October issue of Antique Collecting magazine by ACC Art Books

C O L U M N I S T C H R I S T I N A T R E VA N I O N

B O O K O F F E RS

P O S T -WA R B R I T I S H J E W E L L E R S

ANTIQUE

COLLECTING

OCTOBER 2021

WELSH ARTISTS Setting record prices in salerooms around the UK

Inside

WATCH OUT: 75YEARS OF THE BREITLING NAVITIMER ANTIQUE COLLECTING

SILVER LINING IRAQI NIELLO WARE PRICES HAVE RISEN 3,000% IN 14 YEARS

VOL 56 N0. 5 OCTOBER 2021

ANTIQUE ROAD TRIP! LENNOX CATO VISITS DUMFRIES HOUSE

FINE AND DANDY COMIC COLLECTING IS BACK IN VOGUE

EXCLUSIVE REPORT

Autumn fairs RETURN! AFTER 18 MONTHS ON HOLD DISCOVER THE EVENTS TAKING PLACE NEAR YOU

ALSO INSIDE Market report: NFTs

• Paintings to inspire • Focus on period oak

AUCTION | TUESDAY 19 OCTOBER MODERN ART & DESIGN

PRINKNASH ABBEY PARK GLOUCESTERSHIRE GL4 8EU 01452 344499 enquiries@chorleys.com

www.chorleys.com

FIRST WORD

Welcome

It was with some astonishment that I discovered on page 35 of this month’s issue of the upcoming “great wealth transfer”. For those not in the know, this refers to the £5.5 trillion set to be transferred over the next 30 years from the baby boomers (born between the late 1940s and early 1960s and reportedly the wealthiest generation in history) to Millennials (born in the 1980s and 1990s). The relevance to collectors of this huge cash relocation will be a transformation of both the digital art market, and art market in general. The vehicle for this vast overhaul is NFTs. Not the National Film Theatre but non-fungible tokens, which are linked to the blockchain and cryptocurrencies, and set to fuel the growth in digital art – a market which previously did not exist. The bad news for my descendants waiting for their slice of the “great wealth transfer” is that all my retirement money is earmarked for posh gin and extravagant foreign holidays. So don’t be looking to me to finance this digital revolution. But for those of a more generous nature our report does spell out what NFTs mean to collectors both today and in the future. On a much securer footing, on page 14 we go behind the scenes of a period oak sale, the first of three similar annual auctions from a Suffolk auction house, suggesting demand for the style and its close companion, folk art, is strong. On page 30 we consider the work of the Anglesey artist Sir Kyffin Williams a couple of months after one of his works set an auction record, as well as considering other Welsh painters whose work is slightly more achievable. If you are looking for your next collecting obsession you might just find it on page 18 when John Rogers introduces us to the world of 20th-century Iraqi silver. Long dismissed as tourist ware it is now wowing bidders across the world. On page 46, Lennox Cato describes a recent visit to Dumfries House, home to some of the most remarkable furniture in the UK and, on page 17, Christina Trevanion reveals a soft spot for the arts and crafts maker Ernest Gimson. I hope you enjoy the issue.

IN THIS ISSUE

OLIVER MILLER

goes behind the scenes of a period oak sale, page 14

JOHN ROGERS

unveils the world of Iraqi silver, page 18

MALCOLM PHILLIPS shines a light on comic collecting, page 26

Georgina

Georgina Wroe, Editor

We love

KEEP IN TOUCH

Write to us at Antique Collecting, Sandy Lane, Old Martlesham, Woodbridge, Suffolk, IP12 4SD, or email magazine@accartbooks. com. Visit the website at www.antique-collecting.co.uk and follow us on Twitter and Instagram @AntiqueMag

Antique Collecting subscription

this George III-style scratch-built dolls house (87cm x 57cm), which has an estimate of £200-£300 in Bishop & Miller’s sale on October 14.

BEN ROGERS JONES

on the art of Welsh painter Sir Kyffin Williams, page 30

The Team

Editor: Georgina Wroe, georgina. wroe@accartbooks.com Online Editor: Richard Ginger, richard.ginger@accartbooks.com Design: Philp Design, james@philpdesign.co.uk Advertising: Charlotte Kettell 01394 389969, charlotte.kettell @accartbooks.com Subscriptions: Jo Lord 01394 389950, jo.lord@accartbooks.com

£38 for 10 issues annually, no refund is available. ISSN: 0003-584X

ANTIQUE COLLECTING 3

Inviting consignments for our Fine Furniture & Works of Art auction

Previously sold in our Fine Furniture auction was this George I black japanned and gilt heightened bureau bookcase. Sold for £6,720 (including buyers premium)

www.bishopandmillerauctions.co.uk 19 Charles Industrial Estate, Stowmarket, Suffolk, IP14 5AH enquiries@bm-auctions.co.uk 01449 673088

Contents VOL 56 NO 5 OCTOBER 2021

THIS MONTH

REGULARS 3

Editor’s Welcome: Georgina Wroe introduces this month’s issue, packed with comment from the UK’s best columnists

Antique News: All the latest from the world of antiques and fine art, including two returning Cézannes and a new film about the daring art heist of a Goya

10 Around the Houses: Bobby Charlton’s jersey and David Beckham’s football boots are among recent sales, as well as a George II partner’s desk 14 Saleroom Spotlight: Behind the scenes at a sale of period oak and folk art in Suffolk this month

C O L U M N I S T C H R I S T I N A T R E VA N I O N

B O O K O F F E RS

P O S T -WA R B R I T I S H J E W E L L E R S

ANTIQUE

COLLECTING

OCTOBER 2021

WELSH ARTISTS Setting record prices in salerooms around the UK

Inside

WATCH OUT: 75YEARS OF THE BREITLING NAVITIMER ANTIQUE COLLECTING

SILVER LINING IRAQI NIELLO WARE PRICES HAVE RISEN 3,000% IN 14 YEARS

VOL 56 N0. 5 OCTOBER 2021

ANTIQUE ROAD TRIP! LENNOX CATO VISITS DUMFRIES HOUSE

FINE AND DANDY COMIC COLLECTING IS BACK IN VOGUE

EXCLUSIVE REPORT

AFTER 18 MONTHS ON HOLD DISCOVER THE EVENTS TAKING PLACE NEAR YOU

• Paintings to inspire • Focus on period oak

COVER

Antique desk and chair GAP Interiors, photographer Anya Rice

35 Market Report: A look at NFTs and how they are revolutionising the digital art market

22 Waxing Lyrical: Fine English furniture specialist David Harvey is cock-a-hoop over the ingenious designs of Regency maker William Pocock 24 Without Reserve: Antiques Roadshow’s Lennox Cato takes a trip around the Chippendale-rich stately home Dumfries House

Autumn fairs RETURN! ALSO INSIDE Market report: NFTs

17 Lots of Love: Christina Trevanion reveals why she has a soft spot for the renowned arts and crafts furniture designer and architect Ernest Gimson

36 Your Letters: This month’s mailbag reveals memories of a trip to Venice and a warning on the danger of leaving your collection to a museum 37 In the Loupe: nine pages of jewellery, watches and gemstones 47 Fair News: This autumn sees the return of a number of popular events, from the CADA Fair to the Bath Decorative Antiques Fair

52 Puzzle Pages: Test your antiques knowledge with two pages of brain teasers from Peter Wade-Wright

54 Top of the Lots: A selection of Loetz glass, a rare pot by Bernard Leach and a special fan all go under the hammer this month 56 Book Offers: Save more than a third on the latest titles from our sister publisher ACC Art Books 58 Fairs Calendar: Keep up to date with all the events in your area with our listings guide 60 Auction Calendar: Never miss another sale with details of all the best auctions taking place in October 66 Marc My Words: Antiques Roadshow’s Marc Allum enjoys a busman’s holiday to the antique shops of Deal and the South Coast

FEATURES 18 Silver Lining: Discover why Iraqi silver niello ware might just be your next collecting obsession, with expert John Rogers 26 Caper Chase: On the 70th anniversary of Beano’s Dennis the Menace, there’s nothing funny about the prices British and American comics are achieving in the saleroom 30 Just Williams An auction record has been set for a work by the Anglesey painter Sir Kyffin Williams, reports Ben Jones Rogers 38 Ringing Sixties Mary Ann Wingfield shines a spotlight on the remarkable London-based independent jewellery designers of the 1960s 42 Opal Suits How October’s gemstone of opal has enchanted jewellery makers from Ancient Rome to the art deco period and beyond 44 Flight Club: Designed for pioneering pilots of the 1950s, Breitling’s Navitimer celebrates its 70th birthday next year 48 A Collector’s Eye: Nothing unlocks the secrets of the past like a painting. We selects seven from gems from a new book, all on public view

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NEWS All the latest WHAT’S GOING ON IN OCTOBER

ANTIQUE

news

As the nights start drawing in, there is much still to tempt us out and about

WELLINGTON LOOT The National Gallery has released images of documents relating to the 1961 theft of Goya’s portrait of the Duke of Wellington, ahead of the release of a film based on the famous heist. In July 1965, Newcastle taxi driver, Kempton Bunton, confessed to taking the painting but, after his lawyers argued he hadn’t meant to keep it, only served a three-month sentence for stealing the frame. Bunton, who died in 1976, sent ransom notes saying he would return the painting if the government invested more in elderly care. It was returned voluntarily four years later and is on display at the gallery. The Duke, starring Dame Helen Mirren and Jim Broadbent is due for release next year. Above right Francisco de Goya (1746-1828) The Duke of Wellington, 1812-1814, © The National Gallery Right Jim Broadbent as Kempton Bunton and Helen Mirren as his wife,

Dorothy, in The Duke © Pathe UK

Far right A ransom note following the theft addressed to Exchange Telegraph and postmarked July 3, 1962 © The National Gallery

Jarring experience Three UK locations have been selected for the display of Ancient Greek treasures from the British Museum. An Etruscan funerary urn portraying Paris’s abduction of Helen, which triggered the Trojan war, and an Athenian amphora are two of four pieces on tour to Reading, Surrey and Dundee. Specially created 3D scans using QR codes will also allow visitors to access the objects from home. The spotlight loan tour, Troy: beauty and heroism will be at the Ure Museum of Greek Archaeology in Reading until December, Surrey’s Haslemere Educational Museum from February 10 until May 8, 2022 and the McManus Museum, Dundee, between May 19 and August 14. Above An amphora showing Hector’s body dragged round the tomb of Patroclus while Achilles runs beside, 520BC-500BC © The Trustees of the British Museum

6 ANTIQUE COLLECTING

Coming home Masterpieces by the French Impressionist Paul Cézanne (1839-1906) return to the UK next month for the reopening of a London gallery. The paintings, from the collection of the Courtauld Gallery, return to the gallery after its three-year transformation, having been on show at an exhibition in Norway. During the 1920s, Cézanne devotee, the industrialist and philanthropist Samuel Courtauld assembled the finest collections of Impressionist and Post-Impressionist art in the UK. Acquisitions included Still Life with Plaster Cupid and The Card Players, once owned by the Norwegian collectors Gustav Adolf Jebsen and shipowner Jørgen Breder Stang. Above right Paul Cézanne (1839-1906) Still life with Plaster Cupid, c. 1894, the Courtauld Gallery, London Right Paul Cézanne (1839-1906) The Card

Players, 1892-1896, the Courtauld Gallery

Far left Frans Hals

(c.1582–1666) The Laughing Cavalier, 1624, © Trustees of the Wallace Collection, London

Left Frans Hals (c.1582– 1666) Portrait of a Man, Possibly Nicolaes Pietersz Duyst van Voorhout, c. 1636-1638, © The Metropolitan Museum of Art Below left Frans

Hals (c.1582–1666) Portrait of Tieleman Roosterman, 1634, © The Cleveland Museum of Art

to see in

OCTOBER

Man’s world

2Face value

A major survey of 20th-century British portraiture continues at a Newcastle gallery this month, featuring more than 85 works from the late 19th century to the 1940s. The Laing Art Gallery in Newcastle is staging Portrait of an Artist, until February 26, 2022, featuring the work of Sir William Orpen, Evelyn Dunbar, Winifred Knights and Gilbert Spencer.

Above right Richard Carline

Male portraits by Frans Hals (c.1582–1666), one of the greatest masters of the Dutch Golden Age, continue centre stage at an exhibition in London. Frans Hals: The Male Portrait, on at the Wallace collection until January 30, includes Hals’ most famous and enigmatic painting The Laughing Cavalier, 1624. The purchase of the painting in 1865 by the 4th Marquess of Hertford (1800-1870), the Wallace Collection’s principal founder, was instrumental in the revival of Hals’ work during the 19th century.

(1896-1980), Portrait of a Progressive Woman, early 1920s, © Liss Llewellyn

Far right David Foggie (18781948), Portrait of the Artist’s Future Wife, c. 1920, © Liss Llewellyn Right Mary Adshead (1904

-1995), Portrait of Daphne Charlton, c. 1935, © Liss Fine Art / Bridgeman Images

Hokusai: The Great Picture Book of Everything, which opened on September 30, features a number of illustrations for an unpublished book, The Great Picture Book of Everything. Formerly owned by the art nouveau jeweller Henri Vever (1854–1942), the drawings resurfaced in Paris in 2019. The London museum houses one of the world’s most comprehensive collections of Hokusai. The exhibition, which includes Hokusai’s famous ‘The Great Wave’, continues until January 30, 2022.

Wave hello

More than 100 newly rediscovered drawings by Japanese artist, Katsushika Hokusai (1760-1849), have gone on public display at the British Museum.

Right Katsushika Hokusai (1760–1849) two Illustrations for

The Great Picture Book of Everything, © The Trustees of the British Museum

Left Katsushika Hokusai (1760–1849) Under the Wave off Kanagawa (‘The Great Wave’), 1831, © The Trustees of the British Museum, also on show at this month’s exhibition

ANTIQUE COLLECTING 7

NEWS All the latest IN SPIRE-ATION

Smashing NEWS Work has begun in the UK to restore eight glass vessels damaged in the 2020 port explosion in the Lebanese capital Beirut. The objects, being repaired by experts at the British Museum, were salvaged from a destroyed case which displayed classical and Islamic glass vessels at the American University of Beirut. Most pieces housed in the museum, 3.2km from the explosion, were shattered beyond repair, with only 15 being identified as salvageable. Of these, only eight – each playing a vital part in the country’s history – were safe enough to travel to the British Museum. Top The work was supported

by The European Fine Art Foundation (TEFAF)

Judging takes place this month for the amateur artist who has best captured one of 1,500 historic buildings across the UK. Historic England launched the competition inviting artworks inspired by historic estates. The judging panel consists of four representatives of Historic England, as well as an alumni from the Royal College of Art in London. The winner, announced in November, will be given an overnight stay for two at The Rag, one of London’s leading members clubs, as well as vouchers for Historic England tours. Above right Forde Abbey, a former Cistercian monastery in Somerset, courtesy of Historic Houses Right A previous entrant to the competition

Not so plain Jane There is a unique chance this month to see the only widely-accepted depiction of Jane Austen (1775–1718) in the city of Bath – the author’s former home. Austen, one of the best-loved writers in English literature, was a resident of Bath between 1801 and 1806, living across the road from the Holburne Museum at 4 Sydney Place until 1804. The Holburne will display the sketch, by Austen’s sister, Cassandra, this autumn, on loan from the National Portrait Gallery. From 2017 the image, dated to 1810, was used on the £10 English note.

The National Gallery has until December to come up with £9.3m required to buy ‘The Red Boy’ by Sir Thomas Lawrence (17691830) – the first painting ever included on a British postage stamp. The 1825 portrait of Charles William Lambton (1818-1831) is being offered from a private collection by private treaty sale via Christie’s. The portrait shows the seven-yearold boy’s arm bent, reflecting Renaissance artists traditional depiction of melancholy – unknowingly foretelling the sitter’s death at the age of 13 from tuberculosis. It will undergo conservation treatment before going on display at the gallery next year.

Right Jane Austen, by Cassandra Austen, c. 1810 ©

Top Sir Thomas Lawrence (1769-1830) Charles William

National Portrait Gallery, London

30 seconds with... With Trevor Chinery, Ripon-based auctioneers Elstob & Elstob’s new head of stamps, postcards and postal history What is so wonderful about a stamp?

Each one fits our notion of nostalgia and escapism and provides a physical link with the past. Every stamp, or postcard, tells a unique story of where it has been and who has read it, which is what makes it so fascinating. Stamps and postards offer distraction, and even a means of escape, as they are miniature gateways to different worlds.

8 ANTIQUE COLLECTING

Red alert

Lambton (‘The Red Boy”) 1825, private collection, © National Gallery, London

Why collect them?

It’s an activity that can be pursued on many levels, from single stamp purchases, costing just a few pounds, to entire collections worth thousands. They are relatively easy to come by, convenient to display and store, and offer subject matters ranging from different countries and times to topics as diverse as natural history, space and sport. Also recent advances in the digital age have revealed many facts – and errors - in old collections and it is now far easier to buy and sell online and connect with other enthusiasts.

Isn’t it a bit geeky?

Stamp and postcard collecting is no longer seen as the domain of the elderly, geeky or very young! The profile of the collector has changed dramatically. It has a much younger demographic with far more women taking part. The objects are very ‘instagrammable’ and as a hobby it is both relaxing and tangible.

How did it fare in lockdown?

Lockdown provided people with the perfect opportunity to start a collection, with both stamps and postcards making a great choice of something to collect. At the same time others returned to a previous pursuit with a new vigour.

How has the market changed?

Aside from an increase in interest in the UK, there are many emerging markets like China, where there are millions of stamp collectors investing time and money in the hobby. Above A 1d black, the first of which was issued on May 1,1840. It is valued at around £1,200

Costume drama

Above Artemisia Gentileschi (1593-1652) SelfPortrait as the Allegory of Painting c.1638-1639, © RCT, Her Majesty Queen Elizabeth II, 2021

PALACE COUP One of the finest surviving self-portraits by Artemisia Gentileschi (1593-1652), the most celebrated female painter of the 17th century, has been added to the exhibition Masterpieces from Buckingham Palace. It joins more than 60 artworks from the Royal Collection Trust on show until next February, which are usually only on display inside the palace. Born in Rome in 1593, Gentileschi was the first woman to join the prestigious Florentine Academy. She was invited to London in the 1630s by Charles I who acquired the painting.

More than 120 costumes, posters and designs for stage and screen are being added to the V&A’s theatre and performance galleries. Items ranging from Henry Irving’s Mephistopheles costume from the 1885 staging of Faust, to Sandie Shaw’s 1967 Eurovision song contest dress, are part of a revamp ahead of the galleries’ completion in April 2022. Curator, Simon Sladen, said: “The galleries are testament to the creativity, innovation and ingenuity of the performing arts and celebrate the practice, process and history of performance throughout the UK.”

HOUSE OF TUDOR

WHAT A CORKER An 1840s cork replica of the Colosseum has gone on show in America following highlyspecialised conservation. Piraneseum in San Francisco appointed the German expert Dieter Cöllen, the only craftsperson still working in the antique medium of cork architectural models, to undertake the work. The model was crafted by the 19th-century Roman artisan Luigi Carotti who made two other examples of this model: one lost and the other in the collection of the Lindenau Museum in Altenburg, Germany. The restored model is now housed in a custom-made closed vitrine with a constant relative humidity of 50 percent and temperature of 70 degrees. Above The restored cork replica of the Colosseum is back on show, image courtesy of Piraneseum

Left Sandie Shaw’s mini dress worn in 1967 for the UK’s first win at the Eurovision song contest Below Henry Irving’s costume from the 1885 Lyceum Company production of Faust

One of the UK’s largest and best-preserved Tudor manor houses, Gainsborough Old Hall, has returned to English Heritage having undergone significant conservation. Previously run by Lincolnshire County Council, the 15th-century property has one of the most impressive medieval kitchens in England, as well as a noble great hall and an imposing lodgings tower. During its lifetime it has undergone many incarnations from hosting Henry VIII and Katherine Parr, to being a linen factory. Left Gainsborough Old Hall in Lincolnshire, image courtesy of English Heritage

GOOD FRIENDS The British Antique Dealers’ Association (BADA) Week takes place this month with a number of events in the pipeline. Running alongside the seven-day celebration – from October 10-17 – BADA Friends, which is celebrating its 30th anniversary, has also revealed a series of events. Its programme includes porcelain specialist Errol Manners’ webinar on ceramic traditions, while the National Gallery’s Dr Susanna Avery-Quash is among the speakers at Collaboration and Competition: Dealers, Collectors and Curators. A private tour of the Society of Antiquaries will take place on October 26 and, on October 27 at Kelmscott Manor, curator Dr Kathy Haslem will be hosting a webinar on the 17th-century manor house lived in by arts and crafts pioneer William Morris. BADA was formed in 1991, the brainchild of the association’s former president, Oriental arts dealer Brian Morgan. For more details go to www.bada.org/friends/friends-events Above Kelmscott Manor, William Morris, tapestry room, © Society of Antiquaries

ANTIQUE COLLECTING 9

AUCTION Round up

AROUND the HOUSES Football memorabilia, a George II partner’s desk and an exquisite tiara are among UK auctioneers’ recent sales

CHEFFINS, CAMBRIDGE Two mesh dance purses, belonging to Princess Diana’s grandmother, the Right Honourable Countess Spencer (DCVO, OBE, 1897-1972) sold for £2,320, against a pre-sale estimate of £1,000-£1,500 at the auctioneer’s recent sale. Countess Spencer married Viscount Althorp in 1919 and was appointed Lady of the Bedchamber to Queen Elizabeth in 1937. She continued the role after Elizabeth became Queen Mother and remained in the post until her death. A nécessaire, given to Countess Spencer’s daughter and Princess Diana’s aunt, Lady Anne Spencer, on her 21st birthday was included in the same lot, which went to a UK private collector. The mesh dance purse belonged to Countess Spencer

HALLS, BATTLEFIELD

‘Maxie’ a 1930s ventriloquist’s dummy sold for more than seven times its low estimate when it achieved £1,550 at the Shropshire auctioneers. The 95cm-tall dummy was owned by the Austrian amateur ventriloquist Harold ‘Romy’ Romberg who fled the Nazis in 1939, before joining the British forces where the duo performed at regimental functions. Shortly after the war, Romberg returned to Germany with the Intelligence Corps where he and Maxie continued to perform.

Detail of a 19th-century patchwork quilt which sold for £5,200

TENNANTS, LEYBURN

The nécessaire was given to Lady Anne Spencer – Princess Diana’s aunt

ANTIQUE COLLECTING

The dummy ‘Maxie’, a number of tricks and related ephemera made £1,550

A late 18th-century Queen Anne-type doll, estimated to make £600-£800, sold for £2,500 at the North Yorkshire auctioneer’s recent textiles sale. Measuring 40cm tall, the doll had a carved wooden head, blonde wig and eyes with inlaid blue irises. She came with costume remnants and a blue grosgrain hat. At the same sale, an early 19th-century patchwork quilt, incorporated with pieces of 18th-century textiles, doubled its low estimate when it made £5,200. Embroidered with floral sprigs and flower heads, the earlier embroidery, retained its vivid colours and fine stitching.

A late 18thcentury Queen Anne-type doll sold for £2,500

The George II partner’s desk, with 11 drawers on either side, went to a private bidder

RICHARD WINTERTON AUCTIONEERS, LICHFIELD A WWII imperial Japanese Samurai sword sold for £1,800 at the Staffordshire The sword auctioneer’s sale on September 6. was brought With a 75cm blade, the tsuba – or hand guard – to the UK includes a family crest impressed to the crosspiece. in 1948 The weapon came with a photocopied certificate from the Japanese police allowing a corporal LR Kirtland to return to the UK with the item as a trophy of war.

FELLOWS AUCTIONEERS, BIRMINGHAM An unusual clutch bag designed to look like a cassette tape made £5,040 at the Midlands auctioneer’s recent sale – against a low estimate The unusual of £1,000. cassette-shaped Iconic Chanel designer Karl Lagerfeld clutch came with (1933-2019) introduced the bag at the the maker’s box and designer’s 2004 show, describing the papers collection as “Sweet, but not too ladylike”. The lucite clutch’s case features black detailing and a silver-tone chain wristlet strap.

Proving tiaras are back in vogue, this stylish piece was the sale’s top seller

LAWRENCES, CREWKERNE A Victorian tiara, formed in nine sections, was the top seller at the Somerset auction house’s recent sale when it doubled expectations to hammer at £30,000. Set with old-cut and rose-cut diamonds, the elegance of the design, in addition to its craftsmanship and quality, helped secure the high price. At the same sale a gold necklace of rope design by H Hermès, expected to make £5,000, sold for £10,000 in the 450-lot auction.

ROSEBERYS, LONDON Estimated to make £4,000-£6,000, a portrait of Miss Elizabeth Lewis by the renowned artist Sir Peter Lely (1618-1680) was one of the highlights of the auction house’s recent sale when it made £18,750. Elizabeth was the daughter of London vintner, Sir Thomas Lewis. In the portrait, painted around 1677, the 20-year-old is depicted in finery to reflect Sir Peter her father’s wealth. Lely’s portrait of A George II partner’s Miss Elizabeth Lewis desk made £11,875 was the sale’s against an estimate of top seller £2,000-£3,000.

MALLAMS, CHELTENHAM A vase by Clarice Cliff (1899-1972) – one of the most influential ceramic artists of the 20th century – sold for £1,100, against a low estimate of £200, at the Gloucestershire auction house’s recent sale. Part of Cliff’s popular Fantasque range, the vase Autumn, shape 365, had printed marks to the base dating it to c. 1930. Another estimate buster was a walnut and oak book table by the renowned 20th-century furniture designer Gordon The Gordon Russell book Russell (1892-1980). table smashed Clarice Cliff Expected to make pre-sale continues to £300-£500, the table expectations delight bidders sold for £1,600. at auction

Chunky gold necklaces also fared well in the saleroom

ANTIQUE COLLECTING 11

AUCTION Round up Bobby Moore’s white Fulham No.6 shirt

Bobby Charlton’s signed Manchester United No.9 home jersey, c. 1965

DAWSONS, MAIDENHEAD A collection of 12 frosted glass angel fish by Lalique, 5.4cm long and 4.5cm high, sold for more than double its estimate when it achieved £400 at the Berkshire auctioneer’s fine art, antiques and Asian art sale on August 26. First created in 1912, the year in which René Lalique gave up his career as a jeweller to devote himself totally to glass, the fish were one Fish of the firm’s first mass-produced pieces. were a great Since then the ‘poisson’ seal has inspiration to rarely been out of production. Fish of all the French types were a common theme in Lalique’s glassmaker designs adorning jewellery, boxes, vases, epergnes and even radiator caps.

GRAHAM BUDD, ONLINE Bobby Charlton’s signed Manchester United No.9 home jersey, c. 1965, sold for £ £18,075 against an estimate of £3,000-£5,000 at the sporting specialist’s online sale. At the same sale, Bobby Moore’s white Fulham No.6 1975 FA Cup final jersey sold for £3,800, against a presale estimate of £2,000-£3,000. Both shirts came from the collection of Bryan Horsnell a pioneer of footballing memorabilia since the 1960s. Graham Budd said: “More often than not he would acquire items directly from footballers. It was one of the most successful auctions in years, with the top seller being the earliest Manchester United medal ever to be sold at auction which achieved of £24,100.”

HANNAM’S, SELBORNE HANSONS, ETWALL Meanwhile, football boots worn by David Beckham when he played for Manchester United in the 1999 FA Cup final against Newcastle United sold for £10,500 at the Derbyshire auctioneers. The Red Devils won the game 2-0, their 10th FA Cup win in a memorable 1989-99 Treble season. The size 8¾ boots, created to Beckham’s unique specification, sparked intense bidding selling to a private UK phone bidder. A Northern Ireland shirt worn by George Best in a match against England in 1964 sold to a US buyer for £8,800. England won 4-3 in what was Best’s first game against England and third appearance for his country. David Beckham’s custom-made boots sold for £10,500

A 25cm Qing famille rose vase that had been in storage for nearly 40 years made £550,000 at the Hampshire auction house. Expected to make £15,000 the vase had been kept in the vendor’s father’s two-bed, semi-detached house until he died. The twinhandled falancai ruby glazed vase has the mark of the Qianlong Emperor on it, which would date it to between 1735 to 1796 and was probably looted from the Imperial Palace during the Boxer Rebellion of 18991901. The vase was likely made for the emperor and looted from the Imperial Palace

ANTIQUE COLLECTING

The Decorative Antiques & Textiles

FAIR

Book tickets at decorativefair.com Follow us @decorativefair

AUTUMN 2021

Tuesday 28 September to Sunday 3 October Battersea Park, London

ANTIQUES AND 20TH CENTURY DESIGN FOR INTERIOR DECORATION DF_Antique Collecting AUT 21 286h x 216w.indd 1

10/08/2021 14:15

ANTIQUES UNDER THE HAMMER Period oak and folk art

SALEROOM SPOTLIGHT

Three single owner collections make up a Suffolk auction house’s 500-lot inaugural period oak and folk art sale this month Above right A Charles II oak long bench, c. 1660, 184cm wide, 28.5cm deep, 55cm high, has an estimate of £4,000£6,000 Below left A rare Charles II oak coffer, West Country, dated 1661, 139.5cm wide, 58.5cm deep, 73.5cm high, it has an estimate of £2,000-£3,000 Below A gilded late

17th-century East Anglian hammer beam roof angel, 64cm high, has an estimate of £700£900 at this month’s sale

Above A James I shoe horn by Robert Mindum, 20cm long, dated 1613. Made from a cow’s horn and carved finely with flowers and a geometric design, the text reads Robert Mindum Made this Shooing Horne for Willyam Wheatlee Gentleman. It has an estimate of £2,000-£3,000 in this month’s sale

uffolk auction house Bishop & Miller launches a series of designated period oak and works of art sales this month, with the expertise of former Bonhams specialist David Houlston. The Stowmarket auctioneer’s inaugural sale is on October 14, with three sales planned annually. Houlston spent 15 years heading Phillips’ and then Bonhams’ vernacular furniture sales, but earlier this year moved to a consultancy role. The auction house’s first sale will feature period oak, vernacular furniture, textiles, metalwork, folk art and related works of art including early jewellery. Highlights include a newly-discovered Robert Mindum shoehorn (above, estimated at £2,000-£3,000) and a small Yorkshire court cupboard, c.1630 (far right, expected to make £8,000-£12,000).

14 ANTIQUE COLLECTING

Right An early

20th-century shorebird dipper decoy, with a painted body and later base, 18cm long. Estimated at £300-£500 at this month’s sale

Below far right Unusual

18th/19th-century slipware pottery dish depicting a mermaid, 34cm diameter, estimated at £400-£600

CHARLES II FURNITURE Also on offer is a rare Charles II oak coffer, from the West Country, dated 1661 (below left). Its front features three panels each depicting large, stylised male faces. The central face, with a distinctive pointed-beard, may even portray Charles I as the chest was made within a year, or possibly just months, after the Restoration of the Stuart Monarchy. As many Royalists returned from exile they were keen to demonstrate their support for Charles II and his father, the executed king. The coffer has a pre-sale estimate of £2,000-£3,000. After the years of Puritan austerity in the 1600s, the Restoration brought the English furniture tradition back in line with European design movements but, in provincial areas, craftsmen continued making furniture in the semi-gothic Jacobean and plain and simple Cromwellian styles. Consigned from a Grade I-listed Tudor manor house in Worcestershire, a Charles II bench, c. 1660 (above) has the initials ‘RT’ stamped twice to a leg. Another Carolean piece in the sale, dated to 1670, is a Charles II joined oak, open armchair from southwest Yorkshire, which has an estimate of £1,500£2,000. With distinctive linear carving of a pair of exotic birds and stylised flora beneath an arch, the piece is attributed to Burnley in Lancashire.

FOLK ART As well as period oak, the sale offers a number of folk art pieces, including a large collection of decoy birds. Intended for use by water fowlers, hand-carved and painted decoys capture the nature of real birds in a stylised, impressionistic manner. Usually made from indigenous local materials,

‘As well as period oak, the sale offers a number of folk art pieces, including a large collection of decoy birds. Intended for use by water fowlers, hand-carved and painted decoys capture the nature of real birds in a stylised, impressionistic manner’ the shapes were whittled and refined before being decorated, often with household or boat paint. Groups of decoys were usually carried to shore in sacks, causing surface wear and damage particularly to beaks, alongside the natural weathering when in use. Over the years, repair and redecoration give them character, while rare examples remain in “untouched” condition, retaining original features and their paintwork. Another equally evocative piece in the sale, and a further example of a bygone working tool with a sculptural quality, is a 19th-century optician’s trade sign, featuring a pair of spectacles. In an age of non literacy, pre-20th century trade signs needed to display the meaning of the sign itself, with no words required. At close to a metre in length, the sign features large orange lenses.

As well as oak and folk art, the sale includes a number of works of art, including this 18th-century English school painting of Charing Cross Road. At the time the London street (identifiable by by the statue of Charles I and two pubs) was a central staging post for coaches. But the congested road became a scene of frequent accidents. In the painting a bonfire has caused the Salisbury Flying Coach to overturn. On one side of the scene a barber surgeon armed with a cut throat razor haphazardly shaves a customer. In the foreground, a drunken freemason, identified by his apron and set square medallion staggers home, while the contents of a chamber pot are thrown from the window of a house above.

We asked Bishop & Miller’s managing director and auctioneer Oliver Miller for his sale highlights Do you have a highlight piece?

It would have to be the James I shoe horn. Before discovering this example, there were only 26 known in the world. As soon as I spotted it on a routine house call I knew it was something special. The other piece is a delightfully small Charles I inlaid court cupboard from the Yorkshire region (below). It has everything an oak collector would want: great colour, inlay and the size is perfect for the style of cupboard. We also know the region it came from which adds character.

Where are you expecting the interest to come? Above A Welsh late 18th/early 19th-century seven-spindle stick back, elm armchair, with traces of the original green paint, 58cm wide, 37cm deep, 97cm high, has an estimate of £2,000-£3,000 Left Early 20th-century optician’s trade sign, in the form of a pair of spectacles with orange lenses, 83cm wide 52cm high, it has an estimate of £1,500-£2,500

Works of art

IN MY OPINION...

Below left 18th-century painting, English school, in the manner of William Radcliffe, after William Hogarth, The Four Times of Day: Night, 29cm x 35cm, has an estimate of £1,500-£2,500

This auction will be very much about the British market and we are expecting the majority of pieces to stay within the UK. However, we know the American market is strong for oak furniture, so it wouldn’t be a surprise to have American collectors vying for some of the lots.

Why did you decide to launch specialist sales?

The period oak market is really strong. We are excited to have David Houlston on board with his wealth of knowledge and experience. There is also a selfish reason for adding the sales to our calendar – I absolutely love period oak furniture.

Are there any entry-level pieces?

You can’t go wrong with a 17th-century oak coffer. They are great pieces and would suit any home. The more modest types can be picked up at reasonable prices and are a great way to get into oak furniture. Below A small Charles I oak and inlaid canted court

cupboard, Yorkshire Leeds – Halifax, c. 1630-1640, 127cm wide, 48cm deep, 127cm high, has an estimate of £8,000-£12,000

AUCTION fact file WHAT: The Collector, to include period oak and folk art When: October 14 Where: Bishop & Miller, Unit 19, Charles Industrial Estate, Stowmarket, Suffolk, Viewing: October 9 (9-11am) 11-13, 9.304.30pm and on the day of the sale from 9am, www.bishopandmiller auctions.co.uk ANTIQUE COLLECTING 15

A collection of botanical watercolours sold for £15,000

TREVANION Fine Art & Antique Auction

Wednesday 20th October 2021

trevanion.com

16 ANTIQUE COLLECTING

EXPERT OPINION Christina Trevanion C H R I S T I N A T R E VA N I O N

Lots of Love

Christina pays homage to one of the great designer architects of the arts and crafts movement

Left The Gimson table

with its wishbone strut that caught Christina’s attention Below right A Gimson

sideboard from the collection of Midlands brewer Arthur Mitchell sold for £17,000 in 2019, image courtesy of Mallams

s you may have gathered by now, the arts and crafts movement is one of my favourite periods, it was responsible for some of the most unique and beautiful pieces we see in the market today. One of its central beliefs was that the 19th-century domination of mechanisation and industrialisation negatively affected not just the quality of manufactured goods, but also the social conditions of the people who produced it. I recently spotted what I suspected was a table by one of the movement’s key figures during a routine house call. The table in question had sat quietly in the dining room of my clients’ house for decades, until they decided they wanted to downsize. It was instantly recognisable as a turn-of-the-century oak dining table – not something that would normally pique my interest. But it wasn’t until we pulled away the six George III dining chairs tucked underneath it, that my nose started twitching. Beneath the tabletop was the most incredible wishbone-shaped strut – not something you would expect to see as a table base. When it was revealed, in all its architectural loveliness, it was reminiscent of an ancient church roof. I quickly added ‘Arts and crafts?... Gimson?’ to my notes and began my research.

Society, and it was here that the 19-year-old Ernest met William Morris after he spoke at one of its meetings. Morris championed handmade production that didn’t chime with the Victorian era’s focus on industrial ‘progress’. Ernest greatly impressed Morris who steered him towards his subsequent career. Having moved to London with letters of recommendation from William Morris, he continued his training under the influential architect John Dando Sedding, becoming directly involved in the details of buildings. Moreover, Sedding’s practice sat next to that of Morris & Co., giving Gimson a first-hand insight into early developments of the arts and crafts movement.

CREATIVE GENIUS Although probably better known now as a furniture designer, over the course of his career Gimson was responsible for numerous buildings as well as the furniture within it. He also remained true to Morris’s ideal that “Nothing should be made by man’s labour which is not worth making, or must be made by labour degrading to the makers.” There is just something so beautifully pure about Gimson’s work. Not only do I love the pieces themselves, I also admire the ethos behind how they were created. It has been an absolute joy for me to learn more about Gimson and his life and works. The celebrated etcher and collaborator FL Griggs said: “There can be no doubt, I think, that Ernest Gimson was a great creative genius, in temperament and in all he did a very English genius.” From all I have learnt about him so far, I couldn’t agree more. Christina Trevanion is managing director and founder of Shropshire’s Trevanion Auctioneers & Valuers as well as a regular face on a number of antiques programmes.

WILLIAM MORRIS Ernest Gimson (1864-1919) was credited by the great art critic Nikolaus Pevsner as “The greatest of the English architect-designers”, and it is clear to see why he is considered one of the most influential designers of the British arts and crafts movement. Born in Leicester to a large family, Ernest’s father Josiah Gimson founded and ran the engineering firm at the Vulcan Works adjoining the Midland Railway. The Gimson family was prominent in the Leicester Secular

‘There is just something so beautifully pure about Gimson’s work. Not only do I love the pieces themselves, I also admire the ethos behind how they were created’ ANTIQUE COLLECTING

COLLECTING GUIDES 20th-century Iraqi silver

18 ANTIQUE COLLECTING

Silverlining

Long dismissed as tourist memorabilia and sold for prices close to scrap, silver from Iraq is now achieving record prices and could just be your next collecting obsession, writes John Rogers ‘The most famous and highly prized of these signatures are for Zahroon and Onaisi. The highly-coveted name Zahroon operated in Omara but, like many of the niello makers later moved to Basra; while Onaisi became silversmith to the Royal family of Iraq moving from Omara to Baghdad’ Left A mid-20th century Iraqi unmarked silver and niello coffee service and tray, probably Basra, c. 1940, sold for £2,000 against a low estimate of £800 in 2020, all images unless stated courtesy of Chiswick Auctions

rincipally made in Basra and Omara by Sabaean silversmiths and engravers in the first half of the 20th century, but rarely assayed, until recently silver from Iraq had very few fans. But in June I handled a private collection of Iraqi silver collected over the last 15 years and believed to be the first large collection of Iraqi silver handled in the UK. It was met with considerable interest. Of the 50 lots on offer, four had been purchased at a sale by Bonhams in the Channel Islands in 2008, which made just £252. The quartet comprised a tray with an inscription in English and Arabic to Brigadier Sir Iltyd Nicholl Clayton; an oval tray worked with a scene of the Taq Kasra (Ruins of Ctesiphon); a Turkish coffee pot or cezva with a pair of cups and saucers; and a presentation plaque with a central scene of an artillery field gun. With the latter hammering at £1,600, it brought the total for the four lots to £8,562 including premium – an increase of more than 3,000 per cent on the price of 14 years ago.

NOT ASSAYED Iraqi niello silver was not formerly marked, only on very rare occasions import marks from other countries may be found, so exact dating of pieces relies on known dated examples, which range between 1915 and 1970. However, unlike most silverware from many countries,

Right An early 20th-century Iraqi silver and niello salt, Omara c. 1920-30, signed Omara, Zahroon, sold for £400 in June Below The first word Omara, the region; the second word, Zahroon, the maker, which can also be found on its own or in combination with other makers

ANTIQUE COLLECTING 19

COLLECTING GUIDES 20th-century Iraqi niello silver ‘Prices for Iraqi niello silver has increased over the last 10 years across all varieties. At an entry level price, napkin rings cost £15-£30, with rarer examples, if signed by Zahroon at over £100’

Left An early 20thcentury Iraqi silver and niello Turkish coffee pot (cezva), dated 1928, signed Baghdad Onaisi (Onaisi Al Fayyadh), sold for £2,375 in June 2021

including the Baghdadi Jewish silversmiths, which rely on a system of punches to identify the maker, many examples of Iraqi niello silver were signed in Arabic by the workshop(s) responsible for the pieces. There are many signatures to be found, some more clear than others. The most comprehensive list of these is published in History of Iraqi Silver (2017) by Mohammed Al Baghdadi. The most famous and highlyprized of these signatures are for Zahroon and Onaisi.

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Below left An early 20th-century Iraqi silver and niello tray, dated 1928, signed Baghdad Onaisi (Onaisi Al Fayyadh), with an a niello inscription in Arabic and English, reading From The Iraqi Officer Iraq Army to Alaqid I.N Clayton O.B.E 1928, sold for £3,500 in 2021. Clayton was attached to the Middle East Office in Cairo during and after WWII and was later important in the formation of the Arab League and deciding of post-war British policy in the Middle East Below right A cigarette

case decorated with the Tomb of Ezra, Basra c. 1930, unsigned, sold £238 in June

The highly-coveted name Zahroon operated in Omara like many of the niello makers but later moved to Basra, while Onaisi became silversmith to the Royal family of Iraq, moving from Omara to Baghdad. There are instances of combinations of signatures demonstrating a collaborative working procedure, as well as rare examples of Marsh Arab work upon Jewish silver from Baghdad. Signatures are to be found on low-quality work through to masterpieces, and unsigned pieces can be of excellent workmanship themselves.

PRICE BOOM Prices for Iraqi niello silver have increased over the last 10 years across all varieties. At an entry level price, napkin rings are the best option with the normal examples costing £15-£30, with rarer and more desirable stirrup-shaped examples, if signed by Zahroon, at over £100. Cigarette cases are another very approachable collecting opportunity for Iraqi silver. An unsigned example with basic niello work may cost between £100£150, up to £500 for a more finely worked, signed example with a distinct scene. The finest cases would be those nielloed with aircraft and signed by Zahroon, which would cost in excess of £2,000. A full cruet set composed of a salt, mustard and pepper on a stand or tray ranges in price between £150-£300 based on the quality of the niello and how interesting the shape of the vessels. The very best pieces

Iraqi scenes

of Iraqi niello silver are those with custom order niello scenes not found on usual examples, ranging from specific ships, aircraft, maps and even English cottages. Tea and coffee ware, especially those signed by major names, will draw considerable attention. A normal three-piece tea set is currently around £1,000 at auction, better yet is when the provenance of the item is nielloed upon it with a dated inscription to a known person.

GROWING AWARENESS The field of Iraqi nielloware will no doubt grow further as awareness of the signatures and the range in quality of niello work becomes better known. Nielloware from other countries outside of Russia, which has long been the world’s major centre for niello work, is also gaining further appreciation, such as that made in the Van region of Armenia, Tabriz in northern Iran and from Nakhon Sri Thammarat in Thailand. Much like the development of Chinese and Indian silver in the late 20th century, the higher the profile of the collecting field, the greater the number of examples entering the marketplace. These may be sought out by collectors as well as museums either looking to hold examples of this form of silver or due to the importance of the people it was made for.

Above An early to mid-20th century gufashaped bowl, Basra, c. 1940, sold for £325 Below Detail: the first word Baghdad, the region; the second word, Onaisi (Onaisi Al Fayyadh), the maker Below left An early

20th-century Iraqi silver and niello dressing table box, Baghdad, c. 1930, signed Baghdad Onaisi (Onaisi Al Fayyadh), sold for £525 in 2021 Below right A rare, early

20th-century Iraqi silver and niello presentation plaque, Basra, dated 1928, signed Saqar Length, sold for £2,000 in June

While the two most common items to be found in Iraqi silver are napkin rings and cigarette cases, there are also dressing table boxes, posy vases, cruets and, most prized of all, tea and coffee wares with trays. The niello decoration depicted has a broad range of designs which often focus on famous Iraqi buildings such as the Tomb of Ezra or the Taq Kasra (Ruins of Ctesiphon). In addition to famous buildings there are also many traditional river scenes depicting boats of various kinds including a gufa (a large or small circular coracle of basketwork, coated with bitumen) which is specific to Iraq’s Tigris-Euphrates river. Other themes include camels, palm trees and occasionally boar or livestock. Above Taq Kasra, Ctesiphon or Salman Pak was an ancient city, located on the eastern bank of the Tigris about 35 kilometres southeast of Baghdad Right A dressing table box

depicting the Taq Kasra (Ruins of Ctesiphon), dated 1931, signed Omara, Adam, sold for £200 in June

In all eventualities the future looks rather bright for Iraqi niello as an evocative and distinct craft. John Rogers is the head of silver and objects of vertu at Chiswick Auctions and a collector of various forms of silver including colonial silver from India, Gibraltar, Jamaica and other areas, as well as Persian silver from the Qatar and Pahlavi dynasties. Chiswick Auctions’ next sale of silver and objects of vertu is on October 20.

ANTIQUE COLLECTING 21

EXPERT COMMENT David Harvey

Waxing lyrical David Harvey praises the ingenuity of Regency cabinetmakers, including one of the best – William Pocock

y the start of the Regency period, British cabinetmakers had become extremely skilful in producing an extraordinary range of mechanical and metamorphic furniture, much of which was patented and simply described as “patent” pieces. The gadgetry was driven by the Georgian thirst for originality, seen in the new “museums of curiosity”, as well as the newfound ability to travel – whether for military reasons or as part of the Grand Tour – both serviced by increasingly complicated, adjustable campaign furniture. So my question is: how did we convert a previously rather modest Regency table to the impressive 9ft model above? William Pocock had the answer. William Pocock (1750-1835) was one of the top echelon of furniture makers working in London during this time, he also advertised his pieces as patented. The superb dining table is numbered “16” on a brass plaque along with the words “Pocock Patent”. An 1814 advertisement includes pictures of this ”Sympathetic” extending table. One of its main selling points was that its complicated mechanism included a handle at each end which allowed it to be operated by one person.

22 ANTIQUE COLLECTING

Above Pocock’s impressive 9ft extending dining table can be operated by a single user Right The table’s

telescopic action for the underframe

Below right Removing

the leaves of the table reveals its complicated mechanism

INGENIOUS DESIGN As well as being a master cabinetmaker, Pocock was inventive, with a terrific grasp of engineering principles. Which is one of the reasons why I was so excited to come across this table. Everywhere you look you find ingenious devices making this patented table the best he could possibly produce. There is a telescopic action for the underframe, by turning over one of the end leaves you can see both the brass locator lug and the upstanding dowel which is secured by a hole in the leaf. Once the leaf is in position, the hinged clasps on the perimeter can be locked into place with the counterparts on the end friezes, so locking the end leaves firmly into position.

NEAT CONSTRUCTION The underframe is constructed to allow the extra leaves to be housed within it when not in use. The scoops at either end enclose brass table forks which clamp the table tops together

when extended. You can also see how the brass locator points for the end leaves are set on different sections of the extenders so they can only fit the leaves to the frame in a certain way. In order to make his tables usable by only one person, Pocock used a series of pulleys and capstans as well as a large brass handle at each end to force the extensions to run out concurrently. The view from underneath shows just how determined Pocock was to get this mechanism to operate fluently. In addition to the ropes and boxwood capstans, he incorporated turned boxwood rollers into the underframe so the mechanism rolled smoothly.

Left Turned boxwood rollers allow the extension to roll out smoothly Right An 1814

advertisement for Pocock’s innovative designs Below right A brass bolt

prevents movement regardless of the extension

Below far right The large

brass handle which allows the table to be extended by one person

SPIDER LEGS He didn’t stop there, however, as he was determined to have the whole 9ft-long table supported by a single, elegant central column raised on sabred legs. Looking from underneath again, we can see the strong metal “spider” or braces holding the sabred legs onto the central octagonal shaft. These provide the stability and strength for such a long table and stop the ends from flapping up and down. The spread of the legs is much wider than one might expect on a smaller table but, of course, it has to provide stability when the tops are fully extended. Upside down, it is also interesting to note the detailed reeding towards the top of the legs where they join the column. Notice also how they have been Left Reeded detail towards the top of the legs rubbed back by generations of boots Below left A metal "spider" and shoes further takes the considerable weight of the table top down the legs. This ties in with the leaves’ reeded edges and is the sort of detail we look for to ensure all of a piece’s elements are original to one another.

Pocock’s patents

This advertisement from 1814 illustrates Pocock’s "Sympathetic" extending dining table that could accommodate 12 people when fully extended. From 1801 to 1825 he had showrooms at 26 Southampton Street, London where the business is described as a “cabinet and upholstery warehouse”. He was known to have patented several designs, including a reclining chair in 1813 featuring an adjustable back and double footstool that could be extended into a couch. He also designed library tables with rising tops to suit both a standing and seated posture.

STURDY BOLTS In order to ensure the table’s rigidity when in place, Pocock used a series of bolts on the framework to prevent movement between the tops and base – regardless of the number of leaves extended. The bolt above (left) locks into a hole in the oak underframe to stop any movement once extended. The image (above right) shows not only the quality of the mahogany, but also the large brass handle on each end. Also apparent are the locator hinged flaps hanging from the end leaf, with the brass turn button receivers on the friezes. You can also make out the large brass cups and casters on the legs. David Harvey is the owner of Witney-based W R Harvey & Co. (Antiques) Ltd. For more details go to the website www.wrharvey.com

‘In order to make his tables usable by only one person, Pocock used a series of pulleys and capstans as well as a large brass handle at each end to force the extensions to run out concurrently’ ANTIQUE COLLECTING 23

EXPERT COMMENT Lennox Cato

LENNOX CATO

BIRTHDAY BOY

Without RESERVE Lennox Cato celebrates his birthday in the company of Thomas Chippendale and friends at Dumfries House

ometime back in June 2007, I received two enormous and very smart auction catalogues. They were for the sale of the contents of Dumfries House, in Ayrshire, Scotland. The sale at Christie’s had come to fruition after 18 months of detailed research of more than 630 lots on offer. Behind the scenes, HRH Prince Charles and a consortium had come together to raise funds to keep this magnificent collection together, rather than see it sold. The number of fine and important pieces of furniture up for sale was unique. In fact, the renowned Otley-born cabinetmaker Thomas Chippendale (1718– 1779) had supplied 60 pieces for the house. Furniture vans were already on their way to London to display the collection for viewing. Thankfully, the consortium managed to step in just in time and put a stop to the sale. The vans were intercepted halfway down the country and brought back to Dumfries House. The collection was truly saved at the eleventh hour and a few months later The Prince’s Foundation was set up to manage the estate.

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Above Samuel Smith, breakfast table closely matches plate 33 from Chippendale’s Gentleman and Cabinet Maker’s Director, image courtesy of the Prince’s Foundation Right Chippendale’s

design for breakfast tables from Volume II of Chippendale’s drawings, two scrapbooks of preparatory drawings for Chippendale’s Gentleman and Cabinet Maker’s Director, first published in 1754

This August I had a rather big birthday to celebrate and it was decided we should visit Dumfries House and see this wonderful collection for ourselves. It was something I have wanted to do for some time and now was the perfect moment. I was like a child in a sweet shop, seeing so many beautiful articles set out as though someone had just left the room. I believe one of the many reasons the collection was saved was because of its strong provenance. This is so important. You may have noticed when I am on the Antiques Roadshow along with other specialists, I always quiz any article’s owner about the provenance of the piece and how they acquired it. Most of the furniture in Dunfries House retains the original bills of sale, who made it, when and how it came to the house. This archive is so important, lending the items another level of value. We now know, for example, that a suite of chairs came from the workshop of Thomas Chippendale and was delivered to

the house in May 1759 at a cost of £63. Another item listed was a ‘mahogany breakfast table’ which, with its twin flaps, re-entrant corners above a frieze drawer and a pierced paneled fretwork cage and concave bowed doors, one would expect to have been straight from Chippendale’s workshop. But no, we were informed the table situated in the Blue Drawing room, was made by another London cabinetmaker, Samuel Smith, and was supplied on 9th September 1756, costing £3.3s.

IMPORTANT DATE This is a very important date as it proves that Samuel Smith subscribed to Thomas Chippendale’s Gentleman and Cabinet Maker’s Director and, indeed, the table corresponds directly with plate XXXIII in the first edition of the Director, 1754. Chippendale was a clever man, having cabinetmakers and gentry subscribe to his publications was an excellent money earner for him (perhaps we would call it passive income today?). When Lord Dumfries received the table it was celebrated as an ingenious design, having a multipurpose use. When Samuel Smith proudly informed his lordship that he had taken the design from Chippendale’s Director, Lord Dumfries decided to go straight to the man himself – whereupon Samuel Smith received no further commissions. He did however earn a small commission by arranging for the repair and cleaning of some of Lord Dumfries’ tapestries. The moral of this story is for sellers to keep mum! The 2007 auction catalogue put the pre-sale estimate of the table at £30,00-£50,000.

MAGIC NAME On entering another room, visitors see another mahogany breakfast, or supper table. When compared to Smith’s table this one has much finer detailing with a brass-wire cage instead of fretwork under the frieze baize lined drawer. On comparing the two, Chippendale’s piece stands out as just having that certain edge. The original receipt dated 5th May 1759 is described as A mahog; Breakfast table of fine wood wt. a writing drawer and wirework round & castors & c £6-8. The table carried an estimated price of £100,000-£150,000 in 2007. Having proof that the table was, without doubt, by Chippendale greatly raises the value. Samuel Smith’s table is not to be sniffed at, but the magic name says it all.

Above Dumfries House in Ayrshire is the home to 60 Chippendale pieces Below Thomas

Chippendale’s brasswire cage breakfast table with frieze baize lined drawer, image courtesy of the Prince’s Foundation

So, there we have it – provenance is key. Of course, we can’t all have an authentic Thomas Chippendale within our collections, but it is just as important to keep receipts of what you have bought and from whom. If you have purchased from a member of the British Antique Dealers Association (BADA) they can also provide a certificate of provenance to add an extra layer of value. The Prince’s Foundation has done a wonderful job in saving the Dumfries House collection, allowing us all to enjoy and learn from it. Needless to say, my birthday treat was a memorable one and duly received with great thanks to Mrs Cato. Lennox Cato is a specialist on the BBC’s Antiques Roadshow and owns Lennox Cato Antiques, for more details go to www.lennoxcato.com. To visit Dumfries House go to www.dumfries-house.org.uk

‘That the table was, without doubt, by Chippendale greatly raises the value. Samuel Smith’s table is not to be sniffed at, but the magic name says it all’ ANTIQUE COLLECTING 25

THE EXPERT COLLECTOR Comic collecting YOUNG AT HEART

CAPER CHASE

On the eve of an exhibition celebrating the world’s longest-running weekly comic, Beano, we explore the world of comic collecting

hen it comes to collecting the comic book world of superheroes, fantastical beasts and intergalactic villains, the American titles beat their British cousins into the kind of pulped and bloody mess usually meted out by the hammer-heavy fists of the Incredible Hulk. Perhaps fittingly, the current world record price for a comic book belongs to a June 1938 copy of Action Comics #1, which saw the first-ever appearance of Superman, helping the comic to soar (like a bird) to an impressive $3.25m in a private sale earlier this year via ComicConnect.com. The comic reveals how, arguably, the world’s most iconic super hero first came to Earth, adopting the moniker of Clark Kent. The world-record price narrowly beat the earlier record set by another copy of the same title, which fetched just over $3.2m in 2014. While the condition of the comic was one factor in its sale success, the fact that only around 100 of the issues exist certainly added to its super powers.

26 ANTIQUE COLLECTING

Above Bash Street Kids, 1982. Courtesy of Beano Right Dennis and

Gnasher, 1993. Courtesy of Beano

It’s a highly impressive set of figures, particularly when considering the relative immaturity of a market that’s not yet 100 years old. The Glasgow Looking Glass, first published in 1826, is generally regarded as the first comic in a format that we would recognise today, utilising such elements as speech bubbles, caricature, captioned pictures and lines of narrative. By 1845, following the adoption of sketches and satirical drawings in a growing number of newspapers and magazines, the word ‘cartoons’ was coined to describe the artform. In 1841, the celebrated and influential British magazine of humour and satire, Punch, began publication, featuring the work of such luminaries as WM Thackeray, PG Wodehouse and Sir John Betjeman who regularly held up politicians of the day to cuttingly humorous scrutiny. However, it was the 1920s and 1930s when the comic book really came into its own as a form of mass media, with the US leading the way. With a far younger audience the key demographic, each week children in the USA and UK were soon eagerly reading about the high-octane adventures of their super hero favourites or a host of hilarious capers of larger-than-life characters. Fast-forward to today and it’s these early titles that pack a punch with potential collectors and investors alike, continuing to build on nascent interest stimulated by the growth in specialist comic stores in the 1970s which catered for a burgeoning collectors’ market. Yet, ironically, the current levels of interest are being driven by a host of modern platforms that are far removed from comic’s traditional environment of ink, paper and printing presses. Newcastle auctioneers Anderson & Garland has been selling comics for longer than any other art auction house in the country, starting some 35 years ago. Auctioneer and Valuer, John Bullock-Anderson has witnessed the change throughout his career. “Just when

I thought comics were going to die, Iron Man became a huge success in the movies. Because of the influence of Netflix and Disney, streaming and movies, there is now a younger generation who are avidly consuming comics material.” He continued: “What that means is there’s now a new demand for historic comics because they lead into the new media that everyone’s so avidly consuming today.”

DIVIDING LINES However, there appears a clear divide between the collecting of comics in the UK and the US. John said: “The British refer to ‘comics’ as opposed to ‘comic books’, which is how the Americans refer to them. It’s a completely different market. People who collect British comics are generally interested in comics across the board. It’s unusual to find someone who likes the Beano but doesn’t like Batman; but there’s plenty of people who like Batman who are not at all interested in British comics.” The prices that have been achieved by some rare comics at sales in the US seem unlikely to be mirrored in the UK anytime soon. “They never will. There’s a number of reasons for that,” said Malcolm Phillips, director of Comic Book Postal Auctions in London. “The first is that comics collected in the States have super heroes from which there have been a multiple of successful movies over the last 20 years. People go and collect the comics having seen the movies, and that makes the comics more valuable generationally.” The collecting market, however, generally constitutes an older demographic. “Most of the guys who spend serious money tend to be north of 50 or 60 years old who can remember them the first time around,” said John Bullock-Anderson. Moreover, unlike some areas of collecting, it’s also a community that crosses gender divides. “Comic collecting is one of the few specialist areas that I deal with where there are a lot of women, unlike toys and model railways.”

Above left Roger the Dodger, original artwork from 1961. Artwork by Frank McDiarmid, Courtesy of Beano Above right The exhibition features all the much-loved characters from Beano Below This first issue

of Avengers sold for £1,000 at Anderson & Garland in July 2021. Courtesy of Anderson & Garland

Below right Three issues

of Judy from 1960, part of a larger lot that sold for £190 at Anderson & Garland in July 2019. Courtesy of Anderson & Garland

BEANO: THE ART OF BREAKING THE RULES

London’s Somerset House’s exhibition Beano: The Art of Breaking the Rules celebrates the world’s longestrunning weekly comic and the 70th anniversary of its most infamous character –Dennis The Menace. Since its first release in 1938, Beano boasts more than 4,000 editions to date from its home in Dundee. The landmark exhibition explores both the comic’s, and contemporary art’s, irreverence via comic drawings, archive artefacts and recreations of well-known settings from Beanotown, such as Bash Street School. Curator artist Andy Holden said: “To present an immersive display of Beano’s history and influence on art and culture is the curatorial equivalent of a ‘Beano feast’.” The exhibition also explores how the comic tackles class, education and feminism. Beano: The Art of Breaking the Rules opens on October 21, find out more at www.somersethouse.org.uk/beano

GOING FOR GOLD Across the Atlantic the comic-collecting community broadly divides the media into three periods: the ‘golden age’ from 1934-1955, the ‘silver age’ from 1956-1971, and the ‘bronze age’ from 1972-1985. “The so-called ‘golden age’ of comics starts around the time of the first Superman and is principally DC Comics, alongside a couple of other publishers who have since gone out of business. The ‘golden age’ has fantastically valuable comics, but they are so rare that

‘Ironically the current levels of interest are being driven by a host of modern platforms that are far removed from the comic’s traditional environment of ink ANTIQUE COLLECTING 27

THE EXPERT COLLECTOR Comic collecting Left This collection of sci-fi comics, including the sought-after Captain Science, sold for £400 in February 2021, image courtesy of Anderson & Garland Right An early issue of

Hornet, which sold for £160 as part of a larger lot in July 2019, image courtesy of Anderson & Garland

no one hardly ever comes across them,” said John. “All of the real action is in the ‘silver age’ where there is a wealth of comics that have survived from that period. These tend to be the ones that speculators are speculating in.” The greater numbers of US comics that have

Comic capers

This month sees the sale of Marvel, DC and independent comic books at Excalibur Auctions in Kings Langley near Watford on October 2. We take a look at some of their recent comic sale successes.

Amazing Fantasy #15, 1962, Marvel. The most valuable ‘silver age’ comic book by far, and the origin and first appearance of Spider-Man. It also introduced Uncle Ben and Aunt May. Celebrated illustrators Jack Kirby and Steve Ditko combined for the classic cover, with Ditko providing the interior art. The comic sold for £13,000 in September 2020. The Amazing Spider-Man #1, 1963, Marvel, UK variant. The first appearance of SpiderMan in his own title. Inside, Spider-Man’s origin is retold, the Fantastic Four make their first crossover appearance, and it also includes first appearance of John Jameson, J. Jonah Jameson, and the Chameleon. Cover and interior artwork by Steve Ditko. Sold for £6,700 in February 2021. Fantastic Four #48, 1966, Marvel, first appearance of the Silver Surfer and Galactus. Cover and interior art by Jack Kirby and Joe Sinnot. Sold for £1,400 in May 2021. Werewolf by Night #32, 1975, Marvel, UK variant. The origin and first appearance of Moon Knight, who features in a TV series currently in development at Disney/Marvel. Cover art by Gil Kane and Al Milgrom, interior art by Don Perlin. Sold for £900 in February 2021.

28 ANTIQUE COLLECTING

survived and now fuel the market is in no small part due to the production techniques employed by the country’s comic publishers. “America also invented the comic book, and the bottom line is the demographic of population – there are 10 times more people there than in the UK,” said Malcolm. The US term ‘comic book’ is also an apt description when it comes to the media. John said: “It’s quite right to refer to American comics as ‘comic books’ because they were produced with greater artistic standards and the printers’ art. You get glossy covers, in a sort of book format, and they’re designed to be read like mini graphic novels.”

SLAB COAT As with other areas of collecting, rarity and condition are both crucial factors in prescribing value to an individual comic. In order to define the relative condition of comics, the collecting community took an early lead from the grading system used by coin collectors. John said: “They used all the terms that coin collectors use, such as good, very good, fine, fair and so on.” There is now an industry comprised of grading companies who will independently assess each comic’s condition and ascribe it a community-recognised grade. “They are graded in marks out of 10. For example, a very tatty comic might be 0.3, so you use the points in between. The difference between an important comic that is graded at 9.6 and one that’s graded at 9.2 might be more than 50 percent.” Moreover, preventing future damage to comics and rendering a grade void has given rise to the phenomenon of ‘slabbing’. John explained: “The grading company seals the comic inside a vacuumsealed plastic casing, so it’s ‘slabbed’ within a clear casing, which cannot be opened unless you want to invalidate the grading.” This, in turn, has created a speculative market where collectors and speculators trade in slabbed comics, much like share certificates. As with the stock market, the value of comics can rise and fall due to various reasons, with one predominant. “Now the market is driven by what’s called ‘key comics’,” said John. “In the old days, if you liked Batman or Superman, you tried to get every comic. Modern collectors don’t collect like that. They’re looking for key issues, which feature the

‘The Beano for 1941 #452 is the issue that saw the first appearance of Dennis the Menace. Comics either side of it would be £3-£4 each but that comic would be in the low hundreds

Q&A BEANO BASHES THE DANDY Malcolm Phillips, director of Comic Book Postal Auctions, pits Beano against The Dandy in the collecting stakes

Q A

Is Beano or The Dandy more collectable? Beano, mainly because of the characters. It had Biffo the Bear, Lord Snooty and his Pals, which were perceived to be a bit more interesting than The Dandy’s Korky the Cat and Keyhole Kate. Beano was always the more dominant comic. That’s borne out over the years by prices for Beano compared to The Dandy, which in general are 20-25 per cent more across the board.

What other factors determine value? Take Beano #1 in 1938, which originally had a gift whoopee mask. That mask is the most difficult item to find. We sold one with its mask about 15 years ago, it reached around £8,000. Since then, we have sold a Beano #1 without a mask and in a pretty high condition for £17,500. In 2004, we sold a Dandy #1 from 1937 with its free gift of an express whistler for £20,500 – that’s a world record holder for a British comic at auction.

Left Beano #21 first Christmas issue, sold by Comic Book Auctions Ltd in June 2019 for £1,100

Are the comics increasing in value? Yes, they are, but mainly the key issues. Customers like complete years. In our current catalogue, we have a complete year for Beano for 1957 and 1958, their estimates are £800-£1,000 for all 52 copies. A bid for the complete year for Beano for 1959 is currently at £3,100 and there’s two weeks to go.

What are the challenges? The complete years are really difficult to find, so when you have one all together and sometimes in a bound volume, then there is a strong premium for having all issues for that year.

What are the ‘holy grail’ issues? Beano for 1951 #452, that’s the issue that has the first appearance of Dennis the Menace. The comics either side of it would be £3-£4 each, but that particular copy is in the low hundreds. More collectors go for special issues of the comics: The Christmas issue, the fireworks issue, the Easter issue and April Fool issue.

Right Beano #1

with whoopee mask, sold by Comic Book Auctions Ltd in September 2015 for £17,300

air. The two most important things are store away from the light and away from drastic moisture changes, so a generally dry environment.

Q A

Aren’t UK comics generally rarer than the US? That’s correct, but rarer doesn’t always equate to high prices.

How should comics be stored? Paper always disintegrates over time because it’s a natural fibre, especially from the 1950s and before because there were no additives to keep pages bright and fresh. Put a comic into a plastic bag, leave the top open and don’t seal it, so there’s a little bit of

first appearance of any famous comic character. A really great example is The Incredible Hulk #181, which has the first full appearance of the character Wolverine from the X-Men. The X-Men comic is the most popular in the world. If you have a copy, in even moderate condition, it’s worth £1,000. If you have in really super condition it can be worth £20,000.” Similarly, rumours about movie productions within the all-pervasive Marvel Cinematic Universe will have a bearing on the value of historic comics. “For example, as soon as the rumour gets around that Spiderman will be fighting the Sandman, an obscure super-villain, collectors will ask which comic he first appears in, which can then triple overnight.”

Left Dandy #1 with No. 1 Express Whistler (which was also given away the week before in DC Thomson titles Adventure, Hotspur, Rover, Skipper and Wizard), sold by Comic Book Auctions Ltd in March 2019 for £4,800

BRIT PARADE

Left The first issue of

The X-Men #1 sold for £6,500 at Anderson & Garland in July 2021. Courtesy of Anderson & Garland

Although rare copies of Beano #1 from 1938 have sold for thousands in recent years, prices in the UK generally don’t replicate those seen in the US. “Compared to America, there are just a handful of collectors for British comics, but they are absolutely fanatical. One reason is that it’s so much harder to find what they’re looking for. Almost no one is interested until you get before 1960, or particularly pre-war,” John said. One of the reasons is scarcity. Unlike in the US, British comics were treated more like newspapers; cheaply produced pieces of ephemera. It generally means that British collectors are more sanguine about condition. However, collectors will still pay hundreds if not thousands for rare and sought-after examples or titles. “We got a nice collection of Beanos earlier this year, and we were selling job lots of 1950s and early 1960s Beanos for over a £1,000, which is big money in British comics. Those that have survived are absolutely venerated by the disciples at the shrine,” said John. Well worth starting a collection, then, or raiding the attic to see what’s inside those dusty boxes. ANTIQUE COLLECTING 29

COLLECTING GUIDES Welsh artists

Just Williams

After a work by the Anglesey artist Sir Kyffin Williams set an auction record, auctioneer Ben Rogers Jones considers his growing appeal and that of other Welsh artists

his summer a painting by Sir Kyffin Williams (1918-2006), usually referred to simply as ‘Kyffin’, broke my own Welsh auction house’s previous world record when it sold for £62,000, against a low estimate of £50,000. Depicting a farmer and his dog walking through the village of Rhoscolyn on Ynys Mon (the Welsh name for Anglesey) where Williams was born, it was a prime example of the celebrated painter’s favoured technique of using a palette knife rather than a paint brush. The market for Sir Kyffin Williams’ work has been on a steady plateau since he died in 2006. But in the last 12 months there has been renewed enthusiasm shown in the remarkable prices achieved in UK salerooms. The record

30 ANTIQUE COLLECTING

Right Sir Kyffin Williams RA (1918-2006) The Fox Shoot, oil on canvas, set a record in 2016 when it sold for £60,000

exceeded the £60,000 for The Fox Shoot sold in 2016. The Rhoscolyn composition had what is described as the ‘holy trinity’ for collectors of Sir Kyffin Williams: a farmer and dog, village landscape and chapel. It is the appearance of a farmer in Kyffin’s landscapes which can add substantial value to the painting. The buyer was based in the south of England but had fond childhood memories of the Welsh village of Rhoscolyn having been christened in the chapel featured in the painting. There is a wonderful word in Welsh which describes a longing for home or a longing for a point in the past. The word is ‘hiraeth’ and for many collectors Kyffin evokes our hiraeth.

Left Sir Kyffin Williams RA (1918-2006), Ynys Mon, depicting Rhoscolyn, with farmer and chapel, oil on canvas, set a new auction record when it sold for £62,000 in July, all images unless stated courtesy of Rogers Jones & Co. Right Donald McIntyre (1923-2009) Coverack, acrylic, sold for £9,000 in 2017 Below right Donald McIntyre (1923-2009) Welsh coastal village, acrylic, sold for £7,800 in 2019

Donald McIntyre

Donald McIntyre (1923-2009) is an artist whose prices at auction have continued to rise sharply over the years. We think of McIntyre as a Welsh artist as he spent some 45 years of his artistic career in North Wales with his first commercial success through the Howard Roberts Gallery in Cardiff. However, he was born in Leeds to Scottish parents and his childhood years were spent in the West Coast of Scotland. McIntyre practiced as a dentist initially, before taking up painting full time inspired by the British coastline, Anglesey, Cornwall and the Hebridean island of Iona.

Evolving style Many Welsh collectors are fanatical, keeping strictly to a Welsh-themed strategy. As an auctioneer and valuer, who has spent 20 years working in Wales, I often see this strategy in practice on house visits. The Welsh interior will often be in the vernacular style, with the Welsh dresser taking centre stage with a display of local antique pottery. Alternatively, the ‘Welsh interior’ takes on a more gentrified look with fine cabinets of glorious porcelain from the factories of Swansea and Nantgarw. Punctuating both Welsh styles though are Welsh paintings by notable Welsh artists - the most famous of which is undoubtedly Sir Kyffin Williams.

SIR KYFFIN Kyffin was born in 1918 in Llangefni, Anglesey, the son of a bank manager. His first job was with a firm of land agents in Pwllheli. He enlisted in the Territorial Army but, on the outbreak of WWII, was sent to Northern Ireland as part of the Royal Welch Fusiliers. However, he suffered an epileptic attack in 1941, and the army doctor invalided him out, describing him as “abnormal”, and suggesting he take up art as therapy for the good of his health.

McIntyre’s work evolved with his earlier work differing from his later paintings. From the 1960s to the early ‘80s, he adopted an earthy palette and frequently included a figure or two. The figures are invariably expressionless, provoking questions of the viewer. There is a mystery to many of the compositions which either excites or frustrates the viewer. For me, this period of work is more intriguing than his later work although it is his later work that commands the greater sums at the auction rooms. McIntyre’s later work in acrylic is heavily influenced by the Scottish Colourist tradition, such as Francis Cadell (1883–1937). Here, his palette has become almost psychedelic with electric-shock seas, purple tinted rocks and lucid sands, his figures became smaller, used as a tool for scale and to humanise a landscape, rather than the main feature of the painting. These electric colours suit modern interiors. They illuminate the room and have an immediate feelgood factor, while his earlier work requires a degree of contemplation.

‘For most of Kyffin’s full-time art career, he preferred to use a palette knife to thickly apply the paint in an almost cubist appearance. When painting the Welsh mountains, Kyffin’s colours are typically dark, melancholic, and brooding’ ANTIQUE COLLECTING 31

COLLECTING GUIDES Welsh artists

Collecting Welsh artists

He enrolled at the Slade School of Fine Art in Camden later that year, where, he said modestly: “They took me in because everyone else was away at the war.”

PATAGONIAN WELSH In 1968, Kyffin won a Winston Churchill Fellowship to record the descendants of Welsh settlers in Argentinian Patagonia. While in Patagonia, he produced a major body of work which recorded the lives and land of the Welsh in the country. In doing so he brought to the attention of the public, the endurance of the settlers and the survival of the Welsh language in Argentina. All of this established him as an artist of some prominence, allowing him to quit his teaching job in 1973 and return to Anglesey. A small cottage on the shore of the Menai Straits was renovated for him by his patron, the Marquess of Anglesey, and he lived there alone – he never married – painting full-time. He would wander the mountains and coastline, painting initially en plein air. But he soon realised that he did not desire to produce realistic depictions of the

Above Sir Kyffin Williams RA (19182006) Penrhyn Du Farm, limited-edition print, sold for £1,400 in 2019

For admirers of Sir Kyffin’s work there is no need to spend the children’s inheritance. Good works on paper can be purchased at auction for as little as £2,000. While other enthusiasts start their collection with signed Sir Kyffin prints, which can sell for as little as £150 at auction. It is of course very important to ensure you are buying the genuine article. Over the years drawings have appeared on the market which have impersonated Kyffin’s hand. Approach such bargains with caution and remember the adage that ‘if it is too good to be true, it probably is.’ Always seek knowledgeable, independent advice if you are unsure. Other artists from the Welsh stable regularly commanding auction prices in the thousands include Pembrokeshire artist John Knapp Fisher (1931- 2015), kitchen-sink documentarist Kevin Sinnott (b.1947) and Ceri Richards (1903-1971) who was regarded by many art historians as the most important Welsh artist of the 20th century.

Right John Knapp Fisher

(1931- 2015) Tenby, sold for £9,200 in 2021

Below left Sir Kyffin Williams RA (19182006) Patagonia scene, limited-edition print, sold for £400 in December 2020

landscape and so he would make sketches and return to paint in his studio within his rented cottage on the waterline of the Menai Straits. In 1995, he received the Glyndwr Award for an outstanding Contribution to the Arts in Wales and was awarded the OBE for his services to the arts in 1982 and a KBE in 1999. He died on September 1, 2006, aged 88 after a long battle with cancer.

DARK FOREBODING For most of Kyffin’s full-time art career, he preferred to use a palette knife to thickly apply the paint in an almost cubist appearance. When painting the Welsh mountains, Kyffin’s colours are typically dark, melancholic, and brooding. He was inspired among

‘McIntyre’s later work in acrylic is heavily influenced by the Scottish Colourist tradition, such as Francis Cadell (1883–1937). Here his palette has become almost psychedelic with electric-shock seas’ 32 ANTIQUE COLLECTING

others by Richard Wilson (17141782), the ‘father of Welsh landscape painting’, who also dramatised his work with a collision of dark and light. In Kyffin’s mountain scenes, there is often a sense of foreboding with Sir Kyffin’s ongoing fear of epileptic seizures also embodied in his work. As well as the mountains, Kyffin painted the Welsh farms and farmers with their dogs, coastal views, villages, and chapels. They form nostalgic vignettes of Wales as it becomes less traditional. To many Welsh collectors, his work is a poignant reminder of a simpler time.

Left Sir Kyffin Williams (1918-2006) Evening Llangwyfan, oil on canvas, sold for £40,000 in April 2020 Right Sir Kyffin Williams

(1918-2006) Welsh village, mixed media, sold for £10,600 in July

Below Shani Rhys James

(b. 1953) Welsh Kettle and Pliers, oil on canvas, set an auction record of £22,000 in 2018

Bottom left Shani Rhys

James (b. 1953) Portrait, oil on canvas, sold for £5,400 in 2016

Bottom right Shani Rhys James (b. 1953) Flowers 2, oil on canvas, sold for £7,200 in 2016, image courtesy of Mitchells

Ben Rogers Jones is an auctioneer with Rogers Jones & Co. He curates a Welsh sale three times a year devoted to Welsh art and antiques.

SHANI RHYS JAMES Sir Kyffin Williams is the current leader of the pack when it comes to post-war Welsh art prices. He also influenced many Welsh artists to utilise a palette-knife to capture the rugged Welsh landscape with impasto oil paints. However, Welsh art is not constrained to mountains, old cottages and farmers. Shani Rhys James (b.1953), graduated from St Martin’s School of Art and has, for some time, been widely recognised as one of the most important contemporary British artists. She is best known for her portraits in oil, particularly self-portraits, where she is often situated among the clutter of her studio, which acts as her landscape rather than the mid-Wales mountains and rivers. Her works are often monumental canvases of thick impasto oil in fiery colours. The paint appears applied in a frenzied fashion, with the artist’s bulging eyes staring out of the painting. There are obvious similarities with Edvard Munch’s portraits, but also comparisons have been made with Lucien Freud, Francis Bacon and John Bellany. Rys James rarely portrays men and, even now, it’s difficult to think of an artist who captures the deeper human element of the female sitter as well as she does. Rhys James’ work shocks us to a standstill before asking us to contemplate the context of the self-portrait, questioning the expression of the face and the symbolic nature of the surrounding objects and their relationship with the sitter. Her oil paintings sell at auction for several thousand pounds, with the auction record for her work set at £24,000 but, as with Sir Kyffin, works on paper can be purchased for much cheaper – as can her prints. Rhys James reputation, both in Wales and beyond, continues to grow apace.

ANTIQUE COLLECTING 33

SOLD £15,000 (July 2021)

Auctioneers & Valuers in Wales specialising in: British & Continental Antiques & Fine Art Jewellery & Watches | Asian & Tribal Welsh Fine Art & Antiques | Wine & Whisky

Tel: 029 20 708 125 info@rogersjones.co.uk www.rogersjones.co.uk

Cardiff | Colwyn Bay | Carmarthen

19th Century Welsh slipware pottery wassailing bowl

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34 ANTIQUE COLLECTING

EXPERT COMMENT Antiques of the future NFTs MARKET REPORT

DIGITAL ART Flash in the pan, or the future of digital art? Antique Collecting considers the latest boom in NFTs

Left Beeple (b. 1981),

Everydays: The First 5000 Days, 21,069 x 21,069 pixels (319,168,313 bytes). Minted on 16 February 2021 Above right One of the

collage pieces making up Everydays: The First 5000 Days. Beeple (b. 1981) posted a new digital picture every day for 13-and-ahalf years

Below Beeple (b.1981)

aka the Wisconsinborn digital artist Mike Winkelmann

t is impossible not to have been aware of the recent boom in the NFT (non-fungible token). The financial services company Visa recently waded in to buy a “CryptoPunk,” one of thousands of NFTbased digital avatars, paying $150,000 in Ethereum. In February, an animated gif of Donald Trump’s naked corpse made by the digital artish Beeple (b.1981) sold for $6.6m. A month later, the Wisconsin-born artist smashed his own record, selling an NFT at a Christie’s for $69m. As the big institutional hitters pile in, it seems their capital, expertise and reputational pulling power will attract a growing number of other investors – both retail and institutional. Nigel Green, chief executive and founder of deVere Group, said: “The market for NFTs hit new highs in the second quarter, with $2.5bn in sales so far this year. This is almost 20-times more than the $13.7m in the first half of 2020.”

WHAT IS AN NFT? An NFT is a unique digital asset designed to represent ownership of a virtual item, such as artwork, music, a video clip, or tokenised tweet. By being assigned

‘Before the introduction of NFTs and blockchain technology it was impossible for even the most celebrated digital artists to claim their place in the art market’

a singular and unique ID, the provenance of the image can be traced, differentiating the original from all subsequent copies – like a digital simulation of a Monet.

BLOCKCHAIN TECHNOLOGY Before the introduction of NFTs and blockchain technology it was impossible for digital artists to claim their place in the art market. As well as artists, musicians, sports, fashion, entertainment, gaming and retail brands are producing digital assets. Sites such as MakersPlace and SuperRare ‘mint’ a unique NFT, assign it to a piece of digital art, before storing it forever in its custodian’s wallet. OpenSea also offers a wide range of NFTs including art, censorshipresistant domain names, virtual worlds, trading cards, sports, and collectables. Once bought (most marketplaces require users to have Ethereum wallets) anyone with an internet connection can log on and see who owns that piece. Anyone can upload a digital asset, a process which attracts fees, known as ‘gas’. Beeple, aka, Mike Winkelmann, said: “Artists have been using hardware and software to create artwork and distribute it on the internet for the last 20 years but there was never a real way to truly own and collect it. With NFT’s that has now changed. I believe we are witnessing the beginning of the next chapter in art history, digital art. This is work that has just as much craft, message, nuance and intent as anything made on a physical canvas.”

WHO IS IN THE MARKET? Not surprisingly, demographics are on the side of NFTs too. Millennials, and Gen Z especially, have digital lives and are attracted to the new collecting style. In the Christie’s Beeple sale, six percent of registered bidders were Gen Z (1997-2012); 58 percent Millennial (1981-1996); 33 percent Gen X (1965-1980) and three precent baby boomer (1946-1964). With Millennials making up the largest number, this is a category of people about to become the beneficiaries of the “great wealth transfer”. According to some estimates, $68 trillion is to be passed down from the baby boomers – the wealthiest generation ever - to their children and other heirs over the next 30 years. Nigel Green continued: “This is a market which is just getting started. There’s been a surge of interest this year but I believe 2022 will be the breakout for NFTs. We expect there to be a massive increase in volume in the market over the next 12 months.” Have you entered the NFT market, what do you think of it? email magazine@accartbooks.com

ANTIQUE COLLECTING 35

LETTERS Have your say

Your Letters The month’s postbag includes memories of a honeymoon in Venice and anticipation of a delayed exhibition

In an age when one rarely has to wait for anything (same-day deliveries, digital downloads to name two ‘instant’ services) the pandemic has at least made us all more patient. The severely delayed and much vaunted Fabergé exhibition is now confirmed at the V&A for November and I, for one, cannot wait! Name withheld, via email

Our star letter

receives a copy of Bulgari Treasures of Rome by Vincent Meylan worth £55. Write to us at Antique Collecting, Sandy Lane, Old Martlesham, Woodbridge, Suffolk, IP12 4SD or email magazine@ accartbooks.com

Left Fabergé in London: Romance to Revolution opens at the V&A on November 20, including the Alexander Palace Egg, 1908, © The Moscow Kremlin Museums Above right Are

museums the best recipients of one’s treasured collections?

Below right Glass from

the Venetian island of Murano

Having read Marc Allum’s piece (Marc My Words, September Star issue) on leaving treasured letter possessions to museums, I should like to add a few words for those who may be thinking of doing this. I deal in postal history and old documents and am often faced with similar situations; I point out that the museums display only the tip of their iceberg as Marc says and most of their possessions are buried in the depths of their storage. Many collectors of postal history form collections which are displayed to local clubs and at national and international exhibitions, which allow many others to see these gems while, at the same time, allowing others to have the pleasure of ownership. Sadly, many years ago, a customer left his collection to the local museum; 20 or more years later I was called in to value the collection – it was still in the sealed boxes in which it had been delivered and was stored in a damp cellar. What a waste. Martin Townsend, by email

I very much enjoyed the article on the Italian glassmakers Venini in last month’s magazine (Forging Ahead, September issue). It took me back to my honeymoon 20 years ago when we visited the island of Murano. Since buying some glass that day as a souvenir we have collected it ever since. None quite as grand as the Venini mentioned, but hugely attractive nonetheless. G Ruthen, by email

Answers to the quiz on page 52

Q1 (d) 1818. Q2 (c) Small cube-shaped decorations. Q3 (b) Musical clappers. Q4 (d) An oil painting ghosting of earlier-painted details. Q5 (a) Buttons. Q6 (d) Aga. Q7 (c) Bookbinding. Q8 (b) It wasn’t circular. Q9 (a) They had folding handles (to fit into a uniform pocket), (c) They were smaller than the older watchmen rattles, (d) They were weighted with lead and could be used as a weapon. Q10 (c) Denis Diderot.

Be part of the conversation on Twitter and Instagram @antiquemag 36 ANTIQUE COLLECTING

A Can Role = Carolean (b). Sham Nob = Bonhams (a). Ace warmer = Creamware (d). Aime ruined = Minaudiere (c).

J E W E L L E RY | WATC H E S | M A K E RS | D E S I G N S | C O L L E C T I N G

IN THE

Loupe

This month opals are in the spotlight, we celebrate the Breitling Navitimer on the eve of its 70th anniversary and explore why post-war British jewellery is shining bright

An 18ct two-colour gold mounted crystal-set pendant, on a matching chain by Gillan Packard, 1967, sold this September for £8,400, image courtesy of Dix Noonan Webb

ANTIQUE COLLECTING 37

IN THE

Loupe

In the

LOUPE designers a platform to show their work and compete for De Beers’ generous prizes. It also encouraged the Worshipful Company of Goldsmiths to start its own permanent collection of designer jewellery, the digital images of which have become a source of research for collectors throughout the world in the 21st century.

ROLL CALL

Ringing Sixties

Post-war British jewellery is back in vogue, writes specialist Mary Ann Wingfield who reveals 10 lesser-known designers every collector should know

ny collector of British 20th-century jewellery will tell you that independent designers were in short supply in the 1950s and early 1960s. Why? Because crippling taxes made luxury items such as jewellery a non-essential commodity. The war still had to be paid for and there was no incentive to design work that the jewellers couldn’t sell to the British public. What changed this dire situation was a combination of lower taxes and a ground-breaking exhibition in 1961. The latter was dreamt up by the team at the Worshipful Company of Goldsmiths and the Victoria and Albert Museum, in South Kensington. Their quest was to find talented jewellery designers who could be lured into the open by tempting prizes sponsored by the De Beers Diamond Corporation, which was also dismayed by the apparent dearth of independent UK jewellery designers in 1960. The International Exhibition of Modern Jewellery 1890-1961 gave aspiring jewellery

38 ANTIQUE COLLECTING

Above A track-link bracelet by Louis Osman, 1977, of rectangular silver and gold links, with swivel locking clasp, image courtesy of Dix Noonan Webb Below right Andrew

Grima (1921-2007) a black opal and diamond brooch of star burst design within a halo of round, brilliant-cut diamonds mounted in 18 carat gold. The original vendor of this brooch bought it from the Grima shop in Rose Bay, Sydney, c. 1970

Every collector will have their own idea of the leading independent jewellery designers of the era. Andrew Grima, John Donald, David Thomas, Roy and Roger King and Gerda Flockinger come to mind. Some of them exhibited at the landmark Goldsmiths Hall exhibition in November 1961. Those who did often found themselves taken under the wing of the entrepreneurial Graham Hughes, the art director of the Goldsmiths Company who, with its backing, organised trips to overseas trade fairs and exhibitions as far afield as Japan, America, Australia and, closer to home, Brussels, Munich, Copenhagen and Milan. Rather than the machine-made and hum-drum styles of the ‘50s, these young designers were producing one-off pieces, often private commissions or limited editions.

OVERSEAS MARKET These independent jewellery makers were flying the flag for Britain selling their designer jewellery all over the world. The Anglo-Italian designer Andrew Grima (19212007), for example, sold 85 percent of his jewellery to foreign markets in the early 1960s, with only 15 percent going to UK buyers who were still reluctant to buy many luxuries at the time. It naturally follows if very little of the jewellery made by these independent London-based designers in the 1960s was sold to British buyers at the time, then collectors may have to go abroad to find pieces from this very interesting period of jewellery design. Many of the designers working in the 1960s were also fortunate to have the backing of the royal family which was strongly supportive of good design. The Duke of Edinburgh chose one of Grima’s brooches as a present to his wife. The ruby Venus brooch (also known as the Scarab brooch) remains in Her Majesty’s collection and she is regularly seen wearing it.

British jewellery Left Louis Osman (19141996), the Prince of Wales’s Investiture Coronet, 1969, 24 carat gold, with diamonds representing the seven gifts of God on one side, and the seven deadly sins on the other, image permission The Royal Collection Trust Berlow left Princess Margaret, Copyright Bettmann Collection via Getty Images

ROYAL CONNECTIONS Princess Margaret was a great collector of British designer jewellery in the 1960s and 1970s. The innovative goldsmith John Donald (b. 1928) was perhaps her favourite, since her collection included more of his pieces than anyone else. Due to lack of funds as a student, Donald used rods and tubes to create intriguing shapes, which defined his work. Other jewellers the princess favoured included Alan Gard, Andrew Grima, Michael Gosschalk, Leslie Durbin, Stuart Devlin and Theo Fennell. She was meticulous about keeping jewellery in its original boxes which, as all collectors should know, adds to the provenance and value of the jewellery if ever it has to be sold. To prove the point, Princess Margaret’s collection of jewellery was sold in May 2006, six years after her death, with jewellery made by the seven British craftsmen mentioned above achieving phenomenal prices against their pre-sale estimates. The only royal crown known to have been made between 1960 and 1980 was the one that the Worshipful Company of Goldsmiths presented to Charles, Prince of Wales for his investiture at Caernarfon Castle in

Above Part of the 2006 sale of Princess Margaret’s jewellery, this diamond set lily pad brooch by Alan Gard, sold for £10,200 – 10 times its high estimate of £1,200, image courtesy of Christie’s Images Ltd 2021

1971. It was made by the goldsmith and jeweller, Louis Osman (1914-1996) one of the designers at the 1961 exhibition at Goldsmith’s Hall who was famously described by Graham Hughes as “a creator of genius”. So which designers have stood the test of time? Well, definitely all the designers mentioned so far in this article, but there are some lesser-known names whose jewellery is also becoming extremely collectable.

HANS GEORG MAUTNER AND BEN ROSENFELD Designers like Hans Georg Mautner came to London from Vienna in 1937 to escape the Nazi rampage. He also exhibited at the 1961 show with exquisite handcrafted jewellery. His era, from the 1950s to early 1970s, included pieces such as a pair of ruby earrings, set in 18ct gold, made for Boucheron (London). Unusually both bear Mautner’s maker’s mark as well as that of Boucheron. Pieces by Mautner start at between £500-£1,000, as do pieces by Ben Rosenfeld who gained a worldwide reputation from his Hatton Garden studio. Rosenfeld’s work relies heavily on gold with bold, bright designs, as well as rubies which he set against a diamond background – the whole piece sometimes “en tremblant”.

Above right Hans Georg Mautner, 18ct gold textured brooch, signed HGM, with London Assay marks for 1968 Right Ben Rosenfeld, a

gem set gold fish brooch with diamonds, sapphire and turquoise eye, maker’s mark BRLd, London hallmarks for 1962

‘The independent jewellery designers working in the 1960s were also fortunate to have the backing of the royal family who were strongly supportive of good design’ ANTIQUE COLLECTING 39

IN THE

Loupe concentrated less on enamelling and more on fusing metals using pearls, small diamonds and citrines (never precious stones) to enhance her jewellery. In 1991, Flockinger was awarded a CBE for her contribution to the arts and she was made a Freeman of the Worshipful Company of Goldsmiths in 1998. The high price achieved for her work derives less from the materials used than her signature on each unique piece.

ROD EDWARDS

FRANCES BECK Beck met Ernest Blyth when she was working for Andrew Grima at his Haller Jewellery Company. In 1966 they opened a joint workshop working both individually and together. The duo signed their pieces BB, with pieces by Beck only (signed FMB) being rarer. The pair’s mission statement said: “Most of the jewellery we produce is the result of an initial idea of either one of us, but as a result of discussion, suggestion and criticism, the completed piece is often in fact a joint work.” Blyth’s work tends to be bolder, with Beck’s approach lighter and more “frothy”. Both won a De Beers Diamonds International Award in 1968 but, after Blyth died in 1995, Beck made no more jewellery.

GERDA FLOCKINGER The great Gerda Flockinger was born in Austria but came to England, like so many others of the era, in 1938 to escape the Nazis. She studied jewellery techniques and enamelling at the Central School of Arts and Crafts between 1952-1958. Her early jewellery involves rough gems and enamelling but, from the 1960s, she evolved a unique style of fusing metals. From that time, her jewellery

Above left Frances Beck, an 18ct gold starburst brooch with a cluster of marquisecut aquamarines, with brilliant-cut diamonds, maker’s mark FMB, 1969 Above right Rod Edwards silver and green tourmaline necklace, maker’s mark Rod Edwards, London 1965 Below left Gerda Flockinger pearl and gem-set necklace, maker’s mark GF, London 1977 Below right Ingeborg

Bratman, an 18ct white gold ring pavé-set with an oval-shaped light green jade cabochon, makers mark Ingeborg Bratman, 1975

‘Princess Margaret’s collection of jewellery was sold in May 2006, six years after her death, and the jewellery made by the seven British craftsmen mentioned above made phenomenal prices against their pre-sale estimates’ 40 ANTIQUE COLLECTING

Rod Edwards was born in Sydney in 1921 and studied at the East Sydney Technical College, before moving to England in 1954. After working at the costume jewellery company Corocraft from 1954-1960, he founded his own business working on private commissions. Edwards training in sculpture, combined with a profound knowledge of jewellery techniques, produced elegant, modernist jewellery, which exploited the reflective surface of the metal and the glow of cabochon gemstones. He exhibited a pendant at the 1961 exhibition held at Goldsmith’s Hall. His work is very sculptural and distinctive, working a lot in silver. In 1977 published the book The Technique of Jewellery.

INGEBORG BRATMAN Ingeborg Bratman’s family fled Nazi Germany and set up a textile business in Yorkshire in the 1940s. Bratman learned about the technical side of the textile industry and how to use dyes to colour fabrics. She later created jewellery using tantulum – a rare, hard, grey refractive metal which was discovered in 1802. It is more often used in industry than jewellery and is notoriously difficult to work with. Her work is very different and very collectable – if you can find it. Pieces have more in common with the work of the great Gerda Flockinger, which is not surprising since Bratman was her pupil at Hornsey College of Art from 1965 to 1968. Bratman, like most of Flockinger’s pupils, was influenced by her experiments in fusing metals.

British jewellery CHARLES DE TEMPLE The wild card in the pack is perhaps the Londonbased jewellery designer, Charles de Temple, whose tempestuous life fortunately never overshadowed his creative talents. He was born in Mexico in 1929 – the illegitimate son of American film actor and director Tom Mix – and brought up as part of Ringling Bros. and Barnum & Bailey circus, which toured across America. After training as a jeweller in Massachusetts, he moved to London to perfect his craft. He had retail outlets in both London’s Jermyn Street and New Bond Street. De Temple and his retailers disappeared in the early 1990s as mysteriously as he had appeared. His jewellery is keenly sought out by collectors and prices have increased steeply as a result. He is known for his “nervous jewels” series – so called because of its prickly nature due to the use of coloured gold wire. A “nervous” necklace and a matching bracelet are in the National Museum of Scotland collection.

Above Charles de Temple two-colour 18ct gold and beryl set “nervous” dress ring centred with a roundcut yellow-green beryl in four-claw mount, signed C de T, dated 1969 Above right Roger King, baguette diamond bracelet, c.1961. Collection of the Worshipful Company of Goldsmiths

GEORGE WEIL Weil was an independent jewellery designer who worked out of Hatton Garden in the 1960s and 1970s. He was born in Vienna in 1938 to a Jewish family of jewellers, who left Antwerp the following year at the outbreak WWII. Weil trained as a jeweller and studied at St Martin’s School of Art in London he was also a painter and sculptor, producing portrait busts of iconic figures such as Winston Churchill and Sammy Davis Junior. Weil’s Hatton Garden jewellery studio closed in 1979 and he later emigrated to Israel, where he continued to work as an artist. His eye-catching jewellery is limited by scarcity and very collectable, although little of it ever went through the London Assay office, so lacks its official stamp.

GILLIAN PACKARD Gillian Packard was made the first professional female Freeman of the Worshipful Company of Goldsmiths in 1971, a sign of her talent. Collectors today will have to search carefully as her pieces rarely appear on the market, her output being limited by her relatively early demise at the age of 58. The 18ct gold brooch (below) made in 1970, shows a distinct Japanese influence following her visit to Japan, with Graham Hughes and his group in 1969.

ROGER KING Was the son of the jeweller Roy King who had a oneman show at Goldsmith’s Hall in 1974 and opened a shop in Mayfair. When his father died in 2000, Roger (b. 1936) took over, having joined the firm in 1953. He designed the “Moon Crater” series and swept the De Beers prize board in 1961 with his innovative designs. He went on to pursue a different career making his jewellery very limited in number and therefore very collectable. Fortunately, The Worshipful Company of Goldsmiths has some excellent examples of his work in its collection. Mary Ann Wingfield is the author of Modern British Jewellery Designers: A Collector’s Guide published by ACC Art Books, priced £25, visit www.accartbooks.com

Above George Weil,

garnet and diamond brooch with abstract yellow gold surround, 1970s Below left Gillian Packard, an 18ct gold brooch, 1970, demonstrating Japanese influence

Mary Ann Wingfield’s collecting tips I do not collect for the value of the metal or the stones used but for the artistry of the designer who created the piece. Collecting is not cheap. It is costly in time, commitment and research. You would be wise to make a budget and to keep to it. Otherwise, your enthusiasm will run away with you and your money. All the jewellery I collect is signed by the designer and/or the maker; it is also UK assay marked with the quality of the metal and date stamped, For collectors, boxes and receipts add to the provenance of the jewellery, which is of great importance after it becomes vintage. With regards to investment, knowing the provenance of a piece adds hugely to its value over time. Sadly, over the years, the original boxes have become very scarce, as have the receipts. I am passionate about keeping – or trying to find – the original boxes for each piece I collect. As such, I would strongly urge collectors of contemporary jewellery to think twice before chucking boxes and receipts out with the rubbish. Princess Margaret is a good example of a great collector. She was meticulous about keeping her jewellery in its individual boxes. When her personal collection was sold in 2006, each piece had been carefully recorded and had a story to tell. Provenance greatly added to the value.

ANTIQUE COLLECTING 41

IN THE

Loupe

In the

LOUPE

Opal Suits Reputedly brought back into fashion by Queen Victoria, opals have been a jeweller’s favourite for centuries, writes Liz Bailey

he Romans ranked opals, October’s birthstone, second only to emeralds, believing them to symbolise hope and purity. The Ancient Greeks believed opals brought prophecy. The word opal derived its name from “opalus”, which means “to see a change in colour”. The famous play of colour seen in opals is produced by the diffraction of light through tightly-packed silica spheres that make up the gemstone. Amorphous and randomly arranged in keeping with the growth conditions, each opal diffracts light differently, with varying colours, patterns and vibrancy. Generally speaking, the brighter and more lively the play of colour, the more prized the opal. Red tones are highly favoured among collectors. The rarity of the colours (most common to least common) is blue, green, yellow, orange, and red. Opals which display red can also display all the other colours of the spectrum. For this reason, the presence of red in an opal can greatly add to its value, since it is somewhat of a rarity. The only exception to this rule is in the fire opal, a bright tangerine orange stone that is prized for its depth of orange body colour and not its fire.

BAD OMENS But their popularity in recent times took a dive with two stories associating opals with bad luck. One is of a cursed opal that King Alfonso XII of Spain received in a ring from a vengeful Comtesse who he had previously courted. After giving the opal ring to his wife, she died unexpectedly. The ring was passed down through generations and each new owner also

42 ANTIQUE COLLECTING

Left Charlotte Isabella Newman (1836-1920) pendant with foliate gold accents, set with an old cut diamond and four vivid opal cabochons, image courtesy of Wilson 55 Below right An art

nouveau opal and diamond brooch retailed by Wartski, with a circular oval opal cabochon and rose cut diamond drop, dated 1951, sold for £732, image courtesy of Wilson 55

died mysteriously. The depressed king decided to wear it himself, and he, too, died shortly afterward. The publication of Sir Walter Scott’s novel Anne of Geierstein, in 1829, is reputed to have put opals out of favour for 30 years. In the novel, princess Hermione wears an opal in her hair, which sparkles when she is in good humour, but flashes red when she is not. The gem is sprinkled with holy water, causing it to lose its lustre. The next day there is nothing left of Hermione but a small heap of grey ashes found on her bed. The story caused the opal market to crash. But after a huge discovery of opal mines was made in Australia, a British Territory, in 1870, after the relative scarcity of the Hungarian opals, Queen Victoria wore opal jewellery, particularly black opals, to negate the superstition.

OPALS IN JEWELLERY Although there is an abundance of the more common flecked blue/green variations, the vivid rainbow-effect of Australian boulder opals have become one of the most widely sought after. The most common cut style for opals is the cabochon cut, owing to the softness of the gemstone. With a Mohs hardness rating of only 5.5 to 6.5, the cabochon cut is achieved through polishing instead of faceting. In the cabochon cut the gem is cut with a flat side and a highly-polished domed top. Opal cameos are rare owing to the sheer skill of working with this soft material, and highly sought-after at auction, with the most famous examples by renowned 19th-century carver, Wilhelm Schmidt.

‘Perhaps the most artistic pieces were created during the art nouveau period when brooches and pendants were created from carved opals and appeared in naturalistic scenes. Opal was a favourite of Lalique’

Gemstone Opal ART NOUVEAU Perhaps the most artistic pieces were created during the art nouveau period when brooches and pendants were created from carved opals and appeared in naturalistic scenes. Opal was a favourite of René Lalique, his pieces included opals carved in foliate designs, used in pliqueà-jour style settings, as well as faceted fire opals in some beautiful horn jewellery, which can be seen in the Victoria & Albert Museum. The UK’s first woman artist jeweller, Charlotte Isabella Newman (1836-1920), working at a time when the manufacture of jewellery was considered a male profession, also used opals in her work (left). In the post-war period of the 1920s and early '30s, technology, prosperity, and artistic rebellion were rife. Clean lines and juxtaposing shapes were iconic elements of the art deco aesthetic – incorporating opals.

20TH CENTURY

The emergence of platinum as the "metal de jour" at this time complemented opals beautifully and enabled finer settings to showcase larger and often more brightly-coloured stones. During this time, opal cabochons carved in heart, pear, triangular and other shapes formed the centrepiece of the jewel, with diamond accents throughout. In the 1960s and ‘70s, opal composites also became popular, with the advent of opal doublets, triplets with “mosaic opal” frequently seen. Opal doublets and triplets are thin slices of opal sandwiched between layers of a dark background and colourless quartz, or glass top, to enhance the appearance of the stone. Similarly, “mosaic opal” contains pieces of opal crystal arranged and backed in the same way. These composites can be easily detected depending on the setting; clear layers can be seen if a side or back view of the stone is possible. Synthetic opals were also first commercially available in 1975, and so feature in general jewellery of this time. Synthetic stones are detectable by their lizard skin patterns which appear columnar when viewed obliquely, noticeably different from their randomly arranged and amorphous natural counterparts.

Right An opal and vari-

gem brooch attributed to Arthur and Georgie Gaskin, sold for £793, image Wilson 55

Bottom left An opal

bracelet in a textured starburst setting, sold for £1,037, image courtesy of Wilson 55

Bottom right An opal and diamond Etruscan revival brooch by Carlo Giuliano Below An early 20th-

century opal, diamond and seed pearl necklace, sold for £1,830, image courtesy of Wilson 55

Arts and crafts Opals of all forms, shapes and colour patterns are seen in arts and crafts jewellery, with the makers of the movement favouring inexpensive gemstones for their beautifully made pieces. The versatility of the opal group, with body colours ranging from milky white, to bright blue, dramatic black and vibrant tangerine, as well as the availability of the gemstones at the time, meant they were the gemstone of choice for most of the jewellers of the era. Opals’ colours also complemented the enamelwork of the period, both being seen in renderings of peacocks, ships, floral garlands, and medieval scenes. The Birmingham-based husband-and-wife jewellers Arthur and Georgie Gaskin frequently set opals in silver, alongside paste and blister pearls.

Caring for opals As with all gemstones, there are factors to consider when examining opal jewellery. Firstly, opals are incredibly soft gemstones, and sensitive to changes in their environment. Pieces with cracks and crazing can be significantly devalued, so good care of opal jewellery is essential. 1 Store pieces in a separate compartment from other jewels to minimise scratching, and do not wear for gardening, housework, or any other endeavours in which pieces are likely to be knocked. 2 Never clean opal jewellery in an ultrasonic cleaner, as the vibrations will cause the stone to crack. 3 Store opals away from extreme sources of heat or cold, ideally in a cloth pouch. If you are leaving for a long time, to prevent stones dehydrating, cover in cotton wool with a few drops of water and place a sealed bag. 4 Apply perfume well before putting on opal jewellery, as stones can be very sensitive to erosion.

Liz Bailey, MA FGA DGA CPAA is the jewellery, watches and designer specialist at Cheshirebased auctioneers Wilson 55, which is currently consigning for its next fine jewellery and watches sale on December 2. For more details go to www.wilson55. com

ANTIQUE COLLECTING 43

IN THE

Loupe

Flight club Next year sees the 70th anniversary of the Bretling Navitimer – combining gutsy style with technical know-how, 1960s versions are achievable from £3,000

aunched in 1952, the Navitimer is to Breitling what the Speedmaster Professional is to Omega and the Submariner is to Rolex. Since its earliest days the company’s flair for technical watches, and the dawn of aviation, led to the strong association with flight and flyers that’s defined Breitling ever since, much as motorsport defined Heuer. Three-quarters of a century later, in the early 1950s, Breitling was growing along with the post-WWII boom in aviation. The watchmakers then launched its most iconic timepiece – the Navitimer (a contraction of ‘navigation’ and ‘timer’). Aimed at aeronautical engineers, it was a “wrist instrument” with a slide rule able to calculate average speed, distance covered, fuel consumption or

44 ANTIQUE COLLECTING

Above Navitimer is to Breitling what the Speedmaster Professional is to Omega and the Submariner is to Rolex Above right A 1950s advert for Breitling suggesting its prowess on ground, sea and air, image courtesy of Breitling

rates of ascent and descent. The wristwatch proved so popular with professional and amateur pilots alike that during the 1950s and 1960s, the Aircraft Owners and Pilots Association worked with Breitling to put the AOPA logo on Navitimer dials. The rotating bezel was surrounded by small beads, making it easier to turn particularly when wearing gloves. The first edition was the reference 806, powered by a manual chronograph movement with column wheel mechanism. One rare variant of the reference 806 was the model, produced from 1954, which was equipped with a Valjoux 72 (the same movement as the Rolex Daytona) which are among today’s most collectable Navitimers.

‘The Navitmer had a circular slide rule able to calculate average speed, distance covered, fuel consumption or rates of ascent and descent’

Breitling Navitmer

The Breitling Emergency

Breitling’s history Like many iconic watch manufacturers, Breitling has its roots in the Jura mountains of the 19th century. It was established in 1884 by the 24-yearold watchmaker Léon Breitling. After a decade his new HQ was employing more than 60 people, and soon gained a reputation for accuracy and technical prowess. In 1914, the same year his father died, Gaston Breitling began his career in the family company. Gaston, who had inherited his father’s passion for chronographs, worked systematically on making the family firm a success. In 1915, he created one of the first wrist-worn chronographs with an independent pusher at 2 o’clock. By 1930, Breitling’s reputation for precision and accuracy was so great that its patented Vitesse stopwatch was employed by police officers to clock speeding motorists. In 1932, the third generation took over the helm, once Gaston’s son, Willy Breitling, had received in-depth technical and sales training. In 1944, Breitling introduced another key model – the Duograph, a split-seconds chronograph that was Breitling’s most prestigious wristwatch during the 1940s through to the 1960s.

Above Launched in 1995 and still available to this day, the Emergency features a built-in microtransmitter for use during emergencies. Above right The reverse of the 2cm-deep Emergency Left Léon’s grandson Willy Breitling expanded the firm even further, image courtesy of Breitling

In 1988, a NATO officer asked Breitling to combine a personal locator beacon (PLB) and easily accessible watch. Breitling obliged, combining a 121.5 Mhz beacon into the case of a digital pilot’s watch. Six years later the Emergency, redeveloped with twin beacons, was released to the general public – with the proviso you sign a waiver when you buy one. Far from being a gimmick, the watch has saved lives including that of helicopter pilot Quentin Smith whose location was identified by his PLB even though it had sunk to the bottom of the ocean. In 2009, the 121.5 MHz signal was upgraded to 406 MHz under advice from the United Nations allowing it to be easily tracked by satellite anywhere in the world. It took Breitling four years to update the Emergency to the new frequency but in 2013, the Calibre 76-equipped Emergency II was announced with both a miniaturised 406 MHz transmitter, while retaining 121.5 MHz output.

Below left The 24-yearold watchmaker Léon Breitling, image courtesy of Breitling Right A 1984 Breitling

advertisement with the Montbrillant building, image courtesy of Breitling

Did you know? While Omega watches are most linked to space travel, in 1962 the Mercury astronaut Scott Carpenter wore a customised Navitimer on a three-orbit flight around the Earth. The resulting Navitimer was called the Cosmonaute. ANTIQUE COLLECTING 45

IN THE

Loupe A collector’s guide We asked Ewbank’s watch specialist Nick Orringe for the Navitimers set to fly with collectors

Who wears a Breitling? As one of Breitling’s female ambassadors, Charlize Theron is often seen sporting a Navitimer ladies watch. It has a mother of pearl dial, diamond dot indices and 18ct rose gold detailing with the same COSC certified movement at its core. John Travolta, as a male ambassador for the Navitimer, is also often seen with one on his wrist. Meanwhile, the Breitling Chronomat, alongside the Navitimer another of the brand’s most iconic designs, is sported by the Hollywood actor Tom Cruise, while outdoor adventurer, Bear Grylls, is a natural fit for the Breitling Emergency when he is travelling in remote, risky places.

46 ANTIQUE COLLECTING

Above Charlize Theron is often seen sporting a Navitimer ladies watch Below left John Travolta is a leading brand ambassador for the Navitimer Below right Models

from the Swiss maker Breitling

With a long history of production there are a number of Navitimers on the market, with some references more valuable than others. Some of the more rare and valuable examples are the 18ct gold editions such as the 806 from 1954 with a Valjoux 72 movement. What makes this model so valuable is its rarity, making it highly collectable. The 1972 Breitling Navitimer reference 806 was the first to feature a date function with the date aperture tucked away between the four and five o’clock markers. The dial design also changed, with the Navitimer wording moving under the “Breitling Geneve”. The date numerals became red on a white date disc, creating a contrast with the black dial. Expect to pay £6,000-£8,000 for this Navitimer. Other variants of the reference 806 can be had for around the £4,000 mark. The modern take on the 806, the Navitimer Calibre 01, introduced in 2009, will set you back around £6,000 (look out for the limited-edition blue dial and see-through casebook). Outside of these references are a plethora of Navitimers with differing complications and functionality with a starting figure of around £3,000. The condition of the watch affects its value. Look for scratches on the case, the sapphire crystal lens that covers the dial, check the pushers and crown to make sure that everything works as it should.

Dating a Navitimer During the production period of the early Navitimer, the number of beads – the small dots surrounding the bezel – varied from as many as 125 in the early 1950s to as few as 93 in 1960. In more recent times the process of dating has been made a little simpler. During the early 2000s, Brietling started stamping most models with production dates. The stamps are coded by the week and year on the case between the lugs at the bottom of the watch. You have to remove the strap or bracelet to see the code. The reference number has 12 digits accompanied by the watch’s serial number. The first letter refers to the case material, the second and third to the movement powering the watch, these are read as a combined number. The fourth digit tells you if the movement is COSC certified, while the fifth and sixth refer to the model type. The seventh and eighth digits indicate the bezel/case finish, the ninth refers to the colour; while the tenth, eleventh and twelfth refer to the dial design.

FAIRS in October

FAIR news

From Regent’s Park to the Georgian city of Bath, there is a wealth of events to immerse yourself in this month

Big Frieze The misunderstood medium of plaster is the subject of an exhibition at Frieze Masters in Regent’s Park from October 13-17. Stuart Lochhead Sculpture is staging the display, including work by Auguste Rodin, JeanJoseph Carriès, Théodore Géricault and Arnold Böcklin. Böcklin, one of the most influential central European painters of the late 19th century, turned his attention to sculpture later in his career. Across the park, Frieze Masters brings together six millennia of art – from rare antiquities, to Old Master paintings, as well as 20thcentury artists. Galleries taking part include Colnaghi, Thaddaeus Ropac and Skarstedt Gallery. For more details go to www frieze.com

Bath time Bath Decorative Antiques Fair returns to the Georgian city’s Pavilion this month, anticipating its celebrated opening day queue, which spreads all the way up to the main road. Having been forced to skip its spring date, the fair returns from October 22-24, with a trade preview day on October 21. Around 50 exhibitors will converge on the city with new exhibitors including local dealer House of Hummingbird and Imagined Interiors from Somerset, as well as regular attendee Portico Antiques from West Sussex. Above right A Welsh lambing chair on offer from the Sussex folk art specialist Home Bothy priced £1,400 Right Peter Seal (b. 1959)

Garden Room, 2020, acrylic, on offer from Anthony Hepworth Fine Art

Above A detail from Arnold Böcklin (1827-1901) Shield with the Head of Medusa, 1878, image courtesy of Stuart Lochhead Sculpture

PANEL BEATER An art nouveau bronze panel which once belonged to the Yorkshire loom maker George Hattersley of Keighley is on offer at this month’s Pavilions of Harrogate Decorative Antiques & Fine Art Fair. George Hattersley founded the textile company in 1789 at Stubbings Mill. In 1834, the first loom was created sparking more than a century of innovation in textile machinery. The panel was designed by the Italian maker Egido Boninsegna (1869-1948) and was shown at the Milan international World Exhibition of 1906, where it was presented to the Keighley company. The Great Yorkshire Showground is the location for the threeday event from October 29-31. The panel is priced £1,750 from exhibitors Brian Ashbee & Wes Wotruba. Below The panel celebrates Yorkshire’s great textile-making tradition

New location

Postponed from 2020, the 9th Cotswolds Art and Antiques Dealers’ Association (CADA) fair takes place at the new location of Compton Verney Art Gallery and Park in Warwickshire. Running from October 14-17, the event represents the members of the last remaining regional antique dealers’ association in disciplines from early needlework to Asian art. CADA chairman, Alex Puddy, said: “With the current easing of lockdown (while adhering to any government guidelines that may still be in place in October) a unanimous decision was made by the full CADA committee to go ahead with our fair.” Above Compton Verney Art Gallery and Park in Warwickshire is the new location for the CADA fair

ANTIQUE COLLECTING 47

THE EXPERT COLLECTOR Inspirational paintings

A Collector’s Eye Nothing unlocks the secrets of the past like a painting. A selection of seven works from a new book are sure to thrill any collector (and they are all on public view) CHIPPENDALE MAJESTY Sir Rowland Winn (1739–1785), 5th Baronet, and his Swiss wife, Sabine d’Hervart (1734–1798), married in defiance of his family’s opposition in 1761. The portrait above by Hugh Douglas Hamilton (1740–1808) records a moment of optimism in their marriage when Sir Rowland had inherited Nostell, the family’s Yorkshire estate, and was hoping to make a name for himself in the world of politics and high society. Here, the image of fidelity and refinement, they appear in the library at Nostell, which had recently been completed by the architect Robert Adam (1728– 1792). Lady Winn drapes her hand intimately over her husband’s shoulder while he gazes back at her, presumably to make a favourable comparison between her beauty and that of the bust of Venus, the ancient goddess of love. The painting originally hung in the Winns’ house in St James’s Square to show off their

48 ANTIQUE COLLECTING

Above Hugh Douglas Hamilton (1740–1808) Sir Rowland Winn, 5th Bt (1739-1785) and his Wife Sabine Louise d’Hervart (1734-1798) in the Library at Nostell Priory c.1767– 1768, oil on canvas © National Trust Images Right Jan Massys

(c.1509–1575) The Card Players c.1535– 1545, oil on panel © National Trust Images

taste and marital success to their London visitors. Hamilton was careful to accurately depict the furniture by Thomas Chippendale (1718–79) and paintings by Antonio Zucchi (1726–95), which remain in the library to this day.

RENAISSANCE GAMERS The Flemish painter Jan Massys (c.1509–1575) often painted moralising tales in his images of couples mismatched in age, or scenes set in the offices of tax collectors or moneylenders. Likewise, depictions of card games in Renaissance pictures usually contain some sort of cautionary comment on good and bad behaviour. In this picture, the older man on the left stares lasciviously

at the young woman. She ignores him and instead smiles out at the viewer, holding up the ace of hearts and protectively putting her hand on her pile of coins. The younger man in the middle stares out pensively, while an old lady places a reassuring hand on his shoulder. It is unclear whether he is being cheated or actively taking part in a scam. Charles Wyndham, 2nd Earl of Egremont (1710–1763) paid the large sum of £48 for the painting in 1755 (the equivalent of around £5,000 today).

ENLIGHTENED TIMES The Scottish painter Allan Ramsay (1713–1784) was one of the greatest portraitists of the Enlightenment and was admired across Europe. He was the official painter to George III (1738–1820) for over 20 years, during which time he painted this portrait of the Scottish peer William Colyear, Viscount Milsington, later 3rd Earl of Portmore (1745–1823). Ramsay moved in intellectual circles and as well as being one of the most highly regarded portraitists of his day, he published poetry, letters and essays on subjects ranging from taste to political theory. Ramsay’s sophisticated portraits were noted for their sensitive and naturalistic approach to capturing his sitters’ personalities. Milsington holds a tricorn hat and informally leans on an Enlightened taste table covered in books, showing him to be a fashionable and scholarly aristocratic man of his times. Ramsay was so popular that successful compositions were sometimes repeated.

‘Depictions of card games in Renaissance pictures usually contain some sort of cautionary comment on good and bad behaviour’

CHINOISERIE IN ART

Above left Allan Ramsay (1713–1784) William Colyear, Viscount Milsington, later 3rd Earl of Portmore, oil on canvas, © National Trust Images/John Hammond Above Sir Joshua Reynolds (1723–1792) Huang Ya Dong, c.1776, oil on canvas © National Trust Images

Huang Ya Dong (c.1753–?) was only about 23 when this portrait was painted but he had already lived an exceptional life. Some two years before, he used his connections in the East India Company to make the long voyage from Guangzhou (Canton) in China to London,. Well-informed for his age, he was sought after inlearned circles for his knowledge of Chinese medicine, botany and ceramic manufacture. The artist was Britain’s most successful portraitist, Sir Joshua Reynolds (1723–1792), who sensitively captured the likeness of this visitor from China. The pose, costume and setting are designed to be emphatically Chinese, although they would have appeared incongruous back in Guangzhou, where red conical hats were the preserve of senior state officials and it was not the done thing to sit cross-legged on furniture. Huang subsequently returned to China to begin a career in business, leaving behind this compelling image as testament to his stay in Britain. ANTIQUE COLLECTING 49

THE EXPERT COLLECTOR Inspirational paintings GLASSWARE AND JARDINIÈRE In an interior of rich mid-Victorian colour, a young woman with ‘rippling golden hair’ and dressed in a purple ‘medieval’ gown has cast aside a tumble of exotic flowers to kneel on a chair and water a lily of the valley. Jane ‘Jeanie’ Hughes Nassau Senior (1828– 1877) had an extraordinary career as Britain’s first woman civil servant, and was a highly active philanthropist. She was also a good friend of the artist George Frederic Watts (1817–1904) and of Octavia Hill (1838– 1912), a founder of the National Trust. This portrait of Jeanie, with its jewel-bright tones, nods to PreRaphaelitism. However, this is the modern interior of Little Holland House in Holland Park, with its arsenicgreen wallpaper. The purple of her dress was achieved with the new aniline dyes discovered by William Henry Perkin in 1856. This balance of modernity and medievalism, allied with the artist’s affection for his sitter, makes this painting one of Watts’s most enduringly popular works.

Right James Tissot

(1836–1902) The Crack Shot, 1869, oil on canvas, © National Trust Images/John Hammond

Below George Frederic

Watts (1817–1904) Jane ‘Jeanie’ Elizabeth Hughes Nassau Senior, 1858, oil on canvas, © National Trust Images

ANTIQUE FIREARMS An elegant and fashionably dressed young woman stands at a table in a verdant garden. She gazes intently at the pistol she holds, and a number of different firearms are placed on or propped against the table. Behind her sit a woman covering her ears and a bewhiskered man with his arm around the woman. The Crack Shot depicts a woman engaged in an activity that would normally be regarded as the preserve of men at that time. It is a striking subject even for French artist James Tissot (1836–1902), who gained fame as a painter of fashionable women participating in modern life.

50 ANTIQUE COLLECTING

The identity of the woman is unknown, but the man could be Tissot’s friend and early patron, Thomas Gibson Bowles (1842– 1922), the founder of Vanity Fair and The Lady, and the maternal grandfather of the Mitford sisters.

Discover more

FEMALE ARTISTS The celebrated French portraitist Elisabeth Louise Vigée Le Brun (1755–1842) was famous for acquiring the patronage of Queen Marie Antoinette (1755–1793). The selfportrait (right) was painted in Naples in 1791, after she had fled revolutionary France. This is a second version of a self-portrait she painted the year before, now in the Uffizi Gallery in Florence. In this picture she shows herself in the act of painting her daughter, Julie (1780–1819). It was commissioned by Frederick Hervey, 4th Earl of Bristol and Bishop of Derry (1730–1803), whose portrait by Vigée Le Brun, was painted the year before in Naples. Vigée Le Brun depicts herself in fashionable clothes that are unlikely to be the sort she would have worn while painting, which emphasises her position as a famous and successful artist. Radically, she shows herself with an open mouth and visible teeth. Contemporary viewers would have seen this as scandalously bad manners, with one commentator declaring it ‘an affectation which artists, connoisseurs and people of good taste are unanimous in condemning’.

Below Elisabeth Louise

See the painting in ‘Chippendale majesty’ at Nostell, West Yorkshire; the painting from ‘Renaissance gamers’ can be seen at Petworth House, West Sussex; the painting from ‘Enlightened times’ is on view at Penrhyn Castle, Gwynedd; the portrait seen in ‘Chinoiserie in art’ can be seen at Knole, Kent (as part of The Sackville Collection); the picture from ‘Glassware and jardinière’ is on view at Wightwick Manor, West Midlands; the painting depicted in ‘Antique firearms’ can be seen at Wimpole Hall, Cambridgeshire and the self-portrait from ‘Female artists’ is on show at Ickworth in Suffolk. For more details on all properties go to www.nationaltrust.org.uk All paintings come from 1OO Paintings from the Collections of the National Trust by John Chu and David Taylor, priced £10, to order a copy go to the shop at www.nationaltrust.org.uk

‘The Crack Shot depicts a woman engaged in an activity that would normally be regarded as the preserve of men at that time’ ANTIQUE COLLECTING 51

TEST YOUR KNOWLEDGE

Puzzle TIME

Put your feet up while exercising your little grey cells with our puzzle king Peter Wade-Wright

Send your answers to Crossword, Antique Collecting magazine, Sandy Lane, Woodbridge, Suffolk, IP12 4SD, UK. Photocopies are also acceptable, or email your answer to: magazine@ accartbooks.com. The first three opened by September 20 will win a copy of Jackson’s Hallmarks, Pocket Edition: English, Scottish, Irish Silver & Gold Marks From 1300 to the Present Day, worth £6.95 Q9 The first officers of the Metropolitan Police (1829) were issued with rattles with which to raise an alarm if needed. What was special about these rattles (there may be more than one answer)? (a) They had folding handles. (b) They had a whistle incorporated in the handle. (c) They were smaller than the older watchmen rattles. (d) They were weighted with lead and could be used as a weapon.

OCTOBER QUIZ Q1 The Most Distinguished Order of Saint Michael and Saint George was founded in which year (a) 1812, (b) 1814, (c) 1816, (d) 1818? Q2 Dentil refers to (a) dimple decorations on porcelain etc. that look like teeth marks, (b) a barber-surgeon’s apparatus for use during extractions, (c) small cube-shaped decorations, (d) a fold in fired-ware due to imperfections in the material. Q3 The Greek term krotalon refers to types of antique (a) wine bowls, (b) musical clappers, (c) arms (i.e. spears etc.), (d) classical folds of the ‘clothes’ on statues.

Q10 The name of this French

philosopher who claimed landscape paintings only served to remind owners of the great outdoors

Finally, here are four anagrams. A Can Role, Sham Nob, Ace warmer, Aime ruined They can be arranged into: (a) An auction house established in 1793 (b) A style of Restoration-era furniture (c) A small evening bag (d) Earthenware with a lead glaze over a pale body, known in France as faïence

Q4 The term ‘pentimento’ refers to (a) a fivesided Victorian funerial souvenir, (b) a fiveclawed furniture foot, (c) art work produced as a part of therapy, (d) an oil painting ghosting of earlier-painted details. Q5 The Luckock Collection is of (a) buttons, (b) paperclips, (c) horse brasses, (d) waterclosets? Q6 In 1922 the blind physicist Dr Gustaf Dalén invented, for his wife, the first (a) mechanical whisk, (b) self-righting mixing bowl, (c) oven glove, (d) Aga? Q7 Douglas Cockerell (1870-1945) wrote a principal text on an Art and Crafts movement style and skill. Was it on the subject of (a) enamelling, (b) wood carving, (c) bookbinding, (d) cross-stitch? Q8 What was so special about the 1945 bronze cent coin of the Commissioners of Currency of Malaya? (a) it had a hole in it, (b) it wasn’t circular, (c) it wasn’t bronze, (d) it had a portrait of George VI on one side and Hirohito on the other.

52 ANTIQUE COLLECTING

Q10 Which of the following French philosophers said that landscape paintings were hung on the walls of salons by city dwellers in order to compensate for their loss of contact with nature? (a) René Descartes, (b) Voltaire, (c) Denis Diderot, (d) Jean-Jacques Rousseau.

For the answers turn to page 36. Anagram What is the name

of this small evening bag?

SOLUTION TO LAST MONTH’S CROSSWORD:

The letters in the highlighted squares made the word lithography. The winners, who will each receive a copy of the book, are: Geraldine Hultkrantz, Sweden; Dennis Jones, Bedford; H. Hamilton by email

R E 8 A P 13 E 15 R 22

C A 26 S T

H E G E N C Y 7 O P A L E O 9 L R T I S A N 10 11 12 G L O B H O T 14 R I N L O 16 17 18 19 E D G A E C A P 21 O A E A S 23 24 R L A S P B 25 A D O R N E U O L A R N E 27 T R E A T E T

A S H E

R E E D E D

6 7 8 10

9 13

12 15

16 17

DOWN CLUE

Across 1 4 6 7 8 10 13 15

A distinctive Venetian form of serving dish. Cupped or flat surface on a circular base. (5) Engrave using acid (also the name given to a print produced this way). (4) Naval rank. The ‘______ Fitzroy’ was a popular 19th-century barometer. (7) Blob (sing.) of glass applied as decoration on another glass object. (5) _____ Peretti. Famous Italian jewellery designer. Also the name of perhaps the most famous lioness of the late 1950s. (4) Mongol-founded dynasty (1270s until 1368) noted for its fine porcelain with underglaze decoration, and for the simplicity of China’s ‘classic age’ objects. (Also a currency of modern China).(4) Dante’s vision that inspired Botticelli, Blake and Bosch…. (4) A singing voice (or instrument) of high frequency. Also ____-rilievo, figures, for example, that project by at least half their thickness from the background on which they are sculptured. (4)

ACROSS CLUE What is the name for this artwork, in this case depicting the Passion of Christ?

The cathedral in the Italian town of? (also an anagram of ‘I no rub’)

17 Decorated object/jewellery with a figure in relief, but of a different colour. (5) 19 Double-folding object, often wooden and often with religious depictions. (7) 20 A Stoke-on-Trent firm (1858-1940) known for its parian ware. (4) 21 Support for painters. (5)

Down 1 2 3 4 5 9 11 12 14 16 18

Free-standing beverage-making holder…relatively plain if made in Britain (early 19th c) with the exception of ‘Tunbridgeware’. (6) Yet another, and very early, Chinese dynasty (c. 1050 – 256 BC) (4) A banded silica mineral that produces beautifully-patterned objects. (5) One of the five major OT prophets who railed against the worship of Baal. In art, an example is ‘_____, Ahab and Jezebel’ by Thomas Matthews Rooke (1842–1942). (6) Gabrielle _____ (1883-1971). Parisian fashion designer of the feminine standard of style of her time. (6) Something offered for sale at auction. (3) Italian city famous for its ceramics (particularly the ‘belle donne’ style c.1520) (6) French city on the Loire home to the Musée des Beaux-Arts. (6) ________ Bulmer. British artist (1919-1992). (NIELLO anag.) (6) Mixture of fine clay and iron oxide used as a pigment (and found in ancient burials). (5) Drinking vessels (pl.). Generally following the form of tankards but the silver thistle cup was a more adventurous shape. (4)

Finally: rearrange the letters in the highlighted squares to form the name given to a free rendering in the Western/European world of Eastern style. (11 letters). ANTIQUE COLLECTING 53

ANTIQUES UNDER THE HAMMER Lots in October

TOP of the LOTS

‘Fans’ of Princess Diana will be delighted by this month’s lots, which also include a rare pot by the father of British studio pottery A rare stoneware vase by Bernard Leach (1887-1979), the pre-eminent artist-potter of the 20th century, has an estimate of £4,000-£6,000 at Tennants’ 20th-century design sale on October 9. The c. 1958 vase called The Tree of Life includes the impress potter’s seal, St Ives mark and England mark, and measures 33cm high. It was purchased by the vendor’s mother directly from the potter in St Ives while on holiday in Cornwall. Drawing on technical and aesthetic influences from both East and West, Leach established the Leach Pottery in St Ives in 1920, where he strove to elevate ceramics to the status of the Fine Arts and challenge homogeneous mass-produced pottery. Above right Leach is considered the father of British studio pottery

A portrait of Louise Renée de Penancoët de Kéroualle, Duchess of Portsmouth (1649-1734) – the French mistress of Charles II – has an estimate of £8,000£12,000) at Bellmans’ old masters sale on October 12. Originally in a private collection in Gloucestershire, the 107 x 97cm oil on canvas shows the duchess with a cupid. Charles II was said to be have been taken by her childlike beauty, cleverness and strong will. The duchess was painted by many established artists, including Sir Peter Lely and several times by Henri Gascars. She was one of three women in the king’s life: his wife Catherine Of Braganza and Nell Gwynne. Above right The portrait of Charles II mistress is by Henri Gascars (French, 1635-1701)

An iridescent Phänomen glass vase, c. 1902, one of a number of Loetz glass consigned to Roseberys’ sale on October 13, has an estimate of £8,000£10,000. Engraved ‘Loetz Austria’ on ground-out pontil, the 19.5cm piece is part of the company’s landmark series of Phänomen décors, characterised by trailed, combed threads and bands and metallic iridescence. The success of Phänomen glass was remarkable, but short-lived, with a sharp decline in production from 1903 onwards. Right The vase is one of 27 pieces

of Loetz glass on offer

An ostrich feather fan, one of only 20 made to commemorate the marriage of HRH the Prince of Wales and Lady Diana Spencer on July 29, 1981, has an estimate of £700-£1,000 at Kinghams’ fans and finery sale on October 21. Its silver handle has the gilt crest and motto of the Prince of Wales on one side, with the date of the wedding and logo of the Fan Circle International on the other. It is offered with its fitted box and relevant receipts, including the purchase price of £250. Below The fan, one of 20 made, has a pre-sale estimate of £700-£1,000 Below right Princess Diana carrying her own slightly different version of

the fan in 1985

A 9ft-long photograph of modern day actors re-enacting Leonardo da Vinci’s The Last Supper has an estimated of £1,000-£2,000 at Charterhouse Auction’s two-day sale on October 7-8. Dubbed The Actors’ Last Supper by Alistair Morrison (b.1957) the image features Robert Powell cast as Jesus, with his disciples including Colin Firth, Tom Conti, Michael Gambon and Steven Berkoff, with Julie Walters as Mary Magdalene. It was displayed at the National Portrait Gallery to great acclaim. Since 1982, Alistair Morrison has worked as a freelance editorial and fashion photographer for a variety of newspapers and magazines, including The Sunday Times, Observer and Vogue. Above Alistair Morrison (b.1957) photograph The Actors’ Last Supper

54 ANTIQUE COLLECTING

Nearly 100 paintings by a previously unknown artist are of such quality that Surrey auctioneer Ewbank’s has decided to hold a dedicated sale on October 13. Born in Frodsham, Cheshire, young Michael Hutchings developed a stammer following a traumatic classroom experience. As a result he was treated by the renowned therapist Lionel Logue, celebrated as King George VI’s specialist in the multi-Oscar-winning film The King’s Speech. Faced with a choice between art and medicine as a career after serving in WWII, the late Hutchings (1918-2020) became a pathologist, working in London hospitals. Even while working in medicine, where a career in the laboratory limited his need for speech, Hutchings never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult life in Barnes, in the southwest of the capital. But, while he enrolled at Chelsea College of Art – later studying at The Slade, as well as the Open College of the Arts –for much of his life he developed his theories and innovative style under his own steam.

Mastery of palette

Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings’ mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline. Ewbank’s partner and auctioneer, Andrew Ewbank, said: “Hutchings used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce some surprisingly effective results. “The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.”

For details of the sale, The Michael Hutchings Collection: Let The Colour Do The Drawing, on October 13, go to www.ewbanksauctions.co.uk

1 Michael Hutchings (1918-2020), Poissons d’Avril

‘Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings’ mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade’ 4

still life with fish. Acrylic. Signed and dated ‘88 (46 x 64cm). Estimated at £50-£80 2 Michael Hutchings (1918-2020), Harbour scene. Acrylic on board. Inscribed verso (100 x 82cm). Estimated at £100-£150 3 Michael Hutchings (1918-2020), Al Fresco, still life of picnic items, 1997. Signed and dated lower right. Labelled verso. Acrylic on paper (48 x 64cm). Estimated at £50-£80 4 Michael Hutchings (1918-2020), Bridge at Mostar. Acrylic on card. Initialled and dated mid-left 1999 (51 x 100cm). Estimated at £50-£80

ANTIQUE COLLECTING 55

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56 ANTIQUE COLLECTING

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ANTIQUE COLLECTING 57

FAIRS Calendar Because this list is compiled in advance, alterations or cancellations to the fairs listed can occur and it is not possible to notify readers of the changes. We strongly advise anyone wishing to attend a fair especially if they have to travel any distance, to telephone the organiser to confirm the details given.

LONDON: Inc. Greater London Adams Antiques Fairs 020 7254 4054 www.adamsantiquesfairs.com Adams Antiques Fair, Lindley Hall, The Royal Horticultural Hall, 80 Vincent Square, SW1P 2PE, 13 Oct. Dovehouse Fine Antiques Fairs, 07952 689717 Little Chelsea Decorative Arts & Antiques Fair, Chelsea Old Town Hall, King’s Road, London, SW3 5EE, 25-26 Oct Etc Fairs 01707 872 140 www.bloomsburybookfair.com Bloomsbury Book Fair, Booker & Turner Suite at Holiday Inn, Coram Street, London, WC1N 1HT, 10 Oct Frieze London 0203 3726111 www.frieze.com Regent’s Park, 13-17 Oct.

B2B Events 01636 676531 www.b2bevents.info Detling Antiques, Vintage and Collector’s Fair, Kent County Showground, Detling, Maidstone, Kent, ME14 3JF. 30, 31 Oct Continuity Fairs 01584 873634 www.continuityfairs.co.uk Epsom Racecourse Antiques and Collectibles Fair, Epsom Racecourse, Epsom Downs, Epsom, Surrey, KT18 5LQ, 19 Oct Dovehouse Fine Antiques Fairs, 07952 689717 Dorking Halls Antiques & Decorative Arts Fair, Dorking Halls, Reigate Rd, Dorking RH4 1SG, 17 Oct Essex Clock and Watch Fair www.bhi.co.uk 07834 235672 Marks Tey Parish Hall, Old London Road, Marks Tey, CO6 1EJ, 10 Oct

Harvey (Management Services) Ltd 020 7616 9327 www.decorativefair.com The Decorative Antiques & Textiles Fair, Battersea Evolution, Battersea Park, SW11 4NJ, 28 Sept-3 Oct.

IACF 01636 702326 www.iacf.co.uk Peterborough Festival of Antiques Market, The East of England Showground, Peterborough, Cambridgeshire, PE2 6HE, 1-2 Oct

Sunbury Antiques 01932 230946 www.sunburyantiques.com Sunbury Antiques Market, Kempton Park Race Course, Staines Road East, Sunbury-onThames, Middlesex TW16 5AQ, 12, 26 Oct.

Love Fairs 01293 690777 www.lovefairs.com Brighton Antiques, Collectables and Vintage Fair, Brighton Racecourse, Freshfield Road, Brighton, East Sussex, BN2 9XZ, 24 Oct.

SOUTH EAST AND EAST ANGLIA: including Bedfordshire, Cambridgeshire, Essex, Hertfordshire, Kent, Norfolk, Suffolk, Surrey, Sussex. Arun Fairs 07563 589725 Emsworth Antiques and Collectors Fair, North Street, Emsworth, PO10 7DD, 10 Oct

58 ANTIQUE COLLECTING

Marcel Fairs 07887648255 www.marcelfairs.co.uk Antique & Collectors Fair – Berkhamsted Sports Centre, Lagley Meadow, Douglas Gardens, Berkhamsted, Herts, HP4 3QQ, 31 Oct Antique & Collectors Fair – Sarratt Village Hall, The Green, WD3 6AS, 10 Oct

Antique & Vintage Fair – Eagle Farm Road, Biggleswade, Bedfordshire, SG18 8JH, 17 Oct Sunbury Antiques 01932 230946 www.sunburyantiques.com Antiques Market, Sandown Park Racecourse, Portsmouth Road, Esher, KT20 9AJ, 5 Oct SOUTH WEST: including Berkshire, Buckinghamshire, Cornwall, Devon, Dorset, Gloucestershire, Hampshire, Isle of Wight, Oxfordshire, Somerset, Wiltshire. Bath Decorative Antiques Fair 01278 784912 bathdecorativeantiquesfair.co.uk The Pavilion, Bath, BA2 4EU, 21-24 Oct EAST MIDLANDS including Derbyshire, Leicestershire, Lincolnshire, Northamptonshire, Nottinghamshire, Rutland, Sheffield. Arthur Swallow Fairs 01298 27493 www.asfairs.com Antiques and Home Show, Lincolnshire Showground, Lincoln, LN2 2NA, 6 Oct.

WEST MIDLANDS including Birmingham, Coventry, Herefordshire, Shropshire, Staffordshire, Warwickshire,. Antiques in Tents 01544 267033/07974 356128 www.antiquesintents.co.uk Antiques Fair, Burton Court, Eardisland, Herefordshire, HR6 9DN, 15-16 Oct Coin and Medal Fairs Ltd. 01694 731781 www.coinfairs.co.uk The Midland Coin Fair, National Motorcycle Museum, Bickenhill, Birmingham, B92 0EJ, 10 Oct CADA 07855 44913 www.thecada.org The Cotswold Art & Antiques Dealers’ Association Fair Compton Verney Art Gallery & Park, Compton Verney, Warwickshire, CV35 9HZ, 14-17 Oct NORTH including Cheshire, Co Durham, Cumbria, Humberside, Lancashire, Manchester, Northumberland, Tyne and wear Yorkshire. Cooper Events 01278 784912 www.cooperevents.com The Pavilions of Harrogate Decorative, Antiques & Art Fair, Railway Road, Harrogate, North Yorkshire, HG2 8NZ, 29-31 Oct

Guildhall Antiques Fairs 07583 410862 www.guildhallantiquefairs.co.uk Hermitage Leisure Centre, Whitwick, Coalville, LE67 5EU, 17 Oct Hodson Hall, Loughborough, LE11 2AQ, 31 Oct

Galloway Antiques Fairs 01423 522122 www.gallowayfairs.co.uk Tatton Park, Knutsford, Cheshire, WA16 6QN, 8 -10 Oct

IACF 01636 702326 www.iacf.co.uk Newark International Antiques and Collectors’ Market, Newark and Nottinghamshire Showground, NG24 2NY, 7-8 Oct. Runway Monday, Newark, NG24 2NY, 25 Oct

The Northern Antique Dealers Fair Ltd 01797 252030 www.northernfair.com The Northern Antiques Fair, The Garden Rooms at Tennants, Harmby Road, Leyburn, North Yorkshire, DL8 5SG, 30 Sept – 3 Oct

30 Sept - 3 Oct 2021

THE NORTHERN ANTIQUES FAIR .

Held this autumn at our exciting new venue The Garden Rooms at Tennants Harmby Road, Leyburn North Yorkshire DL8 5SG

EST. 1951

FINE ART DESIGN

. INTERIORS

THE COTSWOLD

ART & ANTIQUES DEALERS'

ASSOCIATION FAIR COMPTON VERNEY ART GALLERY & PARK COMPTON VERNEY, WARWICKSHIRE CV35 9HZ

14TH - 17TH OCTOBER 2021 THURSDAY - SUNDAY 11AM - 5PM Complimentary tickets covering admission to the grounds and the fair are available online at:

www.thecada.org Further information

T: 07855 443913

Thur to Sat 11.00 -18.00 Sun 11.00 -17.00 For updates please visit www.northernfair.com T: 01797 252030 To request your complimentary invitation for two please email AC@adfl.co.uk Organised by: THE NORTHERN ANTIQUE DEALERS FAIR LIMITED

Detling Antiques, Vintage & Collectors Market

The Kent County Showground, Detling, Maidstone, Kent. ME14 3JF.

30th - 31st October Sat: Early Entry: 8.30am - £6 Sat: Entry: 10am-4.30pm - £5 Sun: 10.30am - 3.30pm - £4

Malvern Flea & Collectors Market

Three Counties Showground, Worcestershire, WR13 6NW.

Sunday 19th September Sunday 10th October Entrance: 7.30am-3.30pm - £5 Please check www.b2bevents.info in case these dates have changed or been cancelled

Tel: 01636 676531 • www.b2bevents.info

The Tatton Park Antiques & Fine Art Fair Knutsford, Cheshire WA16 6QN

or f 2

8th - 10th October

Opening Times: 10.30am – 5.00pm daily. 4.30pm finish Sunday

Admission to Antiques Fair £5.00 Admit TWO for the price of ONE with this advert

www.gallowayfairs.co.uk Tel/Fax: 01423 522122 Mobile: 07966 528725 Email: susan@gallowayfairs.co.uk Helping to raise money for Cancer Research

GallowayFairs

@GallowayFairs

ANTIQUE COLLECTING 59

AUCTION Calendar Because this list is compiled in advance, alterations or cancellations to the auctions listed can occur and it is not possible to notify readers of the changes. We strongly advise anyone wishing to attend an auction especially if they have to travel any distance, to telephone the organiser to confirm the details given.

LONDON: Inc. Greater London Bonhams New Bond St., W1 020 7447 7447 www.bonhams.com Modern and Contemporary African Art, Oct 6 Design, Oct 12 Impressionism and Modern Art, Oct 13 Post-War and Contemporary Art, Oct 14 Orientalist Art, Oct 20 Islamic and Indian Art, Oct 25 Bonhams Knightsbridge, SW7 020 7393 3900 www.bonhams.com The Marine Sale, Oct 6 Designer Handbags and Fashion, Oct 12 Knightsbridge Jewels, Oct 13 Home and Interiors, Oct 19 Old Master Paintings, Oct 26 Chiswick Auctions 1 Colville Rd, Chiswick, W3 8BL 020 8992 4442 www.chiswickauctions.co.uk Wine and Spirits, Oct 5 Old Master Paintings, Oct 12 Fine Frames, Oct 12 Silver and Objects of Vertu, Oct 20 Urban and Contemporary Art, Oct 26 Fine Books and Works on Paper, Oct 27 Autographs and Memorabilia, Oct 27 Islamic and Indian Art, Oct 29 Modern & Contemporary Middle Eastern & African Art, Oct 29 Christie’s King St., London, SW1 020 7839 9060 www.christies.com Modern British Art Evening Sale, Oct 20 Modern British Art Day Sale, Oct 21 Science and Natural History, Art of the Islamic and Indian Worlds including Oriental Rugs and Carpets, Oct 28 Dix Noonan Webb 16 Bolton St, Piccadilly, W1J 8BQ 020 7016 1700. www.dnw.co.uk British Coins from the Collection

60 ANTIQUE COLLECTING

of Ian Sawden, Oct 5 Coins and Historical Medals, Oct 7-8 Orders, Decorations, Medals and Militaria, Oct 13 Forum Auctions 220 Queenstown Road, London SW8 4LP, 020 7871 2640 www.forumauctions.co.uk Travel Books, Maps and Atlases (Online) Oct 14 A third selection of 16th and 17th Century English Books from the Fox Pointe Manor Library, Oct 21 Books, and Works on Paper, Oct 28 Hansons Auctioneers The Normansfield Theatre, 2A Langdon Park, Teddington TW11 9PS, 0207 018 9300 www.hansonsauctioneers.com Asian, Oriental and Interiors, Oct 30 Lyon & Turnbull 22 Connaught Street, London, W2 2AF 0207 930 9115 www.lyonandturnbull.com Select Jewellery (Live Online), Oct 22 Select Watches (Live Online), Oct 22 Lalique, (Live Online), Oct 28 Modern Made: Modern British & Post-War Art, Design & Studio Ceramics, (Live Online), Oct 29 Olympia Auction 25 Blythe Road, London, W14 OPD, 020 7806 5541 www.olympiaauctions.com None listed in October Morton & Eden Nash House St. George Street London W1S 2FQ , 020 7493 5344 www.mortonandeden.com Important Coins of the Islamic World, date tbc Phillips 30 Berkeley Square, London, W1J 6EX,, 020 7318 4010 www.phillips.com 20th Century & Contemporary Art Day Sale, Oct 14 20th Century & Contemporary Art Evening Sale, Oct 15

Roseberys Knights Hill, SE27 020 8761 2522 www.roseberys.co.uk Traditional and Modern Home, Oct 5 Design: Decorative Arts 1860 to the Present Day, Oct 12 Modern and Contemporary British Art, Oct 13 Islamic and Indian Art, Oct 26 Sotheby’s New Bond St., W1 020 7293 5000 www.sothebys.com From Japan with Love (Online), ends Oct 6 Impressionist & Modern Art (Online), ends Oct 7 Contemporary Art Day Auction (Online), Oct 8-15 Tomasso II (Online), Oct 13-19 Modern and Contemporary African Art (Online), Oct 14-20 The Orientalist Sale (Online), Oct 20-26 Modern and Contemporary South Asian Art, Oct 26 Arts of the Islamic World & India, including Fine Rugs and Carpets, Oct 27 20th Century Art: A Different Perspective (Online), Oct 29Nov 11 SOUTH EAST AND EAST ANGLIA: Inc. Bedfordshire, Cambridgeshire, Essex, Hertfordshire, Kent, Norfolk, Suffolk, Surrey, Sussex Beeston Auctions Unit 12, Paynes Business Park, Dereham Road, Beeston, Norfolk, PE32 2NQ, 01328 598080 www.beestonauctions.co.uk Jewellery and Silver, Oct 13 Antiques and Collectables, Oct 14 Bishop and Miller 19 Charles Industrial Estate, Stowmarket, Suffolk, IP14 5AH, 01449 673088 www.bishopandmiller auctions.co.uk The Collector, Including Period Oak and Folk Art (Live), Oct 14 Antique Furniture (Live), Oct 20 Coins (Timed Online), ends Oct 24 Asian Art (Timed Online), ends Oct 24

Modern Living (Live) Oct 27 Jewellery, Watches and Silver (Live), Oct 27 Bellmans Newpound, Wisborough Green, West Sussex, RH14 0AZ 01403 700858 www.bellmans.co.uk Old Master, British and European Paintings, Oct 12 Interiors, Including European Ceramics, Jewellery, Coins and Medals, Oct 13-14 The Friday 500, Oct 21 Burstow & Hewett The Auction Gallery, Lower Lake, Battle, East Sussex,TN33 0AT 01424 772 374 www.burstowandhewett.co.uk Old Master, British and European Paintings, Oct 12 Interiors, Oct 13-14 The Friday 500, Oct 15 The Canterbury Auction Galleries 40 Station Road West, Canterbury, Kent CT2 8AN, 01227 763337 canterburyauctiongalleries.com Antiques, Oct 2-4 Catherine Southon Auctioneers Farleigh Court Golf Club Old Farleigh Road Selsdon Surrey CR6 9PE, 0208 468 1010 www.catherinesouthon.co.uk None listed for October Cheffins Clifton House, Clifton Road, Cambridge, CB1 7EA 01223 213343, www.cheffins.co.uk Interiors, Oct 5 The Library Sale, Oct 21 The Art and Design Sale, Oct 28 Durrants Auctions The Old School House, Peddars Lane, Beccles, Suffolk, NR34 9UE, 01502 713490 www.durrantsauctions.com General Antiques, Oct 1 Silver and Jewellery, Oct 8 Antique and Country Furniture, Oct 15 Toys and Collectables, Oct 22 Militaria and Firearms, Oct 29

Ewbank’s London Rd, Send, Woking, Surrey, 01483 223 101 www.ewbankauctions.co.uk Antiques and Collectors’ Incl. Silver and Jewellery, Oct 6 Country House Sale: The Contents of Fulling Mill Fishing Estate, Winchester, Oct 8 The Michael Hutchings Collection: Let The Colour Do The Drawing, Oct 13 Vintage Posters Signature, Oct 15 Decorative Arts, Vintage & Modern Design, Oct 28 Excalibur Auctions Limited Unit 16 Abbots Business Park Primrose Hill Kings Langley, Hertfordshire, WD4 8FR 020 3633 0913 wwwexcaliburauctions.com Marvel, DC & Independent Comic Books, Oct 2 John Nicholson’s Longfield, Midhurst Road Fernhurst, Haslemere Surrey, GU27 3HA 01428 653727 www.johnnicholsons.com General, Oct 9 Lacy Scott & Knight 10 Risbygate St, Bury St Edmunds, Suffolk, IP33 3AA, 01284 748 623 www.lskauctioncentre.co.uk Antiquities & Ethnographica, Oct 1 Home and Interiors, Oct 16 Toys & Models, Oct 22 Lockdales 52 Barrack Square, Martlesham Heath, Ipswich, Suffolk IP5 3RF, 01473 627110 www.lockdales.com Antiques & Collectables, Oct 7 Paper Collectables and Toys, Oct 20-21 Mander Auctioneers The Auction Centre, Assington Road, Newton, Sudbury,Suffolk CO10 0QX, 01787 211847 www.manderauctions.co.uk Fine Art, Antiques and Interiors, Oct 9 Parker Fine Art Auctions Hawthorn House, East Street, Farnham, Surrey, GU9 7SX 01252 20 30 20 www.parkerfineartauctions.com None listed for October

Reeman Dansie No. 8 Wyncolls Road Severalls Business Park, Colchester, CO4 9HU 01206 754754 www.reemandansie.com None listed for October Summers Place, The Walled Garden, Stane Street, Billingshurst West Sussex, RH14 9AB, 01403 331331 www.summersplaceauctions.com Home, Garden and Natural History, Oct 5 Home, Garden and Natural History (Sealed Bids) Oct 6 Sworders Fine Art Auctioneers Cambridge Road, Stansted Mountfitchet, Essex, CM24 8GE 01279 817778 www.sworder.co.uk Modern and Contemporary Art (Live Online), Oct 5 Homes and Interiors, Incl. Militaria (Live Online), Oct 12 Two-Day Design (Live Online), Oct 19-20 Homes and Interiors (Live Online), Oct 26 Jewellery (Live Online) Oct 27 T.W. Gaze Diss Auction Rooms, Roydon Road, Diss, Norfolk, IP22 4LN, Norfolk 01379 650306. www.twgaze.com Antiques and Interiors, Oct 1, 8, 15, 22, 29 Blyth Barn Furniture Auction, Oct 5, 12, 19, 26 SOUTH WEST: Inc. Berkshire, Buckinghamshire, Cornwall, Devon, Dorset, Gloucestershire, Hampshire, Isle of Wight, Oxfordshire, Somerset, Wiltshire Auction Antiques The Antique Village The Old Whiteways Cider Factory Hele, Devon, EX5 4PW O1392 719 826 www.auctionantiques.co.uk Antiques, General, Pictures and Collectables, Oct 28 Barbara Kirk Auctions The Harbour Saleroom, Trinity House, The Quay, Penzance Cornwall, TR18 4BN 01736 361342 www.barbarakirkauctions.co.uk None listed for October

Bearnes Hampton & Littlewood St. Edmund’s Court, Okehampton Street, Exeter, EX4 1DU 01392 413100. www.bhandl.co.uk Maritime, Oct 19

Interiors Day One To Incl. Decorative Arts and Modern Design (Live Online), Oct 26 Interiors Day Two (Live Online), Oct 27

British Bespoke Auctions The Old Boys School, Gretton Rd, Winchcombe, Cheltenham, GL54 5EE, 01242 603005 www.bespokeauctions.co.uk Vintage Collectables and Jewellery (Timed), Oct 6-15 Antiques and Automobilia, Oct 14

Duke’s Brewery Square, Dorchester, Dorset, DT1 1GA 01305 265080 www.dukes-auctions.com Autumn Fine Art, Oct 7 Art and Design Post 1880, Oct 8

Chorley’s Prinknash Abbey Park, Gloucestershire, GL4 8EU 01452 344499 www.chorleys.com Modern Art and Design, Oct 19 Cotswold Auction Company Bankside Trading Park, Love Lane, Cirencester, Gloucestershire.GL7 1YG, 01285 642420 www.cotswoldauction.co.uk Pictures, Antiques & Interiors, Oct 15-16 David Lay Auctions Penzance Auction House Alverton, Penzance, Cornwall 01736 361414. www.davidlay.co.uk Books, Manuscripts and Maps, Oct 14 Collectors, Oct 14 Dawsons Kings Grove Estate, Maidenhead, Berkshire | SL6 4DP 01628 944100 www.dawsonsauctions.co.uk None listed in October Dominic Winter Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ, 01285 860006 www.dominicwinter.co.uk Printed Books, Maps & Documents, Oct 6 Dreweatts Donnington Priory, Newbury, Berkshire RG14 2JE 01635 553 553 www.dreweatts.com Fine Clocks, Barometers and Scientific Instruments (Live Online), Oct 6 Modern and Contemporary Art (Live Online), Oct 12 Jewellery, Silver, Watches, Pens and Luxury Accessories, Pt. 1, (Live Online) Oct 13

East Bristol Auctions Unit 1, Hanham Business Park, Memorial Road, Hanham, BS15 3JE 0117 967 1000 www.eastbristol.co.uk Antiques and Collectables (ThreeDay Sale), Oct 6-8 Toy Collectors, Oct 15-16 Gardiner Houlgate 9 Leafield Way, Corsham, Wiltshire, SN13 9SW 01225 812912 www.gardinerhoulgate.co.uk The Watch Auction, Oct 20 Fine Clocks, Oct 21 Miscellaneous Clocks and Horology, Oct 22 Hannam’s Auctioneers 4 The High Street, Alton, Hampshire, UK, GU34 1BU, 01420 511788 www.hannamsauctioneers.com None listed for October Hansons Auctioneers 49 Parsons Street, Banbury, Oxford, OX16 5NB 01295 817777 www.hansonsauctioneers.co.uk Antiques and Collectors, Oct 2 Kinghams 10-12 Cotswold Business Village London Road, Moreton-in-Marsh, Gloucester, GL56 0JQ, 01608 695695 www.kinghamsauctioneers.com Fine and Decorative Arts, Oct 8-9 Lawrences Auctioneers Ltd. Crewkerne, Somerset, TA18 8AB, 01460 703041 www.lawrences.co.uk Silver and Vertu, Oct 12 Pictures, Oct 13 19th/20th Century Jewellery and Ceramics, Oct 14 Furniture, Clocks and Rugs, Oct 15 Mallams Oxford Bocardo House, St Michael’s St, Oxford. 01865 241358 www.mallams.co.uk Art and Music Sale, Oct 20 ANTIQUE COLLECTING 61

Mallams Cheltenham, 26 Grosvenor St, Cheltenham. Gloucestershire, 01242 235 712 www.mallams.co.uk None listed for October Mallams Abingdon Dunmore Court, Wootten Road, Abingdon, OX13 6BH 01235 462840 www.mallams.co.uk The Home and Garden Sale, Oct 11 Moore Allen & Innocent Burford Road Cirencester Gloucestershire GL7 5RH 01285 646050 www.mooreallen.co.uk Vintage and Antique Furniture to include Home Interiors, Paintings, Prints, Silver, Jewellery, China, Glass, Rugs and Outdoor Sections, Oct 13 Vintage and Antique Furniture with Home Interiors (Timed), Oct 20 Philip Serrell Barnards Green Rd, Malvern, Worcs. WR14 3LW, 01684 892314 www.serrell.com Interiors, Oct 14 Stroud Auctions Bath Rd Trading Estate, Bath Rd, Stroud, Gloucestershire, GL5 3QF 01453 873 800 www.stroudauctions.co.uk Toys, Vinyl Records, Music and Musical Instruments, Asian and Tribal Art, Pictures, and Paintings, Books, Ephemera and Stamps, Oct 6-7

Woolley & Wallis, 51-61 Castle Street, Salisbury, Wiltshire, SP1 3SU, 01722 424500 www.woolleyandwallis.co.uk Silver and Objects of Vertu, Oct 5 English and European Ceramics and Glass, Oct 7 British Art Pottery and Design, Oct 20 EAST MIDLANDS: Inc. Derbyshire, Leicestershire, Lincolnshire, Northamptonshire, Nottinghamshire, Sheffield Batemans Ryhall Rd, Stamford, Lincolnshire, PE9 1XF 01780 766 466 www.batemans.com The Beswick Sale - A Single Owner Collection, Oct 15 Gildings Auctioneers The Mill, Great Bowden Road, Market Harborough, LE16 7DE 01858 410414, www.gildings.co.uk None listed for October Golding Young & Mawer The Bourne Auction Rooms, Spalding Road, Bourne, Lincolnshire PE10 9LE, 01778 422686 www.goldingyoung.com Bourne Collective, Oct 6-7 Golding Young & Mawer The Grantham Auction Rooms, Old Wharf Road, Grantham, Lincolnshire NG31 7AA01476 565118 www.goldingyoung.com Grantham Collective, Oct 13-14

The Pedestal The Dairy, Stonor Park, Henley-onThames, Oxfordshire RG9 6HF, United Kingdom 01491 522733 www.thepedestal.com Design for Living, Oct 19

Golding Young & Mawer The Lincoln Auction Rooms, Thos Mawer House, Station Road North Hykeham, Lincoln LN6 3QY 01522 524984 www.goldingyoung.com Lincoln Collective, Oct 20-21

Special Auction Services Plenty Close, Newbury, Berkshire, RG14 5RL, 01635 580 595 wwwspecialauctionservices.com Antiques and Collectables, Oct 5 Collectors, Oct 12 Photographica, Oct 19 Toys for the Collector, Oct 26

Hansons Heage Lane, Etwall, Derbyshire, DE65 6LS 01283 733988 www.hansonsauctioneers.co.uk The Derbyshire Fine Art Auction, Oct 7 Antiques and Collectors Auction, Oct 14-19 Specialist Toys, Oct 21

62 ANTIQUE COLLECTING

Mellors & Kirk The Auction House, Gregory Street, Nottingham NG7 2NL 0115 979 0000 www.mellorsandkirk.com None listed for October WEST MIDLANDS: Inc. Birmingham, Coventry, Herefordshire, Shropshire, Staffordshire, Warwickshire,

Hansons Auctioneers Bishton Hall, Wolseley Bridge, Stafford, ST18 0XN, 0208 9797954 www.hansonsauctioneers.co.uk The Attic and Collectors Auction, Oct 6 The Country House Toy Nostalgia Auction, Oct 9 The Clock Auction, Oct 25 The Fine Art Jewellery and Silver Auction, Oct 26

Bigwood Auctioneers Stratford-Upon-Avon Warwickshire, CV37 7AW 01789 269415 www.bigwoodauctioneers.com Home Furnishings and Collectables, Oct 1, 8, 15 Select Interiors and Antiques, Oct 29

Potteries Auctions Unit 4A, Aspect Court, Silverdale Enterprise Park, Newcastle, Staffordshire, ST5 6SS, 01782 638100 www.potteriesauctions.com Two Day Auction of 20th-Century British Pottery, Collectors’ Items, Household Items, Antiques and Quality Furniture, Oct 8-9

Cuttlestones Ltd Wolverhampton Auction Rooms, No 1 Clarence Street, Wolverhampton, West Midlands, WV1 4JL, 01902 421985 www.cuttlestones.co.uk Antiques and Interiors, Oct 20

Trevanion The Joyce Building, Station Rd, Whitchurch, Shropshire, SY13 1RD, 01928 800 202 www.trevanion.com Fine Art and Antiques, Oct 20

Cuttlestones Ltd Pinfold Lane Penkridge Staffordshire ST19 5AP, 01785 714905 www.cuttlestones.co.uk Antiques and Interiors, Oct 13, 27 Fellows Augusta House, 19 Augusta Street, Hockley, Birmingham, B18 6JA 0121 212 2131 www.fellows.co.uk Pawnbrokers Jewellery and Watches, Oct 7, 21 The Luxury Watch Sale, Oct 18 Fieldings Mill Race Lane, Stourbridge, DY8 1JN 01384 444140 www.fieldingsauctioneers.co.uk The October Sale, Including Decades of Design, Oct 14-15 Halls Bowmen Way, Battlefield, Shrewsbury, Shropshire, SY4 3DR 01743 450700 www.hallsgb.com/fine-art Antiques, Interiors and Books, Oct 6 Modern and Contemporary Art (Timed Online), Oct 22-Nov 7

NORTH: Inc. Cheshire, Co. Durham, Cumbria, Humberside, Lancashire, Greater Manchester, Northumberland, Tyne and Wear, Sheffield, Yorkshire Adam Partridge Withyfold Drive, Macclesfield, Cheshire, 01625 431 788 www.adampartridge.co.uk Two Day Auction of Decorative Arts, Asian Art and Musical Instruments with Furniture & Interiors, Oct 14-15 One Day Sale of Studio Ceramics, Oct 29 Adam Partridge The Liverpool Saleroom, 18 Jordan Street, Liverpool, L1 OBP, 01625 431 788 www.adampartridge.co.uk Maritime with Antiques and Collectors’ Items, Oct 6 Anderson and Garland Crispin Court, Newbiggin Lane, Westerhope, Newcastle upon Tyne, NE5 1BF, 0191 430 3000 www.andersonandgarland.com Homes and Interiors, Oct 5, 19

COTSWOLD AUCTIONEERS & VALUERS SPECIALISTS IN SINGLE-OWNER COLLECTIONS NATIONWIDE VALUATIONS & ADVICE

Christopher Dresser for Minton vase. Sold for £3,200

10-12 Cotswold Business Village, London Road, Moreton-in-Marsh, GL56 0JQ 01608 695695 adrian@kinghamsauctioneers.com www.kinghamsauctioneers.com

LOWESTOFT PORCELAIN AUCTION ZOË SPRAKE

Wednesday 20th October 2021, 7pm Viewing 2-7pm

James Sharples, c1800 Pastel, George Washington, portrait Estimate £30,000-50,000

Hotel Victoria, Lowestoft, NR33 0BZ Guest auctioneer: Elizabeth Talbot of TW Gaze website: email: telephone:

www.lowestoftchina.co.uk lowestoftchina@gmail.com 01986 892736 / 07885 773795

Pictures, Antiques & Interiors Tuesday 19th October 10.00am at Cirencester

On View: By appointment only. T: 01285 642420 Luigi Cavaliere Moglia (1813-1878) Pair Micro-mosaic pictures, Estimate £10,000-15,000

Bidding live via our website, the Saleroom and Easylive ciren@cotswoldauction.co.uk www.cotswoldauction.co.uk

ANTIQUE COLLECTING 63

The Pictures Auction, Oct 7 The Modern Auction, Oct 27 The Music Auction, Oct 28

Country Sporting Sale, Oct 6-8 General Sale, Oct 21 Mid-Century, Music Sale, Oct 28

Capes Dunn The Auction Galleries, 40 Station Road, Heaton Mersey, SK4 3QT, 0161 432 1911 www.capesdunn.com Interiors, Vintage & Modern Furniture, Oct 4, 18 Antiquarian and Collectable Books; Maps, Prints and Affordable Art, Oct 5 Northern Artists, Oct 19

Sheffield Auction Gallery Windsor Road, Heeley, Sheffield, S8 8UB, 0114 281 6161 www.sheffieldauctiongallery.com Coins, Stamps and Postcards, Oct 14 Fine Silver, Jewellery, Oct 28 Antique and Fine Art, Oct 29

David Duggleby Auctioneers The Gallery Saleroom, Scarborough, North Yorkshire, YO11 1XN, 01723 507 111 www.davidduggleby.com Decorative Antiques and Collectors Sale, Oct 1, 22, Affordable Art, Oct 2, 23 The Furnishings Sale, Furniture and Interiors, Oct 2, 23 Jewellery, Watches, Silver and Coins, Oct 21 Duggleby Stephenson of York The Saleroom, Murton, York YO19 5GF, 01904 393 300 www.dugglebystephenson.com Jewellery Watches and Silver, Oct 7 Antiques, Fine Art and Collectors, Oct 7 Furniture, Clocks and Interiors, Oct 8 Elstob & Elstob Ripon Business Park, Charter Road, Ripon, North Yorkshire, HG4 1AJ, 01677 333003 www.elstobandelstob.co.uk Fine Art & Antiques, Includes the Contents of Broadlands, Kirkby Lonsdale, Oct 23 Maxwells of Wilmslow The Auction Rooms, Levens Road, Hazel Grove, Stockport, Cheshire, SK7 5DL, 0161 439 5182 www.maxwells-auctioneers.com Monthly Antiques and Collective, Oct 19 Mitchells Antiques and Fine Art 47 Station Road, Cockermouth, Cumbria, CA13 9PZ 01900 827 800 www.mitchellsantiques.co.uk

64 ANTIQUE COLLECTING

Omega Auctions Ltd Sankey Valley Industrial Estate, Newton-Le-Willows, Merseyside WA12 8DN, 01925 873040 www.omegaauctions The Peter Hook Signature Collection 2021, Oct 8 Tennants Auctioneers Leyburn, North Yorkshire, 01969 623780 www.tennants.co.uk Antiques and Interiors, Oct 8, 22 Modern Art, Oct 9 20th-Century Design, Oct 9 Motor Cars, Motorcycles and Automobilia, Oct 17 Stamps, Postcards & Postal History, Oct 27 Thomson Roddick The Auction Centre, Marconi Road Burgh Road Industrial Estate Carlisle, CA2 7NA, 01228 535 288 www.thompsonroddick.com None listed for October Vectis Auctions Ltd Fleck Way, Thornaby, Stockton on Tees, TS17 9JZ www.vectis.co.uk 01642 750616 Dolls and Teddy Bear Sale, Oct 5 Specialist, Oct 6, 14 General Toys, Oct 21 Model Trains, Oct 22 Matchbox, Oct 28 TV and Film-Related Sale, Oct 29 Warrington and Northwich 551 Europa Boulevard, Westbrook, Warrington, Cheshire WA5 7TP, 01925 658833 www.warringtonauctions.com None listed for October

Wilkinson’s Auctioneers The Old Salesroom, 28 Netherhall Road, Doncaster, South Yorkshire, DN1 2PW, 01302 814 884 wilkinsons-auctioneers.co.uk None listed for October Wilson 55 Victoria Gallery, Market St, Nantwich, Cheshire. 01270 623 878 www.wilson55.com Fine and Classic Interiors (Live Online), Oct 7 SCOTLAND Bonhams Queen St, Edinburgh. 0131 225 2266 www.bonhams.com The Scottish Sale, Oct 14 Great Western Auctions 1291 Dumbarton Road Whiteinch, Glasgow G14 9UY, 0141 954 1500, greatwesternauctions.com Art and Antiques, Oct 6-7, 20-21 Furniture and Interiors, Oct 6, 20 Lyon & Turnbull Broughton Pl., Edinburgh. 0131 557 8844 www.lyonandturnbull.com The Contents of Lowood House (Live Online), Oct 6 Design Since 1860 (Live Online), Oct 20-21 McTears Auctioneers 31 Meiklewood Road, Glasgow, G51 4GB, 0141 810 2880 www.mctears.co.uk The Antiques and Interiors Auction, Oct 1, 15, 29 The Coins and Banknotes Auction, Oct 14 The Jewellery Auction, Oct 17 The Watches Auction, Oct 17 The Whisky Auction, Oct 22 The Scottish Contemporary Art Auction, Oct 24 Thomson Roddick The Auction Centre, 118 Carnethie Street, Rosewell, Edinburgh, EH24 9AL, 0131 440 2448 www.thompsonroddick.com

The Edinburgh Collector’s Auction of Toys, Whisky, Postcards, Stamps, Coins, Medals and Militaria, Oct 14 Thomson Roddick The Auction Centre, Irongray Road Dumfries, DG2 0JE 01387 721635 www.thompsonroddick.com None listed for October WALES Anthemion Auctions, 15 Norwich Road, Cardiff, CF23 9AB. 029 2047 2444 www.anthemionauction.com General Sale, Oct 6 Jones & Llewelyn Unit B, Beechwood Trading Estate, Llandeilo, Carmarthenshire, SA19 7HR 01558 823 430 www.jonesandllewelyn.com General Antiques, Oct 2, 16, 30 Rogers Jones & Co 17 Llandough Trading Estate, Penarth, Cardiff, CF11 8RR 02920 708125 www.rogersjones.co.uk Jewellery and Collectables, Oct 8 Arts and Interiors, Oct 29 Rogers Jones & Co Colwyn Bay Saleroom, 33 Abergele Road, Colwyn Bay, Conwy, LL29 7RU 01492 532176 www.rogersjones.co.uk Vintage and Antiques, Oct 5 IRELAND Adam’s 26 St Stephens Green Dublin, D02 X66, 00 353-1-6760261 www.adams.ie Asian Art, Oct 5 Whyte’s 38 Molesworth St. Dublin, D02 KF80, 00 353-1-676 2888, www.whytes.ie None listed for October

ANTIQUES CENTRES

LENNOX CATO ANTIQUES & WORKS OF ART EST: 1978

•WANTED• ~ WANTED ~

for epic East Yorkshire Georgian townhouse restoration.

For East Yorkshire town house renovation.

Labelled/ stamped branded furniture from Georgian to Victorian, eg Thomas Butler, Morgan & Sanders, J Alderman, Ross of Dublin (pictured), Gregory Kane, Wilkinson of Ludgate Hill, Robert James of Bristol, James Winter, W Priest, Samuel Pratt and many others. Tables all types, chairs, bookcases, , Davenport. mirrors etc. Campaign shower. Georgian chamber horseIVexercise chair (pictured) Signed and unusual furniture. Georgian, Regency, William . Sofa / Pembroke / side tables, library furniture / bookcases. Also Victorian campaign chests, armchairs etc. Ross of Dublin, Morgan & Sanders, Williams & Gibton, James Winter, Hill & Millard Unusual to William IV architectural features andGeorgian many others. eg doors, door frames, over door pediments. 18th century

J Alderman. Daws and George Minterspindles recliningand chairs. Shoolbred/ Hamptons staircase handrail needed. Anything/ Cornelius Georgian Smith Victorian with armchairs. or Regency lots of character considered. Marble ﬁre surrounds. Georgian / Regency/ William IV. Bullseyes etc. Exceptional Georgian / Regency ﬁre grates

Rectangular Georgian fanlight.

Sash windows x 4 identical. Georgian reclaimed. Approx 58” high x 36” wide.

Four identical reclaimed Georgian wooden sash windows Wide reclaimed ﬂoorboards. Approx 100 m2. with boxes, 60 highwall x 37orwide. Early decorative oil / gas / electric light ﬁapprox ttings. Ceiling, table. Early gasoliers. Colza lamps. Gimble lamp.

1 The Square, Church Street, Edenbridge, Kent TN8 5BD 01732 865 988 cato@lennoxcato.com

www.lennoxcato.com

Roland Ward, VanMarble Ingen fire taxidermy. Human skull. surrounds fromskull. 1750Hippopotamus to 1850ish. White or coloured. Stuffed crocodile / alligator. Bullseyes, William IV styles etc. Brass Regency reeded fire

insert and Victorian griffin grate (pictured)

Quirky architectural features. Regency columns, corbels, marble and stone pieces, over door pediments, folding/rolling multi part Georgian room dividing doors.

Human skull, stuffed crocodile/ alligator.

Victorian canopy shower bath. Decorated toilets etc Unitas, Simplicitas, Deluge etc. Grand tour souvenirs. Decorated basins x 3.

vintagejewellery@yahoo.co.uk ororteltel07958 vintagejewellery@yahoo.co.uk 07958333442 333442

•WANTED• •WANTED•

VINTAGE VINTAGE WRISTWATCHES WRISTWATCHES Omega Seamasters and pre-1980s Omegas in general. Omega Seamasters and pre-1980s Omegas in general. IWC and Jaeger LeCoultres, all styles. Looking for Reversos. American market filled IWC and Jaeger LeCoultres, all styles. Looking for Reversos. American market filled and 14k pieces possibly, at the right price. and 14k pieces possibly, at the right price.

Rutland The

Longines, Tudors Tudors and and Zeniths, Zeniths,pre-1970. pre-1970.Even Evenbasic basicsteel steelmodels modelsininnice nicecondition. condition. Longines, All the the quirky quirky oddities oddities like like Harwoods, Harwoods,Autorists, Autorists,Wig WigWag, Wag,Rolls Rollsetc, etc,and andWorld WorldWar WarI I All hunterand andsemi-hunter semi-hunterwristwatches. wristwatches. hunter Early, pre-war pre-war ladies’ ladies’ watches watchesalso alsowanted wantedby byRolex, Rolex,Jaeger JaegerLeCoultre LeCoultreetc. etc.Prefer Prefer Early, 1920s/30s deco decostyles, styles,but butearly earlydoughnuts doughnutsalso alsoconsidered. considered. 1920s/30s

Yorkshire based, based, but but often oftenin inLondon Londonand andcan caneasily easilycollect collectnationwide. nationwide. Yorkshire

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Breitling Breitling Top TopTimes, Times,Datoras Datorasand and806 806Navitimers. Navitimers. Pre-1960s Rolex models, with a focus in pre-war Pre-1960s Rolex models, with a focus in pre-wartanks, tanks,tonneaus tonneausetc. etc. Gold Gold or or silver/steel. silver/steel.Also AlsoWorld WorldWar WarIIRolex Rolex13 13lignes lignesetc. etc.Princes. Princes.

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ANTIQUE COLLECTING 65

LAST WORD Marc Allum when we arrived at our second hostelry, where our friends, who are veteran antiques people of some 40 years standing, had already completely organised our itinerary, which was a mixture of eating out and ‘bargain hunting’ in their much larger and more practical vehicle.

JUGGLING ACT

The pretty Kent town of Deal offered up bargains aplenty

Marc My Words Marc Allum discovers there’s no such thing as a holiday when antiques are in your blood

ugust is traditionally a quiet time in the antiques trade. Auction houses withhold their choice items for the new season in September, while dealers head off to their houses in France. However, and for obvious reasons, this year has been slightly different and the prospect of getting a proper holiday seemed as about as remote as finding a long lost Leonardo. Having tried in vain to book a hotel, we eventually asked a couple of friends, who live by the sea, if we could avail ourselves of their hospitality for a few days. Due to the poor summer and its total lack of use, we decided to go in our old Mercedes and turn it into a bit of a road trip. Another reason for driving was the misguided thought that with so little room for buying things, it would prohibit us from visiting every antiques shop between Brighton and Deal and thus filling the car up with impulse purchases. In effect, we were trying to avoid a busman’s holiday.

66 ANTIQUE COLLECTING

CRYSTAL METH

Of course, if you buy large items it’s usually possible to find a carrier to collect but Deal is often regarded as being a bit ‘out of area’ when you live in Wiltshire so any potential purchases were going to have to be transportable. So, with that in mind, being sensible was definitely the order of day. Yet when it came to the crunch it was as if that conversation had never taken place and, as a result, it was quite a juggle getting a Victorian cast iron floor safe, an Edwardian marble topped dentist’s side cabinet, two paintings, a large Victorian cut glass lamp, a 19th-century patent neo-classical style ceramic oil lamp base and a week’s worth of luggage into a 300 SL. Amazingly enough we did. So, suffice to say if your addiction is antiques, best to just roll over and admit that you will never be able to fight it. It’s in the blood. Marc Allum is an author, lecturer and specialist on the BBC’s Antiques Roadshow. For more details go to www.marcallum.co.uk

Below Marc’s Mercedes 300 SL facilitated the trip

Now, we all know that our business is an addiction and, if you’ll excuse the comparison, ‘old stuff’ is my crystal meth, so it soon became apparent that trying not to buy anything was completely hopeless. The first couple of days were not too bad and we started off with a few small acquisitions and trinkets, mainly because our hosts – who don’t work in the world of antiques – were not bothered about trawling all of the shops. However, that situation all went awry

‘It was quite a juggle getting a Victorian cast iron floor safe, an Edwardian marble topped dentist’s side cabinet, two paintings, a large Victorian cut glass lamp, a 19th-century patent neo-classical style ceramic oil lamp base and a week’s worth of luggage into a 300 SL’

October Auctions Fine Art Auctioneers & Valuers

Traditional & Modern Home

Modern & Contemporary British Art

Tuesday 5 October

Wednesday 13 October

Design: Decorative Arts 1860 to the Present Day

Islamic & Indian Arts

Tuesday 12 October

Tuesday 26 October

www.roseberys.co.uk Email info@roseberys.co.uk for more information 70/76 Knights Hill, London SE27 0JD | +44 (0) 20 8761 2522

Trading Cards Auction: 8 October James Bond 007: 8 October The Michael Hutchings Collection: 13 October Vintage Posters Signature Live Auction: 15 October Decorative Arts & Contemporary Art: 28 October

October issue of Antique Collecting magazine

Articles inside

shines a light on comic collecting

goes behind the scenes of a period oak sale