FEBRUARY – AUGUST 2012 ISSUE 82AUSTRALIA $16.95 NZ $20.95SINGAPORE $20.00 UK £7.00

US $13.00 €10.50

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a 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 eartAntiques &worldof

GOLDIn all its glorious manifestationscelebrated in London

FROM CANADA TO AUSTRALIATying up the loose ends in early colonial art

World class destinations for sculptureThe new Hepworth Wakefield in West Yorkshire

Henry Moore at Perry Green

American artists in ItalyA rich exchange between cultures

136 AROUND THE AUCTIONSAuction highlights from the major houses

ART30 Russell Drysdale (1912-1981): a centenary evaluation

Helen Musa

48 Narimboo: an Aboriginal portrait

Ross Searle

84 Caustic images of Weimar Germany

Penny Fisher

92 Claude Lorrain in a new light

Dr Jon Whiteley

96 Americans in Florence

James Bradburne

128 Re-evaluating Henry Moore’s plasters

Anita Feldman

151 CONTRIBUTORS

DECORATIVE ARTS AND DESIGN36 Indian ivories

Francesca Galloway

42 The power and allure of gold

Dr Helen Clifford

66 Transported to the Colonies: Thomas Tompion’s clock

John Hawkins

74 A Worcester chalice

Andrew Morris

88 Fashion, patriotism and propaganda

Alexandra Huff

106 Malaysian Songtik

Helen Musa

110 Balinese wood carvings

Geraldine Slattery

4 EDITORIAL

HERITAGE14 The Governor, the Ensign and the Convict

Terry Ingram

54 What remains? Paper architecture and the

world of the unmade

Matilda Bathurst

60 A Han imperial burial

Dr James Lin

78 Restoration and renewal in Dresden

Dr Jana Vytrhlik

102 The Hepworth Wakefield

Matilda Bathurst

116 The Scottish National Portrait Gallery transformed

James Holloway

144 INDEX OF ADVERTISERS

PHOTOGRAPHY8 André Roosevelt’s Bali, the ‘Last Paradise’

Annabelle Lacour

20 Polixeni Papapetrou: transforming a pastoral scene

Gael Newton

124 Out of the darkroom: Kim Kauffman

Dr Margaret McNiven

PROFILE120 Celebrating a medium and a collector

Helen Watson

Contents

COVERPolixeni Papapetrou, The Harvesters from

Between Worlds, 2009, colour photograph,

pigment print, 105 x 105 cm.

National Gallery of Australia, Canberra

2 World of Antiques & Art

Gael Newton

Early naturalists described theAustralian colonies as an upside-down world whereinstead of the leaves the bark fell off the trees inwinter. In her enigmatic 2009 photo-tableauxBetween worlds, Australian artist PolixeniPapapetrou also seems to want to craft some senseout of the mix of native and introduced species andtales in the antipodes.

Australian-born, of Greek background and alawyer by first vocation, Papapetrou has been inthrall to masqueraders of various persuasions fromthe real Elvis fans and impersonators andbodybuilders she photographed in Melbourne inthe 1980s through a succession of series of studiotableaux from 2003 in which her young daughterand son are the costumed models but alsomasqueraders in their own right who journeythrough scenarios derived from European fairytales and the fantasies of the British Victorian erawriter/ photographer the Reverend Dodgson,author of Alice in Wonderland.

Followers of Papapetrou’s works have watched asher children have grown their way out of literaryfables and into masked roles in a series of worksbased on well-known European and Australianpaintings and colonial myths. Papapetrou’s interestin her own landscape was heightened after overseastravels in 2004 and her increasingly expanded andmore enigmatic cast of anthropomorphic‘watchers’ are now located outdoors in evocativeand spacious Australian landscapes and settings.

The Harvesters mixes metaphors and motifs.It draws first on French painter J F Millet’sThe Gleaners of 1857, a work which has longintrigued the artist for its ‘aestheticisation of theother’ in this case the grinding poverty of the gleanerscontrasted with the lush harvest of the landowner. TheMillet was seen as controversial and dangerouslysympathetic to the working class; the Aussie‘gleaners’ of 2009 however are girly young pigs inpretty pink nylon flounces recalling stories andDisney films of The Three Little Pigs, a Victorian eramoral tale about being productive and sensible.

The new Harvesters are genetic and gender-bending pretenders whose immaculate frocks showthey glean their grub only for amusement. Theirbucolic setting in this fractured fairy tale isrecognisably Australian only from the brilliantdepth of the blue sky and a strip of rocky untamedland in the middle ground. Perhaps a widermetaphor also wants to break in to the scene. As asettler society of relatively short history,Australians of European descent must perforcedomesticate the immigrant cultural narratives justas the bush land is turned to pastoral haymaking.

It is said that all versions of a myth are true, butmaybe the disquiet underlying Papapetrou’s images ishow they suggest Australians have not quite yetdomesticated their inherited and transportednarratives. Or are these now unforgettable creaturesof Papapetou’s creation Darwinian adaptations to anew land. So what if the gleaners have cross-bredwith cartoon pigs and are even a little monstrous. Butthey are Our Monsters, and rather friendly at that.

photomedia

Polixeni Papapetrou,The Harvesters from

Between Worlds,2009, colour

photograph, pigmentprint, 105 x 105 cm.

National Gallery ofAustralia, Canberra

Polixeni Papapetrou

transforming apastoral sceneThe not so gentle relationship between fantasy and reality

20 World of Antiques & Art

Francesca Galloway

The trade in Indian ivory objects

has a long history. Described as one of the noblest

crafts in Vedic literature ivory was already in

considerable demand during the Achaemenid

Empire in Iran (650-330 BCE) and later, during the

Roman Empire in Italy where Indian ivory was

found amongst the ruins of Pompeii (79 CE).

The most famous group are the Begram ivories,

excavated in modern times from the ruins of a

building in Begram, in present-day Afghanistan,

which had been destroyed during the Sassanian

invasions of around 241 CE. These Indic ivories,

dating from 1st century BCE to the 3rd century CE,

were luxury goods of a secular nature. They were

found together with Syrian glass, Roman and

Alexandrian sculpture and Chinese lacquer ware,

revealing the cosmopolitan and sophisticated

lifestyle of the wealthy elite living along the

Silk Route.

It was in the sixteenth century that trade in such

objects really flowered with the arrival of the first

Europeans in India, intent on establishing trade.

Most surviving examples of ivories before the

sixteenth century tend to be small-scale such as

Buddhist votive objects from Kashmir, medieval

erotic ivories from Orissa and elaborate carved

throne legs also from Orissa and south India, which

were made for domestic palace and temple use.

An unusual and beautiful example of sixteenth

century south Indian figurative ivory carving is a

decorative arts

Indian ivoriesfor the luxury market

With the expansion of foreign trade in the sixteenth century India developed an important market inthe production of high quality ivories for the export market. The strong demand for these beautifullycrafted items among collectors and museums continues today

Ceylon cabinet, late 16th-17thcentury, ivory and tortoiseshellveneered, made for thePortuguese market, h: 16.75 xw: 51 x depth: 32.5 cm. Thiscabinet is decorated withsmall panels of ivory finelycarved with Ceylonesezoological imagery, includinghamsa and winged beastsamidst exotic scrolling foliage,serrated leaves, stylisedflowers and pearled stems.Image courtesy ofFrancesca Galloway

couple from Madurai in Tamil Nadu now in the

British Museum in London. The Musée Guimet in

Paris and the Cleveland Museum of Art in the USA

all have famous collections of early Indian ivory.

The Portuguese were the first Europeans to

secure trading settlements at Cochin in 1503 and

then at Goa in 1510 and their arrival marks the start

of the export trade to Europe. By the seventeenth

century the Dutch and the English had established

major trading posts or factories in different parts of

the Indian subcontinent, expelling the Portuguese by

the middle of the century.

The number of pieces that survive from this

period is relatively large although the condition and

quality of such pieces vary hugely. The best

examples are generally held in museums such as the

Museu Nacional de Arte Antiga in Lisbon, the

Rijksmuseum in Amsterdam and the Victoria and

Albert Museum in London.

Precious and exotic objects such as intricately

carved ivory caskets from India and Ceylon (now

Sri Lanka), sometimes inlaid with precious jewels

and exquisitely carved fans, fly whisks and combs

were exported to Portugal and Spain, many

commissioned by or given to members of the royal

courts of Europe at the time they were made.

These luxurious objects were highly fashionable in

Europe and were displayed in royal collections

(Kunstkammes) in Florence, Naples, Madrid

and Munich.

Ceylonese ivory workshops, famed for the high

quality of their workmanship, created a hybrid style

that blended traditional Sinhalese forms and motifs

with those derived from European iconography. The

Ceylonese style of this period included zoological

imagery; hamsa (goose) and winged beasts amidst

exotic scrolling foliage, serrated leaves, stylised

flowers and pearled stems and geometric designs.

African ivory was preferred to indigenous Asian

(Indian) ivory because the material was less porous

and had a closer texture. It took a better polish and

had a mellow, warm, transparent tint. Unlike Asian

ivory, it did not yellow with age but retained its

attractive colour.

The ivory and tortoiseshell-veneered cabinet was

created in Ceylon for the Portuguese market in the

first half of the seventeenth century, and is a

magnificent example of its type. The exterior the

inner face of the doors and the surface of the

internal drawers are all mounted with panels of

openwork ivory over plaques of tortoiseshell backed

with gold leaf. The cabinet is decorated with small

panels of ivory finely carved with Ceylonese

zoological imagery including hamsa and winged

beasts amidst exotic scrolling foliage, serrated

leaves, stylised flowers and pearled stems.

The sixteenth century witnessed dramatic change

in India with the establishment of the Mughal

Empire in 1526 and the emergence of an art style

created for the Mughal emperors in the mid to late

sixteenth century. The Mughals were great patrons

of the arts, and the Mughal emperor Jahangir

mentions in his autobiography that he had a number

of ivory craftsmen in his permanent employ.

After the influx of European traders in India

around the middle of sixteenth and seventeenth

century, ivory craftsmanship was also influenced by

western patronage. Work produced during this

Sri Lanka, Casket,c. 1660-1670, carvedivory, wood carcass,hinged saddle roofedshape cover, silverfittings, l: 23.4 cm© Image courtesyRijksmuseum Amsterdam

Sri Lanka, Pipe case, c. 1700, carved ivory,wood carcass, brass fittings, l: 50 cm© Image courtesy Rijksmuseum Amsterdam

Helen Clifford

It is remarkable that any ancient

or historic pieces of gold have survived at all,

since so often the bullion value outweighed the

value of the workmanship. The majority which

do survive from prehistoric times were

discovered in graves. In some cases, gold might

have been treasured as a sacrifice to the Earth,

perhaps in periods of economic, social and

political crisis.

Worked gold makes its first appearance in

Britain in the form of sheets formed into crescent

discs, called lunulae and basket rings, such as the

celebrated ‘basket-rings’ found in a grave near

Stonehenge on Salisbury Plain in 2002.

The Amesbury Archer and his companion were

both buried some 4,300 years ago with great

ceremony, each with a pair of gold ‘basket rings’

placed close to the side of their heads. Their

precise function is still unclear but they may have

been worn round locks of hair. Analysis of the

archer’s tooth enamel reveal that he originated

from the Alps region. Perhaps he was one of the

early migrants who first brought Britain into

contact with the continent of Europe and with it

the trade that brought goldworking to Britain.

The technique of embossing sheet gold was

known across Europe and a gold ewer from

Anatolia, dated to c. 2500-2000 BCE, shows how

ancient civilisations shared this technique of

decorating. It is one of the earliest gold vessels

known in the world.

Lunulae, the term used to describe a distinctive

type of early Bronze Age collar, shaped like a

The power and

allure of gold

decorative art

The confluence of Queen Elizabeth II’s Diamond Jubilee andthe Olympic Games in London in 2012 offers an opportunity tocelebrate the story of Britain’s largely unsung relationship with gold

Nugget found at Cromm Altt, Stirling© National Museums of Scotland

Above: Amesbury Archerbasket ornaments, the oldestgold objects found in Britainto date © Salisbury andSouth Wiltshire Museum

Right: Anatolian gold ewer,c. 2500-2400 BCE,technique of embossingsheet gold © The Rosalindeand Arthur Gilbert Collectionon loan to the Victoria andAlbert Museum London

42 World of Antiques & Art

crescent moon, are found most commonly in

Ireland, but also in Portugal and Great Britain. A

spectacular group of torcs and bracelets reveal

how new gold working techniques were

developed and new styles began to appear in the

Middle Bronze Age, culminating in elaborately

worked examples made between the third and

first centuries BCE.

Ornaments made from sheet gold continued to

be made, but the use of gold bars, either plain or

with hammered flanges began to appear,

heralding a new sophistication.

The gold bracelets found as part of a hoard

at Capel Isaf near Llandeilo, Carmarthenshire,

and made between 1,600 and 1,300 BCE, may

well have been made from Welsh gold. These

can be compared with a new form of body

ornament, the torc, which appears in Britain in

the Middle Bronze Age. By the Iron Age this

form had reached the height of technical skill

and many of these later torcs seem to have

originated from Norfolk.

The Newark torc, like other Iron Age examples,

is constructed of rolled and twisted wire ropes

fixed to ring-shaped terminals. These torcs tend to

be made of gold alloys, typically an alloy of 80-85

percent gold and 10-15 percent silver. A

particularly splendid example of Anglo-Saxon

jewellery is an early seventh century pendant made

of beaded and twisted gold wires of complex

design and incorporating a central garnet. The

pendant was retrieved from an Anglo-Saxon burial

site at Kingston Barrow near Canterbury.

Inlaid with over 830 chips of blue glass, white

shell and flat-cut garnets, it is still the finest and

largest (at 8.5 cm diameter) Anglo-Saxon brooch

ever to have been found.

A wealth of material has since been discovered

by metal detectorists. The Middleham Jewel

found in North Yorkshire in 1985, sold for

£1.3 million at Sotheby’s in London. The

fifteenth century gold lozenge shaped pendant

is intricately and intimately engraved with

biblical scenes and set with a large sapphire.

Goldsmithing retains an extraordinary

continuity over time. The basic constructional

techniques of casting and raising date back to

the third millennia BCE. The analysis of

archaeological finds by modern goldsmiths, such

as Jack Stapley’s investigation of Iron Age torc

making, create a dialogue across the centuries.

Some pieces are difficult to date precisely

because the techniques of making and decorating

have changed so little. A gold bowl said to have

been found at Palestrina near Rome, dating back

to 700-650 BCE and embellished with fine

granulation, has caused debate among experts as

to whether it is original or dates to the nineteenth

century when a fascination with ancient techniques

led Victorian goldsmiths and jewellers to learn by

imitation, resurrecting lost arts and skills.

World of Antiques & Art 43

Top left: Pair of gold bracelets,c. 1,600-1,300 BCE from theCapel Isaf Hoard, may havebeen made from Welsh gold© National Museum of Wales

Top right: The Irish Lunula,c. 2000-1500 BCE, Bronze Agecollar, made from gold sheet© The Drapers’ Company

Bottom left: The MiddlehamJewel, mid-15th century, goldpendant adorned with an oblongsapphire © Yorkshire Museum

Bottom right: The Canterburypendant, early 7th century,beaded and twisted gold wiresincorporating a central garnet.An exquisite example of Anglo-Saxon craftsmanship© Canterbury Museum Service

Jana Vytrhlik

Since the German reunification in

1993, Dresden, the capital of Saxony in former

East Germany, has been gradually returning to its

pre-war architectural glory and restoring its rich

museum collections. The historical centre of the

city was destroyed in the final days of World War

II and many of the public buildings remained in

ruins under the East German government.

Pre-war Dresden still lived in people’s

memories so the colossal task of rebuilding and

recovery was highly emotive. Architects and the

city authorities were faced with two opposing

views about the new development. On the one

hand advocates of meticulous reconstruction, on

the other, those who believed in the creation of a

modern day city of the twenty-first century.

Within the historic city centre the

conservationists prevailed. The baroque palaces

and churches have been restored exactly as they

were before the bombing. One of the most

influential supporters of the rebuilding of the

famous Frauenkirche church was Günter Blobel,

a German-born US scientist who donated his

Nobel Prize award money to this project in 1999.

Blobel embraced the modernist’s approach by

supporting the building of the ‘New’ Synagogue

in Dresden (completed 2001), whose cubic

design references the geometry of the ancient

Temple in Jerusalem.

Restoration and renewal

in DresdenThe city famed for its magnificent buildings and art collectionsamassed by Augustus the Strong faces the delicate issue ofbalancing its historical importance with the needs of a dynamicand growing modern city

heritage

Top: Photograph of rebuilt square, 2011

Bottom: Frauenkirche reconstruction of its1726 style completed in 2005, 2011

Balthasar Permoser (German 1651-1732), Moor,probably 1724, pear wood, lacquered, silver-gilt, largeemerald cluster, precious stones, tortoiseshell,h: 63.8 cm. Grünes Gewölbe. Photo: Jürgen Karpinski

Preserving the balance between conserving the

historical centre while rising to the demands of

a flourishing modern city has been a difficult

task. In 2004 the restored Dresden won the

coveted UNESCO World Heritage List status,

only to lose it five years later following the

construction of a highly controversial four-lane

bridge near the heart of the historic centre.

Outside the city centre, architect Daniel

Libeskind, achieved a powerful fusion of modernity

with the existing nineteenth-century classicist

building. Libeskind’s extension to the Bundeswehr

Military History Museum re-opened to acclaim last

year after seven years of building and refurbishment

work. The futuristic thirty-metre tall glass, steel and

concrete structure signifies a museum which deals

with and interprets Germany’s difficult past. As

Dresden is rebuilt so its national and international

standing has grown. The city is now a regular host to

international conferences, festivals and trade fairs

and a centre for German federal and foreign

government cultural programs.

Historically, the city is still most strongly

identified with the era of Augustus the Strong

(1670-1733), the Elector of Saxony and King of

Poland. Augustus transformed Dresden, building

extravagant baroque palaces and museums to

house his incredible art collections. Like

Rudolph II a century earlier in Prague, his court

attracted the best architects, artists, goldsmiths,

jewellers and inventors. His enthusiasm for

porcelain resulted not only in his world famous

collection but the European discovery of the

making of porcelain and the foundation of the

first ever European porcelain factory at Meissen.

Augustus made major additions to the already

outstanding collections of his predecessors. In

the 1720s, his still growing collections of

paintings, sculpture and decorative arts were

displayed in a series of purpose-built ‘museum’

rooms. This collection formed the basis of the

State Art Collections, the Staatliche

Kunstsammlungen Dresden, or SKD today.

The precious works of art survived the bombing

because they were evacuated two years earlier and

hidden in caves and quarries east of the city, only to

be seized at the end of the war by the Red Army

troops. By an irony of fate, Dresden became part of

the Eastern Block and in a political and ideological

gesture of communist solidarity the Soviet

government returned a proportion of the treasures to

Dresden in 1958. The collections are now housed in

a group of historical buildings which include the

Zwinger, Royal Palace and Albertinum as well as the

nearby hunting lodge Jägerhag and castles of Pillnitz

and Moritzbur. The buildings are gradually being

restored to incorporate twentieth-first century

museum technology and visitor facilities.

The collections incorporate twelve museums in

all. They include the Cabinet of Prints and

Drawings, one of the oldest and most important

collections of drawings, prints and photographs

in Europe. It holds over half a million items by

more than 20,000 artists, spanning 800 years.

The Old Masters Picture Gallery in the Zwinger

is world renowned. The Italian Renaissance rooms

include Rafael’s Sistine Madonna and works by

Giorgione and Titian. Dutch and Flemish

masterworks are represented by the best of

Rembrandt, Vermeer, Rubens and Van Dyck. The

collection of old German masters includes many

works by Dürer, Cranach and Holbein.

Left: Synagogue rebuilt, 2011

Right: The controversialbridge over Elbe Riverviewed from the river, onlya few kilometres from theold city centre, 2011

Jacob Zeller(German 1581-1620), Table centrepiece designedas a frigate borne by Neptune,1620, ivory, gold, iron,h. 116.7 cm. Grünes Gewölbe.Photo: Jürgen Karpinski

Below right: Castle Pillnitzhousing rich decorative artscollection in originalsurroundings, 2011

92 World of Antiques & Art

Claude Lorrainin a new light

New research by curators at the Ashmoleon Musum in Oxford and the Städel Museum,Frankfurt shows Claude as the revolutionary artist he was

Claude Lorrain (French c.1600-1682), Landscape with the Judgement of Paris, oil on canvas, 97 x 122 cm© Trustees of the 9th Duke of Buccleuch’s Chattels Fund

art

World of Antiques & Art 93

Jon Whiteley

Claude Lorrain is an artist who has

become so familiar that it is difficult to look at

him with fresh eyes. In England, especially, where

landowners once laid out vast expanses of

parkland in the manner of his paintings and artists,

from Richard Wilson to Samuel Palmer, recreated

the English landscape in the Claudian style, it is

now hard to recognise his great originality.

It is harder still to respond to his Romantic

imagination without thinking of the centuries of

imitators who separate him from us. His

contemporaries however were not so hampered

in their admiration. They saw him as a great

naturalist who brought a new sense of light and

atmosphere into the art of landscape painting

and infused it with a poetic emotion which has

enchanted writers and painters ever since.

Claude, as his name suggests, was born in the

duchy of Lorrain on the eastern border of France,

possibly in 1600 (as his tombstone states) or else

in 1604-5 (as the early documents imply). At an

early age, he went to Rome and entered the

household of an Italian landscapist, Agostino

Tassi. His first biographer, Joachim von Sandrart,

recalled Claude’s habit of going out into the

countryside at morning and evening to take

colour samples of the light before returning to his

studio to replicate them in his paintings.

Although Sandrart thought this was an odd

manner of studying nature, it was a perfectly

reasonable way of capturing the ephemeral

effects of light at sunrise and sunset which do

not last long enough to allow the painter to do

much more. Claude was the first artist to paint

the sun’s disk in his pictures, usually close to the

horizon above a rippling sea. Sometimes, he

places a great mass of dark foliage against the

sunlit sky so that the distant landscape is

suffused with soft light while the foreground is

in shadow and his figures, placed in the shade,

are picked out in the darkness by slender shafts

of light which slant through the undergrowth

from one side or the other.

Claude’s naturalism was based on the many

studies which he made in pen, brush and chalk

on excursions along the valley of the Tiber or

further afield, sometimes in the company of

Poussin. His earliest drawings of this type owed

Claude Lorrain(French c.1600-1682),Dido and Aeneas atCarthage, 1676, oil oncanvas, 120 x 149.2 cm© Kunsthalle, Hamburg

More to read

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FEBRUARY – AUGUST 2012 ISSUE 82AUSTRALIA $16.95 NZ $20.95SINGAPORE $20.00 UK £7.00

US $13.00 €10.50

a 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 eartAntiques &worldof

GOLDIn all its glorious manifestationscelebrated in London

FROM CANADA TO AUSTRALIATying up the loose ends in early colonial art

World class destinations for sculptureThe new Hepworth Wakefield in West Yorkshire

Henry Moore at Perry Green

American artists in ItalyA rich exchange between cultures

AUGUST 2011 - FEBRUARY 2012ISSUE 81AUSTRALIA $16.95 NZ $20.95SINGAPORE $20.00 UK £7.00

US $13.00 €10.50

a 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 e

ART MOVESStars at the Venice Biennale

Emerging talent from Bangladesh

BESPOKE JEWELLERY Gold and silver work: A proliferation of

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