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  • arta b i a n n u a l m a g a z i n e f o r c o l l e c t o r s o f m a t e r i a l c u l t u r eAntiques &world

    SEPTEMBER 2013 FEBRUARY 2014ISSUE 85AUSTRALIA $16.95 NZ $20.95SINGAPORE $20.00 UK 7.00

    US $13.00 10.50



























    Innovative British artist Bruce Munro inspired by youthful sojourns Down Under

    Terry Ingram assesses the impact on Australian art by recently closed London dealer Agnews

    Collecting sartorial elegance of the Hollywood variety


    ART60 The Young Drer

    Elspeth Moncrieff

    70 Home grown Miles Evergood:

    the rediscovery of an Australian artist

    Gael Hammer

    80 James McNeill Whistler:

    An Americans love of the Thames

    Margaret F MacDonald

    96 John Glovers trip to the coast

    John McPhee

    ARTNEWS28 Agnews and the Australian connection

    Terry Ingram

    66 The Venice Biennale 2013

    Vivienne Sharpe and Tim McCormick


    DECORATIVE ARTS AND DESIGN18 A sartorial tale: Evening wear for men

    the style and the times

    John Hawkins

    34 Joseph Hamblin: an excellent 19th century craftsman

    Dr Dorothy Erickson

    42 A silk pilgrimage to Lyon

    Eleanor Keene

    100 Combs: from pre-dynastic Egypt

    to modern-day Black Power movement

    Sally-Ann Ashton

    106 Master of Light

    Abigail Bryant


    HERITAGE48 Goodwood: the French Connection

    James Peill

    54 Great architectural draughtsmen of the past

    Dr Jerzy J Kierku-Bieliski

    88 East End Stories: The Parrish Art Museum

    Dr Alicia Longwell

    8 Scots in Australia: from First Fleet to Federation

    Gordon Morrison


    COVERGeorgiana Huntly McCrae

    (England/Australia 1804-1890),

    Self-portrait aged 20, 1824,

    watercolour on ivory, 8.5 x 6.7 cm.

    State Library of Victoria,

    La Trobe Manuscript Collection.

    Cowper Bequest

    2 World of Antiques & Art


  • 28 World of Antiques & Art

    Terry Ingram

    The curtain has fallen on the art dealership

    which put one of Millais most saccharine

    works Puss in Boots on show in

    Melbourne 123 years ago. The work may

    eventually have ended up in Dundee, but through

    Agnews Gallery many more serious art works

    now reside permanently in Australian collections.

    The closure of Agnews in Londons Mayfair

    has severed yet another valuable direct link

    between Australian collectors and the

    international art market. Since 1888 when Puss

    in Boots showing a young girl with kittens

    playing in boots, was exhibited at the Melbourne

    Centennial Exhibition along with works by other

    fashionable painters of the day, Agnews has

    pursued among its peers a rare devotion to the

    Australian art market.

    Not many of the works they handled were as

    kitsch as Puss in Boots nor did others rise quite to

    the stature of Titians truly iconic Rokeby Venus

    which the gallery steered into Londons National

    Gallery. But Australias national patrimony has been

    much enhanced by access to an ever changing stock

    of art that has turned up in the course of Agnews

    work over more than a century.

    The gallery will be remembered by older

    visitors when it was in Old Bond Street with its

    plush velvet curtains and wall coverings. The

    curtains came down there in the 1990s. In its last

    days the gallery was a stones throw away from

    the original in much smaller premises on

    Albermale Street. There it was managed in its

    final days principally as a contemporary gallery

    Sir Joshua Reynolds (English 1723-1792), Miss Sara Campbell, 1778, oil on canvas,

    124.3 x 99 cm. Illustrated on catalogue cover of Paintings and Drawings from Agnews, London,

    28 March-19 April 1973

    The famous London dealer Agnews has closed its doors for the last time. Uniquely among European dealers it concentrated on the Australian market and throughits exhibitions in Sydney many major works entered Australian collections


  • 54 World of Antiques & Art

    Jerzy Kierkuc -Bielinski

    In 1809, Sir John Soane opened his collections

    of architectural models, antiquities, casts after

    the antique and architectural drawings to his

    students at the Royal Academy for their study.

    As Professor of Architecture at the Royal

    Academy, and as one of the foremost architects

    working in Britain, he was very conscious of the

    central importance of architectural drawing to

    both students and practising architects. The

    architectural drawing was a tool for exploring

    architectural ideas, it was a way of explaining

    structure, mass, volume and ornament and it was

    a tool for recording buildings.

    By his death in 1837, Soane had amassed a

    collection of 30,000 architectural drawings,

    including works by some of the most significant

    architects that Britain has produced such as Sir

    The recently opened Museum fr Architecturzeichnung in Berlin houses the collectionof architectural drawings formed by the architect Sergei Tchoban. He shares much incommon with the nineteenth-century architect and collector Sir John Soane



    Johann Philipp Eduard Gaertner (1801-1877), View of St Basils Cathedral, Moscow,1838 Tchoban Foundation

  • World of Antiques & Art 55

    Christopher Wren, Sir John Vanburgh, Nicholas

    Hawksmoor and Robert Adam. These drawings,

    along with his entire collections and the house-

    museum he designed to house them, were left to

    the British nation by Private Act of Parliament in

    1833. Through his desire to educate students,

    professionals and the public about architecture

    Sir John Soane created the worlds first and

    oldest architectural museum.

    The St Petersburg-born and Berlin-based

    architect Sergei Tchoban also champions the

    centrality of architectural drawing, both in his

    working practice and also in his role as a

    collector and as the founder of Europes newest

    museum of architecture. In 2009, Sergei created

    a foundation that would promote architectural

    drawing. As he explained:

    Today a hand-drawing is never required for

    the realisation of an airport, an item of

    designer furniture, a football stadium or a

    faade. We cannot afford to lose such a

    powerful medium if todays architecture is to

    endure like its forebears in antiquity. The

    drama and emotion of the drawing can

    convey a feeling and a vision for a building

    that will persuade and inspire clients and lovers

    of art and architecture for centuries to come.

    In June 2013, his collection of historical and

    modern architectural drawings, which to date

    encompass some 600, were transferred to the

    newest museum of architecture in Europe the

    Museum fr Architecturzeichnung, Berlin. Like

    the Soane, the museum has also been designed

    by the architect whose collection it houses. It is

    the first privately founded museum in Germany

    and is also the first museum there to be solely

    dedicated to architectural drawing. Like the

    Soane, it is a unique institution and over the

    coming decades the collection of drawings will

    grow and expand.

    The present exhibition draws upon some of the

    great treasures from the Tchoban Foundation, in

    particular, Russian and German architects, from

    the seventeenth through to the twentieth

    centuries. Germany and Russia have long been

    linked dynastically, culturally and economically

    by trade through their northern ports on the

    Baltic Sea and architects have played their role

    Museum frArchitecturzeichnung,Berlin

    Detail: Museum frArchitecturzeichnung,Berlin


    The origins of the Afro pick are thousands

    of years old and in fact it was community

    responses to a 3,500 year old comb that

    prompted the research for the present

    exhibition. Found in a burial at the site of Abydos

    in Egypt (Fig. 1) this comb was carved from

    animal bone by an unknown artist and features a

    cultural symbol on the handle in the form of a set

    of bulls horns. Although at first glance these two



    100 World of Antiques & Art

    The afro comb originated 6,000 years ago and has made a great impact on world-wideculture. From archaelogicol finds to modern work these combs of remarkable beauty forma crucial insight into our understanding of culture across Africa and the Diaspora

    Above: (Fig.1) Egypt: Earlydynastic period (1st-2nd Dynasty

    34002980 BCE), comb madeof animal bone. recovered from

    burial site at Abydos, decoratedwith cultural symbol in the form

    of a set of bull's horns.Fitzwilliam Museum

    Right: Wooden (ebony) haircomb. Combs featuring similardecoration have been found in

    Zanzibar, South Africa, Nigeria, East Africa and Egypt.

    Fitzwilliam Museum

    Far right: Iconic black fist comb designed by

    Anthony R. Romani in 1972

  • combs probably appear to have little in common,

    other than their form, the people who created