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Provenance

Makers mark

Friday 07 October 2011

Recently we have been focused on documenting what we do and how we do it. To help with this we have designed and produced samples of a "Maker's Mark" that will be attached in an inconspicuous place to furniture designed and hand crafted by David Mac Laren Artistic Director. Check out the samples above laser engraved by the Canberra Trophy Centre .

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Craft Valuation

Friday 07 October 2011

Meredith Hinchliffe

Meredith Hinchliffe is a freelance arts advocate and writer living and working in Canberra. She began work at the Craft Association of the ACT in 1978 and has been actively involved in the crafts since that time. She is approved to value Australian ceramics glass textiles jewellery leatherwork wooden objects and furniture from 1970 for the Australian Government's Cultural Gifts Program.

Meredith has been a strong supporter of Bungendore Wood Works Gallery since it opened and has written many reviews and articles about exhibitions and exhibiting artists.

Email Meredith: meredith@canberra.teknet.net.au

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On the Making, Recording and Provenance of a Piece

Friday 07 October 2011

Presented to the Studio Furniture 2010 Wood Conference - Towards Professionalism. This is a fictional Story of a 'best practice' chain of events leading to a complete provenance of a commissioned piece of fine furniture.

This is my story to date.

I was made in the late 1970s by a highly respected furniture designer/maker whose name is Billie, as a commission for a family whose name is Cash. The family dealt with a commercial gallery that Billie exhibited with and sold work through regularly. They had seen a piece of his work in an important group exhibition, similar to the one we will see tonight.

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Keeping the record straight

Monday 30 May 2011

As part of the Gallery’s upcoming 30th Anniversary Celebrations in 2013, I am about to begin documenting my past furniture pieces and other woodwork. The intention here is threefold: firstly we wish to establish an asset register of all the past and current work produced by me for the Gallery; secondly, we have recently undertaken a role of encouraging ourselves and our contributing makers and artists to adopt a regime of full and comprehensive provenance procedures to comply with a “best practice” situation regarding specific works; and thirdly, as part of the 30th year celebrations I will be publishing a book of my work in conjunction with a general history of the Gallery’s activities, buildings and significant events and exhibitions since its inception in 1983.

Over the next year or two, but beginning as soon as practicable and with the permission of furniture owners, I would like to identify, source and document as many of my past significant pieces as possible.

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