery 1there will be a stunning display ofphotographs by Aboriginal photographer andanthropologist Michael Aird in the DarkRoom. These images feature the waters andmangrove islands of his traditional country,the Logan and Pimpama River region ●

SURFERS PARADISEA N T I Q U E S & A R T I N Q U E E N S L A N D

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AUTHENTIC Aboriginaldidgeridoos

Spirit of Australia Gallery offers thebiggest variety of Eucalyptus speciesdidgeridoos on the Gold Coast. You can

find plain ones such as Eucalyptus woolybuttfrom one to 1.3 metres, and plain ones inbloodwood and ironbark.

Hand-painted didgeridoos by Aboriginalartists such as Johnny Turnbull, ColinWightman, Lionel Phillips, Karl Hardy,Lionie Roser and others can be found inmallee and woolybutt (85 cm to 1.4 m). Theseartists also paint full size (1.3 – 1.6 m)didgeridoos on bloodwood or ironbark.

OPALS and jewelleryThe Gallery displays a large variety of

Aboriginal hand-painted necklaces, bracelets,and other jewellery. An impressive collectionof black, crystal and matrix opals originatedfrom Alanrise, Cooberpedy and other inlandopal-mining centres. You can select your ownloose opal stones and pendants from Boulder

opal, mainly dug from the Queensland opalmines at Yowah, Koroit and Opalville.

OILSKINS, Jackets and HatsTraditional oilskin jackets and leather bush

hats for the harsh environment of theAustralian outback.

APPARELLarge selection of t-shirts and lycra, hand

dyed, tie dyed and printed that are Australianmade and feature licensed Aboriginal designs.The Gallery offers a wide range of otherdistinctively Australian products:- Canvas paintings, boomerangs, emu callers

and eggs, pottery, wooden carvings- Crocodile and kangaroo leather accessories

(belts, wallets, necklaces, bracelets, bags etc)- Australian-made toys- Sheepskin footwear (slippers and Uggs) - Ties, scarves, nappery, novelties and gifts ●

SPIRIT OF AUSTRALIA GALLERY07 5561 0330www.spiritofaustraliagallery.com

SPIRIT OF AUSTRALIA GALLERYHome to authentic Australian-made products

Spirit of AustraliaG A L L E R Y

Shop No. 5, 3171 Surfers Paradise BoulevardSurfers Paradise Qld 4217

Phone: 07 5561 0330 • Fax: 07 5561 0331Email: [email protected]

Website: www.spiritofaustraliagallery.comOpen 7 days 9 am - 9 pm

Specialists in Authentic Aboriginal Fine Arts and Artefacts

SURFERS PARADISEA N T I Q U E S & A R T I N Q U E E N S L A N D

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Spirit of Australia Gallery is the onlyAboriginal art gallery in SurfersParadise. The Gallery offers a unique

collection of traditional and contemporaryAboriginal paintings by Central Australia’smost famous artists such as WalangkurraNapanangka, Gloria, Jeannie and KathleenPetyarre, Abie Loy, Evelyn Pultara, MargaretLewis Napangardi and Ronnie Tjampitjinpa.

The more contemporary and modernAboriginal art is exhibited by Yondee, TrishaMason, Colin Wightman, Melissa Wright,Grant Paulson, Bibi Barba and others.

Spirit of Australia Gallery offers the largestcollection of didgeridoos on the Gold Coast.

Over 200 authentic, termite-eaten didgeridoosare on display. The Gallery offers free lessonson playing the didgeridoo to customerswanting to learn.

You will also find a unique and wide varietyof Aboriginal artefacts and souvenirsincluding boomerangs, apparel, pottery, craftsand gifts. Visitors to the Gold Coast shoulddrop by the Gallery and take a photo of thelargest didgeridoo that the Gallery displays atour entrance ●

Spirit of AustraliaG A L L E R Y

Shop No. 5, 3171 Surfers Paradise BoulevardSurfers Paradise Qld 4217

Phone: 07 5561 0330 • Fax: 07 5561 0331Email: [email protected]

Website: www.spiritofaustraliagallery.comOpen 7 days 9 am - 9 pm

Specialists in Authentic Aboriginal Fine Arts and ArtefactsSPIRIT OF AUSTRALIA GALLERY07 5561 0330www.spiritofaustraliagallery.com

SPIRIT of Australia GalleryGeorge Tjugarrayi and family, 110 x 70 cm, $2,900,40 x 50 cm $490, 50 x 60 $650

Anastasia Bundey, 143 x 94 cm, $1,690 Benita Oliver, 92 x 65 cm, $990 Kathleen Petyarre, Bush seeds, 94 x 83 cm,$2,400

Julie Robinson Nangala (Dorothy Napangardi’sdaughter), 90 x 120 cm, $2,200

John Turnbull, 90 x 120 cm, $1,390 John Turnbull, 90 x 120 cm, $1,390

Jeremy Devitt, Spiritman Spiritwoman,90 x 75 cm, $690

Anthony Walker, 106 x 136 cm, $1,490Anthony Walker, Bushgrapes, 40 x 120 cm, $750

Anthony Walker, songcycles, 66 x 122 cm, $990

Far left: Peter Overs, Emu Dreaming, 60 x 60 cm, $1,900

Left: Sean Bundjalung,60 x 60 cm, $450


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Gerry Wedd, Sea of heartbreak,2011 (detail), ceramic


Peter Walker (from front) Swastika, Pointstick, Paulownia Planing Hull, Spitting, Boarder Lines, Firestick, Gun, Paisley, Burnt Fish, 2009

Gerry WeddRIP – Surf and Sea Ceramics 28 May – 10 July 2011

Peter WalkerFLUID AND HOLLOWWooden Surfboards28 May – 10 July 2011

Upstairs, waterside, Marina Mirage, Seaworld Drive, Main Beach, Gold Coast

T. 07 5532 3332 E. [email protected] W. www.astrasgalleries.comLocated in the former ‘Schubert Gallery’ space

‘Landmarks’ by Jeffrey MakinExhibition on now


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Antonio Duarte‘Romantic Impressions’

Artworks on display at Sofitel Gold Coast Broadbeach


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Investment artat Astras Galleries




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Joel Rea available at Astras Galleries




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WATLING GALLERIES GRAND OPENING EXHIBITION

MAXWELL WILKS20 May – 18 June

Maxwell Wilks, Morning Light, pastel Maxwell Wilks, Still Morning, oil on board

Maxwell Wilks, A Glimpse of the Water, Eyre Peninsula SA, pastel Maxwell Wilks, Wandering Among the Thistles, pastel

INVITATIONS ISSUED UPON REQUEST – LIMITED NUMBERS

CUSTOM FRAMING & MIRRORS, RESTORATIONS & VALUATIONSWatling Galleries has an expert Custom Framing division offering hundreds of varieties of mouldings to choose from and a Restoration Service of high standard. Watling Galleries also provides a Valuation and Appraisal service. We specialise in cataloguing private collections for insurance purposes and superannuation funds

and outside advice in the home can also be arranged.Encompassed in the gallery is a very eclectic collection of paintings, drawings, sculptures, pottery and artefacts.

Log onto www.watlingart.com to view all works or call in for a visit or contact our friendly staff to assist you with any of your inquiries.

NEW LOCATIONWatling Galleries: 115 Ferry Rd, Southport QLD 4215

P: 07 5531 4781 • M: 0421 016 953 • E: [email protected] • W: www.watlingart.comGOLD COAST MAP REFERENCE 29 E18

…powerful slicing strikes of pastel, brilliant colour and energised movement, and alive gestural rendering of oil scenes typify his imaginativesolutions to breathing new sensibilities into traditional representation.

Whoever said, ‘You cannot judge abook by its cover’ did not take intoconsideration the books which can

be found at Voyager. A good decorative covercan transform a book and make anexceptional thoughtful gift. If the e-bookfinally kills off the dust cover for hard copybooks, then surely the well-dressed periodnovel will only increase in value – the time tostart collecting was yesterday!

BOOK coversFrom 1910 to 1980, there were waves of

classic covers. The art deco period producedsome stunning provocative covers withsympathetic writing. Strictly Dishonourable, anovel by Joseph Weil published in 1931 afterthe play by Preston Sturges first produced onBroadway in 1929, portraying Isabelle as alusty strong willed woman capable ofcontrolling her own life. Deserted by her

fiancé late in a New York speakeasy, shemeets two strangers and for the first timespends the night in a man’s apartment.

Many Mansions, the 1932 novel by HenryC Rowland (1874-1933), has a cover thatembodies art deco style and within its pages,there is a racy narrative and a modern sexstory about future life.

During World War II, books were printed onlow-grade paper due to shortages and by law,but every effort was made to maintain andimprove visual appeal. Hollywood movieswere released with romantic images of thestars of the day, such as Alfred Hitchcock’sSpellbound in 1945, starring Ingrid Bergmanand Gregory Peck, which remains a favourite.Science fiction was on the rise and introducednew opportunities in cover art such as thesinister Donovan’s Brain (1944) by CurtSiodmark (1902-2000).

Jonathan Cape in London raised the bar

again in the 1950s with a series of strikingwrap around covers for novels by ErnestHemingway (1899-1961) such as Men WithoutWomen (1927), a collection of short stories. Inour view, these covers make the Londoneditions the most attractive series ofmainstream work of the 20th century – andnow, surely forever.

QUEENSLAND history – athoughtful offering

Voyager carries an ever-increasingcollection of key works pertaining to thehistory of our state and pays good prices forsuch items. Fox’s encyclopaedic History ofQueensland (1919-1923) is particularlysought after.

Northmost Australia (London, 1921) byRobert Logan Jack (1845-1921), geologist andexplorer, was his last major publication. Intwo volumes he gave detailed accounts of allthe explorations of north Queensland, includinghis own. This is supplemented by a number ofgovernment reports written by this eminent stategeologist with fine maps and narrative.

A prize item is a first edition of Journal ofLandsborough’s Expedition from Carpentaria(Melbourne, 1862). William Landsborough(1825-1886) set out from Brisbane by boat, wasshipwrecked on the way to Darwin, then travelledoverland in an attempt to find Burke and Wills,only to find they had perished. He continuedsouth to become the first to traverse Australiafrom north to south among his many explorations.

Foundation books include Thirty years ofcolonial government, a selection from thedespatches and letters of the Right Hon. SirGeorge Ferguson Bowen. Edited by StanleyLane-Poole (London: Longmans, Green,1889) – in stock is the most perfect copy.

Two more key books are Genesis ofQueensland by Henry Stuart Russell (1818-1889) and Queensland, Australia, A highlyeligible field for emigration and the futurecotton-field of Great Britain (London: EdwardStanford, 1861) by John Dunmore Lang(1799-1878). Descendants of these writershave recently visited our store.

Brisbane-published items are of particularinterest, such as Australian pioneers andreminiscences, 1849-1894 by NehemiahBartley (c. 1830-1894), with his Queenslandbias and important references to thefoundation of the Queensland Club.

There is an affectionate letter penned by theeighth governor of Queensland, LordLamington. He is the frugal Englishman afterwho our national delight is named. He is saidto have insisted that a spoilt sponge cake besaved and then dipped in melted chocolateand coconut, creating the lamington cake(among a few versions).

BRISBANE diary 1868-1886Of special interest is the manuscript diary

of a Brisbane homemaker, Mary Ann Berry,whose personal account of everyday life andinterests spanned nearly 20 years from 1868to 1886. She recorded with clarity historicalevents and observations together with familymatters and her own health.

Historical events she noted were the first royalvisit to Australia and Brisbane of Prince Alfred(1868) and the attempt on his life at ClontarfNSW; the first exhibition of wild animals (1868);the turning of the first sod for the Ipswich railway(1873) and its commencement (1876); theopening of the new Post Office (1874) and theNew Victoria Bridge that same year; and the first‘Exhibition’ in Queensland (1876). In 1877, aconcert was held for the ‘famine in India.’ MrsBerry noted that the Kelly gang were captured inJuly 1880 and Ned Kelly was hung later that year.

There will be more about Mary Ann’s life infuture issues ●

VOYAGER RARE BOOKS MAPS & PRINTS07 3211 [email protected]

BRISBANEA N T I Q U E S & A R T I N Q U E E N S L A N D

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VoyagerRare Books Maps & Prints

A Feast of Hemingway at Voyager

Period Classics – a Perfect Gift

On the Balcony, Brisbane Arcade

160 Queens Street, Brisbane

Phone 07 3211 1231Email: [email protected]

Henry C Rowland, Many Mansions, 1932 Joseph Weil, Strictly Dishonourable, 1931 Curt Siodmark, Donovan’s Brain, 1944 Ernest Hemingway, Men WithoutWomen, 1927

Movie poster for Alfred Hitchcock’sSpellbound, 1945

Extract from Mary Ann Berry’s diary, 1890

Lord Lamington

BOOKS WITH THE LOOKS AT VOYAGER

We are counting our blessings as ourshop in the Brisbane Arcadelocated in Brisbane’s city centre

escaped the flood. Watching the unfoldingevents in Europe; listening to Anna Blighencourage local Brisbane businesses to returnto work and try and get things up and runningas quickly as possible, I came to realise thathome is home and your roots are just that.Although not there, I still felt connected andmourned the devastating losses. My heartfeltsympathies go out to the families who have lostloved ones, lost family homes, lost everything.

FREE servicesAt Kellies Antiques a free service we are

offering is going through your list of itemsthat may require a valuation based ondescription. This covers antique jewellery and

antique silver lost or damaged by the floods.The compiled list can then be sent to yourinsurer. If you require this assistance, pleasemake contact with Susan Gaylard or SueJimmieson to arrange an appointment.

For items of jewellery that require cleaningas a result of the floods, we are offering freecleaning while you wait. If valued pieces havebecome damaged, we are offering freeassessments and quotes. So please pop in whenconvenient. Of course, our valuation serviceextends to items not flood damaged but may be inneed of updating for insurance purposes.

A GOOD news storyThere are always also good stories to come

out of bad ones. A Queensland couple whohad lost both of their gold wedding rings inthe floods of 1974 were reunited with theirlost bands when the rising flood watersdislodged the rings from their hiding place.Amazing to be found after 37 years!

LAUNCH of new rangeKellies Antiques has just launched a very

well made collection of high qualityreproduction jewellery at very affordableprices. Please stop by when you are in the cityand take a look at this wonderful range ●

We look forward to being of service to thecommunity, so if there are any questionswhatsoever, please do not hesitate to contact us at

KELLIES ANTIQUES07 3221 4825www.kellies-antiques.com

KELLIES ANTIQUES OFFERS A HELPING HAND


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Kellies Antiques

Gallery Level (Upstairs) BRISBANE ARCADEShop 16, 160 Queen Street Brisbane

Ph: 07 3221 4825 www.kellies-antiques.com

We now have a Kellies Antiques BLOG.kelliesantiques.wordpress.com


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Brisbane Arcade, Shop 23 Street Level, 160 Queen St Brisbane 4000• Ph: 07 3210 6722 • Mb: 0407 676 838 • [email protected]

www.brisbanevintagewatches.com

Rolex DatejustRolex Explorer Rolex Explorer IIRolex Yachtmaster Rolex Submariner

was a very slow transition that took years toreach fruition.

One of the signature design features of Rolexwatches today is the screw-down crown andwatertight cases. Rolex’s development of thescrew-down crown in 1926 gave them the finalsolution to the problem of leaky watchcases.Rolex made the first-ever water and dust resistantcase, named Oyster.

The marketing machine of Rolex began withthe Rolex Oyster being worn by Mercedes Gleitzwhile breaking the record for swimming theEnglish Channel. At the time, as the RolexOyster was a sensational watchmakingachievement, the company promoted this featurein advertisements.

In 1931 Rolex made the next big advance bydeveloping a self-winding movement that wouldeliminate the need for manual daily winding.This style of movement would also eliminate theproblem of crowns not being resealed in amoment of forgetfulness when winding anOyster wristwatch. Rolex patented this automaticrotary winding mechanism which created thenew Rolex model, the Rolex Oyster Perpetual.Only after 1948, when the original patent cameto an end, were competitors permitted tointroduce their own automatic systems.

In 1945, to mark the firm’s 40th birthday and to

showcase the improved automatic windingmovement, Rolex released another watch. This wasa world first and a model that would influence theappearance and technology of many futurewatches. The Datejust was the world’s first fullywater-resistant men’s watch which was automatic,with central seconds and a window-type datedisplay whose accuracy was verified by an officialchronometer certificate. These are thecharacteristics which are now commonplace in allRolex Oyster Perpetual watches.

While Rolex is famous for its Oyster watches,other non-Oyster cased watches make up a verylarge percentage of the Rolex range. The mostfamous of these is the Rolex Prince, with itsdistinctive rectangular case and high qualitymovement. The Prince was marketed as a gentleman’srather than a sporting watch and enjoyed strongsales worldwide. Certain Prince models are veryvaluable and highly sought after. The Rolex Princewas a manual wind watch and because of itsunsealed case many have sustained water damageover the years; it is rare to see an original RolexPrince in mint condition and these certainly demanda premium on the collectors market.

Many Swiss watch manufacturers includingRolex exported only their watch movements toAustralia in the 1930s, 40s and 50s. Themovements were fitted into locally made casesand sold to retailers. One of the most prolificcase producers was the Handley Company.Though these watches are still consideredgenuine Rolex, collectors don’t pay the sameprices as for the Swiss made and cased watches.

The success of the Oyster Perpetual watch ledthe way in the 1950s for the development of newmodels, known as tool watches. They wereoriginally created for use in specific professionsor recreational pursuits. The Explorer was thefirst of these ‘professional’ watch styles,designed to remain accurate while being worn inthe roughest of conditions – an ideal watch formountaineers. Prototypes to test and showcase itsdurability were given to Sir John Hunt’s Everestexpedition, which culminated in Sir EdmundHillary and Tenzing Norgay reaching the summiton 29 May 1953.

Rolex had to cater for the heightened interestin scuba diving in the 1950s as people were, andstill are, fascinated with the depths they could gounderwater. This fascination created a newmarket for a purpose-built diving watch. Theradically innovative Submariner was launched in1953 and was an immediate success with thepublic as well as divers. In 1953 the deepest aperson could dive was 90 metres, yet Rolex had created a watch that had a depth rating of180 metres.

In the same year, Rolex launched anotherspecialist watch called the Turn-O-Graph. Similarin appearance to the Submariner, Rolexpromoted the watch for the airline traveller, as ithad a bezel that could be turned to measureelapsed time.

The GMT-Master was another watch createdfor the frequent airline traveller. In 1953, Pan-American Airlines asked Rolex to create a watchthat could display the time in two time zones.The Submariner was adapted by adding an extrahand and a date feature. It is still popular today.

The only tool watch which is nowdiscontinued was the unusual Milgauss. It wascreated in 1954 for people such as scientists orpeople in power plants who work near highmagnetic fields. Rolex used anti-magnetic alloysin the watch movement, which were then casedin an iron shield. The Milgauss, whileaesthetically similar to a Submariner in itsoriginal version, sold in small numbers becauseof its very specific purpose. Certain models suchas the lightning hand Milgauss (with its secondhand resembling a lightning bolt) have beenknown to reach upwards of $80,000 because sofew were made.

By the 1960s, Rolex had positioned itself as aleader in the development of watches used inscience and exploration. The diving companyComex approached Rolex to create an advanceddiver’s watch suitable for deep sea saturationdiving. The watch developed was called the Sea-Dweller, released commercially in 1967 with theastonishing depth rating of 610 metres. Like theSubmariner, it was immensely popular withpeople who would never dive.

Rolex created the Cosmograph watch for themotor racing industry in the 1960s. Soon after itsrelease Rolex added Daytona to the dial. DaytonaBeach in Florida had been home for car racingand speed testing for many years and Rolexwanted to connect its watch permanently with car racing. This chronograph watch is capable of reading lap times to within a fifth of a second and for calculating average speeds. The Rolex Daytona is one of the most soughtafter of all vintage Rolex models; rare modelscan top $50,000.

The final tool watch in the Rolex range is theExplorer II. Created in the 1970s, it was designedfor a very unusual profession – speleologists.These are cave explorers, who from the depths ofthe caves need to distinguish night from day. Thewatch is similar to a GMT-Master, having anextra hour hand that rotates once every 24 hoursagainst a fixed bezel, in contrast to the GMT-Master’s rotatable bezel marked with the 24-hourincrements. Designed like the Milgauss for avery specific purpose, unlike the Milgauss it isstill available in the current Rolex range.

From its small beginnings, the RolexCompany has grown and developed into a watchproducing giant. The company has beenresponsible for many enduring and appealingwristwatch designs. These innovative modelscontinue to influence the style and features ofwatches produced by other manufacturers.

The advancements Rolex made in watchmovements and water resistant cases weregroundbreaking and the technology they created means the company will always beassociated with innovation, dependability,accuracy and style.

Rolex remains a market leader in watches due its success and commitment to its tool watch models. The popularity of this style ofwatch is reflected in the demand for vintagemodels and the strong prices they achieve ●

Natalie McLaughlinBRISBANE WATCHES07 3210 6722

The status and popularity associatedwith the global watch brand Rolex isundeniable. It is a watch company which,

from its beginning in 1905 has grownsuccessfully through constant innovation inwatch design and product development. Thehistory of Rolex, a name coined in 1908, is madeup of many pioneering wristwatch inventions dueto the entrepreneurial personality of its founder,Hans Wilsdorf.

The first Rolex milestone was in 1910, when a Rolex wristwatch movement wasrecognised for its accuracy under timekeepingtests. The Horology Society in Switzerlandawarded Rolex the world’s first wristwatchchronometer rating. Following this award, Rolexdecided that all timepieces would undergorigorous testing and would not be sold without anOfficial Timing Certificate.

The next ambitious plan by Rolex was tobrand their timepieces. Up to this point, Rolexwatches did not all bear the now famous brand.Over the next few years, the name Rolex beganto appear not only on their movements andwatchcase backs, but also on their watch faces.This practice was not popular with retailers, as itwas customary for shops to place their names onthe watches before selling them; however Rolexwas determined to put an end to its anonymity. It

ROLEX: Hallmark for prestige and performance


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Nothing could more disappointing thanhaving 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 also

the 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 [email protected]

Est1964

Reg.No. 26Penfold

JewellersFOR ALL INSURANCE VALUATIONS ON JEWELLERY,

GEMS, SILVERWAREInsurance • Probate • Matrimonial

• Free cleans • 2 copies of valuation • Flat fee per item • Colour photos • Provenance established

Brisbane’s Antique SpecialistsSilverware, collectables and gemstones

Valuation ‘While You Wait’ (by appointment)FAMILY LAW • INSURANCE • PROBATE

P: 07 3221 7516 F: 07 3221 7206 M: 0400 322 175Shop 5 Anzac Square

206 Adelaide Street Brisbane QLD 4000 [email protected]

18ct white gold sapphire and diamondcartwheel style cluster ring

18ct white gold lct diamond withsurrounding sapphires

An original superb platinum artdeco diamond pendant brooch

REPAIRING ANTIQUE JEWELLERYA task more difficult than customers realise

The weather is cooling down and themembers of QADA are starting to gearup for the highlight of the Queensland

antiques year – the annual Queensland AntiqueDealers Association fair. This is the premierevent in the antiques calendar and is to be heldfor the fifth year now, at the RNAShowgrounds in Bowen Hills.

The fair successfully made the transitionfrom the old City Hall to the far moreconvenient location at the RNA. The purpose-built building with hosts of amenities, easyaccess for dealers and the visiting public,inexpensive all-day parking and no city traffic, is the only logical venue which satisfies everyone.

This has proved to be a good decision aseach year visitor numbers steadily increase.Although it has been a particularly difficultstart to the year here in Queensland, and thememories of the floods and cyclones won’t beexpunged easily, we expect that the trend will continue.

MORE stands at the fairWhere else can you see an enormous array

of quality antiques, many held backspecifically for display at the fair? All are onshow at one large venue where you can spend

the day wandering through the exhibits. For thecomfort of patrons there is a coffee shop whereyou can rest and refresh with a coffee and cake,taking the time to contemplate before makingthat final important decision.

The furniture displays will cover anextensive range, from large dining tables,bookcases, sideboards and desks to sets ofchairs. Coming to the fair are many delicateoccasional pieces including side tables, winetables, work boxes, armchairs and wall pieces.Helping to complement and accessorise will bemirrors and over-mantels, etc.

Specialist dealers in silver, fine porcelain,glass, metal wares, and pottery will be out inforce. This year, there will be a large array ofantique jewellery on offer. Excitingly, theamount of small items we expect will be evenlarger than usual, so if you have gifts to buy,here is the perfect opportunity to find thosespecial pieces.

AFFORDABLE and special Prices range from a few dollars upwards, and

the variety is almost limitless. Importantly,sourcing those special pieces extends to men aswell as for the ladies. There will be specialistdealers in clocks, barometers, watches, rarebooks, vintage radios, music machines, old


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QADA Antique Fair is coming up 26 May – 29 May

QUEENSLAND’S LEADINGANTIQUES EVENT tools, hunting and fishing equipment and

furniture for gentlemen.Again, as in the past five years, we will be

inviting guest dealers from Queensland andfrom interstate to participate at the fair. This ispossible because of the size and layout of thevenue. The additional dozen invited dealers,both local and interstate, add interest anddiversity as their wares compliment those of our members. There is simply no where elseyou can go to see so much of interest in the one place.

PROFITS to charityProceeds from the QADA Antique Fair go

to support the Queensland Women’s HistoricalAssociation whose wonderful efforts maintainMiegunyah, the splendid historic mansion at35 Jordan Terrace, Bowen Hills.

OPENING night 26 MayEntry to this year’s Special Preview Night

will again be by tickets sold at the door. Aswith the 2010 event, there will be no cateringmaking entry a very affordable $15; thisincludes one free drink with further purchasesfrom the open bar priced at only $3 per drink.We found last year that this approachincreased the number of attendees to theopening night.

Based on last year’s numbers, we expectthat this year even more collectors will takeadvantage of attending the special previewnight for the special pieces which always sellearly. If unable to attend the opening night,entry during normal fair hours is $10 ●

For further information on the QUEENSLAND ANTIQUE DEALERS ASSOCIATION FAIRVisit www.qada.com.au

Talented architect, designer and Arts andCrafts exponent RS (Robin) Dodshelped refine the Queensland tradition

more than a century ago. Art in Architecture: The work of Robin

Dods, on display at the State Library ofQueensland from April to June, gives insightinto the range and volume of his work andpresents many of his drawings for the first time.

Art in Architecture also celebrates the StateLibrary’s recent acquisition of almost 300drawings from the creative Brisbanepartnership of Hall & Dods (1896-1916).

The firm’s Brisbane office opened in 1864as John Hall and is the oldest continuingarchitectural firm in Brisbane. Currentlyknown as Gray Puksand Hall and Dods, itbecame the most successful partnership of its time.

HISTORICAL architectural plansand drawings

Now part of the John Oxley Librarycollection, the plans have been painstakinglyconserved and digitised. This conservationwork was made possible through the generousdonations of the Partners of the State Libraryof Queensland through the Queensland Library Foundation.

State Librarian Lea Giles-Peters said she is proud to display this importantcollection of historical architectural plans and drawings stating, ‘Some of thesebeautifully illustrated drawings and plans showRobin Dods was more than a designer ofremarkable houses, but also a prominentdesigner of some landmark civic, religious andcommercial buildings, many of which aresadly no longer standing.

This makes the conservation and digitisationof this collection important, to protect andshare this historical record of our architectural heritage.’

Exhibition curator Dr Robert Riddel, anaward-winning Brisbane architect andarchitectural historian, knows Dods’ storyintimately, the work being the focus of his2008 Doctor of Philosophy thesis.

‘During the Hall & Dods partnership, Dodsdemonstrated his outstanding design abilitieswhich put the firm’s work on the national, and

even international stage,’ he said.Riddel further states that ‘A century ago, as

an architect, you would have to leave Brisbaneto achieve a high profile, so the fact they had anational profile was unique. Their work wasamong the best being produced in Australia at the time.

Dods’ influence on architecture, particularlyin Brisbane but also more widely, is nowrecognised for its accomplishment and rare quality.’

Dr Riddel said while Robin Dods was wellknown for his residential work, the exhibitionthemes also showcase his important church,commercial, civic and hospital building designsthroughout Brisbane and Queensland.

ARCHITECTURAL legacySome well known public buildings such as St

Brigid’s Church in Brisbane’s Red Hill and theMater Hospital are constant reminders of hislegacy, while the drawings are all that exist formany buildings that have either beendemolished, altered beyond recognition or thatwere never built.

‘Not only are these drawings important, butthey reveal how Dods brought his skills andtalents as an advocate of the Arts and CraftsMovement, yet blended with a wide vocabularyof influences to the buildings he designed,’ DrRiddel said.

‘Dods has a respect for the traditions ofbuilding in our region in Queensland andAustralia, but brought an arts and craftsapproach to that. He infused the localvernacular with new ideas – making it morerefined and responsive to the localenvironment.’

In this way Dods worked closely with otherartists to enhance his work through woodcarving, plaster modelling and stained glass.

The drawings exhibited in Art in Architecturewill be supported by Richard Stringer’sphotographs of the buildings and fine examplesof furniture, artworks and graphic designcreated by Dods to complement his work.

FREE Curator’s tour

Art in Architecture: The work of Robin Dodsis on display at Philip Bacon Heritage Gallery,State Library of Queensland from 16 April

until 12 June. Open daily 10 am – 5 pm. Freeentry. Dr Riddel will conduct free Curator’stours on 19 April and 14 May ●

For more information and to view the virtual exhibition, visitwww.slq.qld.gov.au/whats-on.

STATE LIBRARY OF QUEENSLAND07 3840 7666www.slq.qld.gov.au


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16 APRIL – 12 JUNE STATE LIBRARY OF QUEENSLANDCULTURAL CENTRE, SOUTH BANK, BRISBANE

Discover the creative talent behind the early 20th century Hall & Dods partnership, that helped refine the Queensland architectural tradition.

Supported by Partners of the State Library

New municipal buildings Maryborough (site,elevation and sections), 1906, ink, watercolour,pencil with iron gall inscriptions on heavy wovenpaper (hand drawn), 56.5 x 78 cm. John OxleyLibrary, State Library of Queensland

St Brigid’s Church, Red Hill (east and west elevations-detail), March 1913, ink, watercolour, pencil onlinen (hand drawn), 77.7 x 60 cm. John Oxley Library, State Library of Queensland

First section (public) Mater MisericordiaeHospital (sheet 5 1/8” entrance elevation anddetails), August 1909, watercolour and pencilon linen tracing cloth, 58.5 x 79 cm. John OxleyLibrary, State Library of Queensland

Art in Queensland architecture on display at theSTATE LIBRARY OF QUEENSLAND April – June

MILTONA N T I Q U E S & A R T I N Q U E E N S L A N D

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Antique maps were often producedby a collaboration of individuals. Amap may have been surveyed, drawn,

and engraved by three people, for an atlasedited by a fourth, published by a fifth andthen reissued by a sixth – sometimes reissuedover hundreds of years by others. If you takethe time to read the words around the map,identification is usually not that difficult.

CARTOUCHEIn identifying and describing a map, the

words in the title piece are used. An importantmap would have scrollwork and picturessurrounding a more elaborate description. In addition this cartouche can include the dateof publication or voyage depicted, and thename of the cartographer or map-maker. A presentation map may also name the patronof the voyage or the royal personage forwhom the chart was prepared.

In addition to a brightly-coloured elaborate

cartouche, there might be decorativeengravings around the mapped discoveries ofthe voyage. If the map was an update oradaptation of an earlier cartographer’s work,the original mapmaker’s name was oftenincluded in the cartouche description.

All names across the base of a map arehelpful in identifying and dating a map. Onthe right there may be the engraver’s namefollowed by engrav., engr., sculp., sc. Lowerleft may appear the name of the artist,designer, draughtsman or author of the work,followed by del. (delineated), descript.,auctore. Sometimes the printer or publisher isfound (usually in the centre), as excudit.,excud., ex officina, formis.

ATTRIBUTIONThe custom of attributing early maps to a

particular creator varies. The map is attributedto the publisher, rather than cartographer orthe source of information, when the style of

the presented image is the main identifyingfactor. For instance, the maps published byTallis & Co are of a particular format and areusually attributed to Tallis rather than to thosewho drew or engraved them. Each map issurrounded by finely engraved borders,cartouche, and scenes of the region depictedor illustrating the voyage shown on the map.

DISTINCTIVE informationSome maps are easily recognisable as

belonging to a particular source. De Quiroswas not successful in finding the east coast ofAustralia, but claimed a successful missionand pursued more lucrative pursuits in theSpice Islands to the north.

Inaccurate information from the Portugueseexplorer is responsible for mapmaker PhilippeBuache (1700-1773) extending the east coastof Australia, north to Papua New Guinea, andeast to the New Hebrides Terre de St Esprit,which was translated as The Holy Ghost Land,in the English publication of this map.

The Chart of the Antarctic Polar Circle withthe countries adjoining, according to the NewHypothesis of Monsieur Buache, circa 1739, isa wonderful map, including the South Pole aswell as a most unusual outline of Australia.Quite unlike his relative and predecessor thegreat cartographer Guillaume De Lisle (1675-1726), Buache was a great exponent oftheoretical geography. He republished manymaps by Delisle and Alexis Hubert Jaillot (c. 1632-1712), but his own maps are notablefor their inaccuracy.

Probably the best-recognised early map ofAustralia, also compiled by a Frenchman, isthe Carte Reduite des Terres Australes(Reduced Chart of the Southern Lands) circa1753, by Jacques Nicolas Bellin (1703-1772).Bellin’s map has text along the dotted line of ahypothetical east coast: ‘I suppose VanDiemen’s Land (Tasmania) joins to PapuaNew Guinea, but without proof.’

DISTINCTIVE formatIt is comforting to know that French map

embellishment was not only in theirguesswork. French engineer and geographerVictor Levasseur (fl. 1838-1854) attained areputation for some of the grandest decoratedmaps ever published, with his Department(county) maps of France.

His maps are easily recognisable – and aremost informative. Each department map issurrounded by a beautifully engravednarrative of the region with illustrations ofproduce, commerce, coats of arms, locallandmarks, peasants in costume, andhistorically important people; accompanied by scrolls of statistics.

COUNTRIES, states & publishing houses

As well as geographical discoveries, wars,changes of country borders, and namechanges necessitated maps being reissued. The

Jacques Nicolas Bellin (France 1703-1772), Cartouche of map, L’Empire dela Chine, 1748

different information on a map assists inestablishing its date – particularly if you are a historian.

Close examination might reveal otherdiscrepancies between maps when a map wasurgently required and two plates were made.These are referred to as First State and SecondState. This was a rare situation. The term ismore often used when mistakes are rectifiedand a plate reissued. As each copper plate wasan expensive commodity and relatively soft, amistake was beaten flat and the section of thecopperplate re-engraved.

Some maps were re-issued during a period ofover a hundred years and not necessarily updatedto include current information. When a publisherbought or inherited map plates from a mappublishing house, and then re-issued a map underhis own name, this of course makes identification,differentiation and dating of the map much easier.

REPRODUCTIONS & limited editions

When demand for a beautiful or historicallyimportant map exceeds availability – andoften budget – reproductions and limitededitions can be an acceptable alternative.When framed they are just as interesting andare often difficult to differentiate from anoriginal antique map behind glass. Unless it isan obvious reproduction, few antique dealersare willing to risk their reputation onidentification without un-framing the map.

It is not possible to give an accuratevaluation if a map is framed and unable to beexamined, because even if identified, themap’s value will vary depending on itscondition. Some later publications of earlymaps are easily recognised by the compositionand age of the paper on which they areprinted. A great example of a fine limitededition map is John Oxley’s chart of theBrisbane River (originally published in Parisin 1823) ●

Derek & Kathryn NichollsANTIQUE PRINT & MAP COMPANY07 3368 1167www.antiqueprintclub.com

Victor Levasseur(France 1838-1854), Dept. de GirondeCarte Anciennede Geographiede Departement(Department of Gironde,antique map of geography of departments),c. 1854

Philippe Buache (France 1700-1773), c. 1739Chart Of The Antarctic Polar Circle With TheCountries Adjoining, According To The NewHypothesis Of Monsieur Buache

Jacques Nicolas Bellin (France 1703-1772), CarteRéduite des Terres Australes, c. 1753

John Tallis and Co (publisher), The World, Mercator’sProjection, Shewing the Voyages of Captain CookAround the World, steel engraving, c. 1851, laterhand-tinting with watercolour

IDENTIFICATION OF ANTIQUE MAPS

www.antiqueprintclub.com

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

Wednesday – Friday10 am – 6 pm Saturday10 am – 4 pm Phone 07 3368 1167Website www.antiqueprintclub.com Email [email protected]

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

As regular readers will be aware, afeature of Paddington Antique Centreis its changing foyer displays. We now

aim to change our displays/exhibitions eachmonth, planning them well in advance so thatas many dealers as possible can contribute. Wehave been overwhelmed with the response.Dealers enthusiastically hold back stock thatwill add to an upcoming display as well asprovide great ideas for future displays.Customers keenly enquire as to what’s comingup. From time to time we’ve even hadcustomers loan us treasured items from theirpersonal collections.

From my point of view the most gratifyingthing to come out of this activity is once againthe trivia, links and insights. This industry islike a semi-active volcano – full ofinformation, bubbling away with such intensitythat it is regularly forced to spit out offeringsof red hot gems that can’t be ignored.

An excellent example of this was our recentoriental exhibition. When it was suggested thatwe do a Japanese exhibition my initial thoughtwas who would be interested in ‘made inJapan.’ In hindsight I can’t imagine why Iwould have thought this. I have travelled toJapan and love Japanese textiles. But I didn’timmediately think about the textiles, or thewoodblock prints, or the ceramics. I suppose I was thinking more of our current ‘made inChina’ attitude. Fortunately, I quickly realisedmy mistake. I began looking around the centreand talking to people. The possibilities became overwhelming.

Furthermore, my family was alreadyplanning a pre-Christmas trip to Japan so theopportunity was there to look for someinteresting bits to bring back. Before we leftfor Japan, I had many people say to me,including dealers, ‘The buying won’t be muchgood.’ On the contrary, the buying was fine.Admittedly, I wasn’t trying to find fabulousSatsuma or Imari, or in fact anything reallyearly or high end. I knew we had a goodselection of these. I was looking for greatquality, colourful textiles, jewellery, smallcollectables and woodblock prints.

The antique markets in cities such as Kyotoare great fun, but don’t expect to haggle asreadily as you can elsewhere in Asia. TheJapanese are an extremely well mannered andrespectful people, so if you do want tonegotiate a cheaper price do so with courtesy and respect, and always thank thevendor sincerely.

The antique market in Tokyo, which isadvertised as the biggest antique market inAsia, doesn’t quite live up to the expectationscreated, but is worth a visit nonetheless. Wehad considerable trouble finding the centre.None of the surrounding businesses knew that

the market existed, nor did our hotel or ourtaxi driver, so I would say that they have avery select clientele.

It is bemusing to walk into an antique centrein Asia and be greeted by a full Susie Coopercoffee service. The prices here were quitevariable although it was clear that manyvendors were much more open to doing deals,often pre-empting my offer with a far betterone! The exchange rate was in our favour andthe Japanese economy has been flat for so longthat they are keen to do business.

Antique textile merchants in traditionalmountain villages afford wonderful buyingopportunities if you know where to go. Abouteight years ago, my mother and I had done anintensive tour looking specifically at the textileindustry. It was with a small group of womenand a guide who was able to open manyprivate doors to us. Since then my mother hasbeen making fabulous Japanese-style quiltsusing traditional textiles and sewing methodsand incorporating traditional symbolism.

If I could just coerce her into making mesomething for the foyer.

AN emerging picture What we ended up with in our

display/exhibition was as usual a combinationof items for sale and display-only items. Whiledisplaying items that are not for sale doesirritate the occasional customer, most peopleappreciate the opportunity to see pieces thatthey otherwise would not get to see. These areusually the best items of the exhibition as theycome from the private collections of dealersand PAC friends.

EXHIBITION highlightsThere were many special pieces on show

including an impressive 1870s Imari vasealmost a metre high, a wonderful collection ofSatsuma and Kutani porcelain from 1830-1940, a collection of Satsuma from the1930s, a cloisonné plaque, c. 1900, a superbNoritake cabinet plate of 1985, ceramics from1900, some of which were quite rare, and aSatsuma tea set.

There were a number of superb, hand-coloured woodblock prints, one a particularlybeautiful boudoir scene. Complimenting theprints was a yatate, c. 1850-70, which is atravelling brush and ink holder that fits in theobi sash. It is similar in principle to achatelaine. This one was a rare example ofbamboo and wood carved in the figure ofDaruma complete with an ojime bead.

An ojime necklace made up of a collectionof beads dating from the late Edo through tothe Meiji period was shown. Some ojimebeads are of red coral, some of natural rockcrystal, Peking glass, carved nut and seed,lacquered wood. The earliest and most unusual

are the carved clay beads with the man’s faceon one side and a child’s face on the other.

We also had on show a pair of beautifullyinlayed metal urns dating to around 1870.

These pieces were complemented bycolourful decorative fans, umbrellas, Buddhas,dolls, kimonos, obis, a fabulous quilt, ikebana,a lacquer screen, a bamboo screen as well as afun display of fake food, uniquely Japanese.Rounding off the exhibition was a selection ofsuperb Japanese militaria and jewelleryincluding pearls, a 1930s whale bone brooch, apair of tortoiseshell obidomei and a boxedtwo-piece traditional hair set in horn withmaki-e in metal and enamel.

As we were setting up, customer interestwas keen. The kimono sold the minute it was

PADDINGTONA N T I Q U E S & A R T I N Q U E E N S L A N D

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AT PADDINGTON ANTIQUE CENTRE

hung so that we had to borrow it back until theend of the display. Some things we elected notto sell until the end of the show as it becameclear that they would ‘walk’ before we wereeven fully set-up.

To look at Japanese antiques one has to lookat the Orient as a whole as they borrowedshamelessly and still do today. They borrowedparticularly from China and to a lesser extentfrom Korea. Therefore, we did allow someslippage into broader oriental piecesparticularly Chinese, provided they were goodquality and complemented the display. All inall, it was great fun and well worth the effort.

IN THE coming monthsOur hugely successful fashion event from

last year, Frocks, Docs & Diamonds will berepeated this year on Friday 20 May. Ticketswill be pre-sold through the centre at $20each. It will be a fantastic evening with winesupplied by Clovely Estate, lots of nibbles, and of course the dynamic parade, plus theeye-popping foyer display. Don’t miss out! See our website, find us on Facebook or visitour blog ●

PADDINGTON ANTIQUE CENTRE07 3369 8088www.paddingtonantiquecentre.com

an exhibition of Japanese craftsmanship: a story of design, discipline, skill and beauty

Something old for something newBe seen to be green and adopt something old

to become your something new

Antique ❖ Vintage ❖ RetroEnglish, Australian, French & Asian furniture

• collectable costume and estate jewellery • vintage andretro clothing and accessories • Australian pottery

• clocks & watches • china, glass, silver • linen • military • rustic European • arts & crafts • art nouveau

• art deco • glamshackle • nana chic

MORE THAN 50 DEALERS

Phone 07 3369 8088167 Latrobe Tce Paddington Brisbane 4064

[email protected]

Trading 7 days a week, 10 am to 5 pm

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 [email protected]

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


28

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

NEW FARMA N T I Q U E S & A R T I N Q U E E N S L A N D

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Travelling through various countriessuch as Russia and observing themagnificent treasures of the Hermitage

Museum has been stimulating. I visited thebarren island where Peter the Great had thevision to turn it into a masterpiece of sheerelegant design, fronted by a cascade of anever-flowing waterfall with a semicircle ofstone steps, graced by a heavily carvedbalustrade leading on to a terrace – that led toanother fabulous palace. All of this wascreated from a wilderness of shrub and gorse.

Then I went on to Moscow to view thefamous Armoury, which held another fabulousdisplay from a bygone era. Treasuresdepicting early carriages, costumes,ornaments, jewellery and furnishings showedhow the Tsars and their entourages livedthrough the centuries. I toured prominent EastEuropean countries, too numerous to mention.

I also visited Egypt and saw the pharaohs’

burial tombs, the sphinx and the pyramids. Iwrote last issue about Cairo, visiting the CairoMuseum and viewing the mummified remainsof some early pharaohs and their associates.Then I wrote how I loved Cairo, and theresponse was amazing. I had calls from manyparts of Australia saying how much they lovedCairo too and agreed with all I had written,which pleased me greatly to realise so manypeople shared my observations.

However, I will say I love flying back hometo Brisbane and driving along KingsfordSmith Drive. I always come home through thecity because I like to observe all those lovelymarble buildings and all the older ones too,and for some reason the sun is always shiningfrom a lovely blue sky.

HOW near one can be todisaster

This brings me to the horrendous floods wehad just recently and how our lovely city wasnearly destroyed. I said nearly, andexperienced how near one can be to disaster.Now I happen to live on a hill close to the cityso I escaped being flooded but many familiesI knew went under.

I do not know who shed the most tears,those who lost all their possessions or we whoactually witnessed their plight and even feltguilty because they were not our homes thatwent under. We are glad that we did not haveto face that tragic loss. What affected us themost was the look of devastation on theirfaces, trying to comprehend what hadhappened. The fact was that the water rose sorapidly that most had barely time to grab thekids and run. Even though our Premier kepturging us to be prepared, no one believed thewater could rise so quickly.

Of course, the saving aspect of this wholedilemma was the hundreds of volunteers whocame with their buckets and brooms and theirenergy to hose away the smelly sludge fromthe walls and floors. I believe many antiqueswere sent to an early demise. Many old familypictures and treasures were so covered withmuck and grime that they were thought to bebeyond saving.

The generosity of spirit from so many kindpeople lifted this horrendous situation fromdevastation to a kind of renewal of hope andlove in our community. I heard many storiesof goodwill and kindness, but the best one I

heard was on a roundabout in the midst of a flooded area, where a group set up abarbeque area and started handing out hotfood to everyone. How about that for a helpful initiative?

I am pleased to say even though my shop isclose to the Brisbane River it was saved. Noneof my antiques were damaged nor had to bedumped, although the floods came halfway upmy street.

CULTURAL EXCHANGESSo I guess I will probably live to see

another disaster but I hope it will not be formany a long day because I want to visit manymore countries and view many more palacesand museums.●

Eilisha LittleEILISHA’S SHOPPE07 3358 1448

Member of QADAProprietor: Eilisha Little

Antiques, Objets d’Art, Furniture, Porcelain, Sterling Silver,

Old Jewellery, Collectables & Linen

Experienced Hand French Polisher,Insurance Work Undertaken

Open: Tuesday to Friday 10 am - 4 pm

Saturday 10 am - 2 pm Sunday 11 am - 4 pm

109 James Street New Farm Qld 4005Phone 07 3358 1448

AH 07 3844 3619Mobile 0423 830 515

We were very fortunate that wewere not severely affected by thefloods that inundated so many

homes throughout Queensland. Our hearts goout to those who suffered loss.

Our showroom was spared, howeverprecautions needed to be taken and we weregrateful for so many calls offering assistance.We have since received many calls fromclients with flood-affected furniture. Ourworkshop and storerooms were high and dryat Salisbury so we were pleased to be able toassist clients by removing their damagedfurniture to our workshop and now we arerestoring it for them, piece by piece.

It really surprised and disappointed us at howmuch furniture was discarded and was not evenconsidered for restoration. Many flood affectedhouseholds may be waiting for an answer fromtheir insurers on their cover, which seems to betaking far too long in many cases. Ourdaughter’s property was flooded and she is yetto have her renovation or rebuild claimapproved. What a frustrating time, not knowingwhether you have suffered great financial lossor that you have been wise to insure with floodcover – and whether that actually means youwere covered for this flood.

RESTORATION after the floodMostly antique upholstered furniture is fully

restorable, the solid timber frames can be re-

glued and re-polished and upholstery redone.Naturally, if they were pieces that still hadtheir original hand-stitched finish, this maynot have survived. However, this is where theexpertise of a traditional upholsterer comes tothe fore. It can all be redone just as it wasoriginally made.

HERE are three rules of thumbfor your damaged furniture

Rule No. 1 Please do not succumb to modern finishes on your beautiful antique pieces.

Rule No. 2 With cabinet ware, be sure tokeep it in an airy dry area with doors anddrawers open.

Rule No. 3 If you are not sure if somethingcan be salvaged, please ring 07 3852 6084 fora professional opinion before making anirreversible decision of disposal.

Please call and discuss with us yourdamaged pieces. We are happy to see how wecan help you to decide the best way forwardwith your collection. We can advise onrestoration and re-upholstery and assist withvaluations for your insurers ●

Lyn and Ralph MullerCOLLECTORS CORNER ANTIQUES07 3852 [email protected]

AT COLLECTORSCORNER ANTIQUESit’s business as usual

NEWSTEADA N T I Q U E S & A R T I N Q U E E N S L A N D

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14 Stratton St, Newstead Ph 07 3852 6084 Fax 07 3252 3808

END OF LEASE SALENOW ON

All furniture at Newsteadwill be sold – not moved

AFTER FINAL CLOSE DOWN – BUSINESS WILL CONTINUEFROM OUR SALISBURY WAREHOUSE/ WORKSHOP

To stay informed please visit our websitewww.collectorscorner.net.au

French 19th century mahogany chestwas $3200 now $1750

French oak Louis style armoirewas $3800 now $ 1900

Pair French walnut bedsideswere $3600 now $1850

Rare oak hutchwas $4485 now $2450

Set of 6 oak dining chairs was $3200 now $1600

French oak bureau/bookcasewas $2850 now $1450

French oak hallstandwas $2800 now $1400

French oak sideboardwas $2700 now $1350

Allreproduction

furnitureup to

50% off

Flood-damaged furniture awaiting restoration and re-upholstery

TENERIFFEA N T I Q U E S & A R T I N Q U E E N S L A N D

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The best place in Brisbane to findquality antiques, collectables and awide variety of decorator items is

undoubtedly at Commercial Road Antiques &Decorative Arts Centre, formerly the NewFarm Antique Centre.

Whether you like old, retro or just plainpractical, plan a visit to our rejuvenated centre.Allow yourself enough time to browse, as youwill be surprised and tempted by the variety ofstock available and thrilled with the good and fairprices in Queensland’s largest and most diverseantique and decorative arts centre.

FRESH look & new facesEvery business is facing a few challenges,requiring us all to lift our game and to put thecustomer’s needs and wants first. You will seethe improvements and conveniencesimmediately when you visit • a brighter look• freshly painted • several new dealers • exciting fresh stock• friendly and knowledgeable staff• open seven days, 10 am – 5 pm.

Therefore, if you want a comfortable chairin which to read a good book and a fine glassfrom which to sip wine, we can offer you thelot, either old or new – except for the wine.

BONUS rewards We appreciate the support of our clients and

organised a movie offer as a way of saying thankyou. This recent event was well received by ourcustomers and to ensure we reach as many of ourclients as possible we will be sending invitationsthrough Facebook to future events, so make sureto join us online.

A DECORATOR’S resourceWith film and television productions

increasing in south east Queensland,Commercial Road Antiques is again a majorsource of items for props and sets. Decoratorsand architects are other professionals whohave found the varied range advantageous atCommercial Road Antiques & DecorativeArts. When will you join us?

For the many residents affected by thehorrific floods, we are attempting to offer thewidest range of furniture at the best possibleprices to refurnish your homes. If you havenot found what you need or want, talk to usand we will always try to help you ●

Ian ThomsonCOMMERCIAL ROAD ANTIQUES& DECORATIVE ARTS07 3852 2352

QUALITY ANTIQUES, COLLECTABLES ANDA WIDE VARIETY OF DECORATOR ITEMS AT Commercial Road Antiques& Decorative Arts Centre

Let us take youon a surprising journey

ChinaEnglandFranceIndiaJapanPNG

and around Australia

Commercial Road Antiques85 Commercial Road, Teneriffe

07 3852 23527 days 10am - 5pm

The popularity of antique and periodjewellery escalates every year, alongwith prices. There is an increased

interest by celebrities and fashion houses. Forexample, America’s First Lady, MichelleObama has a penchant for wearing antiquebrooches. It also is soundly based on the one-of-a-kind status of these coveted pieces.

GEORGIAN and Victorianjewellery

During the Georgian and Victorian eras(1714-1901), jewellery was made in a diverserange of style and materials. Depending onthe wealth of the buyer, and the fashion of theday, a lady could be seen wearing jewellerymade from diamonds or tortoiseshell, paste orwoven hair. Aesthetically, the Georgian erafocussed on opulence and intricate designs,while jewellery created in Victorian timesevoked romanticism and sentimentality.

Diamond jewellery was silver set and goldmounted to best refract the light from candlesor gaslights. The most popular designs werebased on flowers, foliage, birds, butterfliesand bows. Handcrafted and time consuming tomake, they were typically set with rubies,sapphires, emeralds and pearls as well asdiamonds, which were usually rose-cut.

Today, these gorgeous pieces of Georgianand Victorian antique jewellery have comeback into fashion. They are in limited supplyalthough they can still be found and thepurchase price is comparable to a newly made piece.

1930S JEWELLERYBy the 1930s, jewellery was being made to

a very high standard, with jewellers expertlycombining yellow gold, white gold andplatinum in their designs. Diamond rings are agood example from this period, as a ring

shank was usually yellow or white gold andthe setting made of platinum, and all finelycrafted by hand.

These pretty rings can be found in a reliableantique shop. Among their many differentconfigurations are those set with a singlediamond stone and two, three or fivediamonds, while others are set with acombination of coloured gemstones such asrubies, emeralds, sapphires and opals.

CURRENT TrendsBeautifully crafted antique rings are highly

sought after as engagement and wedding rings– perfect reminders of romance. The graciousdesigns of antique rings, necklaces andearrings complement bridal gowns, attendants’wear, and guests’ dresses.

The Brisbane Antique Emporium has a verycomprehensive range of Georgian, Victorian,Edwardian, Art Deco and period jewellery. Ifyou are looking for a diamond engagementring or just a pretty piece of wearable uniquejewellery, chances are you will find it hereand at a competitive price.

The beauty of collecting antique and periodjewellery is its appeal and its magnificentquality. As a bonus, its value and demand willclearly increase in years to come.

NEWSLETTER for collectorsReaders are invited to receive our free

online newsletter – sign up on our website tobe aware of new stock arrivals ●


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One-of-a-kind finds at BRISBANEANTIQUE EMPORIUM

APPRECIATING ANTIQUE ANDPERIOD JEWELLERY –

Karen Klaich & Michael MoyleBRISBANE ANTIQUE EMPORIUM 07 3862 1600 / 0417 605 562info@brisbaneantiqueemporium.com.auwww.brisbaneantiqueemporium.com.au

ALBIONA N T I Q U E S & A R T I N Q U E E N S L A N D

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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 ownpacking. Museums, art galleries and antiquedealers Australia-wide are finding our servicetruly valuable and ask us to take care of theentire logistical process – from pick-up topackaging to paperwork, freighting and safedoor-to-door delivery.

No other company in Australia does this. Byletting us take care of all the details, curators,dealers and collectors are free to concentrateon their core business. At Pack & Send we willpersonally manage the entire job and evencomputer-track the item en route until itarrives safely and in pristine condition at itsdestination.

PROFESSIONAL Packing ServicePack & Send is the only packaging and

freight company that has access to InstapakFoam-in-Place technology, a system using softfoam that 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 onlythat, but Foam-in-Place is highly cost efficientand readily disposed of without harming 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 our

experience in the packing and freighting offragile, large, awkward and valuable items, weare able to cover even the most fragile art orantique item. Protection against loss anddamage is available through all Pack & Sendstores, giving you peace of mind whensending valuable items and one-off pieces.

NO JOB Too Big or Too SmallWhen you call Pack & Send, regardless of

whether 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 & Send Albion is open 5 days aweek, from 8.30 am to 5.30 pm Monday toFriday and by appointment Saturday. Theteam at Pack & Send look forward to theopportunity to offer their services insolving any packaging or freight problemyou might have ●

Stephen & Janet McCartneyPACK & SEND07 3262 [email protected]

PACK & SEND art and antique specialists

Museums, art galleries and antique dealersAustralia-wide are findingPack & Send’s service trulyvaluable because we takecare of all the details

“

”

Where would an antique dealerstart? I have the advantage ofworking each day with wonderful

pieces and the good fortune to be offered a greatvariety of items. There is always an interestinghistorical or sentimental association with eacharticle, no matter how small.

SMALLER favouritesSome of my favourites are the smaller

items. I have a wonderful collection ofVictorian and Edwardian ‘nodders.’ As a child,I was always fascinated with a pair ofgrandmother and grandfather figures thatwould nod their heads when touched. Theywere my mother’s treasured possessionspassed down from her mother and are now inmy collection.

I now sometimes feel like I have corneredthe market on nodders (head bobs) andswayers (move side to side) in all shapes andsizes. They are getting harder to find, but Istill get that wonderful feeling of excitementwhen I find one to add to my collection. Oneof the rarest pieces in my collection is a groupof six nodders, all in one stand inspired byGilbert and Sullivan’s The Mikado.

PERSONABLE and fun collectables

Something very different is my collectionof art nouveau metal jewellery caskets. All ofthem are a different shape or size; each one atreasure in its own right. I do take intoconsideration the condition of the metal; that itshould have a warm, original patina and its liningand hinges should be in good, original condition.

To add a bit of light frivolity to my collection, Ihave on a hall table my ‘baggage girls,’ made ofporcelain and so typical of the 1930s. Thesesmall, cheeky figures with their brightly colouredorange hats are sitting on or carrying a suitcase.When they were first made in the 1930s, theywould have been very inexpensive, much as wasDepression glass, but now fetch good prices – ifyou can find them.

To compliment my ‘baggage girls’ I look for the ‘cuties’ that again feature thelarge orange hats and come in a variety of

shapes and sizes. Another splash of colour onthe hall table are the charming little boyserviette rings dating from late 1920s to1930s. With their top hats, smiling faces andoutstretched legs, what a wonderful way tostart the day at breakfast time.

I have always thought collecting is a verypersonal and individual passion that does nothave to cost a great deal of money. So get outthere and go hunting for those things youknow will always give you great pleasure tosee and hold for years to come ●

Jill PhillipsDISCOVERY CORNER07 3862 2155 / 0402 339 643 [email protected]

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Late Victorian character ‘nodders’ inspired by Gilbert and Sullivan’s The Mikado


Baggage girls and ‘Cuties’ with checked skirts and hats, c. 1930s

Little boy serviette rings, c. 1930s

Late Victorian grandmother and grandfather ‘nodders’

MY FAVOURITE THINGS

CLAYFIELDA N T I Q U E S & A R T I N Q U E E N S L A N D

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Discovery CornerEstablished in 1976 & proudly run by the Phillips family

Member of the Queensland Antique Dealers Association

WE BUY QUALITY ANTIQUES AND COLLECTABLES

812 Sandgate Road, Clayfield QLD 4011corner of Sandgate Road and Junction Road

Tel: 07 3862 2155 • Mob: 0402 339 643 • EMAIL: [email protected]

OPEN 7 DAYS 10 am - 5 pm

SPECIALISING IN FURNITURE, PORCELAIN, SILVER, STATUARY, GLASSWARE

QUALITY, RARITY, AGE AND PRESENTATION ARE OF PRIME IMPORTANCE

CLAYFIELDA N T I Q U E S & A R T I N Q U E E N S L A N D

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The ultimate antiques destinationThousands of pieces from a variety of quality dealers

Great selection of

ANTIQUE JEWELLERY

794-810 Sandgate Road (Cnr Junction Road) CLAYFIELD Qld 4011AMPLE ON-SITE PARKING (VIA JUNCTION ROAD)

Phone 07 3862 1600Email: [email protected]

Website: www.brisbaneantiqueemporium.com.au OPEN 7 DAYS. 10am – 5pm

LIMITED FLOOR SPACE / CABINETS AVAILABLE. CONTACT DAVID PHILLIPS 0417 605 562

ALBION / NEWSTEAD / MILTON / KURWONGBAHA N T I Q U E S & A R T I N Q U E E N S L A N D

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BRISBANE ANTIQUES PTY LTDGRAHAM SEE

Registered Valuer NCJV, Member AA&ADA & QADA

[email protected]

23 Crosby Rd Albion

07 3262 1444

TUESDAY-SATURDAY10am-5pm

Closed Sunday, Monday

Queries & Appointments07 3888 1549

Today’s investments - tomorrow’s antiques and heirlooms!

Featuring: Portrait & Ornate Frame Restoration & ReproductionsPhotograph Restoration Gilt & Ornate Frames Convex Glass

Today’s investments – Tomorrow’s antiques and heirlooms!

Also custom made. Members AICCM, AAADA, M&GNSW & MBAQ

G.N. OlssonTraditional Mastercraftsmen Established 1983

Antique Restoration & Custom Clocks, Furniture & Architectural Features

393 Narangba Rd, Kurwongbah Brisbane QLD 4503 AustraliaFax: 07 3888 5330 • [email protected]

Vella Bros Fine Upholsterers

CollectorsCornerIncorporating

ANTIQUES PTY LTD

14 Stratton St Newstead Qld 4006Ph: 07 3852 6084 Fax: 07 3252 3808Email: [email protected]

Antique & decorator selections from Europe, Asia & across Australia Fabulous furniture and fine upholstery

Hours:Tuesday - Friday 10 am - 4:30 pmSaturday 10 am - 4 pm

END OF LEASE STOCK CLEARANCE

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: [email protected]

EAST BRISBANEA N T I Q U E S & A R T I N Q U E E N S L A N D

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950 Stanley Street East (cnr Longlands Street), East Brisbane QLD 4169

Phone 61 7 3391 2300 Fax 61 7 3391 2331

Email: [email protected] Website: www.lavinantiques.com.au

Trading seven days a week 10 am – 6 pm

Aavin

ntiquesL

FURNITURE · CHANDELIERS · CERAMICS · PAINTINGS · RUGS · TEXTILES

Importers of fine quality antiques

Shapland and Pettermahogany and inlaid display cabinet, h 2030, w 1350, d 430 mm


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RNA SHOWGROUNDSGREGORY TERRACE, BRISBANE

Queensland Antique Dealers Association Fair27 - 29 May

Friday 27: 10 am - 8 pmSaturday 28: 10 am - 8 pm

Sunday 29: 10 am - 4 pmAdmission $10

Phone: 07 3891 1048 or visit: www.qada.com.au

OPENING NIGHT PREVIEWThursday 26 May 6.30 - 9.30 pm

Admission $15, tickets available at the door

QADA ANTIQUE FAIR 2011

GOLD COAST / SANCTUARY COVEA N T I Q U E S & A R T I N Q U E E N S L A N D

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A selection of English Hallmarked Sterling Silver framesand antique silver available.

GOLD COAST ANTIQUE CENTRE2076 GOLD COAST HIGHWAY, MIAMI QUEENSLAND

P: 61 7 5572 0522 M: 0412 229 117

CAMPERDOWN MEWS212-220 PARRAMATTA ROAD CAMPERDOWN NSW

P: 61 2 9550 5554 M: 0412 229 117

BOTH OPEN 7 DAYS

BrasacE N T E R P R I S E S

[email protected]

www.giltwood.com

GOLD COAST MiamiA N T I Q U E S & A R T I N Q U E E N S L A N D

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The Gold Coast Antique Centre is an exciting gallery in Miami with over 25 dealers displaying an ever changing range of rare antiques and collectibles. It’s an Aladdin’s Cave of treasures including the finest glassware, antique furniture, jewellery, clocks, toys, movie memorabilia and much more.

The Gold Coast Antique Centre is a must see venue located at

2076 Gold Coast Highway, Miami • Phone 07 5572 0522 • Mobile: 0414 338 363www.goldcoastantcent.com.au OPEN 7 DAYS 10 - 5 Sun 10 - 4

165 Logan Road, Woolloongabba, Brisbane

Phone: 07 3891 3880Open 7 Days, Monday - Friday 10 am - 5 pm, Saturday - Sunday 10 am - 4 pm

THREE OF BRISBANE’S BEST DEALERS NOW UNDER ONE ROOF

IMPORTER OF FINE ANTIQUES

LICENSED DEALER – MEMBER OF QADA

Recently we purchased a collectionof medals. Researching the particularsof each medal proved to be an

interesting look at military history from thepersonal viewpoint of the medal recipients.

SERINGAPATAM medalThe oldest medal in the collection is the

Seringapatam medal distributed to soldierswho contributed to the British victory in the1799 Battle of Seringapatam. This is anancient fortress city and the capital for therulers of the southern Indian kingdom ofMysore, Haidar Ali (c. 1722-1782) and hiseldest son, Tipu Sultan (1753-1799), the‘Tiger of Mysore.’ As a direct consequence ofthis victory, the British secured control of allof southern India, laying the foundations ofEnglish rule and the future British Raj.

The medal was issued in 1808, but notallowed to be worn until 1815 when thePrince Regent gave permission. Obverse sideshows the British lion triumphant over Tipu’stiger. Reverse side shows a siege partyentering the breached walls of the fortress.

Two major types were issued. The Britishstriking was slightly larger than the Calcuttastriking. The British version (which we havein silver) has a diameter of 49.26 mm. Theywere issued to all participants but in differentmetals. The highest-ranking commanders were made of gold, then silver-gilt, silver, then bronze and lastly pewter or tin. Theywere unnamed, only sometimes beingprivately engraved.

An Australian link with the SeringapatamBattle is that then Major Lachlan Macquarieserved in the Bombay Army that combinedwith the Grand Army to defeat Tipu Sultan.

Macquarie’s records on this battle are in theMitchell Library in Sydney.

THE WATERLOO medalThe Waterloo medal was awarded to any

soldier of the British Army who took part in oneor more of the following battles: Battle of Ligny(16 June 1815), Battle of Quatre Bras (16 June 1815) and the Battle of Waterloo(18 June 1815). This medal was issued in1816-17 to every soldier present at one or moreof these battles. The medal is made of silver andis 37 mm wide, with 39,000 awarded.

It was the first medal issued in an identicalversion to British soldiers of all ranks presentat an action, not just the officers as well as thefirst campaign medal awarded to the next-of-kin of men killed in action. It was the firstmedal on which the recipient’s name wasimpressed around the edge by machine.

The Waterloo medal we hold was awardedto John Tritton of the 10th Royal RegimentHussars. The origin of this unit dates from1715 in the first Jacobite Rebellion, calledGore’s Regiment of Dragoons. In 1806 thePrince of Wales clothed and equipped theregiments as Hussars (light cavalry) as the

10th (Prince of Wales’s Own) Regiment of(Light) Dragoons (Hussars). The 10th foughtat the Battle of Waterloo as part of the chargethat routed the French cavalry, making thefinal charge of the day between Hougomontand La Haye Sainte, sweeping everythingbefore them.

MILITARY General Service medal Another medal collectively commemorated

many more campaigns and battles of the BritishArmy between 1801 and 1814 is the MilitaryGeneral Service medal. Combatants had to waituntil 1848 to receive the Military or NavalGeneral Service medal with just 25,500 eligibleapplicants awarded. It is estimated that only 10per cent of those who fought in these battlesand campaigns received the medal as the nextof kin of deceased soldiers could not claimunless the veteran had earlier lodged a claim.

The Military General Service medal wehold was awarded to William Christie of the92nd Foot Gordon Highlanders, with threeclasps: Toulouse (1814), Orthes (1811) andVittoria (1813). Christie was apparentlyentitled to receive eight bars – Corunna,Fuentes de Onoro, Pyrenees, Nive and

Nivelle. The 92nd were raised by the Marquesof Huntley, the last Duke of Gordon, andbecame known as The Gordon Highlanders.Their uniform kilt was the Gordon tartan andthe traditional highland bonnet with a white plume.

The Peninsular War began when Frencharmies crossed Spain and invaded Portugal in1807 and in 1808 turned on its ally, Spain.The 92nd joined Wellington’s army and in1812 the British army drove Napoleon’s forcesback to France. Famous actions followed inquick succession, six battle honours added tothe colours, and in the mountainous Pyreneesthe Gordon Highlanders succeeded at every skirmish.

MILITARY CrossThe Military Cross was instituted in

December 1914 as a reward for gallantry(distinguished and meritorious services inbattle) for officers of the rank of captain orbelow and for warrant officers. The MilitaryCross held by Harrington’s has the George Vcipher. The reverse is common to all issuesand is usually plain and unnamed.

In 1920, the terms were altered to clearlystate the Military Cross was for gallant anddistinguished services in action and that navaland air force officers could be awarded it forgallant and distinguished services on the ground ●

Sharon SemmensHARRINGTON‘S ANTIQUES07 3891 3880 / 0414 464 [email protected]

Acknowledgment Fitzwilliam Museum, University of Cambridge UK

Military medals to collect fromHARRINGTON’S ANTIQUES


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Military Cross

(Obverse) Seringapatam medal, issued 1808, silver,diam: 42.96 mm

(Reverse) Seringapatam medal, issued 1808 Waterloo medal, issued 1816 –17, awarded to John Tritton of the 10th RoyalRegiment Hussars

Military General Service medal, issued 1848, awarded to William Christie of the 92nd Foot GordonHighlanders, three clasps: Toulouse (1814), Orthes (1811) and Vittoria (1813)

The medal was issued in1808, but not allowed tobe worn until 1815 when the Prince Regentgave permission.

“

”

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 currentlyin our showroom at 950 Stanley Street in EastBrisbane – open seven days a week ●

LAVIN ANTIQUES07 3391 [email protected]

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)


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

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

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

VALUATIONS have manyinteresting challenges

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

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

A GEMMOLOGICAL challengeI may be asked to value a necklace set with

a multitude of cut gemstones, which could be amixture of amethyst, citrine, zircon, garnet,iolite, topaz, peridot, emerald and syntheticruby. Imagine the challenge from a large pearlnecklace – are they from the South Seas or are

they freshwater pearls? They look very similarto one another, but have totally different values.

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

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

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

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

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

PENFOLD JEWELLERS07 3221 7516 / 0400 322 [email protected]

MEANINGFULVALUATION of jewellery= CSi + forensic analysis

Peter Anderson FGAA Anderson’s Treasure Store 02 6672 2794Helen Antala FGAA Helen Antala Valuations 0412 875 861Francesca Antonaglia FGAA Giovanni Imports 07 3368 1808Megan Austin Jasmine Australia 07 3253 5671Jay Bartlett FGAA Kim Bartlett Master Jewellers 07 4779 6711Roy Beattie FGAA DipDT 0428 155 049Shane Bryant FGAA Sonar Jewellery 07 3229 4321Nola Buckingham FGAA Jewellery Valuation Consultants 07 3210 0718John Calleija FGAA Calleija Jewellers 07 5528 3666Sarina Cheney FGAA 0421 528 904Norm Clarke FGAA Birkbeck’s Jewellers 07 5532 8833Jon Crosbie FGAA Jon Crosbie Jeweller 07 3349 1056Callum Curtis FGAA DipDT Charles Rufus Pty Ltd 07 3221 3543Mike Ford Birkbeck Jewellers 07 5532 8833Susan Gander FGAA S.E.T. Gems 07 3844 6371Monique Garvey FGAA Montash Jewellery Design 07 3266 7411Libby Want FGAA A Want for Jewellery 07 5531 3611Sonia Giggins FGAA Calleija Jewellers 07 5528 3666Matthew Gray FGAA DipDT Haigh’s Jewellers 07 4128 3326Patti Groves FGAA 07 5575 2883Glen Hay FGAA Hay’s Leading Edge Jewellers 07 4662 3023Judi Hening FGAA 07 3855 9100Kym Hughes FGA FGAA Dip DT Symmetry Gemmological & Valuation Services 07 5596 1775Pam Hutchins FGAA DipDT Wide Bay Valuation Laboratories 07 4152 5827Graham Jackson Loloma Jewellers 07 4771 0300Brad Kearton FGAA Brad Kearton Jewellers 07 3281 6800Nikki Keen FGAA DipDT Calleija Jewellers 07 5528 3666Susan Kelly FGAA DipDT Brisbane Valuation Service 07 3211 5188Liz Kratz Kratz Exclusive Jewellery 07 3369 2711Jillian Langford FGAA Langford & Palmer Jewellery & Art Valuers 0439 789 194Grev Langford-Ely FGAA Langfords 07 3210 0614Peter Langford-Ely FGAA Langfords 07 3210 0614Helen Levonis FGAA DipDT 0415 275 823Trisha Maher Karma Gems 07 5475 4169Craig McKim FGAA McKims Jewellers 07 3368 3377Doug Morris Doug Morris Jewellers of Redcliffe 07 3284 5423Marlon Ostergaard FGAA Elenium Jewellery & Valuations 0417 754 510Michelle Paddenburg FGAA DipDT 0414 656 933Renée Payne FGAA Northern Rivers Jewellery Valuation Service 02 6642 3210David Peel Phil Peel Jewellers 07 4927 1855Robert Peel Robert Peel Jewellers 07 4942 2784Roy Pemberton Independent Jewellery Valuers 0408 808 592Ken Penfold FGAA Penfold Jewellers 07 3221 7516John Poirrier FGAA Accord Valuation Services 07 3807 9600Ralph Pownall Accredited Jewellery Valuations 07 3003 1104David Ratliff Ratliff Opal Pty Ltd 07 4041 5338David Richardson Richardson’s Jewellers 07 3284 1281Susie Roach FGAA Queensland Jewellery Appraisals 07 5573 3884Bruce Robinson Bruce Robinson Diamonds 07 3254 4444Ron Schey FGAA Accurate Jewellery Valuations 07 5493 5923Karl Schwantes FGAA Xennox Diamond World 07 3210 6288Mark Seddon FGAA Pearls For Girls 07 3012 8361Graham See Brisbane Antiques Pty Ltd 07 3262 1444Ritsuko Smith FGAA Paradise Gems Jewellery 07 5526 5778Nicole Hannaford FGAA 5th Ave Jewellery 07 5575 5600Shane Tennant FGAA Ten Ants Jewellery Pty Ltd 07 5538 0740Ian Thomas FGAA 043 792 1781Ronny Wachtel Brisbane Vintage Watches 07 3210 6722Mike Walsh FGAA 0438 428 241Jan Whelan FGAA DipDT 5th Ave Jewellery 07 5575 5600Peter Wiltshire FGAA Loloma Jewellers 07 4771 0300

REGISTERED VALUERS IN QUEENSLAND

WOOLLOONGABBAA N T I Q U E S & A R T I N Q U E E N S L A N D

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Even though it is verybeautiful to play avaluable instrument, thequality of the instrumentis often not as crucial asthe quality of the setup.

All violins, violas, cellos and doublebasses need some special attention tomake them properly playable. They are

different to stereos, computers or fridges,which can be sold right out of the box. If abowed stringed instrument is not setupproperly, it is considered unplayable. Very oftenpeople say to me ‘but it is just for a beginner.’

My answer to that is always that it is hardenough to learn the violin. Further, ourchildren, especially beginners, need everyhelp and support to produce a nice tone andto experience pleasure from their earliestmusic experiences.

Looking back on 25 years of experience inserving beginners and professionals, I cannotstress enough that it is essential to play a wellsetup instrument. Even though it is verybeautiful to play a valuable instrument, thequality of the instrument is often not ascrucial as the quality of the setup.

A well setup cheaper instrument will serveyou better than an expensive one with a badsetup. I have seen many children give upbecause they or their parents thought that theywere not gifted at the violin. Very often, they

did not stand a chance because theirinstruments were unplayable.

A so-called professional setup is not alwaysgood enough. Sadly, any person earningmoney assembling instruments can call it sprofessional setup, whether or not they knowwhat they are doing. That is why I developedthe very special Deluxe Ilja Grawert Setup.

DELUXE Ilja Grawert SetupWhenever you see the label ‘Deluxe Ilja

Grawert Setup’ on a violin you will know allthe work was done here in my Brisbaneworkshop. Because we are in full control ofthe setup, we can guarantee the highest levelof playability and tonal quality.

Every violin needs work on the pegs, nut,fingerboard, bridge, sound post, tail piece,bow and very often, the strings need to beupgraded for good sound.

In my shop, every instrument receivesanywhere between three-quarters of an hour andeight hours of setup work, before it is offered forsale. Each of these procedures is done in order.Each is completed to top professional standards,with quality control every step of the way.

1. Refit or new pegs2. Plane finger board3. Adjust nut4. New Ilka Grawert bridge5. Refit and adjust or new sound post6. New high quality strings7. Lubricate metal parts8. Assemble instrument and

tonal adjustment9. Final check

STEP ONE: Refit or new pegsThe pegs on every instrument need to be

refitted or replaced. To understand the processinvolved, see the photos. First, the pegs haveto be tested whether they really fit or not.Usually they do not fit to the holes in the pegbox. Using a reamer, the holes in the peg boxare reamed to create a certain taper.

Now the real peg fitting can start. The toolwe use to fit the pegs is called a peg fitter. Itlooks like an over sized pencil sharpener withthree holes. These holes have the same taperas the reamer, but are of three different sizesand the cutting blade has to be much sharperthan the one in a pencil sharpener. A wellfitting peg fits all the way around in thematching holes on both sides of the peg box.

After all four pegs have been fitted, theyhave to be shortened so the ends are notsticking out of the peg box. We cut the endswith either a handsaw or sometimes using aband saw.

After they have been shortened, the pegsends need to be rounded. First, I use a file andthen follow up with sandpaper, usingsuccessive five grades from the coarsest 180,through 280, 400, 600 and finishing with 800.After that, we polish the pegs with somepolishing paste to make them nice and shiny.

We drill the holes in the pegs for the stringsusually by using a drill stand. The edges of theholes in the pegs have to be softened with a

round file to ensure that the strings are notbreaking on any sharp edges.

After the pegs are fitting perfectly, theyneed to be peg pasted in order to make themturn smoothly and still hold the strings intune. We use different methods forprofessional players than we do for beginners.

For beginners it is essential that each pegholds the string in tune, no matter whathappens. They are a little bit harder to tunebut do not require as much skill as theprofessional method. I use Hill peg paste forbeginners’ pegs.

For the professional player I use threedifferent types of paste for the pegs. First, Iuse a commercial peg paste, which I actuallyconsider too dry, from too much graphite inits formula. It makes the pegs stick.

Next, I loosen them with a very special 80-year-old Sunlight soap, which I luckilyfound in Cologne in a flea market 19 yearsago. It is much better than newer soapbecause it does not moisten the pegs. Then Ileave the pegs sitting for a while. I finallyfine adjust them with a soft white Pelikanchalk from Germany ●

ILJA GRAWERTViolin MakerFreecall: 1800 882 [email protected]

Tuesday~Friday10 am~5 pm

Saturday10 am~2.30 pm

Tuesday~Friday10 am~5 pm

Saturday10 am~2.30 pm

BOWED STRINGED INSTRUMENTSRefitting tuning pegs

During the 16th and 17thtcenturies dolls were not the babydolls we know today.

QUEEN ANNE or wooden dollsIt was during the early and mid 18th

century that the first dolls of real qualityemerged, today’s antiques. They had woodenor wax heads and bodies crudely carved fromwood or suggested by stuffed rags. These areknown as Queen Anne dolls.

Their wooden torsos and gesso coveredheads and shoulders were primitive but full ofcharacter, with oval eyes and tiny mouths.There were jointed limbs on the bestexamples, but linen and leather tubes stuffedwith sawdust were (and still are) cheaper.Protective English import duties were leviedagainst painted dolls from abroad andalthough some unpainted German dolls madetheir way into Britain, most Queen Anne typeswere local British. These dolls were oftenbeautifully dressed.

PAPIER-MÂCHÉ dollsIt is believed that papier-maché dolls were

first made in 16th century Germany, mostly inNuremberg. Their heads were first mouldedfrom a composition of rye flour, water andanimal or vegetable glue, loved by rats, sosadly few of these have survived.

Dolls were sold door to door. The Regencyperiod was a great time for doll makers andmany toy shops opened in London. Toymakers from Germany produced cataloguesfrom which retailers could choose their lines.Regency papier-mâché dolls came with a widevariety of heads to attach to available bodiesas required. They were often sold undressedand so great care was taken in the finish ofthe bodies. Hairstyles were moulded, unless aparticular complicated style was called for,when a wig of human hair would be used.

WAX dollsThe custom of giving effigy figures to

grieving parents of dead children – wheninfant mortality was very high – gave rise towax dolls. The ability to reproduce in waxprecisely the texture and plasticity of humanskin gave realism which some foundunnerving. Poured wax dolls were custommade, some even made with the recipient’sown hair. Due to the lengthy process, highprices were demanded.

There were a number of families of waxdoll makers. Henry Pierotti and his family hadmultiple shops. Some of the dolls he madewere modelled on his own children andlooked rather Italian, although the hair, madeof mohair was fair. Pierotti dolls have pucecolouring and blue eyes. They turn their headsslightly to one side. Since the same mouldswere used for many years up until the 1930s,some dolls are difficult to date.

Pierotti is credited with inventing the RoyalModel Baby in the early 1850s, when QueenVictoria had many babies. His luxury waxdolls, many done as portraits of the royalbabies were shown at the 1851 Exhibition andwere very well received, though expensive.

The Montanari family produced wax dollsduring the mid 19th century. Their dolls areplump with rolls of fat around the neck, darkhair and deep violet eyes. These dolls werethought very life-like. Priced from tenshillings to five guineas (undressed) they toowere expensive.

CHINA dollsNineteenth-century china dolls (glazed

porcelain) came in many variations andgenerally survived better than wax dolls. Themore formal and idealistic china headed dollsusually were more popular than wax dollheads. Germans dominated porcelain dollhead and body production in the 19th century.

COLLECTINGANTIQUE DOLLSInternationally, dolls rank only behind stamps and coins as the world’s third most popular collectable

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German wooden doll, c. 1850

Bisque head, shoulder and arms placed onleather bodies, 1894From left: Parian doll; doll with bonnet, 1890s;

centre: glazed china doll, c. 1850-60; right:bisque doll made by Atl, Beck & Gottschalk German heads were full of character and

detail. They whistled, ogled and opened andshut their eyes and were multi-racial.

The French market grew with doll headsmade by the Jumeau family between 1844 and1898. These were made from bisque(unglazed porcelain) and had large soulfulglass eyes with bodies of kid on a wirearmature or jointed wood. The most sought-after Jumeau doll is that with a long face anda closed mouth. Not every doll believed by itsowners to be a Jumeau is always authentic.Many collectors consider the Bru doll moreremarkable than the Jumeau.

Late in the 19th century, major dollmanufacturers from both France and Germanyexhibited at the large trade exhibitions held inSydney (1879) and Melbourne (1880-81 and1888-89). Several dolls from these exhibitionshave been found in Australia, a direct link

‘Long face’ Jumeau (Paris)

from the great doll periods of Europe and Britain ●

Jason BridgeCOLONIAL COLLECTABLES0431 403 [email protected]

AcknowledgementPhotographs courtesy Lila Rait, Through theNursery Window. A History of Antique andCollectable Dolls in Australia 1788-1950(Melbourne: Oxford University Press, 1989)

CCOLONIALCOLLECTABLES

COLONIALCOLLECTABLES

ANTIQUES • JEWELLERY • OLD WARES BOUGHT & SOLD

9 Logan Rd Woolloongabba 4102 M: 0431 403 897email: [email protected]


In days of old, a 15 year old wouldcommence an apprenticeship under amastercraftsman and learn a trade under

close guidance. By the age of 22, as ajourneyman he might have remained inemployment or would commence a business. Hewould not pass into the ranks of mastercraftsmanuntil the appropriate guild assessed hisworkmanship as worthy of the title.

Gary Olsson commenced his trade withrenowned mastercraftsman, Elvin Harvey (b. 1913-2009) of Harvey Bros in Woolloongabba.Upon completing his trade with honours at 19years, Gary chose to stay with Harvey Bros as amodern journeyman. He fine tuned his skills andexpanded his knowledge base with guidance from

his great teacher Elvin, son of the internationallyfamous artist, woodcarver, teacher andmastercraftsmen, L J Harvey (1871-1949).

After an adventure-filled period on anoutback cattle station near the border of theNorthern Territory and Western Australia,Gary returned to establish his own finefurniture and antique restoration practice inBrisbane in 1983.

Years of hard work and continualimprovement have seen him evolve into amastercraftsman of distinction and exemplaryskills, accepted into the highest ranks byguilds, both formal and informal. He isrecognised nationally and internationally as a mastercraftsman.

Gary bears a solid reputation as an antiquerestorer and conservator, cabinetmaker andjoiner (architectural features) with expertise intimber, veneer, inlays, leather and metal.

However, such success does not happen by oneman acting alone. Opportunity is a pre-requisite togrowth. Gary is very grateful and pays homage tothose who provided such opportunities: histeachers, antique dealers, interior designers,architects, builders and private clients.

GN Olsson Mastercraftsmen (Brisbane, GoldCoast and Sunshine Coast) values the past andacknowledges its traditions. Skills of yesteryearare sustained through teaching the nextgenerations. These skills are available for clients’projects, whether building or restoring.


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Lance Bressow (Australian, b. 1942),Portrait of Elvin Harvey

Traditional bookbinding andrestoration

Traditional upholstery and fabric Specialty glazing, restoration and repairs

Inlay restoration, French polishing and colour matching

Hand-painted, decorativeand faux finishes

GN Olsson photograph restoration (after)GN Olsson photograph restoration (before)

MASTERCRAFTSMEN LEGACYFOR FUTURE GENERATIONSTrades, Artisans and Technicians

Relining cutlery canteens and boxes

Box restoration and gilded leather inlay

Blacksmith and metal restoration

Gilding and ornate frames Leather embossing, monograms and logos

Card table -EnglishStrachanbaise(refelting)

Armourconservationandrestoration

Locksmith, micro engineering and metal casting

Strategic relationships with artisans andtrades people in allied trades have been forgedand maintained. These mastercraftsmen andartisans collaborate at Olsson’s in a modernequivalent to the workshops of old. The bestin each field, usually their own masters, arebrought together as a highly skilled team.

With Gary Olsson’s orchestration, theycollaboratively restore and create unique andsuperlative works including furniture, clocks,artefacts and architectural features. At thehub, he manages each project, taking fullresponsibility for each outcome.

This creative synergy, fostered anddeveloped by Gary, has strengthened over the30 years of his private practice. It bringsadvances in design, craftsmanship,conservation and restoration, and even inreproduction, with exactness that astounds.This ingenuity brings out the best in people,ensuring the very best outcome for clients.

To access the Olsson team of dedicatedmen and women, to utilise traditional skillsand authentic materials for your restoration orcustom work, simply ask by phone or email.We are here to offer old-fashioned service,and to create a legacy for the future.

Fostering traditional craftsmanship andartistic skills is every bit as vital as makingand conserving cultural material for our futuregenerations. Our motto is Today’sInvestments... Tomorrow’s Antiques and Heirlooms ●

For further information about Gary Olssonand his accomplished team, visit the pages‘About Us’ and ‘Our People’ onwww.gnolsson.com.

GN OLSSONMASTERCRAFTSMEN07 3888 [email protected]


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Woodturning, wood carvingand veneer inlays

Exact replicas and reproduction furniture Intricate joinery and architectural features

Silver and goldsmithsBrass lettering and metal castingBrass bed

restoration

Music box restoration

Wicker work and hand woven cane Bentwood

Floor inlayBarometer restoration

Pietra dura (decorativestonework) and marble masonry

Custom railing

Horologist, clockmaker and restorer

Gramophone restoration

Iwant to start this article by pointingout that there are people in Queenslandand other parts of Australia, who have

suffered enormously in the last months fromnatural disasters. Therefore, anything I writeabout distress and agony has to be seen in therelative light of what other people endured.

On Christmas Eve we closed for a two-week break and re-opened on 11 January, allset to resume trading for another year.However, by then the flood was on its way toBrisbane, so we were forced to move theentire contents of the shop. We were veryfortunate as Bill and Val Trindall offered crisisstorage in their Albion Antique AuctionCentre, up the road.

On 12 January, what should have been oursecond day of business was when we urgentlyemptied almost everything. Deceptively, withthe sun shining brightly, the only evidence ofthe rapidly approaching flood was mediareports, until water started ominouslybubbling up from the drainage grates on thestreet late in the morning.

By that same afternoon, even after the firsthigh tide had receded, you can see from thephotograph how high the water had been andhow much still lay above the shop’s floor.Sadly, we had to leave behind anything tooheavy or awkward to remove, most notablyour collection of antique showcases.

HEARTFELT thanks We carry a large amount of stock and could

not have achieved this monumental task

without the many volunteers who helped us.The kindness of Bill and Val Trindall isbeyond repayment as we crammed theirpremises for the next week.

It took a week to restore our shop, fromcleaning out the silt, disinfecting, to dryingcarpet tiles and relaying them. Finally, wereturned the stock and put it in order. It was abit like packing and moving for an antiquefair, only 50 times as torturous.

ANTIQUES surviving the floodsThe good news is that our antique solid

timber and glass showcases dried and onlyneeded their polish revived, as did solidantique furniture throughout Queensland’sflood zones. Restorers are working hard forBrisbane’s residents, rubbing solid furniturepieces back and waxing them – unlike themasses of modern furniture, crumbled onfootpaths and now landfill.

PAIR of Doulton Lambeth vases, 1885

On a brighter note, I would like to share withreaders this stunning pair of vases. They are thesecond largest pair of Doulton Lambeth vases Ihave ever seen, standing at 79 cm (31 inches).They are signed in four places by the artistFrank A Butler and are date marked for 1885.

They are testament to the enormous skillsrequired to produce pieces of this size, fired126 years ago at approximately 1250 degreescentigrade in a coal-fired kiln, with none oftoday’s technical advantages. Even moreremarkably, the artist was deaf.

SURVIVING THE 2011 FLOODS

Brisbane Antiques, 12 January 2011, knee-deep after the first high tide had receded

Antique showcases, as good as newA big clean up ahead

By 1860, Henry Doulton had becomeextremely wealthy through the manufacture ofsanitary ware, salt-glazed pipes etc. A storygoes that Mr John Sparkes, the director of theLambeth School of Arts that taught painting,sculpture etc, for some time had tried tointerest Henry Doulton in hiring some of hisstudents to produce art pottery.

Doulton finally agreed to hire GeorgeTinworth in 1866, and several pots wereexhibited among the commercial wares on theDoulton stand at the Paris Exhibition of 1867.They received enough acclaim that Doultonagreed to hire two more Lambeth School ofArts students, the ultimately famous HannahBarlow and her brother Arthur.

Their creativity realised a 70-piece exhibitat the International Exhibition at SouthKensington in 1872. That same year, thefourth student, Frank Butler who painted thesevases, started at the works. By 1885, the yearthese vases were created, there were 250artists employed.

By the time of the Philadelphia Exhibitionin 1876, Doulton was able to mount a displayof almost 1500 pieces that were first viewedby 10,000 people at the works, before theywere sent to the United States.

Prime Minister Gladstone said of a piece byFrank Butler, ‘It was... a beautiful piece ofwork produced by a youth who from his birthwas both deaf and dumb. What a cutting off ofresources! What a stinting of the means oftraining and improvement! And then consider,

notwithstanding this, how through an inbornresolution in the centre of his being, it was inthe power of this lad to make himself aproducer of works that could commandadmiration on the score of beauty.’1

Another admirer of Frank Butler, whoworked for Doulton for 39 years until 1911,was Queen Victoria. Butler worked essentiallyas a modeller, and far more than many of hiscolleagues he followed the contemporaryartistic trends. His work reflecting elements ofArt Nouveau are particularly striking. Perhapstheir massive size indicates that these vaseswere made for an exhibition. I will share mycontinuing research in the next issue ●

Graham SeeBRISBANE ANTIQUES PTY LTD07 3262 1444 www.brisbaneantiques.com.au

Note 1 Desmond Eyles, The Doulton Lambeth Wares(London: Hutchinson, 1975), p. 29


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Brisbane Antiques before the flood

Pair of Doulton Lambeth vases, 1885, signed bythe artist Frank A Butler

Who could have imagined that, a fewmonths into a new year, therewould be so many terrible natural

disasters already entrenched in our 2011history? We are so lucky to work in anindustry that is like a healing process as werestore old leadlights damaged by floodwatersand building collapses.

We are also lucky that none of our staff’shouses or our business were affected by water.The whole episode of the floods is quite a surrealmemory… we all knew people who were floodedand to see what damage and devastation is leftbehind is very upsetting. My deepest sympathy toall Brisbanites who have lost treasuredpossessions, gardens and homes.

We were of course affected by the floodsas we are situated on Ipswich Road. Our roadwas closed for safety and cleaning after thewater subsided. Be assured that we are up andrunning now.

LEADLIGHTS for the next 100 years

Of course, many leadlights in Brisbane arevery old and mercifully, they can be restoredto last the next 100 years. Recently, I havehelped a number of young people who seemnot to have learnt about how leadlight ismade, its history and its durability. I haveheard comments on pieces such as, ‘There areall these pieces of glass stuck together withblack stuff and, ‘Our glass is bending and

broken and I don’t think it can be fixed… itlooks very old.’ Well, yes it can be fixed!

First homes buyers love the old windows inso many Queenslanders, but do not knowenough about their manufacture and salvage.Luckily, many find us and our team works toachieve a very satisfactory outcome for theleadlights and the owners’ homes.

CUSTOM madeApart from restorations, we have received

many special orders that are keeping us verybusy. One large commission is for a fabulouseco house in Indooroopilly. It will havewonderful bright Australiana themed leadlightwindows reaching high up in the rooms toreflect colours and ambience into large airyspaces. The house features a bank of six verylarge windows looking onto a wonderfulgarden. I am really looking forward to seeingthe results when installed ●

Denise AllenANNERLEY GLASSWORX07 3892 [email protected]

At Glassworx RESTORING LEADLIGHTS IS A HEALING PROCESS

ANNERLEYA N T I Q U E S & A R T I N Q U E E N S L A N D

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LEADLIGHTS, LAMPSHADES, TUITION, SUPPLIES, REPAIRS

770 IPSWICH RD ANNERLEY QLD 4103PH: 07 3892 5352 www.glassworx.com.au

OPEN 7 DAYS

Annerley Glassworx

Many people have had significantwater damage to their artworks andother framed pieces due to the recent

floods. After your higher priorities, now is thetime to check your framed pieces for damage.Even those items that did not go under watercould be damaged by the high humidity levelsover summer.

CHECK framed artworks Although floods and cyclones may not be

an everyday occurrence, moisture damage is

quite common. Even a small amount ofmoisture from a leaky roof, high humidity ora damp wall can do significant damage to awork of art, especially works on paper.Moisture, particularly if combined withinferior framing materials and high ultra violetlight levels, can cause damage to the paperfrom mould, acid burn and foxing.

It is advisable to have your framer inspectyour artworks every 10 years.

You should check your framed artworksregularly for any signs of deterioration. Workson canvas can suffer from mould damage, astraditionally canvas is not glazed. The canvaswill deteriorate over time from the effects ofdust, grime, absorption of varnish, cracks andflaking paint. Inspecting the surface with aglancing light can often reveal spotting frommould. As a general rule, works on canvasshould be cleaned and re-varnished everyeight to ten years.

FRAMES can deteriorateFrames can also suffer over the years and

older items may not be framed withappropriate materials. Check the backs toensure the tape is intact and still sealing theframe to prevent the incursion of dust andbugs. Many frames have a layer of compo (aform of plaster) that can crack andornamentation can fall off.

Frames and mats should also be checkedfor damage and discolouration. If the bevellededge of the mat board is buff or a darkerbrown, it may be the older style acidic board.Inferior framing may not be immediatelyobvious and it is advisable to have yourframer inspect your artworks every 10 years.

Old photographs also suffer over the years.You may notice some of your old black andwhite photos have a silvery haze, caused by thesilver halides in the photo oxidizing. Photos canbe damaged by water, fading, insects andmishandling. They can be scanned, restored andreprinted to their former glory, to take pride ofplace on your rogues’ gallery wall.

Like all of us, the effects of age creep upwhen no one is looking. So do not delay, it istime to check out your framing and artworks.It is best to remedy any damage now beforeany permanent damage happens.

THE right framer for the job! Not all pieces are an original Picasso, but

they may be valuable to you for the memoriesthey hold. Conservation materials and techniquesshould be used to ensure the longevity of yourvaluable piece. Specialty glass is available withultraviolet protection, including one that is sogood at minimizing reflections you would hardlyknow it was there.

When you are dealing with pieces that areimportant to you, it is best to find a reputableframer. Look for one that has been establisheda while and is government certified. Forconvenience in your busy schedule, it is good

to be able to go to one location to have allyour framing, art and photo restoration needs met.

STEFAN Aleksiev, FramerJubilee Framers is owned by Stefan

Aleksiev who is a government certifiedframer. He offers a complete framing service.Stefan can organise the restoration of oils andworks of art on paper, a highly specialisedarea of expertise and work that is carried outby our professional conservator who has over 50years’ experience. He can be relied on to do anexpert job in a timely manner. Photo restoration isdone in-house and photos can be enlarged andprinted on canvas and fine art papers.

They can also restore damaged frames,particularly if they have historical value.However, you will be given frank advicewhether it may be more economical to startafresh, as reframing can bring new life to aprecious piece.

STRESS free choicesFinding the right framing choice for your

artwork can be a daunting experience formany people. The expert staff has years ofexperience and the necessary creative flair tomake each framing special. Remember,sometimes simplicity can be the best option.

All aspects of framing are considered forthree purposes: to complement the artwork; toenhance it; and to take into account theenvironment in which it will hang. Having awide range of frames and matting options tochoose from is essential and you have themwith us.

Choose from a range of over 2,000 frameswich includes exquisite hand finished Italianframes that are ideal for that very specialframing job, or a feature mirror that requiresthe ‘wow’ factor. Another option is thebeautiful gold leaf frames from France thatincludes one with a hard to find art nouveaumotif.

No matter what the challenge, JubileeFramers pride themselves on finding asolution to meet your needs and to exceed them ●

Stefan AleksievJUBILEE FRAMERS07 3366 [email protected]

EXPERT FRAMING ADVICE: looking at moisture damage

ASHGROVEA N T I Q U E S & A R T I N Q U E E N S L A N D

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Above left: Frame restoration: before and after

Above: Photo restoration: before and after

109 Ashgrove Ave ASHGROVE 07 3366 5211

www.jubileeframers.com.auMon-Fri: 9am-5pm Sat: 9am-2pm

DISCOUNTS FOR ALL FLOOD DAMAGE REPAIRS

ESTABLISHED FOR 23 YEARS

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remarfeelibuj.www

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663370EVORGHSA

11256

Photography paraphernalia, such ascameras and photographs, is a popularand well-recognised collectable topic. A

lighter side to this genre is entertaining,interesting and FUN – collecting toy andnovelty cameras, whether functional or purelydecorative. Older models are rare, so considercollecting toy and novelty cameras for theirshape, colour or design and build acomprehensive collection without a great cost.

NOVELTY cameras that take photos

Since the early development of cameras,novelty cameras have been made with expertdesigns and manufacture. One very earlycamera made by Sanderson in the 1890sresembles a hard covered book when thecamera was closed. Another early example isthe Expo Watch camera. This disguisedcamera was a popular novelty. The watchwinding stem was the camera’s lens. Firstintroduced in the USA in 1905, it was sold aslate as 1939.

Post-Bakelite, plastics were the ideal mediafor many varied and unusual cameras to beproduced worldwide. These working noveltyplastic cameras used 126, 110 or 35 mm film.The quality of the lens and therefore the photoproduced may not be great, but the camerasare definitely quirky and eye-catching.

The greatest variety were produced fromthe 1960s to 1990s and there are still moredesigns produced today. Popular cartooncharacter shapes were used for workingcameras, particularly in the 1960s to 1980s,including Mickey Mouse, Bugs Bunny andmany others from Disney, Looney Tunes,Hanna Barbera and other productioncompanies. There are cameras in the shapes ofTeenage Mutant Ninja Turtles, bear faces,clown faces and animals.

Many miniature cameras were promotionalmaterial, shaped as a branded soft drink andbeer cans, cigarette packets, fruit juice andcereal packs, and sporting cameras in the shapeof balls. Some looked like a camera anddisplayed the company’s name and/or logo,generally produced in brightly coloured plastics.

All these working novelty cameras are verypopular and starting to jump in value. Perhapsthe general demise of film cameras in the

digital era makes their workings and noveltyforms seem more attractive.

The 110 Black Cat camera is highly soughtafter in Japan. Cartoon character cameras suchas the Bugs Bunny item are rising in value, from$80 to $150, depending on condition. Complexminiature cameras, such as an early foldingcamera or the Peter Pan gramophone in a boxcamera case can cost hundreds of dollars.

TOY and decorative cameras There are also toys and mementos that look

like cameras but are only decorative, comingin a huge range. They can be photo albums,handbags, piggy banks, belt buckles, candles,clocks, coasters, compacts, vanity, decantersand flasks, dishes and tableware, jewellery,key chains, lights, music boxes, pencilsharpeners, phonograms, puzzles and games,radios, ‘squirt’ cameras, statues and figurines,viewing devices or just toy cameras. EvenMcDonalds produced toys in the shapes ofcameras to give away.

Looking at the miniature camera on a tripodmeasuring only a few centimetres, would youhave guessed that it is actually a functionalcigarette lighter? My favourite, it now fetchesbetween $80 and $200, depending oncondition. Some items were shaped like thelens of a camera, such as a mug that easilyfools one into believing it is a lens.

EASY to reach, easy to shopWe are in the heart of Cleveland at 162

Bloomfield Street – look for our Roller Girlout front – with plenty of onsite and streetparking. Alternately, we are easily reached viapublic transport, with a bus stop at our door,or a short flat walk from the ClevelandRailway Station through scenic Raby BayHarbour and Cleveland CBD.

The Centre has easy access for wheelchairs,motorised chairs, walkers and prams. Well-behaved pets are always welcome too. A smallguest area is available for customers anddealers alike to sit and relax with acomplimentary tea or coffee.

We are open 7 days a week from 10 am to 5pm. The friendly team combine many years ofexperience and are happy to assist whereverthey can. Please free to ask, ring or email, orsimply drop in for a trip down memory lane ●

Rob & Di MetcalfeBAYSIDE ANTIQUE &COLLECTABLES CENTRE07 3821 0936 / 0419 671 [email protected]

CLEVELANDA N T I Q U E S & A R T I N Q U E E N S L A N D

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Advice on collecting toy and novelty cameras fromBAYSIDE ANTIQUE & COLLECTABLES CENTRE

Gemstar model Micro 110 camera

Teenage Mutant Ninja Turtle novelty camera Novelty Popeye camera, plastic case

Promotional novelty cameraCartoon character inspired noveltycamera featuring Bugs Bunny

Promotional novelty camera made by Kellogg’s

Highly collectableMickey Mouse camera

Cigarette lighter in the form of a miniaturecamera on a tripod

Camera, plastic case, black cat design

BAYSIDE ANTIQUE &COLLECTABLES CENTRE

162 Bloomfield Street ClevelandQueensland 4163(UBD map 185 p18)

Over 30 shop spaces catering for a widerange of antiques, collectables and oldwares, including furniture, ceramics,

glass, silver, decorative arts, antique & estatejewellery, books, coins, medals, ephemera,art, toys, photographics, militaria, tools,

plus a large vintage clothing area.

Ph: 07 3821 0936 • Mobile: 0419 671 279Email: [email protected]

OPEN 7 DAYS 10 AM - 5 PM

• On site and street parking• Approximately half an hour from

Brisbane CBD• Dealer enquiries welcome re spaces &

cabinets • Complimentary tea and coffee

Regarded by many to be one of themost influential pocket watch andclock makers of the mid-Victorian era,

the highly regarded London firm of CharlesFrodsham (1810-1871) produced timepiecesand regulators to discerning clients worldwideas well as marine chronometers to the BritishAdmiralty. Having been granted a RoyalWarrant in 1854, the firm serviced the royalclocks for 125 years and today continues therigorous standards of its founder. Therefore itis very exciting to have in stock a high qualitydemi hunter 18 ct gold pocket watch made bythis important firm.

Features of the demi hunter include thehand engraved coat of arms of the (French)Bellingers/ (Irish) Bellinghams on the back of the case. This consists of a silver shieldwith a black engrailed cross between four redroses, the crest, a stag’s head and the motto:Amicus Amico, Hostis Hostis. The white dialbears the name ‘Chas Frodham’ and ‘07608AD Fmsz.’

DECIPHERING the letter codeThe letters ‘AD Fmsz’ are on the dials

and back plates of the majority of Frodsham watches. The letters are acryptogram and the code is based on anumerical sequence of the letters in“Fordham’ with z equalling zero. Thenumerals ‘07608’ appear on both the dial and movement and would have been

produced around 1887-1888. Pieces withmarks ranging from 07000-08000 wereproduced from approximately 1885-1890. Thecase bears the maker’s mark HMF (HarrisonMiles Frodsham), the 07608 serial number,hallmarks for London and assay date of 1889. The movement is clearly marked: ChasFrodsham 84 Strand London, by appointmentto the Queen.

AUSTRALIAN connectionsFrodsham exhibited at the 1879 Sydney

International Exhibition and the SydneyObservatory purchased a sidereal regulatorclock made by Charles Frodsham, 1835-1885.As the clock was used for transit observations– measuring planetary or lunar motion relativeto the stars – it was often referred to as the

‘transit’ clock by observatory staff. By 1861 ithad been modified to enable it to beconnected to the ‘equatorial clock’ byelectrical current and was in continuous use atSydney Observatory for over 100 years.Today, it is a museum piece ●

HARRINGTON ANTIQUES07 3891 3880


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Paddington Antique Centre167 Latrobe Tce (Cnr Collingwood St), Paddington7 days a week 10 am to 5 pm Phone 07 3369 8088 (UBD Map 25 Ref E7)

The New Commercial Road Antiques85 Commercial Road, Newstead7 days a week 10 am to 5 pm Phone 07 3852 2352 (UBD Map 26 Ref B9)

Brisbane Antique EmporiumCnr Junction and Sandgate Rds, Clayfield7 days a week, 10 am to 5 pm Phone 0417 605 562

Woolloongabba Antique Centre22 Wellington Road, Woolloongabba (Cnr Nile St)Tues to Sat 9 am to 5 pm, Sun 10 am to 5 pmP: 07 3392 1114 F: 07 3392 1116 (UBD Map 26 Ref M9)

Bayside Antique & Collectables Centre162 Bloomfield Street, Cleveland7 days 10 am to 5 pmP: 07 3821 0936 (UBD Map 185 Ref P18)

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The NEWCommercial Road

Antiques

AT HARRINGTON ANTIQUES a fine antiquedemi hunter made by Charles Frodsham

We offer over 35 years’ experience & expertknowledge in restoration

Our services include:• Non-caustic hand-stripping• Repair of all types of damage to

antique furniture• Hand French polish or

lacquer finishes• Veneer and inlay repairs• Pick-up and delivery

WE MANUFACTURE TO ORDER

FREE QUOTES

07 3356 56134/272 NEWMARKET ROAD

WILSTON, BRISBANE

regional culture. The native habitat of thesilky oak (Grevillea robusta) is restricted tosouthern Queensland and northern New SouthWales, with Brisbane at its centre, although itnow grows all over Australia. Older objectsmade from silky oak usually have nottravelled far from the original native home ofthe Grevillea robusta tree.

This adaptable timber has suited manydifferent forms and functions, from tinytreasures through to impressive 19th centurycarved sideboards and homemade pieces suchas this table. Since the 19th century, thetimber of this distinctive local tree was usedthroughout houses and public buildings, aswell as to create furniture and everyday itemsof astonishing diversity. Today, designers andcraftspeople continue this tradition bychoosing silky oak to create striking andoriginal objects.

Two accolades are due for this piece. First,whoever had the patience and skills to makethis piece must be recognised as a mastercraftsman and should be identified for ourheritage records. Second, the piece is a truework of Australian art. It has returned to itsowners who are ecstatic about the restorationof this Australian masterpiece ●

SILKY OAKMASTERPIECEAn Australian work of art Maker unknown, Table, silky oak and silky oak inlay top in form of a chessboard. Private collection


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Manfred L. McIntyreMANFRED L. McINTYREANTIQUES07 3356 5613

Further readingKeith R Bootle, Wood in Australia, Types,properties and uses (Sydney: McGraw Hill, 2005)

I t is always a thrilling surprise when apiece of furniture picked up for repairs isimmediately recognised as a ‘wow’ piece.

This was our experience with a piece thatrecently came through our doors.

Measuring approximately 60 cm indiameter and standing about 60 cm, I foundthis round table very exciting. The legs havebeen fashioned by hand and the structure is abit amateurish, but it has worked forgenerations. The inlay on the top is the ‘wow’for me.

INLAY detailsThe inlay on the tabletop, in the form of a

chessboard with player’s positions andperimeter details, is an absolute work of art.On close examination, it is made ofindividually inlaid small octagonal and squareblocks glued to the substrate.

The detail and extent of the inlay work onthis tabletop is phenomenal; it is made up ofmany thousands of individual pieces oftimber. As I occasionally repair inlaid pieces, Iappreciate the precision, patience and timerequired to create such work. Repairing it tooknearly the same amount of time, with hand-repair techniques and traditional materialssourced for this special table.

Its dappled patterning and golden hueimmediately identifies the timber used assilky oak, a timber loved by Queenslandersand recognised across Australia as a uniquelyQueensland timber.

In this table are silky oak and its sub-species, among them Southern Grevillea, Red Stenocarpus and Spotted Buckinghamia.

SILKY oakSilky oak occupies a unique place in

Queensland’s environment, history and


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avid collector of prime Australian currency. In1954, his five kookaburra pennies fetchedbetween £8 and £12 each and a kookaburrahalfpenny fetched £24. By the mid-1970s, thesquare penny commanded a minimum of $300,and $600 for the square halfpenny. Todayexpect to pay a minimum of $95,000 for thesquare penny and $300,000 for the halfpenny.

THE HISTORYAs part of a grand plan for change after

World War I, the Australian governmentproposed a major currency overhaul. Theradical idea, said to be the inspiration ofTreasurer William Watt, was to replace thetraditional bronze coppers with a square shapedpenny in an alternative metal. The design choiceof the kookaburra was clear evidence of a newpost-war Australian nationalism.

A limited number of individuals, companiesand organisations, including Treasury and theRoyal Mint in London, submitted sketchesand designs. Treasury controversiallyendorsed the depiction of an uncrownedmonarch on the kookaburra square coins,eventually receiving Royal approval.

Square facts Just prototypes Only in 1919, 1920 and 1921Made at Melbourne Mint Eleven penny designs Two halfpenny designs Approximately 200 coins Never in production Never circulated

Prototypes were produced between 1919and 1921. The Melbourne Mint issued elevendifferent penny designs and two of thehalfpenny. Varying quantities were produced,totalling about 200 coins. To test the acceptabilityof the proposed changes, prototypes were passedto Treasury officials, Parliamentarians, businessleaders and members of the public. Theseprototypes are exceptionally rare, exceedinglyvaluable and have an iconic status in Australia’srare coin industry.

The response was generally poor and thepublic showed resistance to change, while thepractical barrier was the incompatibility ofsquare pennies with vending machinesoperated by round pennies. Change becameless likely when William Watt, the mostinfluential proponent of the cupro-nickelkookaburras, resigned as Treasurer before thenecessary regulations were in place. Thekookaburra coins never went into productionor circulation.

THE 1919 kookaburra coinsFour penny designs were tested in 1919;

each had minor variations in the style of thekookaburra and the legend. One of the mostelusive of those 1919 coins is the Type 6 squarepenny. Over the last 35 years, only five exampleshave been at auction. The depicted 1919 Type 6square penny was first at auction in 1993 and soldfor $8400, but in 2004 it fetched $49,000 – a5,800% increase in 11 years.

THE 1920 kookaburra coinsFive different penny designs were tested in

1920, along with a very elusive and tinyhalfpenny. Regarded as the glamour coins ofthe series, they fetch a minimum of $155,000.The only square penny to feature a crownedKing George VI obtains up to $400,000.

When two examples of the 1920 crownedhead square penny came to auction in 1989and 1993, another period of global financialcrisis, these type 10 coins more than doubledin price. The specimen in 1989 fetched$10,200, while the example in 1993 fetched a

new price record of $23,500. During therecent global financial crisis, the latterexample purchased in 1993 fetched $350,000on a pre-auction estimate of $300,000.

Only three examples of the 1920 halfpennyare known. The most recent available coin wasauctioned in 2007 for $380,000, having beenacquired in 1986 for 19,500 – a 2,000%increase over 21 years.

THE 1921 kookaburra coinsTwo square penny designs were tested in

1921 and just one halfpenny, and these are theleaders of the strong investment growth of thekookaburra series. The 1921 coins make atleast one appearance at auction every year,with the following prices from the annualIndustry Price Guide indicating the growth:

2010 – $95,0002008 – $75,0002006 – $49,0002004 – $32,5002002 – $13,250

COINWORKSkookaburra registry

Not surprisingly, given the extreme rarityand exceptional capital growth of thekookaburra coins, there are waiting lists to acquire them. Coinworks’ kookaburraregistry provides information and alerts onavailable specimens ●

For more information or to register contact

COINWORKS03 9642 3133 [email protected]

Type 6 square penny 1919 Type 10 crowned head square penny 1920

Type 12 square penny 1921

Had the 1921 government planproceeded, Australian copper pennieswould have been replaced by

something very different – square cupro-nickel coins. This plan gave us some of themost fascinating and rarest Australian coinsever produced.

The rarity of those square coins, struckbetween 1919 and 1921, combined with theirnovel shape make for a high and risinginvestment value. That value was wellunderstood by a Coinworks customer whopaid $145,000 to acquire an elusive 1920square penny in July 2010. Four months later,it has been re-valued at $155,000.

Australia’s pattern kookaburra pennies areone of Australia’s most successful investmentcoin series. Sir Reginald Marcus Clark was an

BEING SQUARE IS DEFINITELY ‘IN’ when it comes to rare coins


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Australis of Montville Antiques

We buy & sell quality antiques & collectables

including a large range of• jewellery • fine china

• silver • pottery • furniture

• investment pieces

The largest range on the sunshine coast162 Main St, Montville, Qld 4560

Ph: 07 5442 9400 [email protected] of business: OPEN 6 DAYS • CLOSED TUESDAYS

CHAMBERS &CROSTHWAITE

ANTIQUES26 Nudgee Road (cnr Stevenson)

Hamilton, Brisbane

Antique and estate jewellery, porcelain,linen, silver, silver plate, glass, crystal,

collectables and furniture bought and sold

Shipments of sterling silver constantly arriving

Phone 07 3268 6778Member of QADA

DAZE

2 MINUTES OFF THE BRUCE HIGHWAY, 15 CALEDONIAN HILL GYMPIE 07 5482 4571 Open Wed-Sun 9 am-4 pm

GONE BY OF GYMPIE

We currently have alarge stock of qualityEdwardian, Victorian and Georgian furniture.Plus Victorian, carnival & depression glass,oodles of china fromMeakin to Worcester,lamps, clocks, and awide range of collectable& desirable objects.

VISIT OUR NEW WEBSITEto view a small selectionof what we have to offerwww.dazegoneby.com.au

• RESTORATION OF OILS, PAPER ART AND FRAMES• CONSERVATION FRAMING• TAPESTRY AND ART SUPPLIES• CUSTOM MADE STRETCHERS• SPECIALISED MATT CUTTING

Mon-Fri 8.30 am - 5 pm • Sat. 8.30 am - 12 pm

ANDREW & RONALD STSWYNNUM QLD 4178

07 3396 4251

MANSONFRAMERS

MFG PTY LTD

PATSY KIMBELLA N T I Q U E S

184 Mooloolaba RoadBuderim QLD 4556

07 5445 4033

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a PO Box 174 Indooroopilly QLD 4068 AUSTRALIA

t +61 0439 789 194Langford & Palmer

Valuations & Appraisalsfor Purchase, Insurance &Divisional Purposes

• Registered Art & Jewellery Valuer,Queensland

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purchase and sale of art and jewelleryfor individual and corporate collections

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When you next consider yourarrangements for appraising art worksand jewellery we welcome the opportunityto understand your requirements andquote accordingly.

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It has been a very different start to theyear for us at Silversmiths and Platers, as ithas been for most businesses in this part of

the world. Our well-laid plans of taking a breakuntil mid-January were cast aside as we were inthe path of the floodwaters. To avert disaster wefound ourselves having to move quickly,relocating customer jobs, disconnecting electronicequipment, and implementing contingency plansin the wake of Council warning us that thefloodwaters would flow up to 80 cm through ourBulimba premises.

Although insured, we were very aware thatcustomer jobs held valued memories thatmoney alone would not replace, and so

concentrated on relocating some 600 items toa safe storage. Fortunately, the waters did notrise to the expected height, and we were luckyenough to stay dry.

As many of our customers did not fare aswell as we did, the last couple of months havebeen spent providing advice, then quotes andinsurance claim advice for those who wereunfortunate enough to be flooded. The onlyupside for people with metal items damagedin the floodwater is that in most instances wehave been able to repair them.

Unlike many books, paintings and sometypes of furniture, the flood affected antiquemetal wares tended to have survived the

turmoil and are being restored to their formerglory. As with all our quotes, we are happy toprovide people with advice andrecommendations at no cost or obligation.

RELOCATING to Birkdale:Opening 3 May

We are also eagerly planning our move,which will be taking place over Easter. After15 years in Bulimba the time has come wherewe feel we can provide customers with betterservice and attention by moving the businesshome, giving us greater flexibility withworking hours and the bonus of savedtravelling time. We will continue to undertakeour electroplating operations off-site, enablingus to spread our ‘cleaner’ tasks out more.

The majority of our work is picked up anddelivered by us, and we intend to continue this service.

We undertake commissions on a largevariety of items, often requiring long periodsof concentrated detailed work. To ensure thatwe can concentrate on the tasks at handwithout multiple ad-hoc interruptions, visits tothe workshop will be by appointment only.

A LOOK at some of ourrestoration projects

I thought it would be interesting for people tosee some of the items we have recently restored.

The first item is a Scottish horn and silver-plate dinner gong mounted on an oak base. Ifound this neglected piece in a cabinet at anantique fair. The mounting screws weremissing, the silver plating was worn off, andthe horns had been allowed to dry out.

Firstly, we took a photo of the dinner gong,which gave us a record of the pieces beforewe dismantled it, as well as indicating thecorrect assembly. Next we sourced some smallslotted old-style screws, an item becomingharder to get but very important to maintainthe correct period of the piece.

We then stripped and polished the timber,and treated the horns before polishing them.The metalwork was also silver plated andpolished and finally the whole reassembled.Although decorative, this dinner gong is not toeveryone’s taste. We have found it to be it tobe functional, calling children in from theyard for dinner and it has become acentrepiece for discussions about times past.

Another item is a lamp we’ve been asked torestore. This had a heavy build-up of verdigrisunder the lacquer coating. We stripped this off,pickled the metal to remove the corrosion, andpolished it to the original shiny brass finish.

Because it is a difficult object to keep clean, wedecided that the best way to preserve it in apresentable condition would be to apply alacquer which would prevent corrosion from re-occurring. Once our work is complete it will besent to our preferred electrician who isexperienced with the repair and restoration ofantiques. He ensures that the electrical workundertaken does not compromise the ‘antique’appearance of an article.

We’ve also been doing lots of silverrestoration. The three-section dish shown inthe picture dates to the early 20th century, andwas made by the noted English firm Walkerand Hall. When it came to us it was heavilycorroded, the handle was loose, and one of thefeet was missing. Despite its decrepitappearance it is a treasured family memento,which the family wants prepared for passingon to the next generation.

The first step was to cast a replacement footusing a rubber mould and the lost waxprocess. Although time consuming, this allowedus to create an exact match, which is important ifa piece is to be restored to its former glory. As thehandle was off, it was much easier to polish soremoving the corrosion and then to prepare itfor repair. Once the pieces had been recastand repaired, the plating was done, followedby a finish polish and finally wrapped readyfor collection.

The final piece I want to talk about is asimple drawer handle. A customer came to uswith a handle back plate which was missingthe flopper. Originally fitted to a large 19thcentury chest of drawers, they had many yearsago replaced the plate with a modern handle.They now wanted to replace the flopper.

We took a flopper from another one of thechest’s handles and sand cast this to make areplacement. Sand casting is an inexpensiveway of producing a copy, and is ideally suitedto items such as handle floppers where youdon’t need to make multiple copies and thereis not a large amount of fine detail. It is alsoquick to do, with the entire job taking lessthan an hour; a pleasing outcome when we areable to provide customers with a restored itemsuch as this.

As we complete our move we will make sure tokeep our details up to date atwww.silversmithsandplaters.com.au. Please alwayscheck the website and make an appointment beforecoming in to our new premises ●

F.J.MOLE-SILVERSMITHS07 3899 8383www.silversmithsandplaters.com.au

Saving the past for the future at Silversmiths and Platers MODERN SOLUTIONS: Traditional techniques

BULIMBAA N T I Q U E S & A R T I N Q U E E N S L A N D

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WE ARE RELOCATING FROM EASTERWe will be closing our Bulimba premises on 21st April and opening at

Birkdale on 3rd May 2011We will continue to offer free pickup, while the workshop will be

by appointment only from 3rd May

Please see www.silversmithsandplaters.com.au for detailsPhone 07 3899 8383 • Mobile 0403 052 402

[email protected] • www.silversmithsandplaters.com.au

PLEASE RING US BEFORE COMING INMail Order welcome to PO Box 3088, Norman Park 4170

F.J.MOLE – SILVERSMITHSEST. 1913

Also trading as Silversmiths and PlatersF.J.Mole-Silversmiths continues their tradition

of nearly 100 years of silversmithing in Brisbane.Manufacturers and Restorers of Silverware, Trophies and Churchware

SPECIALIST RESTORERS OF ANTIQUE METALWARESterling Silver Items • Brass and Copper Wares

Pewter • Bronze Figures • Silverplated Items

BRASS AND IRON BEDS RESTORED AND FOR SALE

The management of Kilkivan FineArts and Antiques would like to pass ontheir sympathy to all those Australians

who have been deeply affected by floods and cyclones.

We offer 15% off all our stock to anyonewho produces this advertisement to us. Thismay help anyone who has lost antiquefurniture or any fine china pieces in the recentflooding and storms. Rest assured, we are onlya small business but we will endeavour to doour best to help anyone with their needs inthese sad circumstances and times.

The 15% off all stock is just not for floodvictims, but for everyone in the whole community,to give everyone a little something back.

SPECIAL requestsPlease phone us with your requests so that

we may assist you finding replacements asbest we can. Explore our large range of chinato replace your special pieces. We carry finepieces from notable manufacturers includingRoyal Doulton, Shelley, Wedgwood, RoyalWorcester and Moorcroft. Two English firmswhose earthenware and ironstone are popularamong Queenslanders are those are of J & GMeakin, founded in 1851 and W H Grindley& Co, which set up in 1880 at Stoke-on-Trent.

FURNITURE for all roomsIf needing to refurnish any rooms or toreplace accent pieces, we have some greatfurniture in store, from cedar to silky oak.There are dining suites, wardrobes, tables,

chairs, sideboards and bookcases, to name some of the stock we carry andreplace regularly.

ACCESSORISING Restore your sense of home with an artworkto enhance or compliment a setting from ourlarge range of original art. If ephemera areyour passion then our stock of old tools,bottles and strange items will give you a ‘new’start on enjoying old treasures once again.

Kilkivan Fine Art and Antiques is openfrom Thursday to Sunday between 10 am and5 pm. Take a day off from the cleaning andpaperwork after the disasters, and have arelaxing day outing to the South Burnettregion to pay us a visit in Kilkivan.

Please do come in and browse through ourextensive range of furniture, fine arts andchina pieces. You may find a replacement forthat treasured piece you have just lost orperhaps a similar item. If unable to visit andbrowse through our extensive range, thenplease phone or email with your inquiries. Wewill endeavour to help you fully and will evenpost items to you if you cannot visit our shop.

We are confident that Queensland will beback to normality soon.

KILKIVAN FINE ARTS AND ANTIQUES07 5484 [email protected]

KILKIVAN FINE ART & ANTIQUESgiving everyone a little something back

Cedar bookcase

Victorian chest of drawers

Silky oak display cabinet

KILKIVANA N T I Q U E S & A R T I N Q U E E N S L A N D

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English oak barley twist table, 6 chairs and 2 carvers, matching sideboard

6 Bligh Street, Kilkivan, Queensland 4600Ph: 07 5484 1602 Fax: 07 5484 1603

Email: [email protected] Website: www.kfaa.com.auOPEN Thursday to Sunday 10 am to 5 pm

HELPINGAUSTRALIANS

15% OFF ALL STOCK!!

Devastation has struck us daily from

the floods and cyclones in Queensland

with people trapped and misplaced and

a terrible loss of life. There are many roads

closed and landslides, water everywhere, and the

massive task of rebuilding and clearing up – still

difficult to comprehend.

On a very small scale, this is the flood story

of Salts Antiques in Crows Nest, a small country

town high in the hills. You would think ‘No

problems there’ – not much! It started after the

big rains. Roy who lives only five kilometres

from the shop, pulled out of his garden to drive

on to the road – what road? There are giant

craters where his road used to be, some up to 10

metres across and no road to drive to Salts

Antiques.

Now walking, he took a careful stroll down to

what used to be a small creek crossing, only to

see a raging river over 35 metres across – and

no road at all. Roy was stuck at home for 10

days, but meanwhile Roger, who gets to work

by a different route, managed to fight in and

open the shop. While there were not many

customers about, he had sold goods to deliver

and other items to sort out.

With plenty to do while stuck at home for 10

days, Roy heard that most roads were closed in

most directions. Finally, Roy waded the now-

reduced creek that was cold, deep and fast, then

made his way to the shop.

He promptly went out, bought a four-wheel

drive vehicle and talked to the local council

about putting in a track by another route. Now

he drives 18 km to work by a bush track that

scares the hell out of him.

So, we are both finally back at work. A few

more roads are now passable and to our surprise,

customers turn up to buy and browse. It looks as

though there will be a demand for antiques after

the flood disasters, so we are all moving on.

We will see you in Crows Nest any time you

are ready to browse or buy, and ring or email

with what you are hoping to replace that was

lost in the floods and we will try to help you put

your home back together.

UK buying tripThe UK buying trip is on again. Roger and

Natasha left in March to fill another 40-foot

container that will arrive in store in June. Our

buyers have been busy in the snow and cold

going round on the hunt for us, finding plenty of

smalls and unusual lots. Already bought is a rare

clock polyphone, as well as sets of chairs, chests

of drawers, tables, display cases and desks.

Prices in the UK seem to be down due to the

hard winter they have had and our high dollar.

Do not miss the arrival of new stock in June –

make a note in your diary for around mid-month.

Come and see us for your needs. If you are

looking for something special ring now and we

will try to acquire it for you on our buying trip.

Our new website shows only a fraction of

what is in the store. We hope to add hundreds

more articles to view. Many thanks to our web

buyers and browsers taking the effort to view.

What do you think of it so far? Email us with

any comments to make our site better for all.

Anyway, Roy is still taking his 18 km bush

road to the shop ●

Roy & Roger SaltSALTS ANTIQUES CROWS NEST07 4698 1266www.saltsantiques.com.au

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ALL ROADS lead to Salts Antiques

Roy’s Road

S A LT S A N T I Q U E S C RO W S N E S TOPEN Wed – Sun

9 am – 4 pmPlease ring first

Phone 07 4698 1266Mobile 0438 469 812

0408 989 032

STILL THE BIGGEST AND BEST ON THE DOWNS

Over 700 piecesof furniture Cocktail cabinets

40+ sewing machinesLots of live steam

8 bells & Gongs

Choice of 6Choice of enamel signs

Choice of 30

Live steam available

1920s for rebuild

Fancy cabinets

Dozen+ pre-war radiosOver 90 sideboardsAlways lots

of new stock

Georgian brass + uranium glass

Selection of tantalus

1894 ‘What the ButlerSaw’ machine

150 pieces of Cranival glass

Tables full ofDepression glass

Good selection of gramaphones

Over 30 China cabinets

Music boxes, polyphones and phonographs

Now at www.saltsantiques.com E: [email protected] • [email protected]

Rare find

Over 200 clocks available

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Lancaster’s Toowoomba AntiqueCentre is now celebrating its 17thanniversary. Located in Queensland’s

garden city, nestled on the Great DividingRange, Toowoomba is one of Australia’sleading centres for antiques and is home tomore than a dozen antique shops.

Lancaster’s Antique Centre is a must seewhen visiting the Darling Downs. After 17 yearsof trading from their Railway Street address,Lancaster’s has never been more progressive.

The Christison family have owned andoperated the antique centre since June 2002when Jan and Barrie purchased the businessfrom Graham and Gary Lancaster, the originalowners who traded for the first five years.Since then, Jan and Barrie’s daughter, Sharon,and her team have successfully managed andorchestrated the workings of this bustling centre.

Located opposite the historic ToowoombaRailway Station, it is easily reached fromBrisbane or the Gold Coast, both less than anhour and a half away. Lancaster’s has certainlycome of age and is regarded as one of theleading Australian antique centres withfourteen dealers displaying their wares; ashowcase for the best of what southeastQueensland has to offer.

Toowoomba, the gateway to the goldenwest, has always boasted a relatively large and wealthy population. This is reflected in the quality antiques and

collectables this city continually yields. Whether you are looking for Australian

furniture, cedar, pine or silky oak, or even thatone-off piece in English oak or mahogany –Lancaster’s always has an excellent range tochoose from. But the real ‘jewel in the crown’of this centre is the myriad of showcases andcabinets housing thousands of small antiquesand collectables. There is fine china, qualityglassware, jewellery, sewing paraphernalia,blokey stuff, metal ware, coins, medals,militaria, books, ephemera, toys, dolls, teddies,pottery, the list goes on.

Whether you are an established collector, abeginner or just a browser, you are sure toenjoy the enormous range. There is a definiteleaning to Australian and locally found pieces,a trend that has emerged and replaced theshiploads of antiques imported in the 1980sand 1990s.

Lancaster’s is always buying and paying topprices for antiques and collectables. Whetheryou are a local or a visitor to Toowoomba,appraisals and valuations are most welcome ●

Lancaster’s is open seven days a week, 10 am to 5 pm. Come and enjoy the hugerange and fantastic display.

LANCASTER’S TOOWOOMBA ANTIQUE CENTRE07 4632 1830

With 14 specialist dealers under one roof, we carry a full range, from A–Z, of antique and collectables, with fresh stock arriving daily.

Drop in for a browse, or chat with our friendly staff.

LANCASTER’S TOOWOOMBA ANTIQUE CENTRE 16 years old and going strong

Open 7 days 10 am - 5 pm

3 Railway St, ToowoombaQueensland 4350

Phone: 07 4632 1830 Mob: 0403 372 054

Australiana, Books, Collectables, Dolls, Ephemera, Furniture, Glassware, Hatpins,Inkwells, Jewellery, Kitchenalia, Linen, Metalware, Noritake, Oriental,

Pears prints, Qld pottery, Royalty ware, Shelley, Toys, Unique pieces, Venetian glass, Wembley Ware, Xylonite, Yo-yos and Zithers

Lancaster’sT O O W O O M B A A N T I Q U E C E N T R E


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After 30 years of antique brass bedrestorations we are still thrilled toreturn a brass bed to its original

design and all its intricate detail and shiningglory. Sometimes we have commenced with aclient’s tangled mess of iron posts, brass pipeand a box of over 60 assorted brass pieces.Many times intricate pieces are missing andthose feature porcelains, brass plaques andbrass casting moulds have been lost or utilisedfor some other decorative purposes. Each bed

is a challenge somewhat like putting togethera jigsaw puzzle and we are proud to ultimatelyreturn the jumble back into a family heirloomfor our clients.

Our research on how the bed would havelooked brand new includes two principlesources. First we consult the range of originalmail order catalogues from which we are ableto identify the client’s surviving pieces andmatch them to the original bed design. Theseoriginal mail order catalogues are valued

reference books as they contain a wealth ofinformation, especially in the intricateillustrations of brass beds. Each item had adetailed description, an elaborate illustration,colour and size and of course the price, as inthe following extract from ‘Anthony Horden& Sons Pty Ltd, Universal Providers, Sydney.’

Italian Bedstead, 2 in. parallel post,enamelled Black, mounted Head, Foot railrichly mounted with Porcelain spindles, 3Brass Rings and Brass cast Mounts andGallery (DX612)6ft 5in x 4ft 6in ................................£12/15/-6ft 6in x 5ft ........................................£13/5/-These early catalogues are a useful and

precise visual reference for all manner ofitems, including jewellery to fashion, books totoys and hardware to farm equipment.Catalogues serve as a time capsule of dailylife in the early 1900s, so sourcing thesecatalogues will guide you in the authenticdecorating trends of that time.

Another important source of information onoriginal bed design and period display is thefurnishings of historic homesteads andNational Trust properties. We encouragecollectors to visit historic properties to see thedifferent styles of beds and how they havebeen displayed in these homes for genuineperiod decorating ideas that are rarelydisplayed elsewhere in Australia. You will alsolearn how to dress a bed suitably for itsparticular period from the carefully researcheddisplays. Every visitor is also assisting inretaining our heritage when paying a modestentry fee to each historic property.

Many early beds did not have a full tester asshown in the Italian Bedstead catalogueillustration. Instead they had ‘swing arms’which allowed the drapes to be hungalongside the bed, an ingenious option thatstopped draughts across their faces whilst theyslept. Australia’s flying insects and creepingreptiles encouraged bed makers to create bothsquare and round testers to which longmosquito nets could be fitted, which certainlywould have improved the quality of sleep.

From original catalogues we have disproveda common misconception that the queen sizeis a new bed size of recent years. Originalcatalogues include bed designs that are nowknown as queen size (catalogue size 6 ft 6 inlong by 5 ft wide). Catalogues also offeredKing and up to Emperor sized beds (8 ft longby 8 ft 6 ins wide). The majority of people

still purchased double beds regardless of thetemptations of the catalogues.

Our own catalogue offers people a rangefrom which to identify what they arevisualising for their bed. Magazine clippingskept for years by customers on their ‘wish list’are also helpful design starting points.

Each old bed has its unique history. Clientshave shared with us the individual histories ofbeds, and how they have acquired theirparticular brass bed. This history gives us agreater appreciation for our pioneers whopurchased a stylish bed from a catalogue thatwas probably dispatched on a train andpossibly delivered by a horse drawn vehicle totheir home, and the subsequent owners (andneglect) in the decades since. Personal detailslike these should be passed on to ensure theunique history of each brass beds is not lost.

Finally, there is no doubt in our mind thatthere is a bed style for everyone. We continueto discover beds which we have never seenbefore. One of our personal favourites is theserpentine or double bow front that issometimes known as the wedding bed. Thisbed was extended to queen size.

Thank you to the readers of Antiques andArt in Queensland for supporting the goals ofour small business. Our aim is to continue‘taking care of furniture for generations of tomorrow’ ●

Mark and Lynne BennettTIMELESS ANTIQUES07 4633 1195www.timelessantiques.com.au

SHARING TIMELESS SECRETS: How do we know what we know?

Beds and furnishings in catalogues Italian bedsteads in the Anthony Hordern & Sons catalogue

Double bow front/Serpentine bed (also known as the wedding bed)

Mark & Lynne BennettSpecialists in Original Brass Bed Restorations

Phone: 07 4633 1195 Mobile: 0412 071 160117-119 McDougall St Toowoomba QLD 4350

Email: [email protected]

Taking care of furniture for generations of tomorrow

TIMELESSAntiques


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Quality entries now invited for

FORTHCOMINGAUCTIONS

Sunday 17th April 2011* Antique Bottles, Pot Lids & Stoneware.

Dates to be announced for* Australiana & Pottery

* Advertising Signs, & Garagenalia.For details check our website

www.gdlauctions.com.au

WE AUCTIONWe are Australia’s leading auction house for:

◆ Australiana, pottery and carnival glass◆ Advertising signs, tins and pub mirrors◆ Antique bottles and stoneware

We conduct both ‘In House’ auctionsand ‘On Site’ sales

We will travel anywhere in Australia for major collections.

For professional and confidential serviceand the very best results

Contact Graham: 0418 730 904

Lancaster’s Auction Rooms3 Railway Street

TOOWOOMBA QLD 4350

Ph: 0418 730 904Fax: 07 4613 1111

Email: [email protected]

View Catalogue & PhotosOne Month Prior to Each Sale:

www.gdlauctions.com

WANTEDFor Next Auctions

◆ Australian Pottery

◆ Enamel Signs & Garagenalia

◆ All Things "Blokey"

◆ Antique Bottles

◆ Whole Collections or Quality single items

Sold $6,650

Sold $330 & $1,220

Sold $13,500

Sold $5,550

Sold $12,750

Sold $18,200

Sold $20,000 Sold $11,000

Sold $19,400

Sold $16,650

Sold $4,450

Sold $4,800

WE BUYWe are always interested in buying or consigning

entire collections or quality individual itemsWe are especially interested in antique bottles,

advertising signs,

Australiana & pottery.

We pay top cash prices for good collectables!

For prompt service and the best price

Contact Graham: 0418 730 904

Aliens, gorillas and hideousmonster-like creatures have invadedthe Ipswich Art Gallery. How to

Make a Monster: the art and technology ofanimatronics reveals the secrets of motionpicture magic in this fascinating behind thescenes exhibition.

How to Make a Monster features the work ofJohn Cox and his company John Cox’s CreatureWorkshop. Cox, along with Scott E. Anderson,Neal Scanlan and Charles Gibson, was theAcademy Award winner for Visual Effects in1995 for the much-loved Australian movieBabe. Audiences have enjoyed John Cox’smenacing and curious monsters, animals andspecial effects in movies such as George of theJungle 2, Inspector Gadget 2, CrocodileDundee, Pitch Black and Oceans of Fire.

LEARN how motion pictureanimatronics work

This is an opportunity to learn howanimatronics work, based on material from theworkshop of this remarkable Australianartisan and skilled inventor. Visitors get aninside view of the skills and processesinvolved in bringing a creature from thewritten page to the silver and LED screens.Explore how monsters and creatures aredesigned, next how the storyboard is made,then how maquettes are made and finally howfull size creatures are sculpted, moulded andfinished. Visitors will find out how to createblue-screen effects and see how animatroniccomponents are designed and installed tocreate the bones and muscles that bringmonsters to life. Inspector Gadget 2

The displays include the popular Disneymovie Inspector Gadget 2, and here you cansee various gadgets such as an LED messagehat, light-up phone hand and net gun. See the Go Go Gadget scooter and the way it was powered by a battery vest worn by anactor on set. The combination of stunt work,animatronic devices and good editing that created many of the movie’s extraordinarystunts are all revealed.

George of the Jungle 2A highlight is on the Disney movie George

of the Jungle 2, where you meet some of themovie’s leading characters, Ape and Grouchy,and discover how their amazing gorillacostumes were sculpted, moulded andmeticulously finished. A film explains howactors in the costumes created the illusion ofreal animals. Oceans of Fire

One of the most imposing figures ondisplay is Gillman from Oceans of Fire. This creature is tall, silent, green and gaunt, part-man, part-reptile and freakishlyrealistic. The muscle tone and skin texture of Gillman highlight the anatomical representationrequired to make a creature feel and look lifelike.

This exciting exhibition opens the secretsand mystery behind motion pictureanimatronics and special effects, withdemonstrations of how monsters are created.You see all the tools involved in delivering theillusion of reality on film, includingmechanical and electronic devices, puppets,human actors, editing and the digitalmanipulation of images on screen.

Visit How to Make a Monster and enjoythis extraordinary exhibition for movie-lovers of all ages. Try pushing buttons and operating levers like a professionalanimatronic puppeteer. Parental guidance is recommended as some monsters may scareyounger visitors ●

IPSWICH ART GALLERY07 3810 [email protected] www.ipswichartgallery.qld.gov.au

Getting thereJust 40 km west of Brisbane, Ipswich Art Galleryis located in the centre of Ipswich CBD, close to cafes and parks, and just a short walk from Ipswich Railway Station, bus stopsand car parks. Opening hours are 7 days a week (only closed Good Friday) from 10 am to 5 pm. Entry is free.


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IPSWICH ART GALLERY IS BEINGINVADED by monsters & beastsuntil 29 May

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The Ipswich Art Gallery’s heritagegallery offers an intriguing glimpse intoAustralian, and specifically, Queensland

history. Showcased in the gallery are numerousitems of significance to Ipswich and thesurrounding region. This heritage display onshow in the Freeman Gallery is located in theoldest town hall in Queensland. Dating from the1860s, it provides the perfect setting to view thedisplay of heritage items and fine artworks.

A key piece on display is a painting byWilliam Francis Emery (act. c. 1850-1865)titled View of Ipswich from Limestone Hill.Recognised as one of Queensland’s mostimportant historical paintings, it provides arare view of Ipswich just 19 years after thearea was established as a free settlement.Emery travelled from Victoria in early 1861 toseek commissions in the area, which hadrapidly become a thriving industrial andcommercial hub in south-east Queensland.

On display in a nearby cabinet are twosecret jewel cases made by Welsh-born timberworker Thomas Griffiths. After retiring laterin life to Tamborine Mountain, he took upinlay work as a hobby. These secret jewelcases in the form of books are fine examplesof his work.

Secret jewel cases were used for the safekeeping of small, precious items in a hiddeninternal drawer. Elaborately inlaid with arange of native timbers, these cases are

testament to the wealth and variety ofQueensland’s timber resources.

Recently acquired to celebrate the ten yearanniversary of the Ipswich Art Gallery, Frostymorning by New Zealand born Elioth Grüner(1882-1939) was added to the display in 2010.An important Australian landscape painter ofthe early 20th century, Grüner sought tocapture the visual sensation of early morningsunlight within a series of pastoral landscapespainted from 1915 to 1919. Each paintingwithin the series is composed looking directlyinto the rising sun. As a result, formsencircled with light cast elongated shadowsacross the foreground. This series of paintingsis widely regarded as Grüner’s finest.

These pieces are just a small selection of thewonderful array of items on display in theFreeman Gallery. Drawn primarily from theIpswich Art Gallery’s collection, the displaydemonstrates its richness and diversity. Thecollection is an important treasure to be enjoyedby locals and visitors from further a field; and tobe preserved and built upon for years to come ●

Ipswich Art Gallery is open 7 days a week(closed Good Friday), from 10 am to 5 pm.Entry is free.

IPSWICH ART GALLERY07 3810 7222www.ipswichartgallery.qld.gov.au

COLLECTED WORKS: Heritage collection displayat Ipswich Art Gallery

IPSWICHA N T I Q U E S & A R T I N Q U E E N S L A N D

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Thomas Griffiths,Secret jewel case (inbook form), c. 1920,silky oak inlaid withQueensland maple,palm wood, roseCasuarina, cedar,pine, tulipwood,Black Bean and othernative timbers, 19.9 x 14.4 x 4.9 cm;20.4 x 14 x 4.9 cm.Ipswich Art Gallery.Acquired throughthe Ipswich ArtsFoundation withfunds donated by Mr Andrew Sparkand Mr ClintonSmith, 2009

William Francis Emery (act. c. 1850-1865), View of Ipswich from Limestone Hill, c. 1861-62, oil on canvas, 52 x 83 cm. Ipswich Art Gallery. Gift of Mr Les Thomas, 1986

Riviere College was ahead of itstime with a syllabus focusing onmusic, literature, painting, and offering

young women important educationalopportunities. Subjects studied includedgeography, history, English generalknowledge, composition, arithmetic, Germanand music.

The school was established by Professorand Mrs Georgs, circa 1877, and initiallyhoused in an imposing two-storey, turn of thecentury building with lawned surroundings inWallis Street, Woollahra. Professor Georgs, aprofessor of music, adapted the German mottofor his college: Des Fleisses Lohn (Rewardsof Work and Diligence).

Some of Australia’s leading women wereeducated at Riviere College including LillianDe Lissa, a pioneer in early childhoodeducation who later founded and wasprincipal of the Adelaide KindergartenTraining College (1907); Dr Dame ConstanceD’Arcy nee Stone who the first woman to beregistered as a doctor in Australia andpioneered antenatal care; and Dr MargaretEstelle Barnes one of Australia’s first twofemale dentists (1906).

In 1888, the college moved to the gracious‘Esher’ on the corner of Nelson and QueenStreet where the Misses Hall ran it until 1895.The next headmistress appointed in 1890 wasEdith Emily Dornwell, Adelaide University’sfirst woman graduate who received first classhonours in physics and physiology.

The following headmistress was MatildaMeares in 1896, a woman pioneer graduate of

Sydney University, awarded honours ingeology and French and later earned a Masterof Arts in classical philosophy and history. In1912, Riviere College found its final home atThe Hughenden where it operated until 1920by the now married Mrs Mitchell-Meares. Thelogo of Riviere College can be viewed in theRiviere wing of The Hughenden, etched in theglass plate along with a cabinet containingstudent memorabilia.

TRADITIONS continueIn the tradition of education, literature and

the arts, many of Australia’s renowned writersand illustrators frequent The Hughenden. It ishome to the Society of Children’s BookWriters & Illustrators Australia & NewZealand (SCBWI).

The Reading Room exhibits the works ofsome of the illustrators who stay at or visitThe Hughenden. Special works includeillustrations by multi award-winning artistssuch as Nina Rycroft, Sarah Davis, PixieO’Hara, Donna Rawlings and Shan Tan.Discover in corridors and rooms theirautographed prints by much-loved Diary of aWombat duo – Jackie French and BruceWhately – and those of I Am Jack duo –Susanne Gervay and Cathy Wilcox ●

More information on Susanne Gervay’slatest children’s book, Always Jack(Sydney: HarperCollins, 2010) is foundat: www.sgervay.com.

THE HUGHENDENFree call 1800 642 43202 9363 [email protected] www.thehughenden.com

THE RIVIERE COLLEGE AT THE HUGHENDENA Queen Street college for girls, with a focus on the arts

NEW SOUTH WALESA N T I Q U E S & A R T I N Q U E E N S L A N D

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In the traditionof education,literature andarts, many ofAustralia’srenowned writersand illustratorsfrequent The Hughenden

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

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

In the past, this ancient craft with all itssecrets was passed from father to son. But in1999, 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 theart of framing, and church restoration, Karl has abroad knowledge and more than 45 years’experience in gilding. 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 teaches

skills 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. Many students from the fields of art,craft and interior design are attracted to theprogram. Students travel from all over theworld to attend the Art Gilding Academy,making it a truly international academy.

On completion of the Master Class, theAcademy offers a Lifetime Membership tothe 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 our beautiful classroom witha small group of like-minded people. Thistwo-week full-time professional gilding coursehas been designed to save you time and tocreate an income as well.

For more information call Brigitteon 02 9310 3007ART GILDING [email protected]

HOBBY workshopA DISCOVER GILDING WORKSHOP

($200), held on a Saturday, is the perfectanswer for anybody who wants to learngilding as a hobby.

In just four hours you 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.

WEEKEND Classes Sydney: Sat/Sun 10 am – 4 pm

WOULD YOU LIKE TO ADD SKILLSAND MORE PROFITS TO YOURBUSINESS?

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, whichthey have been able to capitalise on by addinga new profit centre. Moreover, it’s fun!

The weekend class is very reasonablypriced at $795. This includes the project – anEgyptian plaque – and all tuition andmaterials. In certain circumstances this feecould 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 ●

Brigitte with gilding workshop project

Learn Gilding the Easy WayOnly 6 students per class

no prior knowledge necessary

DISCOVER GILDINGSaturday hobby workshop

10 am – 2 pm

GOLDEN WEEKENDSat & Sun 10 am – 4 pm

MASTER GILDING CLASSProfessional course running full time for two

weeks. Certificate upon completion Monday to Friday 10 am – 5 pm

For free brochure and friendly adviceCall Brigitte 02 9310 3007

Art Gilding Academy99-101 Buckingham St, Surry Hills NSW 2010

(5 minutes walk to Central Station)

www.artgilding.com.au

Art Gilding is based in Sydney and today’sreadily available cheap air fares create a‘golden’ opportunity to combine a weekendaway or holiday with learning the art ofgilding. We can recommend qualityaccommodation close by from $35 per night.

French clock 1889

Bedside tables

Learn professional gilding in just two weeks German Master Gilder reveals the secrets of this ancient craft

THE ART GILDING ACADEMYThe only place in the world where you can learn professional gilding in just two weeks

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 pieceof 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 wood

itself 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 housewhich was saturated by high pressure fire hoses.The proof is in these genuine before and aftershots. These repairs were carried out by one ladyusing Howard Restor-A-Finish, four zero gradesteel wool, Feed-N-Wax, Howard Orange Oiland Restor-A-Shine. The work was donevirtually unaided.

If any reader of this article has been caught in this horrendous flood situation and needs advice, please email us [email protected] or ring 1800 672 646 and we will get you theinformation and products you need at thecheapest price we can.

Alternately, I can be contacted direct on0419 403 627 if you prefer ●

David FosterHOWARD PRODUCTSwww.howardproducts.com.au

DEALING WITH WATERDAMAGED precious family heirlooms


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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

Within the exhibition Varilaku:Pacific arts from the SolomonIslands are a number of

intriguingly natural-looking sculptures. Theyare from a little documented tradition ofsculptural realism, and almost nothing isknown as to their context or why such workswere created.

A small number of less than 40 pieces exist inAustralian collections comprising of both bustsand free standing full figures in various posesfrom sitting to aggressive stances with axe, spearand shield in hand. All appear to have originatedfrom the Roviana and Marovo Lagoon areas ofNew Georgia and were collected in the periodbetween the mid 19th century and the firstdecade or so of the 20th century.

Visitors to the islands during this period notedthat such sculptures were produced almost solelyfor trade. It is possible any traditional, or Kastom,practices connected to the creation of such figureshad already dissipated by the late 19th century.However, if no tradition of carving in this mannerexisted then they are to be marvelled even more atfor the ability and willing leap taken by the artist toshift from their own canon of carving as this isclearly an impressive innovation.

Whether these sculptures were for trade orcommunity use they clearly demonstrate theartist’s abilities to create mirror-likerepresentations of people. They allow us to peerinto the lives of those they come from. Theyreflect personal vanity – what was consideredfashionable such as particular hair styles – also inthe status of the individual. It is unsurprisinglythat these four works depict the young of bothsexes as they paid great attention in theirpersonal appearance. Bachelors especially triedto groom themselves in order to appear morealluring to women.

Smaller figures have carved representationsof adornments reflecting the wearer’s wealthand community standing. Only the strongest,or most influential, could afford to wearcertain esteemed adornments. This is evidentin the Effigy of Paruvu who is shown wearingan elaborate crescent shaped mother-of-pearlshell pendant suspended on his back.

The exception is the naked Seated woman. It ispossible, due to her size, that real clothing andadornments would have hung upon her.

The Portrait bust of a young man’s face hassegments of nautilus shell representingpainted white decorative lines worn on a dailybasis that creates a silvery contrast to theblack facial surface. On smaller works, theseare represented by white lines. Each is shownwith pierced ears to receive wooden ear-spools. Ears and noses were pierced soornaments could be worn. These piercingscould be gradually stretched to immenseproportions, to around four inches in diameter.

Both Portrait bust of a young man andEffigy of Paruvu hold in their carved gaze andtheir countenance a personal quality muchadmired within New Georgia communitiescalled varilaku in the Marovo Lagoon area.

Varilaku is perhaps a calm but aggressiveconfidence from which warriors drew upontheir courage, not caring if they lived or died.Warriors embarking on head-hunting raidsprepared in a number ways for the expedition,

including the use of magic. But to convey anair of varilaku might have been moreimportant than holding a rifle, axe or anymagical assistance.

The Effigy of Paruvu expresses a subtlety inits features. The unknown artist had a uniqueapproach in his treatment of the body’srounded forms down to the details of the eyesand the enlarged nose. This artist would havebeen recognised within his community as acarver of no small repute. The figure is shownat a relaxed moment dipping his spatula intothe gourd, which is a container for limerequired to chew betel.

The original title given to this work was Effigy ofParuvo chief. There is no recorded village or chiefcalled Paruvo in the Marovo Lagoon area. It isprobable the figure may depict an influential mancalled Paruvu who was born between 1870 and1880. Paruvu came from a chiefly family; hisbrother was the strongest and most respected chiefin the Marovo Lagoon area during the 1890s.

Paruvu is shown with a disfigured hand. Onepossibility is the missing digits are a result of anaccident resulting from fishing. It has beenrecorded that by the late 19th century, the riskytechnique of fishing with explosives was practicedin the Marovo Lagoon.

Revealing details about the lives ofSolomon Islanders in this period can bediscovered through their ear, hair and facialdecoration and adornments.

The Seated woman, Portrait bust of a youngman and the Effigy of Paruvu have hair stylesformed through plugs of fibre or real humanhair to resemble the ‘pudding bowl’ type stylefashionable for both men and woman alike. Torecreate this on the smaller sculpture, a crosshatched cap-like dome is carved and paintedwhite to depict the tightly cropped stylewhich, in life, would have been a dazzlingplatinum blonde. Bleaching was done throughapplications of caustic lime – it is a fashionthat can still be seen among SolomonIslanders today.

Through cutting with a sharp edged shell,singeing with embers and plucking with ‘tweezers’of shell men kept immaculate facial hair ofsprouting small goatees and manicured tufts.

Of great interest is the Mother and childfigure group. The female figure wears anecklace resembling teeth and has large earspools, a pair of clam shell arm rings can beseen just above her elbows. However, it is theactivity portrayed that underlines the fact thatthese sculpture are indigenous forms ofdocumentation.

During the 19th century both adults andchildren from New Georgia ate only oneproper meal a day and child mortality wasvery common. To give a baby the best chancesof survival, their mother would massage thechild’s belly to encourage defecation prior toeating and so effectively absorb the nutrientsof that single meal.

Upon first sight realistic sculptures appearto be examples of 19th century westernobjectification of indigenous cultures, perhapsthe emergence of which was a direct aresponse to viewing western representationalarts. These figures can be interpreted asanalogous to the anthropological practices of

creating life casts from indigenous peoplesand photographic anthropometry. However,these figures open a window from which wecan see how Solomon Islanders representedand regarded themselves during the 19th andearly 20th century ●

Crispin HowarthCurator, Pacific ArtsNATIONAL GALLERY OFAUSTRALIA02 6240 6411www.nga.gov.au

New Georgia Group,Western Province,Solomon Islands,Seated woman, 19th century, wood,fibre, shell 65 x 38 x 65 cm.Australian Museum

Roviana Lagoon, New Georgia Group, WesternProvince, Solomon Islands, Portrait bust of a young man,1870-1900, wood, paint, shell, hair, 33 x 26 x 22 cm.National Gallery of Australia, Canberra

Marovo Lagoon, New Georgia Group, WesternProvince, Solomon Islands, Effigy of Paruvu,1910-1930, wood, paint, 45 x 13 x 14 cm. TheSouth Sea Islands Museum

New Georgia Group,Western Province,Solomon Islands,Mother and child,19th or early 20thcentury, wood, paint,fibre, shell, glass, 30 x 23 x 11 cm.Australian Museum


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HOLDING A MIRRORUP TO THEMSELVES:Realistic sculpture fromthe Solomon Islands

26 FEBRUARY – 29 MAY 2011

Australia holds some of the greatest

collections of Melanesian art. Varilaku

is a rare opportunity to view the finest

works from the Solomon Islands at the

National Gallery of Australia.

Canberra | nga.gov.au

Marovo Lagoon, New Georgia Group,Western Province, Solomon Islands

Effigy of Paruvu 1910-1930 (detail)

The South Sea Islands Museum, Cooranbong, NSW

CANBERRAA N T I Q U E S & A R T I N Q U E E N S L A N D

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[email protected]

www.johnpettit.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 toattend 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 the

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

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

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

NO limitsFinally, I recommend that new collectors

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

Gary WatsonPRESTIGE PHILATELY03 9762 6009www.prestigephilately.com

NEW SOUTH WALES / VICTORIAA N T I Q U E S & A R T I N Q U E E N S L A N D

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STAMP COLLECTING – WHERE DO I BEGIN?Collecting is an individualistic pursuit. What you collect should reflect your personal interestsand temperament.

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 oftenhave 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


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WOOLLOONGABBA ANTIQUECENTRE is breathing new life into antiques

Sisters Sarah Jane Walsh andMegan Rizzo could not have imaginedthe positive response when they flung

open the doors of the Woolloongabba AntiqueCentre (WAC). In attempting to revitalise astaid and conservative antique culture theseyoung dealers thought outside the square tochallenge the notion of antique. Along the way,they have introduced a host of new customersto the joys of truly unique homewares.

Always seeing the big picture, the sisters

have not just cobbled together a giant marketbut have curated a unique shoppingexperience. The constantly changing displaysand whimsical shop fit outs speak to the ironythat this may be an antique centre, but theentire stock is likely to be completely differentnow to what is was a month ago. With over 60dealers busily sourcing unique items for ashowroom well over 1,500 square metres, youcan expect a hive of activity.

The place buzzes on the weekend. A visit to

WAC can be a few hours with a half time break atthe café and a little music from the ButterBrothers, the house jazz band. Alternately, take aseat in the 1950s cinema where silent black andwhite burlesque films from the early movie eraare constantly screened.

HOW DID it begin? Sarah Jane and Megan’s passion for quirky

recycling was sparked when growing up intheir country hometown, Tamworth in NSW.They watched their mum sew together dancecostumes from old material, while a largeextended family provided an abundance ofhand-me-downs. The sisters recall many agame of dressing-up, which led to a passionthey just could not shake.

After many years of doing the marketsaround Brisbane, they opened their first retro-themed store in Paddington with overwhelmingsuccess. Almost a year to the day of opening theirfirst store, Megan and Sarah Jane opened asecond store in New Farm.

After years of researching to find the rightbuilding, the sisters opened an antiquessuperstore in Woolloongabba on 1 July 2009.The Wellington Road edifice housingWoolloongabba Antique Centre was formerlyoccupied by Copeland & Pickers for 30 years.An impressive one million dollar renovationrestored it to its original saw toothedindustrial glory.

Sarah Jane’s work as an assistant director infilm and television gave her great insights asto what designers were looking for and whatworks in fashion. She has an amazing abilityto pull together a themed shoot for aproduction company with record speed,searching high and low for the right props and costumes.

Megan’s artistic flair as a photographer andartist is combined with her background infinance and business. They have the perfectcombinations of skills and talents to createwhat is now Brisbane largest collection ofdealers under the one roof.

INDUSTRIAL antiquesA marked interest in industrial sourced

furniture continues to grow: antique itemsbuilt for commercial use and now restored foruse in a home or office. Typically, these itemscome from an era where robust materials and‘last forever’ construction ideals resulted inclean utilitarian lines and impressive quality.Designers of all types love this stuff!Architects, interior and industrial designers

have purchased items and it has an appeal tomen who find the utilitarian style satisfying,and the built quality is superb.

VINTAGE fashion never dates

This oxymoron neatly describes thegrowing appeal of vintage items. Itstimelessness keeps people guessing. The ideaof finding something no one else owns iscontagious. The sisters sourced vintageValentino pieces to complement the Valentinoretrospective in Brisbane. A few luckycustomers sported vintage Valentino thatwinter as well as vintage YSL, Prada, Chanel,Tiffany’s, Cartier, Versace, Hermes and MarcJacobs – all imported from the vintage hub ofthe world – New York City.

NEW INFLUX of French andEuropean antiques

WAC’s French and European antique stockreflect a renewed interest in fine furniture,with rustic and second Empire periodfurniture being quite popular. WAC nowhouses the highly regarded jeweller JohnStone from Stone Jewellers, displaying andselling antique and estate jewellery.

Woolloongabba Antique Centre continues tochallenge the notion of antique. ‘We deal inthe past, we are not from the past and thisplace is well and truly alive,’ said directorSarah Jane Walsh. ‘A simple scratch, or aworn out name patch evoke a million tales.’ ●

Sarah Jane Walsh and Megan RizzoWOOLLOONGABBA ANTIQUE CENTRE07 3392 1114 www.woolloongabbaantiquecentre.com.au

22 Wellington Rd Woolloongabba Qld 4102 (cnr Nile St)Off street parking off Wellington Rd behind centre • Open 7 Days 9 am - 5 pm • P. 07 3392 1114 F. 07 3392 [email protected] • www.woolloongabbaantiquecentre.com

www.uniquefrance.com.au

Antiques & Art in Queensland

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