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By the 18th century onwards, a pocket watch would be an essential accessory for women and would often be worn attached to a chatelaine or hanging from a waist girdle. Not only were these items functional, but they were also items of adornment, crafted with the same care and elaborate designs as jewellery pieces. 'The main form of attachment of watches for women for most of the 18th century was the equipage' (Source 1). This was an accessory hung from the waist by a large flat hook that would tuck behind the waist fabric of a dress. Equipages consisted of a series of decorated, hinged panels or chains. In the late 18th to early 19th centuries, they were often worn as a set of two; one holding a pocket watch and the other an elongated box which could be used to carry important household objects such as sewing sets (Source 2). The name chatelaine would later be applied to all such devices and would become more elaborate as the 19th century progressed. The name chatelaine did not come into use until 1828, when the French magazine The World of Fashion declared a new fashion accessory 'La Chatelaine' (Source 1).

This pocket watch and watch chatelaine is elaborately decorated with rose, yellow, green gold and platinum. The chatelaine is constructed from three hinged panels with a suspended Albert catch to attach the pocket watch. The chatelaine and the pocket watch case have been elaborately decorated with layered imagery that offer clues into the sentiment behind the piece.

Original hand-coloured 18th century engravings of designs for a matching watch and 'chatelaine' and an equipage. Not signed but attributed to Jean Michel Moreau.

Symbolism:

From the 1770's onwards the movement of Romanticism influenced fashion, design, art, music and literature. This movement gained further momentum in France as a response to The French Revolution, whilst also influencing arts and culture in Britain. The values underpinning the movement were based on the ideals of liberty, equality and fraternity, expressed throughout the revolution. These shared ideals of a society based in freedom, equality and companionship saw an emphasis placed on personal relationships and individual thought. These principles were reflected in jewellery design by a strong use of allegory and sentimentalism.

Torch of Love:

The case of the pocket watch is designed with a torch of love crossed with a bow and quiver full of arrows. The panels of the chatelaine features another bow and quiver and courting doves. The symbolism used throughout art during this period often reflected either worldly or religious belief. The hymeneal torch is a reference to the God of Hymenaeus, the Greek and Roman god of marriage, who is often depicted holding a lit torch. The torch came to represent life, particularly when depicted with doves or courting birds (Source 3). The symbolism of broken or upside-down torches has also been used across funerary art of the time, to represent a life cut short. References can also be observed in literature of the time; the line in William Blake's poem To The Evening Star published in 1783, reads 'thy bright torch of love; thy radiant crown' (Source 4). A modern idiom for the sentiment is the reference to carry a torch for someone, in reference to holding romantic feelings for a person.

Bow and Quiver:

The torch of love when crossed with a bow and quiver full of arrows takes on another layered meaning. The bow and quiver are also a reference from Greek and Roman culture as it was used in art to represent, Cupid or Eros, the gods of love. When depicted separately they can represent the beginning of love, as the arrow is Cupid's instigator. However, in the context of many arrows depicted in a quiver, the reference is for the wish of many children. This reference is of biblical origins from psalm 127:3-5.

'Behold, children are a heritage from the Lord, the fruit of the womb is a reward.

Like arrows in the hand of warrior, so are the children of one's youth.

Happy is the man who has his quiver full of them; they shall not be ashamed but shall speak with their enemies in the gate'.

Doves:

Courting or paired doves have long been a symbol of marriage and are an early Christian iconography. The inclusion of doves in this piece makes clear the designer's messaging. The torch of love, bow and quiver and courting doves read as a message of a happy life filled with marriage and children. This piece could have been gifted to a lady as a wedding present or as a highly romantic gesture by a suitor.

The symbolism used throughout the decoration of this piece is a fantastic example of the sentimentalism that swept through French and British culture from the late 18th century through to the late 19th century. The height of this period is referenced as the Romantic Period (1837-1860) however these sentiments experienced continued popularity right up until the death of Queen Victoria in 1901.

The Pocket Watch

The stem wind pin-set technology of the pocket watch helps to date the piece. The invention of the stem wind pocket watch eliminated the need for the key wind. "The first stem-wind and stem-set pocket watches were sold during the Great Exhibition in London in 1851 and the first owners of these new kinds of watches were Queen Victoria and Prince Albert" (Source 5). The invention of the stem wind is credited to Adrien Philippe in 1842 with the first commercial models being produced by Patek Philippe & Co (Source 5). The history of this horological technology dates the pocket watch to the second half of the Victorian era.

This is further supported by the use of green gold in the adornment of the watch case and chatelaine. "Green gold was produced sporadically during the 1800's and mostly in the late 1800's by adding silver as well as cadmium, however the major drawback with cadmium is that it releases toxic fumes when being melted, a problem that was not really known to the jewellers of this period. Due to the danger associated with producing green gold, it only made a very brief appearance in the history of jewellery, however it coincided with a wonderful style at the time which suited its use so well, the Art Nouveau period of the late 1800's to early 1900's" (Source 6). The technology evident in the pocket watch and the use of green gold suggests that the piece dates to the late Victorian to early Edwardian era.

This pocket watch and chatelaine is a great example of how sentiments of the Romantic movement continued to influence jewellery throughout the Victorian era. The technology and materials used within the construction of the piece indicates when the item was made, whilst the imagery used can be decoded to reveal the sentiment behind the piece. This item is currently on display at Kalmar Antiques as part of The Kalmar Vault Collection.

Sources:

  1. Cummins, Genevieve 2010. 'How the watch was worn: a fashion for 500 years', Antique Collectors' Club; page 21.
  2. Phillips, Clare 2019. 'Jewels & jewellery', Thames & Hudson: Victoria & Albert Museum, London.
  3. Peters, Hayden 2024. 'Symbolism, the arrow and quiver', The Art of Mourning. Accessed 6th March 2024; Symbolism, The Arrow and Quiver - Art of Mourning
  4. Blake, William 1783. 'To The Evening Star', reprinted by English Poems: Edward Chauncey Baldwin. New York: American Book Company, 1908.
  5. Antique Karen 2024. 'Pocket watch histories'. Accessed 6th March 2024; Antique Karen - Pocket Watch Histories
  6. Kalmar, Damien 2014. 'An article on green gold', Kalmar Antiques. Accessed 6th March 2024; An article on green gold - Kalmar Antiques

The invention of the carriage clock in the early 19th century by Abraham-Louis Breguet answered the call for a reliable clock that was also portable. The name carriage clock is a direct reference for the intended purpose, which was to be used in carriages as a time-keeping device. These clocks are ornate but incredibly practical with the handle on top making the device easy to carry and hang inside a carriage. Some models even have hourly, half-hourly or quarterly repeaters, allowing the clock to strike at these given intervals. This would help keep track of time during poor lighting conditions, when viewing the dial may not be possible. Carriage clocks are incredible pieces of history that are not only beautiful to look at but take us back to a moment in history which predates the invention of the wristwatch. Here at Kalmar Antiques, we restore these important historical items so that they are not lost to time and remain to be enjoyed by future generations. As a part of our Behind The Bench series, one of our clockmakers has put together a guide detailing just what goes into restoring the case of a French carriage clock.

Disassemble

As you may have already come to realize, I restore many French carriage clocks. They are probably the
longest continuous, “in-production” style, clock of any mechanical clock, having survived the quartz
revolution (there are quartz models) due mainly to their size, style and practicality.
But, having been in production for so long, some (many) have been abused, over polished (original
gilt gone!), dropped, broken, neglected, stored in damaging places (garden sheds),etc.
It is these sad little cases that often come up for sale and are only purchased by those prepared to
spend many hours of hard, tedious work on the repair and restoration. The best part of this is though,
that the sad little clock may be a stunner, under all that dirt and grime.

Today’s restoration is all about such a lovely case, enclosing a basic time only movement, but with
decorative attributes that will really make the restored clock a winner.
The movement of the clock I have fully overhauled and repaired, including a new mainspring.

Removing Case Corrosion

First removing the corrosion and old metal polish gunk, the brass back plate and the filagree panel
were polished.

The case parts were all sanded to remove the corrosion and residues. The feet, base plates, and corner column plinths were polished and lacquered. The filagree panels, however came in for special treatment.

Clean & Lacquer

Each panel was sanded, cleaned and polished. The panels were then given two coats of an ink-based lacquer, spread evenly over the panels to create the vibrant colour.

Once all the panels on 4 sides were done a partial assembly revealed the excellent result of this
process.

To compare progress so far, the unrestored, top part of the case was placed over the movement.
As seen, the change is dramatic. With columns and the upper filagree panelled top yet to be done I am
sure, you can envisage the final result.

The handle, finials and top plate were to be cleaned, polished and lacquered. That would complete the case restoration. The fluted handle was in a worse condition than the fluted columns and much hand work was required to get it back to bare metal.

Wire Brushing of Fluted Areas

With flutes scraped, the entire handle was wire brushed down to the bare metal. These little 25mm diameter steel wire brushes are a real god-sent for this job (equally good for cleaning the teeth on clock wheels).

After the wire brushing the result of long-term contact with the corrosive accumulation of metal polish residue was made visible. Pitting of the brass on every surface!

The pitting was more than a buffing would remove so, it was draw-filed away with a very fine-cut pivot file, then the surface sanded, followed by buffing, polishing and lacquering. All handle parts were polished and lacquered.

The top plate, and filigree work were next for cleaning. These were treated as before, the top plate sanded back, followed by buffing, polishing and lacquering.

The filigree panels and backing plates sanded, then polished and coloured with same lacquering process. The corner pieces were wire brushed, sanded, polished and lacquered.

Reassemble

The restoration of our French carriage clocks requires countless hours and expertise to complete. This restoration of the case is just the external restoration and the internal servicing of the movement and replacement of mainspring are also carried out on each piece. These items add a wonderful layer of history and charm to any home. You can shop our range of carriage clocks in-store and online.

Shop Carriage Clocks

Patches worn on the face were a curious fashion trend of the Georgian era. These beauty patches or 'mouches' were popular across Europe throughout the 16th and early 17th centuries. Beauty patches were often small pieces of black velvet, silk or satin that had been cut into shapes. Initially, these artificial beauty marks were a peculiarly French phenomenon, but as the country cemented itself as the leader of European fashion, the rage for beauty patches spread beyond its borders (Oatman-Sanford, 2017).

The wearing of these patches was considered fashionable but were also a great way to hide spots, blemishes or scarring on the skin (Curzon, 2021). Smallpox affected perhaps a quarter of the population and left unsightly facial scarring; therefore, patches were an effective way to easily cover these markings (Rendell, 2014). Other venereal diseases that were treated by mercury would also cause facial disfigurement and were often associated with the work of harlots (Rendell, 2014). Therefore, the wearing of beauty patches could be seen across two distinct groups. The sex workers of the lower classes or in the exaggerated fashions of the elite classes as decoration to emphasize painted white skin.

“The Morning: The Woman at Her Toilet” by Gilles-Edme Petit, c. 1745-1760. Via the Metropolitan Museum of Art.

Patches worn for fashion were contrasted with a white complexion often accentuated by make-up. This represented being a part of high society as darker complexions were associated with working outdoors in the sun (Rendell, 2014). Amongst the elite classes the wearing of beauty patches took on new meaning with a coded language developing relating to the placement on the face. These coded meanings could be symbols of flirtation and courtship or could even relate to political allegiances. In England, a Tory would wear a patch on the right side of the face, whilst their political opponents, Whigs, would wear one on the left (Curzon, 2021). A lady could wear a heart shaped patch on her left cheek if she were engaged or the right if she were married. A patch worn beside the eye could indicate passion or one on the nose could be flirtatious (Oatman-Sanford, 2017). There were many different ways which beauty patches were worn in high society to create intrigue and allure.

A selection of 18th-century fabric patches. Via the Welcome Library, London.

To facilitate this beauty trend, boxes to carry these patches were made for the home and smaller portable ones were also created. The larger patch boxes may also have compartments for jewellery and would sit on a ladies' or gents' dresser. The portable ones were made to be carried easily in a pocket and would contain a layer of fabric inside. Beauty patches were usually applied with saliva which would adhere to the dense layer of make-up. However, they would often need reapplying throughout the day and therefore a portable box containing fresh patches would be warranted.

This patch box is made from ivory and inlayed with gold. It has the original owner's monogram 'F.M' applied to the side. This would have fitted easily into the pocket of a gentleman's waistcoat or lady's skirt.

This item is on permanent display as part of The Vault Collection at Kalmar Antiques.

Sources:

Curzon, Catherine (21 Oct, 2021) '7 weird and wonderful Georgian beauty treatments'

Oatman-Sanford, Hunter (4 May 2017) 'That time French aristocracy were obsessed with sexy face stickers'; Collectors Weekly'

Rendell, Mike (21 July 2014) 'Make-up in the 18th century - a fatal attraction'

Paste jewellery offers us incredible insight into the opulence of the Georgian era. Diamonds had dominated the fashions of the aristocratic classes, with their ability to sparkle brilliantly by candlelight. The taste for Rococo style meant that the larger and more elaborate jewellery designs were sought after to dazzle audiences at the many festivities and balls. Luxuries were reserved for the elite classes and extravagant jewels were unattainable to the lower classes of feudal Britain and France. However, such ostentatious displays of wealth led to many opportunistic crimes committed in desperation by the lower-class citizens. Highway robberies became a common and dangerous occurrence for the elite aristocrats who often travelled by carriage at night between festivities.

The Invention of Paste Jewellery

The invention of paste gemstones answered the needs of the emerging middle classes of Europe and of the aristocratic partygoers of high society. Paste is a term given to imitation gemstones that are made from glass. The production of glass stones had been underway in Venice for many centuries, however, these glass imitations were molded and lacked the sparkle of real gemstones (5.1). It wasn't until 1675 that English glassmaker, George Ravenscroft, developed a version of flint glass that contained a high lead content. This version had high dispersion and a higher refractive index than molded glass or rock crystal and was hard enough to withstand faceting and polishing (5.2). This version was met with widespread popularity across England and thrived for the next 200 years.

Parisian jeweller, George Frederic Strass, continued to pioneer the invention of paste jewellery and in the 1720's he created a superior material that would become synonymous with the trade of paste jewellery. "His shop on the Quai des Orfevres was the most famous paste jewellers, with pieces designed in the latest fashions and set in silver with as much care as if they were diamonds" (3.2). Strass's version was polished with metal powder to create a higher brilliance to the stones, making them a convincing imitation to diamonds, particularly when worn in the nighttime in the flickering candlelight. The popularity of Strass's version of paste jewellery become so significant that he was appointed jeweller to the French Crown. This recognition led to paste jewellery in France being referred to as strass jewellery.

Rhinestone Jewellery

Another popular substitute of the time were rhinestones. In modern times, we associate rhinestones as a part of costume jewellery, however, rhinestones in their truest form refers to rock crystal of a specific geographical origin. Rock crystal from the Rhine (Rhein) River in Germany were cut, faceted and polished to create a colourless gemstone substitute for diamond. The term rhinestone is indicative of this geographical origin, however, throughout history the term was widely applied to rock crystal from other locations and then later to glass or even plastic versions.

This Georgian era portrait miniature brooch and pendant is crafted in silver with rhinestones set into the border. The woman in the portrait is portrayed in Regency era garb with a black choker ribbon and feather headdress. The ribbon motif at the top of the pendant was also common during Georgian era jewellery.

Georgian era paste jewellery allowed for the developing middle class to participate in the opulent fashions of the time but at a price point which they could afford to pay. For the elite classes, they were able to have jewellery pieces made to keep up with current fashions, without having to remodel their family jewels. A trend also developed to have expensive jewellery pieces recreated using paste stones. This was implemented by the elite classes and even the royal families, as it allowed them to wear their jewellery to events without the fear of having them stolen by highway robbers.

Paste jewellery is now highly collectable as they serve as rare examples of designs from the Georgian era. These are sort after as many jewels from this era were remodelled or destroyed to compete with changing fashions.

These items are currently on display at Kalmar Antiques.

Sources:

Navette Jewellery (29th May 2017) 'History of imitation gemstones: glass and paste', History of Imitation Gemstones – Paste and glass gemstones – navette jewellery

Phillips, Clare (2019) 'Jewels & jewellery'; Thames & Hudson V&A


The sentimental power of hair used in jewellery lies in the contrast of the relic and its absence from the body. It is this contrast, of the relic which remains and the body that is lost, where we are poignantly reminded of a life. This sentiment is most sincere when we consider memorial jewellery exchanged between soldiers and their families. Military conflicts, from a historical perspective, often meant the bodies of fallen soldiers were lost to a foreign land and never returned home. Parents, spouses, children and friends would farewell their loved ones into battle, sometimes with no tangible reminder of their life after passing. It is in these circumstances that the true intimacy that human hair as relic is understood.

Memorial Locket for Capt. A.A Cartwright, Kalmar Antiques Vault Collection

This locket is a rare example of the concept of jewellery as material memory. The outside of the locket features beautiful blue enamel work which would have been proudly worn by a loved one. Inside the locket is a lock of hair and inscription which reads;

"Capt. A.A Cartwright Rifle Brigade Fell at Inkermann Nov 5 1854"

Memorial Locket for Capt. A.A Cartwright, Kalmar Antiques Vault Collection

This inscription gives us the identity of the personal relic and the circumstances under which they died. This hair belonged to Captain Aubrey Agar Cartwright, with the documentation of his military service commencing with his position as Second Lieutenant in the Rifle Brigade in 1842. He was awarded the South Africa medal for his service in Cape Town and served in the famous battles of Alma, Sebastapol and Balaklav. He lost his life at age 29 on the 5th of November 1854 at the Battle of Inkerman in the Crimean War. "The Battle of Inkerman saw fierce fighting hampered by thick fog, resulting in poor communication between the troops. Casualties were disproportionately high" (Royal Collection Trust, 2016).


The 20th Foot at the Battle of Inkerman, 5th November 1854 by David Rowlands

We see Captain Cartwright's death recorded below in the Rifle Brigade Chronicles next to the November 5th date entry.

The Rifle Brigade Chronicles, page 31

From these military records we see the death of Capt. Cartwright recorded in a strictly factual manner. It is the material history of the locket, which gives us an emotional understanding of Aubrey Cartwright's life. Aubrey was unmarried and left behind his parents, Mary Anne Cartwright and William Cartwright, and siblings. The Cartwrights were an aristocratic family of Northamptonshire and owned a large amount of property in the district on Aynho, including Aynhoe Park - a country estate occupied by the Cartwright family for over three-hundred years. Detailed archives pertaining to the Cartwright family are kept at the National Archives. These records include detailed letters written by Aubrey Cartwright during his active service. The most poignant of these documents includes a handwritten letter from a fellow serviceman addressed to a Mr. William detailing the passing of Aubrey Cartwright in battle;

"It so happened that he fell close at my side, in fact so near that he... [undecipherable]... me in falling and I was probably the only person who heard his last sigh" (extract partially transcribed from letter).

Letter to Mr. William, Northamptonshire Archive Services via The National Archives, England 2023

Locks of Aubrey Cartwright's hair were sent at different times to his family. Aubrey enclosed a lock of his own hair in a letter to his mother, from his time spent in Alma. There is another lock of Aubrey's hair in the archive labelled "Mr. Cartwright hair removed from bullet". Through these archives we gain a sense of Aubrey Cartwright's acute awareness of the fact that his family may require a physical memento of his. From the Georgian era and throughout the Victorian era, the gifting of hair as keepsake was common practice. It is sorrowful to see that the hair enclosed in these letters eventually served their intended purpose, to be used as a personal keepsake of Aubrey Cartwright's life upon his death. We can make connections that the hair enclosed in letters to his parents and the additional fact of Aubrey being unmarried, lead to suggest that the locket would likely have been worn by his mother, Mary Anne Cartwright, in memory of her son lost to war. Further evidence of this is detailed in the meeting notes of the 49th meeting of the Aynho History Society in June 2012 with the below statement.


"Aubrey Agar Cartwright firstly fought at Boem Plaats in South Africa. He was then in the Crimean, which was close, hand-to-hand fighting in freezing conditions, with all the wrong kit in the wrong places. He was at Sevastopol, and then at Inkerman, where he was killed by a shot to the head, aged 29. A lock of his hair was sent back to his parents, and is in the Archive."

A locket of Aubrey’s hair and his map of the engagement, page 62
"Mr. Cartwright, Hair removed from bullet" Archives, page 49

The creation of this item with such a detailed inscription and personal relic serves as material memory to the life of Aubrey Agar Cartwright. The emotional purpose of this jewellery item, is to mourn and to bring comfort to the wearer. The creation of this item with such a detailed inscription and personal relic serves as material memory to the life of Aubrey Agar Cartwright. It gives us insight into his life and service and also of the love and loss experienced by those he left behind.

Memorial at All Saints Church, Flore, Northamptonshire, page 59

This item is currently on display in our Kalmar Vault Collection at Kalmar Antiques.

Sources:

Rolex Watch Servicing & Repairs

The Rolex brand is built on the quality of their timepieces. Rolex watches are built to last and with the right servicing, these timepieces become heirlooms to be passed down for generations to come. Kalmar Antiques is the one stop destination for purchasing, valuating, and servicing your Rolex timepiece. We have a range of vintage Rolex watches for purchase that have been expertly restored by our master watchmaker.

Our Master Watchmaker

Our master watchmaker, Lorenzo Del Rosso, completed his watchmaking degree at the esteemed ITI-IPIA Leonard Da Vinci Institute in Florence, Italy. He has worked under brands including LVMH and Rolex, making him a specialist in the servicing and restoration of Rolex timepieces. As a part of the Kalmar Antiques team, Lorenzo is based in our on-site watchmaking workshop, meaning that all servicing and repairs are completed on site in our Sydney workshop and not involving a third-party provider. You can rest assured that during servicing and repairs your timepiece is in the experienced hands of our expert team.

Since the permanent closure of the Rolex Service Centre in Sydney, Australia. Rolex and other retailers are forced to send timepieces abroad to fulfill servicing and repairs, which has caused long delays. We are proud to offer trusted servicing and repairs completed right here in Sydney.

Frequently Asked Questions

Where can I get my Rolex watch serviced in Sydney?

Kalmar Antiques complete servicing of Rolex watches on-site in our Sydney based workshop. We are located on level 2 of the Queen Victoria Building on George Street in Sydney.

How much should it cost to service my Rolex watch?

Once your Rolex watch has been assessed you will receive a quotation with a full breakdown of servicing and repairs needed on your timepiece. Quotations are based on the condition of the watch, movement, age of the watch and if any parts require replacing. There are no outward charges to receive a quotation for your timepiece servicing or repairs. There are no obligations when receiving a quotation and you can choose to continue with the work or collect your timepiece.

Can I get a Rolex serviced without papers?

Yes, at Kalmar Antiques we service Rolex watches new and old. We specialise in vintage Rolex watches and therefore understand that not all pieces are available with papers.

Does a service of my Rolex include polishing?

Kalmar Antiques has an on-site watch polishing workshop and can complete a professional polishing of your timepiece. Polishing is a personal choice which can be decided by the client. We discuss options for polishing throughout the quotation process.

What is the life expectancy of a Rolex watch?

Rolex watches are made to the highest quality and with the right care and maintenance can last many lifetimes. At Kalmar Antiques we recommend servicing your Rolex timepiece approximately every 5 years to ensure longevity.

How old of a Rolex watch will you service?

At Kalmar Antiques we specialise in vintage Rolex watches, which are 20 years or older. We will consider timepieces of any age and are happy to advise based on the condition of each timepiece.

Contact Us

Contact us now via phone (02) 92640 3663 or email sales@kalmarantiques.com.au

Or visit us in-store at the Queen Victoria Building

If you've had the chance to visit Kalmar Antiques recently you may have noticed some interesting developments happening in the retail space next door. The signage is up and the secret is out that after many months of careful planning, not to mention the uncertainty of a city lockdown, the wheels are in motion for the next exciting chapter at Kalmar Antiques. The long-standing QVB residents have plans to renovate the store, acquiring an additional retail space and expanding their extensive offering of antique jewellery and timepieces.

The new store will feature an incredible front window display spanning over 13 metres that will house antique jewellery and object D'art items from as early as the Georgian era. A specialised showcase will feature historical items that have never been available for public display before. Kalmar Antiques will also be increasing their offering of vintage watches and timepieces, and in addition to this, will be expanding their watch repair services with the addition of a state-of-the-art watchmaking workshop to be built on site.

Professional valuers and gemologists will continue to be available for consultations if you have items you are wishing to have valued or are looking to sell. This expansion will make Kalmar Antiques the largest antique jewellery store in the Queen Victoria Building and a must-see for collectors.  

The Kalmar family have been in business for over 30 years with Charles and Marlene Kalmar commencing trade at the Hyde Park Antique Centre in 1986. After three years they opened a storefront in the Imperial Arcade in 1989 where they traded for nineteen years before moving into the Queen Victoria Building. Their expertise and experience in the antiques trade puts them at the forefront of antique dealing in Sydney. 

Like so many small businesses in Australia the Kalmar's have faced two difficult years of Covid restrictions and lockdowns. Despite these challenges the Kalmar's passion for the antiques trade has shone through. The store expansion is the next chapter for the Kalmar family and is fantastic for the future of the antiques industry in Sydney.  

For the latest updates be sure to subscribe to the monthly newsletter or follow Kalmar Antiques via Instagram or Facebook.

Contact us

Shop 23, Level 2, Queen Victoria Building, George Street, Sydney 
NSW, Australia.

OPening hours

Monday
09:30am - 06:00pm
Tuesday
09:30am - 06:00pm
Wednesday
09:30am - 06:00pm
Thursday
09:30am - 06:00pm
Friday
09:30am - 06:00pm
Saturday
09:30am - 06:00pm
Sunday
09:30am - 05:00pm
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