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Ro

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[ISBN 0 86459 305 8]

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Staatliche AntikensammlungeKönigsplatz München, Germany21-04-2004 to 13-06-2004

Galerie Biró, Zieblandstrasse 19, 80793 München 40, Germany22-04-2004 to 12-07-2004

HELEN DRUTT:PHILADELPHIA 2222 Rittenhouse Square, Philadelphia, Pennsylvania 19103-55052005

ISBN 0 86459 305 8

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A,AAA,AAA….REDEVENT

ROBERT BAINESGoldsmith artificer

2004

MELBOURNE

ISBN 0 86459 305 8

2

First published by RMIT University Press© Robert Baines 2004

Edited by Robert BainesDesigned by Robert Baines and Michael Fletcher

Printer: RMIT Print Services

All rights reserved. No part of this publication may be re-produced, stored in a retrieval system or transmitted, in any form or by any mean electronic, photocopying, recording or otherwise, without the prior written permission of the publisher.

[ISBN 0 86459 305 8]

Published by RMIT University Press, an imprint of:RMIT PublishingPO Box 12058, A’Beckett Street,Melbourne Victoria 8006AustraliaTelephone 61 3 9925 8100 Fax 61 3 9925 8134Email: [email protected]://www.rmitpublishing.com.au

The occupation as researcher and artist in the field of goldsmithing, as well as the human aspects of Antiquity is a well examined cultural background for Robert Baines’ creative activities. The historical examples are indispensable for his artistic work; the investigation and decoding of the technical aspects are naturally the task of a researcher. Both combine in Robert Baines. To place the transitory into the ageless seems to be Baines’ essential inspiration. His knowledge of handwork paired with theoretical learning provides the combination to his success. Thanks to his unparalleled historical knowledge, he has the ability to read jewelry as a document. The results of his research into the collections of the most important museums in the world have provided important analysis and source-material for science, but also inspires Robert Baines as an artist. During his investigations, Baines discovered fake reproductions. These discoveries were obviously of great importance for museums, but less so for him personally as an artist. Baines does not moralize, but rather with humor exclaims, “I love fakes!” and then proceeds with great pleasure to study the results. In opposition to the work of ‘fakers’, Baines utilizes his mastery of historical styles to create pieces uniquely his. “I love the virtuoso aspect of this work and I want it to be seen as my own”.

In the jewelry work of Robert Baines, which is not without recognition in Munich, we experience a series of diversions. A piece of classical conception might have a foreign object breaking through its surface. The banal combines with materials of the highest worth. We observe structures and surfaces that contain secrets and therefore irritate and provide the chance for incorrect interpretation. Clarity is purposefully and masterfully hidden, and a transparent understanding is not simply located The inspiration in the visual language of his work is not easily read. Baines expects a special sense of humor from observers. Admirers and collectors greatly appreciate this aspect of his work. Die Staatliche Antikensammlungen in Munich, world-renowned as one of the most important museums for small pieces of art, will show for the first time the results of Robert Baines’ research. The secrets will be made visible leaving us in a state of amazement. This exhibition is a wonderful enrichment for the sizable public with an interest in jewelry in this city, often called, “The Mountain of Jewelry-Arts”. Our thanks go out to the museum and to the artist. Olga Zobel Galerie Biró

Die Beschäftigung als Forscher und Künstler mit der Goldschmiedekunst und dem Menschenbild der Antike, ist bekannterweise der kulturelle Hintergrund für Robert Baines’ Schaffen. Das Vorbild ist unentbehrlich für seine künstlerischen Arbeiten, die Erforschung der Techniken und diese zu entschlüsseln, ist Aufgabe des Forschers, beides vereint zeigt sich bei Robert Baines. Das Zeitliche ins Zeitlose zu setzen, scheint Baines’ wesentliche Inspiration zu sein. Sein handwerkliches Können und theoretisches Wissen, diese Paarung macht Baines’ Erfolg aus. Dank seiner historischen Kenntnisse „liest“ er mit dem Auge eines Archäologen den antiken Schmuck wie ein Doku-ment. Seine Forschungsergebnisse zu den Sammlungen der bedeutendsten Museen der Welt, liefern unentbehrli-che Analysen und Quellenmaterial für die Wissenschaft, aber auch für Robert Baines selbst als Künstler. Bei seiner Untersuchung entdeckt er auch Fälschungen, die zwar für die Museen von enormer Wichtigkeit sind, aber weniger für ihn als Künstler. Baines moralisiert nicht, wie er selbst humorvoll sagt „I love fakes!“ und mit Freude studiert er die Resultate. Aber im Gegensatz zum Fälscher, benützt Baines die historische Technik meisterhaft zu seiner eigenen Schöpfung. „Ich liebe die virtuosen Aspekte von dieser Ar-beit und würde es wünschen, sie als meine eigene Arbeit gelten zu lassen“.

Bei Robert Baines’ eigenen Schmuck Arbeiten, die in München nicht mehr unbekannt sind, erleben wir eine ganze Reihe von Täuschungsmanövern, wie zum Beispiel eine klassische Konzeption von einem Fremdkörper durch-brochen wird, wie er das Banale mit dem Allerhöchsten verbindet. Wir sehen Strukturen und Oberflächen, die das Geheimnisvolle in sich bergen und dabei irritieren und auch Gelegenheit zu falscher Interpretation bieten. Der Eindeutigkeit geht er meisterhaft aus dem Weg – um die Transparenz geht es bei seiner Arbeit gewiss nicht. Auch die Inspiration lässt sich in der Formensprache seiner Arbe-iten nicht einfach ablesen.Baines erwartet vom Betrachter ein gutes Verständnis für Humor, der vielleicht ganz speziell ist. Seine Bewunderer und Sammler schätzen insbesondere das letztere in seiner Arbeit.

Die Staatliche Antikensammlungen in München, die welt-weit zu den bedeutendsten Museen für antike Kleinkunst zählen, zeigen erstmals Baines Forschungsergebnisse. Das Geheimnisvolle wird hier sichtbar und lässt uns erstaunen. Diese Ausstellung ist eine große Bereicherung für das schmuckinteressierte Publikum in dieser Stadt, die oft die „Hochburg der Schmuckkunst“ genannt wird. Dafür unsere Dank für das Museum und für den Künstler.

Olga ZobelGalerie Biró Translated by Rebecca Hannon

4

Observations from Oz

We are one hour from Melbourne, driving through winding roads of shrub and scrub as traces of dry dirt obliterate the underground life of wombats. Slopes that are homes to mobs of kangaroos slowly rise as we make our way toward Nutfield. Is this the yellow brick road to Emerald City? Are we enroute to the home and studio of a modern day sorcerer? Thoughts that Robert Baines bears an amazing connection to the Wizard of Oz or the medieval alchemists are prevalent among those who know him.

•

It has been stated that the world of art is a community of internally related objects – no artist or any work of art has complete meaning alone. One’s significance is in the relationship to those before. In his work, Robert Baines understands that and he has learned from his ancient predecessors. Like Virginia Woolf’s Orlando he moves through the ages into another time in history. His study of the nature of material has transformed Etruscan granulation techniques into wondrous contemporary objects of intricate elements saturated with the color of red.

•

In the labyrinth of time, the role of color has been central to the work of the alchemist. There are three basic colors, Nigredo (black), Albedo (white) and Rubedo (red) – the latter being the one which reaches the final stage of the attainment of perfection.1 The symbolism of red permeates the art of the modern world – lipstick brands as Revlon’s “Fatal Apple”, “Fire and Ice”, “Cherries in the Snow”; Max Factor’s “Paris Red”. In 1942, Elizabeth Arden advertised “Victory Red” and Calder created Red Petals. In 1911, Matisse painted The Red Studio, and Mondrian created the Composition with Red in 1939. Robert Baines continues with Intervention of Red and Stopping at the Red in 1997and in 2000, Bloodier than Black, AAA,AA…... REDEVENT. In Japan, the red thread appears at birth and leads you to your destiny. “Let’s paint the town red!”

•

Baines’ fascination with red is not unlike his fascination with jazz. Robert’s late hours are often spent in clubs in Melbourne or when in Manhattan, haunts in Harlem. Jazz musicians Louis Armstrong and Fats Waller were also sorcerers. As Alfred Appel, Jr. stated in Jazz Modernism one has to “appreciate their musical procedures as alchemists of the vernacular” who, like Robert Baines, “have ‘jazzed’ the ordinary and given it a new life.”

Helen W. Drutt EnglishFounder / Director Helen Drutt: Philadelphia

April 5, 2004, Philadelphia

1 Andrea Aromatico, Alchemy: The Great Secret (New York: Harry N. Abrams, Inc., Publishers, 2000), p. 81.

Introduction

Jewellery is not only adornment but also a cultural, archaeological

and technological document. Technology applied by the

ancient goldsmith leaves characteristic traces investigated by

archaeometallurgy.

Historical jewellery can be analysed and tested by laboratory

reconstruction of selected gold works, with the making of samples

and replicating museum artefacts using goldsmithing skills

based on known technology of the same era. This tests current

theories and raises further questions concerning manufacturing

technology. It tests the assumptions and theoretical strategies

of working by the historical goldsmith and the findings of new

knowledge become available to the contemporary goldsmith.

In my personal research laboratory constructions with their

historical correctness become available for reworking to convey

a contemporary visual relevance and a statement of history. The

results of these analyses and reconstructions form the basis for

studio practice in the making of the jewellery object in which

contemporary aesthetics are informed by historical practice.

Historical Background

Scientific examination of historical jewellery has its genesis in

the nineteenth century. Although chemical analysis of objects

was carried out, assemblage and configuration became a major

interest. This was the catalyst responsible for the archaeological

revival jewellery of the second half of the nineteenth century.

These early enquirers were mostly practical jewellers with a

knowledge and understanding of metalsmithing processes.

In Italy the two Castellani brothers Alessandro and Augusto

inherited from their father the business practice of goldsmithing

as well as antiquarian pursuits.1

Between 1910 and 1925 the German dealer and collector Marc

Rosenberg published major studies in ancient goldsmithing

technologies.2 Caroline Ransome Williams’ 1924 catalogue of the

collection of the ancient Egyptian goldworks then in the collection

of the New York Historical Society provides a combination of

technical information and replication experiments particularly in

the making of ancient wire and granulation. Included in the

survey are some of the earliest published microphotographs

identifying ancient gold manufacture.3 The catalogue Greek

Gold concerning the high Classical era has a very important

introduction identifying alloying with X Ray Fluorescence and

the goldsmithing of Greek jewellery.4

Joining characterization needs specific methods. With electron

microprobe, analyses can be made on the object but more often

on a sample. This results in a limited number of tested joins.

Parrini5 at al published information on a cylinder from Marsiliana

d’Albegna in 1982 and more recently Duval and Eluere in

1989.6

Reconstruction of Historical Jewellery and its Relevance as Contemporary Artefact

1 G.Munn, G:Castellani and Giuliano, Revivalist Jewellers of the Nineteenth Century, Trefoil, (London, 1984). See also K. Snowman, The Master Jeweller, Thames and Hudson, (London, 1989) pp. 10-15.2 C. Rosenberg, Geschichte der Goldschmied-Kunst auf technischer Grundlage, Granulation, (Frankfurt, 1918) pp. 28-41.

3 C.R. Williams, Catalogue of Egyptian Antiquities Nos. 1-60, Gold & Silver Jewelry and Related Objects, NYHS, (1924), pp.39-44.4 H. Hoffman and P. Davidson, Greek Gold in the Age of Alexander, (1969) pp 18-49, The Technical Introduction, by Davidson has one of the earliest published analyses of gold objects by XRF determining gold, silver and copper alloys. William J. Young of the Museum of Fine Arts, Boston, carried this out.5 Parrini, P.et al:‘Etruscan Granulation: Analysis of Orientalising Jewellery from Marsiliana D’Albegna’, AJA, 86 (1982), pp.118-121.6 Duval, A.R. et al: ‘The Use of Scanning Electron Microscope in the Study of Gold Granulation’, Archaeometry (1989), pp.325-333.

6

Observing the Technology of Style

In particular ancient jewellery the decorative configurations

that accumulatively mark their style can also be regarded as a

consequence of technology. Their placement and relationship to

each other is in part a testimony to the joining technology carried

out by the goldsmith.7 The aim of my research has been to identify

the mode of joining first by visual inspection, as observations of

contact points reveal the characteristics of particular heat systems

of joining. Identification is made by comparing the joined core

by qualitative analysis with the substance of the joining material

using an energy-dispersive x-ray fluorescence spectrometer

(EDS). An objective in such methodology is to articulate metal

analysis and define its contextual meaning with regard to the

period of gold technology of the Classical Era.

Selected jewellery artefacts appear to confirm this argument,

and the detailed drawings of surfaces and structures describe

the geography of the jewellery and are used as maps for

orienteering through the jewellery piece while in the chamber

of the Scanning Electron Microscope (SEM). The drawn

maps facilitate an orienteering through the complex jewellery

landscape. The drawings highlight locations and areas of

interest for observation and analysis (Fig.1). The SEM identifies

manufacturing idiosyncrasies and attains surface and sub surface

analyses of alloys using EDS. Elemental analyses of artefacts and

samples offer readings of surface and subsurface alloys. SEM

imaging of markings and structures indicating manufacture of

the decorative components is observed and photographed and

this visual information can reveal sequence of assemblage and

identify goldworking methods.

Figs.1 a-f Drawing and laboratory gold sample of Ancient Jewellery

7 The stylistic configuration of the most complex goldworks can be characteristic of the diffusion bonding system. The author at the international conference The Art of The Greek Goldsmith held at the British Museum in October 1994 first presented this theory. 29. “Technical Antecedents of Early Hellenistic Disc and Pendant Ear Ornaments, ‘The Art of the Greek Goldsmith’, D. Williams (ed.), The British Museum, (1998), pp.122-126.

8

Laboratory Reconstruction

Laboratory reconstruction of ancient goldworks and the making

of copies of particular jewellery types have a number of attributes.

Principally it tests assumptions and theoretical strategies of

working by the ancient goldsmith. Using goldsmithing skills

based on known technology of the same era, theories of

manufacture can be tested. A further objective is to identify

worked surfaces and structures and place them in a technological

and chronological context. Such evidence can also develop the

source and location of theories of manufacture.

In 1997 during a three-month period I conducted a Senior

Fulbright research project at the Sherman Fairchild Center for

Objects Conservation at the Metropolitan Museum of Art in New

York. The research was primarily on Etruscan and some Greek

gold pieces. This was followed by a similar term in 2000 in which

jewellery from the Egyptian Department was researched and

considerable time was directed towards authenticating of pieces

from the treasure of the three foreign queens of Tuthmosis III.8

A third Senior Fellowship in 2003 continued research primarily

with jewellery from the Greek and Roman Department. The

jewellery group from Vulci in the Greek and Roman Department

was investigated for its information describing manufacture

and worker identity. The jewellery has stylistic and worker

characteristics that have connections with pieces in other

public and private collections. They are highly technical and

characterised by many complex parts.

Working with Richard E. Stone at the Sherman Fairchild Center

for Object Conservation and testing his theories on the absence

of the blowpipe in heat joining of jewellery in antiquity was a

major consideration. Gold jewellery samples were manufactured

in the laboratory with a charcoal fire and blowpipe (Fig.2). A

second charcoal fire over a muffle was constructed (fig.3).

Fig.2 a goldsmith works at a brazier with tongs and blowpipe. (After Davies, The Tomb of Rekh-Mi-Re at Thebes, New York, 1943, plate 55.)

8 C. Lilyquist, The Tomb of the Three Foreign Wives of Tuthmosis III, MMA, (2003)

Fig 3 Jewellery Seminar ‘Granulation and the Hearth Fire’ Sherman Fairchild Center for Object Conservation, Metropolitan Museum of Art in NY, May, 2003

This tested methodology gleans a great amount of information

about each jewellery piece. Following selection of gold artefacts,

observation by microscope and the compiling of working

drawings for developing strategies of analysis were made. SEM

further identified manufacturing idiosyncrasies and surface and

sub surface analyses of alloys were carried out.

The same scrutiny was made of laboratory samples for

comparative analysis. This provided a vantage point to consider

the broad aspects of manufacture-sheet, wire and granules.

10

Historical Location of Technology

The SEM provides detailed examination imaging and high

quality photography with clear depth of field resolution.

This allows for identifying and recording characteristics of

manufacture; the sequential mode of assembly of the various

components, characterising of wires can be attained and the

observing of granulation with its diverse configurations and

possibilities of joining are accurately recorded. The first objective

in such methodology is to articulate metal analysis and define

its contextual meaning with regard to the period of gold

technology in the historic sequence. The second objective is

to identify worked surfaces and structures and place them in a

technological and chronological context. Such evidence can also

develop theories of the source and location of manufacture.

Generally the mode of joining by the goldsmith can be identified

first by visual inspection, for observation of contact points reveal

the characteristics of particular heat systems of fusion. However

visual perception can quite often be misleading. Metal surfaces

can vary considerably according to diverse combinations of heat,

atmosphere and chemical contexts. More comprehensively,

comparing the joined core can make identification by qualitative

analysis with the substance of the joining material using EDS.

Finally, scanning electron micrographs of cross sections can be

compared with the surface and the core material of heat joined

regions. This qualitative analysis and comparison of regions

using the EDS clearly shows the application of copper in the

diffusion bonding system. Further to this can now be added

in some instances the observation of stylistic configurations of

gold works.

Authentication of Ancient Gold

Contemporary theorists may argue it is not important what is

genuine and what is false. The excavated and the genuine is

not alien to archaeology and the study of our cultural history. If

the suspicious and the fake were never exhibited in museums,

published or presented to the world as artefact, they would not

become component of our intellectual culture. Also they would

not have sabotaged the study of our collected memory, our past

history.9

The identifying of stylistic configurations and recording of workers

idiosyncrasies has been part of my ongoing research. This has

enabled me to group previously unlinked work as having same

source of manufacture. This acquired knowledge also provides

a vantage to authenticate ancient goldworks and the placing of

those artefacts in their chronological location. Fakes having same

stylistic mistakes might suggest a same source of manufacture.

Style and technology have their own chronological and cultural

location and their combinations have their variance affected by

social and geographic eccentricities.

Technological factors identify many jewellery fakes as rather

obvious, but from a museological viewpoint there is a small but

dangerous group of fraudulent jewellery so carefully executed

as to prove deceptive to even the most critical eyes.

Attribution in the traditional sense is entirely within the province

of the art historian using tools of stylistic analysis and historical

documentation. Richard Stone wrote, “Conservators provide

evidence of entirely independent origins that lends arguments

9 Fakery has been present since ancient antiquity. It can quite often be historically positioned by its mode of manufacture and quality of alloy. Nineteenth century forgeries are flawed in that technology current to that era is the mode of manufacture and this can be identified using visual observation and chemical analysis. SEM assists with greater detail. More

recently forgers have benefited from new knowledge provided from the SEM. An example of this has been the emergence of forgeries with platinum group elements (PGE) inclusions in the body alloy of gold artefacts following new research publications of the incidence of platinum in the alloy of ancient gold jewellery.

previously based on stylistic insights alone a new dimension

otherwise unobtainable, sometimes helping to avoid the

possible danger of circularity in stylistic attribution.”10 Once

authenticated the jewellery piece becomes reference for the

further authentication of jewellery.

There may be a scrupulous scholarship of attribution and

current technology applied to the conservation of jewellery

document. The attention of curators in the grouping and

placing of jewellery on display is given informed consideration

with the endeavour of accurate reconstructed historical

contexts. All these endeavours can be carried out and the

absence of a guarantee of authenticity will remain.

A Personal Vantage Point

Jewellery offers a view into history of cultural descriptions

in stylistic, chemical and methodological correctness. The

research data identified from the jewellery corpus becomes

the basis for authentication for curators/conservators/jewellery

historians. For diagnostic purposes there is the expectation of an

archaeological correctness within the fabric and manufacture of

the jewellery document.

From the vantage point of a contemporary goldsmith, this has

provided me with an arena for artistic interpretation-for ‘play’.

Historical jewellery becomes contemporary jewellery forms

and the ‘play’ becomes a stumbling block and an upheaval

within orthodox classification. There is in this disturbance an

intervention with contemporary ephemeral materials into the

jewellery artefact that has a semblance of a diagnosed historic

correctness by the orthodox classifier.

Under the broad subject of A,AAA,AAA…REDEVENT I built

jewellery referencing cultural locations. 11 These pieces

fulfilled an archaeological correctness within the fabric and

manufacture under their title THE INTERVENTION OF RED. This

paradigm is upset by the intrusion-inclusion-interruption of the

colour red, and furthermore by the possibility of its substance12.

Substances of glass, plastic, foil, paint and found objects become

a confrontation and a vehicle for colour and this disharmony

offers new vantages for signage of an interfered history.13

The inclusion becomes an impediment and an upheaval within

the orthodoxy of the classifier. More recently I have used cars as a

vehicle for red. This has been confined to bracelet jewellery types

and the earliest of these (fig.4) was shown at Nocturnos.14

Jewellery as document is available for interpretation. There is

potential to return to an imaginary history where fictional detail

has been confused with historic fact and this can be both

intential and unintentional.

10 Richard E. Stone, “Defining Authenticity”, Met Objectives, MMA vol.4 no.1 (2002) p. 411A,AAA,AAA….REDEVENT is a jewellery group comprising the following series: The Intervention of Red, commencing 1994; The Entropy of Red 1995; REDLINE, commencing 1996; A Vesseled History 1997; Bloodier than Black, commencing 1998 and Meaner than Yellow, commencing 2001. Not confining red to its colour but making an expression of the condition of red, the latter two groups are influenced by Claes Oldenburg, (Notes, New York, 1961) statement on the condition of red.

‘I have just had an insight, red is redder than green, meaner than yellow, and bloodier than black’12 The conveying of love and sacrifice in the vehicle of red has antecedents since time immemorial. Within all the substances to convey red is the enjoyment of entropy and on its ultimate state of degeneration the symbol becomes quiescent. The fullness of red remains untold.13 This work was first shown at Galerie Biró in Munch in 1997.14 “Balcony: The Subconcious in Jewellery” Nocturnos, International Jewellery Colloquium, Estonia, (2001)

Intervention of RedFig.4, Bracelet with Fire Car, circa.?, 2001. Silver gilt, plastic cars,

98 x 93 x 69 mm

14

These pieces of the past therefore exists in the present and the

jewellery artefact becomes available for evaluation and for ‘play’.

In the analysing and categorizing of type, jewellery as vehicle of

the past can become a mixture of ones own inventions.

From the vantage point of a goldsmith, I am considering how

formulated heritage is available for reference, questioning and

modification. The option to copy, to replicate, or to modify the

historic document jewellery is a possibility and new input can

verify or engender falsehood.

The accuracy of the copy can engender perceptions of the

authentic. “In semiotics, a sign that resembles what it represents

is called an ‘icon’, and the special feature of an icon is that it also

signifies itself.15

Appropriate materials and processes in the context of a specific

style depiction are paramount to manufacture an acurate

recreation. In particular ancient gold jewellery, the decorative

configurations that accumulatively mark their style it has been

stated earlier can also be regarded as a consequence of

technology resulting in a symmetry of technical factors and a

consequential visual genre. The placement of iconography and

relationship to each other is in part a testimony to the joining

technology carried out by the goldsmith.

The limited authenticated historical jewellery corpus available for

reference means a restricted body of primary research material is

available for consideration. A restrictive primary reference need

not be a confinement to creative embellishment, ”for it shares,

through resemblance, some traits with whatever it signifies. Art

is therefore a sign that points both outside itself and toward

itself.”16

A Formulated History

William Faulkner quoted at the start of Peter Carey’s book, True

History of the Kelly Gang, “The past is not dead. The past is not

even past.” Falsification has a certain justification in that you will

no longer feel any need for the original writes Umberto Eco.17

Enhancement makes it more real. The Palace of Living Arts in

Beuna Park, Los Angeles has the philosophy “We are giving

you the reproduction so you will no longer feel any need for

the original.”18

The sanitising of Enid Blyton’s books shows another altering of

the historical document to the point of being morally absurd. The

replacement of the golliwog, one of Blyton’s favorite characters,

with a teddy bear in a republished edition is an exercise in political

correctness. Gilbert the Golliwog has disappeared, while Noddy

no longer feels ‘queer’ or climbs into bed with his pal Big Ears.

Further altering of the literary work and the originality of the

writer’s creation is the changing of Dame Slap to Dame Snap.

Though Dame Slap is not an abuser it still could be possible to

read it as a reference to child abuse.

In Black Beauty, Bessie out of fear that her name had connotations

of black slavery, now has the name Bess. Fannie and Dick have

become Frannie and Rick. The word ‘girls’ have been deleted

from Mother’s instruction, “You girls can put up a little bed for

him.” Clearly an over reaction in the endeavour to be politically

correct the altering of written text challenges the preserve of the

historical document.

Jewellery and its Preservation

Jewellery remains in a better state of preservation when hidden

or concealed- not exposed. The jewellery object once surfaced,

discovered, excavated or plundered or even worn becomes

available for reworking. It is not confined to its authentic past

and becomes part of a broad pasture of our time for reworking.

Knowledge and applications of technology becomes the vehicle

for scrutinizing these objects.

We live in an era where the ancient and the recent, the authentic

and the bogus, have begun to mingle and interbreed in the

corridors of hyperspace. Television stages Xena the Warrior

Princess encountering the young Buddha in the entourage of

King Arthur.19

‘The fake is recognised as “historical” and is thus garbed in

authenticity’.20 A shroud of ‘history’ can encompass the object to

the satisfaction of the naïve connoisseur who wants to believe,

wants to believe, wants to believe, wants to believe………

15 Charles Morris, “Esthetics and the Theory of Signs”, Journal of Unified Science 8 (1938), p.13416 Wendy Steiner, The Scandal of Pleasure: Art in an Age of Fundamentalism, University of Chicago Press, Chicago (1995), p.7617 ibid 1918 ibid 19

19 Shane Maloney –The Age, 11-12-2000, “Robin Hood tries to solve the mystery of JFK’s assassination with the help of the Man of Steel”20 U. Eco, ‘Faith in Fakes, Travels in Hyperreality’, Minerva (London, 1995) p.30

This paper draws from an Andrew Mellon senior research Fellowship in 2003 at the Metropolitan Museum of Art in New York. I am grateful to the guidance and generosity of Richard E Stone at the Sherman Fairchild Center for Object Conservation for his knowledge and the opportunity to share and exchange opinions. Other special thanks are to Carlos Pi-con and the Greek and Roman Department and particularly to Dr. Joan Mertens for her continuing support, guidance, encouragement and of course for making the jewellery available.

Ferlini’s Secret from Meroe

Dear Olga

I think the enclosed pin from the “Micromegas”1 exhibition is one that Ferlini ‘missed’ or possibly secreted away at the excavation site at Meroe.2 Stylistically the pin (fig.1) is very similar to the tops of the “shield rings”(figs.2) in the Munich Staatliche Sammlung Ägyptischer Kunst.3 The rings are the part of the personal jewellery of Queen Amanishakhetos and the work of goldsmiths of the Meroitic period after 300B.C. and though they are Kushite, they are profoundly Egyptian. The jewellery appears just as free with its Greek influence as in Egypt at the same time. Maybe there were Greek goldsmiths working at Meroe. The granulation rows with adjoining wire borders on the aegis of the pin match the Meroe shield-rings. The chiseled rhomboid plates between the rows are also very similar to the Meroe gold work.

It could be a lost piece from the jewellery treasure from the kingdom of Kush at Meroe in the upper Sudan!

The iconography though, of the pig with its pink plastic condition is curious though it does appear to be a happy pig resplendent with a fine gold wire necklace. It has been said that Egyptians banned swine herds from the temples for fear that their pigs carried leprosy. But schwein were happier in Germany as they were revered as a Mother Earth character feted for their fecundity. Maybe the pig’s finely made necklace of ribbon twisted gold wire is signage of the adoration. Certainly in Munich the celebration of the pig has followed through into the beer halls and restaurants. I’m not so keen on the hackepeter and I can’t stomach the pfaelzer saumagen or the schlachtplatte and beuscherl essentially doesn’t miss an oink. Certainly my favourite in Munich (Münchner Spezialitäten vom Schwein) is the 1/2hintere Schweinshaxe ausgelöst mit geribenem Kartoffelknödel und hausgemachtem warmen Kartoffelsalat (fig.3).

The connection with Munich is intriguing!! Olga, this is a real Munich pin I think!

The schwein confirms it!

A further curiosity about the piece is the fine wirework seemingly representing letters of the alphabet.4 These are located on the chiseled rhomboid plates. The wire letters identified are A, L, E, S, S, I (figs.4). There are also wire constructions resembling ancient $ signs hanging as pendants.

Could this be the earliest ALESSI piece? Does the first ALESSI piece occur in the first millennium B.C.?

The Scanning Electron Microscope imaging clearly identifies the manufacture as Bronze Age goldworking–granules, wire, sheet, joining are all correct.5 The characterizing of the process of making is typical of Greek manufacture of the fourth and third century B.C.

Curiously, four additional ’seal rings’ were bought from Ferlini’s heirs in 1913 and are now in the Munich Staatliche Sammlung Ägyptischer Kunst6. The obvious question is did Ferlini’s descendants withhold the pin and under what circumstances did it surface at the Munich Staatliche Sammlung Ägyptischer Kunst? Did Otto Kunzli make a visit to the family home and receive the jewellery at that point? We know that this is what he did in preparation to building ‘The Wedding Ring’.

The misspelling of its findspot further veils the surprising appearance of the Bronze Age pin in the Micromegas exhibition that is a contemporary jewellery collection.

The possibility of other pieces existing should be considered and in fact Olga, I suspect others will surface within the near future.

In anticipation,

Robert

1 Otto Kunzli assembled the exhibition for the Galerie für Angewandte Kunst of the Bayerischer-Verein, Munich and it traveled to the American Craft Museum, New York; Musée de l’horlogerie et del’émaillerie Genève; Gallery Yu; Powerhouse Museum Sydney; Curtin Gallery Perth and theOratorio di San Rocco in Padua The annotation in the Micromegas catalogue has a typographical error and reads,”Ferlini’s Secret from Merde.”2Having retired in 1934 as a military doctor in the service of the Egyptian army of occupation he excavated the ruins of Meroe in Upper Nubia. Ferlini published an account of his work and a catalogue of his finds in Bologna in 1837 and in a French translation in Rome in 1838. He doubtless wrote it to call attention to the treasure in his possession. Ludwig I of Bavaria purchased a portion of the cache in 1840, adding ninety objects to royal antiquarian, now the Staatliche Sammlung Ägyptischer Kunst, Munich. The remaining portion was still in the hands of an agent in London in 1842.3 Heinrich Schäfer described the Meroe find in detail in his catalogue titled Ägyptische Goldschmiedearbeiten, Mitteilungen aus der Agyptischen Sammlung Bd.I, Königliche Museen zu Berlin, Berlin, 1910, pp. 92-188.4 The wire is ribbon twisted with visible right hand helical creasing measuring .03mm. in diameter.5 R. Lepsius was convinced of the importance of the pieces of jewellery and especially of their authenticity, which many had doubted. Scholars continued to express doubt for some time. Lepsius’s own stay in Meroe finally proved how unfounded such doubts really were. Karl-Heinz Priese, The Gold of Meroe, English transl., MMA, NY,19936. The remaining portion was still in the hands of an agent in London in 1842, and it was there that R. Lepsius got to know it as he was preparing for his now-famous expedition into the valley of the Nile commissioned by the Prussian government (1842-45). The second portion of the find was acquired for the Berlin Museums in late 1844. Four additional ‘seal rings’ were bought from Ferlini’s heirs in 1913.

16

Figure 2. After Karl-Heinz Priese, The Gold of Meroe, Mainz, 1992,

plates 30, 32

Figure 4. Detail (SEM)

Figure 1. After ‘Micromegas’, catalogue of exhibition by Galerie für angewandte Kunst of the Bayerischer Kunstgewerbe-Verein, Munich, 2001

Figure 3. After Bayerischer Donisl am Marienplatz zu München

18

A Brooch from Saaremaa(A new jewellery group from the Baltic)

In 1277 the last ancient Estonian county-Saaremaa surrendered to the German crusaders. The biggest part of the county was allied to the Saare-Lääne (Oesel-Wiek) bishopric, the center of which was Haapsalu and the Castle of Kuressaare was formed as a bishop’s foothold, to rule over his territory on the little island of Saaremaa in the Baltic Sea.

Close by the medieval fortress, which is now a museum1 is a bric a brac antique shop at Saaremaa. This is where I found the silver filigree brooch. It was made entirely of wire with a variety of skills applied producing intricate structures and predominantly from one wire type. It is a well-crafted piece of accurately made constructions and finely soldered joins though was probably a production piece. Pasture for my research I decided to purchase it for 400 Estonian Kroons.

The find spot, my excavation site was an antique shop at Saaremaa in the Baltic Sea in the northern hemisphere. Not located at a significant ancient site in some damp tomb isolated and buried in centuries of sediment and unnoticed by tomb plunderers. The brooch lay amidst other jewellery pieces from other diverse eras and cultural locations. The ‘tomb’ was a flat glass encasement of once varnished timber frame and within, the jewellery relics lay on a black velvet bed. It doubled as a counter – a meeting point for visitors and the proprietor. It was the negotiation point, the place where transactions of exchange and the ritual of wrapping was carried out. Connected to each jewellery item by a cotton thread was a paper tag and on this label were faded penciled numbers. This was not evidence of some museological inventory system or accession number. It was simply the price devoid of denomination but understood to be Estonian Kroons. On payment my new jewellery reference was wrapped in previously

1 The possessor of the castle of Kuressaare is the Saaremaa Museum founded in 1865. It exhibits a survey of the history of the island Saaremaa since prehistoric time up to 1940. It has many temporary exhibitions and concerts throughout the year.

Saaremaa pross(Uus ehterühm Baltikumist)

Aastal 1277 alistus Eesti viimane maakond – Saaremaa – saksa ristirüütleile. Suurim osa maakonnast liideti

Saare-Lääne (Ösel-Wiek) piiskopkonnaga, mille keskus oli Haapsalus, ning piiskopiresidentsiks rajati Kuressaare loss,

et valitseda oma maavaldust väikesel Saaremaal Lään-emeres.

Keskaegse kantsi lähedal, mis praegu on muuseum , asub Saaremaa vanavarapood. See on paik, kust ma leidsin hõbedast filigraanprossi. See oli tehtud üleni traadist,

ülekaalukalt ühest traaditüübist, terve rea võtetega, et luua intrigeerivaid struktuure. See on täpse ülesehituse ja

peenelt joodetud liitekohtadega hästitehtud ehe, ehkki ta tõenäoliselt oli seeriatoode. Oma uurimistöö tarbeks

ostsin ma prossi 400 eesti krooni eest.

Leiu asukoht, minu väljakaevamispaik oli vanavarapood Saaremaal Läänemeres, Maa põhjapoolkeral. Ta ei

asunud mõne tähtsa muinaskaevepaiga rõskes hauas, isoleeritud ja setete alla maetud ning hauaröövlitest

märkamata jäänud. Pross lebas keset muudest erine-vatest ajastutest ja kultuuripiirkondadest pärit teisi ehteid.

“Hauaks” oli kunagi lakitud puuraamis lame klaaskarp, kus ehtevanavara lebas mustal sametasemel. Ta kahek-

ordistus külastajate ja omaniku kohtumispaigana. See oli läbirääkimiste paik, koht, kus said teoks vahetustoiming ja sissepakkimise rituaal. Iga ehteasja külge oli puuvillniidiga

kinnitatud paberlipik ja sellel paberil seisid ähmastunud numbrid. See polnud mingi museoloogiline inventarisüs-

teem või järjekorranumber. See oli lihtsalt tähendustühi hind, mida tuli mõista eesti kroonides. Pärast maksmist

mähiti minu uus ehteasi varemkasutatud valgesse paberisse, millele järgnesid kohaliku ajalehe kihid ja siis asetati pross säästetud roosasse plastikkotti reisiks lõu-

napoolkeral asuvasse Austraaliasse.

used old white tissue paper followed by layers of the local newspaper and then placed in a saved pink plastic shopping bag for its journey to Australia in the southern hemisphere.

The wire brooch once relocated in my studio in Melbourne was available for examination. Not having the facility of an electron microscope or even a stereomicroscope, measurements were recorded and the piece photographed and drawn. The reference document now understood awaited copying, replication and interpretation. The birthing of a new jewellery group from Saaremaa.

Asusin oma Melbourne’i ateljeesse jõudnud traatprossi uurima. Elektronmikroskoobi või koguni stereomikros-koobi puudumisel said kirja pandud mõõdud, ehe sai

pildistatud ja joonistatud. Teabedokument ootas nüüd mõistagi kopeerimist, dubleerimist ja tõlgendamist. Saare-

maa uue ehterühma sünd.

Translation by Kadri Mälk

A Brooch from SaaremaaBracelet from Saaremaa (?) 2004gold, plastic, metal car75 x 47 x 62 mm

A Brooch from SaaremaaBracelet from Saaremaa (?) 2002silver, gold, plastic car, metal car

105 x 75 x 68 mm

A Brooch from SaaremaaFive Brooches from Saaremaa (?) 2003,silver, gold, plastic54 x 36 x 8 mm

22

Bloodier than BlackBrooch No.2, 2002Silver, powdercoat165 x 60 x 30 mm



Bloodier than BlackBrooch no.2, 2001Silver, powdercoat172 x 149 x 44 mm

Ville de Cagnes-sur-Mer, France

Meaner than YelowPendant no.2, 2002Silver, powdercoat80 x 65 x 50 mm



Meaner than YelowBrooch no.4, 2002Silver, powdercoat105 x 55 x 30 mm



26





28

Intervention of RedBracelet 2003

silver, gilt, powdercoat205 x 32 x 32 mm

Intervention of RedChain 2003gold, plastic

650 x 13 x 47 mm

30

RedlineNeckpiece 2003

silver, plastic, powdercoat290 x 290 x 30 mm

RedlineNeckpiece 2003

(detail)

32

RedlineSeven Brooches 2003

silver, plastic, powdercoatsmallest : 35 x 13 x 22 mmlargest : 54 x 45 x 28 mm

RedlineNo 2, Neckpiece 2003

silver, powdercoat240 x 170 x 46 mm

34

RedlineNo 1, Pendant 2003silver, powdercoat74 x 80 x 42 mm

36

RedlineNo 1, Neckpiece 2003


RedlinePendant 2003silver, gilt, powdercoat70 x 70 x 45 mm

38



RedlineNo 3, Brooch 2003silver, powdercoat65 x 58 x 25 mm

Whiter than RedNo 1, Brooch 2004silver, powdercoat62 x 41 x 32 mm


RedlineNo. 3, Neckpiece 2003


Whiter than RedNo 1, Bracelet 2004


Whiter than RedNo 2, Bracelet 2004


42

RedlineNo. 7, Pendant 2003




44

The Crinkle and Crankle of Water

Who has measured the waters in the hollow of his handAnd measured off the heavens with a span?Fire causes water to boil -He turned the waters into blood andNow the water, yellow and black is bent and shaped.

Water Medicine

The Crinkle and Crankle of Water, Yellow, 1999Brass, powdercoat480 x 500 x 30mm

The Crinkle and Crankle of Water, Black, 1999Brass, powdercoat640 x 640 x 40mm

Drummer’s Gig2000 - 2001gold, silver, powdercoat and snare drum

46

Robert BainesBorn 1949, Melbourne Australia

1970 Diploma of Art , Gold and Silversmithing, RMIT1998 Master of Arts in Classics and Archaeology, Monash University

1980- Lecturer in Gold and Silversmithing, RMIT1999- Programme coordinator of Gold and Silversmithing, RMIT

SELECTED SOLO EXHIBITIONS 1977 Sculpture , Jewellery and Other Objects”- Realities Gallery, Melbourne, Australia. 1978 “Sculpture to be Worn”, David Jones Art Gallery, Sydney, Australia. 1979 Kym Bonython Gallery, Adelaide, Australia. 1981 “A Visible Likeness...”, Robin Gibson, Sydney, Australia. “A Visible Likeness...”, Georges Gallery, Melbourne, Australia. 1982 “Antipodean Forms”, Bonython Gallery, Adelaide, Australia. “Misteri Antipoidei”, Via Veneto 50, Rome, Italy. 1985 “A Journey to the Plenitude”, Realities, Melbourne, Australia. “The Plenitude”, Bonython- Meadmore Gallery, Adelaide, Australia. 1988-9 “Travel”, Touring exhibition to Victorian regional galleries: Sale Regional Arts Centre; Latrobe Valley Arts Centre; Mildura Arts Centre; Benalla Art Gallery; Hamilton Art Gallery. 1989 “From the Plenitude”, City of Horsham Regional Art Gallery, Victoria, Australia. 1989 “The Plenitude”, Solander Gallery, Canberra, Australia. “The Waikato Pieces”, Fingers, Contemporary Jewellery, Auckland, New Zealand. “The Waikato Pieces”, Fluxus, Dunedin, New Zealand. “The Waikato Pieces”, Waikato Museum for Art and History, Hamilton, New Zealand. 1992 “Adventures of the ARCHEGOS”, Lauraine Diggins Fine Art, Melbourne, Australia. 1992-3 “The Art of the Goldsmith”, Touring exhibition in New Zealand: Auckland Museum; Hawkes Bay Museum, Napier; Wairarapa Arts Foundation, Masterton; Suter Art Gallery, Nelson; McDougall Art Gallery, Christchurch. 1993 “Adornments From the Waikato and Beyond”, Lauraine Diggins Fine Art, Melbourne, Australia. 1996 REDLINE, part 2 of AAA...............REDEVENT, Lauraine Diggins Fine Art. Melbourne, Australia. 1997 INTERVENTION OF RED, part 3 of AAA......................REDEVENT, Galerie Biró, Munich, Germany. AAA,AA…………..REDEVENT : Survey, Brisbane City Gallery, Brisbane, Australia 2000 REDEVENT: bloodier than black, Helen Drutt: Philadelphia, USA 2000 Bloodier than Black, Galerie Biró, Munich, Germany 2003 Robert Baines:Stopping at the Red: Jewellery Survey 1992-2002 Toowoomba Regional Art Gallery

SELECTED GROUP EXHIBITIONS 1980 Objects to “Human Scale” organised by Australia council, toured Japan, Hong Kong, Phillipines. 1982”Tendenzen 1982”, Schmuckmuseum, Pforzeim, West Germany. 1982 Australian Jewellery, European Tour, organised by Australia Council “Phantastische Figurationen”, Friedrich-Wilhelm-Muller-Weltbewerb 1984 Hanau, Bonn, Pforzeim, Hannover, West Germany. Four Directions, Mildura, Benalla, Morwell, Horsham, Galleries of Victoria, Australia. 1985 Treasures from Australian Churches, National Gallery of Victoria, Australia. 1988 Australian Decorative Arts 1900-1985, Australian National Gallery, Canberra, Australia. 1989-90 Directions- Silversmithing 1989, Australia High Court, Canberra, A.C.T., Australia, 1989; Hamilton Regional Gallery, Victoria, 1989-90; Meat Market Craft Centre, Melbourne, Australia, 1990. 1991-2 Contemporary Australian Hollow Ware, Canberra School of Art Gallery, A.C.T.; Art Gallery of Western Australia, Perth; Wagga Wagga City Art Gallery, N.S.W.; National Gallery of Victoria, Melbourne; Hamilton Art Gallery, Victoria. 1992 “Design Visions - the 2nd Australian International Crafts Triennial”. Australia - New Design Visions, Art Gallery of Western Australia, Perth. 1993 Directions - Glass Jewellery 1993, Canberra School of Art, Craft Council of Victoria Gallery, Orange Regional Gallery. 1995 “VicHealth National Craft Award”, National Gallery of Victoria, Australia. 1996 “Granulation 1996. Internationaler Schmuckwettbewerb”; Pforzheim, Hanau, München, Münster, St. Gallen, Erfurt and Augsburg, Germany. 1996 “Collecting today for tomorrow”, Powerhouse Museum, Ultimo, Australia. 1997 “Contemporary Vessels and Jewels, Australian Fine Metalwork, Shangai Museum. 1997 Cicely and Colin Rigg Craft Award. National Gallery of Victoria, Melbourne 1997 Art of Gold”, Ballarat Fine Art Gallery, Victoria. 1998 Schmuck ‘98, Sonderschau der 50. Internationalen Handwerksmesse Müchen 1998 “Contemporary Jewellery: Value Added”, National Gallery of Victoria, Melbourne 1998 Jewellery Moves, National Museums of Scotland, Edinburgh 1998 Brooching it Diplomatically : A Tribute to Madeleine K. Albright, Helen Drutt, Philadelphia;.The Museum of Contemporary Art, ‘s-Hertogenbosch, The Netherlands; Konstindustrrimuset, Helsinki; Kunstgwerbemuseum, Berlin; Schmuckmuseum, Pforzheim. 1998 Seppelt Contemporary Art Award, Museum of Contemporary Art, Sydney. 1999 Skill, Craft Victoria Travelling Exhibition, Mornington Peninsula Regional Gallery. 1999 Contemporary Australian Craft: A Japanese View. Hokkaido Museum of Modern Art, Takaoka City Art Museum, Museum of Modern Art Shiga, Customs House Sydney. 1999 Handmade:Shifting Paradigms, Singapore Art Museum 1999 Trace, Museum of Art Craft, ITAMI, Gallery Yu, Tokyo. 2000 Commemmorative Medals/Trophies:The Politics of History, Helen Drutt:Philadelphia. 2000 Australia and Germany 8. Craft Triennale, Museum für Kunsthandwerk, Frankfurt, Art Gallery of South Australia, Object Galleries Sydney. 2000Spectaculum, Tarbekunstimuseumis, Tallinn Estonia. 1999 Seppelt Contemporary Art Award, Museum of Contemporary Art, Sydney. 1999 Skill, Craft Victoria Travelling Exhibition, Mornington Peninsula Regional Gallery. 1999 Contemporary Australian Craft: A Japanese View. Hokkaido Museum of Modern Art, Takaoka City Art Museum, Museum of Modern Art Shiga, Customs House Sydney. 1999 Trace, Museum of Art Craft, ITAMI, Gallery Yu, Tokyo. 2000 Commemmorative Medals/Trophies:The Politics of History, Helen Drutt:Philadelphia. 2000Australia and Germany 8. Craft Triennale, Museum für Kunsthandwerk, Frankfurt, Art Gallery of South

Australia, Object Galleries Sydney. 2000Spectaculum, Tarbekunstimuseumis, Tallinn Estonia 2001 Micromegas, Bayerischer Kunstgwerbe-Verain e.V. Germany 2001 Nocturnos, International Jewellery Colloquium, Estonia. 2001 The Tactile Art Exhibition, Object Australian Centre for Craft and Design, Sydne 2002 Schmuck, Robert Baines und Karl Fritsch, Neuburg an der Donau, Germany. 2002 Material Culture, National Gallery of Australia, Canberra 2003 Bijou Contemporain, Robert Baines und Karl Fritsch, Cagnes-sur-Mer, France 2003 Melbourne International Mokume Symposium and Exhibition, Melbourne

SELECTED AWARDS AND PRIZES 1973 Selection for the “Australian Diamond Collection” 1979 Awarded a Winston Churchill Fellowship. 1989 “Artist in Residence” Waikato Polytechnic, New Zealand. 1992 Australia Council for the Arts Fellowship Grant. 1994 Winner; Twentieth anniversary of Diamond Valley Art Award sculpture commission. 1995 Winner; VicHealth National Craft Award 1996 Recieved a Senior Fulbright Award to conduct a research project at the Sherman Fairchild Center for Object Conservation in the Metropolitan Museum of Art in New York. 1996 Australia Council Development grant. 1997 Winner; Cicely and Colin Rigg Craft Award, 1997 National Gallery of Victoria. 1998 The Seppelt Contemporary Art Award, Museum of Contemporary Art, Sydney 1998 Australia Council Development Grant. 1999 Received an Andrew Mellon Conservation Fellowship at The Metropolitan Museum of Art in New York. 2002 Received an Andrew Mellon Conservation Fellowship at The Metropolitan Museum of Art in New York. 2002 Australia Council Development Grant

SELECTED BIBLIOGRAPHY: “Dictionary of Living Australian Artists and Galleries”, by Max Germaine, Boolarong Publications, Brisbane, 1984. “Schmuck 1982 - Tendenzen” Schmuckmuseum Pforzeim Catalogue”. “The Jewellery Collection”. Gallery, National Gallery of Victoria. August 1984, pp.12 & 13 by Judith O’Callaghan. “Treasures from Australian Churches”, August 1985, pp.9 & 10 by Judith O’Callaghan. “Spiritual Values”, Craft Australia, Winter 1987/2, front cover, pp.64-7 by Dawn Mendham “Travel, Goldsmith Robert Baines”, introduction Jenny Zimmer, 1988. “Journeys of a Modern Magi”, Craft Arts International, August/October 1988, by Jenny Zimmer, pp.49-52. “Robert Baines: Artificer of the Metaphysical”, New Zealand Crafts, Summer 1989, by Maurizio Sarsini, pp.16,17. “The Refining Fire”, by Dawn Mendham, Albatross Books, pp.26 - 33. “Contemporary Australian Hollow Ware”, Curated by Daniel McOwan, 1991. “Robert Baines, The Art of the Goldsmith”, 1991, Exhibitour MDF, New Zealand Limited. “New Design Visions” - The Second Australian International Crafts Triennial, Design Visions, p. Perth, 1992. “Schmuck” 1982 - Tendenzen, Schmuck Museum Pforzeim, 1982, Catalogue. “Robert Baines and the Deconstruction of Masculinity”, by Robert Nelson, Craft Victoria, Vol. 23, No. 220, 1993. “Contemporary Australians 1995/96”, Reed Reference Australia, 1995, p.20. 38.Silver, History and Design, Pillippa Glanville, Victoria and Albert Museum, London, 1996, p. 80.19th&20th Century Australian Painting Sculpture and Decorative Arts 1997, Lauraine Diggins (ed.), p.53. Contemporary Vessels and Jewels-Australian Fine Metalwork, Queensland Art Gallery, pp.11-13, 1996 Cicely and Colin Rigg Craft Award, 1997, National Gallery of Victoria, pp.8,10,11. The Art of Gold,, Ballarat Fine Art Gallery, 1997, front Cover, nos. 20,21. Schmuck, kunst und die Idee des Recycling: Robert Baines, Australian und Karl Fritsch, Deutschland., Kunsthandwerk & Design, Frechen, September/October 5/97, pp. 16-21. Front cover, American Craft, Feb - March, 1999 “Die Königsdisziplin”, Schmuck Magazin, Juli, 3/1999, pp.46-48. Nos.17, 20. “Blut, Gold und Coca-Cola”, Schmuck Magazin, Aug/Sept, 4/2000, pp.64-67“What’s New in (Very) Old Gold? Robert Baines Shows All, by Marjorie Simon, Metalsmith vol.21 no.1 pp.26-33.Material Culture, National Gallery of AustraliaAustralian Art in the National Gallery, Ann Gray (ed.), NGA 2002, p.394

SELECTED PUBLICATIONS: “Colonial Silversmiths - Heritage”, Australian Heritage Society, December 1979 - February 1980, pp.12 &13. “Fine Metalwork of the Ancient Greek & Etruscan Goldsmiths and the Method of Granulation in particular”, Churchill Memorial Trust, Canberra, 1979.“The Significance of Double Row Granulation from Palestrina”, Jewellery Studies 5 1992, Society of Jewellery Historians. London. Jewellery Philosophies, Robert Baines (ed). A series of seminars, JMGV, Melbourne, 1992. “Technical Decisions in the Gold Cylinders from Praeneste”, Outils et Ateliers D’Orfevres 5000-1600 AD, Musee des Antiquites Nationales Saint-Germain-en- Laye, France, 1993. “Luring the Body : New Marks”, Craft Victoria, pp.15-17, Vol. 23, No. 222, December/January 1993/4. Lemel, p.12, Summer 93/94. “Tools and the Historical Materialist : Tools of the Trade”, Craft Victoria, pp.16-18, Vol. 24, No.225, Spring 1994.

48

Adventures of the Archegos, Lauraine Diggins Fine Art Pty Ltd, North Caulfield, 1992. “The Adventures of the Archegos”, conference paper, “Religion, Literature and the Arts”, M.Griffith and R.Keating ed., Australian Catholic University, Sydney. “Journey into Technologia”, Object, H.Zilco (ed)., issue 4.94, New South Wales Craft Council. Lemel, Robert Baines, editor, Journal of the Jewellers & Metalsmiths Group of Australia. Commencing 1995. Editorials: “Search and Research”, Summer, 1995- 6; “Jewellery Needs no Justification”, Autumn, 1996; “Reworking the Object”, Winter, 1996; Summer, 1996-7, “Naming the Maker” Autumn 1997; “To Fuse or to Refuse: That is the Answer” Winter 1997; “Questions on Showing”, Spring/Summer 1997; “Taking in the Periphery”, Autumn 1998. “Double Row Granulation from the Orientalising Period”, Lemel, Summer edition,1996, pp. 10-14 “A Standard Cut-Donna Brennan”, Object, I Were (ed).,issue 1.97, New South Wales, pp. 34-35. “The Intervention of Red”, The Intervention of Red, Melbourne, 1997. Researching the Hidden and the Revealed”, Knowledge Makers, S. Attiwell(ed.),Craft Victoria, 1998, pp.45-53. “Technical Antecedents of Early Hellenistic Disc and Pendant Ear Ornaments”, The Art of the Greek Goldsmith, D. Williams (ed.), The British Museum, 1998, pp.122-126. “Research Peripheries and Some Recent Applications”, Lemel, Autumn Edition, 1998. The Intervention of Red”, Spirit of Place: Source of the Sacred? Australian International Religion, Literature and the Arts Conference Proceedings, M. Griffith & J. Tulip (ed), Australian Catholic University, 1998, pp.110-112 Jewellery Philosophies: Contexts of working 1999, Robert Baines (ed.) JMGA Vic, 1999“Reconstruction of Historical Jewellery and its Symmetry with the ContemporaryDocument”, Symmetry, International Society for the Interdisciplinary Study of Symmetry Conference Proceedings, G. Lugosi and D. Nagy (ed.) College of Fine Arts, UNSW, July, 2001Cosmic Reciprosity”, The Jewelry of Karl Fritsch O Book Publisher, Amsterdam 2001.“Balcony: The Subconcious in Jewellery” Nocturnos, International Jewellery Colloquium, Estonia, Sept. 2001“Standing Up for Jewellery”, Craft Arts International, no.54, 2002“Mappings of the Heart: Debbie Sheezel”, Craft Arts International,, (ed.)Ken Lockwood, No. 58, 2003.Melbourne International Mokume Symposium and Exhibition,, Robert Baines (ed.) Melbourne, RMIT Publishing, 2003“Bogus or Just Played With”, Inherited Futures, Conference Proceedings R. Baines and S.Errey (ed.), JMGA(Vic), Melbourne Feb. 13-15

CATALOGUES‘Sculpture to be Worn’, David Jones’,Art Gallery, Sydney, 1978‘A Visible Likeness ....’, Robin Gibson, Sydney, Australia, Georges Gallery, Melbourne, 1979/81‘Robert Baines, The Art of the Goldsmith’, Exhibitour MDF,New Zealand Limited, 1991‘Misteri Antipoidei’, 1985, Assozione Italia-Australia, Rome, 1985.‘Travel, Goldsmith Robert Baines’, introduction, Jenny Zimmer, 1988.‘Journey to the Plenitude’, Realities Gallery, Melbourne.‘The Plenitude’, Bonython-Meadmore Gallery, Adelaide,1985.‘From the Plenitude’, City of Horsham Regional Gallery, 1989.‘Adventures of the Archegos’, Lauraine Diggins Fine Art Pty Ltd, 1992.‘The Plenitude’, text by Dawn Mendham. Melbourne, 1996‘The Intervention of Red’, Galerie Biró, Munich, 1997.‘AAA,AA…………REDEVENT : Survey, Brisbane City Gallery, 1998 ‘Stopping at the Red’, Helen Drutt: Philadelphia, Galerie Biró, Munich, 2000

WORKS IN PUBLIC COLLECTIONS Victoria and Albert Museum, London. Ville de Cagnes-sur-Mer, France. Deutsches Blockflötenmuseum, Fulda, Germany. Museum of Fine Arts, Houston, USA. Waikato Museum of Art and History, Hamilton, New Zealand. Waikato Polytechnic, Hamilton, New Zealand. Galerie am Graben, Vienna, Austria. Australian National Gallery, Canberra. National Gallery of VictoriaRoyal Melbourne Institute of Technology, Victoria. Prime Minister’s Department, Canberra. The Victorian State Craft Collection, Melbourne. Art Gallery of Western Australia. Diamond Valley Art Award Collection. Art Gallery of South AustraliaPowerhouse Museum, Sydney. Queensland Art Gallery

Robert BainesPARTYLINE

A,AAA,AAA….REDEVENTMarch 2004

Studio Assistant, Simon CottrellPowder coating by Anthony Soldini

Galerie BiróOlga Zobel- Biró

Zieblandstrasse 198000 München 40

Germany

HELEN DRUTT:PHILADELPHIAPostal Address: 2220-22 Rittenhouse Square,

Philadelphia, PA 19103-5505,USA.

[ISBN 0 86459 305 8]

Concept/designRobert Baines

Production and LayoutMichael Fletcher

PhotographyGarry Sommerfield

Robert BainesMark Wypyski, The Metropolitan Museum of Art in New York

SEM photographyRudy Coban The Metropolitan Museum of Art in New York

Laboratory seminar

© Copyright 2004Robert Baines

School of Art and CultureRMIT, 124 Latrobe Street,

Melbourne, VIC. 3000Australia

[email protected]

This project has been assisted by the Federal Government through the Australia Council, its

arts funding and advisory body

Front and Back Cover

Philadelphia Centrepiece Candlestand2001-2002silver, silver-gilt, powdercoat790 x 710 x 530 mm

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aines

[ISBN 0 86459 305 8]

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