The entrance to the venue for last Friday’s Australian launch of Montblanc’s UNICEF collection was unassuming: commuters and shoppers on Melbourne’s busy Chapel street walked right past the narrow door wedged between two shopfronts. Blink and you’d miss it – we nearly did. A discreet sign was the only clue. But as soon as the door opened we knew we were in the right place. The narrow stairs of the Victorian terrace were littered with art – a Degas bronze on the landing and floor to ceiling canvases on the walls. As we reached the top of the stairs it was clear we had left Melbourne far behind, and were now in the Aladdin’s cave that is David Bromley’s personal studio. One of Australian’s best-known contemporary artists, Bromley’s work is instantly recognisable, full of bold colours and graphic lines. His painting and sculpture was everywhere in the studio: on walls and nestled in between displays of ethnographic artefacts, Venetian glass, giant Japanese bottles and art – everything from massive modernist oils, fine lithographs and pop culture prints was represented. In the middle of all this splendour – looking perfectly at home – was Montblanc. Lovingly displayed on long tables were leather goods,…
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