GAZETTE DISS AUCTION ROOMS - GAZETTE - EARLY SPRING 2015 - ISSUE 41
Jewellery Page 7
Stoney
Shiney
Springy
pages 4&5
page 7
page 2
Springing to Mind For those readers with enquiring minds who are very technically able; Or others seeking dinner party topics for sharing round the table: Here’s a seasonally titled observational offering,
How to tell your spring balance from your balance spring… Spring Balance A spring balance is a device used for weighing and it works by recording the relation between the applied load and the deformation of a spring. The spring’s movement is recorded by a pointer attached to a pinion which moves proportionally along a toothed rack; Spring balance
the weight is measured off a scaled dial. The dial is graduated in scale units that depend on the stiffness of the springs: the stiffer springs have larger scale units and higher load capacity. The most famous maker is Salter Spring balances are found regularly in our Bygones auctions. They come in a variety of sizes (intended for specific commodities) and sometimes the scale plate is rectangular with a linear pointer (e.g. silver scales) rather than circular dial. The earliest examples tend to date from the 19th Century. They are collectable from a scientific perspective, but some are sought after because of the Balance spring
maker’s or trader’s name they bear and they are also sought after as decorative objects that hang effectively in timber framed dwellings.
Balance spring A balance spring is found in a traditional mechanical watch. It is used to control the oscillations of the balance wheel within the watch’s movement and
working out how to do this was an important step in the history of time keeping. It was English physicist Robert Hooke who first designed a watch incorporating a balance spring in the late 1650’s. Watch out for our Clocks & Watches auctions, this year to be held on Thursday evenings. See Sales Calendar for details. Spring balance
Modern Design
Saturday 7 March, 10am
I can hear it now “Why have you got a tea cup with a broken handle in the sale?” Well here goes.The little, brown, uninspiring cup, handle missing, sad and unused for decades, was made at the St Ives pottery in Cornwall somewhere between 1922 and 1924, in the very early days of the Bernard Leach pottery; but what makes it interesting is that it was made by Tsuronosuke Matsubayashi , the great kiln maker of the time. Born into a family of Japanese potters stretching back to the 16th Century, ceramics was in his blood. In 1922 Matsu was asked by Bernard Leach to come over to St Ives and build what was to be the first Japanese style kiln built in the west.This was after Leach’s own kiln failures of the previous year and the resulting Matsu kiln served Leach for the next 50 years. He also potted; a skilled craftsman and highly respected he had a great influence on the early careers of two of Britain’s greatest studio potters, Michael Cardew and Katherine Pleydell –Bouverie. Very few of Matsu’s works survive from that early period of the St Ives factory and this is why the little cup is a featured lot on it’s own. Putting a handle on a teacup would have been quite alien to him; was this a request from Bernard? Was he trying handle making out for the first time? Is this the only known handled teacup made by him? We shall possibly never know. It is a shame that the handle is broken but for anyone collecting the work of the St Ives potters this must be one to go for.
Modern Design - Saleroom 1 Saturday 7 March 2015 on view Thursday 5 March 2-8pm Friday 6 March 10-6pm & sale morning from 8.30am Bidding via twgaze.co.uk or live bidding via
Contact James Bassam
In 1924 the kiln was a success and Matsu moved on to build a kiln for Pleydell-Bouverie the following year before going back to Japan. During his time in England he gave talks at the pottery, divulging his immense technical knowledge of pottery and kiln making. Some of this was probably too much for the novices, even Leach, but some, like Pleydell-Bouverie used his experience, making notes which helped her and Cardew throughout their careers. Sadly Matsu died young, sometime around 1938, but his teachings and kilns remained in use long after. The cup is part of a good selection of Studio Pottery which also includes the works of Michael Cardew from the Winchcombe Pottery along with examples from his son, grandson and pupils at Wenford Bridge, all in line with the Japanese tradition and keeping Matsubayashi very much alive.
Romancing the Stone The next Architectural Salvage & Statuary auction will be held on 14 February. These internationallyrenowned sales have been an integral part of the firm’s auction calendar for 20 years. They continue to thrill and fascinate those who witness the assemblage of artefacts amassing in preparation or who attend the sales themselves, either to buy or to satisfy idle curiosity borne of a passion in reality too big to be housed. Phrases such as “It’s amazing where it all comes from”, “I’ve been searching for something like this for years – it’s just perfect”, “I wish my house was big enough to accommodate this, I think it’s absolutely gorgeous”, “Now I’ve bought it I shall have to work out where I’m going to put it” and “Where does it all come from?” are regularly heard said by visitors and customers. The truth is items arrive for sale from all over the British Isles. Thanks to the Due Diligence Policy TW Gaze operates in association with the police and the salvage industry’s own
regulatory systems, buyers can be confident that pieces are sourced correctly and legitimately. Vendors may be demolishion experts and salvage specialists who have deconstructed a public building such as a Victorian school, hospital or country house or a private individual selling garden features such as statues, fountain or urns prior to moving house, or indeed people who have left-over materials from
By Elizabeth Talbot
a conservation or building project.
finishing touch to a scheme.
The magic is that one never knows what eclectic mix will greet you and every sale is very different. Items are often unique and the option to buy may represent a once-in-alifetime chance. One can source elusive materials to satisfy testing criteria for listed property projects or happen upon a characterful piece to add a charming
However, the concept of salvaging building materials from one place and redeploying them elsewhere is millennia old. Buildings that have been besieged or have fallen into disrepair have been fair game for thrifty recyclers since the dawn of mankind’s ability to construct. The alternative to re-using materials, especially stone, is to quarry some more and this has always been an expensive activity. Subsequent settlers have tended to pillage previous inhabitants’ structures and reconfigure the buildings to satisfy their own needs in their own style. Some cultures have embraced architectural reclamation as an intentional design element; Roman emperors, for example, were renowned for taking features from earlier edifices to work into their own extravagant building programmes. Medieval builders are acknowledged to have been great scavengers and many of their castles and churches reused remains of Roman ruins
nearby. In turn, parts of Medieval buildings have been redeployed in subsequent generations of developers and architects. During the 18th and 19th Centuries the affluent and the educated were embarking upon “the Grand Tour”; an opportunity to travel and see historical places of interest that had become so well thought of and lauded by influential artistic, scholastic and political figureheads of the Renaissance. An express aim of those undertaking this mammoth cultural trip was to return laden with cultural treasures and architectural trophies including statues, columns, stone, marble and mosaic, carvings and wall friezes; that they could be incorporated into the design schemes of country estates – houses and gardens - as a display of learning, cultural appreciation, adventurous exploration, and ultimately of wealth.
fashionably reproduced on expensive painted and printed porcelain of the day, engraved as decoration onto silver and were included in the art works of popular artists; casual backdrops to avant-garde portraits and landscapes. The same influences are borrowed throughout the Victorian age, for example, seen in clock cases “of architectural form”, case furniture with broken pediments or the predominance of marble and Parian statuary, often after Classical subjects. By the 20th Century the supply of architectural pieces in the UK was fuelled by changes in social structure and the decline of the landed gentry. Instead of it being the domain only of those who could afford to source items from abroad or commission architects and craftsmen to produce the best for them, it became accessible to everyone.
After World War II many grand houses were closed, cleared and demolished – hence In the 18th Century’s era the proliferous trend of Neo-Classic revival for “Country House the romanticism of ruins sales” which are fondly influenced architectural recalled – and vast features such as follies numbers of Georgian or pseudo-ruins, often and Victorian buildings built in the grounds of were raised to the lavishly landscaped ground as part of innergardens and parkland. In city regeneration turn, such images were programmes starting in
the 1950’s. Forwardthinking imaginative demolition contractors became specialist salvage experts, amassing items in vast quantities that would otherwise have been lost forever; from complete porticos and edifices to boundary walls and palatial gates, from baths, taps and tiles to panelling, beams and servants’ bells, from staircases, window casements and fireplaces to roof tiles, bricks and door knockers. The auction in Diss will include most of the above plus room timbers, wall tiles, light fittings, garden furniture and carvings. Stone will also be well represented in the form of troughs, flooring, sinks, urns, millstones, staddle stones, birdbaths, sundial columns and fire mantels. By the 1980’s refurbishment
incorporating reclamation was big business and furnishing firms such as Laura Ashley actively introduced architectural salvage as a fashionable element of interior design. Increasingly the buying public has become more informed about building conservation, but has also learned to be creative, and introduce vintage and antique elements to their surroundings however modest or newly built. So, if your Spring project is likely to incorporate some architectural salvage, make it a date to visit Diss on 14 February (we also sell very imaginative St Valentine’s Day gifts!) See twgaze.co.uk for viewing and catalogues. twgaze.co.uk
Announcement Coinciding with the completion of this issue Carl Willows announced that he would be retiring on 28 March 2015. With over 20 years impeccable service we wondered what memories he would be taking with him... The days of 1500+ lot auctions…The days of no fork lift….The Liverpool school frontage….The French cemetery pieces….Record breaking prices for York stone….Robbie knocks down (not literally) marble figure for £29,000…The decade of the Private Bygone collections….The London Museum clear out….off in a puff of smoke. All the best Carl from everyone at TW Gaze and beyond. Taking the helm of the Architectural Salvage & Rural Bygones sales will be Robert Kinsella whom Carl has mentored over several years.
Give us a ring Jewellery with Antiques Friday 13 February 618 548
Rings have been exchanged for over 6000 years. Over milenia the meanings behind the exchange and wearing of finger rings has varied depending on the time, but one constant has been the exchange of rings as gifts, and as we all know, gift buying is hard. Especially if the gift you have chosen has some unwritten meaning based on its design. Using our Jewellery auction (13/2/15) we have constructed this mini guide for some names of ring styles that may help.
Cameo Ring 415
In the purely decorative category; a miniature carving, often in shell, mounted on a hoop of varying design. Lot 618….plain hoop with carved cameo.
Wedding Ring Sometimes called a wedding band due to the simple band design. Made of gold or other precious metal. Simplicity of design directly opposite to the significance – you are married. Lot 548….22ct wedding band. 459
Solitaire ring A large single set stone generally exchanged at the time of engagement. Traditionally worn from that day forward to demonstrate commitment. Is there a more difficult purchase? Lot 415…. diamond solitaire ring, in four claw mount 1ct approx.
Half hoop 616
A ring with only half the hoop set with decoration. Mostly worn for decoration with freedom of choice on stones and ring material Lot 459…. half hoop ring the central square cut sapphires flanked by four round cut diamonds to each side
Signet ring 386
A ring containing a seal or signet. Recently this has taken the form of initials which some would consider make it unique for that person. Lot 616… 9ct gold gent’s signet ring, monogrammed
Cluster ring
The most expressive of rings, a setting with multiple stones in a variety of combinations. Lot 386…. An 18ct white gold ruby and diamond cluster ring
Eternity ring 517
Often given in lieu of engagement rings, a ring symbolizing eternity with a partner. And not as I was told “you will be paying for that for eternity” Lot 517… two silver eternity rings
Gem stone/mount/setting
Bezel Shoulder Hoop/Shank
It doesn’t take much to get TW Gaze Director Mike Sarson on stage; just some props and a costume or two! This is something we have known for some time but on Saturday 17 January it was all in a good cause as Mike took to the exquisite Maddermarket stage to sell a range of eclectic items in aid of their ongoing refurbishment work. The first of several significant offsite productions for TW Gaze in 2015 this auction was a unique chance for people to own a small piece of the theatres history, whether that was a late 19th C settle, a pine spinning wheel or an animatronic chicken! Most had appeared on stage before over more than 50 years of productions right up to the Christmas 2014 show, The Borrowers.
GAZETTE Issue 41/winter’15
Some knight’s armour and a green Christian Dior coat were two scene stealers – both selling for £300. A 20ft flag pole (£250), a William Shakespeare shield (£50) and the aforementioned novelty chicken (£70) were amongst the supporting cast, whilst a Strand theatre uplighter was possibly the show stopper at £420. With the 80 lot auction combining to raise nearly £7000, the collective effort of all involved prompted creative director Stash Kirkbride to declare the Gala event a “truly astounding result”. We would like to thank Stash and his co-director Pete Beck for inviting us to be involved and giving Mike the opportunity for his performance.
Mike Sarson
£300 £300
Gala Fundraising Auction The auction was hosted in association with local charity Break, some of the money raised going towards the completion of The Maddermarkets excellent Shakespearean Dragon which will form part of the Go Go Dragons trail around Norwich later this year. News on TW Gazes involvement coming very soon.
Chances of an encore? You try and stop him!
Diss Auction Rooms, Diss, Norfolk IP22 4LN 01379 650 306 auctions@twgaze.co.uk www.twgaze.co.uk