Antique Collecting magazine February 2024

S A L E R E S U L T S I N S I D E A V E N E T I A N P A L A Z Z O L AT E S T U K A U C T I O N L I S T I N G S

FEBRUARY 2024

ON HER MAJESTY’S SECRET (TEA) SERVICE

From model corgis to the ‘revenge’ dress, props from the hit show The Crown go under the hammer

ANTIQUE COLLECTING

7

Snuffbox makers

VOL 58 N0.8 FEBRUARY 2024

Every collector should know

Nagging Feeling

Discover the equine art o f Lu Kemp-Welc cy h

Inside:

MENDING LIBRARY

RESTORING A MARSH & TATHAM BOOKCASE

FEAT OF CLAY FLIGHT & BARR CERAMICS IN THE SPOTLIGHT

DEALER of the CENTURY Unmissable treasures from the legendary collection of Dailey Warner are up for sale in Essex ALSO INSIDE Two pages of antique puzzles • Best industry columnists • Book offers

The Collector to include Silver & East Anglian Objects Wednesday 14 February 2024 at 10am at our Glandford Auction Gallery

www.bishopandmillerauctions.co.uk Glandford Auction Gallery: 12 Manor Farm, Glandford, nr Holt, Norfolk, NR25 7JP norfolk.enquiries@bm-auctions.co.uk 01263 687342 Stowmarket saleroom: 19 Charles Industrial Estate, Stowmarket, Suffolk, IP14 5AH enquiries@bm-auctions.co.uk 01449 673088

FIRST WORD

Welcome I have a pal who works as a lighting engineer and any time we find ourselves slumped in front of Saturday night telly, he points out that the real stars of Strictly, X-Factor, The Masked Singer, etc. (I have no shame) are not the celebrity hosts, panel or even participants but the lighting technicians. All those talented men and women behind the scenes who make the shows look terrific but receive little or no public plaudits.

I was reminded of this when Bonhams unveiled its plan to sell some 450 props from the hit Netflix show, The Crown. The ingenious way in which the set designers and production staff recreated scenes ranging from the Audience Room in Buckingham Palace (actually Wrotham Park in Hertfordshire) to Treetops in Kenya is nothing short of remarkable. This month’s lots range from the Queen Mother’s swizzle stick, to the most intricate Chippendale reproductions. Whether you were an avid fan, or went to great lengths to avoid it, I challenge you not to be impressed by the efforts the makers went to to recreate scenes as true to life as possible. If you want to be part of the drama, see the props you can own on page 46.

Of course The Crown has not been Netflix’s only foray into the British royal family. Its hit show Bridgerton portrayed Queen Elizabeth II’s great-great-great-great grandmother, Queen Charlotte, wife of George III (the mad one). Charlotte was known for many things: Being German, introducing the Christmas tree, moving the royal residence from St. James’s Palace to Buckingham Palace and having 15 children. She also has a lesser claim to fame, namely, her addiction to snuff. So great was her love of powdered tobacco she dedicated a room to it at Windsor Castle and had, at the time of her death in 1818, accumulated no fewer than 90 snuffboxes. Why am I telling you this? Because on page 32 we look at the Georgian craze for snuff taking which sparked a boom in the production of highlycollectable snuffboxes, several of which are up for sale this month.

Elsewhere in the magazine we celebrate the life and work of the 20th-century equine artist Lucy Kemp-Welch, who was, in her day, better known than Stubbs or Munnings; and discover the exceptional porcelain produced by the Worcester maker Flight & Barr.

Enjoy the issue.

IN THIS ISSUE

CARA MILLER

on how growing up surrounded by antiques inspired her new murder mystery novel, page 6

DAVID HARVEY

restores a Regency bookcase to its former glory and discovers clues to its famous maker, page 16

DAVID MESSUM

reveals why the equine art of Lucy Kemp-Welch is racing away with collectors, page 18

We love!

Georgina Wroe, Editor

this Victorian silver heartshaped vesta case which has an estimate of £80-£120 at Catherine Southon’s sale on February 14

KEEP IN TOUCH Write to us at Antique Collecting, Riverside House, Dock Lane, Woodbridge, Suffolk, IP12 1PE, or email magazine@accartbooks.com.

Visit the website at www.antique-collecting.co.uk and follow us on Twitter and Instagram @AntiqueMag

ONLY £38 for 10 issues

IRITA MARRIOTT

shares another slice of her life as an auctioneer, TV expert and dealer, page 52

THE TEAM Editor: Georgina Wroe, georgina. wroe@accartbooks.com Online Editor: Richard Ginger, richard.ginger@accartbooks.com Design: Philp Design, philpdesign.co.uk Advertising and subscriptions: Charlotte Kettell 01394 389969, charlotte.kettell @accartbooks.com

SUBSCRIBE TODAY TO ANTIQUE COLLECTING Call 01394 389969 or email charlotte.kettell@accartbooks.com

ANTIQUE COLLECTING 3

THE

WarnerDailey COLLECTION

Thursday 22 February | 10am “Collecting is almost everything in my life. It’s had a huge influence on me. It’s a constant stimulation that you can’t get from anything else.”

London Highlights Preview | 6 - 10 February Stansted Viewing | 17 - 22 February (excluding 20 February) auctions@sworder.co.uk | 01279 817778 | sworder.co.uk

REGULARS 3

Editor’s Welcome: Georgina Wroe introduces the February magazine

6

Antiques News: A round-up of all the latest from the world of antiques and fine art, as well as details of three exhibitions to start the year off in style

10 Your Letters: This month’s postbag reveals memories of the late, great Worcester expert Henry Sandon, and Lego from the 1970s

24

Contents VOL 58 NO 8 FEBRUARY 2024

12 Around the Houses: Our selection of notable sales from the UK’s leading auctioneers includes a world record for a pot by Lucie Rie and reports of a boom in novelty silver 16 Waxing Lyrical: David Harvey breathes new life into a Regency bookcase which could be the work of the illustrious 19th-century makers Marsh & Tatham

S A L E R E S U L T S I N S I D E A V E N E T I A N P A L A Z Z O L AT E S T U K A U C T I O N L I S T I N G S

30 Saleroom Spotlight: Behind the scenes at the sale of the celebrated collector and former Masterpiece Fair chairman Philip Hewat-Jaboor

FEBRUARY 2024

ON HER MAJESTY’S SECRET (TEA) SERVICE

Nagging Feeling

Discover the equine art of Lucy Kemp-Welch

From model corgis to the ‘revenge’ dress, props from the hit show The Crown go under the hammer

ANTIQUE COLLECTING

Snuffbox 7makers

VOL 58 N0.8 FEBRUARY 2024

Ever collector should know

Inside:

MENDING LIBRARY

RESTORING A MARSH & TATHUM BOOKCASE FEAT OF CLAY FLIGHT & BARR CERAMICS IN THE SPOTLIGHT

38 Puzzle Pages: Put your antiques knowledge to the test this month by pitting your wits against the super brain of our quiz editor Peter Wade-Wright

DEALER of the CENTURY Unmissable treasures from the legendary collection of Dailey Warner are up for sale in Essex ALSO INSIDE Two pages of antique puzzles • Best industry columnists • Book offers

COVER

Doccia porcelain from the Mavis Watney collection on sale this month at Woolley & Wallis, see page 5

40

52 Lots of Love: New columnist Irita Marriott shares her love of that most feminine of accoutrements - the pressed powder compact 54 Top of the Lots: Lots from one of Venice’s most opulent palazzos, which hosted some of the most glittering parties of the 20th century go under the hammer this month

FOLLOW US @AntiqueMag

32 54

56 Book Offers: The latest titles from our sister publisher ACC Art Books include Scottish Art in 100 Works and Impressionists on Paper - Degas to Toulouse-Lautrec. Order today and save more than a third on both titles 58 Fairs News: Details of four events to visit this month with venues ranging from Epsom racecourse to Maldon in Essex 59 Fairs Calendar: Never miss another fair with our guide to all the events in your region and around the UK

12 60 Auctions Calendar: Up-to-date listings from the major UK salerooms, online and in person 64 Subscription Offer: Save more than a third on the latest subscription offer and you, or a friend receives a free gift and the magazine delivered straight to your door 66 Marc My Words: A behind-the-scenes glimpse of a day in the life of Antiques Roadshow expert Marc Allum

FEATURES 18 Horse Play: A new exhibition and book celebrates the life and work of the equine artist Lucy Kemp-Welch once considered the best horse painter of the 20th century 24 Dailey Worship: Considered one of the finest collectors/dealers of his generation, 200 lots from the collection of Dailey Warner are up for sale at an Essex auctioneers this month 32 Snuff Said: Taking powdered tobacco was de rigueur in Georgian high society, the craze leading to some attractive and intricate snuffboxes which are highly sought after today 40 Taking Flight: Author of a new book on the Worcester porcelain manufactory Flight & Barr, Charles Dawson reveals why ceramics by the unsung maker are all the rage 46 Crowning Glories: Fan of The Crown? Some 450 props from the hit streaming series go under the hammer this month and, with estimates starting at £60, there is something for everyone

TO SUBSCRIBE TODAY VISIT WWW.ANTIQUE-COLLECTING.CO.UK/SUBSCRIBE WEEKDAYS FROM 9.30AM TO 1PM, ANTIQUE COLLECTING 5

NEWS All the latest

Shining light A monumental three-part window, designed by Agnes Northrop (1857-1953) one of the ‘Tiffany Girls’ working in the studios of Louis Comfort Tiffany, is to go on show at a New York Museum.

The window was originally commissioned by Sarah Cochran, a Pittsburgh businesswoman and philanthropist for Linden Hall – the grand Tudorrevival estate she had built in 1912 in Dawson, Pennsylvania.

WHAT’S ON IN FEBRUARY

ANTIQUE

news

Get 2024 off to a flying start by immersing yourself in all the latest news from the word of antiques and fine art On the Dot Fashion curator Bethan Bide will guide fashion lovers through the finer points of the coat worn by the EastEnders character Dot Cotton at a talk this month.

The seminar on February 3 is part of the Museum of London’s exhibition exploring the important role Jewish tailors and retailers (including Moss Bros and M&S) played in creating some of the most recognisable looks of the 20th century The famous brown tweed Alexon coat was worn by actress June Brown in the long-running soap opera.

Fashion City: How Jewish Londoners Shaped Global Style continues at Museum of London Docklands until April 14.

6 ANTIQUE COLLECTING

Above The window goes on

show in New York later this year, image courtesy of the Metropolitan Museum of Art

Northrop worked at Tiffany for more than half a century becoming an accomplished, if not always credited, designer of stained-glass windows. As reported in last month’s magazine, the ‘Tiffany Girls’, including Northrop and Clara Driscoll, were responsible for some of the bestknown designs at the famous glassmakers.

The window, which is more than 10ft (3m) wide will be installed in the museum in November this year.

Right The interior of

the chapel at Ushaw in County Durham which has won a major prize Below The coat wore by Dot Cotton is the subject of a new talk, image courtesy of Museum of London Docklands

GEORDIE SCORES Ushaw, a former Catholic seminary in County Durham, west of the city of Durham, has scooped the prize for the prestigious 2023 ‘Historic Houses Collections Award’.

The gong honours owners and curators who best presented their collections to the public in that year. Ushaw’s collection of fine art, religious and secular objects includes more than 50,000 books including the Nuremburg Chronicle of 1493, Isaac Newton’s Principia Mathematica and a first edition of Charles Darwin’s seminal book On the Origin of Species.

Additionally, there are more than 60 incunabula (books printed before 1501). The historian Eamon Duffy described Ushaw’s literary holdings as “unquestionably the most important Catholic library in Britain.”

Judges also praised Ushaw’s outdoor digital treasure hunt which guides visitors through key points in the college’s history.

Far left Frank Auerbach (b. 1931) Head of Julia II, 1960, charcoal and chalk on paper. Private collection Left Frank Auerbach (b.

1931) Self-Portrait, 1958, charcoal and chalk on paper. Private collection Top far right Pasquarosa

Marcelli (1896-1973) Pink Cineraria, (Cineraria rosa), 1918, oil on canvas Top right Pasquarosa Marcelli (1896-1973) Jug and Little Bird, (Brocca e uccellino), c.1918-1930, oil on pressed cardboard

1

Frankly speaking

A London gallery unveils a new exhibition of largescale portraits of heads in charcoal by Frank Auerbach (b.

1931) this month.

Born in Germany, Auerbach became a naturalised British subject in 1947 and is considered one of the leading names in the School of London, along with fellow artists Francis Bacon and Lucian Freud.

During his years as a young artist in postwar London, Auerbach spent months completing a series of works in charcoal and chalk.

The Charcoal Heads, on at The Courtauld from February 9 to May 27, brings together these drawings alongside six paintings he made of the same sitters.

3

Abstract thinking

A Kent gallery celebrates the contribution of women artists to global expressionism this month with a new exhibition.

Turner Contemporary in Margate unveils Beyond Form: Lines of Abstraction, 1950-1970 on February 3, showcasing 80 artworks by 50 artists, including the French-American artist Louise Bourgeois (1911-2010), Romanian-born American artist Hedda Sterne (19102011)and the Czech painter Maria Bartuszová (19361996). Expressionism, which started at the beginning of the 20h century, is characterised by a rejection of traditional artistic methods in favour of spontaneity and gesture. The exhibition continues until May 6.

Below left Frank Auerbach (b. 1931) Head of Helen Gillespie II, 1962, charcoal and chalk on paper. All images © the artist, courtesy of Frankie Rossi Art Projects, London

3 to see in

February Above right Pasquarosa

in Rome 1914 Far right Faith Ringgold (b. 1930) Windows of the Wedding #13: Mother, 1974, textile, © Jhaveri Contemporary

2 Roman holiday

An exhibition devoted to Pasquarosa Marcelli (1896-1973) – one of the first Italian artists to have a solo exhibition in London – continues at a London gallery this month.

After moving to Rome and working as an artist’s model, Pasquarosa became part of an influential artistic coterie, including her future husband the painter Nino Bertoletti.

Her first exhibition, at the Roman Secessionist exhibition in 1915, was met with unexpected acclaim and she continued to exhibit within Italy throughout her life. She notably participated in numerous Venice Biennales from the 1930s until shortly before her death in 1973.

Pasquarosa: From Muse to Painter continues at the Estorick Collection of Modern Italian Art, Islington, until April 28.

Right Sue Fuller (1914-

2006), String Composition #82, 1957, courtesy of Luxembourg + Co. © Estate of Sue Fuller Below Ida Barbarigo (1925-2018), Construction (la ville), 1955, oil on canvas, © Estate of the Artist and Axel Vervoordt Gallery © ADAGP, Paris and DACS, London 2023

ANTIQUE COLLECTING 7

NEWS All the latest Behind the scenes

Women only The British Library has unveiled plans for a major exhibition exploring the challenges, achievements and daily lives of women throughout Europe from 1100-1500.

Medieval Women, opening in October, will show how women exerted great influence in private, public and spiritual realms in roles as diverse as nuns, artists and writers.

Objects on display will relate to women such as the religious visionary Joan of Arc; the Italian-born French poet and court writer Christine de Pizan; and Shajar al-Durr, the female ruler of Egypt who defeated Louis IX of France in the Seventh Crusade.

Above Margaret of

Anjou, Queen of England, presented with a book © British Library Board

There are two opportunities to go behind the scenes at the hidden collection of the Royal Museums Greenwich this month.

February 8 and 22 sees two guided tours of the Prince Philip Maritime Collections Centre, home to the museum’s stored collections and conservation studios.

While the facility is usually closed to the public it opens for behind-thescenes talks where visitors can meet the conservation team and learn first-hand about the objects’ voyage from store to display.

ROCK STAR More than 300 rare prints from 140 photographers on loan from the private collection of Sir Elton John and David Furnish go on show at an exhibition at the V&A this year.

Covering the period from the 1950s to the present day, it brings together some of the greats of 20th-century photography, including Robert Mapplethorpe, Cindy Sherman and Diane Arbus.

Subjects to be explored include fashion, reportage, celebrity, the male body, and American photography.

Portraits of stars from stage and screen also feature, including Marilyn Monroe, as well as the jazz musicians Miles Davis, and Chet Baker, alongside iconic images from key moments of history from the Civil Rights movement of the 1960s, to AIDS activism of the 1980s and the events of September 11, 2001.

Collections Centre

IN THE ARMY A major new exhibition at the British Museum opens this month looking at what it was like to be in one of the most elite fighting forces of all time.

Legion: Life in the Roman Army, running from February 1 to June 23, eplores the reality of daily life for the men, women and children who were part of the machine which allowed Rome to master its vast empire. The blockbuster show includes more than 200 objects from 28 lenders.

Below A gold coin shows oath-taking between two soldiers, © Trustees of the British Museum

Above Chet Baker, New York City, 1956, Herman Leonard. © Herman

Leonard Photography, LLC

30 seconds with...

Cara Miller (daughter of antiques expert Judith Miller who died last year) and whose novel is out this month What is the book about?

It’s a fun murder mystery about Freya, a down-on-her-luck former antiques hunter, who leaves London to team up with her eccentric aunt Carole.

When Carole’s antique-dealer mentor dies in suspicious circumstances he leaves a letter full of clues, culminating in an antiques convention in Suffolk where everyone’s a suspect.

8 ANTIQUE COLLECTING

Above A curator at the Prince Philip Maritime

How did it come about?

As a family we play a lot of Cluedo and I started to wonder if the killer was Professor Plum in the library with a candlestick… what type of candlestick was it? Art deco? What was it made of? Brass, silver, porcelain?

I have a love of both crime fi ction and antiques, and it was on a phone call to my mother, Judith Miller (author of The Miller’s Antique Price Guide) that the pieces of the jigsaw came together and I started writing.

What was it like growing up as the child of a renowned antiques expert?

As a child I was oblivious to the antiques around me but when I started working on The Miller’s Antique Price Guide in my

twenties, I discovered I knew a lot more than I thought, without being taught!

Do you collect, if so, what?

Yes, mid-century modern furniture, Royal Copenhagen vases and Georg Jensen jewellery by Vivianna Torun Bülow-Hübe and Astrid Fogg. One of the themes in The Antique Hunter’s Guide to Murder is which items we love and why we love them. I believe we love the things we have a deep emotional connection to.

The Antique Hunter’s Guide to Murder, is published by Pan Macmillan on February 29, with the hardback priced at £16.99

The year that was

Men of letters The National Library of Scotland is appealing for money to fund a curator to catalogue the diaries, letters and personal papers of three of the country’s most renowned modern writers.

The library recently acquired the archives of Alasdair Gray, George Mackay Brown and James Kelman and require a dedicated curator to make sense of them.

Sir Ian Rankin, who donated his own archive to the library in 2019, said: “Cataloguing is a large (and largely invisible) job that remains absolutely indispensable to the libary’s work. I know from first-hand how a skilled cataloguer can create order from a chaos of files, folders and scraps of paper.” To donate visit www.nls.uk/writers-archives Above Stacks of ephemera requires a curator to

catalogue them

WARE THERE’S A WILL The Art Fund, the UK’s national charity for art, has launched a fundraising drive to raise £1.2m in 2024. The fund, which celebrated its 120th anniversary in 2023, exists to bring hundreds of thousands of objects and works of art into public collections.

In previous years it has acquired Velázquez’s Rokeby Venus and Artemisia Gentileschi’s Self Portrait as Saint Catherine of Alexandria.

The charity was established in 1903 by a group of artists and patrons, including Roger Fry – prompted by the government’s inadequate museum funding.

Above The Art Fund purchased the Great Bed of

Ware for the V&A in 1931

The record-breaking sale of the Freddie Mercury collection and the auctioning of Princess Diana’s famous ‘black sheep’ jumper have been revealed as last year’s highlights of a London auction house.

Sotheby’s listed both events in its most memorable events of 2023, with the former making an auction total of £40m – the highest amount for a cultural icons collection at auction.

Records were set for the composer’s piano and the silver snake bangle worn in the Bohemian Rhapsody video – which became the most expensive piece of jewellery owned by a rock star to be sold at auction.

Meanwhile, Princess Diana’s ‘black sheep’ jumper sold at Sotheby’s New York in October for $1.14m (£1.1m), making it the most expensive item of her clothing to sell at auction. The princess was first seen wearing the sweater, which was expected to make $50,000-$80,000 (£40,000-£63,000), pre-wedding, at one of Prince Charles’s polo matches when she was just 19.

Top The Freddie Mercury sale took the auction world by storm in 2023 Above Princess Diana’s

jumper leapt past its pre-sale estimate in October

BORBÓN CREAM A full-length portrait of a Spanish queen by Diego Velázquez (1599-1660), is expected to smash the existing record for a work by the 17th-century artist when it is auctioned across the pond this month.

Isabel de Borbón, Queen of Spain is valued in the region of $35m (£27.8m), more than double the current $16.9m (£13.3m) auction record for a work by Velázquez.

The 2m (6½ft) high canvas depicts Isabel aged in her 20s in a highly-decorated black court dress, holding a fan in one hand with the other resting on the back of a chair.

King Philip IV of Spain and Portugal appointed Velázquez as a court painter.

In 1628, he met Peter Paul Rubens, whose confident brush strokes Velázquez quickly adapted to develop a new style.

The sale takes place at Sotheby’s New York on February 1.

Right The portrait of Isabel de Borbón could smash

auction records, image courtesy of Sotheby’s

Hot Fuzz A soft, pinkish-orange hue called ‘peach fuzz’ is Pantone’s pick for the 2024 colour of the year.

Leatrice Eiseman, executive director of the Pantone Colour Institute, said: “This year’s choice echoes our innate yearning for closeness and connection and resonates with compassion, offers a tactile embrace, and effortlessly bridges the youthful with the timeless.”

Pantone is best known for its colourmatching system, created in the 1960s, that numbers hues with a distinct chip format. The company also runs the Pantone Colour Institute, which selects the colour of the year, predicting interior trends.

Above Peach fuzz is this year’s colour of the year

ANTIQUE COLLECTING 9

LETTERS Have your say

Your Letters

There is praise for the irises bred by the celebrated plantsman and artist Cedric Morris and memories of the Worcester expert and beloved Roadshow expert Henry Sandon How sad I was to learn of the death of Antiques Roadshow specialist and Worcester porcelain expert Henry Sandon who I was lucky enough to meet at a local filming of the show. Henry’s knowledge was encyclopaedic and never once needed to consider a reference book or, heaven forfend, the internet before he delivered his considered analysis of the piece in front of him.

While I would never be bold enough to claim any affinity with the great man, we have one thing in common. Henry changed career to study archaeology after discovering Roman pots in his garden near Worcester. I also threw in my job as an accountant to study the same subject and have never looked back. I raise a glass to Henry and his determination to follow his own path.

Ian Jones, by email Thanks so much for the trip down memory lane that your recent article on Lego provided (Lego Maniacs, December issue).

Just the sight of the box was enough to take me back to playing with those iconic bricks with my sister in front of an open fire in the 1970s. My father ran a sweet shop and we kept our treasured collection in a large sweet jar. How amazed I was to read about how Lego has progressed over the years into the realms of model spaceships and intricate castles. Back then we were thrilled when plastic windows were introduced. Happy times.

K. Bates, Illingworth, by email

10 ANTIQUE COLLECTING

Our star letter receives

a copy of British Designer Silver by John Andrew and Derek Styles worth £75. Write to us at Antique Collecting magazine, Riverside House, Dock Lane, Melton, Woodbridge, Suffolk, IP12 1PE or email magazine@ accartbooks.com

Left Henry Sandon

(1928-2023) Top right Plans are afoot to open the house and gardens to the public Above right Sir Cedric

Morris (1889-1982), May Flowering Irises No. 2, 1935, oil on canvas © Philip Mould & Company Below left Last month’s feature on Lego brought back some childhood memories

St lettar er

Living in Suffolk I have always known about the beautiful grade-II listed home Benton End, in Hadleigh, the former home of celebrated artist Cedric Morris (1889-1982) who, with his partner Arthur Lett-Haines, (1894–1978) ran the East Anglian School of Painting and Drawing.

While last month’s magazine introduced me to the work of the painter Lucy Harwood (of which I knew precious little), for me, it has always been Morris’s work as a gardener that has captured my imagination. As readers may know, Morris cultivated irises. Although many of his 90 or so introductions have been lost, several have been rediscovered. News that the Benton End garden, with all its irises, may be open to the public as early as 2026 is wonderful to hear.

Joyce Quinn, Suffolk

The answers to the quiz on page 38.

Q1 (b) It refers not to the cire-perdue (‘lost wax’) process, but from a mould of the existing model.

Q2 (c) Possibly from the Italian word ‘alfiere’ or standard-bearer. Q3 (c). Q4 (a). Q5 (d) They have flat blades. Snuffers, although capable of ‘snuffing out’ a flame, have a cutting edge for removing the burnt part of the wick. Q6 (c) An American term for a late 19th-century dressing table. Q7 (b) A shield-shaped coin with Pan’s head on the obverse and Athena with shield and thunderbolt on the reverse. Q8 (a) and (b). He began his artistic career designing stained-glass for Milan Cathedral. Q9 (b) and (d) It was a 1929 society (Circle and Square) for Constructivist artists. Only three issues of their journal of the same name were published (19291930). Q10 (a) The silk used for cravats and is sometimes still used for ties.

The anagram pork watch, can be rearranged to make the word patchwork, art skeptic is an anagram of taperstick, mentor chore, forms the word chronometer and aha! Romp can be rearranged to make amphora.

FINE ART AUCTIONEERS SINCE 1911

Have you heard?

Our new sale days for 2024 are now Fridays and Saturdays Why, that’s marvellous news

thecanterburyauctiongalleries

The Canterbury Auction Galleries

E V SAHE T TES DA 9th & 10th February

7th & 8th June

4th & 5th October

Consignment deadline 21st December 2023

Consignment deadline 3rd May 2024

Consignment deadline 30th August 2024

12th & 13th April

2nd & 3rd August

29th & 30th November

Consignment deadline 8th March 2024

Consignment deadline 28th June 2024

Consignment deadline 25th October 2024

Call us to book a free valuation at home or at our Canterbury salerooms: 40 Station Road West, Canterbury, Kent CT2 8AN Telephone 01227 763337 Email general@tcag.co.uk Visit thecanterburyauctiongalleries.com

TCAG - full page.indd 1

14/12/2023 09:58

AUCTION Sales round up

AROUND the HOUSES An Iron Age brooch and the first ever Panini World Cup album are among the more unusual lots sold in UK salerooms

Bonhams, Paris A world record was set for a work by the Austro-British potter Lucie Rie (1902-1995) when a footed bowl, dating from the 1980s, sold for £330,200, nearly 10 times its low estimate of £50,000–£80,000.

The sale toppled the previous record for Rie’s work, also a footed bowl, which fetched £171,000 at a Phillips auction in 2020.

Bonhams’ director of 20th-century design, Claire Gallois, said: “Rie is one of the greatest names in 20th-century British ceramics.

This rare bowl was a true masterpiece, and I am not surprised there was such keen bidding in the room, on the phones and online, with the outcome being a new world auction record for a work by her.”

At the same sale a 2006 speckled collar vessel by Jennifer Lee (b.1956) sold for £25,000, against an estimate of £8,600- £13,000.

Olympia Auctions, London An oil on panel by the Scottish artist Bessie MacNicol (1869–1904) – one of the famous ‘Glasgow Girls’ – beat its estimate of £5,000-£7,000 to sell for £14,000 at the London auction house’s recent sale.

MacNicol was a student at the Glasgow School of Art from 18871893 under Francis Henry Phyllis with a Bouquet Newbery, who encouraged her to travel of Flowers, by to Paris to study at the more liberal ‘Glasgow Girl’ Académie Colarossi where women were Bessie MacNicol permitted to study alongside men. sold for But frustrated by the chauvinistic £14,000 attitudes she encountered there, she soon returned to Scotland where she exhibited at the Royal Scottish Academy and the Royal Glasgow Institute.

In 1896, she stayed in the artists’ colony in the fishing village of Kirkcudbright in Galloway on the Solway Firth, where she painted a striking portrait of Edward Atkinson Hornel, one of the Glasgow Boys, and the colony’s leading proponent. Her work is little known as much of it was destroyed after her death.

Roseberys, London

Jennifer Lee’s collar vase sold for more than twice its pre-sale guide price

The footed bowl set a new record for a bowl by the potter Lucie Rie

12 ANTIQUE COLLECTING

Models of animals and novelty silverware proved a hit at the London auction house’s recent sale, with a pair of cruets in the shape of frogs and a model of a turkey both exceeding their pre-sale expectations.

After competitive bidding on the internet and in the room, the crouching frog cruets, by the London silvermaker John Septimus Beresford and stamped for London 1879 and 1880, realised £1,574 beating their guide price of £300-£500.

A German While the strutting turkey (12.5cm high), silver model which included a pseudo hallmark for of a turkey more the German town of Hanau, sold for £722 than doubled its against the same estimate. Roseberys’ guide price in London head of sale, Georgina Agnew, said: “This was a varied sale comprising historic, novelty and classic silverware. Many items sold above estimate and the sold rate Two Victorian of almost 90 per cent reflects the continued frog cruets demand for silver.” leapt past their estimate of £300£500 to sell for £1,574

Catherine Southon, Fairleigh Court

Gems in the front of the acrostic locket spell out the word ‘regard’

A heart-shaped early Victorian acrostic locket, expected to make £1,000£1,500, sold for £3,400 at the auction house’s Kent saleroom. The front of the pendant includes two ruby collets, an emerald, garnet, amethyst, and diamond spelling the word ‘regard’.

Acrostic jewellery, popular in Georgian and Victorian times, refers to pieces with a hidden message within the design which spells a word using the first letter of each gemstone. The locket, suspended on a 9ct gold chain, contained strands of blonde hair.

Dawsons, Maidenhead

Sworders, Stansted Mountfitchet A rare Chinese ‘dragon’ box, not in perfect condition and used to store family papers, sold for £143,000 – more than 140 times its low estimate of £1,000 at the Essex auctioneer’s recent sale.

The 49cm (19in) wide casket would originally have been used to store precious objects. It is made almost exclusively of zitan, a purplish-black, fine-grained timber and the preferred wood of the imperial workshops. The box is carved with powerful dynastic images including a five-clawed dragon and phoenixes. The box came from a private seller, who inherited it from grandparents, and sold to a Chinese buyer. Sworders’ head of Asian Art, Yexue Li, said: “It was not in perfect condition – it had several cracks – but buyers agreed it was a special discovery.”

The bowls, 7.5cm (3in) high and 15.5cm (6in) wide sold for £30,000

To herald the Chinese year of the dragon, a pair of dragon and phoenix porcelain woucai bowls, both bearing six-character Daoguang marks, roared past its pre-sale estimate of £400-£600, before selling for £30,000.

Decorated with five-clawed dragons (depictions of which were reserved for the Chinese emperor), both bore a six-character seal. Reign marks are most commonly written in vertical columns and are read from top to bottom, and from right to left with the first two characters refering to the dynasty. At a later sale, The rare pocket a rare Cartier pocket watch sold for watch, dated to the more than twice 1920s, expected to its low pre-sale make £8,000-£12,000, estimate sold for £17,000.

The box likely dates to the Qianlong Emperor’s 60-year reign (1736-1795) The display case of fishing flies sold for £1,500 in North Yorkshire

Noonans, Mayfair A rare Iron Age horse brooch found by a metal detectorist in a Hampshire field doubled its pre-sale estimate of £2,000-£3,000 when it sold for £4,200 at the London auctioneer’s recent sale.

Called the Sutton Scotney brooch, after the place it was found, it dates to the 1st century BC. As items of very high status, horse brooches are thought to have been used with a blanket to pin cloth to the leather harness. Noonans’ Nigel Mills explained: “Only two brooches for a horse harness are recorded from the UK, both of which are enamelled.

This one did well because of its exceptional quality and rarity.”

The rare horse brooch, dating to the first century BC, was found in a Hampshire field

Tennants, Leyburn A framed display of 26 salmon and trout fishing flies sold for 10 times its low estimate of £150 when it sold for £1,500 at the North Yorkshire auctioneer’s recent sporting sale.

The case had retailer’s logos for John Shaw of Wolverhampton and the Scottish gun and tackle maker Forrest of Kelso, established in 1837 in Jedburgh, Roxburghshire.

A Hardy Perfect salmon reel sold for £640 at the same sale, beating its low estimate of £400 ANTIQUE COLLECTING 13

AUCTION round up Halls, Shrewsbury The top selling lot at the Shropshire auction house was a porcelain dinner plate from the Russian Imperial Porcelain Manufactory, St Petersburg, which sold for £9,500, beating its pre-sale estimate of £1,500-£2,000.

The At the same sale a Coalport dinner plate, dessert dish from a service from the Russian commissioned by Queen Imperial Porcelain Victoria for Tsar Nicholas I in 1844 sold for Manufactory, sold £3,800, against an estimate of £700-£900. for £9,500 Designs on the 62-piece set, known as the Coalport service imitated a service

by Flight, Barr & Barr, to commemorate the 1831 The plate coronation of William IV. Tsar liked the service from the so much he ordered another one in 1849. (For Coalport service more on Flight, Barr & Barr, turn to page 40.) sold for £3,800 in Shropshire

Ewbank’s, Woking A full set of signatures from the Beatles, jotted on a plane menu, more than doubled its low presale estimate of £3,000 when it sold at the Surrey auctioneer’s recent sale for £7,800.

The names were scribbled on a 1965 menu on a BOAC flight from the Bahamas to New York – a flight dubbed the ‘Beatles Bahamas Special’, after the group filmed Help! on The the Caribbean island.

Beatles’ The Fab Four signed the signatures were menu for the vendor – a stewardess a gift to the air stewardess on working on the first class flight. a first class Ewbank’s partner and head flight ofentertainment memorabilia, Alastair McCrea, said: “When it comes to rock and pop memorabilia, there are two markets: The Beatles and everyone else.

“The Beatles follow their own trajectory. Even though a vast wealth of memorabilia, including signatures, survives, values remain high. Rarity plays a part, so, when you get something exceptional, with the signatures tied to events like the Beatles Bahamas Special, it enhances the attraction.”

14 ANTIQUE COLLECTING

Gildings, Market Harborough

The 1970 Panini World Cup sticker album sold for £2,000

A copy of the first ever Panini World Cup sticker album from Mexico 1970, given as a 12th birthday present, sold for £2,400 at the Leicestershire auction house, smashing its presale estimate of £1,200-£1,800. The debut World Cup album kick-started the enduring worldwide craze of Panini football sticker collecting. The album was almost complete but for two stickers – the Jules Rimet Trophy and the Moroccan Football Federation badge – and, despite its 53 years, had only suffered minor wear and tear.

It went to a UK-based collector who outbid interest from Belgium, Italy and Portugal.

The English squad included Bobby Moore, Gordon Banks, Bobby and Jack Charlton

England lost to Germany 3-2 in the quarter finals of the 1970 World Cup

Chiswick Auctions, London An 88-page handwritten account of a 1,187-mile journey on horseback across America in 1764 sold for £30,000 at the auction house’s Barley Mow saleroom, beating its guide price of £2,000£3,000.

Joseph Cator (17331818) and Joseph Sparkes spent four months travelling by horse and carriage from ‘Charles Town’ to Boston.

Cator left Kent in 1754 at the age of 21. His The 88-page account of the return journey a decade handwritten later began in the West Indies on April manuscript details 1764, en route travelling through states a journey across of the American south including South early America Carolina and Virginia.

Connecting collectors to collectables List your art & antiques.

For more information, scan the QR code Amy Kent Senior Category Manager, Art & Antiques UKCollectables@ebay.com

ANTIQUE COLLECTING 15

EXPERT COMMENT David Harvey combination of finely-figured mahogany and black ebony were a favourite motif of the London makers that supplied large quantities of furniture to the Prince Regent for his homes in Brighton and Carlton House in London.

Also in keeping with numerous pieces the firm made, now in Buckingham Palace, Windsor Castle and the V&A, the drawer knobs are not plain brass but detailed and gilt – another pointer to a quality maker.

Above The bookcase

before it was restored Left The Regency

bookcase may be the work of the makers Marsh & Tatham Right Fiddleback

mahogany is rare and expensive

Best mahogany Below we see the combination of strongly-figured “fiddleback” mahogany – so called because it was used by musical instrument makers for the backs of violins – with its darker bars running across the main figure.

Such wood was rare and expensive; the better the figure, the higher the price. It contrasts nicely with the ebony cockbeading around the drawers and mouldings on the cupboard doors, pilasters and glazing bars.

Open and shut

Waxing lyrical David Harvey breathes new life into a Regency bookcase and wonders if it is the work of the high-end, 19th-century London maker Marsh & Tatham

W

hen I first saw this bookcase a couple of months ago, I immediately empathised with it. While it looked unloved and tired, its underlying quality simply leapt out at me. It is Regency period and made of extraordinarily fine timbers. Tall bookcases with solid doors in the bottom half and glazed doors in the upper section were well established in British furniture around 1800, but rarely inlaid with ebony.

The carcass is constructed in four pieces for ease of transport from the workshops where it would have been made in 1815 to 1820 to the home it was commissioned for.

When a colleague suggested it could be the work of Marsh & Tatham, I was intrigued. Certainly the

16 ANTIQUE COLLECTING

Another hint that this is the work of a skilled maker are the perfectly executed dovetail joints on the drawers. In the image on the right we can also see the ebony cockbeading to protect the drawer fronts.

When I look at how the adjustable shelves slide in and out and consider the additional work this would have involved, I am even more sure the bookcase must have been made for a special client who was both wealthy and had an important home.

It could even have been one of a suite of bookcases made to house a library of artefacts collected on the Grand Tour.

Just the (library) ticket

Above right The

drawers have perfect dovetailed joints

And that was just the start. Once we started to gently clean and revive the surfaces it further rewarded us by demonstrating its brilliant quality throughout.

Can you imagine a library with a breakfront bookcase like this alongside two or more matching bookcases?

We know such suites exist as many decades ago we had the fortune to come across such a set by Gillows of Lancaster, each one of which had the same outline but was individually fitted for a different purpose.

Left The bookcase would

have taken centre stage in the finest library Right The Hall, Carlton

House, designed and etched by Thomas Rowlandson (1757– 1827), image courtesy of the Metropolitan Museum of Art Below left The glass unmistakably dates to this earlier era

Marsh & Tatham and Carlton House

Regency glass I love the way the joints on the ebony glazing bars are perfectly mitred to fit. One of the aspects I always look for in a glazed bookcase is how much of the glass is original.

In this case, we see it exactly as the day it was made.

We know this because in the Regency period glass was not machine made as it is today, which produces perfectly flat glass with no bubbles, faults or lines. Regency glass was far from flat and, indeed, in the case of this bookcase is significantly bent – so much so that the ebony glazing bar is almost wedge shaped.

Long provenance On acquiring such a fine piece I was keen to ask the vendor if there was any provenance going back to the early 19th century when it would have been commissioned.

‘The combination of finely-figured mahogany and black ebony was a favourite motif of Marsh & Tatham who supplied large quantities of furniture to the Prince Regent for his homes in Brighton and Carlton House in London’

William Marsh (active 1775-1810) and Thomas Tatham (1763-1818) were partners in a very successful firm of cabinetmakers and upholsterers.

The company carried out major commissions at Brighton Pavilion and Carlton House, the official London residence given to the Prince of Wales (later King George IV) in 1783 – largely thanks to a family connection.

The prince employed the architect Henry Holland (1745-1806) to renovate and decorate the rambling buildling. One of Holland’s pupils was Thomas Tatham’s brother, Charles Heathcote Tatham (17721842), who, on Holland’s request, travelled to Italy to collect drawings of ancient monuments and reliefs of classical decorative motifs. His later designs went to his brother’s company to make, and so records show a receipt for £820 3s from Marsh & Tatham for a set of ebony and ivory bookcases in the Greek style with matching tables.

By 1796, the rambling structure had been transformed into a palatial residence that functioned as a rival court to the prince’s parents, George III and Queen Charlotte, at St. James’s Palace.

Carlton House’s entrance hall even included classical elements reminiscent of the Pantheon.

Happily she was able to provide a family connection going back to the first years of that century. Her family were gold and silver wyre drawers, an ancient profession of makers of gold and silver wire for use in ceremonial clothing. They were also members of the livery company founded in the City of London in 1623, of the same name.

The family business, which was based in Little Britain, near the Barbican, with another shop in Savile Row, continued until 1957.

The bookcase was owned by the vendor’s great great grandfather and was passed via his son to her father. It might have been purchased by his great grandfather when he moved from the City of London to leafy Lewisham some time in the late 1840s or, indeed, by his even more successful son.

We have been fortunate to be able to acquire one of this company’s catalogues. But however it came to us, one thing is for sure it is a fine example of a Regency bookcase by one of the era’s most illustrious makers.

David Harvey is the owner of Witney-based W R Harvey & Co. (Antiques) Ltd. For more details go to the website www.wrharvey.com ANTIQUE COLLECTING 17

COLLECTING GUIDE Lucy Kemp-Welch

HORSE PLAY

Work by the equine artist and British Impressionist Lucy Elizabeth Kemp-Welch is being revisited in light of a new exhibition and book

W

hile the name Lucy Kemp-Welch (18691958) today plays second fiddle to betterknown equine artists such as Alfred Munnings and George Stubbs, it was not always the case. Kemp-Welch was aged just 26 when her monumental work Colt Hunting in the New Forest (measuring 5 x 10ft) went on show at the Royal Academy in 1897, causing a sensation both in the UK and around the world.

Then, it was largely Kemp-Welch’s youth, gender and her diminutive stature that caused such consternation. Critics were amazed that the work – so large, so powerful and full of detail – could have been created by a young woman. All were effusive in predicting great things for the extraordinary Lucy Kemp-Welch.

The Boston Daily Advertiser wrote: ‘Rarely, if ever, has so young an artist achieved the success of having her picture, and so large a picture, hung upon the line, and in so good and central a position.’ It was the start of an extraordinary run of pictures for Kemp-Welch at the Royal Academy.

Between 1895 and 1930 there would be only a single occasion (in 1921) when she did not have at least one work exhibited at the Summer Exhibition, and she would exhibit a further 11 times between

18 ANTIQUE COLLECTING

Above Lucy Kemp-

Welch (1869–1958) Breeze across the Cornlands, oil on canvas Below Lucy Kemp-Welch

in her studio

1932 and her final successful submission in 1949.

But while Kemp-Welch, against the odds, gained critical acclaim as an equine artist in her lifetime (certainly as a young artist), as horses gave way to the internal combustion engine, so, too, did her appeal decline.

Now, as interest in women artists has grown over recent decades, awareness of the importance and success of artists like Kemp-Welch has grown.

Full recognition of her achievements has been long overdue but a recent exhibition at the National Museum of Horseracing in Newmarket and new book on her life and career is set to redress the balance.

Early Life Lucy Kemp-Welch spent her formative years in Bournemouth, Dorset, surrounded by the picturesque landscapes that would later inspire her art. She was the first child of Edwin Buckland Kemp-Welch and his wife, Elizabeth. Edwin had been born in the neighbouring port town of Poole, and he worked as a solicitor for the family law firm of Witt and Kemp-Welch. A year after Lucy came into the world her sister, Edith Mary, was born. After that there were no further children – making a small family by middle class Victorian standards.

In the late 19th century, Bournemouth was a small and attractive new town, recently sprung up in what had once been a largely unpopulated stretch of coastal countryside. The two sisters grew up surrounded by innumerable pets, including dogs, cats, rabbits, and birds – all of which served the budding artists for models.

It was Elizabeth Kemp-Welch who first taught her daughters to draw, with both sisters educated entirely at home, first by their parents, then by visiting tutors and mistresses.

Great War

Slade School of Art Edwin Kemp-Welch does not appear to have approved of his daughters becoming artists. At that time, art was not widely considered an occupation for women – though drawing and painting were encouraged as part of a middle-class female education.

Attitudes were changing, however. In the mid 1850s, a Society of Female Artists had been established in London, and in 1860 the Royal Academy Schools admitted a female student for the first time. Not long afterwards, in 1871, the Slade School of Art was established in London, and from the first it admitted female students on the same basis as its male pupils.

It fell to the girls’ mother to encourage her daughters.

As a birthday gift, when she was 14, once a week Elizabeth sent Lucy to the veterinary infirmary run by Thomas Bennett Goodall in nearby Christchurch where she studied the anatomy of horses, both from life and from a collection of anatomical prints.

In the summer of 1888, Lucy’s father died of tuberculosis aged 56, not long afterwards, his widow suffered a breakdown in her own health. To be nearer to relations in Somerset, Elizabeth Kemp-Welch moved with her two daughters to Weston-super-Mare. By then Lucy and Edith were both describing themselves as artists.

Above Lucy Kemp-

Welch (1869–1958) Gypsy Horse Drovers, 1895, oil on canvas, Russell-Cotes Art Gallery Above right Lucy Kemp-

Welch (1869–1958) Forward to Victory Enlist Now, 1914 recruiting poster, published by the Parliamentary Recruiting Committee Below left Lucy KempWelch (1869–1958) Burnt Out Fires, oil on canvas, Bushey Museum and Art Gallery Below right Lucy Kemp-

Welch (1869–1958) The Years at the Spring, oil on canvas, Bushey Museum and Art Gallery

‘Though illustration was not a large part of her output, Lucy had produced material for a number of books since the 1890s, and there was surely no-one better able to illustrate Black Beauty’

As in the rest of Europe, the outbreak of WWI (1914-1918) was greeted with patriotic fervour in Britain. Around 30,000 men were enlisting every day by the end of August 1914. By December 1915, over two million men had enlisted. Lucy KempWelch’s contribution to the recruitment scheme was equally patriotic and dramatic. It featured Black Prince charging towards the viewer, his uniformed rider (modelled

by Rowland Wheelwright, assistant master at her school) pointing his sabre dramatically out of the picture. Above it was printed the simple statement, ‘Forward!’, whilst the words beneath exhorted, ‘Forward to Victory. Enlist Now.’

Hubert Herkomer It was in Weston that the girls heard about an art school in Bushery, Hertfordshire, where their cousin, Margaret Kemp-Welch, had enrolled. It was founded and run by the Bavarian-born Hubert Herkomer (1849-1914) who, though not well known today, was then a towering figure in the British art establishment with his black-and-white illustrations appearing in various popular periodicals.

When Herkomer founded his school in 1883, it had 25 male and female students. Two years later Herkomer succeeded John Ruskin as the Slade Professor of Art at Oxford University – a position that further increased both his own reputation, and the popularity of his school.

Herkomer played a significant role in Lucy KempWelch’s development as an artist, becoming her chief guide and mentor. In turn, she would prove to be his favourite pupil, and by far one of his most successful.

ANTIQUE COLLECTING 19

COLLECTING GUIDE Lucy Kemp-Welch Left High Street,

Bushey, c. 1900 and c.

1930. Kemp-Welch’s home ‘Kingsley’ is the white house on the left with wisteria growing up the wall Below left Lucy KempWelch (1869–1958) In the Shadow – Head of a Grey, oil on canvas Below right Lucy

Herkomer School Acceptance into the Herkomer School depended on the successful submission of a head drawn from life, in charcoal. Both Lucy and Edith’s first attempt to gain admission failed. Undaunted, they returned to Bournemouth to study at the Government Art School, spending two terms improving their drawing. Their efforts paid off. The following year, both were accepted into the school.

With their mother accompanying them, in September 1891 all three prepared to move to Bushey. An exciting new chapter in their lives was about to begin.

One of the few conditions Herkommer insisted on (other than the stipulation married women would not be accepted under any circumstances) was that every student must stay for three terms (nine months) and students should not simply attend the school, but ideally should settle nearby when their studies were over, embedding themselves into what eventually became an artists’ colony.

To encourage his students to oblige, Herkomer built a block of studios for male students, with another for female students soon following. By 1908, Herkomer reckoned there were nearly 100 such studios in and around the village.

Kemp-Welch (1869– 1958) The Morning 1902, oil on canvas, Bushey Museum and Art Gallery

Colt Hunting Lucy had been at Herkomer’s art school little more than a term when she saw a group of Romani men driving horses down the muddy road through Bushey. Realising at once that it would make an excellent subject for a painting, she rushed from her house with the nearest object to hand – the lid of her paint box. She used it make what she called this ‘lightening sketch of the scene’ in oil. Her debut painting was Gypsy Horse Drovers and just as she was finishing it her cousins in Bournemouth suggested another promising subject: the annual round up of New Forest ponies for branding.

Ever keen to pursue new ideas, Lucy and Edith spent the summer of 1895 in lodgings in the New Forest, where Lucy began making preparatory studies for Colt Hunting.

Following the advice Herkomer gave all his students to paint landscapes en plein air, she set up her canvas among the trees, where she could take her time perfecting her record of the location. She also spent time watching the men (known locally as ‘agistors’) rounding up the ponies. A white pony would be at the heart of the picture’s structure, and this would become a repeated element in future paintings.

Boer War and Baden-Powell After Colt Hunting established Lucy as an equine artist par excellence she stayed in Bushey (where she remained for the rest of her life). Following the outbreak of the Second Boer War in 1899, she painted a number of imagined pictures inspired by contemporary events in South Africa.

The Morning was prominently positioned at the Royal Academy’s Summer Exhibition in 1902, and Lucy recorded

‘Most of Lucy’s free time would be spent drawing the horses she found in the neighbouring fields and farm stables. Around the time she was finishing her debut painting, Gypsy Horse Drovers, Lucy’s cousins in Bournemouth suggested another promising subject: the annual round up of New Forest ponies for branding’ 20 ANTIQUE COLLECTING

in her diary the enthusiasm and praise of some of the Academicians. However, other critics (including Herkomer) felt she should stick to working directly from real life – advice she heeded.

In 1904, Lucy befriended Lieutenant-General Robert Baden-Powell (1857–1941), hero of the Boer War and founder of the Scouting movement who visited her studio in Bushey. In 1906, he made a long loan to Lucy of his handsome black stallion, Black Prince. ‘B.P.’ as she would call the stallion became a much-loved model at the school appearing in many of her works including The Riders and her illustrations for Black Beauty.

War artist For an equine artist the essential role horses played in conflict provided a fertile subject. Horses were vital to the British Army during WWI. Aside from their use by the cavalry, horses hauled every sort of supply imaginable as well as artillery pieces and ambulances. They even helped lay telephone cables via specialist wagons.

Many of the horses acquired by the British Army came from North America, and were trained for military service at remount depots in England. Russley Park, Wiltshire, was one of a handful staffed and run entirely by women.

In 1919, the Imperial War Museum commissioned Lucy to paint an official record of the depot before it returned to peacetime activities.

Last call Sadly, Lucy Kemp-Welch’s place in the avant-garde of female artists was dwindling by the mid 1930s, and the world of horses within which she had grown up was rapidly disappearing. These changes were witnessed in her last major work, The Call. It was Edward Seago who suggested the subject of a team of horses launching a lifeboat at Brook, on the Isle of Wight. When she set out to paint the scene in 1937, she discovered that the last horselaunched lifeboat had been taken out of commission.

Nevertheless, she was able to reconstruct the event, amalgamating elements from the Brook boat and other launches. Quite an achievement for a woman approaching 70 years of age.

BLACK BEAUTY

Above Lucy Kemp-

Welch (1869–1958) The Ladies’ Army Remount Depot, Russley Park, Wiltshire, 1918/1919, oil on canvas, IWM (Imperial War Museums) Contribution to Military Art Above Right Lucy Kemp-

Welch (1869–1958) Now, Auster do your best (illustration for Black Beauty) Bushey Museum and Art Gallery Below left Lucy KempWelch (1869–1958) Launching the Lifeboat (originally titled The Call), 1937, oil on canvas by kind permission of Bushey Museum Below right Lucy Kemp-

Welch (1869–1958) Barnet Horse Fair (illustration from Black Beauty, 1915), Bushey Museum and Art Gallery

Around the outbreak of WWI, Lucy received the commission to illustrate a new edition of Black Beauty for the London publisher, J.M. Dent’s.

Subtitled Autobiography of a Horse, Anna Sewell’s novel had been an immediate bestseller when first published in 1877.

It was particularly notable for its detailed descriptions of horse behaviour (including their affection and loyalty). Though illustration was not a large part of her output, Lucy had produced material for a number of books since the 1890s, and there was surely no-one better equipped to illustrate Black Beauty.

The model for her pictures was Black Prince, and she produced both colour plates (in oil and watercolour) as well as black-and-white illustrations. Their rather eclectic style sometimes owed more than a little to the work of the popular contemporary illustrator, Arthur Rackham (who may have given her some guidance in the project).

Christmas edition The new edition of Black Beauty was published in time for Christmas 1915, and included a beautifully bound limited edition of 600 copies, of which 150 were reserved for sale in the US. The book was enthusiastically reviewed in the Times Literary Supplement, which wrote: ‘The colour-plates are deliciously “old-fashioned” – by which we mean life-like, straightforward, faithful portraits of Black Beauty and Ginger Merrylegs and the other characters in that much-loved tale.’

The Observer also noted: ‘It would have been difficult to find an illustrator more competent to do justice to the task ... than Miss Lucy Kemp-Welch, whose eminence as a painter has been undisputed since a good many years ago ... The anatomy and the motions of the horse hold no secret from her’.

Such was the new edition’s success it went on to be one of the bestselling illustrated children’s book ever.

ANTIQUE COLLECTING 21

COLLECTING GUIDE Lucy Kemp-Welch

Joining the circus Lucy’s final major new subject would be inspired when, one summer, she visited Sanger’s Circus when it pitched up in a field near Watford. Sanger’s was something of an institution: it had celebrated its centenary in 1921, at which time its proprietor, John Sanger, claimed that a million people visited his shows each year.

Of the 40 or 50 horses accompanying Sanger’s circus, only a few were trained performers; the rest were draught horses, used to pull the vans. Following the circus was, Lucy

22 ANTIQUE COLLECTING

Above Lucy Kemp-

Welch (1869–1958) Aristocrats – Performing Horses from John Sanger’s Circus, 1928, oil on canvas, by kind permission of Bushey Museum Left Lucy Kemp-

Welch (1869–1958) The Elephant Queen, pastel, by kind permission of Bushey Museum

wrote, ‘an artist’s “holiday,”’ and entailed ‘much arduous work. Nevertheless, it was what she called ‘a continual adventure ... the happiest adventure of the whole twelve months’ of her working year.

Yet it eventually became too much for her. By the time Lucy was travelling with Sanger’s Circus she was already elderly and ill-health made it too great a strain.

Lucy exhibited for the final time at the Royal Academy’s Summer Exhibition in 1949, with her oil painting, Harvest of the Beech Woods.

In her final years she did no painting at all. On November 21 1958, aged 89, Lucy fell at home and broke her leg. She was taken to the Peace Memorial Hospital in Watford, where she contracted pneumonia, and died six days later. She was buried across the road from her home, in Bushey churchyard, alongside her sister, and not far from her old friend and mentor, Hubert Herkomer. n her own voice: The art of Lucy Kemp-Welch (1869-1958) is on at the National Horseracing Museum in Newmarket until February 25. David Boyd Haycock’s biography, The Life and Work of Lucy Kemp-Welch, Painter of Horses, from which this feature is adapted, was published last year by ACC Art Books.

COLLEC TING LUCY KEMP-WELCH

Q& & &A

The Lucy Kemp-Welch estate has been represented by Messum’s Fine Art since 1975. David Messum considers the current market for her work career never really flourished as it might have done.

She was continually turned down for membership to the Royal Academy just because she was a woman as the quality of her work could not be ignored. Her 1897 work Colt Hunting in the New Forest was purchased by the Chantry Bequest for the Tate, the first painting by a woman it had ever purchased.

Q A

How did the book come about?

It’s the third book we’ve written on Lucy, the first being by Laura Wortley. Since we started writing about her it’s amazing how much more information has come forward.

We felt, with the growing market emphasis on undiscovered women artists, now would be a good time to revisit her.

QA

Q A

How influential was Hubert Herkomer on Lucy?

Herkomer’s style of teaching was very different from other schools such as the Royal Academy where students would be drawing for years before ever being allowed to use colour. Herkomer was a genius in many ways both as a sculptor and teacher, with Lucy among his best pupils. There were others such as Anna Alma-Tadema (1867-1943), the younger daughter of the celebrated Dutch painter Sir Lawrence Alma-Tadema (1836-1912) and his first wife, MariePauline Gressin de Boisgirard. Lucy’s sister Edith’s career never took off in the same way as her sister although the two were very close, neither married, and lived together for most of their lives.

Q A

How unusual was it in the early 20th century for a woman to carve out a career in art?

Lucy was demure in character, slight in stature and not at all political. For all her success, her

Top right Lucy KempWelch (1869-1958) study of two carthorses, water and body colour, one of three works estimated at £400-£600, the trio sold for £6,048 at Woolley and Wallis’s sale in December 2023 Above Lucy Kemp-

Welch (1869-1958) horse and foal, signed L. Kemp-Welch, etching, one of three works in Woolley and Wallis’s sale Left Lucy Kemp-Welch

(1869-1958) horse and foal, signed and dated L. K. W, 1898, one of three works sold at Woolley and Wallis’s in December 2023

How would you describe her style?

She never married and it would seem horses really were the love of her life. She appreciated the uncultivated beauty of working horses that helped set Lucy Kemp-Welch apart from many of her contemporaries and august predecessors in the genre of animal painting in England, such as Alfred Munnings and Sir George Stubbs, whose representations of thoroughbred horses, with their impeccable bloodlines and exquisite forms, catered more for the aristocratic owners of such animals. Lucy’s empathy with working horses and her ability to invest the variety of their stances with quasi-human emotion were distinguishing features of her art and continue to appeal to animal lovers today. She was also moved by the decline of horses in society – a theme depicted in Black Beauty, the book which she famously illustrated – and how their use was being marginalised by the rise in machinery and the motor car.

QA

How is the current market?

The market for her work has been steady and interest inevitably increases with books and exhibitions. Three recent works sold at Woolley and Wallis in Wiltshire for well beyond their estimates.

Her works are popular among the country set who appreciate and understand horses and Lucy’s empathy with them. Interestingly, I have bought a number of her works from countries such as New Zealand and Zimbabwe – it seems they appeal to buyers with a pioneer spirit.

Messum’s Fine Art has a number of works by Lucy Kemp-Welch available. For more details got to www.messums.com

‘She was also moved by the decline of horses in society – a theme depicted in Black Beauty, the book which she famously illustrated – and how their use was being marginalised by the rise in machinery and the motor car’ ANTIQUE COLLECTING 23

THE EXPERT COLLECTOR Warner Dailey

Dailey WORSHIP Known as one of the most successful and interesting dealers of modern times, 300 lots from the collection of Warner Dailey go under the hammer in Essex this month

24 ANTIQUE COLLECTING

Opposite page

A bronze study of an Arab on horseback, 19th century, French. It has an estimate of £500-£600 in this month’s sale

I

f there ever was a podium for ‘collectors’ collector’ then it’s likely the American-born, long-time London resident, Warner Dailey would take the top spot. A collector (of shells) from the age of four, now in his seventies, he came to England in the early 1970s, after been tutored in fine living by a prestigious “gilded age” family in upstate New York.

At just 14 he recognised the quality of a Hepplewhite sideboard he was offered for $400. He scraped the money together and then resold it to one of the foremost antique dealers in the country for $1,700. He later heard the dealer was asking $12,000 for it.

Now 300 lots from his collection are going under the hammer at Sworders in Stansted Mountfitchet, Essex - the sixth dispersal auction (the first was in 1990) from Dailey’s masterplan to sell his entire collection.

He said: “About 40 years ago someone asked me what I wished my legacy to be and, thinking about some of the great collectors such as Horace Walpole, I hit on the idea that I would like to have a sale that would last for 10 days to a fortnight.”

“In one sense this is what is happening, I am hoping to get some pleasure out of being alive and able to see other collectors get some joy and pleasure out of owning some of my favourites.”

Early start Born in New Jersey, Dailey started as a 17 year old, working for the wealthy Pierrepont family (descended from the Earl Manvers of Thoresby Park in Nottinghamshire who emigrated to New York in the 18th century). He was soon encouraged to take up the mantle of young socialite tutored in fine arts and antiques.

He said: “I drove up to the country house in Far Hills in an old dignified tweed suit and was shown into the library

Above left An American cherry wood writing box, c.1830, owned by Alfred Ely (1815-1892), an American congressman imprisoned by Confederate forces after the First Battle of Bull Run in 1861. Purchased

by Warner in 1958 for $3, it has an estimate of £200-£300 Above right A late

19th-century Austrian carved chandelier, modelled as a mermaid, with antlers. It has an estimate of £5,000-£8,000

while the lady of the house was summoned. I offered my services as a gardener and general odd jobs man for the summer and said I would work the first week for free at which time they could decide if they wanted to keep me on at a fair wage.”

It was the start of a long association with the wellconnected Pierreponts who introduced Dailey to the cream of New York society, including the socialite Brooke Astor, the former New York governor Nelson Rockefeller and Sister Parish (Dorothy May Kinnicutt) the wealthy

Right A carved

polychrome dish or plaque, c.1850, ‘Sailor’s Return’, depicting a Scottish sailor and wife, 26cm (10½in) diameter.

It has an estimate of £1,000-£1,500

‘In those ‘golden age’ days of dealing, Warner Dailey found he could buy and sell anywhere.

Every week it was the markets at Bermondsey and Portobello and rummage sales. Sometimes it was Sotheby’s and Christie’s. On other occasions it was a French brocante or the contents of a skip’ ANTIQUE COLLECTING 25

THE EXPERT COLLECTOR Warner Dailey

Capital living The job piqued Dailey’s innate interest in almost every element of material culture. He said: “Life on the front counter was fantastic. In those days we had weekly picture, silver and furniture sales with all kinds of others sandwiched in between. I met everyone who came in with something to sell and witnessed what the expert said about each item and was able to follow it through and see what it fetched at auction.”

It wasn’t long before his “eye” and ability to turn a buck came into play.

He said: “Simon Bull the clock specialist and I would ‘do a Bermondsey’ every Friday morning starting at 4am.

Soon I had built up a large collection of cork screws and talked Michael Broadbent in the wine department into having the first sale of such things along with the wine sale and got over a year’s salary from that one sale.”

His entrepreneurial zeal also extended beyond the saleroom. Lodging with Lady Patsy Jellicoe, also a keen collector, in Belgravia, the pair worked together. “We often did a few deals together so when I returned to the States to visit my folks I’d take along some bits we bought together and split the profits.”

American interior decorator.

For the next few years he worked with the family, tutoring their son and occasionally visiting the attics and store-rooms where he would impress with his knowledge of “the amazing stuff in there and what it was worth.”

He said: “One day there was a frightful storm and I was unable to work in the garden and was asked indoors to help tidy up the attic. It was here we got to talk more about our interests and share thoughts on various pieces.”

In 1968, after graduating from university, the Pierreponts, keen to encourage their young prodigy, sent a letter to Christie’s then chairman, Peter Chance, in London who accepted him on the auction house’s front counter with a wage of £9 per week.

Above right A selection

of lots for sale, ranging from natural history to military, at Sworders this month Above One of the

rooms at Warner Dailey’s Lewisham home, a number of lots go under the hammer at Sworders in Essex this month Right Painting of a

dog, Barbizon school, France, oil on canvas.

It has an estimate of £5,000-£8,000

‘It was when working at Christie’s in the early ‘70s Dailey met the American publishing magnate, Fabergé fanatic and philanthropist, Malcolm Forbes. Forbes soon set Dailey up in his own business at 5 Addison Bridge Place, Shepherd’s Bush, paying him a retainer to find items for him.

Life as a ‘runner’ had begun’ 26 ANTIQUE COLLECTING

Golden age It was when working at Christie’s in the early ‘70s Dailey met the American publishing magnate, Fabergé fanatic and philanthropist, Malcolm Forbes. Forbes soon set Dailey up in his own business at 5 Addison Bridge Place, Shepherd’s Bush, paying him a retainer to find items for him. Life as a ‘runner’ had begun.

While Malcolm’s broad collection ranged from toy soldiers to Fabergé, his son Kip Forbes had decided to pursue the then largely forgotten Olympians of Queen Victoria’s Royal Academy. It was Dailey who first introduced the family to the dilapidated Old Battersea House which Forbes renovated and set up as home for his London collection.

In those ‘golden age’ days of dealing, Warner Dailey found he could buy and sell anywhere. Every week it was the markets at Bermondsey and Portobello and rummage sales. Sometimes it was Sotheby’s and Christie’s. On other occasions it was a French brocante or the contents of a skip. He was never interested in owning a shop and, like most dealers, hated paperwork. Instead, he drove a Mercedes estate that he drove around London and the south of England, filling it with objects that ranged from the best in Russian object d’art to the weird and wonderful.

Collecting gene He found a deep emotional connection to objects that came with a narrative and his love of objects suited to the kuntskammer or the Indian souk never diminished Nonetheless, he found he had an eye for “spotting really good items” and took great satisfaction when the pieces he sold for guineas and shillings at Greenwich Antique Market would appear in the shop windows on Bond Street or Pimlico Road.

Asked to explain his collecting gene, he said: “In my case, the collecting urge is often fuelled by things seen, read about or somehow sparked by the desire to be on the lookout for something out there of which I was previously unaware.

Above A late 19th-

century American cast iron mechanical Creedmore Bank money box, modelled as a soldier firing into a tree, complete with original paint and base plate cover. It has an estimate of £400-£600 Below One of the rooms at Warner Dailey’s Lewisham home

“I was born in 1945 and we had a terrible ice storm in the winter of 1947 during which I helped my dad cut up trees brought down by the ice. The result was an obsession with any kind of saw to the point that I used to sleep with a carpenter’s cross-cut saw rather than a cuddly toy.”

Aged four he started gathering stones or shells at the beach and by 1949 got hold of a National Geographic magazine which had a huge section on shell collecting.

“Despite more than a dozen moves around the world, I still have the very same dog-eared copy and hold on to some of my very first finds, including some bought from the Shell Factory in Fort Meyers Florida in the early ‘50s.”

ANTIQUE COLLECTING 27

THE EXPERT COLLECTOR Warner Dailey

Ahead of the curve Dailey is also noted for his innate ability to go against the prevailing tide and predict the future market. In the 1980s when everyone was consigning it to landfill, Dailey amassed the greatest collection of modernist furniture of its day.

He said: “In the late ‘80s just after Black Monday, I decided to have a fresh start with something completely out of my comfort zone and went in for 1960’s plastic and inflatable furniture.”

The project culminated with a joint venture with Wolfgang Fischer and his wife, Jutta, of Fisher Fine Art, followed by a hugely successful exhibition called Classic Plastic opposite Christie’s. The bulk of the collection was considered so important, following the publication of Classic Plastic - A Look at Design 1950 to 1974, in 1989, it was bought by a Scottish museum.

Next big thing And the obsession to find the ‘next big thing’ continues, even though the hunting grounds are becoming ever smaller. He said: “Gone are those wonderful days of Bermondsey, house calls, and even antique shops – they are all but finished. On the other hand, there are a few surviving regular markets, as well as new ways of finding

28 ANTIQUE COLLECTING

Above right A Winchester

gun used in Buffalo Bill Cody’s Wild West show when it first came to England in 1886. It has an estimate of £400-£600 Above One of the rooms

at Warner Dailey’s Lewisham home, a number of lots go under the hammer at Sworders in Essex this month Below An unusually large

giant clam shell. It has an estimate of £2,000-£2,500

things such as eBbay. Auction search systems can also be a help.

“Sadly, too many chasing too few items, which means competition is much more fierce and many acquisition attempts end in dismal failure. One is forced to rely on old contacts and long-standing fellow collectors, or seek out the few “last gasp” live local auctions which have so far resisted going online and still have a room of live and smoking bidders. Yup, there really are a few left.”

His last purchase came from a recent Adams Antiques Fair at the Horticultural Halls in London (known as the ‘Horti’) where he acquired a 19th-century Tibetan talismanic chain known as a charivari.

He said: “They are a kind of ancestorial relic and carefully passed down from father to son over generations.

It’s an example of how an object can have a kind of ‘root system’ which can be followed and traced and lead on to more wonders and new things to be explored.”

Sworders’ head of sale, Mark Wilkinson, said: “Warner has an extremely wide eye – he seems to know about everything – furniture, silver, jewels, Asian and Islamic art and objects of Vertu, the list is endless. However, his real love is finding a piece with a great story, or really interesting provenance.”

Such is the key to the items on sale this month, with estimates ranging from £400-£600 for the passport of a sailor who travelled with Shackleton to Antarctica, to £16,000-£20,000 for a pair of pistols with the crests of Lord Byron’s father.

Wilkinson continued: “Warner is the dealer’s dealer – a tastemaker with an exceptional eye who has worked with and influenced some of today’s most successful antique dealers. Every piece has a different story to tell.”

Some 300 lots from the Warner Dailey collection will be sold in a single-owner auction on February 22 at Sworders, Stansted Mountfitchet in Essex. For more details on the sale go to www.sworder.com

TIME TO SELL?

We are now accepting entries for our June & July auctions.

Get in touch for a complimentary auction estimate.

FORTHCOMING AUCTIONS Thursday 23rd June 9.30am

REQUEST CONFIDENTIAL SALES ADVICE TODAY Thursday 30 June 9.30am

A Queen Anne heavy baluster wine glass – sold for £9,750

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Jewellery | Watches | Silver | Ceramics | Glass | Decorative Arts Paintings | Furniture | Clocks | Design | Books | Designer Goods 10-12 Cotswold Business Village, London Road, Moreton-in-Marsh, GL56 0JQ 01608 695695 enquiries@kinghamsauctioneers.com www.kinghamsauctioneers.com

LOWESTOFT PORCELAIN AUCTION

Monday to Wednesday 10am - 5pm prior to each sale at our showroom in Berkshire.

CONTACT US TODAY Study of the Artists Dog

by Elisabeth Frink Sold for £18,000

A Cartier Kashmir Sapphire Brooch Sold for £340,000

“Dragon & Phoenix” Woucai Bowls Sold for £30,000

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•WANTED•

ZOË SPRAKE

VINTAGE WRISTWATCHES

Wednesday 23rd October 2024, 7pm Entries are invited for this sale

IWC and Jaeger LeCoultres, all styles. Looking for Reversos. American market filled and 14k pieces possibly, at the right price.

Omega Seamasters and pre-1980s Omegas in general.

Breitling Top Times, Datoras and 806 Navitimers.

Pre-1960s Rolex models, with a focus in pre-war tanks, tonneaus etc.

Gold or silver/steel. Also World War I Rolex 13 lignes etc. Princes.

Sold October 2023 £3,642.50

Sold October 2023 £1,116.25

Longines, Tudors and Zeniths, pre-1970. Even basic steel models in nice condition.

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

All the quirky oddities like Harwoods, Autorists, Wig Wag, Rolls etc, and World War I hunter and semi-hunter wristwatches.

Early, pre-war ladies’ watches also wanted by Rolex, Jaeger LeCoultre etc. Prefer 1920s/30s deco styles, but early doughnuts also considered.

Website: www.lowestoftchina.co.uk Email: lowestoftchina@gmail.com Telephone: 01986 892736 / 07885 773795

Yorkshire based, but often in London and can easily collect nationwide.

vintagejewellery@yahoo.co.uk or tel 07958 333442

ANTIQUE COLLECTING 29

ANTIQUES UNDER THE HAMMER The collection of Philip Hewat-Jaboor £200 to £150,000, the the sale is expected to realise some £1.5m in total celebrating the magnificent “eye” of one of the 20th-century’s great collectors.

Early days

SALEROOM SPOTLIGHT

When it comes to taste, collections don’t come much finer than that of the former Masterpiece Fair chairman, Philip Hewat-Jaboor, 200 pieces of which go under the hammer this month

F

ew visitors to London’s prestigious Masterpiece Fair, held every summer in the grounds of Chelsea Royal Hospital, could know how much the experience owed to its chairman, Philip Hewat-Jaboor, who died in 2022, aged 68, and part of whose collection goes under the hammer at Christie’s.

A highly-respected connoisseur, Hewat-Jaboor was a revered art advisor and one of the youngest ever auctioneers at Sotheby’s. Even the term ‘cross-collecting’ – a concept at the heart of Masterpiece – was coined by him as a way of combining decorative arts from antiquity to the contemporary in the same interior.

Made up of some 200 lots, with estimates ranging from

Above right An Italian

porphyry tazza, c. 1800.

It has an estimate of £40,000-£60,000 at this month’s sale Above A Regency

Coadestone figure of a lioness, c. 1819. It has an estimate of £15,000£25,000 Left A pair of giltwood

armchairs, c. 1815, after a design by Dionesio Santi, which was probably purchased

by William Beckford in Paris in 1816. The pair has an estimate of £30,000-£50,000 Right A pair of

George III gilt-bronze candlesticks by Benjamin Vuillamy commissioned by William Beckford for Fonthill Abbey, c. 18051810. It has an estimate of £70,000-£100,000

30 ANTIQUE COLLECTING

Hewat-Jaboor (the name is derived from a Lebanese grandfather and Scottish grandmother) considered a career in hotel management before attending the second Sotheby’s works of art school. The course launched a successful career with the London auction house starting in its furniture department.

Hewat-Jaboor helped launch Sotheby’s Belgravia and, after leaving the auction house, he became an art adviser and set up his own company, Vitruvius, selling marble works of art, marble inlay and pietra dura. His “eye” developed early. In an interview he said: “I was always taught to hold things, handle things, touch things, feel things, weigh things, spend time looking closely at things.”

Passion of porphyry At the heart of his collection was Hewat-Jaboor’s love of hardstones and in particular precious marble and imperial porphyry – the deep purple stone quarried in Egypt and revered by Roman emperors and early modern European monarchs alike.

Such was the depth of his interest that he made two pilgrimages to the Mons Porphyrites in Egypt (today Jabal Abu Dukhkhan), the mountainous site of a group of ancient quarries in the Red Sea Hills of the Eastern Desert in Egypt, and the only known source of the imperial variety of porphyry. The highly-prized ancient stones were one of the cornerstones of both Hewat-Jaboor’s interiors and collection. In fact his love of purple extended from his clothes, to the ink in his fountain pen, and even the trim of his Bentley.

William Beckford (1760–1844) Hewat-Jaboor was also a devotee of the celebrated art collector, bisexual writer and composer William Beckford.

A connoisseur of artistry and craftmanship, Beckford’s furniture and metalwork were frequently at the forefront of change in style and taste. So much did Hewat-Jaboor admire Beckford he became embroiled in the landmark 20012002 exhibition William Beckford, 1760–1844: An Eye for the Magnificent.

Hewat-Jaboor also owned pieces commissioned or collected by Beckford, including items sold at the 1823 auction of Fonthill Abbey – his gothic revival Wiltshire home.

Thomas Hope (1769-1831)

Hewat-Jaboor was fascinated by the Regency period and had huge admiration for one of the period’s best-known art critics and connoisseurs – Thomas Hope. As well as being an innovative designer, Hope was a dedicated collector, spending eight years from 1787 on Grand Tours. Hewat-Jaboor’s enthusiasm for Hope sparked his involvement in the exhibition Thomas Hope: Regency Designer at the V&A, in 2008. Alongside a Coadestone lion Hope commissioned for his Surrey home, the sale includes a mahogany cabinet he designed for his London house in Duchess Street.

Antiquities lover Among some of Hewat-Jaboor’s most prized possessions was his collection of antiquities which he displayed in his library – a room purpose built for the study of the objects it housed, as well providing space for his extensive collection of books.

Pride of place was a large 4th-century Roman floor mosaic displayed on the wall, alongside a 2nd-century Roman marble bust of Bacchus, and a Roman marble cinerarium, designed to hold the cremated ashes of the dead.

AUCTION fact file

WHAT: Philip HewatJaboor: An Eye for the Magnificent Where: Christie’s, 8 King Street, St. James‘s, London When: February 8 Viewing: February 3, 4, midday to 5pm; February 5 and 7, 9am-5pm; and February 6, 9am-8pm and online at www.christies.com

Above A Regency

ormolu-mounted bronze hanging lantern, c. 1800, also designed by Hope for Duchess Street c.

1805, it has an estimate of £6,000-£9,000 Above left A Regency mahogany cabinet or ‘recess’, designed by Thomas Hope, c. 1800, for his London house in Duchess Street, has an estimate of £25,000£40,000 Left A Roman marble

bust of Bacchus, c. 2nd century AD, has an estimate of £70,000£100,000 Below left A large Roman floor mosaic, c. 4th century, has an estimate of £20,000£30,000 Below A set of 12 Italian hardstone place card or menu-holders which is ideal for a new collector and has an estimate of £1,000-£1,500

`

IN MY OPINION...

We asked Christie’s head of sale, Benedict Winter, for his auction highlights Do you have a favourite lot? If so, why?

I love the Coadestone lioness (left), supplied by the Coade factory in Lambeth for Thomas Hope’s extraordinary house, The Deepdene, in Surrey – which was sadly demolished in 1967.

It combines a fascinating provenance with the sad destruction of a fine country house after WWII – one of many. I have also always been intrigued by Mrs Coade, an enigmatic 18th and 19th-century businesswoman, who was a powerhouse of London industry and a rare female figure in a male-dominated world.

How important is the collection?

Philip was an extraordinary collector, not governed by zeitgeist or changing tastes – he stuck to what he loved, and collected the best examples of pieces that he could buy across those categories. He was passionate about cross-collecting which is evident throughout this sale, whereby he blended works across periods and categories.

Where are you expecting interest from?

Iconic collection sales like this attract buyers from around the world. Collectors and interior designers will take inspiration from the way in which Philip curated interiors in his own homes.

With estimates starting at £200, we hope the sale will attract new collectors as well as offering decorative works that will appeal to both the interior design and decoration trade and private clients.

Are there any lots for the new collector?

Absolutely. I would be delighted to have either of these two lots in my home: a 9th-10thcentury blown glass bowl from the Eastern Mediterranean, which has an estimate of £400-£600; or a set of 12 Italian hardstone menu holders which has a guide price of £1,000£1,500 ( ).

What about the more seasoned collector?

‘At the heart of his collection was Hewat-Jaboor’s love of hardstones and in particular precious marble and imperial porphyry – the deep purple stone quarried in Egypt and revered by Roman emperors and early modern European monarchs alike’

Philip was known for his love of porphyry objects and none better than a pair of Italian imperial porphyry vases, which has an estimate of £100,000-£150,000 at this month’s sale.

ANTIQUE COLLECTING 31

COLLECTING GUIDE Snuffboxes

Snuff said Nothing enchanted a Georgian dandy as much as a well-crafted snuffbox. With a single-owner collection going under the hammer this month, Antique Collecting lifts the lid

L

ong before snuff came on the scene, at the end of the 16th century there was only one way to consume tobacco – for both men or women – and that was a pipe. But in 1792, with Sir George Rooke’s capture of a convoy of Spanish merchant ships at Vigo Bay heavily laden with 50,000 pounds of premium snuff (powdered tobacco) – all that was about to change.

When the captain and crew returned home, they set about selling the high-quality prepared snuff in several English seaports. It eventally made its way to the fashionable coffee houses of London where, even Samuel Johnson was persuaded to take up the new habit.

32 ANTIQUE COLLECTING

Above Part of a single-

owner collection of snuffboxes on sale this month at Catherine Southon auctions

Before long snuff had taken society by storm all but relegating smoking tobacco to the lower classes.

The art of snuff Snuff’s popularity spread like wild fire. In 1705, Beau Nash, Master of Ceremonies in Bath, banned smoking in the city’s public rooms. Fashionable residents soon followed suit, as did London society which looked to Bath for matters of taste.

It was essential etiquette for a gentleman to offer his snuff to acquaintances with great ceremony surrounding the exchange. A number of books were published on the subject. An anonymous pamphlet published in France, c.

1750, outlined the correct steps of the ritual for offering snuff in company which included the instructions: “Deftly gather a pinch of snuff with the right hand. Hold the snuff a moment between the thumb and finger before advancing to the nose. Bring the snuff to the nose. Inhale the snuff with both nostrils without grimacing. One may then sneeze, cough and spit. Close the snuff-box.”

In Britain Queen Charlotte (known as “Snuffy” Charlotte) kept a whole room in Windsor Castle stocked with snuff. Other devotees included William Pitt, Beau Brummell, Viscount Petersham, the Duke of Wellington,

Tobacco trade

Admiral Lord Nelson and the Duke of York, with the habit as popular among women as men.

Archives record Margaret Thompson of Westminster, who died in 1776, ordered in her will that “my coffin shall contain a sufficient quantity of the best Scotch snuff—in which I have always had great delight— to cover my body.” She requested the pall bearers should be “the six greatest snuff‐takers in the parish of St. James, who must wear snuff‐colored beaver hats instead of the usual black.”

Her maid was also directed to distribute during the funeral procession “a large handful of snuff every 20 yards on the ground and to the crowd.”

Above right Jean-

Francois Lebelle, (1769-1869) an early 19th-century French tortoiseshell boite-aminiature, with a view of Tuilleries Palace, signed Lebelle and dated 1821, gilt mount, length 8.9cm., depth 5.5 cm., height 2.1 cm. It has an estimate of £200-£300 at this month’s sale

Every schoolboy knows it was Christopher Columbus who first brought a few Cuban tobacco leaves and seeds with him back to Europe in 1492.

However, his travels in the New World discovered native inhabitants using the soverane herbe in a number of ways. Alongside smoking, it was variously chewed, eaten and sniffed.

Most Europeans didn’t get their first taste of tobacco until the mid-16th century, when adventurers such as France’s Jean Nicot – after whom nicotine is named – began to popularise its use. Tobacco was introduced to Nicot’s home country in 1556, Portugal in 1558, Spain in 1559 and England in 1565.

But it was not until 1612 when John Rolfe planted the first seeds of West Indian tobacco in Virginia, with a view to starting a profitable export business, that tobacco became an important element in British life.

Literary references to it date from the 1680s, the name derived from the Dutch, who referred to powdered tobacco as snuf, short for snuftabak, itself taken from the verb snuffen, meaning “to draw forcibly into the nostrils” and tabak, meaning “tobacco.”

Snuff was thought to have curative properties – even seen as an antidote to poison. Queen Charlotte took it to cure her headaches.

Right Tobacco drying

in the open air, image Shutterstock

‘Queen Charlotte (known as “Snuffy” Charlotte) kept a whole room in Windsor Castle stocked with snuff. Other devotees included William Pitt, Beau Brummell, Viscount Petersham, the Duke of Wellington, Admiral Lord Nelson and the Duke of York’ ANTIQUE COLLECTING 33

COLLECTING GUIDE Snuffboxes The importance of blends Equally intricate were the snuff blends which saw the powder blended with various types of essential oils including lemon, rose, jasmine, lily of the valley, violet and musk to create a wide range of flavours. Alcohol such as brandy, bourbon and bordeaux were also popularly used, with recipes jealously guarded.

Some takers preferred to make up their own blend called “sorts” and often named after the maker, a popular blend being “Brummell’s sort.”

Snuff merchants, such as Fribourg and Treyer in the Haymarket, sprang up to cater to the growing market.

Tobacconists also sold snuff handkerchiefs, usually silk edged with lace, and worn dangling from a sleeve.

Dark colours were favoured over white to disguise any tobacco-stained spittle.

The art of snuff Early on in the fashion, Charles Darwin refers to taking snuff from a box in the hall, hinting the habit was more behind-doors than a fashionable societal pursuit.

It is only during the period 1730-1775 that the size of the snuff box increased from 10-13cm (3-4in) as the the ‘art of snuff’ found its way into the finest and most fashionable European salons.

Snuff was kept in specially made boxes of various materials, designs and sizes depending on its use. The pocket snuff box, or day box, called a journée, contained a ration to last a day. It also had to fit comfortably in the palm of one’s hand.

The use of a hinged lid on the box minimized any spillage, and the lid had to fit very snugly to keep snuff dry. In addition, the box had to open to a precise angle that would permit easy access to the contents while allowing it to remain stable with the lid raised.

Originally made of carved wood, ivory, iron or silver, and known as a tabatière, gold snuff-boxes — often attractively enamelled — soon became the height of functional fashion. At the start of the snuff epidemic snuff boxes measured not much more than 5cm (2½in) suggesting the habit was more novelty than obsession.

Lord Byron Collecting snuff boxes also became an obsession among Georgian gentlemen. Lord Byron spent £500 on them in

Above A pretty girl and

an ugly old woman both taking snuff, August 1827, coloured lithograph. Credit Wellcome Library, London, public domain Above right An

18th-century silver mounted cowrie shell snuff box, unmarked, probably Scottish, engraved with initials EC, length 8.7cm. It has an estimate of £100£150 at this month’s sale Below left A George III silver tortoiseshell carapace table snuff box, London, 1803, Thomas Phipps & Edward Robinson, engraved with an armorial J. W. Bevan. It has an estimate of £400£600 at this month’s sale

a single shopping spree (he later disposed of most of his collection to pay for his ill-fated campaign in Greece), while Viscount Petersham owned 365, a box for every day of the year, and ‘one that suited the weather’.

As snuff’s popularity reached dizzying heights so the box it was carried in soon became a status symbol and were given as tokens of love or friendship or a marker of military or diplomatic merit. Catering to this new consumer, large quantities of silver boxes were produced in Birmingham, makers also produced larger, more elaborate table snuffboxes.

Right A mid

18th-century Italian tortoiseshell snuff box, Neapolitan, c.1750, decorated in gold pique with rocaille scrollwork, length 5.9 cm, depth 4.3cm, height 3.2cm. It has an estimate of £400£600. Such boxes served as souvenirs for Grand Tour tourists.

‘The main centre of production for silver boxes was Birmingham with a number of small workers making souvenir pieces. Among the most prolific was Nathaniel Mills (1826-1850) whose designs were then, and remain, among the most sought after’ 34 ANTIQUE COLLECTING

CASTLE-TOP BOXES

Nathaniel Mills Silver boxes grew out of earlier snuff boxes with the main centre of production being Birmingham and the number of small workers making souvenir pieces.

Among the most prolific was Nathaniel Mills (active 1826-1850) whose designs were then, and remain today, among the most sought after.

Other active box makers in the city at the time alongside Mills – who registered the mark ‘NM’ within a rectangle at the Birmingham Assay Office in 1825 – were John Shaw (1795-1809) and Edward Smith (1833-1852), Matthew Linwood (1789-1806), T. Simpson & Son (18111812) and John Bettridge (1829-1830).

Mills was notable for his innovative manufacturing techniques which included engine-turning, stamping and casting. His hinges were strong, with the corners and seams neatly soldered.

His oblong boxes were adorned with incurvate walls and engine-turned panels ranging in size from large table boxes, some 3 ½ in (10cm) in length, to smaller ones up to about 2in (5cm) long.

A single-owner collection of snuff boxes, vesta cases and vinaigrettes, including earlier designs as well as those

by Nathaniel Mills, amassed over 40 years goes under the hammer at Catherine Southon’s Kent saleroom on February 14. It also includes a silver nutmeg grater, miniature silver hip flask and double sovereign cases.

For more details go to www.catherinesouthon.co.uk

Above Nathaniel Mills

(active 1826-1850) an early Victorian silver presentation table snuff box, Birmingham, 1840, engraved Presented to Mr Alexr Ross railway Contractor On his Workmen and contribution by Voluntary subscription As a token of respect for his Fidelity and Integrity over them Cumbernauld 26 Oct 1842, length 9.5cm, weight approx. 6.36ozt. It has an estimate of £300£400 Above Right John Bettridge (active 1817–1830) a George IV silver-gilt snuff box with a view of Warwick Castle.

Birmingham, 1825, length 7.7cm, weight approx. 3.64ozt. It has an estimate of £600-£800 Left Nathaniel Mills

(active 1826-1850) an early Victorian silver snuff box. Birmingham, 1841, with foliate scroll borders, length 7.3cm. weight approx. 2.83ozt. It has an estimate of £150£250

Another box with its roots in snuff boxes are versions known as ‘castle-top’ boxes produced between 1830 to 1865. Their popularity coincided with the expansion of the railway which opened up the country to middle-class Victorian tourists.

To mark the new day trippers’ visit, a trade in silver boxes, still used to carry snuff, visiting cards or vinaigrettes (which contained a sponge soaked in perfume to mask unpleasant smells) grew up.

Many were decorated with views of famous historic landmarks especially with royal connections such as Windsor Castle, Osborne House, or Balmoral, while historic views of Warwick Castle or Westminster Abbey were also popular.

Souvenirs of places with literary associations were also sought after, such as Newstead Abbey one-time home of the Romantic poet Lord Byron, or Abbotsford House, which was the home of Sir Walter Scott. Even scenes of towns and villages which appeared in literature were popular.

Most ‘castle-top’ boxes were made by die stamping or repoussé, pushing the metal out from behind and using a stamp to create a scene in relief, the higher the relief decoration the harder they were to make.

Collecting castle-top boxes Today, castle-top boxes are considered extremely collectable and remain among the strongest areas of the auction market for small silver objects.

Depending on the type of box or case, prices can vary from mid hundreds to more than a £1,000 and considerably more for a particularly rare example of a box by a sought-after maker.

If the view depicted presents an unusual view or aspect of a familiar subject, then the box will likely be more sought after by a collector and fetch a better price.

The same can be said of those boxes featuring rarer subjects, which appear less often. These include Wells Cathedral, Gloucester Cathedral, Buckingham Palace (before the removal of Marble Arch) and Brighton Pavilion among others.

The record for a ‘castle-top’ card case stands at £9,800 which was for a very rare example of The Post Office, Dublin. Look out for rare examples such as Eddystone Lighthouse, Cornwall, which could fetch a similar amount.

ANTIQUE COLLECTING 35

COLLECTING GUIDE Snuffboxes

Vesta cases

Adapted from the Georgian snuffbox, vesta cases (which derive their name from the Roman goddess of the hearth and home) make a delightful collecting area.

Early matches often could ignite from rubbing on one another and therefore required protection. Vesta cases were therefore designed to keep matches safe

36 ANTIQUE COLLECTING

and, most importantly, dry, with their distinguishing feature being a ribbed surface, usually on the bottom for striking the match. Popular between 1890 and 1920, they were carried predominantly by the chain loop, to attach them to a doubleended Albert and then a waistcoat, which held a pocket watch on one side and a vesta case on the other.

Like the snuffbox before them, vesta cases allowed for the demonstration of the owner’s weatlth, personality and style and soon became a great accessory for the lateVictorian and Edwardian smoker.

In style and material they differed greatly with even Fabergé creating intricate guilloche enamel versions, along with Tiffany in New York and Asprey, in London.

Box clever As well as for snuff, boxes came in a variety of shapes with a multitude of uses.

Louis XIV hated snuff, but loved the boxes.

This led to the development of a number of designs, including the: Boîte-à-portrait, which looked like a snuffbox but featured a portrait miniature either within it or mounted on its cover.

Nécessaire: a box designed to hold sewing implements or those for personal grooming, such as scissors, tweezers or toothpicks.

Etui: a general term for an upright container designed to hold a specific object such as a needle or bodkin.

Boîte-à-mouches: or a patch box, a box that contained small patches (mouches) of various sizes, applied to the faces of ladies or gentlemen to hide smallpox scars – or simply for decoration.

Above Jean Ducrollay

French snuffboxes

By the middle of the 18th century, as in Britain, the taking of snuff had become an entrenched social ritual in France, with the snuffbox becoming an important social prop.

At the time, Paris led the world in the production of high-quality luxury goods.

Louis XIV hated snuff but loved the boxes. To make the most of the aristocratic trend, Parisian goldsmiths made a variety of small boxes to carry personal articles, ranging from snuff boxes to souvenirs, some of which even contained thin ivory tablets for note taking.

Gold snuff boxes, and boxes decorated with portrait miniatures, were prized and frequently given as royal gifts, often to ambassadors or members of the court in lieu of cash payments for their services.

Greatly coveted, such boxes were produced from a variety of materials of the highest quality, skillfully made of gold and embellished with diamonds, enamelled decoration, lacquer, and other luxurious materials.

Snuffboxes were also considered highly fashionable accessories, with some merchants advertising new designs to match the fashion of each season.

As in the UK, the popularity of snuffboxes extended to all levels of society, and for those who could not afford gold, boxes were produced in less expensive materials such as silver, tortoiseshell, porcelain, or domestically produced lacquer.

(1710-1787), French, gold snuffbox, image courtesy of the Metropolitan Museum of Art Below Joseph Etienne Blerzy, snuffbox with portrait of a member of the French royal family, probably a daughter of Louis XV, image courtesy of the Metropolitan Museum of Art

‘By the middle of the 18th century, as in Britain, the taking of snuff had become an entrenched social ritual in France with the snuffbox, becoming an important social prop. At the time, Paris led the world in the producton of highquality luxury goods’

ANTIQUE COLLECTING 37

TEST YOUR KNOWLEDGE

Puzzle TIME Start the year as you mean to go on by exercising the little grey cells with two pages of puzzles set by our quiz editor Peter Wade-Wright

Send your answers to Crossword, Antique Collecting magazine, Riverside House, Dock Lane, Melton Woodbridge, Suffolk, IP12 1PE. Photocopies are also acceptable, or email your answers to magazine@ accartbooks.com. The first three opened by February 14 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.

FEBRUARY QUIZ

Q10 What is a mogador? (a) silk, (b) a soft, strokable fur lining to a jacket, (c) a Norwegian drinking vessel, (d) an early version of a cat-flap.

Q1 What is a bronze figure made from an existing one called? (a) repro-cast, (b) after-cast, (c) childcast, (d) copy-cast.

Q2 To what, in chess, was the old name ‘alphin’ applied? (a) The knight, (b) rook, (c) bishop, (d) the board i.e. the field of battle.

Q2 What, in chess, does the name ‘Alphin’ refer to?

Q3 In the 16th/17th century some books were whimsically given a gilt paper spine. What was the style called? (a) riche, (b) ostentatious, (c) backless, (d) spineless.

Finally, here are four anagrams pork watch, art skeptic, mentor chore, aha! romp.

Rearrange them to form, in order, (a) textile made from scraps of fabric, (b) small holder for a thin candle, (c) a precise timekeeper, (d) classical wine or oil storing vessel.

Anagram 4. Can you name these ancient wine bottles?

Q4 A hooped handle on several types of hollowware is described as what? (a) bale, (b) trug, (c) pail, (d) dish handle.

Q5 What are candle douters? (a) snuffers, (b) trimmers, (c) wax catchers, (d) extinguishers.

Q6 ‘Tiger’ is the name given to a table with what?

Q8 For what is Giuseppe (a) a spring-loaded drawer that snaps closed, (b) legs and feet moulded on those of a cat, (c) veneered Arcimboldo (1527-1593) known? top with decorative striped wood, (d) a light, folding table used on safari camps during the British Raj. Q7 If you owned an ornate shield of Macedon would it be? (a) an 18th-century garden statue, (b) an early coin (2nd century B.C.), (c) a Greek ‘heroic’ urn, (d) a Victorian (gothic) fire-guard.

SOLUTION TO LAST MONTH’S CROSSWORD:

The letters in the highlighted squares Q8 Giuseppe Arcimboldo (1527-1593) is known for when rearranged form what? (two answers) (a) grotesque compositions of the words Victoria fruits, vegetables etc. in human form, (b) stained(and) Albert. glass windows, (c) early depictions of human The winners who will each anatomy from dissections, (d) primitive tableware. receive a copy of the Q9 Cercle et Carré was the name of what? (two book are Robert McNeill, answers). (a) A set of Parisian circus posters, (b) a Glasgow, by email; Geoff late 1920s French journal, (c) secretive Revolutionary Bains, Chorley and Mrs group of political activists, (d) a discussion and M.T. Plumber, by email. exhibition group of artists.

38 ANTIQUE COLLECTING

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Can you name this Scottish town?

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3 Draw out tautly on, say, a canvas, or amount one might bid? (7) 7 With two-down. Something that deceives the eye in art or architecture. (6, 1’4) 8 Accounts or archives…and collectable vinyls. (pl.) (7) 9 Cotton cloth first imported to Britain from India. (6) 12 Accepted (mostly American) spelling of a description of a short pastoral poem. (4) 14 Whatever is left after loss, decay or death e.g. of a saint. (5) 16 Delicate fabric consisting of knots and plaits. (4) 18 Fabulous beast and this year’s symbol of the Chinese zodiac. (6) 20 Tuscan wine. (7) 22 One of God’s messengers in Italian (and hence a common name). (6) 23 ____ Jules Bonheur (1827-1901) known for bronze animal sculptures. Also a saint (c.560-636) with a move afoot to honour him as the patron saint of the internet. (7)

9

ACROSS CLUE

What is the name of this fabric?

What wood is used to make high-quality violins?

Down

1 Perforated ‘plate’ with a design from which copies can be made using paint etc. (7) 2 See seven-across. Note: written without the lettered ligature. (1’4) 3 Pine…used for the belly of the violin family of instruments. (6) 4 ‘To a ___’…perfection! (3) 5 Foreign and alien objects (pl.) (7) 6 Small box for holding tea. (5) 10 The Emerald Isle and homeland of many artists e.g. Paul Henry (1876-1958) and his landscapes. (7) 11 Possum’s non-specific age and his Book of Practical Cats. (3) 13 Major medieval weapon and scourge of the French…on several occasions. (7) 15 North Ayrshire coastal town and haunt of Robert Burns. (6) 17 Cricket series (the urn is priceless!...in so many ways). (5) 19 Auctioneer’s tool of the trade. (5) 21 Viscous material. Spending an ‘a’p’orth is worth it. (3) Finally rearrange the letters in the highlighted squares to form the name of the long series of novels by Sir Walter Scott (1771–1832).

ANTIQUE COLLECTING 39

COLLECTING GUIDE Flight & Barr porcelain

TAKING FLIGHT

Above Flight & Barr

plate from the William IV

The unsung 19th-century Worcester coronation service, 1830, Museum of Worcester porcelain maker Flight & Barr is Porcelain celebrated in a new book by Charles Above right John Flight, Museum of Worcester Dawson, charting the manufactory’s Porcelain 50-year partnership and its most Above far right Martin Barr, Museum of sought-after designs Worcester Porcelain 40 ANTIQUE COLLECTING

F

rom 1751 until the closure of the Royal Worcester Porcelain Factory in 2009, porcelain was made by a range of factory owners and craftsmen. But it was the partnership of Flight & Barr that really put the city on the map. The firm helped earn Worcester Porcelain a world-renowned reputation and establish the city as a centre for high-quality ceramics and craftsmanship.

Lavie vase

In 1808, one of the most distinguished pieces was the Thomas Lavie vase, made to commemorate the capture of the French frigate, Guerrière, by HMS Blanche, captained by Commander Thomas Lavie.

In 1806, with several other French ships, the Guerrière sailed to attack British and Russian whalers, but was chased and brought to action by HMS Blanche.

After a hard-fought battle, Lavie forced Guerrière to surrender, and brought her back to Britain without the loss of a British life. The victory was celebrated in paintings, ceramics and souvenirs of the time.

Flight & Barr was pre-eminent in producing some of the finest English porcelain ever made, which was bought by the British aristocracy and graced tables in England, Scotland, Russia, Muscat, and India. It is avidly collected today around the world, admired for its fine moulding, superb painting, and rich colours.

Early Worcester The story of Worcester Porcelain begins with Dr John Wall (1708-1776), a prominent physician who began experimenting with porcelain, with a view to establishing a new trade in the town, to rival the popular demand for Chinese export ceramics.

With the local apothecary William Davis, the pair based their studies on that of the Bristol porcelain manufacturer Lund and Miller, opening a factory at Warmstry House, Worcester, on the banks of the River Severn in 1751.

But despite some success with soft-paste porcelain, by 1783, the first Worcester porcelain factory had fallen on hard times with declining quality of wares and volume of business.

Above One of a pair

of Flight & Barr punch bowls showing George III, 1792 Right Flight &

Barr Lavie vase and cover, c. 1808, © 2021, White House Historical Association

‘Society’s elite, led by The Prince of Wales, was anxious to keep one step ahead of the increasingly wealthy industrial and merchant classes. The prince favoured extravagant styles, which could not easily be imitated, spending huge sums on porcelain, buying many rich services from Flight & Barr’ ANTIQUE COLLECTING 41

COLLECTING GUIDE Flight & Barr porcelain But tragedy was at hand and in 1791, aged just 25, John died and Joseph Flight took on Martin Barr (c.1757–1813) oversee the operation and the ‘Flight & Barr’ name became established.

Flight & Barr 1792–1804 Barr had been a good friend of John Flight and attended the same Nonconformist, Angel Street Chapel in Worcester. Like John, Barr had no experience of porcelain, but he had a good understanding of business, from his time with Worcester drapers firm, Gillam and Barr. Martin went on to introduce his two sons – Martin Junior and George – into the business, which accounts for the range of marks on the porcelain over the years.

In 1792, Flight & Barr made two punch bowls, for the Corporation of Worcester with portraits of King George III and Queen Charlotte. They were painted by John Pennington (c.1765–1842), a fine painter acquired from Wedgwood. The bowls can be seen today in the Worcester City Guildhall.

An account by the Reverend Richard Warner, a writer of topographical books, described the

The ageing partners were delighted when the opportunity arose to sell the factory to its London agent Thomas Flight (1726-1800) who bought it at auction for £3,000 in the same year. Flight was a successful merchant banker in the City of London and a business entrepreneur. He could see the potential to restore the factory to its former glory and gain employment for two of his sons, John (1766-1791) and Joseph (1762-1838), despite the fact neither had any knowledge of porcelain.

Flight and sons Flight set his sons the task of restoring the fortunes of the factory, which took a body blow with the departure of head decorator Robert Chamberlain, who left to set up his own rival factory in Worcester.

The brothers’ plight was greatly assisted in 1788 by the visit of George III and Queen Charlotte to the Warmstry House factory. The royal couple bought a range of Dr Wall-era patterned wares and was so impressed, they advised the Flights to set up a showroom to satisfy the fashion-conscious clientele and nobility in London. John Flight duly established a showroom at No. 1 Coventry Street, London and, a year later, the king granted the Royal Warrant to the business.

John Flight travelled in France to study the latest French porcelain designs and the introduction of new spiral-fluted shapes and French sprig patterns at Worcester heralded a period of great success.

42 ANTIQUE COLLECTING

Above One of a pair

of Flight & Barr punch bowls showing Queen Charlotte, 1792 Right William

Billingsley (1758-1828), inkstand c 1808-1810, image courtesy of Bonhams

elegance of their pieces on a visit to the Flight & Barr showroom in 1802: “Amongst the shops which ornament the High Street, that of Messrs. Flight and Barr particularly engaged our attention. By the rich exhibition it affords of articles from their elegant manufactory; where the exquisite porcelain is made, generally known by the name of Worcester china, inferior to the French only in lightness and transparency.

Amongst others we were presented with some coffee cups, at ten guineas each, made by the order of the Grand Seignor, and intended to furnish a golden stand enriched with diamonds.”

Prince of Wales The wares produced during 1792 to 1804 were of a high quality and diverse in terms of shapes and decorative patterns. Fluted wares became a staple of the factory, typically decorated with angouleme sprigs which required little expertise from the painters.

The factory progressed to more ambitious shapes and patterns, with the production of breakfast, tea, dinner and dessert services. Fluted and bute teacups, ‘French shape’ coffee cans and saucers with elaborate decorations of gold patterns, feathers, shells and landscapes were also

Above right Flight &

Barr plate from the Gort service c. 1810

‘Thomas Baxter, the finest Regency porcelain painter, came to work for Flight & Barr in 1814. A fine service was made for the coronation of King William IV in 1831, when Flight & Barr was at its greatest’

Harlequin service

John Prendergast, 1st Viscount Gort, purchased a ‘Harlequin’ dessert service from Flight & Barr in 1810. The Gort service (opposite), embellished with the crest of an antelope, included paintings of landscapes, buildings, seven Eastern figures, a tiger, and a kingfisher, all within gilded anthemion borders. The service displays the range and quality of decoration then available from the factory. made in significant numbers, as well as jugs, mugs, vases, eggcups, candlesticks, inkstands and trinkets. Every piece was gilded.

Picturesque landscapes were a fashionable theme for Flight & Barr’s customers, who selected the views to be depicted on commissioned services. Prints of customers’ houses (or castles), beauty spots and landmarks were copied by the Flight & Barr painters, with Worcester Cathedral and Malvern Church, Worcestershire, being popular views.

On September 25, 1807, the Prince of Wales and the Duke of Sussex visited Worcester and included the Flight & Barr factory in their tour. The prince granted his royal warrant. Such warrants were vital advertisements for the factory. Guests at a banquet would turn their plates over to see one of the impressive marks, such as: Flight & Barr Worcester, Manufacturers to Their Majesties & Royal Family.

With such an endorsement, the services soon became the preferred choice of the nobility and professional classes.

Royal patronage The society elite, led by The Prince of Wales, was anxious to keep one step ahead of the increasingly wealthy industrial and merchant classes. The prince favoured extravagant styles, which could not easily be imitated, spending huge sums on porcelain, buying many rich services from Flight & Barr. In fact so synonymous was the company with royal patronage that Flight & Barr began to be referred to commonly as Royal Worcester.

Contemporary themes favoured nature, with depictions of feathers and shells highly sought after.

Equally fashionable were services depicting full armorial decoration of arms, intended to impress visitors.

ANTIQUE COLLECTING 43

COLLECTING GUIDE Flight & Barr Porcelain So popular did they become that a few socially aspirational buyers ‘invented’ their own, bogus, armorial crests. Flight & Barr was able to produce splendid armorial wares with samples rapidly available and delivered much more quickly than those from China.

Armorials were the height of fashion in the early 19th century. Customers in this period included Tsar Alexander I, the Duke of York, George III, George IV, William IV, the Imam of Muscat, the Marquis of Buckingham, and the Nabob of Oude. At the time Flight & Barr and Worcester Chamberlain dominated the armorial market with other factories only having a small share.

Below Flight & Barr, plate with feathers, c.

1804, image courtesy of Bonhams

dealers, auctioneers, and collectors today.

Billingsley convinced Martin Barr to engage in experiments to improve the factory’s body and the kilns, including a new type of muffle kiln for firing the enamels.

In November 1812, Billingsley received £200 from Martin Barr in an agreement in return for ‘having imparted and disclosed…the knowledge of a certain secret related to a new method of producing porcelain’. However, the body did not meet Martin Barr’s expectations. Billingsley secretly left Worcester for Nantgarw with his formula.

William Billingsley (1758–1828)

Flight decline

Flight & Barr also employed the infamous rogue and artistic genius, William Billingsley from 1808 to 1813. He was undoubtedly the finest flower painter on English porcelain, responsible for beautiful pieces while at Worcester, albeit far fewer than the number claimed by

In 1783, when the Flight factory opened, its only major competitor had been Derby, but in the 1820s, many other factories produced quality ware.

Ceramic styles had moved from neoclassical as rococo revival style became popular with up-and-coming industrialists. Demand for rich classical porcelain lessened as new artistic styles took hold.

The Flight, Barr & Barr factory was resistant to changing its designs that had been so successful. Thus the volume of trade declined.

The nobility still patronised its London showroom but the orders were not sufficient to keep the works fully employed. The Barr brothers hoped that the British government, acting on precedents afforded by France, Saxony and Prussia, might be induced to establish a national porcelain works from the Flight & Barr manufactory. They were to be disappointed in that hope.

‘Equally fashionable were services depicting full armorial decoration of arms, intended to impress guests. So popular did they become that a few socially aspiratinal customers invented their own’

End of an era From 1820 onwards there was fierce competition from the Staffordshire factories making porcelain. The taste was not so refined but their output was elegant and less costly.

In many cases they adopted the new rococo revival style and they also copied styles from Meissen and Sevres. Such works pleased the public.

The Worcester Chamberlain factory was in a similar state to Flight & Barr and had moved its wares down market in quality and price. Both factories were in financial trouble and the decision was taken to unite the once rival factories under the named Chamberlain & Co. supported by several influential investors from Worcester.

While the directors were competent, subsequent company minutes record a continual decline in the new business and the company dissolved in 1844.

Joseph Flight had died five years earlier followed in 1848 by Martin Barr Jr and George Barr. The Flight & Barr porcelain dynasty was ended. But, with its superb painting and beautiful gilding, it had been responsible for a wonderful epoch of porcelain collected and revered today.

Charles Dawson is the author of the book Worcester Flight & Barr Porcelain, priced £49, which can be ordered from www.flightandbarr.com

44 ANTIQUE COLLECTING

Collecting Flight & Barr

Above right A Flight &

Barr Worcester featherpainted teacup and saucer, c. 1800, sold for £2,167 in 2022, image courtesy of Bonhams Above Flight & Barr plate

‘Browsing online auctions and selling sites is an excellent way of increasing knowledge of the range of Flight & Barr pieces. Prices range from £100 to £6,000, albeit very exceptional pieces can be higher.

At present, the rare and more expensive Flight & Barr items tend to increase in value more than inflation.

Seek out pots from dealers and ceramic auctions (such as those by Bonhams and Woolley & Wallis)’

Collecting Flight & Barr porcelain is an interesting and delightful hobby, writes Charles Dawson.

I started with a single Flight & Barr plate, followed by a second, then buying a book, then my collection just grew and grew. Joining a ceramic club, such as the English Ceramic Circle, gave me opportunities to discuss pots with fellow collectors, to gain knowledge from experts in lectures and visits to private collections and museums.

Browsing online auctions and selling sites is an excellent way of increasing knowledge of the range of Flight & Barr pieces. Prices range from £100 to £6,000, albeit very exceptional pieces can be higher.

At present, the rarer and more expensive Flight & Barr items tend to increase in value more than inflation, while others tend to not quite match it.

Seek out pots from dealers, ceramic auctions (such as those by Bonhams and Woolley & Wallis), antique fairs and eBay. As with all ceramics, some people prefer perfect pieces, with no restoration. but damaged pieces can provide cheaper examples to learn from, or enable rarer examples to be more affordable. In essence there are less collectors around today than previously, which has reduced the value of average items. The best collections can be seen at the Worcester Royal Porcelain Museum and the V&A. Good hunting!

with portrait of Sarah Siddons in the role of The Tragic Muse painted by Thomas Baxter, c 1814.

Museum of Worcester Porcelain

Right Flight & Barr,

dish with shells from service painted by Thomas Baxter, c. 1815, image courtesy of Bonhams

ANTIQUE COLLECTING 45

COLLECTING GUIDE Props from The Crown

Crowning Glories 450 lots from The Crown are up for sale this month, ranging from the Queen Mother’s drinks tray to the gates of Downing Street. There are even a couple of Beswick corgis in the mix.

Antique Collecting reports

W

ith an estimated 73 million viewers worldwide, love it or loathe it, there is no doubt Netflix’s The Crown – the fictional dramatisation of the life of Queen Elizabeth II – is one of the landmark dramas of the last few decades. Central to its success has been its no-expensivespared budget (costing an average $13m (£10m) per episode, rising to $14.4m (£11,8m) by its final series), much of which went on crafting historically accurate sets, with huge attention given to costumes, hair and props.

For collectors with royal interest, film lovers, or just the plain nosy, this month sees two sales (one live and one online) of props from across six series of the drama.

And there is much to see. Over seven years, The Crown has filmed in 719 locations, notching up a staggering 2,000 sets in seven countries including England, Wales, Scotland, France, Spain, Hungary, and South Africa.

Dominic West, who played Prince Charles in series 5 and 6, said: “Everywhere you went, you just marvelled at what [the set decorators] had done. A lot of the time, if we’re filming in, say, Burghley House, or Wilton House, or any of these amazing places, you walk into a room and it looks like they haven’t done anything. And then you

46 ANTIQUE COLLECTING

Above Olivia Colman

(as the Queen) in series 3 of The Crown, image courtesy of Netflix Below right An ebonised

baby grand piano, made by C. Goetze.

First seen in series 5, in Diana’s Kensington Palace apartment, with photographs and music scores. It has an estimate of £800-£1,200 at this month’s sale

talk to the owners and they say, ‘Oh, no, none of this is our furniture. The paintings are ours, but none of the furniture, none of the knickknacks.’ That’s all set dressing and that’s amazingly impressive.”

Prop store Painstaking attention to detail, which lent the drama its authenticity, was at the heart of the production. Executive producer, Andy Harris, said: “The Audience Room (of Buckingham Palace) was filmed in Wrotham Park, a stately home in Hertfordshire. We had all the Chippendale chairs and sofas hand carved and French polished to copy the originals. A silk mill in Italy replicated and wove the gold silk damask and then the chairs were upholstered. We had the Canaletto paintings printed onto canvas and overpainted to give brushstroke textures and then framed in original 18th and 19th-century gilt gesso frames.”

Set director Alison Harvey told Bonhams, which is holding the sales: “We went to tremendous lengths researching everything. For some fabrics, I went to Humphries, the old Huguenot silk weavers in Sudbury, Suffolk; and had some 18th-century pattern damask woven in Italy. We needed large quantities of bunting for weddings and jubilees. For seasons one and two we had it made and aged, but by Charles and Camilla’s wedding we could get the ‘real’ plastic stuff online.”

Blank canvas Alison Harvey continued: “You start with an empty room. Like costume, a set has to convey the atmosphere and emotion that’s in the script. I’d put up all the front covers of Vogue, as well as a time-line of tech: phones and computers. Tech and lampshades really do create a moment in time; everything, right down to a mug or a chair, says something about that particular time.”

She also shared some secrets from the set: “Actors come up with great ideas for their characters and we buy in many of the things they need: Helena Bonham Carter’s Princess Margaret liked Dunhill lighters, and she asked us to make a cross-stitch cushion saying “It’s not easy being a Princess.” Harold Wilson’s briar pipes came from an old shop on Tottenham Court Road, London, she added.

Crown locations Buckingham Palace

The Coronation Fundamental to establishing the series’ ongoing historic credibility was recreating the first major royal event – the 1953 coronation.

With Ely Cathredral in Cambridgeshire sitting in for Westminster Cathedral, production designer Martin Childs and costume designer Michele Clapton had only a matter of weeks to recreate the ceremony to which 8,000 guests attended.

The team used the actual 1953 photos and footage, filmed it all in one week, with many of the shots filmed from the perspective of the TV cameras who were – for the first time – allowed to film a coronation ceremony.

Above right Wilton

House was used for many scenes, image Netflix Above left Reproduction of the Saint Edward’s chair (or Coronation Chair). It is gold-painted and simulated oak fibreglass to recreate the gothic original. It has an estimate of £10,000£20,000 Left The coronation as

seen in series 1, episode 5, image Netflix

‘In seven years of production, The Crown has filmed in seven countries including England, Wales, Scotland, France, Spain, Hungary, and South Africa, travelling to 719 filming locations and a staggering 2,000 sets, each painstakingly recreated’

Wilton House, in Wilton, Salisbury, was one of the eight locations used to portray Buckingham Palace throughout the entire run of the show, with the house’s ornate Double Cube room kept for the most special palace occasions.

Other locations included Lancaster House a neoclassical mansion built in 1825, just around the corner from the real palace and, luckily for producers, often open to the public.

Wrotham Park in Barnet – close to Elstree Studios – was used as the Audience Room (and many interiors for Gatcomb Park). Elstree studios provided mock ups of many of the royal family’s private quarters and offices, while its backlot was used to recreate the palace gates and exterior.

Production designer Martin Childs visited the palace’s state rooms as a tourist and researched plans of the off-limits private apartments. He said: “I made a plan of how each of the palaces interconnect to make Buckingham Palace. For example, if you take the left stairs down from the queen’s private apartments you finish up in Lancaster House, if you make a right in the hallway you wind up in Wilton House.”

Balmoral Castle With its numerous turrets and impressive Victorian gothic architecture, Ardverikie Castle, near Newtonmore in the Central Highlands was the famous Scottish castle’s stand in.

Windsor Castle With the world’s oldest working castle, built nearly 1,000 years ago by William the Conqueror, off limits to producers, they headed to both Belvoir Castle in Leicestershire and Burghley House in Lincolnshire.

Eton College For much of the interiors, including the schoolrooms and canteen, The Crown’s team turned to Cobham Hall, in Kent – an international girls’ school which luckily allowed filming in term time.

ANTIQUE COLLECTING 47

COLLECTING GUIDE Props from The Crown Recreating the magnificence of the series 1 coronation was a daunting task (only Princess Diana’s wedding dress outdid it in terms of time taken).

Claire Foy required two different robes for the ceremony: an 18ft-crimson Robe of State, lined in ermine with gold lace, and worn upon arrival, and a 21-foot purple Robe of State, trimmed in ermine and lined in white silk.

The Crown’s costume designer, Michele Clapton, told Vanity Fair in 2017: “We created all the dresses, the robes, the anointment gown, and it was just a huge task.”

To recreate the ermine, Clapton and her team used mostly faux fur, adding dots of black to the white trim to make it look authentic.

After the coronation wardrobe, Clapton’s team also had to create the clergy’s wardrobe, as well as that of the royal family members and their guests.

Far right A custom-made mocha polka-dot dress worn by Claire Foy (as the Queen). It has an estimate of £1,000-£2,000 Right A silk teal dress

worn by Claire Foy (as the Queen). It has an estimate of £5,000-£7,000 Below left The full-length white linen pleated Anointing Gown, and the Supertunica in gold lamé, with faux-fur ermine, worn by Claire Foy (as the Queen). The pair has an estimate of £20,000£30,000 Below right Olivia

Colman (as the Queen) in series 3, image Netflix Bottom left Claire Foy (as

the Queen) wearing the polka-dot dress in Kenya in 1952

embroiderers on rotation, while the bodice, the skirting and the appliqué were all crafted at the same time at separate locations.

In series 1 Claire Foy is seen in a custom-made teal and silver strapless ballgown on a trip to the theatre. In the next episode she wears a mocha polka-dot dress. Amy Roberts explained the process behind the fashion choices.

She told Tudum: “The Queen’s fabrics and Margaret’s fabrics, you could tell at a glance who was who. The Queen, she just felt more settled, so we kept her pretty much in a palate of sugared almond colours. Margaret is slightly darker — bruised if you like, a bit like her.”

All change For the production crew, the coronation was just the start. Over the six series, for the Queen alone, the team handmade more than 500 different costumes, reflecting not just the changes in fashion over the years but the Queen’s own sense of private and public life.

When it came to her wedding gown, the train alone took six weeks to embellish with a team of students and

Time for tea

With tea being the preferred non-alcoholic drink of many of the royals, it is not surprising tea ware was an essential element of the series, with much of it sourced from online auction sites.

Set decorator Alison Harvey told Elle Décor online: “There was a phase where every Saturday I sat on my computer buying things on auction. I purchased a lot of teacups, about 40 sets in all. We had to have two units of each item, which meant several tea sets in case the Queen needs another tea cup, of course.”

Each royal tea cup also had to match its owner’s personality. Alison continued: “Charles had Georgian, neoclassical graphic cups, while the Queen’s were quite blousy, early 20th-century, chinoiserie-based teacups.”

48 ANTIQUE COLLECTING

ROYAL CARRIAGE

Funeral procession While costumes posed their own challenges, other props brought different problems. In the final episode of the last series, Imelda Staunton, as the Queen, is seen considering a model of her own funeral procession.

The architectural model of Buckingham Palace, Admiralty Arch and funeral carriage, comprised of 500 separate pieces, took eight weeks to make and was onstructed under the guidance of Major David RankinHunt, The Crown’s protocol adviser.

When it became clear the decorating department would not be able to source enough toy soldiers to accurately represent the procession, they enlisted the help of Surrey specialists, BGI Supplies.

Crew members were dressed by the costume department before being life cast and scanned by the company for accurate 3D models to then be printed.

The Crown director Stephen Daldry said: “A huge amount of effort by hundreds of expert modelmakers went into the model of Her Majesty the Queen’s funeral procession going up the Mall in the final episode, where the Queen reviews her own funeral procession, including her own coffin and the things on it.”

It took a team of 10 a day to install the model for filming in the Double Cube room at Wilton House.

Above Imelda Staunton

(the Queen) looking at her funeral procession model in series 6, episode 10 Above Right

A reproduction of the Gold State Coach. It has an estimate of £30,000£50,000 Below left The model comprised of a combination of approximately 500 models of soldiers and has an estimate of £8,000-£12,000

One of the more challenging and expensive of all the props constructed for The Crown in its seven-year history was the exacting replica of the Gold State Coach.

Built in 1762 for King George III, the real coach has been used at every coronation since 1831 when William IV succeeded the throne and last used for the coronation of Charles III on May 6, 2023.

Only a sovereign and their consort are permitted to travel in the historic vehicle.

Some 23ft (7m) long and 23ft (3.6m) wide it weighs four tons and requires eight horses to pull it. A rococo masterpiece, the coach is made of gilded wood with elaborate carvings by sculptor Sir Joseph Wilton. Inside, it is upholstered in velvet and satin with the interior featuring illustrated panels, painted by Giovanni Battista Cipriani (1727-1785), depicting Roman gods and goddesses.

To recreate the chassis of the life-size replica, Left Bank Pictures turned to Buckinghamshirebased specialists The Devil’s Horsemen – one of the leading film-industry horse and carriage suppliers in Europe.

For the rest, specialist prop makers Anarchy Ltd in Watford used 3D CNC machining, hand sculpting moulds cast in glassfibre and 3D printing to perfect the mock-up coach.

Completed in 2019, the carriage was used in some of the pivotal moments of the series.

‘Over six series, the actors playing Elizabeth have collectively worn more than 500 costumes, including 20 wigs. In series 5, episode 6, Diana wears 17 original outfits during her Australian tour’ ANTIQUE COLLECTING 49

COLLECTING GUIDE Props from The Crown The following day, Diana’s figure-hugging fashion choice dominated the front pages, usurping coverage of her estranged husband’s documentary and plunging her back into the spotlight.

Style evolution

Queen of style While Elizabeth II wore some elaborate outfits, for truly iconic looks it would be the later series, and the advent of Princess Diana, which would be responsible for the most sought-after designs. The princess first appears in series 4, played by Emma Corrin, when costume designer Amy Roberts (who joined the team series 3) was at the helm.

Like her predecessors she was determined to make sure every outfit expressed both the mood and personality of the character portrayed.

Nowhere is this more evident than with the dress inspired by Princess Diana’s ‘revenge dress’, worn by Elizabeth Debicki in series 5.

Amy Roberts said: “Black being usually worn by the royals for mourning, this little black dress symbolises the death of a marriage.”

The original off-the-shoulder chiffon dress was created

by Greek designer Christina Stambolian. It featured a plunging, sweetheart neckline and a flowing black trail.

She accessorised with silk Manolo Blahnik high heels, sheer black tights, and a statement choker necklace.

Diana wore it to the Vanity Fair party at the Serpentine Gallery on November 20, 1994, the same day that Charles’ affair with Camilla Parker Bowles had gone public in a documentary.

Above Elizabeth

Debicki (as Princess Diana) in series 5 episode 5, image courtesy of Netflix Above right The

‘revenge dress’ – a custom-made, off-theshoulder black cocktail dress. It has an estimate of £8,000-£12,000 Below right The

reproduction engagement ring worn

by Emma Corrin (as Lady Diana Spencer) featuring a halo of cubic zirconia around an oval simulated sapphire central stone, set in silver coloured mounts.

It has an estimate: £2,000-£3,000 Far right The blue two-piece outfit worn

by Emma Corrin (as Lady Diana) for her engagement announcement. It has an estimate of £1,500£2,000 Left Elizabeth Debicki

(as Princess Diana) in the Gulf of St Tropez with the paparazzi, image Netflix Right The leopard print

swimsuit as worn by Eizabeth Debicki (as Princess Diana). It has an estimate of £800£1,200

50 ANTIQUE COLLECTING

Throughout the series, as in life, Diana is seen to undergo a dramatic style evolution. From the Liberty-print skirt she is seen wearing as the blushing bride-to-be in series 3, to the ‘revenge dress’, The Crown designers were at pains to reproduce Princess Diana’s maturing fashion choices.

In life, the young princess favoured off-the-peg outfits

by British designers but, as she distanced herself from the royal family, she looked to more high-fashion foreign designers such as Versace and Armani.

Again, attention to detail was vital. To recreate the famous cotton ‘Harvard’ sweatshirt and cycle shorts Princess Diana wore while dodging paparazzi in the 1990s, costume designers Amy and Sidonie Roberts asked the famous American university to recreate the exact jumper complete with the same distinctive cowl neckline.

To reproduce the exact look of the famous leopard one-piece swimsuit the princess wore in 1997 while holidaying with the Al-Fayeds in the Mediterranean, designers approache Gottex – one of her favourite swimwear brands – to reproduce the same costume.

Left A French early

20th-century mahogany and giltmetal mounted pedestal desk, with a variety of desk accessories used by Jonathan Pryce (as Prince Philip). It has an estimate of £3,000£5,000 Below A George III mahogany bureau cabinet in rococo style and a collection of porcelain figures, desk lamp, leather writing blotter, photograph frames and other accessories, used by Imelda Staunton (as the Queen). It has an estimate of £3,000£5,000

Did you know?

• There have been a total of

45,816 extras in all six series.

• Throughout six series there

were a total of 3,249 military uniform fittings.

• A total of 1,112 medals have been used on uniforms in the show.

• The shots of the streets of Pristina in Kosovo were shot at the civic centre in Southend-on-Sea, in Essex.

• The Crown has boosted the popularity of corgis, so much so the Pembroke Welsh corgi is no longer listed as at risk with popularity in the breed soaring by 22 percent after series 2.

Bonhams hosts an online auction of up to 300 lots from The Crown from January 30 to February 8 with a live sale of approximately 150 lots on February 7 at Bonhams, New Bond Street, London. For more details on both go to www.bonhams.com

The façade can be seen in The Crown, series 4, episode 1

NUMBER 10 DOWNING STREET

First seen in series 1, The Crown’s props department faithfully reconstructed two façades of No. 10 and No.11 Downing Street made to scale on the ‘backlot’ at Elstree Studios.

Interestingly, the door of No. 10 had to be scaled up during the first two series when John Lithgow played Winston Churchill. The actor was considerably taller than Churchill and in order to ensure the realism of the scenes the decision was made to scale up the door.

No attention to detail was spared. When No. 10 Downing Street was first presented to Horace Walpole by George II in 1735, the letterbox was engraved with the words First Lord of the Treasury – a detail recreated in the prop on sale this month.

(George II later agreed to Walpole’s request to make the building the official residence to him and all future first lords of the Treasury.)

The black ironwork fence with spiked newel posts running along the front of the house is also part of the lot, as well as a black-painted brass lion-mask door knocker, central octagonal door-pull and boot scraper.

Left The No.

Below left Two Beswick porcelain models of corgis (17cm wide, 7cm deep, 14cm high) and a silver mounted photograph frame, with a black-andwhite photograph of a corgi. The set has an estimate of £200-£300

10 Downing Street front, including a lantern, railings and bootscraper, has a an estimate of £20,000-£30,000

ANTIQUE COLLECTING 51

EXPERT COMMENT Irita Marriott

LOTS of LOVE

Irita Marriott was charmed when a single-owner collection of compacts appeared in her first sale

F

or me, nothing epitomises glamour quite as much as a powder compact. Glittering mini treasures designed to fit in the palm of the hand, they are redolent of the golden age of Hollywood when women were desperate to recreate the flawless complexions of the era’s most beautiful stars. Every time a woman reached for her compact, with an elegant, gloved hand, she radiated fashion, sophistication and luxury.

So I was delighted when a single-owner collection of compacts appeared in our first auction. They were consigned by the wife of a successful businessman who had worked in Texas for much of his career. It seemed she, like me, had been enchanted by generations of stylish women who had left the room to “powder their noses”. All by the American beauty company Estée Lauder, each one was unused and came with its original box and paperwork.

Patch boxes Of course, in many ways the compact (which, to the uninititated, housed a woman’s precious, pressed powder dabbed on to ameliorate any sweat or redness) has its roots in the ‘patch’ box of Georgian times. The latter were small boxes designed to carry tiny patches (also called a mouche) that were glued to the face to hide facial scars or blemishes, often caused by smallpox. Like the more modern versions they also had a mirror inside.

In later years, the popularity of compacts echoed that of make-up itself. Wearing it returned to popularity in the 1920s (after Queen Victoria famously opposed ‘painted faces’). With Valentine’s Day around the corner, it’s

Above right Estée

Lauder Opulent Rose compact, in its original box pouch with paperwork, unused, it sold for £65 in Irita’s recent sale Below left Estée Lauder, Harmony compact, in its original box pouch with paperwork, it sold for £70

interesting to note in the earliest years of the 20th century a compact was often a longed-for gift from a suitor – its intimacy of use being a constant reminder of parted lover.

In fact, giving compacts as love tokens was a tradition which continued to the start of WWII when servicemen would send their sweethearts designs from around the world, sometimes housing a love letter.

Female emancipation But it was the 1950s that the compact really came into its own, marketed at the busy modern woman who spent most of her time out of the house. In a few short decades after the war, wearing make-up had evolved from a closeted activity to a proud public display of emancipation.

American compacts flooded the market but, in the UK, Kigu of London and Stratton were responsible for some of the most collectable (and outrageous) designs – the more ‘out there’ the better, because compacts were a fashion accessory and made to be seen.

In 1967, Estée Lauder (1908-2004) entered the compact market with its 24ct gold-plated alligator refillable version.

Lauder herself was the epitome of a modern woman.

Born to Hungarian immigrants in New York, she began her career selling a line of cold creams produced by her chemist uncle. By the 1930s she was producing her own line of cosmetics made by hand in her kitchen. But her career really took off in 1953 with the launch of her first fragrance, Youth Dew. In a smart marketing move it was advertised as a bath oil, intended as a gift not from men but as an affordable treat which women bought for themselves.

Over the years Estée Lauder’s compacts have become very collectable, with new designs introduced each year, totalling some 1,700, ranging from hearts to shooting stars.

If you are looking for a new collecting idea for 2024, I can’t think of anything more ideal.

Irita Marriott is an expert on a number of TV programmes including Antiques Road Trip, Celebrity Antiques Road Trip and Bargain Hunt. She recently opened her own auction house in Derbyshire, for more details and sale dates go to www.iritamarriottauctioneers.co.uk

‘It was the 1950s that the compact really came into its own, marketed at the busy modern woman who spent most of her time out of the house. In a few short decades wearing makeup had evolved from a closeted activity to a proud public display’ 52 ANTIQUE COLLECTING

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TOP of the LOTS

The opulent contents of one of Venice’s grandest palazzos go under the hammer this month as well as a collection of Doccia porcelain One of the highlights of the Salisbury-based auctioneers Woolley and Wallis’s fine porcelain and pottery sale on February 21 is the Mavis Watney collection of Doccia porcelain.

The hard-paste porcelain factory was established in 1737 outside Florence at Doccia

by Carlo Ginori (1702–1757) and went on to become one of the most significant European makers of the 18th century, hitting its height from 1737 to 1757.

Early works were made from a greyish, hard-paste porcelain derived from local clay, which was extremely prone to cracking.

After 1770 the paste was changed to a finer, whiter variety.

Estimates on the collection range from £100 to £5,000.

Above Doccia porcelain from the Mavis Watney collection goes under the

hammer in Wiltshire

An Allwin de-luxe, ‘penny-in-the-slot’ machine dating from the 1950s has an estimate of £400-£600 at Canterbury Auction Galleries’ two-day sale on February 9-10.

Arcade machines first appeared in turn-of-the-20thcentury Germany, but it was British manufacturers like Allwin which quickly evolved their technical complexity.

Such machines were common in British arcades from the ‘30s and exported throughout Europe – although not to America, where one-arm bandits were all the rage. The machine on sale has been converted to 2p coins.

Right Penny-in-the-slot machines

were popular from the 1930s

54 ANTIQUE COLLECTING

A Victorian display of South American birds, beetles and butterflies has an estimate of £400-£600 at Catherine Southon’s sale on February 14.

The menagerie has 21 birds, including a red-legged honey creeper and green-headed tanager, as well as a number of humming birds, perched on a central branch.

In Victorian times every town boasted a taxidermist, with demand sparked by a society fascinated by death and memento mori. Even Queen Victoria famously collected an array of stuffed birds.

Right The glass domed taxidermy

display is expected to make £400£600 this month

Original manuscripts and photographs from Dr Who, Worzel Gummidge and the long-running BBC radio comedy The Navy Lark are up for sale at Chiswick Auctions’ online sale from February 2-18, expected to make £400-£600.

They come direct from the estate of the English actor John Pertwee (1919-1996) who took over the role as the third incarnation of The Doctor in 1969 and starred alongside Una Stubbs in Worzel Gummidge from 1979–1989.

The lot also includes a black-and-white photograph of Pertwee with William Hartnell and Patrick Troughton, the first and second actors to play The Doctor.

At the same sale a private collection made up of the signatures of each of Britain’s 56 prime ministers has an estimate of £9,000-£12,000. The collection begins with Robert Walpole, instructing a payment of £223, and ends with a signed photograph of Rishi Sunak.

Above The collection includes letters from 56 British prime ministers

A pair of century-old cufflinks has an estimate of £400-£600 at Dorset auction house Charterhouse as part of its two-day sale of jewellery, silver and watches on February 1-2.

Dating from the inter-war period, they are made from 18ct gold with blue-and-white enamel lattice panels inset with diamonds in the centre Auctioneer, Richard Bromell, said: “At a time when many people work from home these cufflinks would be perfect for wearing to a party or when dressing up for dinner.”

Right A pair of 18ct gold, enamel

and diamond cufflinks goes under the hammer in Sherborne

Its hallowed halls have entertained the glitterati from golden age Hollywood stars to European royalty, now some of the finest furnishings from one of Venice’s grandest palazzos are going under the hammer at auction.

An upcoming sale at Sotheby’s this month will see 200 lots from the sumptuous interiors of Palazzo Volpi, appear on the rostrum in Paris.

Located in San Marco and overlooking the left bank of the Grand Canal, the palazzo stands on one of the grandest locations of the city island.

Vistors to Venice would be familiar with its façade featuring the city’s famous blue-and-white barbershop poles, facing one of the most iconic waterways in the world.

Built in the early 1500s for the Talenti family, the palazzo came into the ownership of a wealthy Flemish merchant before passing through numerous hands over centuries.

It was finally bought by the entrepreneur, politician and founder of the Venice Film Festival Giuseppe Volpi in 1917 who established the palazzo as the setting for the renowned “Volpi” society balls.

1

Famous “Volpi” ball

Following Giuseppe Volpi’s death in 1947, his wife Nathalie – known as Lily – continued to entertain international A-listers at the venue.

A Sotheby’s spokesman said: “When Jean Cocteau, Cary Grant, Lauren Bacall, Jacqueline de Ribes, Andy Warhol or Maria Callas were not visiting, Winston Churchill could be seen painting on the Palazzo’s balcony overlooking the Grand Canal or Arthur Rubinstein would be sat at a piano in one of the receptions rooms.”

Their son Count Giovanni Volpi di Misurata and his wife, took up the hosting baton in the 1960s entertaining the latest raft of bella gente including Paul Newman, Jack Nicholson and George Clooney.

Lots on sale this month are made up of furniture and art from the palace’s piano nobile – the main floor containing the portego (a typically Venetian reception room), ballroom and music room.

Pieces include Roman consoles and ballroom banquettes, as well as spectacular Venetian mirrors, chandeliers and sopraporta (the decoration over a door) in the style of renissance architect, Jacopo Sansovino. Also on sale is a group of pieces supplied by the French interior designer Stéphane Boudin who founded the influential firm Maison Jansen in Paris in 1925, noted for its opulent designs.

2 3

4

5

6

200 lots from the Palazzo Volpi go under the hammer at Sotheby’s Paris on February 28. For more details go to www.sothebys.com 1 The reception room is flanked by grand portraits of venetian proconsuls atop console tables, image Sotheby’s 2 One of a pair of Italian giltwood side tables, which has an estimate of €150,000€300,000 (£170,000-£340,000) 3 A Venetian Japanese-style console, it has an estimate of €25,000-€40,000 (£21,500-£40,000) 4 One of a pair of Venetian mirrors, the duo has an estimate of €100,000-€200,000 (£86,000-£172,000) 5 One of the Roman console tables, replete with Venetian lions on the underside, it is expected to fetch up to €180,000 (£150,000) 6 A set of 14 Venetian giltwood chairs, has an estimate of €80,000-€120,000 (£70,000-£100,000)

ANTIQUE COLLECTING 55

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ANTIQUE COLLECTING 57

OUT AND ABOUT in February

FAIR NEWS

A round-up of some of the best fairs taking place around the country in February

Maldon see Look east

The Norfolk Antique and Collectors Fair returns to the Norfolk Showground for two days this month.

According to organisers, Aztec Events, the event on February 3-4, appeals to visitors, “whether they are a professional dealer, avid collector looking to complete a cherished collection, or an enthusiast searching for the oncein-a-lifetime treasure.”

The event boasts a number of indoor stands in an exhibition hall, as well as furniture pavilions and outdoor stands.

Early trade entry is from 7am on Saturday, with tickets priced £6 available only in cash on the gate.

The ancient town of Maldon in Essex is the location for this month’s antiques and collectors fair on February 11.

With its location of Blackwater Leisure Centre being just 10 minutes from the town centre, the event is an ideal opportunity to explore the area.

More than 70 dealers regularly attend the event which has free parking and an on-site café. The venue is located next door to the Promenade Park, featuring a marine lake, and a great place to start walks along the River Blackwater.

Maldon has a history bound up with water. It is best known as the home of Maldon Sea Salt, while the town’s port has a heritage stretching back thousands of years.

Above The fair is an ideal opportunity to visit the charming Essex town

Above The county town of Norwich is home

to the Norfolk Antique and Collectors Fair Left A glass and ceramics dealer’s wares

Welsh rare bits

All things Welsh, from textiles to dressers, take centre stage at the National Botanic Garden of Wales antiques fair this month.

Located in the heart of the Carmarthenshire countryside, the attraction plays host to the two-day event on February 24-25.

Organiser Brita Rogers, from Derwen Fairs, said: “The fair has had a reputation for showcasing Welsh areas of collecting, including Welsh pottery, blankets, art and furniture.”

The recently transformed Theatr Botanica will host a collection of ceramics from Moorcroft, Lorna Bailey, Beswick and Doulton; while the Millennium Courtyard will house a number of smaller marquees displaying vintage toys, clothing, retro pieces, furniture and gardenalia.

Right The National Botanic Garden

of Wales hosts the two-day event

58 ANTIQUE COLLECTING

Racing ahead

Epsom Racecourse Antiques and Collectables Fair takes to the tracks this month continuing its previous successful run under its new owner, Tree of Ages.

Approximately 70-80 dealers will offer their finest at a number of indoor stalls, with up to 20 outdoor stalls alongside the famous racetrack.

The event, on Tuesday February 20, has an early bird trade entrance from 7am, with tickets costing £10. Public entrance is from 9am (tickets cost £3).

Tree of Ages added the popular Surrey fair to its portfolio last year, taking over from Continuity Fairs which had run the event since 1992.

Above The fair continues its run at Epsom race course

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

Eagle Farm Road, Biggleswade, Bedfordshire, SG18 8JH, Feb 18

Adams Antiques Fairs 020 7254 4054 www.adamsantiquesfairs.com Adams Antiques Fair, The Royal Horticultural Halls, Elverton Street, SW1P 2QW, Feb 25

CL Fairs 07501 782821 Norfolks Collectors Fair at the Parish Hall, Church Street, Cromer, Norfolk, NR27 9HH, Feb 3

Coin and Medal Fair Ltd 01694 731781 www.coinfairs.co.uk Holiday Inn, Coram Street, London, WC1N 1HT, Feb 3

St Ives Antiques Fair 07803 820347 www.stivesantiquesfair.co.uk Burgess Hall in Westwood Road, St. Ives, PE27 6WU, Feb 17-18

Etc Fairs 01707 872 140 www.bloomsburybookfair.com Bloomsbury Book Fair, Turner Suite at Holiday Inn, Coram Street, London, WC1N 1HT, Feb 11 Sunbury Antiques 01932 230946 www.sunburyantiques.com Kempton Antiques Market, Kempton Park Race Course, Staines Road East, Sunbury-on-Thames, Middlesex, TW16 5AQ, Feb 13, 27 SOUTH EAST & EAST ANGLIA: including Beds, Cambs, Essex, Hertfordshire, Kent, Norfolk, Suffolk, Surrey, Sussex.

Arun Fairs 07563 589725 Rustington Antiques & Collectables Fair, The Woodland Centre, Woodlands Avenue, Rustington, West Sussex, BN16 3HB, Feb 4 Graham Turner Antiques Fairs 01379 897266 Long Melford Village Memorial Hall, Chemists Lane, (opposite The Bull Hotel), Long Melford, Suffolk, CO10 9LQ, Feb 3 Marcel Fairs 07887648255 www.marcelfairs.co.uk Antique and Vintage Fair,

SOUTH WEST including Berkshire, Buckinghamshire, Cornwall, Devon, Dorset, Gloucestershire, Hampshire, Isle of Wight, Oxfordshire, Somerset, Wiltshire.

Antique Fairs Cornwall 07887 753956 www.antiquefairscornwall.co.uk Lostwithiel Antiques & Collectors Fair Community Centre, Plyber Christ Way, Lostwithiel, Cornwall, PL22 0HA, Feb 11 Pensilva Liskeard Antique and Collectors Fair, PL14 5NF, Feb 25 Arun Fairs 07563 589725 Emsworth Antiques and Collectors Fair, Emsworth Community Centre, North Street, Emsworth, Hampshire, PO10 7DD, Feb 11 Continiuity Fairs 01584 873634 www.continuityfairs.co.uk Matford Centre, Matford Park Rd, Marsh Barton, Exeter EX2 8FD, Feb 3 The International Westpoint Antique Home and Vintage Fair, Westpoint Arena Clyst St Mary, Exeter EX5 1DJ. Feb 11-12 Grandmas Attic Antique and Collectors Fairs www.grandmasatticfairs.co.uk Antique and Collectors Fair The Grange Centre, Bepton Road,

Midhurst, GU29 9HD, Feb 4 The Pavilion, Westover Road, Bournmouth. BH1 2BU, Feb 17-18 Hidden Treasures 073947 04272 Benson on Thames Antique & Collectors Fair, The Parish Hall Sunnyside Benson, Wallingford Oxon, OX10 6LZ, Feb 18 Sga Fairs 07759 380299 Browsers Antique & Collectors Fair. Pangbourne Village Hall Near central village car park Pangbourne Berkshire, RG8 7AN, Feb 24 Drayton Antique & Collectors Fair, 07488549026 Drayton Village Hall, Lockway, Drayton, Abingdon Oxford, OX14 4LG, Feb 4 EAST MIDLANDS including Derbyshire, Leicestershire, Lincolnshire, Northamptonshire, Nottinghamshire, Rutland.

Arthur Swallow Fairs 01298 274493 www.asfairs.com Vintage Flea Market, EXO Centre, Lincolnshire Showground, Lincoln, LN2 2NA, Feb 18 IACF 01636 702326 www.iacf.co.uk Newark and Nottinghamshire Showground, Newark, Nottinghamshire, NG24 2NY, Newark International Antique and Collectors Fair, Feb 1-2 Runway Monday at Newark Antiques and Collectors Fair, Feb 19

www.b2bevents.info Malvern Flea & Collectors Fair Three Counties Showground, Malvern, Worcestershire WR13 6NW, Feb 11 Coin and Medal Fair Ltd 01694 731781 www.coinfairs.co.uk Midland Coin Fair National Motorcycle Museum, Bickenhill, Birmingham, B92 0EJ, Feb 11 Marcel Fairs 07887 648255 marcelfairs.co.uk Antique & Collectors Fair, Sarratt Village Hall, The Green, WD3 6AS, Feb 11 WALES Derwen Antique Fairs 07790 293367 National Botanic Gardens of Wales, Llanarthney, Carmarthenshire, SA32 8HG, Feb 24-25 NORTH including Cheshire, Cumbria, Lancashire, Northumberland, Tyne and Wear, Yorkshire.

V&A Fairs 01244 659887 www.vandafairs.com Nantwich Civic Hall Antique and Collectors Fair, Civic Hall Nantwich Beam Street, Nantwich, Cheshire, CW5 5DG, Feb 22 SCOTLAND Glasgow, Antique, Vintage & Collectors Fair 07960 198409 Bellahouston Leisure Centre, 31 Bellahouston Drive, Glasgow, G52 1HH, Feb 18

SPECIALIST GLASS

Stags Head Events 07583 410862 www.stagsheadevents.co.uk Antiques, Vintage & Collectors Fair, Brockington Campus Ederby, LE19 4AQ, Feb 11 Antiques & Collectors Fair Coalville Leisure Centre Leics, LE67 3FE, Feb 24

WEST MIDLANDS including Birmingham, Coventry, Herefordshire, Shropshire, Staffordshire, Warwickshire, Worcestershire B2B Events 07774 147197 07771 725302

Kelso Antique Fleamarket Fair 07760 660556 BUAS Showground, Springwood Park, Kelso, TD5 8LS, Feb 10-11 IRELAND Vintage Ireland 353 85 862 9007 Vintage & More Fair, South Dublin Antiques, Royal Marine Hotel Marine Road, Dun Laoghaire, Feb 4 Portlaoise Antiques, Killeshin Hotel Dublin Rd., Portlaoise, Feb 11 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 Adam Partridge The London Saleroom, The Auction Room, Station Parade, Ickenham Road, West Ruislip, HA4 7DL, 01895 621991 www.adampartridge.co.uk Antiques and Fine Art, Feb 6 Bonhams 101 New Bond St, London W1S 1SR, 020 7447 7447 www.bonhams.com The Crown Auction, Feb 7 The Crown Auction (Online) ends, Feb 8 Fine and Rare Wines(Online) ends, Feb 8 Old Master Paintings (Online), Feb 5-14 Bonhams Montpelier St, Knightsbridge, London, SW7 1HH, 020 7393 3900 www.bonhams.com Posters (Online) ends, Feb 1 Weekly Watches (Online) ends, Feb 7 The Connoisseur’s Library Sale, Feb 13-14 Watches and Wristwatches, Feb 21 Designer Handbags and Fashion, Feb 21 Chiswick Auctions Barley Mow Centre Chiswick, London, W4 4PH, 020 8992 4442 www.chiswickauctions.co.uk Asian Art (Timed Online), Feb 9-21 Prints and Multiples, Feb 13 Autographs and Memorabilia, Feb 20 Chinese Industrial Revolutionary Art and Literature, Feb 21 Chiswick Auctions 1Roslin Square, Roslin Road, London, W3 8DH, www.chiswickauctions.co.uk Books and Works on Paper, Feb 27 Antiques, Homes and Antiques, Feb 28

60 ANTIQUE COLLECTING

Christie’s 8 King St, St. James’s, SW1Y 6QT, 020 7839 9060 www.christies.com Philip Hewat-Jaboor: An Eye for the Magnificent, Feb 8 Elmwood’s 101 Talbot Road London, W11 2AT, 0207 096 8933 www.elmwoods.co.uk Valentine’s Day Gifts’, Feb 7 Forum Auctions 220 Queenstown Road, London SW8 4LP, 020 7871 2640 www.forumauctions.co.uk Winter Selection: Modern and Contemporary Editions, Feb 8 Modern Literature (Online), Feb 15 Books and Works on Paper (Online), Feb 29 Hansons Auctioneers The Normansfield Theatre, 2A Langdon Park, Teddington TW11 9PS, 0207 018 9300 www.hansonsauctioneers.com Jewellery, Silver, Watches, Fine Art & Interiors, Feb 24 Lyon & Turnbull Mall Galleries, The Mall, St. James’s, London SW1Y 5AS, 0207 930 9115 www.lyonandturnbull.com Nature Inspired: A Private Collection of Lalique(Live Online, Viewing in London) Feb 8

Roseberys Knights Hill, Norwood, London, SE27 0JD, 020 8761 2522 www.roseberys.co.uk Design, Feb 20 Old Master, British and European Pictures, Feb 27 Sotheby’s New Bond St., London W1A 2AA, 020 7293 5000 www.sothebys.com None listed Timeline Auctions 23-24 Berkeley Square London W1J 6HE www.timelineauctions.co.uk 020 7129 1494 None listed SOUTH EAST AND EAST ANGLIA: Inc. Bedfordshire, Cambridgeshire, Essex, Hertfordshire, Kent, Norfolk, Suffolk, Surrey, Sussex Bishop and Miller 19 Charles Industrial Estate, Stowmarket, Suffolk, IP14 5AH, 01449 673088 bishopandmillerauctions.co.uk The Oak Interior, Feb 28-29 Bishop and Miller Unit 12 Manor Farm, Glandford, Holt, Norfolk, NR25 7JP 01263 687342 bishopandmillerauctions.co.uk The Collector to include East Anglian Art, Feb 14

Noonans 16 Bolton St, Mayfair, W1J 8BQ, 020 7016 1700 www.noonans.co.uk Coins and Historical Medals, Feb 6-7 World Banknotes, Feb 29

Bellmans Newpound, Wisborough Green, West Sussex, RH14 0AZ, 01403 700858 www.bellmans.co.uk Wines and Spirits, Feb 12 Antiques and Interiors, Feb 19-21

Phillips 30 Berkeley Square, London, W1J 6EX, 020 7318 4010 www.phillips.com None Listed

Burstow & Hewett The Auction Gallery, Lower Lake, Battle, East Sussex,TN33 0AT, 01424 772 374 www.burstowandhewett.co.uk Luxury Watches, Fine Jewellery and Silver, Feb 2 Homes and Interiors, Feb 7-8 Fine Sale, Feb 29 Fine Art and Sculpture, Feb 29

Olympia Auctions 25 Blythe Road, London W14 0PD, 020 7806 5541 www.olympiaauctions.com None Listed

The Canterbury Auction Galleries 40 Station Road West, Canterbury, Kent, CT2 8AN, 01227 763337 canterburyauctiongalleries.com Two Day Fine Art and Antique Auction, Feb 8-9 Catherine Southon Auctioneers Farleigh Court Golf Club, Old Farleigh Road, Selsdon, Surrey, CR6 9PE, 0208 468 1010 www.catherinesouthon.co.uk Antiques and Collectables, Feb 14 Cheffins Clifton House, Clifton Road, Cambridge, CB1 7EA 01223 213343, www.cheffins.co.uk The Interiors Sale, Feb 8 Ewbank’s London Rd, Send, Woking, Surrey, 01483 223 101 www.ewbankauctions.co.uk Retro Video Games and Consoles, Feb 1 Vintage Posters, Feb 2 Entertainment and Memorabilia Premier (Live) Auction, Feb 15 Entertainment and Memorabilia Collectables (Timed) Sale, Feb 16 Excalibur Auctions Limited Unit 16 Abbots Business Park Primrose Hill Kings Langley, Hertfordshire, WD4 8FR 020 3633 0913 www.excaliburauctions.com Marvel, DC and Independent Comic Books, Feb 3 Collectors’ Cavern Auction - including Entertainment Memorabilia, Posters, Feb 17 Gorringes 15 North Street, Lewes, East Sussex, BN7 2PE, 01273 472503 www.gorringes.co.uk Weekly Sale Including Coins and Stamps, Feb 5 Weekly House and Gardens Sale, Feb 12 Weekly Including Toy, Teddy and Dolls, Feb 19 Weekly Sale Including Books, Feb 26

Hansons The Pantiles Arcade, 49 The Lower Pantiles, Royal Tunbridge Wells, Kent, TN2 5TE, 01892 573540 www.hansonauctioneers.co.uk Tunbridge Wells February Silver, Jewellery, Watches, Fine Art and Antiques Auction, Feb 22 Hanson Ross Unit 1, The Power House, Lumen Road, Royston, Hertfordshire, SG8 7AG, 01763 430 042 www.hansonsauctioneers.co.uk February Silver, Jewellery, Watches, Fine Art and Antiques Auction, Feb 9 John Nicholson’s Longfield, Midhurst Road, Fernhurst, Haslemere, Surrey, GU27 3HA, 01428 653727 www.johnnicholsons.com CHECK Lacy Scott & Knight 10 Risbygate St, Bury St Edmunds, Suffolk, IP33 3AA, 01284 748 623 www.lskauctioncentre.co.uk Home and Interiors, Feb 17 Toys and Models, Feb 23 Lockdales Auctioneers 52 Barrack Square, Martlesham Heath, Ipswich, Suffolk, IP5 3RF 01473 627110 www.lockdales.com Paper Collectables, Feb 13-14 Watches, Clocks and Silver, Feb 20-21 Mander Auctioneers The Auction Centre Assington Road Newton, Sudbury, Suffolk CO10 0QX, 01787 211847 www.manderauctions.co.uk Antiques and Interiors, Feb 17 Parker Fine Art Auctions Hawthorn House, East Street, Farnham, Surrey, GU9 7SX, 01252 203020 www.parkerfineartauctions.com None listed Reeman Dansie 8 Wyncolls Road, Severalls Business Park, Colchester, Essex, CO4 9HU, 01206 754754 www.reemandansie.com Antiques and Fine Art Sale, Feb 13-14 Sworders Fine Art Auctioneers Cambridge Road, Stansted Mountfitchet, Essex,

CM24 8GE, 01279 817778 www.sworder.co.uk Paint. Print. Sculpt. (Online), Feb 9 Homes and Interiors (Online), Feb 22 The Warner Dailey Collection, In Person and Online, Feb 22 Toovey’s Antique & Fine Art Auctioneers Spring Gardens, Washington, West Sussex, RH20 3BS, 01903 891955 www.tooveys.com Asian and Islamic Ceramics and Works of Art, Feb 1 Stamps, Cigarette and Trading Cards, Postcards and Photographs, Autographs and Ephemera, Feb 7 Fine Art, Silver and Plate, Jewellery, Feb 21 Objects of Vertu, Collectors’ Items, Works of Art and Light Fittings, Rugs and Carpets, Feb 22 British and Continental Ceramics, Glassware, Feb 29 T.W. Gaze Diss Auction Rooms, Roydon Road, Diss, Norfolk,IP22 4LN, 01379 650306. www.twgaze.com Antiques and Interiors, Feb 2, 9, 16, 23 Blyth Barn Furniture Auction, Feb 6, 13, 20, 27 W&H Peacock Auctioneers Eastcotts Park, Wallis Way Bedford, Bedfordshire MK42 0PE, 01234 266 366 www.peacockauction.co.uk Wines and Spirits, Feb 9 Mid-Century Design, Feb 16 SOUTH WEST: Inc. Berkshire, Buckinghamshire, Cornwall, Devon, Dorset, Gloucestershire, Hampshire, Isle of Wight, Oxfordshire, Somerset, Wiltshire Adam Partridge The Devon Saleroom, The Antique Village Station Road Hele, Exeter EX5 4PW 01392 719826 www.adampartridge.co.uk None listed Auctioneum Broadlands Fruit Farm, Box Road, Bathford, Bath BA1 7LR, 01225251303 www.auctioneum.co.uk Fine Art & Antiques Auction - Furniture, Objet d’Art and Paintings, Part I, Feb 23

Bearnes Hampton & Littlewood St. Edmund’s Court, Okehampton Street, Exeter EX4 1DU, O1392 41310 www.bhandl.co.uk 20th Century and Contemporary, Feb 13 Silver and Jewellery, Feb 27 British Bespoke Auctions The Old Boys School, Gretton Rd, Winchcombe, Cheltenham, GL54 5EE 01242 603005 www.bespokeauctions.co.uk Antiques, Jewellery and Collectables, Feb 27 Chorley’s Prinknash Abbey Park, Near Cranham, Gloucestershire, GL4 8EU, 01452 344499 www.chorleys.com Fine Art and Antiques Including Marine Paintings, Feb 6-7 David Lay Auctions Lay’s Auctioneers, Church Row, Lanner Redruth, Cornwall, 01736 361414, TR16 6ET www.davidlay.co.uk Antiques & Interiors, Feb 1 Home & Garden, Jan 31 to Feb 2 Coin & Railways, Feb 8-9 Jewellery & Fashion, Feb 22 The Art Collection of Pep and John Branfield, Feb 29 Dawsons Unit 8 Cordwallis Business Park, Clivemont Rd, Maidenhead, Berkshire, SL6 4BU, 01628 944100 www.dawsonsauctions.co.uk Fine Jewellery, Watches and Silver, Feb 22 Fine Art and Antiques, Feb 29 Dominic Winter Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ, 01285 860006 www.dominicwinter.co.uk Printed Books, Maps and Documents, Feb 7 Dreweatts Donnington Priory Newbury, Berkshire, RG14 2JE 01635 553 553 www.dreweatts.com Interiors Day 1, Feb 13 Interiors Day 2, Feb 14 Art Online, Feb 16 Fine Wine, Champagne, Vintage Port and Spirits, Feb 20 Old Master, British and European Art, Feb 21 Fine Clocks, Barometers and Scientific Instruments, Feb 27

Duke’s Brewery Square, Dorchester, Dorset, DT1 1GA, 0105 265080 www.dukes-auctions.com Sporting and Natural History, Feb 15 Interiors, Feb 29 East Bristol Auctions Unit 1, Hanham Business Park, Memorial Road, Hanham, BS15 3JE, 0117 967 1000 www.eastbristol.co.uk Antiques & Collectables, Feb 6-7 Fine Art & Antiques, Feb 23 Hansons Auctioneers 49 Parsons Street, Banbury, Oxford, OX16 5NB, 01295 817777 www.hansonsauctioneers.co.uk Banbury Silver, Jewellery, Watches, Fine Art and Antiques Auction, Feb 3 Harper Field Auctioneers The Stroud Auction Saleroom Ebley Road, Stonehouse, Stroud, Gloucestershire, GL10 2LN 01453 873800 www.harperfield.co.uk February Auction, Feb 7-8 Kinghams 10-12 Cotswold Business Village, London Road, Moreton-in-Marsh, Gloucester, GL56 0JQ, 01608 695695 www.kinghamsauctioneers.com Jewellery, Watches and Designer Goods, Feb 23 Lawrences Auctioneers Ltd The Linen Yard, South St, Crewkerne, Somerset, TA18 8AB, 01460 703041 www.lawrences.co.uk None listed Mallams Oxford Bocardo House, St Michael’s St, Oxford, OX1 2EB 01865 241358 www.mallams.co.uk The Oxford Library Sale, Feb 7-8 Affordable Art (Timed), Feb 2-11 Mallams Cheltenham 26 Grosvenor St, Cheltenham.

Gloucestershire, GL52 2SG 01242 235 712 www.mallams.co.uk Country House Sale, Feb 21 Mallams Abingdon Dunmore Court, Wootten Road, Abingdon, OX13 6BH, 01235 462840 www.mallams.co.uk None listed ANTIQUE COLLECTING 61

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.

Moore Allen & Innocent Burford Road Cirencester, Gloucestershire GL7 5RH, 01285 646050 www.mooreallen.co.uk Vintage and Antique Furniture and Home Interiors, Jan 26 to Feb 4, Feb 21-22 Vintage And Antique Furniture Auction (Timed), Feb 23 to March 3 Philip Serrell Barnards Green Rd, Malvern, Worcestershire.

WR14 3LW, 01684 892314 www.serrell.com Interiors, Feb 13 Richard Edmonds Auctions Ltd. (formerly Chippenham Auction Rooms) Unit 1, Showell Business Park Showell. Chippenham Wiltshire. SN15 2NU, 01249 444544 Automobilia and Spares inc. Full kits and Individual Parts for Ford Model Ts., Feb 23 Cars and Motorcycles, Feb 24 Special Auction Services Plenty Close, Newbury, Berkshire, RG14 5RL 01635 580 595 www.specialauctionservices.

Photographica and Cameras Auction, Feb 13 Militaria and Collectables Auction, Feb 20-21 The Important Private Antique Doll Collection of Austin Smith and Margaret Harkin - Part 1, Feb 22 Trains Galore: Part Two (Smaller Gauges), Feb 27 The Cotswold Auction Company Bankside Saleroom, Love Lane, Cirencester, Gloucestershire, GL7 1YG, 01285 642420 www.cotswoldauction.co.uk Toys, Dolls, Models, Antiques and Interiors, Feb 27-28 The Cotswold Auction Company Chapel Walk Saleroom, Chapel Walk, Cheltenham, Gloucesterhire, GL50 3DS, 01242 256363 www.cotswoldauction.co.uk Books, Medals, Militaria, Coins, Stamps and Collectables, Feb 6

62 ANTIQUE COLLECTING

Wessex Auction Rooms Westbrook Far, Draycot Cerne, Chippenham, Wiltshire, SN15 5LH, 01249 720888 www.wessexauctionrooms.co.uk Antiques, Collectables and Furniture, Feb 3, 17 Toys, Feb 8-9 Vinyl Records and Music Memorabilia, Feb 22-23 Woolley & Wallis 51-61 Castle Street, Salisbury, Wiltshire, SP1 3SU, 01722 424500 www.woolleyandwallis.co.uk Arts of Africa, Oceania and the Americas, Feb 20 British and Continental Ceramics and Glass, Feb 21 EAST MIDLANDS: Inc. Derbyshire, Leicestershire, Lincolnshire, Northamptonshire, Nottinghamshire, Sheffield Bamfords The Derby Auction House, Chequers Road, Derby, Derbyshire, DE21 6EN, 01332 210 000 www.bamfords-auctions.co.uk Royal Crown Derby Paperweight Auction, Feb 8 The Collector’s Grand Tour: Curated Objects, Interior Design, Curiosities and Works from the Library, Feb 14 Gildings Auctioneers The Mill, Great Bowden Road, Market Harborough, Leicestershire, LE16 7DE 01858 410414 www.gildings.co.uk Antiques, Feb 13, 27 Golding Young & Mawer The Bourne Auction Rooms, Spalding Road, Bourne, Lincolnshire PE10 9LE 01778 422686 www.goldingyoung.com Bourne Collective Sale, Feb 14-15 Golding Young & Mawer The Grantham Auction Rooms, Old Wharf Road, Grantham, Lincolnshire NG31 7AA, 01476 565118 www.goldingyoung.com Grantham Collective Sale, Feb 7-8

Golding Young & Mawer The Lincoln Auction Rooms, Thos Mawer House, Station Road North Hykeham, Lincoln LN6 3QY, 01522 524984 www.goldingyoung.com Lincoln Collective Sale, Feb 1, 21-22 Lincoln Fine Art, Feb 28 Hansons Heage Lane, Etwall, Derbyshire, DE65 6LS 01283 733988 www.hansonsauctioneers.co.uk Derby February Antique and Collectors Auction: Including Silver, Jewellery and Watches, Feb 15-20 Derby February Sporting Auction, Feb 20 Derby February Single Owner Connoisseur Ceramics Auction, Feb 27 Derby February Medals, Militaria and Firearms Auction, Feb 28-29 Irita Marriott Auctioneers and Valuers Ltd, William’s Yard Derby Road, Melbourne, Derbyshire, DE73 8JR 01332414848 iritamarriottauctioneers.co.uk None listed John Taylors Auction Rooms The Wool Mart, Kidgate Louth, Lincolnshire LN11 9EZ 01507 611107 www.johntaylors.com Antiques, Furniture, Ceramics, Coins and Silver etc, Feb 6 WEST MIDLANDS: Inc. Birmingham, Coventry, Herefordshire, Shropshire, Staffordshire, Warwickshire Cuttlestones Ltd Pinfold Lane, Penkridge Staffordshire ST19 5AP, 01785 714905 www.cuttlestones.co.uk Antiques and Interiors, Feb 8, 22 Fellows Augusta House, 19 Augusta Street, Hockley, Birmingham, B18 6JA , 0121 212 2131 www.fellows.co.uk Watches, Feb 1 A Country House Auctions, Feb 6 Pawnbrokers, Jewellery and

Watches, Feb 7, 21 Gemstones, Feb 8 Jewellery Day One, Feb 13, 27 Jewellery Day Two, Feb 14, 28 Designers Handbags and Accessories, Feb 20 Jewellery and Costume Jewellery Day One, Feb 21 Jewellery and Costume Jewellery Day Two, Feb 22 Monies, Medals and Militaria, Feb 29 Fieldings Mill Race Lane, Stourbridge, DY8 1JN 01384 444140 www.fieldingsauctioneers.co.uk Antiques and Interiors Including Jewellery, Feb 15-16 Antiques (Online), Feb 20-27 Bespoke - Cameras, Vinyl and Music Memorabilia, Feb 28 Halls Bowmen Way, Battlefield, Shrewsbury, Shropshire, SY4 3DR 01743 450700 www.hallsgb.com/fine-art.com Pictures, Ceramics, Collectables and Modern Design, Feb 7 Militaria, Maritime and Naval Auction (Timed), Feb 2-20 Hansons Auctioneers Bishton Hall, Wolseley Bridge, Stafford, ST18 0XN, 0208 9797954 www.hansonsauctioneers.co.uk Bishton Hall February Library Auction: To Include Books, Feb 6 Bishton Hall February Fine Art Auction, Feb 13 Trevanion The Joyce Building, Station Rd, Whitchurch, Shropshire, SY13 1RD, 01928 800 202 www.trevanion.com Fine Art & Antiques, Feb 24 NORTH: Inc. Cheshire, Co. Durham, Cumbria, Humberside, Lancashire, Greater Manchester, Northumberland, Tyne & Wear, Sheffield, Yorkshire Adam Partridge Withyfold Drive, Macclesfield, Cheshire, SK10 2BD 01625 431 788 www.adampartridge.co.uk Fine Art with Sporting & Militaria, Feb 29-March 1

Adam Partridge The Liverpool Saleroom, 18 Jordan Street, Liverpool, L1 OBP, 01625 431 788 www.adampartridge.co.uk Asian Art with Antiques & Collectors’ Items, Feb 7-8 Anderson and Garland Crispin Court, Newbiggin Lane, Westerhope, Newcastle upon Tyne, NE5 1BF, 0191 432 1911 www.andersonandgarland.com Homes and Interiors, Feb 6, 20 The Collectors’ Auction, Feb 13-14 The Pictures Auction, Feb 22 The Music Auction, Feb 28 Capes Dunn The Auction Galleries, 40 Station Road, Heaton Mersey, Cheshire, SK4 3QT. 0161 273 1911 www.capesdunn.com Interiors, Vintage and Modern Furniture, Feb 5, 19 Jewellery, Watches, Silver and Gold, Feb 6 Antique Furniture, Clocks, Eastern Carpets and Traditional Paintings, Feb 20 Hawleys Auctioneers, Albion House, Westgate, North Cave, Brough, Beverley, East Yorkshire, HU15 2NJ 01482 868193 www.hawleys.info Antique and Fine Art, Feb 24-25 David Duggleby Auctioneers The Gallery Saleroom, Scarborough, North Yorkshire, YO11 1XN, 01723 507 111 www.davidduggleby.com Coins and Banknotes, Feb 7 The Stamp Sale, Feb 7 Jewellery and Watches, Feb 8, 29 Affordable Art, Feb 8 Decorative Antiques, Feb 9 Collectors and Clearance, Feb 9 Furniture and Interiors, Feb 10 Sporting Memorabilia and Autographs (Timed), Feb 25 The Silver Sale, Feb 29 Duggleby Stephenson The Saleroom, York Auction Centre, Murton, York, YO19 5GF, 01904 393 300 www.dugglebystephenson.com Jewellery and Watches, Feb 1 Antiques and Collectors, Feb 1 Collectors and Clearance, Feb 1 Fine and Affordable Art, Feb 2 Furniture, Rugs and Interiors, Feb 2

Elstob Ripon Business Park, Charter Road, Ripon, North Yorkshire HG4 1AJ, 01677 333003 www.elstob.co.uk Fine Art and Antiques, Feb 14 Omega Auctions Ltd Sankey Valley Industrial Estate, Newton-Le-Willows, Merseyside WA12 8DN, 01925 873040 www.omegaauctions.co.uk Punk, Alt, New Wave and Indie Vinyl Records, Feb 27 Richard Winterton Lichfield Auction Centre, Wood End Lane, Fradley Park, Staffordshire, WS13 8NF, 01543 251081 www.richardwinterton.co.uk Two-Day Antiques and Home Sale, Feb 5-6, 12-13, 19-20, 26-27 Richard Winterton Tamworth Auction Rooms, 34 -35 Church Street, Tamworth, B79 7BX, 01827 217746 www.richardwinterton.co.uk Collectors’ Sale, Feb 21 Ryedale Auctioneers Cooks Yard, New Road Kirkbymoorside, North Yorkshire, YO62 6DZ, 01751 431 544 www.ryedaleauctioneers.com Antiques, Interiors and Collectables, Feb 2-3 Collectablesl and Militaria, Feb 16-17 Sheffield Auction Gallery Windsor Road, Heeley, Sheffield, S8 8UB, 0114 281 6161 www.sheffieldauctiongallery.com Specialist Collectable Toys, Feb 8 Fine Silver, Jewellery and Watches, Feb 8, 22 Antiques and Collectables, Feb 9, 23 Vinyl Records & Music Ephemera Auction, Feb 22 Shelby’s Auctioneers Ltd Unit 1B Westfield House, Leeds LS13 3HA, 0113 250 2626 www.shelbysauctioneers.net Antiques and General Sale, (Online) Feb 6, 20 Tennants Auctioneers The Auction Centre, Harmby Road, Leyburn, North Yorkshire DL8 5SG, 01969 623780 www.tennants.co.uk Antiques and Interiors, Feb 9, 23

Costume, Accessories and Textiles, Feb 9 Coins and Banknotes, Feb 14 Vectis Auctions Ltd Fleck Way, Thornaby, Stockton on Tees, TS17 9JZ, 01642 750616 www.vectis.co.uk Dolls and Bear Sale, Feb 1 Specialist Diecast and Toy Sale, Feb 8 Retro Toys, Action Man & Lego Sale, Feb 13 Vinyl, Music and Associated Items, Feb 14 General Toys, Feb 15, 22 Matchbox and Diecast Sale, Feb 21 TV & Film Related Sale, Feb 27 Model Train Sale, Feb 29 Wilkinson’s Auctioneers The Old Salesroom, 28 Netherhall Road, Doncaster, South Yorkshire, DN1 2PW, 01302 814 884 wilkinsons-auctioneers.co.uk Period Oak, Country Furniture and Effects, Feb 23-24 Wilson55 Victoria Gallery, Market St, Nantwich, Cheshire CW5 5DG, 01270 623 878 www.wilson55.com Firearms, Shotguns, Airguns, Arms and Militaria, Feb 7 Sporting Memorabilia, Feb 22 Coins and Banknotes, Feb 29 SCOTLAND Bonhams 22 Queen St, Edinburgh, EH2 1JX 0131 225 2266 www.bonhams.com None listed Lyon & Turnbull 33 Broughton Place, Edinburgh.

EH1 3RR, 0131 557 8844 www.lyonandturnbull.com Scottish Wemyss Ware: The George Bellamy Collection), Jan 24 Rare Books, Manuscripts, Feb 7 Nature Inspired: A Private Collection of Lalique, Feb 8 Paintings and Works on Paper, Feb 13 Five Centuries, Feb 21 McTears Auctioneers 31 Meiklewood Road, Glasgow, G51 4GB, 0141 810 2880 www.mctears.co.uk Cabinet of Curiosities, Feb 6 Coins and Banknotes, Feb 7 Jewellery, Feb 7 Watches, Feb 7

Antiques and Interiors, Feb 8, 22 Whisky, Feb 14 The Scottish Contemporary Art Auction, Feb 15 Militaria, Maps and Ethnographic, Feb 28 19th and 20th Century Design, Feb 28 Asian Art, Feb 29 Silver and Luxury Accessories, Feb 29 Thomson Roddick The Auction Centre, Irongray Road Industrial Estate, Dumfries, DG2 0JE, 01387 721 635 www.thompsonroddick.com Home Furnishings and Interiors, Feb 6, 20 Thomson Roddick The Auction Centre, 118 Carnethie Street, Edinburgh, EH24 9AL 0131 440 2448 www.thompsonroddick.com Home Furnishings and Interiors, Feb 1, 15, 29 Thomson Roddick 22 Smith Street, Ayr KA7 1TF 01292 267 681 www.thompsonroddick.com Household Furnishings To Include Antiques and Modern Furniture, Ceramics, Glass, Pocket and Wrist Watches and Jewellery, Feb 8 WALES Anthemion Auctions, 15 Norwich Road, Cardiff, CF23 9AB., 029 2047 2444 www.anthemionauction.com General Sale, Feb 28 Jones & Llewelyn Unit B, Beechwood Trading Estate, Llandeilo, Carmarthenshire, SA19 7HR, 01558 823 430 www.jonesandllewelyn.com General Sale, Feb 10 Rogers Jones & Co 17 Llandough Trading Estate, Penarth, Cardiff, CF11 8RR, 02920 708125 www.rogersjones.co.uk Jewellery and Collectables, Feb 16 IRELAND Adam’s

26, Stephens Green, Dublin 2, D02 X665, Ireland 00 353 1 6760261 www.adams.ie At Home, Feb 19

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QUALITY ANTIQUES & OBJETS D’ART 26 Market St, Hebden Bridge, West Yorkshire, HX7 6AA

Georgian chamber horse exercise chair (pictured) Unusual Georgian to William IV architectural features eg doors, door frames, over door pediments. 18th century staircase spindles and handrail needed. Anything Georgian or Regency with lots of character considered.

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Four identical reclaimed Georgian wooden sash windows with boxes, approx 60 high x 37 wide.

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or email: Charlotte.Kettell@accartbooks.com ANTIQUE COLLECTING 65

LAST WORD Marc Allum

Marc My Words Antiques Roadshow’s Marc Allum starts 2024 in a chilly warehouse cataloguing the 1,000-lot ‘hidden’ collection of a remarkable dealer

I

’m always busy and 2024 is, so far, proving no exception. I hit the ground running with a series of lectures and the looming catalogue deadline for one of the biggest single-owner collections that I’ve worked on in more than a decade.

It belonged to the ‘late, great’ George Withers, who was born in 1946 and grew up on a Gloucestershire farm.

Collecting was in his blood. His family well remember him, aged just 14, struggling across a field with one of his first modest purchases – a grandfather clock.

He opened his first shop, aged 21, on London Road, Bath – the first of many in the area. It was always full to the gunnels, to the point that visitors had to enter through the door sideways and slide between the hoard of antiques on display within.

Late great collector I have had the stressful pleasure, along with several colleagues, of cataloguing George’s superlative collection of highly eclectic, top-quality pieces which span virtually every genre you can imagine. They are all ‘proper’ old school antique artefacts that have been packed away for 50 years.

Why packed away? Well, George had a problem.

Despite being a dealer, he couldn’t part with the good stuff. So, over the decades he accumulated huge quantities of treasures which were just salted away never to see the light of day again.

The first part of this I understand because I’m a collector, too. But what I don’t understand is not being

66 ANTIQUE COLLECTING

Below left A pair of saw-handled percussion pistols by W, Parker, c. 1825, from George Withers’ collection.

It has an estimate of £1,000-£1,500 at this month’s sale

able to look at and appreciate one’s acquisitions.

Otherwise, what’s the point? Perhaps we will never fathom it but colleagues and I have discussed it at length as we’ve unpacked George’s treasures. The fact is, he had a brilliant eye and obviously enjoyed the thrill of the chase.

Below right A Dr

Aside from the stress, one of the worst parts of dealing with the estate has been the working conditions. I swear auctioneering is the only profession that has, for generations, side-stepped any health and safety measures.

So far, working in a freezing cold warehouse, I’ve lacerated myself on 18th-century swords and been smothered in squirrel droppings. But I don’t care, I’m enjoying myself, so I just get on with it. And it also helps to be working with a wonderful group of colleagues.

I was asked whether the collection should have been preserved as a museum. But the fact is, it would never have been possible and I honestly think George would have preferred to see his items go back into the market and the hands of dealers and collectors. After all, a collector was exactly what he was.

Hopefully, stress levels permitting, by the time you read this, details of the collection will be online at Dore & Rees auctioneers in Frome in Somerset.

Brewster’s patent kaleidoscope, c. 1825, part of the collection Marc is cataloguing, has an estimate of £1,000£2,000 at this month’s sale in Somerset

Squirrel droppings

Marc Allum is an author, lecturer and specialist on the BBC’s Antiques Roadshow. The two-day sale of the collection of the ‘late great’ George Withers takes place from February 21-22 at Dore & Rees, Vicarage Street, Frome, Somerset, and online at www.doreandrees.com

‘I swear auctioneering is the only profession that has, for generations, side-stepped any health and safety measures. So far, working in a freezing cold warehouse, I’ve lacerated myself on 18th-century swords and been smothered in squirrel droppings’

SCOTTISH WEMYSS WARE THE GEORGE BELLAMY COLLECTION AUCTION 24 JANUARY 2024 EDINBURGH & LIVE ONLINE

WEMYSS WARE LARGE ‘SUMMER FLOWERS & INSECTS’ BALUSTER VASE glazed earthenware, painted by James Sharp 53.5cm high

£4,000-6,000 + fees

EDINB URGH 0131 557 8844 | LONDON 020 7930 9115 | G L A S G OW 0141 333 1992 | Browse & bid at lyonandturnbull.com