Antique Collecting magazine June/ July 2021

T H E B E A U T Y O F V I C T O R I A N T R AY S B E S T C O L U M N I S T S L AT E S T B O O K O F F E R S

ANTIQUE

COLLECTING

RECORD-BREAKING SALES

HOW A FOLD-UP CHAIR SOLD FOR £6m

ANTIQUE COLLECTING

Behind the scenes at the sale of a Suffolk collection of Chinese furniture in Hong Kong

JUNE/JULY 2021

Plus:

TAKE A SEAT

100 YEARS OF CHAIR DESIGN UNSUNG HEROINES CHARLOTTE PERRIAND THE TEST OF TIME CELEBRATING 50 YEARS OF THE ROLEX EXPLORER II

VOL 56 N0.2 JUNE/JULY 2021

Wish you Were Here Why postcards are sending collectors into a spin

ALL THAT SLITHERS...

SNAKES IN THE HISTORY OF JEWELLERY

HOW TO BUY ARTWORK BY JMW TURNER FOR JUST £100 Why savvy collectors are snapping up prints by the great British artist

ALSO INSIDE The future of antique fairs • Cycling memorabilia • Tribal art

THE

EXPLORER 16 July 2021 10am

An exciting mix of objects from across the continents showcasing the wonders of the World through objects

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

FIRST WORD

Welcome

There was a time not very long ago when the word ‘hybrid’ mainly referred to a flower or bike. Now it seems to be a concept ruling our lives. Hybrid working (two days in pyjamas at the kitchen table and three days in the office) and now hybrid antiques fairs.

Much as we love the rough and tumble of an actual fair, it seems we also like buying things – even very posh things – on our laptops and phones slumped on the sofa. This summer’s solution is to do both, in a ‘hybrid’ version, with digital and in-person fairs running simultaneously. We debate the future of the fair on page 34. Personally, I can’t see a model that has survived millennia – since the first caveman took his antique beads to the neighbouring cave-town market – changing because we’ve spent the last 18 months at home watching Flog It! But I could be wrong.

Talking of changing times, when was the last time you sent a postcard? When you can instantly post a selfie of yourself on top of Ben Nevis for free, it’s not surprising the once holiday staple has gone out of fashion. But it’s a phenomenon quite at odds with its collecting counterpart, which is going great guns as a report on page 26 reveals.

In the heyday of the Edwardian postcards, publishers commissioned a number of artists to travel around the UK to paint its most desirable towns. In a similar way a century earlier, JMW Turner did the same thing, only this time depicting scenes to be printed in travel books.

The very good news is these prints, which also demonstrate the superb craftsmanship of the country’s finest 19th-century etchers and engravers, can be bought for as little as £100.

Discover more on page 18.

In other good news, today is the day I received my second vaccination, so excuse me as I leave you to trial the under-reported effects of Astra Zeneca and a large gin and tonic.

Have a great summer and enjoy the issue

Georgina

Georgina Wroe, Editor

We love

This pair of early 20thcentury Rajasthani model horses, 53cm high, which has an estimate of £100-£150 at Bishop & Miller’s Explorer sale on July 16.

IN THIS ISSUE

LIZ BAILEY

on the enduring appeal of serpents in jewellery making, page 36

ELIE MASSAOUTIS

flies the flag for the French designer Charlotte Perriand, page 50

ROBBIE BRIGHT

highlights a single owner collection of deer antlers, page 58

MARC ALLUM

KEEP IN TOUCH

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

Antique Collecting subscription

tackles an unseen menace intent on ruining his collections, page 72

The Team

Editor: Georgina Wroe, georgina. wroe@accartbooks.com Online Editor: Richard Ginger, richard.ginger@accartbooks.com Design: Philp Design, james@philpdesign.co.uk Advertising: Georgina Wroe, georgina.wroe @accartbooks.com Subscriptions: Sue Slee 01394 389957, sue.slee@accartbooks.com

£38 for 10 issues annually, no refund is available.

ISSN: 0003-584X

ANTIQUE COLLECTING 3

FINE JEWELLERY & WATCHES Tuesday 27 July www.sworder.co.uk

On view by appointment only London Gallery | 15 Cecil Court | London | WC2N 4EZ

Monday 12 - Saturday 17 July

Cambridge Road | Stansted Mountfitchet | Essex | CM24 8GE Friday 23 - Monday 26 July To book an appointment www.sworder.co.uk/appointments | 01279 817778

Contents VOL 56 NO 2 JUN/JUL 2021

18

42

T H E B E A U T Y O F V I C T O R I A N T R AY S B E S T C O L U M N I S T S L AT E S T B O O K O F F E R S

ANTIQUE

COLLECTING

RECORD-BREAKING SALES

HOW A FOLD-UP CHAIR SOLD FOR £6m

ANTIQUE COLLECTING

Behind the scenes at the sale of a Suffolk collection of Chinese furniture in Hong Kong

JUNE/JULY 2021

Plus:

TAKE A SEAT

100 YEARS OF CHAIR DESIGN UNSUNG HEROINES CHARLOTTE PERRIAND

REGULARS 3 Editor’s Welcome: Georgina Wroe introduces the bumper summer issue 6 Antique News: With restrictions easing, there’s much to do and see over the coming months

58 Saleroom Spotlight: Behind the scenes at the sale of a world-beating collection of deer antlers 60 Top of the Lots: Treasures on sale this month include a collection of Hermès scarves and an album of royal photos

11 Lots of Love: Christina Trevanion is in awe of the little-known Spalding 64 Subscription Offer: Save 50 Gentlemen’s Society percent on the cover price and 12 Around the Houses: A round-up of receive a free book worth £65 the latest sales from the UK’s auctioneers, including a ‘Blofeld’ chair 65 Fairs calendar: They’re back.

Make the most of the events taking and a WWI poet’s letters place this summer 16 Waxing Lyrical: Furniture expert 66 Auction Calendar: Never miss David Harvey takes a whistle-stop another sale with our up-to-date tour of a century of chairs auction listings 23 Your Letters: A delve into the latest 72 Marc My Words: Antiques Antique Collecting postbag Roadshow’s Marc Allum takes up arms against an invisible enemy 24 Cool and Collectable: Paul Fraser takes a spin around collectable Tour de France memorabilia

VOL 56 N0.2 JUNE/JULY 2021

FEATURES

THE TEST OF TIME CELEBRATING 50 YEARS OF THE ROLEX EXPLORER II

Wish you Were Here Why postcards are sending collectors into a spin

THIS MONTH

ALL THAT SLITHERS...

SNAKES IN THE HISTORY OF JEWELLERY

HOW TO BUY ARTWORK BY JMW TURNER FOR JUST £100

34 Market Report: With more fairs going online, is it time to bid them a fond farewell forever?

18 The Line King: Hilary Gerrish reveals the undervalued market for prints by JMW Turner

42 Top of the Lots: Jewellery and Watches: A round-up of the finest pieces going under the hammer in upcoming sales

26 The Write Stuff: We might not send postcards, but we certainly collect them as our report reveals

Why savvy collectors are snapping up prints by the great British artist

ALSO INSIDE The future of antique fairs • Cycling memorabilia • Tribal art

COVER

The Heveningham Hall Chinese chair which sold in Hong Kong for £6m. Image courtesy of Christie’s, see the story on page 30

58

FOLLOW US

30 Heveningham Sent: How a Suffolk collection of Chinese Ming furniture sold for millions in Hong Kong

36 Snake Charmers: Liz Bailey highlights the importance of 54 Without Reserve: Lennox Cato serpents thoughout the history of demonstrates how Victorian trays can jewellery design serve up a treat

@AntiqueMag

12

48 Puzzle Pages Put your feet up with two pages of head-scratching questions and a crossword

30

56 Book Offers: Save money on the latest must-read titles from our sister publisher ACC Art Books

39 Test of Time: On the 50th-anniversary of the Rolex Explorer II, we focus on the iconic model and its adventurous heritage 44 Crowning Glories: African ceremonial head gear makes a stunning addition to any tribal art collection, says Bryan Reeves

54

50 Modern Love: The work of the unsung modernist designer Charlotte Perriand is brought into focus

TO SUBSCRIBE PLEASE CALL OUR SUBSCRIPTION HOTLINE ON 01394 389957 ANTIQUE COLLECTING 5

NEWS All the latest WHAT’S ON IN JUNE & JULY

ANTIQUE

news

With most galleries and museums reopened, a summer of fun awaits the antiques and fine arts lover

Above Dusting off the malachite urn at Windsor Castle

DUSTING DOWN Curators, specialists and volunteers throughout the country have been working round the clock to open up dozens of country houses, museums and galleries as the lockdown lifted in May. In Windsor Castle, staff dusted the 1.8m-tall malachite urn, presented to Queen Victoria in 1839 by Tsar Nicholas I. At the time Lord Melbourne, the then prime minister, called the vase the “finest in the world”. It was one of the few objects in the Grand Reception to survive the fire of 1992. Meanwhile in London the V&A unveiled its newlyrefurbished Raphael Court following a landmark renovation in 2020 to mark the 500th anniversary of Raphael’s death.

Licensed to quill A writing desk used by Bond villain Dr No in the 1962 film has emerged for sale. The Louis XIV-style desk, seen on the big screen in the doctor’s Caribbean lair, was created by the makers Toms and Luscombe, London, for the International Exhibition of 1862.

The piece includes complex arabesque première-partie inlays on ebony, with bronze doré serpentine mounts on swept cabriole legs.

It is being offered for a six-figure sum by the London dealer Butchoff.

James Butchoff said: “The International Exhibition was a chance for makers to show off pieces of the very finest quality. It is a work of art in itself with the practical purpose as a writing bureau.”

Left The desk was used as a prop in Dr No

Right The

Louis XIV style-desk is up for sale for a sixfigure sum

6 ANTIQUE COLLECTING

View of the refurb ished Raphael Court at the V&A

Ex machina Work by the world’s first artificial intelligence (AI) robot artist has gone on show.

The life-sized creation called Ai-Da, after Ada Lovelace, the pioneering female scientist and mathematician, was able to construct artwork using AI algorithms.

The exhibition, Ai-Da Self Portraits, at the Design Museum, presents three large-scale self portraits – the first ever created by a robot.

She was devised by gallery director Aidan Meller and researcher and curator Lucy Seal, and made by Engineered Arts Ltd and PhD students from the University of Oxford.

The exhibition runs until the middle of June.

Ai-Da is the world’s first robot artist

Win tin A 1935 George V Silver Jubilee box took the top prize in a nationwide hunt to discover the UK’s most treasured tins. Originally believed to have contained sweets, the owner’s grandmother used it to store her sewing kit. The kit included a rare needle tin made by Serpent Brand, measuring just 6cm reading English Made Needles. The competition, which attracted more than 100 entries, was by the Metal Packaging Manufacturers Association.

Left Helen Huxley’s winning tin

In the frame Lockdown conservation work has helped prove the authenticity of a 17th-century painting long plagued by doubts.

Since the mid-20th century the authenticity of Nicolas Poussin’s (1594–1665) The Triumph of Silenus , c. 1636, bought by the National Gallery in 1826, had been questioned. But recent technological analysis of pigments has linked it incontrovertibly to the French master.

Below Nicolas Poussin (1594–1665) The Triumph

of Silenus, (centre)

Yorkshire see With more of us holidaying in the UK this year a local council has launched a 13-mile antiques tour around the Yorkshire market town of Ryedale.

First stop is neighbouring Kirkbymoorside, home to a treasure trove of antique shops including Clock & Moor; Moorside Antiques and country furniture specialists John Freeman Antiques. Nearby Pickering is also home to the North Yorkshire Moors Railway. A council spokesperson said: “With some of Yorkshire’s top antique centres, Ryedale is a treasure-trove for collectors.”

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

Above The painting is one of only a handful of Lowry’s works depicting a rugby match

Rugby special Rugby not football is the theme of one of LS Lowry’s (1887-1976) earliest and most famous paintings, which has an estimate of £2m-£3m at Sotheby’s inaugural British Art: Modern and Contemporary auction this month.

The 1928 work Going to the Match depicts one of the artist’s most timeless subjects – spectators thronging to a sporting occasion.

Having remained in the same family since 1972 and only exhibited once in 1966, the painting travels to New York, Edinburgh and Dublin for public exhibitions, before going on view at Sotheby’s New Bond Street from June 22-29. It will be offered for sale on June 29.

Above Angus Ashworth from Ryevale Auctioneers, one of the stops on the new antiques trip

5 minutes with...

Joanne Lewis the new watch specialist with the London auctioneers Dix Noonan Webb How did you start in watches?

My father is a collector of art and antiques and I grew up watching Antiques Roadshow as a child. When working as a porter at Bonhams I was drawn to the clocks and watches department for the variety of design and amazing craftsmanship.

What has been your best ‘find’?

While working for Sotheby’s an elderly

gentleman came in with a small plain watch box which I opened to find a rare 1950 Patek Philippe reference 1518. It went to sale with a high estimate of £150,000.

Do you have a favourite style of watch?

I love early pocket watches for their amazing craftsmanship and decorative elements, pieces by important English makers such as Edward East (1602-1697). With wristwatches, I like the classic design of pieces from the 1920s, ‘40s and ‘50s. My favourite 20th-century maker is George Daniels (19262011).

What would be your dream find?

A vintage platinum Cartier with bracelet or a 1950s Patek Philippe asymmetric wristwatch.

What adds to value?

Above Dream find: a 1950s Patek Philippe asymmetric wristwatch Above right Watches by the English maker George Daniels continue to inspire

Condition is very important, a watch in unused original condition with its presentation case and certificate will sell for a premium.

Dix Noonan Webb’s next sale of jewellery, watches and objects of vertu is on June 15.

ANTIQUE COLLECTING 7

NEWS All the latest

Far left Simeon Solomon

(1840–1905) Two Acolytes Censing: Pentecost, 1863, Ashmolean Museum, University of Oxford

Left Marie Spartali Stillman (1844–1927) Cloister Lillies, 1891 Right Claude Monet (1840-1926), Antibes, 1888, The Courtauld, London, © The Courtauld Below right Philip Left Dante

Gabriel Rossetti (1828–1882) The Day Dream, 1872–1878

Wilson Steer (18601942) Boulogne Sands (Children Shrimping), 1891, © Hull Museums

3

2

Monet shot

Claude Monet’s 1888 landscape Antibes forms the centrepiece of an exhibition at the Ferens Art Gallery in Hull on until July 4.

With the spectacular Mediterranean landscape at its heart, Monet in Mind will include work by Walter Richard Sickert, Philip Wilson Steer and Barbara Hepworth – many of which have never been displayed together before.

to see in

JUNE

1World beating

There’s a chance this month to catch the long delayed Pre-Raphaelites: Drawings and Watercolours on at the Ashmolean in Oxford until June 20.

With international loans still on hold, the exhibition draws from the museum’s own superlative permanent collections, with some works on show for the first time.

Curator Christiana Payne, said: “This first largescale exhibition of works on paper offers a chance to look at the whole range of their output across different subjects, styles and media.”

Right Walter Richard

Sickert (1860-1942) Hotel Royal, Dieppe, France, c.1899, © Hull Museums

Below left Artists on show: Jennifer Martin in her studio Below right Sonia

Delaunay, Rythme Couleur, 1971, courtesy Bastian

3

Great weekend

From old masters to contemporary artists, there is a wealth of talent on show from the 40 participants taking part in the eighth Mayfair Art Weekend from June 25-27.

Ranging from galleries, pop-ups, open studios, museums and institutions, the exhibitions range from the work of Gwen John (1876-1939) at Browse & Darby, to Cy Twombly (1928-2011) at Luxembourg & Co., with work by Frank Bowling (b. 1934) on at Hauser & Wirth.

8 ANTIQUE COLLECTING

Left John Crome (17681821) Norwich River: Afternoon, c.18121819, © Norfolk Museums Service Right Gustave Moreau

(1826-1998) Allegory of Fable, 1879, © Private Collection

Far right Gustave Moreau (1826-1998) The Dragons with Many Heads and the Dragon with Many Tails, 1880, © Private Collection Below right Gustave

Moreau (1826-1998) The Lion in Love, 1879, © Private Collection

3

to see in

JULY

Far left John Opie (1761-

1

Crome cast

An exhibition celebrating the work of John Crome (1768-1821) one of Britain’s great Romantic artists continues in Norfolk this month.

2021 sees the bicentenary of the death of Norwich-based artist who was the founder of the Norwich School of Artists.

A Passion for Landscape: Rediscovering John Crome – the first major exhibition of the artist since 1968 – is on at the Norwich Castle Museum & Art Gallery until September 5.

3

1807) Portrait of John Crome, 1798, © Norfolk Museums Service

Above left John Crome

(1768-1821) Tintern Abbey, © Norfolk Museums Service

Below left Ben Nicholson (1894-1982), 1933 (piquet), 1933, The Hepworth Wakefield, © Angela Verren Taunt. All rights reserved DACS 2021

2Fabled life

Works by the French symbolist Gustave Moreau (1826-1998) take centre stage at a new exhibition at Waddesdon Manor.

Running until October 17, Gustave Moreau: The Fables presents 34 watercolours, some of which have not been seen for more than a century.

While exhibited to great acclaim in the 1880s, nearly half the series was lost during the Nazi era with the surviving works not shown since 1906.

Below Ben Nicholson (1894-

Big Ben

An exhibition exploring the importance of still life to the British artist Ben Nicholson (1894-1982) continues until October 24 at the Pallant House Gallery, Chichester.

From the Studio charts Nicholson’s six-decade career culminating in the abstract reliefs that secured his international reputation. The exhibition also examines the impact of the personal and artistic relationships Nicholson had with Winifred Nicholson and Barbara Hepworth.

1982), 1946 (still life, cerulean), 1946, Pallant House Gallery, © Angela Verren Taunt.

All rights reserved, DACS 2021

Above Ben Nicholson (1894-1982), (still life), Private Collection, © Angela Verren Taunt. All rights reserved, DACS 2021

ANTIQUE COLLECTING 9

NEWS All the latest London still calling

HEADS UP The fate of the prayerbook, which Anne Boleyn passed to one of her ladies shortly before her execution in 1536, has been revealed, thanks to year-long research and ultraviolet light.

Examination of the doomed queen’s Book of Hours at her childhood home of Hever Castle in Kent revealed, via newly-seen inscriptions, a secret network of women through whom the book was passed down.

Only a handful of Anne’s books survive today with just three containing her signature – one at the British Library and two at Hever Castle.

While both the large London summer fairs: Masterpiece London and The Art and Antiques Fair Olympia, have cancelled due to Covid-19, other events are still scheduled out of the capital.

Described as a ‘hybrid event’ London Art Week (LAW), is an in-gallery and online fair, In happier times, the Chelsea from July 2-16, featuring 40 dealers. location of the landmark fair In the event of Covid-19 restrictions changing, LAW digital platforms allow galleries to present their offerings online. New participants this year include Abbott & Holder, Galerie Chenel of Paris and the Fine Art Society. The highlight of Ben Elwes Fine Art’s exhibition Literary Women: Writers and Revolutionaries will be a recently-discovered 1965 self-portrait by the artist and novelist Beryl Bainbridge (1932-2010). For more details go to www.londonartweek.co.uk

Above left Former Hever Castle curator Kate McCaffrey researched the book for a year Above right The prayerbook Anne Boleyn took to her execution

Marsh fellows A popular auction house has relocated to the picturesque north Cotswolds village of Moreton-in-Marsh.

As well as leaving its Worcestershire home of Evesham, Kinghams & Orme is now known as Kinghams Auctioneers.

The auction house was launched in 2017 by art pottery and arts and crafts specialist George Kingham who has more than 25 years in the antiques trade.

He said: “Our roots are firmly in the Cotswolds, with our initial auctions held in Broadway, before moving to Evesham in 2018. But we needed a newer, larger and more strategically based saleroom suited to the increasing number of fine and general sales, together with specialist single owner collections.” For more details go to www.kinghamsauctioneers.com

LASTING LEGACY A Yorkshire art collector, described as “the Jim Ede of the north” has bequeathed 30 important paintings to the art museum Hepworth Wakefield.

Above left Ronnie Duncan in 2019 with Alan Davie’s Blood Creation, 1952

Capital structures Sculpture in the City returns to the streets of the capital this month for its 10th edition with 18 artworks on public display.

Launching on June 15, works by leading contemporary artists can be spotted in locations including Bishopsgate, Leadenhall Market and Fenchurch Street Station.

A spokesperson said: “Sculpture in the City welcome visitors and workers back to the Square Mile, as the City of London starts to reopen.” For more details on all the locations featured go to www.sculptureinthecity.org.uk

Below The village of Moreton-in-Marsh is the new

home for Kinghams Auctioneers

Above Horace Walpole bought the portrait in 1742

Strawberry good A 16th-century portrait of Catherine de’ Medici and her children is returning to Strawberry Hill House 247 years after it first hung there.

The monumental work, from the workshop of the French portraitist François Clouet, was bought by Horace Walpole – who built the gothic revival castle in Twickenham in 1747– for £25 in 1742. The work is now on permanent display.

10 ANTIQUE COLLECTING

Ronnie Duncan made the bequest in tribute to his former mentor and friend, Helen Kapp, who was the director of Wakefield Art Gallery throughout the 1950s, which built the core of the gallery’s mid-century British art collection fostering many careers.

He said: “Helen Kapp played an important part in establishing the careers of many of the artists who I have been fortunate to know.

I am so pleased to pass on to Wakefield a collection of artworks I have lived with and loved, so that many more people can enjoy them for generations to come.”

Below Laura Arminda Kingsley, Murmurs of the

Deep (2021) © The Artist

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

Lots of Love A trip to the Lincolnshire market town of Spalding leaves the TV star and auctioneer Christina Trevanion spellbound Left Christina and Dr Dustin Frazier-Wood Below right Spalding

– home to the UK’s second oldest museum

For me, the joy of visiting the society at its modestlooking premises in the town’s Broad Street, was having unbridled access to its library and archives – a collection so broad, diverse and captivating it felt like the V&A in miniature – but without the crowds.

MAMMOTH TUSKS In the company of the honorary librarian Dr Dustin Frazier-Wood I happily explored the many jewels the museum holds. A quietly spoken American, Dustin arrived at the society eight years ago following the completion of his PhD and hasn’t been able to leave.

And I can see why: being able to access so many magnificent and historic artefacts is intoxicating.

From Tudor manuscripts to Suffragette pamphlets, the archives are awash with treasures. The museum houses everything from ancient Mammoth tusks, to Chinese porcelain, glass and jade and rock crystal carvings which made me go weak at the knees. Not to mention the Meissen and 18th-century Worcester porcelain, an impressive collection of microscopes, while the most glorious 18th-century tidal longcase clock which quietly greets you in the foyer.

WOMEN MEMBERS

I

have been incredibly lucky in my career to have become a slightly accidental television presenter and, while I would rather be known for my fulltime job – running my own antiques auction house in Shropshire – I have to say that, at times, being involved with creating television programmes certainly has its perks.

As such, I have had the opportunity to explore some of the most beautiful places in the UK as well as experience some pretty wild and wacky adventures.

But one of my stand-out ‘pinch yourself’ moments happened recently, when I had the absolute joy of visiting Spalding for a BBC shoot.

Known as ‘the heart of the Fens’ and famous as the centre of the bulb industry, in my humble opinion Spalding should also be recognised for something far more important – the Spalding Gentlemen’s Society.

The jewel in the crown for me was meeting Petronella Keeling, chairman of the trustees, and one of the society’s first female members after women were allowed to join in 2006. Needless to say if you should find yourself post lockdown in the Spalding area, you could happily dedicate an entire day losing yourself by exploring this little gem of a place.

Visits to the society and museum are by appointment only, although there are open days on selected Sunday afternoons for which no booking is required, email visits@sgsoc.org or visit wwwsgsoc.org

COFFEE HOUSE Founded in 1710, the society is Britain’s oldest surviving provincial learned society and its museum collection is, with the exception of the Ashmolean, the oldest in the United Kingdom. It all began with a series of informal meetings of men at a local coffee house with a few local gentleman discussing local antiquities.

Before long the founder Maurice Johnson established ‘a society of Gentlemen, for the supporting of mutual benevolence and their improvement in the liberal sciences and polite learning.’

The membership quickly grew to include Sir Isaac Newton, Sir Hans Sloane, Alexander Pope and Samuel Wesley, among many other notable 18th-century figures.

‘From Tudor manuscripts to Suffragette pamphlets and posters, the archives are awash with treasures, which have lain undiscovered for generations’ ANTIQUE COLLECTING 11

AUCTION Round up

AROUND the HOUSES Recent sales include some estimate-busting paintings and a $10 tile which sold for £3,500

The kneehole desk went to an online bidder

MALLAMS, CHELTENHAM Furniture proved popular at the Gloucestershire saleroom, with a large 18th-century, oak gate-leg table, with two drop leaves and turned supports, selling for £3,000 against a presale estimate of £400.

Another 18th-century piece that sparked a bidding war was a walnut and herringbone-inlaid kneehole desk with one large and four small drawers.

Finished with engraved brass handles, the hammer eventually fell at £1,800 to an online The large bidder, against an estimate of £150-£200. gate-leg table defied its guide price

12

ANTIQUE COLLECTING

SWORDERS, STANSTED MOUNTFITCHET A work by Allan Walton (1892-1948) one of the teachers at East Anglian School of Painting and Drawing at Benton End sold for £7,150 against a guide price of £2,000-£3,000 at the Essex auctioneer’s sale of the Allan Walton collection of Sally Hunter and Ian Posgate.

(1892-1948) Former Knightsbridge gallery owner Sally Bawdsey End, Old Hunter championed artists from the school run Felixstowe, sold for £7,150

by Cedric Morris, which counted Lucian Freud among its pupils.

Joan Walton’s quintet of oils was Warburton (1920-1996) Cats topped at £7,150 by a scene of the Suffolk coast with Milk, 1948, titled Bawdsey End, Old Felixstowe. sold for Works by another pupil, Joan Warburton £8,450 (1920-1996), were also contested, with her 1948 oil Cats with Milk selling at £8,450, against a low estimate of £400 – a record for the artist.

Sworders’ specialist, Jane Oakley, said: “As works by Cedric Morris are priced beyond the reach of most collectors, these artists are becoming more and more popular.”

TENNANTS, LEYBURN

The gilt bronze buddha A Sino-Tibetan gilt bronze shone in the figure of Buddha sparked saleroom an international bidding war, pushing it beyond its estimate of £200-£300 to fetch £16,000 at the North Yorkshire auctioneer’s country house sale on May 22.

Seven telephone bidders competed for the 17th-century style figure attracted to the fact it was gilt bronze, rather than the more commonly-found patinated bronze.

A previous sale saw another estimatebusting lot when an example of an identifiable 18th-century wine jug sold for £20,000 against a pre-sale guide price of £3,000-£5,000.

The George III tableware was made

by Thomas Heming in London in 1765.

While its shape is more common among beer jugs, the decoration Grapevines of grapevines fimly identify the jug as for serving wine suggested it was intended rather than beer for wine.

KINGHAMS AUCTIONEERS, MORETON IN MARSH

WOOLLEY AND WALLIS, SALISBURY

An 18th-century portrait of an unknown lady discovered in a Midlands home smashed its pre-sale estimate of £4,000-£6,000 to sell for £19,000 at the Gloucestershire auction house’s recent sale.

The watercolour, dated 1788, is by the celebrated Norfolk-born artist John Smart, (1742-1811) who was a contemporary of leading Regency portraitist Richard Cosway (1742-1821) and George Engleheart (1750–1829).

The sitter could be Countess of Westmorland, Sarah Anne Fane, (1764-1793).

The miniature sold to a private UK client

BISHOP & MILLER, STOWMARKET A G-Plan ‘Blofeld’ cream leather swivel chair more than quadrupled its low estimate of £200 when it sold for £850 at the Suffolk auction’s sale Dr Atomica’s Journey into Cool on May 7.

Known as ‘The Sixty Two’ and first designed in 1962, the iconic model was also dubbed the ‘world’s most comfortable chair’ and featured in many iconic 1960s films including supervillain Blofeld’s chair in the Bond movie You Only Live Twice (1967).

It can also be spotted in the Beatles’ film Help!

A William De Morgan tile, which a reader of Antique Collecting sent for valuation to the Wiltshire auction house after reading about the sale of similar tile in the magazine, sold for £3,500.

Prior to reading the report, Las Vegas subscriber Barry Anderson had used the tile, by one of the most important ceramic artist of the arts and crafts movement, to keep his pills on.

Specialists recognised the design as a ‘late Fulham period long clawed bird’ and gave the tile, which cost $10, an estimate of £1,000.

The William De Morgan tile cost just $10

HANSONS, ETWALL

The iconic design helped launch G-Plan in the ‘60s

JOHN NICHOLSON’S, HASLEMERE A Louis XVI-style urn-shaped porcelain clock hammered for £16,500 at the Surrey auctioneers, multiple times its estimate of £600-£800.

With blue and gilt decoration, dolphin The porcelain handles and clock chimed a square with bidders base, it was made by the Parisian make Noel Leroy.

A hoard of Romano-British bronzes, including a bust believed to represent Emperor Marcus Aurelius, sold at the Derbyshire auction house for £185,000 – against a pre-sale estimate of £70,000-£90,000.

Discovered by metal detectorists in Ryedale, North Yorkshire last May, the four items included the The 5in (13cm) high bust, a statuette of the ‘nationally god Mars on horseback, a horse-head important’ hoard knife handle and a pendulum. was found by The quartet, thought to be ritual detectorists equipment for a rural temple, were almost certainly buried together possibly after the temple’s closure as Christianity started to take hold. The sale proceeds will be shared between the finders and landowner.

At a previous sale four oil on boards by the Canadian folk artist Maud Lewis, each with an estimate of £100-£200, sold for a total of £36,000, with each of the four paintings going to Canadian buyers.

Maud Lewis was also responsible for the artwork on Canadian stamps

ANTIQUE COLLECTING 13

W (192 wit

AUCTION Round up EWBANK’S, WOKING Two wooden frontof-house card display frames were the top sellers at the landmark sale of the Michael Armstrong film poster and memorabilia The box collection when they smashed their office at Miguide estimate of £200-£400, to sell for chael Armstrong’s £5,500 at the Surrey auctioneers. replica cinema. The Film buff and former projectionist collection sold for Armstrong set up a mini replica Regal £155,000 Cinema in his Norfolk home of A 1968 Wymondham.

British quad Among the posters, the best seller was a poster for the 1968 British quad example for the Beatles’ Beatles’ film 1968 film Yellow Submarine, which took a Yellow Submarine premium-inclusive sold for premiuminclusive £3,000 £3,000 against hopes of £700-£1,000.

A rare British quad for the 1963 Steve McQueen WWII epic The Great Escape made £2,750, having been estimated at £800£1,200.

EAST BRISTOL AUCTIONS, BRISTOL An annotated script from The Empire Strikes Back with notes from Dave Prowse who played Darth Vader sold for £23,000, against a pre-sale estimate of £2,500-£4,000.

The sale of the estate of the late actor included the iconic Green Cross Code Man costume Prowse wore The script in the road safety includes Prowse’s campaign of the notes as Darth 1970s. The piece of Vader in the TV history sold for a margin mid-estimate £2,600.

Hundreds of items collected by Prowse, the Bristolian who played Vader in the original Star Wars trilogy, were sold off in his home city following his death, aged 85, last year. The auction Prowse raised a total of owned one of the £400,000. The sale most iconic took place on May costumes in TV history 4th – Star Wars Day.

14

ANTIQUE COLLECTING

CHEFFINS, CAMBRIDGE

The letters Two hand-written letters signed by the are dated before the start English poet, Rupert Brooke (1887-1915), of WWI doubled their estimate to make £9,000 at the Cambridgeshire auction houses’s library sale on May 6.

Both were sent to James Dixon who hosted the lovelorn poet while travelling in Fiji.

Cheffins Charles Ashton said: “We know Brooke sailed the Pacific and spent some months in the South Seas as part of his recuperation following the collapse of his relationship with Katherine Laird Cox in 1912, and can assume that he was a guest of the Dixon family during this period.”

The poet, who died of septicaemia on 23 April 1915 on his way to Gallipoli, had a major breakdown in 1912.

PARKER FINE ART AUCTIONS, FARNHAM A large painting of Capel Soar in Gwynedd – believed to be the most remote chapel in Wales – by the Welsh artist Sir John Kyffin Williams (1918-2006) doubled its low estimate selling for £40,000 at the Surrey art specialist’s recent sale.

The painting came with an illustrated letter from the artist giving thanks for some “sweetThe Welsh artist sketched meats” and bemoaning the fact his himself before gluttony may have made him unfit to and after eating play for the Welsh rugby team. sweets The “sweet-meats” were actually homemade peppermint The creams, and the charming painting letter is from the artist to the family who had previously bought and then sold the painting. appeared in an exhibition at the National Museum of Wales

A collection of botanical watercolours sold for £15,000

TREVANION Fine Art & Antique Auction Wednesday 23rd June 2021

trevanion.com

ANTIQUE COLLECTING 15

EXPERT COMMENT David Harvey have rubbed, revealing the paler walnut without the build up of grease, dust, soot or coal tar.

The time-consuming turnings and carvings are the work of a skilled maker and would have been expensive, meaning the chair would have been made for a substantial home, possibly a merchant’s house or local manor.

As we draw closer to the end of the 17th century, and head towards the reigns of William and Mary, and Queen Anne, we see a marked move away from the baronial baroque feel towards a lighter design.

SITTING PRETTY IN 1710

Waxing lyrical

I

Take your seats for David Harvey’s whistle-stop tour of British chair styles from 1670 to 1810

t amazes me to see the changes that took place in just over a century of British chair design and how we went from the high-back walnut Carolean armchair, to a Regency larger-than-life armchair.

I apologise in advance if this snapshot doesn’t include any designs by Sheraton or Hepplewhite, space is tight, and I will save those for another day.

HIGH-BACK CAROLEAN, 1670 If you are sitting comfortably, then I will begin. The chair (above) is a fine example in walnut, with a cane panel to the seat and back. It dates from about 1670 to 1680 and is heavily carved. The top rail is often referred to as having a ‘boyes and crown’ motif, which occurs again on the front rail uniting the front legs.

The barley twist, one of the favourite turnings of the period, is replicated on the uprights and stretchers.

Elsewhere there is repeated use of flower and leaf motifs, all showing a strong degree of patination. We see this again on the arms where the elbows and palms

16 ANTIQUE COLLECTING

Above left A Charles II ‘boyes and crown’ carved walnut armchair Above right A Queen Anne

walnut wing chair

Right A George I burr

walnut gentleman’s armchair

Though the visible sections of this Queen Anne period wing chair are still walnut, the change from its predecessor is quite dramatic. The purpose of a wing chair was to shelter the owner from drafts.

What was the point of pulling one’s most comfortable chair to the fireplace just to freeze one’s shoulders and back?

Comfort was increasingly the order of the day. The barley twists have given way to the cabriole legs seen here with carved shell embellishment to the knees, which help date the chair to about 1710.

The history of English furniture is such that once a style is set you can rely on the fact someone will go one step further. Before long the simplicity of the wing chair was developed into the walnut salon armchair (below).

LIBRARY CHAIR, 1725 A few years later, the wing chair developed a vaseshaped back splat. With the carving to the scrolling arms and legs, this is much more in the Kentian Palladian style dating from c. 1725. The double front foot is a very rare device and the use of burr walnut veneers for the back and the frieze is an indication of the rare quality of this piece.

I also like the way the top rail of the back is scrolled over to finish it. I am lucky to have had this chair in my collection – I wish I had been able to acquire the rest of the set as this must have been made for a most important household originally.

The vase-shaped splat continued through the middle years of the 18th

century and was commonly used by most chairmakers and cabinetmakers. As the age of mahogany dawned, the style continued to evolve.

BALL AND CLAW, C. 1750 This armchair always made me smile when I think of who may have sat on it.

The way the cabriole leg evolved towards the middle of the 18th century is apparent, as it now also has ball and claw feet at the front. Although it retains the carving at the knees, the solid vase-shaped splat has become pierced, giving the chair an even lighter feel.

Robustly put together, this is very much a gentleman’s chair and it is interesting to see how the top rail to the back has changed completely in a quarter of a century.

To return to the subject of fireside chairs, while the wing chair remained popular throughout this period, one of the most favoured designs from the second half of the century was the Gainsborough armchair. Contemporary designs by Chippendale and others refer to them as ‘bergeres’ or ‘burjair’ chairs and it is possible the term Gainsborough was a Victorian invention deriving from the number of subjects the artist painted in similar chairs.

GAINSBOROUGH CHAIRS, C. 1760 This pair of Gainsborough cairs in mahogany dates to the 1760s. They now have square section legs united by a stretcher, downswept arms and camel-shaped top to the back.

They were often covered in leather suggesting a library rather than drawing room chair. Chippendale was strongly influenced by the work and designs of Robert Adam during the later period of his life and the introduction of the neoclassical fashion was echoed in his work for Harewood and other such houses.

Many of the chairs made during the 1770s reflect those being made in France and this is clearly shown in this pair of carved giltwood salon armchairs (above right).

They are definitely English and the neoclassical symbols are clearly shown in the carved details as well as the overall composition.

NEOCLASSICAL SALON CHAIRS, C. 1775 There is not a straight line anywhere to be seen on this pair of chairs (above) – a stark contrast to the very linear design of the Gainsboroughs.

The gilt chairs would have been used in a salon or drawing room and have a much more feminine feel.

They date from c. 1775 and would have been costly to produce, as gold leaf was never cheap so we know they were designed to make a statement about the household and its owner.

REGENCY ARMCHAIR, C. 1810 Above right A pair of

George III carved giltwood salon armchairs in the neoclassical taste, c.

1775 Above A mid 18th-century mahogany armchair Below A pair of

Chippendale period mahogany Gainsborough armchairs, c. 1760

Below right An important

size Regency decorated library armchair, c.

1810

‘The barley twists have given way to the cabriole legs seen here with carved shell embellishment to the knees which help to date the chairs to about 1710’

I have cantered through a century of chair design but feel I should go just one step further to include an example just into the 19th century.

Seen in the furnishing of Carlton House in London and the Pavilion in Brighton, the Prince Regent had a profound influence on English taste from the late 18th century. Many of his friends and people who aspired to his peer group tried to emulate his tastes (though few had the wherewithal).

This Regency armchair took my eye for a number of reasons other than its size, which is larger than normal. The design is derived from the Chippendale-period Gainsborough chairs (left), but the scrolling shape of the arms and the deeply sabred legs place it firmly in the Regency period.

The decoration and gilt line enrichments are pure Regency, dating from about 1810.

There is a comparable set of chairs in the library at Shugborough Hall in Staffordshire, though I have been unable to find out where this one was made or how many could have been in a set.

David Harvey is the owner of Witney-based W R Harvey & Co. (Antiques) Ltd. For more details go to www.wrharvey.com. He will be exhibiting at The Pavilions of Harrogate Decorative, Antiques & Art Fair from June 11-13 and at the LAPADA pavilion at the Game Fair, Ragley Hall in Warwickshire, from July 23-25.

ANTIQUE COLLECTING 17

COLLECTING GUIDES Turner prints

JMW Turner (1775-1851) The Fighting Temeraire, 1839

The Line W King

Ever dreamt of owning a Turner? His out-of-fashion prints can be snapped up for £100, writes specialist and dealer Hilary Gerrish. Some are even annotated by the artist himself 18 ANTIQUE COLLECTING

ith today’s art drenched in colour it is difficult to imagine that in Turner’s time most people experienced pictures in the form of black and white prints. It was the skill of the engraver and etcher to bring scenes to life in monochrome and, in many respects, their talents were on a par with the artist.

In addition to Turner’s huge painting output, from 1794 until his death, he worked on more than 100 different print projects, producing some 850 plates, employing 60 engravers. He devoted much time and effort to his prints and, in doing so, raised the art of interpretive engraving to new heights. Photography had yet to be invented, therefore the public were only able to view his paintings at exhibitions, his private gallery or the Royal Academy.

The prints offered huge access to his work hence Turner’s devotion to them throughout his career.

For the collector, his body of work presents some exciting prospects, with some prints on sale for as little as £100. Turner strictly oversaw the engravers’ work, evolving a ‘school’ of workers skilled at handling his style. ‘Touched proofs’, where the plate was printed and sent to Turner for his detailed annotations, are the very rare and are priced in the thousands of pounds.

While it may seem odd that Turner, known for his bold expressions of colour, would be poorly represented in monochrome, the dichotomy was summed up by John Ruskin who wrote: “Turner paints in colour, but he thinks in light and shade.”

THE ARTIST Joseph Mallord William Turner (1775-1851) is recognised as one of the greatest figures in the history of Romantic landscape painting. After a lifetime as an artist, so prolific was his work, on his death he bequeathed to the nation a vast collection of oil paintings, watercolours and sketches.

Born in London’s Covent Garden, the son of a barber, by the age of 14 he had been admitted as a member of the Royal Academy Schools and the following year he exhibited his first watercolour.

Thereafter his work appeared annually, with very few exceptions, in the Royal Academy exhibition. In 1796, he first exhibited Fishermen at Sea, which met with critical acclaim, further strengthening his growing reputation.

His style developed over the decades and he became a pioneer in the expression of colour, chiaroscuro and atmosphere, his work anticipating the work of French Impressionism.

Below The Old Téméraire, after Turner, 1839, engraved by James Tibbits Willmore (1845).

There are inaccuracies with The Fighting Temeraire (left). The rigging is not as Turner painted it and the black funnel of the tug in the engraving is behind the flagpole. All images, unless stated, © cvh2021 Below right Hardraw Fall, after Turner, 18161818, etched by Samuel Middiman, engraved

by John Pye (1818), published in History of Richmondshire

South coast

In 1810, the publisher and engraver WB Cooke commissioned a number of artists for the book Picturesque Views of the Southern Coast of England .

It was a commercially astute move. The Napoleonic Wars (1792-1815) encouraged domestic tourism, leading to growing popularity of British coastal towns and ports, particularly those on the southern coast of England.

While 13 artists worked on the project, including Samuel Prout (1783-1852) and Peter De Wint (17841849), it was Turner to whom the publisher looked for the majority of the work. In the summer of 1811, Turner spent two months touring the West Country and, of the 39 watercolours published between 1814 and 1826, a great number centred around the south Devonshire coast.

But Turner was a tough task master and, by 1826, his relationship with Cooke had started to falter. In 1827, he wrote to Turner: “I regret the time I have bestowed in endeavouring to convince you in a calm manner of a number of calculations made for your satisfaction; and I have met in return such hostile treatment .”

‘Collecting Turner prints opens up not only the artist’s extraordinary imagery but the intricacies and beauty of the various processes of printmaking. With increased knowledge, the unsuspecting collector will become entranced by these works and all things ‘Turner’’ ANTIQUE COLLECTING 19

COLLECTING GUIDES Turner prints engraver would transfer the design into an etched outline on a metal plate using a tool called a burin.

A printed proof would be sent to Turner. Before returning it to the engraver to be reworked, the artist would embellish the paper proof with written instructions and explanatory sketches showing the engraver how the plate should be further engraved and modified, creating a ‘touched’ proof. The process was repeated until the final state was reached.

The process was time consuming and labour intensive with the larger engravings taking more than two years to engrave.

LIBER STUDIORUM

Nor was his subject matter restricted to Great Britain. Many of his masterpieces were the fruit of his various continental trips which extended from 1802 until 1845. Later championed by the English art critic John Ruskin, Turner was, as he is today, recognised as a genius. He died on the December 19, 1851.

WIDER AUDIENCE It was through printmaking that Turner was able to inspire a much wider audience with his powers as a landscape artist, secure his reputation and simultaneously earn a considerable income.

Turner, realising early on in his career the production of such a large body of work by his own hand was not practical, availed himself of the most able and compatible engravers, whom he groomed and supervised to achieve his artistic aim.

Over the course of a long career, the engravers and Turner improved their methods to produce what are considered to be among the most expressive and accomplished examples of the oeuvre. The subjects were topographical and literary illustrations, published in books as rectangular prints or in vignette form, and the large engravings of his more famous oil paintings.

THE PROCESS Most prints after Turner were produced with a combination of etching and engraving. Etched lines were used first to set out the basic composition.

Engraved lines were then added for emphasis and clarity. While conversant with all the various printmaking processes, Turner produced mostly etchings and mezzotints, engraving on copper and later more durable steel.

In order to maintain the originality and quality of a print the following procedure was adopted: Turner would firstly make a watercolour from which the

20 ANTIQUE COLLECTING

Above Solway Moss, etched by Turner, c. 1815, mezzotint engraved by Thomas Lupton (1816), part 11 of Turner’s Liber Studiorum Below Bolton Abbey Yorkshire, after Turner, c. 1825, open etching

by Robert Wallis (1827), published in Picturesque Views in England and Wales

The celebrated Liber Studiorum is regarded as the most important of Turner’s print series. First appearing in 1807, the series of mezzotints and etchings portray landscapes in differing forms: architectural, historical, pastoral, marine and mountainous.

Throughout the next 12 years, 71 of an intended 100 prints were issued and are still considered some of his early masterpieces and among the most innovative mezzotints in the history of printmaking.

Turner normally made the preliminary etchings himself, examples of which are very rare, and the mezzotint elaboration was added under his direction by his namesake Charles Turner, who was one of the foremost mezzotinters of the day.

After the completion of only 20 plates a difference of opinion arose between artist and engraver, the outcome of which was that for the remaining 51 prints Turner had to employ eight more engravers, as well as mezzotinting 11 plates himself.

These are of the greatest significance being, apart from 11 unpublished prints known as Sequels to the Liber Studiorum or the Little Liber.

While proofs and ‘first states’ stand out, Turner’s habit of reworking and developing the copper plates, means prints from later states are also collectable.

ETCHINGS: THE FALL AND RISE

Above The Eddystone Lighthouse, after Turner, c. 1822, mezzotint by Thomas Lupton (1824) using the new steel plates he had developed.

Commissioned for WB Cooke’s Marine Views. Following a disagreement the book was never printed

The only examples to be avoided are those published by McQueen, in 1845, by which time the plates were very worn and produced only very poor, pale, prints.

Left Paestum, after Turner, c. 1827, engraving by John Pye (1830). This impression is an engraver’s proof which were issued by publishers in small number at a greatly higher price

Enthusiasm for etchings came to an end after 100 years of popularity with the Wall Street crash in 1929.

However, interest in conventional print collecting re-emerged in 1950s London, championed by specialists such as Craddock and Barnard and P&D Colnaghi. By the 1960s awareness of printmaking was reborn due, partially, to the cultural influences of the ‘Swinging Sixties’ and new developments in screen printing which, in turn, encouraged contemporary artists to re-evaluate graphic mediums old and new.

Among those who championed traditional prints a new generation of dealers and galleries emerged.

Since the 1970s a number of exhibitions of Turner’s prints have gone on show in the capital, mainly focussing on his Liber Studiorum.

In 1986, the dealer partnership N.W. Lott & H.J. Gerrish sold an extensive collection of engravings to the Tate’s newly-built Clore Gallery, which proceeded to present the first comprehensive exhibition of Turner’s printmaking in its 1989 exhibition, accompanied by the catalogue Colour into Line.

In 1818, Scott also commissioned Turner to make watercolours of subjects to be engraved for The Provincial Antiquities and Picturesque Scenery of Scotland, published in 10 parts between 1819 and 1826 before being issued in bound form in 1826.

It included 12 views by Turner. Turner’s business methods prompted Scott to comment: “Turner’s palm is as itchy as his fingers are ingenious, doing nothing without cash and anything for it.”

PICTURESQUE VIEWS IN ENGLAND AND WALES The 96 copper plate engravings from the Picturesque Views in England and Wales (1826-1838) represent Turner’s most ambitious print project exceeding all others.

The publisher thought Turner’s watercolours for the series to be exceptional and, together with his late Swiss works, are considered his finest work in the medium.

Thus it is unsurprising that the artist turned to many of his most experienced engravers to translate them to produce a series of engravings that have no equal.

Realising their significance and fully aware they would be the most successful method in which to unveil his genius to the public at large, Turner devoted much time and effort in perfecting them. In fact so significant were they to him that, as with the Liber Studiorum, he financed the publication of several of them himself.

WORKING WITH POETS In addition to topographical work, Turner produced a number of smaller-format engravings to illustrate poetry and prose by such famous writers as Lord Byron (17881824) and the poet, novelist and antiquarian Sir Walter Scott (1771–1832).

Above Arundel Castle on the River Arun, after Turner, c. 1824, mezzotint by George Phillips (1827), published in River Scenery

by WB Cooke. Rawlinson famously said “I know no finer piece of mezzotint landscape engraving than this.”

ANTIQUE COLLECTING 21

COLLECTING GUIDES Turner prints COLLECTING PRINTS Good examples of Turner’s engraved work have now become very scarce, as have the number of galleries dealing in them.

Early examples of the prints range from trial, or engraver’s proofs which show the progress of the plate, to ‘touched’ proofs which included Turner’s pencil instructions in the margin. Next come the ‘first states’, which were generally printed on India paper in order to print the best impressions. Owing to wear, the copper plates were often re-worked and re-printed and the collector may be wise to ignore them.

Later states from the steel plates are frequently still attractive. With the exception of the greater rarities, the prices of Turner’s prints are still very modest but, apart from the ‘Liber’, the collector should seek out proofs and first states.

For the unwary there are many pitfalls which can only be avoided by buying prints through knowledgeable specialists where they will be correctly described according to the 1924 catalogue raisonné

by Alexander Finberg or Turner’s Liber studiorum, a description and catalogue by WG Rawlinson.

Condition is important but one should take into account that these prints are nearly 200 years old. Collecting Turner prints opens up not only the artist’s extraordinary imagery but the intricacies and beauty of the various processes of printmaking. With increased knowledge, the unsuspecting collector will become entranced by these works and all things ‘Turner’.

Hilary Gerrish is the owner of Gerrish Fine Art the only gallery now specialising in Turner printmaking having dealt in the field since the early 1970s. The gallery has access to the author’s own comprehensive private collection of Turner prints. For more details go to wwwgerrishfineart.com

Above JMW Turner (1775-1851), Rochester, on the River Medway, 1822, watercolour on paper, © Tate, on show currently at Sandycombe Lodge Below JMW Turner (1775-1851) Ramsgate, c.1824, graphite and watercolour on paper, © Tate. On show as part of Turner’s English Coasts Right Ramsgate,

after Turner, 1824, mezzotint engraved by Thomas Lupton (1827) published in The Ports of England by Thomas Lupton

Turner’s English Coasts A number of watercolours and engravings are currently on show at Sandycombe Lodge, Turner’s Twickenham home from 1813 to 1826.

Turner’s English Coasts, on until September 5, underlines the close relationship between Turner’s images of maritime Britain and contemporary print culture, and includes projects financed by professional engravers and publishers to those instigated by Turner himself. There will be special late openings on June 24, July 22 and August 26.

Prebooking for the exhibition is essential, go to www. turnershouse.org for more details.

Below right Turner’s

House in Twickenham, credit Anna Kunst

Discover more

Comprehensive collections of Turner are held by the British Museum and Tate’s Clore Gallery as well as the V&A and UCL Art Museum, University College London.

Other significant collections include Exeter City Museums & Art Gallery, The Whitworth Art Gallery and in the US Harvard Art Museums/Fogg Museum and Yale Center for British Art, Paul Mellon Collection.

22 ANTIQUE COLLECTING

LETTERS Have your say

Your Letters

How the sale of a William De Morgan tile inspired a reader and a PoW gourd with a fascinating history

Thank you so much for the feature on the links between NASA and Omega watches (The Beagle has Landed, May issue). It struck a particular chord because growing up I was always told of a distant American relative who had received a famous Silver Snoopy award for his contribution to one of the space projects (I can’t remember which).

At the time it seemed such an unlikely prize that I couldn’t quite fathom it. But now I have a greater understanding of both the award and my American relative!

A. Hope-Green, by email

Our star letter

receives a copy of Bulgari Treasures of Rome by Vincent Meylan worth £55.

Write to us at Antique Collecting, Sandy Lane, Old Martlesham, Woodbridge, Suffolk, IP12 4SD or email magazine@ accartbooks.com

Left The Silver Snoopy Award pin was awarded to a relative Above right The gourd

depicts the prison camp in Cabrera

Below left The tile that

inspired Barry’s sale

After seeing a tile by William De Morgan sell for £4,750 on page 13 of the November 2020 issue of Antique Collecting, I decided to send a similar tile (on which I kept my morning pills, next to the microwave) to the same UK auction house.

Mine cost me about $10 in Las Vegas, and about $240 to Fed Ex to Woolley and Wallis in Salisbury. In the catalogue they described it as by William De Morgan and a ‘Late Fulham period long clawed bird’.

Had it not been for your write up I would never have sent it in!

Barry Anderson, Las Vegas, by email See what Barry’s tile made on page 12.

Be part of the conversation on Twitter and Instagram @antiquemag

The excellent article Sell Mates Star letter in the May issue highlighted a very interesting subject.

I attach a photo of a gourd inscribed in black ink by a French PoW. In itself it is not very attractive, but it tells a fascinating story.

The artist, whose name is on the gourd, is Guillaume Guirault who was one of the 18,000 French army taken prisoner after their defeat at the hands of the Spanish at the Battle of Bailen on July 19, 1808. After four months of severe privations, they finished up on the small, uninhabited island of Cabrera, south of Mallorca where they died in their thousands until the end of the war in 1814.

The main decoration on the gourd is the hospital which was constructed out of an abandoned fort and a view of an encampment on a sort of flag, held by two French soldiers. The workings are quite well done.

Who it was sold to and how it travelled from Cabrera to England will, I suppose, never be known, but 200 years on it is a chilling reminder of how cheap life was in the Napoleonic days.

Adrian Weston, by email As someone whose interest is mainly in antique furniture may I applaud the ongoing contribution of two of your columnists who continue to champion ‘traditional’ antiques. The columns by Lennox Cato and David Harvey are always the ones I turn to first in your excellent magazine. I have learnt a great deal from both of them. Keep up the good work.

Geoff Powell, by email

Answers to the quiz on page 48

1 (b) Playing card games 2 (c) Names of early lawnmowers 3 (b) A marble-patterned glass paperweight 4 (a) Green glass objects of various types 5 (c) A china clay cameo encased in clear glass 6 (d) A table-top on which to roll molten glass 7 (b) Paperweights 8 (a) An artist’s mirror with which to view landscapes 9 (b) The Ancients 10 (c) exposure device used by photographers.

Rodeo Films = Moorfields. The best English-made carpets of their day. Made by Thomas Moore in the mid-18th century.

Robed Aids = sideboard Green Vine = veneering Cannot Win = Wincanton

ANTIQUE COLLECTING 23

MEMORABILIA Tour de France

back around £500-£750. Less valuable still are those jerseys worn by the “domestiques”, the cyclists whose job is to help those better than them. These are around £250. The majority of stage-worn jerseys available are from the 1970s onwards.

TOUR-USED BIKES

Cool & Collectable

The Tour de France is upon us again. Sport’s biggest annual event has been taking place since 1903.

As such there is a wealth of history, tradition and collectable artefacts to enjoy, writes Paul Fraser

TOUR-WORN CYCLING JERSEYS

The Tour de France is colour. The patchwork of French fields. The beautifully presented villages. But above all, the cyclists’ jerseys. If you own just one piece of Tour de France memorabilia, make it a tourworn jersey.

At the top end are the yellow jerseys (to denote the race leader) worn by the big stars. These rarely come up for sale as they are cherished personal mementoes (don’t get caught out by the many replica yellow jerseys the leader will sign following the day’s racing).

A yellow jersey Eddy Merckx wore in his victorious 1974 tour sold for £7,000 in 2019, while Fausto Coppi’s woollen “maillot jaune” from his 1952 win sold for €20,000 at auction.

More attainable are the regular team jerseys worn in the tour by big names. These will usually set you

24 ANTIQUE COLLECTING

Above The colour, spectacle and endurance of the Tour de France attracts collectors, image Shutterstock Above right Of all the shirts the yellow jersey is most prized.

Christopher Froome wears his as he celebrates his 2016 victory Right Miguel Indurain’s 1995 Pinarello bicycle sold for £4,000 in 2017, image courtesy of Vectis Auctions

Tour de France-used bikes are among the most valuable pieces of memorabilia from the race. Especially those machines ridden by the stars in winning years, or on victorious stages.

Miguel Indurain’s 1995 Pinarello bicycle, which the Spaniard rode during the last of his five Tour de France victories, sold for £4,000 in 2017. It’s surprising it didn’t achieve more. Indurain has held on to most of the gear from his riding days. This bike was one of the rarities to leave his possession. Perhaps the relatively low price is down to the grinding nature of Indurain’s style, which lacked the panache of some other champions.

Champions like “the pirate” Marco Pantani, in fact.

The bike the diminutive climber rode to fly up to Les Deux Alpes in the rain in 1998 sold for $17,562 at an Italian auction house in 2012.

A bike used by British cyclist Chris Froome in the 2012 Tour de France auctioned for more than £5,000 in 2014.

Froome helped his team-mate Bradley Wiggins to victory in the 2012 event, as “Wiggo” became the first British cyclist to win the yellow jersey.

The pair fell out during the race, citing a “lack of trust”. Froome would go on to win four Tours de France for himself. Froome used the bike as his reserve machine during the historic 2012 race.

WANT A SIGNED PHOTO?

Today, you can pick one up for less than £100.

The figures reveal that, when it comes to collectability, performanceenhancing drug use is more damaging than extra marital revelations or even murder allegations, because it casts doubt on that star’s sporting achievements.

At the peak of Armstrong’s popularity in 2009, a time-trial bike stolen from Armstrong’s team truck during the Tour of California, but retrieved three days later by police, sold for $130,000. You wouldn’t achieve that today.

Signed photos by the Italian rider Fausto Coppi (1919-1960) sell for around £200 at auction, yet those from his fellow legends of the sport, such as Eddy Merckx, Jacques Anquetil or Bernard Hinault are less than £100.

AND WHAT OF LANCE ARMSTRONG?

If you search the recesses of the Paul Fraser Collectibles website, you will find a small collection of Lance Armstrong autographs for sale. I’ve had them for years. I can’t sell them. Not a soul wants them.

When the big names of sport fall from grace, demand for their memorabilia usually falls with it. For example, OJ Simpson’s game-used jerseys have halved in value since his murder trial in 1994. Tiger Woods’ memorabilia dropped by 66 percent in worth when allegations of the golfer’s off-course activities emerged in 2009 (although prices have since rebounded).

Yet none has dropped in desirability and value as much as Lance Armstrong.

Before Armstrong confirmed to Oprah what the world already knew: that he had cheated his way to seven Tour de France wins, an Armstrong-signed cycling jersey (unworn) would achieve £750 at auction.

Above Fausto Coppi, at the Giro d’Italia 1953

The orange bicycle of Eddy Merckx, the great Belgian cycling champion from 1965 to 1978

Above right The romance of the race, which started in 1903 when it was won by Maurice-François, is unparalleled in sport Below Memorabilia from the renowned US doper Armstrong is difficult to sell

WATCH OUT FOR WIGGINS

If you decide to go into collecting Tour de France memorabilia in a big way, you’ll find yourself in some esteemed company. Because the man with the most prestigious Tour de France memorabilia collection of all is 2012 winner Bradley Wiggins, whose collection includes historic yellow jerseys from Fausto Coppi and Eddy Merckx.

It’s a bit unfair really. As Wiggins is known as “the collector” in cycling circles, cyclists offer items to him first. Wiggins told the website Cyclist: “Owning a Merckx ’72 yellow is like owning a Pele shirt from the 1970 World Cup final. Fausto Coppi was a huge star in the ‘40s. Before live television and social media, when he came to town everybody wanted to see him in yellow or pink.”

‘At the top end are the yellow jerseys (to denote the race leader) worn by the big stars. These rarely come up for sale as they are the cyclists’ cherished personal momentoes from the race’

Above Tour winner Bradley Wiggins is an arch collector of cycling memorabilia, image Shutterstock

Paul Fraser is the founder of Paul Fraser Collectibles. For more details go to www. paulfrasercollectibles.com ANTIQUE COLLECTING 25

COLLECTING GUIDES Postcards

WRITE STUFF

While we might not be sending many this summer, the humble postcard has been connecting British people for more than a century and a half

W

hen it comes to an area of collecting that offers something for everyone, there can be few to equal the variety, affordability and historical and cultural interest of the postcard.

The opening of a delayed exhibition at the Postal Museum, Wish You Were Here: 151 Years of the British Postcard, reveals how such a seemingly simple means of communication, from saucy to scenic, continues to entertain and enthral us even in the age of wall-to-wall social media.

The arrival of the postcard in Britain in 1870 followed its launch in Austria just a year earlier. Writer, researcher and postcard collector Guy Atkins, who curated a display on Parliament Square postcards for the exhibition, said: “Austria introduced them in 1869, sparking calls for postcards to be brought to Britain.

“The first official versions had no pictures and were simply something you could write the address on one side and a message on the back.” The format stayed the same for 25 years.

While the new penny post introduced in 1840 allowed letters to be sent cheaply throughout the country, the postcard represented a different innovation.

At half the cost, they became known as the half-penny postcard or the ‘letter of the poor’.

STAMP OF APPROVAL

Above Postcard of South Sands at Scarborough, early 1900s, © The Postal Museum Above right Down by the sea at Minehead postcard, 1907, © The Postal Museum Left An Attack in the Rear postcard, 1918, © Reinthal & Newman, N.Y

26 ANTIQUE COLLECTING

PLAIN MAILING

The postcard proved an instant hit, with numerous publishers recognising its popularity. In its initial incarnation as a pre-stamped, simple blank card, it was well suited to a particular sector of society. Guy said: “It tended to be businesses that used it, as a way of being able to write cheaply and speed up business communications,” But it wasn’t long before the simple missive was championed by some important people. “Gladstone, for example, was a big fan. He sent thousands of postcards and actually got involved with its form by later requesting a thicker postcard.”

The frequency and speed with which correspondents could communicate was another key attraction in an era that pre-dated the telephone.

One of the key factors was the number of daily postal deliveries, with central London receiving up to 12 a day, meaning a card sent in the morning would arrive by lunchtime. The frequency of the deliveries meant the letters were more like telegrams.

Guy said: “The system encouraged people to write in informal ways. You didn’t have to write it like a letter, it was a new and exciting form of communication.”

Wish You Were Here

HOLIDAY MARKET By the 1890s, continuing improvements in printing methods, particularly in Germany, ushered in cards that featured printed images. In 1894, the Royal Mail granted permission to publishers allowing them to sell picture postcards in the UK. The move coincided with the growing popularity of day trips to British coastal resorts by increasingly affluent workers taking full advantage of the earlier 1871 Bank Holidays Act. Once again, publishers spotted an opportunity and were soon producing postcards with images of seaside towns and other much-visited destinations.

LINE UP While demand for postcards was clear, the next chapter in their ongoing evolution triggered unprecedented interest. Early postcards demanded a full side for the address meaning both the image and the message had to go on the other side.

Above The Outsider embroidered postcard, 2019, © Francesca Colussi Cramer, 20182022 Below Lobster at

Littlehampton postcard, 1928, © The Postal Museum

Bottom From your

loving son WWI embroidered postcard, 1914-1918, © The Postal Museum

Bottom right Post Office

Rifles Postcard, 1915, © The Postal Museum

The 151-year-old story of the British postcard is explored in an exhibition at The Postal Museum, ‘Wish You Were Here: 151 Years of the British Postcard’, which is open now until January 2, 2022.

The exhibition spans the history and many guises of postcards, including the British seaside, romance and First World War correspondence, culminating in their contemporary use.

Some of the exhibition’s highlights include the first British postcard from 1870, those sent by British rifleman Harry Brown to his mother during the First World War offering a unique insight into frontline conditions, and an illustrated postcard between sweethearts Harry and Olive with hidden messages of love in the stamps.

Exhibition curator Georgina Tomlinson, said: “An innovation of its day, people became obsessed with sending and collecting postcards – they documented the significant and mundane of everyday life, much like social media today.”

However, in 1902 the Post Office allowed both the address and message to be written on one side of a postcard, and publishers quickly responded by producing cards with the now familiar dividing line down the back, allowing the message and address on one side and a full picture on the other.

The subsequent impact of this small and subtle change was huge. Guy said: “You have the postcard that we recognise today. It took off in popularity and there was a big collecting craze in Edwardian times, which was really the golden age of the postcard.”

The epicentre of this burgeoning industry was largely located in the capital, specifically around St Paul’s where the headquarters of the Post Office was then located. So much so that the area soon became known as the ‘Postcard Mile’.

Publishers such as CW Faulkner & Co, WH Smith, Francis Frith and Bamforth & Co were among the companies vying for business, and were keen to exploit the public’s appetite in inventive ways. One young entrepreneur, Evelyn Wrench, realised the death of Queen Victoria would spark a huge demand for pictures of the late monarch. He arranged for images to be printed in Germany, making an overnight fortune and soon became known as the ‘Postcard King’.

CARD TIMES

‘In central London there were 12 deliveries a day, which meant you could send a card in the morning and it would arrive by lunchtime and someone could reply’

As the postcard boom continued to gain momentum, publishers worked hard to keep fuelling the enthusiasm. With ANTIQUE COLLECTING 27

COLLECTING GUIDES Postcards the industry based on collecting, publishers strove to encourage the hobby, with prizes for people who had collected most of their postcards. Guy said: “There was a woman in Norwich who supposedly collected 25,000 postcards of Raphael Tuck & Sons, one of the main publishers.”

Alongside the plethora of series focussing on topographical subjects, ranging from medieval churches and railway stations, to historic houses and sporting grounds, postcards of prominent figures proved popular. Actors were among the professions keen to exploit this early marketing method. Gladys Cooper, a popular theatre and film actress in the 1920s, seized the opportunity, with a number of postcards, many of which are hand-painted, still cropping up on the market.

CLASS ACT

Magic touch

Postcards featuring, or sent by, well-known figures and celebrities from yesteryear can command a premium.

Famous postcard writers include Ernest Hemingway, F Scott Fitzgerald, James Joyce, Virginia Woolf and Andy Warhol.

Paul Fraser Collectibles is currently offering a range of signed postcard of famous historical figures. At £3,950, an antique postcard of Harry Houdini (1874-1926) is clearly signed by the escapologist in black ink below his portrait.

The condition is described as excellent, with just minor surface marks and slight folding to one corner. Paul Fraser, founder of Paul Fraser Collectibles, commented: “I believe Houdini signed this postcard between 1905 and 1910 – at the height of his fame. That adds allure for autograph collectors – they love to own signatures from celebrities at the peak of their powers.”

Other examples include a promotional postcard signed

by Paul Newman (1925-2008); a postcard featuring a bust of the author Thomas Hardy (1840-1928) signed by the novelist; a signed postcard of Queen Victoria (1819-1901) and an illustrated card signed by the celebrated novelist and poet Rudyard Kipling (1865-1936). For more details go to www.paulfrasercollectibles.com

Top left The postcard

of Harry Houdini is signed by the celebrated escapologist, image courtesy Paul Fraser Collectibles

Top A postcard of a bust

of Thomas Hardy by Russian sculptor Serge Yourievitch, signed ‘Thomas Hardy’. Priced at £1,250 at Paul Fraser Collectibles, image courtesy of Paul Fraser Collectibles

Above An oversized

Italian promotional postcard signed by Paul Newman in black marker pen, priced at £1,500 at Paul Fraser Collectibles, image courtesy Paul Fraser Collectibles Far left An illustrated

and signed postcard of Rudyard Kipling includes a quote from his 1891 poem, The English Flag.

Priced £1,995 at Paul Fraser Collectibles, image courtesy Paul Fraser Collectibles

Left Queen Victoria photographed reading a book by Arthur James Melhuish, priced £4,995 at Paul Fraser Collectibles, image courtesy Paul Fraser Collectibles

28 ANTIQUE COLLECTING

Further fertile ground for postcard publishers in the years before radio and television, was recording historical and newsworthy events.

Guy said: “When there was a fire, flood, railway crash or other big event, they would race to produce postcards, turning them round in incredibly quick timescales that were appealing for the public to buy.”

Similarly, the battles of the Boer War and various royal events were all captured for posterity and profit, along with the key players engaged in the political machinations of the day, such as the Suffragettes, with publishers keen to promote both sides of the debate.

Postcards became a platform where political debate was carried out in a way that went directly into the heart of the receivers’ homes.

Such was the demand from this new breed of collector that from 1900 to 1907 there was even a magazine published with the latest industry news.

Postcard publishers, meanwhile, continued to produce cards that displayed diverse subjects of every conceivable possible interest.

FINAL POST By the end of WWI, the boom time for the postcard had, by and large, come to an end and over time it increasingly became a way of sending greetings from holiday destinations to family and friends. At the beginning of the war roughly a billion cards were sent each year in Britain, but by the 1920s the number had slumped to a quarter that number.

The decline was due to various factors, ranging from the Post Office reducing the number of deliveries and Below It’s Great Here, postcard artwork by Arnold Taylor

c.1960-65, © Bamforth & Co

Star lots

North Yorkshire auctioneers, Tennants, is holding its stamps, postal history & postcards sale on June 11, offering a wide range of local and international postcards and correspondence cards.

One of the star lots is an album of 500 cards relating to West Yorkshire, in particular Leeds and the surrounding towns and villages, capturing local historic events, businesses and people. It carries an estimate of £800 to £1,000.

Tennants director, Jeremy Pattison, said: “Real photographic cards are more desirable than their printed counterparts, and are more collectable and, thus, hold greater value. Look out for postcards that have been published by local printers from images taken by local photographers, particularly on pre-1950 postcards.

“After this date, many of the local publishers had gone out of business and bigger, national publishers had taken over.”

An album of 180 correspondence cards, many dating from before 1894, has an estimate in the sale of £200-£300.

‘It was only in 1902 that the Post Office allowed both the address and message to be written on one side of a postcard, and postcard publishers brought out cards with the now familiar dividing line down the back’ Top A postcard of

Bramley carnival in West Yorkshire from 1907, part of a collection valued at up to £1,000. Image courtesy of Tennants Auctioneers

Above A card from Guatemala, dated May 8, 1895 is part of a collection estimated up to £300. Image courtesy of Tennants Auctioneers

the arrival of the telephone, to a post-war shift in the national mood and, later still, changes to the postcard rate which saw them subsumed into the two-tier postal system requiring a first or second-class stamp.

In today’s digital age, while postcards still retain a certain quaint appeal, early and rare examples are sought after by collectors. And, just as the range of subjects they feature is limitless, so, too, the choice collectors might focus on.

Guy described one collector’s decade-long quest to complete his 2,300-strong collection of Edwardian postcards by the artist AR Quinton, published by J Salmon Ltd. “The last 10 were very difficult to find as they were the least popular cards. So for him a card of Rhyl station was the holy grail!”

Left The Bath, Blackpool’ Postcard, 1935 © Bamforth & Co

COLLECTING POSTCARDS Although originally sold for just pennies, a lifetime collection can be worth up to £10,000. For most modern collectors it is the picture on the card that creates the main interest, as recent sales show.

Topographical scenes A meticulously catalogued archive of 4,500 postcards relating to Cumbria and the Lake District was a highlight of a recent sale at the Lichfield-based Richard Winterton Auctioneers, selling for £4,250.

Ephemera specialist Robert French, said: “From day-to-day working practices from bygone Cumbria to evocative images of the Lake District, the collection was a breathtaking archive of the area from the Edwardian era to the mid-20th century.”

At the Shropshire auction house Halls, a lifetime’s collection of more than 23,000 postcards, including 442 comic designs by Donald McGill and Fred Spurgen, sold for close to £10,000. The collection included a set of 96 silk postcards, some from the WWI, that fetched £180 each.

Auctioneer Robert Stones from the Nantwich auctioneers Peter Wilson, said: “Old original postcards featuring views of resorts, towns and villages are important pieces of social history that document change and can fetch surprisingly large sums at auction, particularly in the case of well-filled albums.”

He continued: “Don’t overlook topographical scenes.

Non-tourist picture postcards make significantly more money. For example, a black and white card showing Crewe is harder to find than a view of the promenade at Blackpool or Rhyl.”

Ooh-er, missus!

Saucy postcards featuring large ladies, naughty vicars, Jack the lads and put-upon husbands were found in every seaside souvenir shop and newsagents from the 1930s.

While these risqué cards, which werre produced in their thousands, can be bought for a few pounds – or even pence – at boot sales and flea markets, the unique artwork from which they were printed can be worth much more. In 2016, Peter Wilson sold five ‘saucy’ works by the Manchester artist AJ Williams for a total of £330.

Auctioneer Robert Stones said: “Saucy postcards were so popular that many hundreds of thousands were printed and so they remain more common and invariably worthless. However, original artwork for cartoon cards is rare and collectable for the postcard enthusiast, even though our idea of humour might have changed.”

In 1954, the newly-elected Conservative government launched a morality campaign and some of the cards were banned as obscene. Changing attitudes towards the cards' content and a decline in the quality of the artwork and humour led to their demise in the 1980s.

ANTIQUE COLLECTING 29

COLLECTING GUIDES Chinese furniture Until it left the Grade I-listed Georgian hall, 15 miles inland from the fashionable seaside town of Southwold, each piece had been used on a daily basis around the house.

Prior to the sale on May 28, the collection was exhibited for a week at the Hong Kong Convention and Exhibition Centre to showcase its charms to would-be Chinese buyers.

Christie’s head of Chinese works of art department, Marco Almeida, said: “The world auction record achieved for a huanghuali folding armchair from the Heveningham Hall collection demonstrates the tremendous appetite for quality properties rarely seen on the market.

“It’s unusual to see so many first-rate pieces of Chinese furniture in a western collection. You might normally see a few pieces at most. This is a collector who has stood out for his determination and keen eye.”

RARE JIAOYI Only 30 horseshoe folding chairs are known to exist, most of which are in public institutions in China and North America, with only a handful in private hands.

The recently-sold jiaoyi was last purchased at Christie’s in New York in 2002, and prior to that had been part of a collection in Scandinavia for the best part of a century.

The finest examples — including the Heveningham Hall piece — are crafted from huanghuali, a precious wood from the rosewood family revered for its rich grain and beautiful, caramel-like colour.

Folding chairs were used by the imperial family, persons of rank and scholars. Emperors used them as portable thrones while on diplomatic campaigns and

Heveningham Sent

A huanghuali folding armchair, part of a collection from Suffolk, set a world record when it sold for £6m in Hong Kong

S

ome 6,000 miles from Heveningham Hall, the Suffolk mansion where it had been put together over two decades, a 19-piece collection of museum-quality Ming and Qing-era furniture sold in Hong Kong for a total of £10.8m.

The star lot was a rare 17th-century folding horseshoe-back armchair, (opposite) known as a jiaoyi which sold for £6m – more than five times its estimate – after an intense 10-minute bidding war.

30 ANTIQUE COLLECTING

Above The collection was in daily use at the Suffolk hall Right The elegant

Chinese lines suit the country house interior

High Chair

There are Chinese paintings dating to the 12th century showing servants carrying these folding chairs on their backs as they walk through the countryside.

The design is an elite variation of the older and humbler folding stool, called a huchuang or ‘barbarian bed’, a reference to its foreign origin. The horseshoeback design, with its sweeping U-shaped crest rail, is easily adapted to collapsing.

When folded, the front seat rail fits snugly within the curved supports of the arms.

A painting by the Italian artist and Jesuit missionary Giuseppe Castiglione (1688-1766), now in the Musée Guimet in Paris, shows the Qianlong Emperor (17111799) sitting on a folding horseshoe-back armchair while receiving tribute horses from Kazakh emissaries.

In this painting, the folding chair is used as a throne.

leisurely outings. Their complex construction, with decorative metalwork strengthening their joints and hinges, and yet fragile design made them subject to greater wear and therefore more susceptible to damage.

Marco Almeida, said: “This type of chair is exceedingly rare. Although we don’t know precisely for whom the jiaoyi was made, it’s safe to assume it was a person of great wealth and importance. Very probably a member of the imperial family.”

He went on: “It’s worth noting that the literal translation of jiaoyi is ‘person in charge’. This, like the valuable choice of wood, also suggests the rank of this chair’s first owner was high. As does the fact that folding chairs with round backs (as opposed to straight backs) tended to be especially highly treasured.”

DECORATIVE SPLAT Another distinctive feature of the chair is the mythological creature carved onto its splat. Known as a ‘qilin’, it is a beast with a dragon-like head and a horselike body (which is covered in fish-like scales) which, in

Above right Giuseppe Castiglione’s (16881766) painting shows the chair as a throne Above An 18th-century Qing Dynasty six-poster canopy bed sold for £340,000, against an estimate of £460,000£700,000 Right A rare

17th-century, jiaoyi, huanghuali folding horseshoe-back armchair, 106.6cm (42in) high, 73.7cm (29in) wide, 62.2cm (24½in) deep, sold for £6m against an estimate of £700,000-£1.36m on May 28, 2021 at Christie’s in Hong Kong

‘Horseshoe-back folding chairs were used by the imperial family, persons of rank and scholars. Emperors used them as portable thrones while on diplomatic campaigns and leisurely outings’ ANTIQUE COLLECTING 31

COLLECTING GUIDES Chinese furniture

TOP-NOTCH COLLECTOR Christie’s specialists praised the collector behind the remarkable group of furniture. A spokesperson said: “With a curious eye, the collector focussed on form, functionality and beauty in building the collection, favouring pieces crafted in the much sought after huanghuali wood to complement his 18th and 19thcentury inspired decor.

“Drawn to the clean and almost sensual lines of Chinese furniture, the pieces provided a stark contrast to the interior and exterior of Heveningham Hall demonstrating the ability of Chinese furniture to seamlessly combine with a Western interior.”

this example, is gazing upwards towards the sun.

According to myth, the qilin appeared during the reign of a virtuous ruler. In the Ming era, its appearance on insignia or badges, denoted the wearer was a duke or an emperor’s son-in-law.

FURTHER HIGHLIGHT Another chair, which sold in Hong Kong for £230,000 was a large 17th/18th-century armchair known as a ‘Southern official’s hat’ which had prior to its sale, also been on daily display at Heveningham hall.

Like the jiaoyi, it is also made of huanghuali.

Unlike the Northern official’s hat chair, the ends of the Southern version do not protrude.

The name ‘official’s hat,’ in Chinese is guanmaoyi, is derived from the chair’s resemblance to the winged hat worn by Ming officials and the chair would have been used exclusively by members of the elite class.

The high back form of the chairs is typical of the Ming dynasty. Even today, such pieces are regarded as symbols of status and authority by the Chinese.

32 ANTIQUE COLLECTING

Above Pieces from the 25-lot collection which sold for £10.8m in Hong Kong Above right A qilin is expertly carved on the back splat Right A large 17th/18th-

century ‘Southern official’s hat’ armchair, huanghuali, 123cm (48½in) high, 61cm (24in) wide, 47cm (18 ½in) deep sold for £230,000, against an estimate of £185,000£275,000

HEVENINGHAM HALL

Left A 17th/18th-century square-corner tapered cabinet, huanghuali, 170cm (66¾in) high, 83cm (325/8in) wide, 45.7cm (18in) deep had an against an estimate of £370,000-£555,000 Below A late Ming

dynasty waisted daybed, huanghuali, 47.5cm (185/8in) high, 197cm (77in) wide, sold for £570,000 against an estimate of £230,000£370,000

‘The high-back form of the chairs is typical of the Ming dynasty. Even today, such pieces are regarded as symbols of status and authority by the Chinese’

Built in a Palladian style in the late 1770s for the baronet, Sir Gerald Vanneck, it was designed by Robert Taylor — who at that time also held the title of Architect to the Bank of England. The 25-bay mansion boasts a frontage the best part of 300 feet long, making it almost as extensive as Buckingham Palace and one of the most important country houses in Britain.

The most famous room at Heveningham is the James Wyatt-designed vaulted hall which British architect Lionel Esher called “the most beautiful room in England.” Christopher Hussey, writing in English Country Houses: Mid Georgian, 1760-1800, describes it as “Wyatt’s surviving masterpiece as an interior designer and perhaps, after Adam’s Ante Room at Syon, the finest room produced by English neoclassicism.”

The hall features screens of Sienna scagliola columns at each end, with scagliola pilasters in the same colour and its original apple green walls.

The Vanneck family owned the House until 1970, when it was turned over in poor condition to the Department of the Environment (later English Heritage) in lieu of death duties. During the 1970s, Heveningham was open to the public and administered by the National Trust, though the trust refused to take ownership of the house without a proper endowment. In 1981, Heveningham was sold to an Iraqi businessman and, in 1994, the house was bought by a property billionaire who restored the incomplete Capability Brown landscape as well as the state rooms.

ANTIQUE COLLECTING 33

EXPERT COMMENT Antiques today But others believe the armchair collector is here to stay. Rob Watson, from Antiques Boutique, said: “People are now more comfortable investing in antiques online. It begs the question why visit an antiques fair where you could easily miss the item you’ve been dreaming of?”

ONLINE WELCOMED

MARKET REPORT

Future of Fairs

With cancellations rife and virtual events continuing into autumn, has the pandemic called time on in-person fairs forever?

W

ith both Masterpiece London and The Art and Antiques Fair Olympia cancelled due to Covid-19, and September’s TEFAF Maastricht 2021 going digital, is the end of antiques fairs in sight?

There is no doubt the fair landscape has changed beyond recognition. This summer will see a blend of events ranging from popup pavilions, online events, in-person fairs and the ‘hybrid’ – a combination of both a virtual and physical fair.

Freya Simms, CEO of LAPADA, which recently announced it would be cancelling this autumn’s fair in Berkley Square, said: “While many online events have been successful and are here to stay, we still feel that physical events have an important place in the trade. Virtual events have the benefit of being able to reach a much bigger,

potentially global audience, and while physical events are more limited, they offer the opportunity for authentic connection between client and dealer.”

Instead, LAPADA is staging a pop-up pavilion at the Game Fair at Ragley Hall in Warwickshire, from July 23-25, with another planned at the Scottish Game Fair at Scone Palace in Perthshire from September 24-26.

TEFAF’s in-person fairs will resume with a hybrid fair celebrating its 35th anniversary in March 2022. The Winter Art & Antiques Fair is also planned to take part in the autumn.

How would you like to see the future of fairs? Email magazine@accartbooks.com

FUN OF THE FAIR While there is no denying online fairs can reach a far wider audience than real-life events, there is nothing like seeing a piece up-close to inform a purchase.

Ingrid Nilson, from the Antiques Dealers Fair Ltd, organiser of The Petworth Antiques and Fine Art Fair, from June 18-20 in West Sussex, said: “I am naturally inclined to champion live events where the interaction between exhibitors and customers can lead to lasting relationships.

“The camaraderie at fairs and the buzz of setting up are vital parts in the professional lives of those involved, and it is therefore very nice that we are now getting back to some form of normality.”

‘This summer will see a blend of pop-up pavilions, online events, in-person fairs and the ‘hybrid’ fair – a combination of both virtual and physical’ 34 ANTIQUE COLLECTING

With the advances in digital offerings, some fairs are focussing on online models.

David Young, marketing director of the online textiles fair HALI, from June 23-27, said the announcement to go online was positive among dealers and visitors.

He said: “People are keen to discover fresh sources of art and antiques on platforms curated by experts.

“We enjoyed hosting HALI London in 2019 and, while more regular live events were planned, that plan has been put on hold for the time being. We will revisit the idea depending on how things unfold.”

Increasingly, organisers are looking towards the hybrid model of a physical event coupled with an online version.

ADFL’s Ingrid Nilson, continued: “I believe physical events are here to stay, but as the internet grows as a source for even the most exclusive items, virtual shows will no doubt evolve and expand. There is definitely a place for both and many highend events will no doubt run simultaneously in the two formats from now on.”

Above left The marquee is up for this month’s Petworth Antiques and Fine Art Fair from June 18-20 Above In-person benefits include trying on this Georg Jensen ring, image courtesy of Shapiro & Co. one of the exhibitors at Petworth Left TEFAF has cancelled its prestigious Maastricht event to go online

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

IN THE

Loupe Overlooked by many watch collectors, why the Rolex Explorer has stood the test of time, and the importance of snake motifs in jewellery

A Victorian gold sprung-coiled serpent bangle, 1840s-1850s, with an oval cabochon garnet surrounded by graduated old brilliant-cut diamonds, and with ruby eyes, sold for £6,700 at Dix Noonan Webb last November

ANTIQUE COLLECTING 35

IN THE

Loupe

In the

LOUPE

Snake Charmers

S

Snake jewellery has a large following of collectors and achieves fantastic results under the hammer, writes specialist Liz Bailey

erpent or snake jewellery dates back to ancient Egyptian times; the V&A London has examples of Roman snake jewellery dating from the 1st century in its collection. Ancient reverence for the snake stemmed from its association with Ascelepius, the Greek God of Medicine as well as various guardian spirits. As a result, the snake was seen as a symbol of both wisdom and regeneration, both great properties for talismanic jewellery.

COILED DESIGN Often found curving in intricate swirls, or wrapped around itself, snakes are most commonly seen in sentimental jewellery, coiled with its tail in its mouth (known as the ouroboros).

The ouroboros symbolised eternity, applicable for sentimental purposes, perhaps one of the reasons why this motif has flourished in jewellery design right up until the present day, culminating in the sensational Serpenti jewellery by Bulgari, launched in the 1940s and now a best-selling collection for the brand. It is,

Above A Victorian enamel and diamond 18ct gold serpent ring sold for £2,000, double its low estimate on May 6, image courtesy of Hansons Below Diamond, ruby

and enamel snake jewellery components, later mounted as fobs, sold for £1,643 in 2016, image courtesy of Wilson 55

however, the Victorian era in which the snake jewellery was particularly popular. Indeed, the serpent motif in jewellery was one of the most successful Victorian fashions in jewellery.

LOVE TOKEN With irrevocable ties to the greatest love story of the 19th century, snake jewellery was enormously popular as a token of everlasting love. A favourite of Queen Victoria, the snake jewel played a huge part in her betrothal to Prince Albert, with her engagement ring a snake, set with her birthstone of an emerald, finished with ruby eyes and diamond accents.

As well as this, Victoria chose to wear a serpent bracelet to her first council meeting of 1837, ensuring that by the 1840s, the popularity of snake jewellery was at its peak. In 1844, she was said to present “a richly jewelled turquoise serpent bracelet, value £25 as a prize in the lady’s archery contest at Prado”.

‘Victoria chose to wear a serpent bracelet to her first council meeting of 1837, ensuring that by the 1840s, the popularity of snake jewellery was at its peak’ 36 ANTIQUE COLLECTING

Serpent jewellery

The sought-after serpent jewel is found variously modelled in necklaces, rings, brooches and bracelets, with the most luxurious necklaces of the time decorated with royal blue enamel, ruby eyes and diamond flame, while other popular gemstone combinations included turquoise, garnet and split pearl.

Above An early 20th-century 9ct gold snake bangle, sold for £606 in 2017, image courtesy of Wilson 55 Above right A Victorian diamond snake ring, sold for £455 in 2018, image courtesy of Wilson 55

MOURNING JEWELLERY The symbol of the serpent representing eternity also applied to memorial jewellery. Indeed, Dawes & Collings (2018) pointed to the serpent as a “symbol of royal bereavement” alongside crosses, torches and crowns to be worn by loyal subjects from the turn of the 19th century. The first notable example of this in the 19th century was the death of George IV’s daughter Princess Charlotte in 1817, plunging the nation into an atmosphere of national bereavement.

Snakes in their ouroboros form are seen in memorial brooches, and rings and bangles, often decorated with black crosshatched enamel or split pearls representative of tears and bordering a glazed hairwork panel. Other gemstones to be used extensively in memorial jewellery include onyx, banded agate, and even diamonds! Some bangles can be found designed with gold snake heads and tails, supported by braided hairwork bodies. Small mourning brooches in good condition and with engravings sell well at auction, and these were pinned to black ribbon to be worn either around the wrist or the neck of the mourner.

MODERN DESIGNS Present-day snake jewellery is produced and sold by the top jewellery houses, including Bulgari and Cartier. These pieces can reach tens of thousands at auction, depending on the scale, gemstones and design of the piece. Snake jewellery is particularly fashionable and enjoying its time in the spotlight currently, with Serpenti pieces gracing red carpets worn by Charlize Theron, Jessica Biel, Naomi Watts, Bella Hadid and countless others over the last few awards seasons.

ANTIQUE COLLECTING 37

IN THE

Loupe

STARTING A COLLECTION Snake jewels continue to enjoy their appeal with collectors, and top prices are achieved for Victorian enamel snakes in good condition, closely followed by Victorian turquoise-set snake necklaces, especially enticing to buyers when sold within their original cases.

Condition and later modifications to snake pieces can still attract a healthy hammer price, particularly when set with larger diamonds and rubies.

Early 20th-century snake jewellery also sells well, including gold snake bangles from goldsmiths such as the Birmingham jewellers Smith and Pepper, and Saunders and Shepherd founded in London in 1869 by Cornelius Desormeaux Saunders Sr. and James Francis Hollings Shepherd. Enamelled art nouveau snakes in sinuous lines are rarely seen and can fetch a premium.

38 ANTIQUE COLLECTING

Above Two snake armlets, gold with green glass, Roman Empire (probably Egypt), 1st century AD. Formerly in Castellani collection, image courtesy of V&A London Below left A lateVictorian diamond and banded agate snake ring, image courtesy of Wilson 55 Right A Victorian

turquoise, split pearl and garnet snake necklace, sold for £1,643 in 2014, image courtesy of Wilson 55

Liz Bailey, MA FGA DGA CPAA is the jewellery, watches and designer specialist at Cheshire-based auctioneers Wilson 55, its next fine jewellery and watches sale is on June 17. For more details go to www.wilson55.com

Victorian favourite In the 1840s a particular type of snake necklace started to appear. The necklaces featured a clever clasp linking the tail to the head of the snake and suspending a lovely heart shaped locket or drop pendant.

They are often seen in the royal blue enamel or turquoise combinations, with supple gold linking reminiscent of a snake’s scales. This piece is undoubtedly romantic, featuring the heart locket drop, turquoise scales and forget-me-not decoration.

Turquoise was used extensively in sentimental jewellery, with the colour relating to the forget-me-not flower, signifying love in the popular Victorian language of floriography.

Rolex Explorer

TEST of TIME

On the 50th-anniversary of Rolex’s Explorer II, Antique Collecting looks at the design that was built to last

W

hile the dependable Explorer might not top every watch collector’s must-have list, there is much to love about the classic watch 50 years after the launch of the Explorer II. Both Explorer and Explorer II are ‘tool watches’, designed to do a specific job in tough conditions.

The former was created in the 1930s specifically with mountain climbers and explorers in mind, at a time when very few wristwatches could withstand extreme cold conditions.

One that could was the Rolex Oyster, which became the natural choice for expeditions to the Himalayas. The Explorer added to the specification with a dial that was easy to read in the most exacting of circumstances.

The Rolex Explorer II has an extra orange hand that takes 24 hours to complete a rotation, image courtesy of Rolex

ANTIQUE COLLECTING 39

IN THE

Loupe

SCALING THE HEIGHTS While the Explorer started out in the 1930s, it wasn’t until May 29, 1953, when Sir Edmund Hillary and Sherpa Tenzing Norgay climbed Mount Everest that the Explorer proper was born. On the expedition Hillary wore a Smith’s watch and a Rolex Oyster, while Norgay wore a Rolex reference 6350.

At the time of the climb, no Rolex watch was marketed as the Explorer, but the epic endeavour proved an achievement for both the climbers and Rolex’s savvy marketing team who seized on the chance to promote what the Oyster had been capable of.

After registering the name as a trademark, Rolex named the reference 6350 the “Explorer.” It was the official start of the model and, with a determined advertising campaign, soon became intricately linked to Hillary’s mission and the default choice of the adventurous watch lover.

The first reference 6350 featured Arabic numerals at 3, 6, and 9, a 36mm case size, and black dial. It became known as the “honeycomb” referring to a waffle-like dial pattern. Produced for just a year, the 6350 is a rare and sought-after watch.

It was succeeded by the 6610 with a matte black dial, gilt numerals, and a very familiar dial layout.

‘But the epic endeavour proved an achievement for both the climbers and Rolex’s savvy marketing team who seized on the chance to show what the Oyster was capable of.

After registering the name as a trademark, Rolex named the reference 6350 the “Explorer”.

It was the official start of the model’ 40 ANTIQUE COLLECTING

Above Hillary and Norgay at the summit of Everest, both men were wearing a Rolex, image courtesy of Rolex Above right Explorer II reference 16550 from the 1970s, with a white dial. An error in the paint used by Rolex caused the white to turn cream Below An early Explorer

from the 1970s when Rolex still used plexiglass, the NATO strap is favoured on early models, image courtesy of Rolex

REFERENCE 1016 Although there were several incarnations of the classic Explorer, the reference 1016 saw the longest production from 1963 to 1989. The 1016 played an integral role in the legend of the Explorer and gained considerable fame in literary circles, being a watch chosen by such major figures as Ian Fleming and William Gibson. In fact it has continued to attract such a cult following it even has a website devoted to it (www.explorer1016.com).

EXPLORER II The reference 1655 Explorer II was introduced in 1971 and created for a very niche and slightly less sexy market than mountaineers – namely, speleologists (or cave explorers). This explains one of its most noticeable additions, a very visible 24-hour hand designed to be seen in very dark places.

It also accounts for its nickname among the Rolex faithful of ‘Il Freccione’, literally, big arrow.

Just as they had done with the Explorer, Rolex used daring expeditions to market the Explorer II. When the Belgian explorer Alain Hubert crossed the North Pole on skis spending 106 days without much daylight, he wore a Rolex Explorer II. It had previously got another more spurious shot in the arm when it became linked to Steve McQueen – despite the fact there is no evidence to suggest the actor ever owned or even wore an Explorer II. It didn’t stop the reference 1655 being referred to as the McQueen Explorer.

CREAM DIAL The reference 1655 remained in production until 1985 when the reference 16550 launched. Although a transitional model, the 16550 has wide appeal among collectors. Its larger 40mm case size made it the same size as the ubiquitous reference 16610 Submariner, it also had Mercedes-style centre hands and a longer and thinner arrow-tipped 24-hour hand.

This reference also saw the launch of the white

Rolex Explorer dial, or ‘polar bear’ to use its nickname. A defect in the white dial paint causes it fade to cream over time.

Collectors love details like these, and an Explorer II ‘cream dial’ costs upwards of £12,000.

40TH ANNIVERSARY In 2011, on its 40th anniversary, the reference 216570 Explorer II was introduced with several updates. The watchcase increased from 40 to 42 millimetres. and the new calibre 3187 was added along with a new Oyster bracelet. To maintain the classic look, the Explorer II still has an engraved steel bezel, where most other Rolex models feature a ceramic bezel.

This year’s new 50th-anniversary model is very similar looking to its previous incarnation. The new reference 226570 retains the 42mm diameter case but has been slightly redesigned with thinner lugs and more tapered case band. The main update is the movement which features the calibre 3285.

A collector’s guide Nick Orringe, watch specialist at Surrey auctioneers Ewbank’s, reveals why he is a diehard fan of the Explorer II.

DISCOVER MORE The Book of Rolex by Jens Hoy and Christian Frost and Rolex History, Icons and Record-Breaking Models by Mara Cappelletti and Osvaldo Patrizzi, published by ACC Art Books, go to www.accartbooks.com

The Rolex Explorer’s younger sibling the Explorer II turns 50 this year and might just be the ‘holy grail’ of Rolex steel tool watches.

Top The reference 1655

Explorer II is wrongly associated with Steven McQueen, image Shutterstock

Above The first Explorer, the Rolex Oyster was one of the few watches that could withstand the gruelling conditions in the mountains Above left An advert for the Oyster Perpetual with John Hunt’s book about the ascent of Everest which was a bestseller in its day Left A Rolex advert for the Oyster Perpetual shows Hillary, Hunt and Norgay

It’s not just because it is rare, it is also tough, rugged, reliable and easy to use in all conditions. It is also unique, in my opinion, because it dares to be different from the rest of its tool watch stablemates.

The Explorer II is more functional than its elder sibling.

Its 24-hour hand and fixed bezel means that however dark it is, day or night, you can see the time.

Unlike its cousin, the Submariner, the Explorer II hasn’t become a design which has influenced numerous other watchmakers. So, in many respects, it is unconventional and conservative at the same time. It’s also equally comfortable on the wrist in a board meeting as it is exploring the world’s natural wonders.

Values for the Explorer II have increased in recent years and continue to do so.

While initial sales of the reference 1655 were slow, they have increased of late.

Expect to pay up to £29,000 for a 1982 reference 1655 from a reputable dealer. For a reference 16550, today’s collector would expect to spend between £8,000- £10,000, while a reference 16570 from the late-2000s would set you back around £7,000. Finally, a later reference 216570 dating from the 2010s would be worth anything from £9,000-£10,000.

Ewbank’s next watch sale is on June 16.

A rare reference 1655 Explorer II with an Arabic date wheel sold for £30,000 at Maunder Watch Company in Guildford

ANTIQUE COLLECTING 41

In the

LOUPE

TOP of the LOTS

Below The necklace is

a highlight of the June 15 sale

A round-up of jewellery and watches from the UK’s leading salerooms

An 18ct gold hunter fob watch commissioned by Sir Thomas Duncombe Love Jones-Parry, 1st Baronet (1832-1891), one of the founders of the Welsh settlement at Patagonia, has an estimate of £300-£400 at Wilson 55’s sale on June 17.

The watch is enamelled with the family’s coat of arms and the Welsh script Y ddraig goch a ddyry gychwyn, meaning The red dragon inspires action.

In 1865, following Love JonesParry’s explorative voyage three years earlier, more than 150 Welsh emigrants departed for Patagonia.

The inside of the watch, made by the prominent 19th-century maker J.W. Benson, reads Sarah E M Jones Williams, Birthday Gift, From Her Brother, Love Jones Parry MP, 26th Novr 1868.

Above The fob watch was a gift to the Welsh baronet’s sister

A lozenge-shaped diamond necklace given to the vendor’s mother in the 1930s has an estimate of £400£600 at Mallams Oxford’s jewellery, watches and silver sale on June 16.

The pendant is in a millegrain setting – a technique developed in the late 19th century to create texture using thousands of tiny beads on the metalwork.

In this case it highlights the necklace’s brilliant, single and rose-cut diamonds.

Millegrain is especially common on Edwardian diamond and platinum jewellery from 1890 to 1915.

Left The diamond pendant was a gift in the 1930s

A 1970s three-colour precious metal and cultured pearl necklace by Swiss jeweller Pierre Baltensperger (1927-1999) has an estimate of £8,000-£10,000 at Dix Noonan Webb’s sale on June 15.

Designed with juxtaposed linked cylindrical hoops of varying sizes, the larger hoops inset with a cultured pearl in various colours of white, pink, grey, silver or black.

Pierre Baltensperger was born in Zurich into a family of jewellers.

His grandfather, Walter Baltensperger, founded a jewellers on the Bannhofstrasse in Zurich in 1878. Pierre took over in 1950 going on to become one of Switzerland’s most important sculptors and visual artists – he was part of a Swiss artistic movement known as ‘Zurich Fantastic Realism’ – in addition to his jewellery.

A 1930 Ulysse Nardin wristwatch has an estimate of £1,800-£2,500 at Ewbank’s specialist sale on June 16.

The watch was a gift to an employee of the British engineering company Vickers in recognition of his tank sales to the Chinese in 1930. The watch comes with a letter given with it at its presentation.

Swiss watchmaker Ulysse Nardin was founded in 1846 in Le Locle, Switzerland and became known for its highly accurate marine chronometers Above The watch was given in and complicated timepieces. recognition of tank sales

A Victorian diamond and gem-set brooch in the form of a dragonfly, has an estimate of £1,000-£1,500 at Dawson’s fine jewellery, silver and watches sale on June 17.

The brooch is set with mixed green gemstones, with tsavorite garnet eyes, and old-cut diamonds. The Victorians adored insect motifs in jewellery partly due to a renewed interest in the artworks of Ancient Egypt coupled with developments in scientific research.

Above The dragonfly was a popular Victorian motif

42 ANTIQUE COLLECTING

16 June at 11am Online Only

Mallams 1788

Forthcoming auction of

Jewellery, Watches, and Objects of Vertu

Viewing By Appointment

to be held at our Mayfair Salerooms

on Tuesday 15th June at 1pm Public Viewing

BY APPOINTMENT ONLY Wednesday 9th June 10am-4.30pm Thursday 10th June 10am-7pm Friday 11th June 10am-4.30pm Monday 14th June 10am-4.30pm Morning of Sale 10am-12 noon

All enquiries please contact Frances Noble or Rachel Bailey 020 7016 1700 or email jewellery@dnw.co.uk

J EWE L L E RY WATCHES

Enquiries & Viewing: oxford@mallams.co.uk 01865 241358

S I LV E R

Catalogue & Online Bidding: www.mallams.co.uk

&

B O C A R D O H O U S E , S T M I C H A E L’ S S T R E E T, O X F O R D O X 1 2 E B

THE

For a complimentary copy of the printed catalogue, please email jewellery@dnw.co.uk quoting reference No. AC150621

Dix Noonan Webb

A 17th century enamelled and diamond set miniature portrait of Lady Frances Haversham, later mounted in 19th century gold locket pendant, to be included in the sale.

LONDON SPECIALIST AUCTIONEERS

16 Bolton Street Mayfair London W1J 8BQ

www.dnw.co.uk

AUCTIONS FOR JEWELLERY, WATCHES & SILVER

AUCTION

16th June, 10am

VIEWING

13th June, 11am - 2pm 14th & 15th June, 10am - 4pm Contact us to book your viewing appointment

A blue enamel and diamond flower brooch by Boucheron (part of a private collection of Boucheron) Estimate: £3,000 - £5,000 (+bp)

FINE JEWELLERY, SILVER & WATCHES

Viewing by appointment June 17 & July 22

E: fineart@hallsgb.com T: 01743 450 700 W: www.hallsgb.com/fine-art

0207 431 9445 info@dawsonsauctions.co.uk www.dawsonsauctions.co.uk ANTIQUE COLLECTING 43 Antique Collecting 1/4 Page Hard copy Advert - Jewellery May 2021.indd 1

07/04/2021 20:27

COLLECTING GUIDES African headgear GETTING AHEAD Headwear highlights and transforms the head in order to make a statement. Head and hair adornments speak volumes about an individual, as well as the values, ethics and priorities of their culture.

The head is a central and potent image in African culture, tying an individual to family, ancestors, community and destiny. In many African societies, artefacts intimately associated with the head are invested with heightened value.

In many traditional African societies, headwear is an embodied art form – transforming the body into a cultural entity. The prestige materials adorning the headdress of a high-ranking member of society would convert wealth into symbolic value.

On formal occasions, hats serve as a ‘material language’ that communicates the social status of the wearer and their sphere of influence.

THE BAMILEKE, CAMEROON

Crowning Glories With today’s “febrile” tribal art market, vibrant and ornate African headwear is a tremendous addition to any collection, as a new selling exhibition reveals

W

hile the purpose and symbolism of African headgear is multifaceted and complex, one thing is beyond doubt – their artistic merit and decorative appeal is unparalleled. So much so, according to Bryan Reeves, from Tribal Gathering London, whose exhibition continues this month, that they are attracting a growing number of worldwide collectors – not least Africans who are keen to regain their cultural heritage.

In addition to which, according to Reeves, a number of the original post-war buyers of tribal art have recently begun to pass on their collections as inheritances. They are now on the market with a younger audience hungry for genuine authenticity and creating today’s “febrile” market.

44 ANTIQUE COLLECTING

Above Ceremonial beaded hat. Bamileke, Cameroon, mid-20th century. All images, unless stated, courtesy of Tribal Gathering London Right Feathers are an

essential part of some African headgear, image Shutterstock

The Bamileke come from the Grasslands area located in central Cameroon. They pay allegiance to their king (fon) but reserve their highest allegiance for their lineage ancestors whose spirits are embodied in the skulls of the deceased. Recognising the importance of the skull, representations of the head are found in nearly all decorated ceremonial and utilitarian objects.

Bamileke hats are fashioned from an array of materials ranging from exotic bird feathers, porcupine quills to shells, animal skulls and human hair. The Bamileke are also known for their intricate beaded prestige items – the most detailed being the headdresses worn by elite members of Bamileke society.

Beads, which highlight the king’s monopoly on their trade, are a visible way of reinforcing hierarchy. The beaded prestige hat opposite shows a crouching, beaded open-mouthed leopard. Bamileke consider leopards to be a “royal” animal due to their power, speed and cunning, reinforcing the wearer’s status.

The arrangement of beads in triangular patterns also relate to the animal’s spots, while the face, composed of geometric designs, appears at the front of the hat.

PORCUPINE QUILLS Among the Bamileke porcupine quills are reserved soley for the king’s use. The use of quills would be seen as harnessing the strength, cunning and ferocity of wild animals. They suggest the wearer can apply his special powers, including an ability to capture and control animals, to protect himself and his people.

The piece below is made up of multiple porcupine quills and tropical feathers fixed to the centre of a woven fibre cap. The variegated quills’ colour complement the natural hue of the woven fibre, while the hard, spiked form contrasts with the soft, vibrant

Right Woman’s

ceremonial head adornment from the Lega, Democratic Republic of Congo

Below left Ceremonial hat. Bamileke, Cameroon Below right A laket

(hat) from the Kuba, Democratic Republic of Congo

High-ranking women

Ceremonial head adornments are not limited to men.

This piece would have been worn by a high-ranking female member of the Lega’s Bwami society in the Democratic Republic of Congo, an association open to all adult men and their wives.

The Lega invested considerable time, energy and value into the production of a variety of headwear and other forms of bodily adornments. High-ranking women in the Bwami wore headgear decorated with beads, cowries, buttons and occasionally other materials. This ceremonial head adornment, embellished with early European buttons, animal teeth and glass beads, was a visual emblem of the female initiate’s rank and status.

While the primary purpose of the Bwami was to instruct initiates about wisdom and moral excellence, the association also fulfilled political, economic, social, artistic and religious roles in the wider Lega society.

LAKET HATS THE KUBA, DRC The Kuba kingdom was founded in the early 17th century in what is today south-central Democratic Republic of Congo (DRC). As a result of its prosperity and stability, it became a centre renowned for its remarkable artistic invention. Titles at the Kuba court – except for that of the king, who was considered divine – were awarded rather than inherited, resulting in intense competition over positions of power.

To signal their upward mobility, ambitious Kuba titleholders commissioned local artisans to produce elegant personal accessories to wear and display.

Splendidly decorated caps were one type of item that indicated Kuba male social standing.

As a Kuba man moved up the social ladder, his headgear would change. A small domed man’s hat (laket) would have been worn on the crown of the head and secured into place with a metal pin.

Laket hats are created from undyed raffia fibre using the basketry technique of coiling. The circular shape

‘The head is a central and potent image in African culture, tying an individual to family, ancestors, community and destiny. In many African societies, artefacts intimately associated with the head are invested with heightened value’ ANTIQUE COLLECTING 45

COLLECTING GUIDES African headgear is completed with a scalloped edge of four projections called ‘ears’.

Lakets are worn with one ear squarely centred on the face, with a hair pin running through the hair from the front to the back of the hat.

One of the most visible emblems of elevated status in the Kuba is the wearing of a hat pin, with highranking men wearing two pins indicating the wearer is a personal acquaintance of the Kuba ruler (nyim).

In Kuba society, the importance of distinguishing headwear remained constant throughout the 20th century. Even men who adopted Western-style clothing, wore a laket as a symbol of cultural identity and rank.

was not only wealthy, but an eminent and respected member of society. The accumulation of materials on a Kuba man’s hat was a reflection of his accomplishments and upward mobility.

KUBA FEATHERS

IVORY COAST

KONSO, ETHIOPIA This phallic-shaped head adornment (Kalacha), made from metal and bone, would have been traditionally worn by a Konso male elder as a symbol of leadership.

Among the Ethiopian Konso, phallic symbols are believed to preserve the strength of a man. Fixed to a leather strap, the Kalacha would have been tied around the forehead of the elder as a visible emblem of status.

Dida female weavers from the Ivory Coast have developed a distinctive tradition of coloured fibre pieces with an almost sculptural quality.

Through a labourintensive process of successive stages, extremely fine linen-like fabrics are produced from raffia-palm fibres that are interlaced and tie-dyed.

The colours used are all vegetable dyes: a bark infusion provides yellow, a concentration of sorghum provides a red colour, while black is obtained by mixing iron and mud.

Apparel composed from these precious and costly fabrics were only owned by the privileged elite to be worn on important occasions.

The close weave of the tubular man’s bonnet (below) requires particular dexterity from the women who make it. The striking design is made up of a pattern of squares, ovals and rectangles.

A further indication of status is demonstrated by the type of feather (lashal) displayed, with each title associated with a particular bird whose characteristics the titleholder is thought to share.

The highest titled officials in the region are eagle feather chiefs (kumapoong) as eagles are thought to be the most powerful bird in the daytime sky. Furthermore, as with the laket, the angle the feather is worn on the hat is also significant.

PRESTIGE HAT Elaborating on the laket, the prestige hat, (Kalyeem), embellished with shells and beads, shows the progression of the wearer. Cowrie shells are a potent symbol of wealth and prosperity across Africa.

As imported materials, glass beads were a costly luxury commodity in scarce supply.

Among the Kuba, white and blue are specifically associated with positive attributes, such as religious purity, prominence and leadership. The use of prestige materials – namely shells and beads – converts personal accomplishments and material wealth into symbolic capital – in turn, intensifying the power of the individual.

The variety of Kuba prestige hats display the virtuosity of the community’s artisans, including variations to the shape and distinctive geometric motifs.

Together, all these elements indicate the wearer of this

Above Hat, Kuba, DRC. The bonnet is characterised by the pompoms made of shells worn by chiefs and high-ranking dignitaries Above right Kalacha adornment, Bonso, Ethiopia Left A prestige hat, (Kalyeem) Kuba, DRC Right Prestige cap/

headdress. Dida, Ivory Coast

46 ANTIQUE COLLECTING

Q&A

With Bryan Reeves from Tribal Gathering London

Q A

Are there any common factors in headgear across Africa?

In Tanzania there is a strong culture of combs and, in particular, hair pins, which is not so prevalent in other parts of Africa. On the opposite of the continent, in West Africa – such as Cameroon – there is a rich tradition of ceremonial headgear incorporating a variety of materials from feathers to porcupine quills, which is not so repeated throughout Africa.

In many traditional African societies, the human head is a potent image that plays a pivotal role in how a person is conceptualised. In the artistic repertoire, therefore, it is the site of both aesthetic and symbolic elaboration.

Importance is placed on headwear in traditional societies throughout the world. Alongside African head and hair adornments, the exhibition includes a few selected examples of headwear from Asia and Oceania.

QA

What influences value?

Authenticity, uniqueness, and a sense that the piece is a one-off creation. Traditional forms of headwear all have something in common – their ability to serve as status symbols as well as decorative adornments. Furthermore – generally speaking – the rarer the materials, such as coins, shells and exotic bird feathers for instance, the more important the hat; the more important the wearer.

Take, for instance, a Kuba hat from the Democratic Republic of the Congo, made in the 19th century from European rare glass beads. This would have been a prized possession, and only a few of these hats are known to exist.

Right An elaborate Akan

hair comb (du’afe) from Ghana

Below right A Kwere

hair comb from the Tanzanian coast shows women at work

HAIR COMBS

In Africa and among the African diaspora, tools used to part, shape, section and sculpt the hair are celebrated as works of art in themselves.

In many African societies, both ancient and modern, the hair comb is a status symbol-turnedcultural icon.

Given as gifts by admirers, or male members of the family to women to mark milestones in her life, the large size of elaborate Akan hair combs (du’afe ) from Ghana projects their symbolic significance. The decorated handles artistically showcase African cultural history with symbols and proverbs carved into them communicating Akan societal values.

On the other side of the continent, ornamental hair combs, pins and parters given as marriage gifts to Kwere women are potent symbols of womanhood. Decorated with Swahili designs found on furniture and household items along the Tanzanian coast, such pieces incorporate carved imagery of women engaged in domestic labour and the hairstyles of newly-initiated females.

QA

Do you have a favourite style?

Kuba ceremonial hats from the DRC. They are small but incredibly beautiful

QA

What advice have you got for the new collector?

Create a trusted relationship with a dealer who recognises authentic pieces, because forgeries are too good. This doesn’t mean that you’ll have to pay over the odds, but it can save you a lot of money. Also look, get a feel and see as much as possible.

Go to fairs where there are many dealers under one roof, look around and get a sense of what you really like, take things slowly. Try not to buy online, unless you trust the person you are buying from.

Head and Hair: The Art of Adornment, an exhibition of hats, headdresses, crowns, combs, hair pins and parters from across the African continent is the selling exhibition at Tribal Gathering London, 335 Ladbroke Grove, London, until July 10. For more details go to www.tribalgatheringlondon.com

ANTIQUE COLLECTING 47

C H A T S

W O R T H

TEST YOUR KNOWLEDGE

Puzzle TIME Take some time out this summer to test your antiques knowledge with questions set by our resident quiz master Peter Wade-Wright

Send your answers to Crossword, Antique Collecting magazine, Sandy Lane, Woodbridge, Suffolk, IP12 4SD, UK. Photocopies are also acceptable, or email your answer to: magazine@ accartbooks.com. The first three opened by July 10 will win a copy of Jackson’s Hallmarks, pocket edition: English Scottish Irish Silver & Gold Marks From 1300 to the Present Day, priced £6.95.

JUNE/JULY QUIZ Q1 The following (from the late 19th/early 20th century) are all (a) racehorses, (b) playing-card games, (c) English editions of popular French books, (d) educational pamphlets for the Lord’s Day? Counties of England, Circulating Library, National Misfitz, Minoru.

Q2 The ‘New Excelsior’ and the ‘Supreme’ were (a) Christian tracts withdrawn from circulation, (b) names of early omnibuses, (c) names of early lawnmowers, (d) names of, and shown on the first printed labels/advertising for types of soup.

Q3 A marbrie is (a) a Victorian sugar-shaker, (b) a marble-patterned glass paperweight (originally French), (c) a tray-and-comb device for producing marbled book end-papers, (d) a pocket-watch with a pronounced domed glass.

Q4 Dump is the name given to (a) green glass objects of various types, (b) house-clearance paraphernalia (an auction-house term), (c) shallow squat bowls (d) the heavy use of dark colour for out-of-focus objects in a painting.

Q5 Sulphide is (a) a description of a dullish object, (b) the distinctive smell of some old books, (c) a china clay cameo encased in clear glass, (d) a mildly derogatory term for some types of wine bought as an investment.

Q6 A marver is (a) a Victorian carving knife, specifically for mutton (b) a type of operaglass, (c) a book of stories of derring-do from the early 20th century, (d) a table-top on which to roll molten glass.

Q7 Saint Louis, Baccarat and Clichy were three manufactories associated with which products? (a) fine writing implements, (b) paperweights, (c) lace, (d) garden statues of classical design.

Q8 A Claude glass was (a) an artist’s mirror

48 ANTIQUE COLLECTING

Anagram Which English

village is known for its 18th-century delft pottery?

Above Q9 William Blake

(1757–1827) The Ancient of Days, 1827. What was the name of the artist’s followers?

with which to view landscapes, (b) a distinctive wine-glass with an etched design based on a Claude motif, (c) a salon-mirror (d) a crystal-ball used during the 19th-century spiritualist craze.

Q9 The group of artists who followed William Blake called themselves (a) The Antediluvians, (b) The Ancients, (c) The Archaics, (d) The Timeworn.

Q10 The bee meter was (a) Part of a Victorian entomologist’s kit, (b) a mechanical counting device (c) an 19th-century exposure device used by photographers, (d) a game, originally French, so named because it was easy to keep score.

Finally, here are four anagrams that can be arranged into (a) a piece of furniture (b) the best Englishmade carpets of the mid-18th century (pl.) (c) Small Somerset town (35 miles from Bristol) known for its early 18th-century delft pottery (d) the application of thin slices of exotic woods to decorate more common wood surfaces.

RODEO FILMS, ROBED AIDS, GREEN VINE, CANNOT WIN For the answers turn to page 23.

SOLUTION TO LAST MONTH’S CROSSWORD:

The letters in the olive squares ( I, A, R, I, M) can be rearranged to give the word Imari. The letters in the blue squares (C, T, I, E, O, M, G, E and R) spell geometric.

The winners, who will each receive a prize are: D Jones, by email, Geoff Pullman, Staffs and Les Bowden, Herts

1

2

N S 7 A S T R S A 9 H A T C E 12 13 T A R I M A 16 S P B 20 L I P 21 E A G 22 S E N

3

4

K C O L A B K C 10 11 H M E N A R I

17

E W

14

18

A N D R E G A T E W M R

5

6

R E D I E 8 N I P T P E 15 O O D N 19 E L S H D A R E Y E

1

2

3

4

5

6

22

ACROSS CLUE

8

7 9 10

12

11

Chairs designed by the Finnish architect, abstract painter, sculptor and furniture designer

13 14

M 15

16

20

17

18

Conwy Castle

by Edwin _____ (1842-1895)

18

DOWN CLUE

19

21

22

23

24

Across

1 O ffice furniture. Its name was introduced in the mid-19th century, and it could be closed with a tambour…and hence lockable. (4, 3, 4) 7 Medieval name applied to tall cupboards for the storage of bed sheets etc. (5) 8 Perfect. Hence, in art, the concept of the best in nature and its improvement. (5) 9 M etallic element authorised (as early as 1578) for the manufacture of toys. (3) 10 Almost certainly the first red pigment used by artistic man. (5) 12 In late Middle English, the name for a small vessel (a cupel) used in the assaying of precious metals. (4) 15 Phrygian mythological youth, loved by Cybele but who was rejected by him. Nicholai Abildgaard (1743-1809) painted Adrastos slaying himself on the youth’s tomb. (4) 18 _____ Holden (1871-1920). Talented illustrator and known for The Country Diary of an Edwardian Lady. (5) 21 Prince ___ Standard way of referring to Shakespeare’s portrayal of the young Henry V. Charles Robert Leslie’s painting Head of Prince ___ (c. 1851) is held by the Tate. (3) 22 Alvar _____ (1898-1976). Finnish architect, abstract painter, sculptor and furniture designer. (5) 23 M ajestic beasts common in both religious and secular art. (pl.) (5) 24 Very popular mid-19th century apparatus for viewing threedimensional scenes. (11) The name of this cupboard?

7

ACROSS CLUE

Down

1 H umphry ______ (1752-1818). Leading landscape gardener and talented water-colourist. (6) 2 John _____ (1817-1864). One of the leading illustrators, caricaturists and cartoonists for Punch from 1841. (5) 3 C ultural discernment in general. Egyptian _____ or Etruscan _____ have been particular fashions. (5) 4 _____ lace. Term generally applied by some to all French laces. (5) 5 Duelling swords (pl.). (5) 6 Oven used to fire and glaze porcelain. (4) 11 Man ___ (born Emmanuel Radnitchy) (1890-1976). Dada and Surrealist visual artist. (3) 13 _ ____ papers. Leaves used to connect the case and block of a book. (3) 14 Description of objects that are without unnecessary ornamentation. (6) 16 Sheer, and often stiffened net material used for bridal veils and dresses. (5) 17 _____ ha’penny. Much neglected game…once of monarchs and later, by the ‘lower classes’ in public houses. (Not my assessment…). (5) 18 E dwin _____ (1842-1895). English marine artist known for his often highly dramatic paintings. (5) 19 Type of very hard wood, sometimes called Nigerian teak. (5) 20 Frans ____ (1582/1583-1666). Dutch painter regarded as one of the very best portraitists. (4)

Finally: there are two sets of highlighted squares and a central square in its own colour containing the letter M. The letters in one set of highlighted squares forms the name of a very important museum of the University of Oxford. There is one letter missing: the letter M. It, and the letters in the other highlighted group can be rearranged to form the name of the far-Eastern monochrome ink painting technique and work.

ANTIQUE COLLECTING 49

COLLECTING GUIDES Charlotte Perriand

MODERN

LOVE

The unsung French designer Charlotte Perriand is celebrated in a new exhibition this month, exploring the central role she played in shaping 20th-century modernism

I

n the course of her career the French designer Charlotte Perriand (1903-1999) was described as fiercely independent, feisty and free spirited.

Early on, such characteristics allowed her to brush off revered Swiss-French architect Le Corbusier’s infamously brusque response to her early application to work with him – “we don’t embroider cushions here” – and give modern design one of its greatest and, until recent years undoubted unsung, heroes.

With a lifetime that spanned the 20th century, Perriand was a thoroughly modern denizen of the epoch – instrumental in shaping its character and appearance. An exhibition opening this month at the Design Museum, Charlotte Perriand: The Modern Life, shines a spotlight on her continuing influence and work, confirming her deserved place as a giant in the century’s design story.

RAISE THE BAR Despite Le Corbusier’s earlier rebuff, Perriand’s obvious talent soon captured the celebrated architect’s attention at the annual Salon d’Automne in Paris in 1927, where she recreated the distinctly modernist interior of her own small apartment in Saint-Sulpice, entitled Bar sous le Toit (Bar under the Roof).

One visiting critic wrote: “One cannot imagine anything fresher or more youthful.” Evidently, Le

50 ANTIQUE COLLECTING

Above Charlotte Perriand on the chaise longue Basculante B306, 1929 © AChP/ © ADAGP, Paris and DACS, London 2021

Corbusier was equally impressed by her mastery of metal furniture and use of materials ranging from aluminium and chrome to glass and leather – all set to become ubiquitous design motifs of the ‘machine age’.

She was soon bringing these skills to bear at Le Corbusier’s studio, as evidenced in her notebooks on display at the Design Museum, which reveal her role in the development of early tubular steel furniture with Le Corbusier and his cousin, the architect Pierre Jeanneret.

While Le Corbusier may be the most prominent of the trio, their decade-long professional relationship was highly collaborative, with Perriand’s input essential in realising his vision of ‘equipment for living’ designed to supplant traditional interiors and lifestyles.

The atelier worked on numerous projects and products, ranging from oak and steel cabinets to dining tables. But some of the most memorable designs from the time were the three chairs that conformed to Le Corbusier’s principles of ‘machines for sitting’.

In 1928, Perriand’s response was to create three steel tube-framed design classics: the Basculante B301 sling-back chair for conversation, the Grand Confort LC2 armchair for relaxation and the Basculante B306 chaise longue for resting.

During the 1930s, Perriand’s work and designs began to reflect her increasingly leftist political viewpoint by taking on a more egalitarian approach in

Left Les Arcs, the French ski resort designed by a group of architects in 1967-1969 led by Perriand © AChP Below Charlotte

Perriand, Mexique bookcase, from the Maison du Mexique 1952 © ADAGP, Paris and DACS, London 2020

Below right Proposition

her use of materials and production techniques.

In her desire to create affordable pieces she turned away from more expensive materials such as chrome, in favour of naturalistic wood and cane, while employing traditional handcrafted techniques.

By the start of WWII, Perriand had stepped out from Le Corbusier’s shadow to establish herself as a designer in her own right. She formed a successful creative partnership with designer and architect Jean Prouvé, designing and producing prefabricated accommodation and items of furniture for the military.

EASTERN PROMISE When Paris finally fell to the German army in 1940, Perriand travelled to Japan to advise on industrial design for the country’s Ministry of Trade and Industry.

During her years of exile overseas, including three years in Japan followed by a further three years in Vietnam, she immersed herself in Eastern culture and sensibilities, making the most of the region’s materials, techniques and forms.

When she returned to France in 1946, Perriand

d’une synthèse des arts (Proposal for a Synthesis of the Arts), Takashimaya department store, Nihonbashi, Tokyo, 1955 © AChP/ © ADAGP, Paris and DACS, London 2021

Charlotte Perriand: The Modern Life

This month, the Design Museum shines a spotlight on the life and career of Charlotte Perriand, marking 25 years since the last significant presentation in London.

The exhibition reveals Perriand’s creative process through sketches, photographs, prototypes to the final design. It also charts her journey from the modernist machine aesthetic to her later architectural projects.

In three sections: The Machine Age, Nature and the Synthesis of the Arts, and Modular Design for Modern Living, it traces Perriand’s early furniture to her design for the Air France office in London in 1957.

Charlotte Perriand: The Modern Life opens on June 19 at the Design Museum. For more details visit www.designmuseum.org

‘Despite Le Corbusier’s rebuff, Perriand’s obvious talent soon captured the celebrated architect’s attention at the annual Salon d’Automne in Paris in 1927’ embraced many of the new materials used in mass production, including aluminium, plywood and formica, and worked on diverse projects ranging from student accommodation to ski resorts, including her grandest and final project, the Les Arcs ski resort in France. The project appealed to Perriand on a number of fronts: as a keen skier, devotee of the outdoors, and giving the opportunity to meet the challenges of construction in mountainous terrain.

Since her death in 1999, Perriand’s up to 300 furnishings have been prized by collectors and designers alike. On the rare occasions her original pieces appear on the market they are fiercely fought over before selling for thousands. For those with greater budgetary constraints, her designs are kept alive and in demand via the Italian furniture company, Cassina.

ANTIQUE COLLECTING 51

COLLECTING GUIDES Charlotte Perriand

Q&A Justin McGuirk, chief curator at the Design Museum explains why Charlotte Perriand’s work deserves to be better known

Q A

What most excites you about the exhibition?

It’s an opportunity to present the work of one of the most important women designers of the 20th century. I mention the fact she was a woman only because there have been so few female modernist designers. We also make the case that Perriand wasn’t just a furniture designer but a spatial thinker – she was an early example of what, today, we would call an interior architect.

Q A

How did her career reflect changes in the modernist movement?

Perriand began as a dogmatic modernist, championing industrial materials such as steel and glass. But in the late 1930s, alongside several other modernists, she turned against metal and ‘the machine age’, which was increasingly associated with militarisation and the growing rise of fascism.

Instead she turned to wood and the organic shapes she found in nature. But later she reconciled the two positions, finding Below Charlotte Perriand, Perspective drawing

of the dining room in the Place Saint-Sulpice apartment-studio, Paris, 1928 © AChP/ © ADAGP, Paris and DACS, London 2021

the harmony in industrial sheet metal and handcrafted wood. It was in this balanced position that she found her true voice.

QA

Was she a design progressive?

Absolutely, and in several ways.

Firstly she was a pioneer of tubular steel furniture in the 1920s, alongside Marcel Breuer and Mies van der Rohe. She was also influential in the way she used storage systems to divide up interior space, keeping interiors open and flexible.

She was certainly ahead of her time in the way she designed modular shelving systems that gave the buyer options on how they could be assembled, making the owner part of the design process.

QA

What was her creative process?

Her notebooks on display at this month’s exhibition show how Perriand worked through particular problems of design or production. They also reveal how she studied the furniture market of the 1920s for solutions, pasting in adverts for products that she could either learn from, or reject.

Q A

Did her designs redress the role of women in society?

Perriand once said: “Better to spend a day in the sun than dusting our useless objects.” This is one reason she was so obsessed with storage, she wanted to free up the space of the home and consequently the housewife’s time.

Q A

Did she step out of Le Corbusier’s shadow?

It’s only really the early period of her career when she was under his shadow. From the late 1930s she clearly became a designer with her own voice and her own ideas – with half of a century of her career still to unfold. While she has been overshadowed by her male counterparts, the exhibition presents her not only as a brilliant designer who deserves wider recognition, but as a natural collaborator and synthesiser.

QA

Q A

Q A

Q A

Why is she so admired?

Well, firstly there’s her talent. Also she made a name for herself in what was a male-dominated world. But she was also a dynamic and fun-loving person, and you can’t look at her life without seeing that energy and charisma.

Who, or what, were her most important influences?

Le Corbusier’s principles of modernism, including the notion of furniture as ‘interior equipment’. Another important influence was Kakuzo Okakura’s The Book of Tea (1906) exploring Japanese aesthetics. In particular Perriand was drawn to Okakura’s concept of the vacuum, a sense of spatial emptiness. She sought that sense of space in all her interiors.

QA

How far did Japan influence her?

I would say two factors affected her deeply: the quality of the craftspeople in Japan and the sense of space in traditional Japanese homes – she was impressed by the orderly emptiness, and the flexible use of rooms for different functions.

Q A

How did she feel about the process of collaborating with other designers?

Perriand was a highly collaborative designer, something I have tried to communicate in the exhibition. She saw the modern interior as a synthesis of industrial

52 ANTIQUE COLLECTING

design, architecture and art so it is no wonder she sought out collaborations with architects and artists. As a very social person, she also enjoyed the process of collaboration.

Choose one piece which most represents her design aesthetic The brightly-coloured bibiliotheques, with their modular steel elements which could be arranged in different ways are modern, colourful, and adaptable. They were also of their time and ahead of it.

What would Perriand make of the prices her pieces currently demand?

I think she would be horrified. She was trying to reach the everyman, not the elite. Her bookcases, for example, were most commonly used in student dormitories, not luxury homes. But this is the nature of a burgeoning collectors’ market, with a limited supply of original pieces.

Below After Le Corbusier, Pierre Jeanneret &

Charlotte Perriand, a limited edition LC4 chaise produced by Cassina c.1980, sold for £1,437 in 2020, image courtesy of Roseberys

DESIGNER of the TIMES Charlotte Perriand Tunisie bookcase, 1952, in oak, pine, mahogany, aluminium and, painted metal, for the student rooms of La Maison de la Tunisie, Cité Internationale Universitaire de Paris, Sold for £98,500 in 2016. Image courtesy of Phillips

Elie Massaoutis, Phillips’ head of design, France, reveals the strength of demand for Charlotte Perriand’s designs.

As a major figure in 20th-century design and a pioneer of modernity throughout her 60-year career, Charlotte Perriand helped define the new art of living. Today, her forward-thinking designs continue to appeal to contemporary collectors and designers.

TOP TABLE

The scarcity of pieces from the first period of Perriand’s career from the 1920s explains the stellar prices achieved at auction over recent years, with the trend continuing to go up.

One of Perriand’s rare ‘free-form’ desk from 1939, presented at auction in 2017, currently holds the world auction record for her work. Estimated at £260,000-£350,000 it sold for £600,000. Offered with its original invoice, the desk ignited great attention from collectors worldwide.

Prior to that, Perriand’s ‘table extensible’, which she unveiled at the first exhibition of the French Union of Modern Artists (UAM) in 1930, held the world auction record for a work by the designer from 2009 to 2017.

Estimated at £200,000-350,000, it sold for £430,000 at Sotheby’s, Paris in 2009.

At auction, factors such as rarity, impeccable provenance and traceability help produce record results for Perriand’s designs.

In fact, buyers are likely to pay over the odds for exclusive pieces which have achieved these criteria.

JAPANESE INFLUENCE During the period when she worked with the architect and designer Jean Prouvé, Perriand went on to manufacture mass-produced furniture influenced by the Japanese aesthetic.

From this era, her most notable designs were those which combined different elements and materials, perfectly illustrated by her bookcases La Maison du Mexique and La Maison de la Tunisie .

Phillips achieved record prices for these models back in 2007, selling a Mexique bookcase for £115,000, This was followed by a Tunisie bookcase which fetched close to £100,000 in 2016. We continue to see a steady increase in prices, with such models now selling for between £150,000-£200,000.

interest in the sale room.

Significantly rarer, often unique and hailing from special commissions, these are the designs that are more likely to increase in value in the years to come.

As an architect, designer and multi-talented artist, Perriand’s work continues to attract enthusiastic collectors as it anticipates current debates, in particular the importance of nature and the role of women in our society.

RARE APPEAL During the years of post-war reconstruction, many of Perriand’s designs were produced on a much larger scale setting them apart from other designs.

Distinguished by the use of exotic woods and more precious and luxurious materials, these later pieces continue to generate great

Charlotte Perriand Mexique, 1952, bookcase in pine, aluminium, painted bent steel, walnut, stained wood, for the Maison du Mexique, Cité Universitaire de Paris Sold for £115,000 in 2007.

Image courtesy of Phillips

ANTIQUE COLLECTING 53

EXPERT COMMENT Lennox Cato LENNOX CATO

Without RESERVE Antique trays serve up a decorative backdrop, none more so than Victorian papiermâché designs, writes Lennox Cato Left A large handpainted papier-mâché shaped tray impressed to verso by the Royal Makers Jennens & Bettridge, London, c.

1830, image courtesy of 1st Dibs Above right Rare white ground early 19th century tray. Attributed to Dyson & Benson of Clerkenwell Below right Large

A

ntique trays often get overlooked as an integral part of an interior scheme. We all have a tray or two at home, but an antique tray offers a completely different experience. They can be used in so many different ways, for example as a foil or back drop to a table scape, or – depending on size – mounted on a base and used as a coffee table.

Most 18th-century trays are made of mahogany, some of which are bound with brass bands which are often oval in shape. The later 18th-century examples tend to be veneered, some in satinwood and perhaps inlaid with fine marquetry. These examples have a laminated gallery and gilt metal brass cast handles.

Very rare ones have a spindled gallery with a line of brass in the top molding above the spindles.

Later 18th-century wooden trays were copied by the Edwardians in large numbers, the wooden raised gallery has thin veneers which are more fragile than Georgian versions that were laminated for strength.

Later designs can be a little too small compared to 18th-century trays, which generally have a good sense of scale and makes them fit for purpose.

PAPIER-MÂCHÉ SUPREMACY My preferred tray is made of papier-mâché and so exquisite they can be works of art in their own right. I’m sure many of you will have come across early Regency and Victorian examples designed with wisteria and floral scenes in the Chinese manner.

The most common ones have a black ground with

54 ANTIQUE COLLECTING

Regency period scarlet ground octagonal tray.

Attributed to Henry Clay

gilt decoration. But it’s the rare and unusual colours I find so exciting: scarlet, green, blue on ivory ground.

The best trays are highlighted with fine gilt bronze powders and gold leaf. This decoration, again, follows a chinoiserie-inspired form, with pavilions and gardens, floral sprays and butterflies, all the touch of the exotic.

Papier-mâché originated in China in the Han dynasty in 200AD. But it was the British manufacturer, Henry Clay, who patented his ‘new improved paper-ware’ in 1772, that we are most familiar with today. His technique involved pasting sheets of paper together and then oiling, varnishing, and then stove-hardening them.

The process produced panels suitable for coaches, carriages, sedan chairs and furniture. It was very strong, durable, heat and moisture resistant. Tea trays, caddies, and items of furniture including a sedan chair made for Queen Charlotte in 1793, were made in this way.

FEAT OF CLAY Although he continued manufacturing from Birmingham until 1801, Clay set up workshops in London at 18 King Street, Covent Garden in 1785. It was at this time that japanning became very fashionable and Clay made full use of this process decorating his papier-mâché items with classical and chinoiserie subjects. His quality of workmanship was brilliant and he supplied George III and, later, the Prince of Wales.

On the reverse of some trays, you will find an impressed mark, ‘Clay, King St/ Covt. Garden’ or ‘Clay Patent’ with a crown sometimes over the name.

After his death his business was taken over by Jennens & Bettridge who continued supplying George IV, William IV and Queen Victoria.

This high-end work was expensive and time consuming and, because Jennens & Bettridge wanted to be the market leader, different ideas were put into practice, one of which was using crushed shells, oyster or mother of pearl shells creating a greenish tint and pinkish iridescence.

By the 1850s, the business reached its zenith, with exhibits at the Great Exhibition and the opening of branches in New York and Paris. However, the expansion caused spiralling costs and the company soon after went out of business.

LOOK OUT FOR As with all antiques condition is so important. Papiermâché is vulnerable to damage, with trays especially when the sides come away from the base. Decoration may also suffer from overuse.

Victorian trays can be found with views painted by leading artists of the time. Trays were also made in sets of three, or even five, graduating from a large tray down to a card tray.

Above Views of Brighton, St Peter’s Church & The Chain Pier. Each tray is signed

by H.Cox Below left 19th-century

papier mâché serving tray with hand-painted scene with lacquered finish, image courtesy of 1st Dibs Below right A mid

19th-century black lacquered, shaped, painted papier-mâché tray with gilded decoration housed on later stand, image courtesy of 1st Dibs

If the tray is rectangular in shape with rounded corners and angled, upright sides, it is more than likely to be of the Regency period dating around 1810.

Lennox Cato is a specialist on the BBC’s Antiques Roadshow and owns Lennox Cato Antiques, for more details go to www.lennoxcato.com

Starting a collection

Several factors dictate the value of a Victorian papier-mâché tray: Condition. Is always top of the list.

Size. Larger examples are more sought after than smaller ones. Probably because they can be used as a coffee table if supported on a modern base.

A stamp. Look on the underside for such names as Clay, B. Walton & Co., Jennens & Bettridge or Dyson & Benson of Clerkenwell.

Decoration. Interesting hand-painted views and subjects are the most sought after.

Colour. The more unusual the ground colour – such as the rarer scarlet, ivory, green or blue – the better and the more sought after by collectors.

•• • • •

‘Papier-mâché originated in China in the Han dynasty in 200AD. But it was the British manufacturer, Henry Clay, who patented his ‘new improved paper-ware’ in 1772, that we are most familiar with today’ ANTIQUE COLLECTING 55

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ANTIQUE COLLECTING 57

ANTIQUES UNDER THE HAMMER Antlers of the world

SALEROOM SPOTLIGHT

With his interest sparked aged seven by a Ladybird book, Ray Hutchison amassed a huge collection of deer antlers, which goes under the hammer in North Yorkshire

F

or more than 40 years Raymond Hutchison, who died in 2015, and his wife Annie assembled an extraordinary collection of world deer species, from record specimens taken by the great hunters of the 19th century, to 20th-century examples with provenance from important private collections.

From childhood, Ray had an interest in the natural world and, in particular, wildlife. His antler collection was sparked when, as a seven year old, he saw a picture of a Scottish red deer in a Ladybird book. Living on the Essex coast he could not believe that such animals existed. Shortly after, he was given his first sets of antlers – belonging to a small red and fallow deer that his father bought for him in a local auction.

58 ANTIQUE COLLECTING

Among the sale’s 94 lots are 13-point North American wapiti or elk antlers with a spread of 1.54m (5ft 3in) taken by John Guille Millais (1865-1931), the son of Pre-Raphaelite painter Sir John Everett Millais and Effie Gray. He was an artist, naturalist, gardener, travel writer and big game hunter, who explored remote regions of the world.

At the time it was a world record size and to this day still lies within the top 10 recorded specimens.

Annie said: “Ray wanted this head ever since he was a little boy when he first read about it. He was thrilled that it was for sale and was determined to acquire it by almost any means! It was an extremely exciting and tense sale with just two bidders, Ray being one of them, bidding furiously. The silence was deafening, everyone in the room held their breath. Ray got it and achieved a lifelong dream that day.”

The sale also includes a pair of North American moose antlers, once part of the collection of Sir Edmund Loder, a landowner, plantsman, hunter and friend of JG Millais.

Another link to the plant-hunting friends comes from the fact that, until recently, the collection was housed in a purpose-built lodge in Shropshire woodland, close to a large collection of rhododendrons, some of which were discovered by Millais and Loder.

YUKON ALASKA Other highlights include a 1.82m (6ft) wide pair of Alaskan moose antlers taken in c. 1869 near the Yukon River in Alaska, from the Duke of Westminster’s collection, and a set of antlers from the Schomburgk’s deer which became extinct in 1931.

As well as specimens from North and South America, southeast Asia and India, the collection has a number of native UK species such as large red deer, fallow deer and roebuck antlers.

In addition to his collecting, Ray was a skilled carpenter and made, or restored, all the shields in his collection. He was employed by Lord Weinstock on his estate, Bowden Park, near Lacock, Wiltshire, for 30 years, working as the estate manager as well as restoring antiques and works of art. The position enabled him to spend a great deal of time in the countryside with the wildlife and deer he loved.

WILDLIFE LOVER Ray’s early interest in antlers grew into a passion for deer. As he grew older, he pursued deer and antlers worldwide, travelling to America, Canada, New Zealand, and Australia. North America and its wildlife held a particular fascination, and he spent 10 years living and hunting there – mostly with a camera. He admired the way the US looked after their wildlife and their conservation programmes, and he became a lifetime member of the Boone and Crocket Club and the Rocky Mountain Elk Foundation. Closer to home, Ray held a deep love for the Scottish Highlands.

Ray’s ambition was to represent every species of deer in the world and when he married Annie in 1979 the couple travelled the country on the look out for new pieces.

PRE-RAPHAELITE LINK

Top Collectors Ray

Hutchison and Annie Hutchison

Above A North American wapiti or elk (Cervus canadensis nelsoni), c. 1886, Wyoming, 4ft 5in (1.34m) taken by J.G. Millais, it has an estimate of £4,000£5,000 at this month’s sale Right The interior of the Hutchisons’ antler barn in Shropshire

Antlers from an Alaskan Yukon moose (Alces alces gigas), c.

1869, Yukon River, 6ft (1.8m) wide and 37 points. Gold inlay on the shield indicates it was shot by royalty. The pair has an estimate of £3,000-£4,000

IN MY OPINION...

We asked Robbie Bright, Tennants’ specialist in natural history and taxidermy for his sale highlights With current environmental issues at the fore, how is the current market for such pieces?

AUCTION fact file WHAT: Deer Antlers of the World: The Private Collection of Raymond and Annie Hutchison When: June 18 Where: Tennants Auctioneers, Leyburn, North Yorkshire, DL8 5SG Viewing: Thursday 17 June 10am-5pm and morning of sale from 8am and online at www.tennants.co.uk

Left Antlers from a Schomburgk’s deer (Cervus schomburgki) which became extinct in 1931. They have a spread of 2ft 5in (73cm) with six tines to the right and seven to the left. The plaque reads The Henrijean Big Game Trophy Collection. The set has an estimate of £3,000-£4,000

The vast majority of this particular collection comprises antique specimens, in some cases over 120 years old, and I would hope that buying from this auction could possibly negate someone going out to collect a modern specimen. Very few species contained within this auction are on the CITES register, but those that are will have the correct licences to accompany their sale.

Where do expect the interest to come?

I feel and hope that the majority will end up in the hands of established collectors, who might be looking to add a missing specimen to their collection.

I am also sure there will be a range of buyers including interior designers and private buyers. I am confident some sets of antlers will make a trip overseas back to their native shores, such as the record-sized North American elk and moose that will, I am sure, attract interest from the US.

What determines value of a set?

Rarity, size and hunter all work together to determine the value but provenance certainly plays a part. Many specimens were purchased from important collections sold by Tennants Auctioneers over the last 20 years.

Record-sized antlers are always important and as the saying goes – the bigger the better. One species in this sale is extremely rare and is the only extinct species of deer represented in the collection.

Once native to Thailand, the Schomburgk’s deer is sadly gone, after the last known herd was killed c.

1931. Because of the rarity of the antlers, collectors will bid feverishly to secure them.

Below right The interior of

the couple’s antler barn

‘The elk antlers were taken by John Guille Millais (1865-1931). He was the son of PreRaphaelite painter Sir John Everett Millais and Effie Gray and an artist, naturalist, gardener, travel writer and big game hunter’ ANTIQUE COLLECTING 59

ANTIQUES UNDER THE HAMMER Lots in June & July

TOP of the LOTS

Artwork by the illustrator Edward Bell for the cover of David Bowie’s 1980 album Scary Monster (Super Creeps) has an estimate of £1,000-£2,000 at Halls’ timed sale from July 16 August 1. The signed printer’s proof is one of 120 artworks, sketches and photos by Bell who the singer commissioned after seeing his work at a private view in 1980.

Below Edward Bell’s iconic work appeared on many Bowie

covers

This summer’s sales include an early lantern clock, unseen royal photos and a collection of Hermès scarves An early brass, striking lantern clock has an estimate of £4,000£5,000 at Tennants Auctioneers’ summer fine sale on July 16-17.

The clock is signed Richard Beck at Ye French Church, Londini, circa 1655, referring to the place of worship on Threadneedle Street built to serve the French Protestant community.

The first record of the maker dates from his apprenticeshop to John Selwood in May 1646.

After Selwood’s death in 1651, Beck studied under the lantern clockmaker Thomas Loomes until 1653.

Beck’s career lasted just six years before his death in 1659 aged 27.

Only a handful of his lantern clocks are known today.

A handwritten letter by Roald Dahl replying to a query by a 20-year-old student has an estimate of £500-£800 at Hansons’ sale on June 15.

Dated August 2, 1989, it was in answer to Christine Wotton, then a literature student, who approached the author for his thoughts on writing for children, after finding his address in an old library book.

In it Dahl writes: “The book-reading child will always outstrip the non-bookreading child in later life.”

Right The letter’s owner wrote to the

world famous author

Right The maker was apprenticed to the

clockmaker Thomas Loomes

The photo that launched the career of the American photographer Mary Ellen Mark (1940-2015) has an estimate of £1,000-£1,500 in the new photography section of Sworders’ design sale on July 13.

Titled Beautiful Emine Posing, Trabzon, Turkey, 1965, it is part of an extensive single owner collection up for sale in Essex. Mark told Time magazine In 1965: “When I came back from Turkey and developed the film, I knew it was something special.

I don’t like to photograph children as children. I like to see them as adults, as who they really are.”

use

Above The photo kickstarted the career of Mary Ellen Mark (1940-2015)

60 ANTIQUE COLLECTING

A rare gold medal awarded to Captain Sir William Hoste (1780-1828) a protégé of Admiral Lord Nelson has an estimate of £60,000£80,000 when it goes under the hammer at Morton & Eden on July 13.

Hoste led the victorious British squadron against the French at the Battle of Lissa, off Croatia, during the Adriatic campaign of the Napoleonic Wars.

Hoste was by Nelson’s side from 1793 to 1798, but missed the Battle of Trafalgar in 1805, where his friend and mentor died, having been sent on a diplomatic mission.

Six years later at Lissa, Hoste raised the memorable signal ‘Remember Nelson’ from HMS Amphion in honour of his friend.

Above A watercolour of Captain Hoste wearing the medal Above right The rare gong was one of four awarded after the Battle of Lissa

Some 18 scarves and three bags by the iconic French fashion house Hermès go under the hammer next month in Farleigh, Surrey, along with 15 other designer bags.

Catherine Southon Auctioneers is offering the single owner collection, which includes scarf rings, hair bands and notebooks, on July 28, with estimates starting at just £80.

While the highlight is a Hermès Etoupe taupe Kelly bag, estimated at £3,000-£5,000, it is the scarves, each with its original box, that has captured the auctioneer’s eye.

Catherine Southon said: “They are a personal favourite.

Some of the scarves are classic with the typical equestrian themes which we associate with the brand, while others are wild and have quite unusual designs and patterns.”

1 2

Hermès scarves: the history

Since its debut in 1937, the Hermès silk scarf – known in French as the carré, or “square” – has graced the necks of style icons from Queen Elizabeth to Jackie Onassis.

They were first produced a 100 years after Hermès launched as a harness and bridle shop in Paris in 1837, with the scarves made of the same silk used to line the company’s riding jackets. The first scarf, Jeu des Omnibus et Dames Blanches was designed by Hugo Grygkar. Since then 2,000 designs from 150 artists have been produced in a variety of colourways.

In 1957, Grygkar came up with the Brides de Gala, which has been reproduced more than 70,000 times and is described by Hermès as its “most celebrated carré”. Today, Hermès brings out two scarf collections a year: each made up of 12 designs.

3

4

Sale highlight

While collectors are attracted to certain themes and artists, inevitably some designs are more sought after than others.

Next month’s sale includes La Femme aux Semelles de Vent, (The Woman with Soles of Wind) designed by Aline Honore which pays tribute to the French Belgian feminist and explorer Alexandra David-Néel (1868-1969) who visited Tibet in 1924 – a scene depicted on the scarf.

The scarf, a greatly sought-after contemporary design, was created as part of the Hermès collection themed, A Beautiful Escape.

The single owner Hermès collection is part of Catherine Southon Auctioneer’s sale on July 28, for more details go to www.catherinesouthon.co.uk

1 Brides Rebelles, 2010, designed by Benoît-Pierre Emery (b.

1970), 90cm, silk. Estimated at £80-£120 at next month’s sale 2 Chaines & Gourmette, 2008, 70cm, silk, celebrating the iconic chains that define Hermès. Estimated at £80-£120 3 Kelly en Calèche, 2007, 70cm, silk, designed by Cyrille Diaktine, it has an estimate of £80-£120 at next month’s sale 4 La Femme aux Semelles de Vent, 2009, 140cm, cashmere and silk, designed by Aline Honore, it has an estimate of £200-£300 5 The explorer Alexandra David-Néel (1868-1969) on whom the scarf was based 6 Quand Soudain, 2010, 70cm, silk, designed by Dimitri Rybaltchenko, showing the Hermès’ flagship store besieged by a horse and rider carrying the Hermès flag, it has an estimate of £80£120 at next month’s sale 7 De Passage à Moscou, 2008, 90cm, silk, a sought-after design by Nathalie Vialars. Estimated at £80-£120 at next month’s sale

5 6

7 ANTIQUE COLLECTING 61

ANTIQUES UNDER THE HAMMER Lots in June & July An album of 26 never-seen photographs of the Queen and Prince Philip, taken in 1960 by royal photographer Anthony Buckley, has an estimate of £1,000-£2,000 on June 13 – the final day of Ewbank’s three-day sale.

The private collection of portraits feature several images which have never been reproduced anywhere, according to Alan Shawcross, also a royal photographer and the business partner of Buckley who died in 1993.

The photos, issued to coincide with a sevenweek tour of India and Pakistan in 1961, were taken in the Blue Drawing Room at Buckingham Palace on October 19, 1960.

1

2

Formal pose

The 10 x 8in black and white portraits show the 34-year-old monarch and her consort, then aged 39, separately and together, with Prince Philip in full dress naval uniform as Admiral of the Fleet, and both adorned with the Order of the Garter.

The Queen is also wearing memorial brooches for her father, George VI and grandfather George V. Buckley had a lengthy career as a portraitist from 1937 to 1975, but is best known for his work as a royal photographer in the 1960s and 1970s.

He had a studio on Grosvenor Street in London in the 1960s and had formerly worked with Dorothy Wilding – the portrait photographer who took the original photograph of the Queen used for postage stamps from 1952 to 1967.

Shawcross first met Buckley on assignment at Buckingham Palace. He said: “We went to photograph the Duke of Edinburgh one morning in 14 different uniforms, each linked to his honorary or senior role, whether military or naval. I was stationed alongside the duke and it was my job to hold the swords and hats.”

Last year, nine of Buckley’s portraits of the Queen, dating from 1963 and taken for use on Canadian banknotes, sold for £13,000 at auction.

Money from this month’s sale will go to Cancer Research UK.

The album is up for sale on June 13, for more details go to www.ewbankauctions.co.uk

3

4

5

1 Anthony Buckley, the Queen and HRH Prince

Philip, 1960, © Anthony Buckley & Constantine Ltd 2 Anthony Buckley, The Queen, 1960, © Anthony

Buckley & Constantine Ltd 3 Anthony Buckley, HRH Prince Philip, 1960, ©

Anthony Buckley & Constantine Ltd 4 Anthony Buckley, The Queen, 1960, © Anthony

Buckley & Constantine Ltd 5 Alan Shawcross, portrait of Anthony Buckley, ©

Alan Shawcross 6 Alan Shawcross’ portrait of the late Duke of

Edinburgh, © Alan Shawcross

6

62 ANTIQUE COLLECTING

Jewellery, Watches & Coins: 16 June Silver & Fine Art: 17 June Antiques, Books, Clocks & Furniture: 18 June Toys & Models: 24 June James Bond 007: 1 July Asian Art: 15 July Vintage Fashion & Textiles: 15 Juy Vintage Posters Timed Sale: Ends 25 July Decorative Arts, Vintage & Design: 29 July Contemporary Art, Mod Brit & Editions: 29 July

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FAIRS Calendar Because this list is compiled in advance, alterations or cancellations to the fairs listed can occur and it is not possible to notify readers of the changes.

We strongly advise anyone wishing to attend a fair especially if they have to travel any distance, to telephone the organiser to confirm the details given.

LONDON: Inc. Greater London Adams Antiques Fairs 020 7254 4054 www.adamsantiquesfairs.com Adams Antiques Fair, Lindley Hall, 80 Vincent Square, Westminster, SW1P 2PE, Jul 4 Etc Fairs 01707 872 140 www.bloomsburybookfair.com Bloomsbury Book Fair, Holiday Inn, Coram St, London, WC1N 1HT, Jul 28 Bloomsbury Ephemera Fair, Holiday Inn, Coram St, London, WC1N 1HT, Jul 25 Sunbury Antiques 01932 230946 www.sunburyantiques.com Sunbury Antiques Market, Kempton Park Race Course, Staines Road East, Sunbury-onThames, Middlesex, TW16 5AQ, Jun 8, 29, Jul 13, 27 SOUTH EAST AND EAST ANGLIA: including Beds, Cambs, Essex, Hertfordshire, Kent, Norfolk, Suffolk, Surrey, Sussex.

Arthur Swallow Fairs 01298 27493 www.asfairs.com The Decorative Home and Salvage Show, Loseley Park, Guildford, GU3 1HS, Jul 9-11 B2B Events 01636 676531 www.b2bevents.info Detling International Antiques, Vintage and Collectors’ Fair, Kent County Showground, Detling, Maidstone, Kent, ME14 3JF, Jul 19-20 Dovehouse Fine Antiques Fair www.dovehousefine antiquesfairs.com 07952689717 Dorking Decorative Brocante, Dorking Halls, Reigate Road, Dorking, Surrey, Jun 20

IACF 01636 702326 www.iacf.co.uk South of England Showground, Ardingly, Nr Haywards Heath, West Sussex, RH17 6TL, Jun 22-23 Jul 27-28 The Antiques Dealers Fair Ltd. 01797 252030 www.petworthparkfair.com The Petworth Park Antiques and Fine Art Fair, The Marquee, Petworth Park, Petworth, West Sussex, GU28 OQY, 18-20 Jun SOUTH WEST: including Berkshire, Buckinghamshire, Cornwall, Devon, Dorset, Gloucestershire, Hampshire, Isle of Wight, Oxfordshire, Somerset, Wiltshire.

Arthur Swallow Fairs 01298 27493 www.asfairs.com The Decorative Home and Salvage Show, Beale Park, Reading, Berkshire, RG8 9NW, Jul 9-11

EAST MIDLANDS including Derbyshire, Leicestershire, Lincolnshire, Northamptonshire, Nottinghamshire, Rutland.

Guildhall Antique Fairs 07583410862 www.guildhallantiquefairs.co.uk Antique, Collectors and Vintage Fair, Fullhurst, Imperial Avenue, Leicester, LE3 1AH, Jul 11.

Antiques, Vintage and Motor Fair Naseby, Northampton NN6 6DE, Jul 17-18 IACF 01636 702326 www.iacf.co.uk Runway Monday at Newark Antiques and Collectors’ Fair, Runway Newark, Newark, Nottinghamshire, NG24 2NY, Jun 28

WEST MIDLANDS

Cooper Events www.cooperevents.com 01278 784912 The Pavilions of Harrogate Decorative, Antiques & Art Fair, Railway Road, Harrogate, North Yorkshire, HG2 8QZ, Jun 11-13

including Birmingham, Coventry, Herefordshire, Shropshire, Staffordshire, Warwickshire B2B Events 07774 147197 or 07771 725302 www.b2bevents.info Malvern Malvern Flea and Collectors’ Fair, Three Counties Showground, Malvern, Worcs., WR13 6NW, Jun 27, Jul 25

Jaguar Fairs www.jaguarfairs.com 01332 830444 The Great Wetherby Racecourse Antiques Fair, Wetherby Racecourse, Wetherby, West Yorkshire, England, LS22 5EJ, Jun 26-27

NORTH including Cheshire, Cumbria, Humberside, Lancashire, Manchester, Northumberland, Tyne and Wear, Yorkshire.

SCOTLAND Galloway Antiques Fairs 01423 522122 www.gallowayfairs.co.uk Antiques Fair, George Watson’s College, Edinburgh, EH10 5EG, Jul 2-4.

Arthur Swallow Fairs 01298 27493 www.asfairs.com Antiques and Salvage Market, Cheshire Showground, WA16 OHJ, Jun 26, Jul 24

Detling Antiques, Vintage & Collectors Market The Kent County Showground, Detling, Maidstone, Kent. ME14 3JF.

19th - 20th June

Sat: Early Entry: 8.30am - £6 Sat: Entry: 10am-4.30pm - £5 Sun: 10.30am - 3.30pm - £4

Malvern Flea & Collectors Market

Three Counties Showground, Worcestershire, WR13 6NW.

Sunday 27th June Sunday 25th July Entrance: 7.30am-3.30pm - £5 Please check www.b2bevents.info in case these dates have changed or been cancelled

Tel: 01636 676531 • www.b2bevents.info ANTIQUE COLLECTING 65

AUCTION Calendar Because this list is compiled in advance, alterations or cancellations to the auctions listed can occur and it is not possible to notify readers of the changes.

We strongly advise anyone wishing to attend an auction especially if they have to travel any distance, to telephone the organiser to confirm the details given.

LONDON: Inc. Greater London Bonhams New Bond St., W1 020 7447 7447 www.bonhams.com The Russian Sale, Jun 9 Automobilia (Online), ends Jun 14 Fine Watches and Wristwatches, Jun 16 The Male Form, Jun 16 Fine Clocks, Jun 22 Prints and Multiples, Jun 23 Fine Decorative Arts, 1200-1900, Jun 23 Modern British and Irish Art, Jun 30 Modern & Contemporary Art, Jun 30 Aeropittura, Italian Futurism in Flight (Online), Jun 22-Jul 1 Fine European Ceramics, Jul 6 Antiquities, Jul 6 Fine and Rare WInes, Jul 8 Bonhams Knightsbridge, SW7 020 7393 3900 www.bonhams.com Knightsbridge Jewels, Jun 9, Jul 14 Fine Glass and British Ceramics, Jun 22 Fine Books and Manuscripts, Jun 24 Collections, Jul 7 British and European Art, Jul 14 Silver, Jul 28 Chiswick Auctions 1 Colville Rd, Chiswick, W3 8BL 020 8992 4442 www.chiswickauctions.co.uk Fine Rugs & Carpets, Jun 10 Interiors, Homes and Antiques, Jun 10, Jul 8 Erotica. Objects of Desire, Jun 10 Silver and Objects of Virtue, Jun 11 Urban & Contemporary Art, Jun 11 19th & 20th Century Paintings and Works on Paper, Jun 29 Books & Works on Paper, Jun 30 The Collector: Objects to Clocks, Jun 30 Wine and Spirits, Jul 7 Autographs & Memorabilia, Jul 7 Designer Handbags & Fashion, Jul 7 Modern & Post-War British Art, Jul 9 Islamic & Indian Paintings: The Dexter Collection Part II, Jul 16 Islamic & Indian Art, Jul 16

66 ANTIQUE COLLECTING

Christie’s King St., London, SW1 020 7839 9060 www.christies.com Julians Park and Six Private Collections, Jun 10 Finest and Rarest Wines and Spirits, Jun 17 Old Master Paintings and Sculpture (Online), Jun 18-Jul 9 The Roger Federer Collection: Sold to Benefit The RF Foundation, Jun 23 First Open: Post-War and Contemporary Art (Online), Jun 24-Jul 7 20th Century Evening Sale, Jun 30 The L’Wren Scott Collection, (Online), ends Jul 1 Impressionist and Modern Art Day and Works on Paper Sale, Jul 1 Post War and Contemporary Art Day Sale, Jul 2 Old Master and British Drawings and Watercolours, Jul 6 Antiquities, Jul 7 The Exceptional Sale, Jul 8 Old Masters Evening Sale, Jul 9 Valuable Books and Manuscripts, Jul 14 British and European Art, Jul 15 Dix Noonan Webb 16 Bolton St, Piccadilly, W1J 8BQ 020 7016 1700. www.dnw.co.uk Jewellery, Watches and Objects of Vertu, Jun 15 Orders, Decorations, Medals and Militaria, Jun 16, Jul 14 Coins, Tokens and Historical Medals, Jul 6 Forum Auctions 220 Queenstown Road, London SW8 4LP, 020 7871 2640 www.forumauctions.co.uk The Stephen White Space Collection (Online), Jun 10 Books and Works on Paper, (Online), Jun 24, Jul 15, Jul 29 Forum Auctions @ Artsy, Jun 30 Prints and Editions, Jul 5 Signed and Inscribed: A Gentleman’s Library of Modern Fine Books, Manuscripts and Works on Paper, Jul 8 Hansons Auctioneers The Normansfield Theatre, 2A Langdon Park, Teddington TW11 9PS, 0207 018 9300

www.hansonsauctioneers.com Fine Art, Oriental, Jewellery & Interiors, Jun 26 Modern Sale & Interiors, Jul 24 Lyon & Turnbull 22 Connaught Street, London, W2 2AF 0207 930 9115 www.lyonandturnbull.com Select Jewellery (Live Online), Jul 1 Select Watches (Live Online), Jul 1 Olympia Auction 25 Blythe Road, London, W14 OPD, 020 7806 5541 www.olympiaauctions.com Antique Arms, Armour & Militaria, Jun 30 Morton & Eden Nash House St. George Street London W1S 2FQ , 020 7493 5344 www.mortonandeden.com Coins of the Islamic World (Online), Jun 24 Medals, Orders and Decorations, Jul 13 Phillips 30 Berkeley Square, London, W1J 6EX, 020 7318 4010 www.phillips.com Evening and Day Editions, Jun 14-15 Beuys 100, Jun 14 Design, Jun 30 Roseberys Knights Hill, SE27 020 8761 2522 www.roseberys.co.uk Jewellery and Watches, Jun 8 Arts of India, Jun 15 Modern and Contemporary Prints and Multiples, Jul 7 Old Master, 18th and 19th Century Pictures, Jul 20 Fine and Decorative, Jul 21 Sotheby’s New Bond St., W1 020 7293 5000 www.sothebys.com Fine Jewels, Jun 11-24 Handbags and Accessories, Jun 18-28 British Art: Modern/ Contemporary, Jun 29 Modern and Post-War British Art, Jun 23-30 Old Master Sculpture and Works of Art, Jun 28-Jul 6

Old Masters Evening Sale, Jul 7 A Fine Line: Master Works on Paper from Five Centuries, Jul 7 Old Masters Day Sale, Jul 2-8 Old Master & British Works on Paper, Jul 2-8 Russian Works of Art, Faberge and Icons, Jun 2-9 Old Master Prints, Jun 30-Jul 9 European and British Art, Jul 5-14 19th and 20th-Century Sculpture, Jul 5-14 SOUTH EAST AND EAST ANGLIA: Inc. Bedfordshire, Cambridgeshire, Essex, Hertfordshire, Kent, Norfolk, Suffolk, Surrey, Sussex Beeston Auctions Unit 12, Paynes Business Park, Dereham Road, Beeston, Norfolk, PE32 2NQ, 01328 598080 www.beestonauctions.co.uk 20th-Century Design, Jun 9 Adult Erotic Magazines and Ephemera, Jun 9 Antiques and Collectables, Jun 10, Jul 15 Bishop and Miller 19 Charles Industrial Estate, Stowmarket, Suffolk, IP14 5AH, 01449 673088 www.bishopandmiller auctions.co.uk Mr Bishop Interiors, Jun 8, 22 Mr Bishop 18th-Century to 20th-Century Ceramics, Jun 8 Mr Bishop Jewellery, Jun 10, Jul 29 Mr Bishop Toys and Music, Jun 22 Fine Jewellery and Watches, Jun 24 400 years of Art, Painting, Pottery and Sculpture, Jun 25 Mr Bishop Clocks, Jul 13 The Explorer: Ethnographical Art and Exploration, Jul 16 Mr Bishop Coins and Militaria, Jul 27 Bellmans Newpound, Wisborough Green, West Sussex, RH14 0AZ 01403 700858 www.bellmans.co.uk Modern British and 20th-Century Art, Jun 29 Interiors, Jun 29-Jul 1 The Friday 500, Jul 2 Printed Books, Manuscripts and Maps, Jul 15

Catherine Southon Auctions Chislehurst Business Centre 1 Bromley Lane, Chislehurst Kent, BR7 6LH 020 8468 1010 www.catherinesouthon.co.uk Antiques & Collectables, Jul 30 Cheffins Clifton House, Clifton Road, Cambridge, CB1 7EA 01223 213343, www.cheffins.co.uk Interiors, Jun 17, Jul 15 The Fine Sale, Jun 30 The Affordable Art Sale - A Summer Show, Jul 29 Durrants Auctions The Old School House, Peddars Lane, Beccles, Suffolk, NR34 9UE, 01502 713490 www.durrantsauctions.com Silver and Jewellery, Jun 11, Jul 9 General Antiques with Antique Furniture, Jun 18, 25, Jul 2 Antique and Country Furniture, Jul 16 Toys, Jul 23 Ewbank’s London Rd, Send, Woking, Surrey, 01483 223 101 www.ewbankauctions.co.uk Jewellery, Watches and Coins, Jun 16 Silver & Fine Art, Jun 17 Antiques, Clocks and Antique Furniture, Jun 18 Toys & Models, Jun 24 James Bond 007, Jul 1 Antique and Collectors’ inc. Silver and Jewellery, Jul 14 Asian Art, Jul 15 Vintage Fashion and Textiles, Jul 15 Vintage Posters (Timed), Jul 25 Decorative Arts, Vintage and Modern Design, Jul 29 Contemporary Art, Editions and Modern British Pictures, Jul 29 John Nicholson’s Longfield, Midhurst Road Fernhurst, Haslemere Surrey, GU27 3HA 01428 653727 www.johnnicholsons.com Oriental and Islamic, Jun 16 Fine Antiques, Jun 17 Fine Paintings, Jun 23 General, Jul 3 Lacy Scott & Knight 10 Risbygate St, Bury St Edmunds, Suffolk, IP33 3AA, 01284 748 623 www.lskauctioncentre.co.uk Medals, Militaria, & Country Pursuits, Jun 11 Fine Art and Aniques with Classic

Cars, Jun 12 Toys and Models, Jun 18 Home and Interiors, Jul 3, 24 Lockdales 52 Barrack Square, Martlesham Heath, Ipswich, Suffolk IP5 3RF, 01473 627110 www.lockdales.com Fine Sale, Jun 9-10 Coins and Collectables, Jun 10-11 The Banknote Sale, Jul 31-Aug 1 Mander Auctioneers The Auction Centre, Assington Road, Newton, Sudbury,Suffolk CO10 0QX, 01787 211847 www.manderauctions.co.uk Fine Art, Antiques and Interiors, Jun 10, Jul 10 Reeman Dansie No. 8 Wyncolls Road Severalls Business Park, Colchester, CO4 9HU 01206 754754 www.reemandansie.com Antique & Modern Furnishings (Live Online) Jun 17 Royalty, Antiques & Fine Art Sale, Jun 29-30 Specialist Collectors’ Sale, Jul 15-17 Sworders Fine Art Auctioneers Cambridge Road, Stansted Mountfitchet, Essex, CM24 8GE 01279 817778 www.sworder.co.uk Homes and Interiors, (Live Online), Jun 8, 22, Jul 6, 20 Fine Wine and Spirits (Timed), Jun 11-20 Fine Interiors (Live Online), Jun 29-30 Bedfordshire & Hertfordshire Historic Churches Trust (Timed), Jun 25-Jul 4 Design (Online) Jul 13 Coins and Medals (Timed) Jul 16-Jul 25 Fine Jewellery and Watches (Live Online) Jul 27 Jewellery (Live Online) Jul 28 T.W. Gaze Diss Auction Rooms, Roydon Road, Diss, Norfolk, IP22 4LN, Norfolk 01379 650306. www.twgaze.com Jewellery, Jun 10 Antiques & Interiors, Jun 11, 18, 25 Blyth Barn Furniture Auction, Jun 15, 22, 29

A Connoisseur’s Choice, Jun 17 Vintage Fashion, Jun 24 Architectural Salvage, Jun 26 SOUTH WEST: Inc. Berkshire, Buckinghamshire, Cornwall, Devon, Dorset, Gloucestershire, Hampshire, Isle of Wight, Oxfordshire, Somerset, Wiltshire British Bespoke Auctions The Old Boys School, Gretton Rd, Winchcombe, Cheltenham, GL54 5EE 01242 603005 www.bespokeauctions.co.uk Antiques, Jewellery and Collectables, Jun 16, Jul 15 Chippenham Auction Rooms Unit H, The Old Laundry, Ivy Road, Chippenham, Wiltshire.

SN15 1SB 01249 444544 chippenhamauctionrooms.co.uk Early Advertising, Toys, Vinyl and Pop Memorabilia, Jul 17 Chorley’s Prinknash Abbey Park, Gloucestershire, GL4 8EU 01452 344499 www.chorleys.com Fine Art and Antiques, Jun 22 David Lay Auctions Penzance Auction House Alverton, Penzance, Cornwall 01736 361414 www.davidlay.co.uk Jewellery, Silver, Watches and Objet d’art, Jun 17 The Oak and Country Sale, Jul 1 Dawsons Kings Grove Estate, Maidenhead, Berkshire | SL6 4DP 01628 944100 www.dawsonsauctions.co.uk The Nancy Fouts Sale, Jun 10 Jewellery, Watches & Silver, Jun 17, Jul 22 Fine Art and Antiques, Jun 24, Jul 27 Dominic Winter Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ 01285 860006 www.dominicwinter.co.uk Printed Books, Maps & Prints, Autographs & Documents, Jun 16 Children’s Books, 19th Century Literature, Jun 17 Printed Books, Maps &

Documents, Jul 21 Antiques & Vintage Textiles, Jul 22 Old Master & Modern Prints, The Oliver Hoare Collection, Jul 23 Dreweatts Donnington Priory Newbury Berkshire RG14 2JE 01635 553 553 www.dreweatts.com Interiors Day 1: to Include Decorative Arts from 1860, Jun 8 Interiors Day 2, Jun 9 Fine Furniture, Sculpture, Carpets, Ceramics and Works of Art, Jun 30 Fine and Rare Wine and Spirits, Jul 1 Fine Jewellery, Silver and Watches and Objects of Vertu, Jul 7 Duke’s Brewery Square, Dorchester, Dorset, DT1 1GA 01305 265080 www.dukes-auctions.com Avenue, Jun 8 Classic Cars and Automobilia, Jun 10 Jewellery and Watches, Jul 1 Fine Art and Antiques, Jul 2 The Dorset Auction, Jul 22 East Bristol Auctions Unit 1, Hanham Business Park, Memorial Road, Hanham, BS15 3JE 0117 967 1000 www.eastbristol.co.uk Military, History and Transportation, Jun 18 20th Century Design, Jun 25 Antiques and Collectables (ThreeDay Sale), Jun 30-July 2 Toy Collectors (Two-Day Sale), July 23-24 Gardiner Houlgate 9 Leafield Way, Corsham, Wiltshire, SN13 9SW 01225 812912 www.gardinerhoulgate.co.uk The Guitar Sale, Jun 16 Entertainment Memorabilia, Jun 17 Musical Instruments, Jun 18 Jewellery, Jun 30 Antiques and Works of Art, Jul 1 Paintings, Jul 1 Decorative Arts & 20th Century Design; Modern Art, Jul 1 Vintage and General, Jul 29 Hannam’s Auctioneers 4 The High Street, Alton, Hampshire, UK, GU34 1BU, 01420 511788 www.hannamsauctioneers.com Fine Art and Antiques, Jul (tbc) ANTIQUE COLLECTING 67

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.

Hansons Auctioneers 49 Parsons Street Banbury, Oxford, OX16 5NB 01295 817777 www.hansonsauctioneers.co.uk Banbury Antiques and Collectors, Jul 3 Kinghams 10-12 Cotswold Business Village London Road, Moreton-in-Marsh, Gloucester, GL56 0JQ, 01608 695695 www.kinghamsauctioneers.com A Love of Lustre and Other Wares: The Personal Collection of Anthony J. Cross, Jun 11-12 Jewellery and Watches, Jun 18 Lawrences Auctioneers Ltd. Crewkerne, Somerset, TA18 8AB, 01460 703041 www.lawrences.co.uk General, Jun 9, 23, 30, Jul 21 Silver and Vertu, Jul 6 Jewellery, 19th/20th Century and Ceramics, Jul 8 Pictures, Furniture, Clocks and Rugs, Jul 9 Mallams Oxford Bocardo House, St Michael’s St, Oxford.

01865 241358 www.mallams.co.uk Jewellery, Watches and Silver, Jun 16 The Picture Sale, Jul 7 Mallams Cheltenham, 26 Grosvenor St, Cheltenham.

Gloucestershire, 01242 235 712 www.mallams.co.uk Chinese Art, Jun 23 Japanese, Islamic and Asian Art, Jun 24 Mallams Abingdon Dunmore Court, Wootten Road, Abingdon, OX13 6BH 01235 462840 www.mallams.co.uk The House and Garden Sale, Jun 28 Philip Serrell Barnards Green Rd, Malvern, Worcs.

WR14 3LW, 01684 892314 www.serrell.com Interiors, Jun 10, Jul 1

68 ANTIQUE COLLECTING

Stroud Auctions Bath Rd Trading Estate, Bath Rd, Stroud, Gloucestershire, GL5 3QF 01453 873 800 www.stroudauctions.co.uk Jewellery, Silver, Watches, Clocks and Coins, Jun 9-11 Enamel Advertising Signs and Vintage Tractors, Jul 10

Batemans Ryhall Rd, Stamford, Lincolnshire, PE9 1XF 01780 766 466 www.batemans.com Sale on site at Haddenham, Cambs, of the contents of a long running gallery and shop, Jun 20 Fine Art, Antiques and Specialist Collectors - The Hunting Sale, Jul 3

The Pedestal The Dairy, Stonor Park, Henley-onThames, Oxfordshire RG9 6HF, United Kingdom 01491 522733 www.thepedestal.com Fine Interiors, Jul 20

Gildings Auctioneers The Mill, Great Bowden Road, Market Harborough, LE16 7DE 01858 410414, www.gildings.co.uk Antiques and Collectors, Jun 8, 22, Jul 6, 20

Special Auction Services Plenty Close, Newbury, Berkshire, RG14 5RL 01635 580 595 wwwspecialauctionservices.com Dolls and Teddy Bears, Jun 8 Photographica, Jun 15 Collectors, Jun 22 Antiques and Collectables, Jun 24, Jul 6, Jul 29 Glorious Trains, Jun 29 Jewellery, Silver, Watches & Coins, Jul 1 Photographica and Cameras, Jul 20 Music and Entertainment, Jul 27

Golding Young & Mawer The Bourne Auction Rooms, Spalding Road, Bourne, Lincolnshire PE10 9LE 01778 422686 www.goldingyoung.com Bourne Toy, Transport & Automobilia Sale, Jun 23

Woolley & Wallis, 51-61 Castle Street, Salisbury, Wiltshire, SP1 3SU, 01722 424500 www.woolleyandwallis.co.uk African and Oceanic Art & Antiquities, Jun 8 English and European Ceramics and Glass, Jun 16 Medals and Coins, Arms and Armour, Jun 22 Furniture, Works of Art and Clocks, Jul 6 Silver & Objects of Vertu, Jul 13-14 Fine Jewellery, Jul 15 Asian Art, Chinese Paintings and Japanese Works of Art, Jul 27-28

Golding Young & Mawer The Lincoln Auction Rooms, Thos Mawer House, Station Road North Hykeham, Lincoln LN6 3QY 01522 524984 www.goldingyoung.com Lincoln Collective, Jun 16-17

EAST MIDLANDS: Inc. Derbyshire, Leicestershire, Lincolnshire, Northamptonshire, Nottinghamshire, Sheffield

Golding Young & Mawer The Grantham Auction Rooms, Old Wharf Road, Grantham, Lincolnshire NG31 7AA01476 565118 www.goldingyoung.com Grantham Collective, Jun 9-10

Hansons Heage Lane, Etwall, Derbyshire, DE65 6LS 01283 733988 www.hansonsauctioneers.co.uk Antiques & Collectors Auction, Jun 17-22, Jul 15-20 Musical Instruments, Wine and Whisky, Jun 23 The Derbyshire Fine Art Auction, Jun 24 Medals, Militaria and Firearms, Jun 25 The Clock Auction, Jun 28 The Toy Auction, Jul 22

The Derbyshire Fine Art Auction, Jul 29 Mellors & Kirk The Auction House, Gregory Street, Nottingham NG7 2NL 0115 979 0000 www.mellorsandkirk.com Antiques & Collectors, Jun 9-11 WEST MIDLANDS: Inc. Birmingham, Coventry, Herefordshire, Shropshire, Staffordshire, Warwickshire, Bigwood Auctioneers Stratford-Upon-Avon Warwickshire, CV37 7AW 01789 269415 www.bigwoodauctioneers.com Furnishings, Interiors and Collectables, Jun 11, Jul 9 Antiques and Collectables, Jun 25, Jul 23 Brettells Auctioneers & Valuers, 58 High Street, Newport, Shropshire, TF10 7AQ 01952 815925 www.brettells.com Collectables and General (online), Jun 8, 15 Cuttlestones Ltd Wolverhampton Auction Rooms, No 1 Clarence Street, Wolverhampton, West Midlands, WV1 4JL, 01902 421985 www.cuttlestones.co.uk Specialist Collectors, Jun 11 Antiques and Interiors, Jul 21 Cuttlestones Ltd Pinfold Lane Penkridge Staffordshire ST19 5AP, 01785 714905 www.cuttlestones.co.uk Antiques and Interiors, Jun 16, 30, Jul 14, 28 Fellows Augusta House, 19 Augusta Street, Hockley, Birmingham, B18 6JA 0121 212 2131 www.fellows.co.uk Jewellery (Online), Jun 10 The Luxury Watch Sale, Jun 14 Silver and Costume Jewellery (Timed), Jun 17 Pawnbrokers Jewellery and Watches, Jun 16

Fieldings Mill Race Lane, Stourbridge, DY8 1JN, 01384 444140 www.fieldingsauctioneers.co.uk The June Sale, Including Centuries of Glass, Jun 24-25 The July Sale, including Mantiques, Jul 22-23 Halls Bowmen Way, Battlefield, Shrewsbury, Shropshire, SY4 3DR 01743 450700 www.hallsgb.com/fine-art The Summer Auction, Jun 16 Antiques and Interiors, Jul 7 Militaria and Shotguns (Timed), Jul 9-25 The David Bowie Collection of Artist Edward Bell (Timed), Jul 16 to Aug 1

Adam Partridge Withyfold Drive, Macclesfield, Cheshire, 01625 431 788 www.adampartridge.co.uk Two Day Sale of Toys, Wines & Spirits with Furniture & Interiors, to include the Captain Allan Marshall Military Collection, Jun 17-18 Two Day Auction of Boutique, Silver, Jewellery & Watches with Furniture & Interiors, Jul 15-16 Studio Ceramics from the Paul Rice Collection, Jul 30 Adam Partridge The Liverpool Saleroom, 18 Jordan Street, Liverpool, L1 OBP 01625 431 788 www.adampartridge.co.uk Asian Art with Antiques and Collectors’ Items, Jul 7

Hansons Auctioneers Bishton Hall, Wolseley Bridge, Stafford, ST18 0XN, 0208 9797954 www.hansonsauctioneers.co.uk Curated and Connoisseur Ceramics and Glass, Jun 9 Summer Country Fine Art, Jun 10-14 The Library Auction, June 15 Two-Day Attic Sale, Jul 7-8 The Country House Toy Nostalgia Auction: Incorporating Live Steam, Jul 10 The Iconic Style of The 20th Century, Jul 13

Anderson and Garland Crispin Court, Newbiggin Lane, Westerhope, Newcastle upon Tyne, NE5 1BF, 0191 432 1911 www.andersonandgarland.com Fine Watches, Jun 8 Jewellery and Silver, Jun 8 June Country House and Fine Interiors, Jun 8-10 Homes and Interiors, Jun 22, Jul 13, Jul27 The Comics Auction, Jun 24 The Pictures Auction, Jul 1 The Music Auction, Jul 8 The Modern Auction, Jul 22

Potteries Auctions Unit 4A, Aspect Court, Silverdale Enterprise Park, Newcastle, Staffordshire, ST5 6SS, 01782 638100 www.potteriesauctions.com Two Day Sale of 20th-Century British Pottery, Collectors’ Items, Jun 11-12 Two Day Sale of Fine Art, 20th-Century British Pottery, Collectors’ Items, Jul 9-10

Capes Dunn The Auction Galleries, 40 Station Road, Heaton Mersey, SK4 3QT 0161 273 1911 www.capesdunn.com Antiquarian and Collectable Books, Maps, Prints and Affordable Art, Jun 15 Interiors, Vintage & Modern Furniture, Jun 28 Collectors, Jun 29

Trevanion The Joyce Building, Station Rd, Whitchurch, Shropshire, SY13 1RD, 01928 800 202 www.trevanion.com Fine Art and Antiques, Jun 23, Jul 28 NORTH: Inc. Cheshire, Co. Durham, Cumbria, Humberside, Lancashire, Greater Manchester, Northumberland, Tyne and Wear, Sheffield, Yorkshire

David Duggleby Auctioneers The Gallery Saleroom, Scarborough, North Yorkshire, YO11 1XN, 01723 507 111 www.davidduggleby.com Jewellery, Watches, Silver & Coins, Jun 10 Decorative Antiques and Collectors, Jun 11, Jul 2 Affordable Art, Jun 12, Jul 3 The Furnishings Sale, Jun 12, Jul 3 The Summer Art Sale, Jun 18 Country Pursuits, Sporting Guns, Taxidermy and Militaria, Jun 25 Jewellery, Watches, Silver and Coins, Jul 1

Duggleby Stephenson of York The Saleroom, York Auction Centre, Murton, York YO19 5GF 01904 393 300 www.dugglebystephenson.com Jewellery, Watches and Silver, Jul 8 Antiques, Fine Art and Collectors, Jul 8 Furniture, Clocks and Interiors, Jul 9 Elstob & Elstob Ripon Business Park, Charter Road, Ripon, North Yorkshire HG4 1AJ 01677 333003 www.elstobandelstob.co.uk Fine Art and Antiques, Jun 19 Jewellery, Watches and Silver, Jul 24 Wilson55 Victoria Gallery, Market St, Nantwich, Cheshire.

01270 623 878 www.wilson55.com Fine Jewellery and Watches, Jun 17 Coins and Banknotes, Jun 24 Fine and Classic Interiors, Jul 8 Toys and Models, Jul 15 Musical Instruments, Jul 15 Sheffield Auction Gallery Windsor Road, Heeley, Sheffield, S8 8UB, 0114 281 6161 www.sheffieldauctiongallery.com Silver, Jewellery & Watches, Jun 17 Collectors, Jun 17 Antiques and Collectables, Jun 18, Jul 2 Fine Silver, Jewellery and Watches, Jul 1 Specialist Collectable Toys, Jul 1 Tennants Auctioneers Leyburn, North Yorkshire 01969 623780 www.tennants.co.uk Stamps, Postcards & Postal History, Jun 11 Antiques and Interiors, Jun 12, 25, Jul 9, Jul 23 Deer Antlers of The World - The Raymond & Annie Hutchison Collection, Jun 18 Modern & Contemporary Art, Jun 19 20th Century Design, Jun 19 Militaria & Ethnographica, Jun 30 Summer Fine Art Sale, Jul 16-17 Fine Jewellery, Watches & Silver, Jul 17 Traditional Pictures, Jul 17

Natural History, Jul 23 Books, Maps & Ephemera, Jul 28 Toys and Models, Sporting and Fishing, Jul 30 Thomson Roddick The Auction Centre, Marconi Road Burgh Road Industrial Estate Carlisle, CA2 7NA, 01228 535 288 www.thompsonroddick.com Books and Pictures, the Property of the Late George Kozikowski of Skye, Jun 16 Vectis Auctions Ltd Fleck Way, Thornaby, Stockton on Tees, TS17 9JZ www.vectis.co.uk 01642 750616 Specialist Diescast, Jun 15, 16, Jul 13, 14 General Toys, Jun 22, Jul 22 Model Trains, Jun 25, Jul 23 TV and Film-Related Sale, Jun 29 Book Sale, Jul 6 Matchbox Sale, Jul 28, 29 Doll and Teddy Bears, Jul 30 Warrington and Northwich 551 Europa Boulevard, Westbrook, Warrington, Cheshire WA5 7TP, 01925 658833 www.warringtonauctions.com The Monthly Coin Sale, Jun 8 Wilkinson’s Auctioneers The Old Salesroom, 28 Netherhall Road, Doncaster, South Yorkshire, DN1 2PW, 01302 814 884 www.wilkinsons-auctioneers.co.uk Period Oak, Country Furniture and Effects, Jun 20 SCOTLAND Bonhams Queen St, Edinburgh.

0131 225 2266 www.bonhams.com None listed for June and July Great Western Auctions 1291 Dumbarton Road Whiteinch, Glasgow G14 9UY 0141 954 1500, www. greatwesternauctions.com Summer Fine Art & Antiques Auction ine Art and Antiques, Jun (tbc) Lyon & Turnbull Broughton Pl., Edinburgh.

0131 557 8844 ANTIQUE COLLECTING 69

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.

www.lyonandturnbull.com Jewellery, Watches & Silver, Jun 9 Whisky and Wine, Jun 9 Scottish Paintings & Sculpture: A Century of Joan Eardley, Jun 10 Rare Books, Manuscripts, Maps & Photographs, Jun 23 Select Jewellery, Jul 1 Select Watches, Jul 1

The Asian Works of Art Auction, Jul 1 The British and Continental Ceramics and Glass Auction, Jul 1 The Works of Art, Medals, Militaria and Furniture Auction, Jul 2 Coins & Banknotes, Jun 10 The Jewellery Auction, Jul 25 The Watches Auction, Jul 25

McTears Auctioneers 31 Meiklewood Road, Glasgow, G51 4GB, 0141 810 2880 www.mctears.co.uk The Coins & Banknotes Auction Jun 10, Jul 22 The Antiques & Interiors Auction, Jun 11, Jun 25, Jul 9, Jul 23 The Jewellery Auction, Jun 13, Jul 2 The Watches Auction, Jun 13 The Rare & Fine Whisky Auction, Jun 18, Jul 30 The Scottish Contemporary Art Auction, Jun 20 The Silver Auction, Jul 1

Thomson Roddick The Auction Centre, 118 Carnethie Street, Rosewell, Edinburgh, EH24 9AL, 0131 440 2448 www.thompsonroddick.com The Edinburgh Collector’s Auction of Toys, Whisky, Postcards, Stamps, Coins, Medals and Militaria, Jun 9 Thomson Roddick The Auction Centre, Irongray Road Dumfries, DG2 0JE, 01387 721635 www.thompsonroddick.com Antiques and Works of Art, Jun 15

WALES Anthemion Auctions, 15 Norwich Road, Cardiff, Wales, CF23 9AB. 029 2047 2444 www.anthemionauction.com General Sale, Jul 7 Fine Art, Antique and Collectors’ Sale, Jul 21, Jones & Llewelyn Unit B, Beechwood Trading Estate, Llandeilo, Carmarthenshire, S A19 7HR. 01558 823 430 www.jonesandllewelyn.com General Antiques, Jun 12, 26, Jul 10, 24 Peter Francis Towyside Salerooms, Old Station Rd, Carmarthen, SA31 1JN , 01267 233456 www.peterfrancis.co.uk Antiques, Furnishings & Collectors,

We are currently inviting entries for our Summer Auction on Wednesday 28th July. The closing date for consignments is 2nd July

If you would like a free valuation or auction advice please contact: Enquiries telephone Catherine Southon or Tom Blest Tel: 020 8468 1010 Email: info@catherinesouthon.co.uk

70 ANTIQUE COLLECTING

Jun 9, 23, Jul 7 Summer Fine Sale, Jul 21 Rogers Jones 17 Llandough Trading Estate, Penarth, Cardiff, CF11 8RR 02920 708125 www.rogersjones.co.uk Interiors, Jun 11 Jewellery & Collectables (Bargain Hunt in attendance), Jul 16 The Welsh Sale, Jul 24 Selections & Collections, Jul 26 IRELAND Adam’s 26 St Stephens Green Dublin, D02 X66, 353-1-6760261 www.adams.ie Asian Art, Jun 16 Whyte’s 38 Molesworth St. Dublin, D02 KF80, 353-1-676 2888, www.whytes.ie Summer Art Auction, Jun (tbc)

ANTIQUES CENTRES

LENNOX CATO ANTIQUES & WORKS OF ART EST: 1978

•WANTED• ~ WANTED ~

for epic East Yorkshire Georgian townhouse restoration.

4 identical Georgian reclaimed sash windows.

Approx 64 inches high x 38 wide.

Single Georgian windows.

Size 38 x 38, and 37 wide x 65 high.

Unusual decorative light fittings. Oil, gas, Colza or early electric. Wall, table or ceiling.

Gasoliers needed. “Best Surprise” gas lamps. Mermaids etc.

Original Georgian architectural features. Anything different,

Signed and unusual furniture. eg Georgian, Regency, William . Sofa / Pembroke side tables, curved doors, over door IV pediments, interior/columns, library furniture / bookcases.

Alsoetc.Wide VictorianGeorgian campaignflchests, armchairs panelling oorboards.

8 inchetc. width.

Ross of Dublin, Morgan & Sanders, Williams & Gibton, James Winter, Hill & Millard Approx 200m2 needed.

Rectangular fanlight.

Georgian iron and many others.

kitchen range. Decorative door locks and security features.

Georgian chimney pots.

J Alderman. Daws and George Minter reclining chairs. Shoolbred/ Hamptons / Cornelius Smith Victorian armchairs.

Marble fire surrounds from 1750 to 1840,

Georgian to William IV eg Marble fire surrounds. Georgian / Regency/ William IV. bullseyes Bullseyes etc. etc.

Exceptional Georgian / Regency fire grates

Stamped/ labelled furniture. Ross of Dublin/ Gregory Kane

Sash windows x 4 identical.

Georgian Approx 58” high x 36” wide. campaign chests reclaimed. and branded campaign furniture in general.

R Daws and G.Minter reclining chairs.

Wide reclaimed floorboards.

100Wilkinson, m2.

J Alderman, Morgan &Approx Sanders, James Winter, Early decorative oil / gas / electric lightWilliam fittings.Pocock Ceiling,and wallmany or table.

Robert James, others.

Early gasoliers.

Colza lamps.

Gimble lamp.

Especially library furniture, bookcases, small tables etc.

Foot’s Patent chairs.

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

www.lennoxcato.com

Roland Ward, Van Ingen taxidermy. Human skull. Hippopotamus skull.

Stuffed crocodile / alligator.

Exceptional bathroom fittings.

Decorated Victorian toilets; Doulton, Shanks, Unitas Quirky architectural features. Regency columns, corbels, marble and stone pieces, overetc. door pediments, folding/rolling multi part Georgian room dividing doors.

Georgian candle boxes. Human skull.

Victorian canopy shower bath. Decorated toilets etc Unitas, Simplicitas, Deluge etc.

Georgian chamber Decorated basins x 3. horse exercise chair.

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

•WANTED• •WANTED•

VINTAGE WRISTWATCHES WRISTWATCHES VINTAGE

Rutland The

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

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

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

Wig Wag, Rolls etc, and World War I semi-hunter Early, pre-war ladies’ hunter watchesand also wanted by wristwatches.

Rolex, Jaeger LeCoultre etc. Prefer 1920s/30s styles, early by doughnuts also considered.

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

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

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

vintagejewellery@yahoo.co.uk or tel 07958 333442 vintagejewellery@yahoo.co.uk or tel 07958 333442

ARMS

Omega Seamasters and pre-1980s Omegas in general.

Omega Seamasters and pre-1980s Omegas in general.

IWC and Jaeger LeCoultres, all styles. Looking for Reversos. American market filled IWC and Jaeger LeCoultres, styles.

Lookingatfor American market filled and 14kall pieces possibly, theReversos. right price. and 14k pieces possibly, at the right price.

Breitling Top Times, Datoras and 806 Navitimers.

Breitling Top Times, Datoras and 806 Navitimers.

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

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

Gold or silver/steel.

Alsowith World War in I Rolex 13 lignes Princes.

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

PM Antiques & Collectables We Buy & Sell are a modern and innovative pm-antiques.co.uk antiques retailer based in Surrey.

Specialising in a wide array Contact us: of collector’s items, including phil@pm-antiques.co.uk contemporary art, entertainment 01932 640113 and memorabilia, vintage toys, decorative ceramics, watches Over 45 dealers on 2 floors presenting Quality Antique Oak & and automobilia.

ANTIQUES

Centre

ADVERTISE TODAY PLEASE The Square Bakewell Derbyshire DE45CALL 1BT CHARLOTTE KETTELL ON 01394 389969 or email: Charlotte.Kettell@accartbooks.com

Mahogany Furniture, Clocks, Silver, OSP, Arts and Crafts, Porcelain, Pottery, Fine Art Paintings, Bronze Sculpture, Jewellery, Bijouterie, Glass, Art Nouveau, Art Deco, Vintage Luggage and Clothing, Oriental Items, Treen, Exquisite Lighting, Books and other Collectables. Incorporating Gallery Café PMAntiques2015 PM_Antiques VISIT NOW FOR A WONDERFUL SHOPPING EXPERIENCE Opening hours: Mon-Sat 10-5, Sundays 11-4.

Tel: 01629 810468 ANTIQUE COLLECTING 65 www.therutlandarmsantiquescentre.co.uk ANTIQUE COLLECTING 71

LAST WORD Marc Allum headaches after serious bouts of spraying.

Of course, it’s not only wool that clothes moths’ caterpillars eat; they’re quite happy to munch silk, cotton, linen and your best fur hats, too. Any nicely blended mixture just adds to their enjoyment. So, my selections of tweed and cashmere jackets, vintage hats and woollen waistcoats have been seriously targeted over the last few years. And as if that wasn’t enough, they’ll even eat your breakfast cereal!

One oft-quoted solution is to put items in the freezer, but the eggs can apparently survive temperatures of -23 degrees Celsius.

FROZEN OUT

Marc takes on the dreaded clothes moth

Marc My Words

I

Marc goes to war with the invisible army that threatens his collections at this time every year

t’s that depressing time of the year when the onset of warmer weather brings the invasive and highly destructive insect population of the house to life. The first sign is often the appearance of a solitary moth haphazardly fluttering around the room in front of the television screen while evading any and every attempt to catch it.

This is quickly followed by a trip to Robert Dyas to secure every type of spray and pheromone trap available, in order to try and stem the potential damage to countless Persian carpets, clothing and antique textiles.

The problem is when you buy a preowned piece in our business, you have no idea about the environment it came from.

It’s a major downside. Old upholstery and textiles can harbour moths and, once they’re in your house, it’s like waging a guerrilla war against a largely unseen enemy. When you do see them, it’s usually too late. So every year, all of the carpets are taken outside, brushed, treated and hoovered, with any signs of infestations severely dealt with.

72 ANTIQUE COLLECTING

FREEZER BURN Of course, there are those heart-breaking moments when, within a short space of time, a big chunk of your favourite 19th-century Kashan rug evaporates into a gritty mass. It’s enough to make you cry.

But just imagine being a carpet dealer and having the same problems! I know one such who dons a hazmat suit so regularly he runs a tidy side-line saving carpets in country houses, as well as his own stock.

Short of sealing the whole house to pump it full of carbon dioxide to suffocate every living thing (impossible in most houses), one tends to resort to the arsenal of dangerous chemicals such as pyrethrins.

But beware: as well as proving dangerous to pets, they have left me with disrupted sleep patterns and splitting

Not so the common woodworm, which also becomes lively around the same time of the year. I’ve never been paranoid about woodworm but a lovely 18th-century Italian reliquary recently ended up in the freezer for several days after some rather largerthan-usual beetles emerged from its sacred recesses and started wandering around.

Swathed in plastic, it just about fitted among the meat joints, gel-packs, vodka and vegetables and has since never shown any reoccurrence. Phew!

So, if you have a moth problem and your precious antiques have suffered, I fully sympathise, but remember don’t breathe in too much when you are spraying and don’t get too hooked on counting the daily death rate on your pheromone traps. It can take over your life. Just saying.

Marc Allum is an author, lecturer and specialist on the BBC’s Antiques Roadshow. For more details go to www.marcallum.co.uk Below Freezing beloved possessions can help to

ward off beetles

‘A lovely 18th-century Italian reliquary recently ended up in the freezer for several days after some rather larger-than-usual beetles emerged out of its sacred recesses and started wandering around’

Specialists in the sale of single owner collections and estates

A 1964 Porsche 356C part of a private collection

SOLD: £48,000

INDEPENDENT ANTIQUES ADVISOR & VALUER • Antiques • Silver • Classic Cars • Watches • Jewellery • Wine & Whisky www.marklittler.com

01260 218 718

valuation@marklittler.com

Wilkinson's 1_Wilkinson's 1 06/03/2020 11:43 Page 1

Period Oak, Country Furniture & Effects Sunday 20th June 11am start (closed sale room) Viewing by appointment only: Thursday and Friday 17th and 18th June.

The OlD SAlerOOmS, 28 NeTherhAll rOAD, DONCASTer, DN1 2PW, eNglAND Tel: +44 (0) 1302 814884 Fax: +44 (0) 1302 814883 email: sid@wilkinsons-auctioneers.co.uk website: www.wilkinsons-auctioneers.co.uk