Archive for the 'Jewellery' Category

Love Lace International Lace Award and exhibition: behind the scenes

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'Cermony' by Noelle Hamlyn, Gowns (6) and bonnets (6): cotton and silk embroidery and smocking on Japanese gampi tissue, 700 x 570 mm (largest). Image Powerhouse Museum

Much work has been going on in the Conservation department in preparation for the upcoming Love Lace International Lace Award and exhibition. There are some wonderful pieces in the exhibition and the variety of materials is amazing. Each object requires its own special display support. Rebecca Ellis has been making supports for some very delicate paper christening gowns and bonnets that will be suspended off the display wall. The artist, Noelle Hamlyn, has created the gowns out of Japanese gampi tissue and decorated them with cotton and silk embroidery.

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Conservator Rebecca Ellis filing the stainless steel support rods

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The support rods with their padding, ready for hanging.

Ian Scott-Stevenson has made small, stainless steel hangers that will protrude from the display wall. Rebecca has covered the shoulder section of the hanger with dacron padding, covered in silk. This will protect the garment and give it extra support whilst it is on display. The bonnets will be displayed on moulded acrylic attached to a stainless steel rod.

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A close-up of a very fragile sleeve of one of the christening gowns.

Gosia Dudek and Nadia McDougall have been working on another artwork called ‘One Echidna’ by Christine McMillan. The quills, which came from a road kill incident, have been made into a beautiful piece of art. Ian cut a piece of acrylic slightly smaller that the outside edge of the object. Gosia then hand drilled 60 sets of holes into the acrylic.

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Conservator, Gosia Dudek attaching the echidna quill object to it's acrylic backing.

Gosia and Nadia secured the object to the acrylic by tying very fine nylon threads over the thicker echidna quills and through the drilled holes. Each thread was knotted four times and in case one stitch came loose, another thread was also used in the same set of holes. The process has ensured that the weight is distributed throughout the object, which allows it to be displayed upright.

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Sculpture 'One Echidna' by Christine McMillan. echidna spines, linen thread and glue and an animation which records the image made by light passing through the work. 700 mm (diam), 3.05 min (duration) Image Powerhouse Museum

Hair in Museums

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85/649 Shirt, man's, cotton / human hair, Cameroon, between about 1900 and 1925 Collection: Powerhouse Museum

Why does hair appear in the most unlikely places?
Like this man’s shirt from the Cameroons.

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Detail 85/649 Collection: Powerhouse Museum

Or worked into this unique needle lace panel from the 1600s.

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A5335 Lace panel, "Judith and Holofernes", needle lace, linen / silk / human hair, maker unknown, England, mid 1600s Collection: Powerhouse Museum

That hair has been readily available as a material is one answer.
Hair has also been an indicator of social status and religious function, a symbol of age and authority, a statement of style and an object of beauty and adornment.

In this lace panel it is used to add an element of realism to the figures.
The panel depicts the slaughter of Holofernes by Judith. Judith is the central figure as befits her heroic status. She is brandishing a sword in her right hand and holds Holofernes head by the hair in her left hand. Her maid holds a bag ready to receive the head. Behind Judith’s sword there appears to be a serpent. To her right Holofernes lies with silk ‘blood’ (once probably red, now pink) pouring from his severed neck. The hair on all their heads, and in Holofernes’ beard, is stitched with strands of human hair, a very rare occurence in lace making.

Growing it or depleting it, what we do with our hair has been a part of human grooming in many cultures and an important focus in rituals like weddings and funerals since ancient times.

Mourning or memorial jewellery has been worn since the middle ages and became popular in the 15th and 16th century in England. Until the 18th century it generally consisted of gold and black enamel with early examples in black and white often in the form of a skull.

During and after the Regency period 1795-1830 in England, chains ,rings, pendants and brooches were made from finely plaited hair from the head.

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2004/141/1 Mourning locket, gold / hairwork / seed pearls, made by John Wilkinson Jeweller & Silversmith, Leeds, England, 1826 Collection: Powerhouse Museum

Another gem in our collection that refers to hair is this piece by Alan Peascod. We can all identify with a bad hair day as presented by Alan Peascod (1943-2007), an Australian ceramicist usually known for his Islamic inspired creations. This porcelain piece is inspired by his childhood memories reflecting a day where nothing will go right.

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97/282/1 'Bad hair day', porcelain, Alan Peascod, Bulli, NSW, 1997 Collection: Powerhouse Museum

Some have taken an interest with hair to the edge of obsession, or perhaps have teetered over the edge. Make up your own mind. There are two Museums I have seen dedicated to hair, one in America and one in Turkey. I have to admit I find both slightly unsettling.

Matcham Skipper (1921-2011)

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2005/258/1-2 Pendant, on chain, silver, designed and made by Matcham Skipper, Montsalvat, Victoria, Australia, 1960-1969 Collection: Powerhouse Museum

A legend of Melbourne’s bohemian world of the post war decades, Matcham Skipper was a sculptor and jeweller with passion for both the art of metal and unconventional lifestyle. As a jeweller, Skipper was mostly self-taught, drawn to experimenting with silver and gold ‘because of their sensual, ductile qualities’. Most of his jewellery was made using the lost wax casting technique. Inspired by European myths and legends and the work of the French sculptor Auguste Rodin, he developed his unique style in the Montsalvat artist colony at Eltham where he had his studio-dwelling complete with a foundry for casting bronzes.

Skipper’s heavy silver necklaces, bracelets and rings, which often featured embracing figures of lovers and could be set with semi-precious stones, were first shown at Brummel Gallery in South Yarra in 1958. But his ‘one-of-the-kind pieces which it takes a personality to wear’ were already in demand in the early 1950s and even exported to America – a visiting American jewellery agent commented that they were ‘unexcelled in the States’. Four decades later, when Skipper was presented with an Emeritus Award from the Australia Council for his lifelong contributions to the visual arts and craft, his old friend, the well-known broadcaster Phillip Adams, noted that:

‘…. in life, in art, in gold, in stone, he was and remains remarkable….as long as I remember, a Skipper ring has been de rigueur for those living within the gravitational pull of Montsalvat…’.

And yes, this of course included Adams.
By the early 1960s, Skipper with his irrepressible personality and, as one journalist put it, rip-roaring sense of humour, was so much part of the local scene that his possible departure for Italy prompted an article in the Women’s Weekly predicting that

‘If he really has gone, the residents of Eltham, Vic., will find life perceptively flatter. They will have to be consoled with the legends that cling to him like burrs’.

I recommend that you read this marvellous account in full, for a taste of Skipper’s contemporary bohemian image and aura.
Skipper was eventually to decline his Italian scholarship to accept the prestigious commission for six immense wrought-iron screens for Canberra University.

He had just completed bas-relief Stations of the Cross in bronze for the church of St Mary Immaculate in Ivanhoe. Many more commissions for sculpture and jewellery were to come Skipper’s way in the succeeding decades, his final creation being the bronze statue ‘Young Man Awakening’ for Eltham Cemetery. He died on 24 February, one of Australia’s most distinctive, creative and fondly-remembered artists of his generation. For Matcham Skippers’ obituary and photo see Craft Unbound .
The Powerhouse has several examples of his jewellery in its collection like this 1960s silver necklace.

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87/684 Necklace, oxidised silver, Matcham Skipper, Melbourne, Victoria, Australia, 1966-1968 Collection: Powerhouse Museum