Antique Collecting magazine July July 2022 issue

B E S T CO L U M N I S T S N E V E R - S E E N F I D E L C A S T R O P H O T O S LO N D O N FA I R S F O C U S

JUNE/JULY 2022

PLATINUM JEWELLERY From the Belle Époque to Art Deco

ANTIQUE COLLECTING

Royal watchers

VOL 57 N0.2 JUNE/JULY 2022

Treasured timepieces the monarchy loves to wear

Inside:

Special

JUBILEE ISSUE Celebrating 70 years of Queen Elizabeth II on the British throne

GOING DOWN MEMORY REIGN

COMMEMORATIVE WARE IN FOCUS

SPICE UP YOUR LIFE

COLLECTING NUTMEG GRATERS SPECIAL BREW LIFTING THE LID ON TEA CHESTS AND CADDIES

ALSO INSIDE Royal lots on sale

• Auction results • Annotated first-edition books

Roseberys Antique Collecting Full Page Ad 25.5.22.pdf 1 25/05/2022 14:37:54

What’s it worth?

Fine Art Auctioneers & Valuers

Old Master & 19th Century Pictures

Contact clientservices@roseberys.co.uk with the details and images of your object to receive a complimentary valuation from one of our specialists.

Islamic & Indian Art

Jewellery & Watches

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Modern & Contemporary Prints & Multiples

Chinese, Japanese & South East Art

Design Since 1860

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Modern British & 20th Century Art

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FIRST WORD

Welcome When I was growing up, the royal family appeared to be, how can I put this? Unhinged. (For reference see It’s a Royal Knockout, 1987.) I am not sure when, or why, I – and the rest of the country – overwhelmingly became Team Queen. But such is my current patriotic zeal I even entered a dessert for the Platinum Pudding competition, which, like much of my cooking, sank without trace, joining the ‘also-rans’ of the pudding world.

Appreciation of the monarchy, like many things in life: gardening, large underwear and – dare I say – antiques, comes later in life. So I have had a ball putting this special Platinum Jubilee issue together.

Who among us hasn’t got a piece of royal memorabilia tucked away, secretly hoping it is worth a royal mint? Well, the bad news is, unless it happens to be English Delft with a picture of Charles II on the front, it isn’t. Unsurprisingly, the vast majority of souvenirs, (like my Silver Jubilee mug) were mass produced and, therefore, very rarely, rare.

Which is not to say royal commemorative ware is not one of the more joyful areas of collecting. From wedding cakes to jubilee mugs, on page 48, we look at the souvenirs that are worth investing in. Enjoy a peruse, it might very well surprise you.

On page 18, the historian Andrew Graham-Dixon reveals how ‘controlling the narrative’ didn’t start with the current monarchy but has been going on for 500 years since Elizabeth I portrayed a very particular image of herself to courtiers and the wider world.

On another topic, there is no beverage more British than tea and, with the number of jubilee tea parties going on this summer, there appears to be no sign of it giving up its crown. In homage to the drink, on page 24 Gillian Walkling presents a guide to tea chests and caddies which continue to be firm favourites with collectors.

And with ‘platinum’ on everyone’s lips, we put the precious metal in the spotlight on page 38. After joining the jeweller’s toolbox in the late 19th century, it went on to be used in some of the greatest jewellery of the Edwardian period (much of it royal).

Finally, in this month’s watch focus, on page 42, we consider the timepieces favoured by the royals, ranging from Cartier to Fitbits. Enjoy the issue

IN THIS ISSUE

RONNIE ARCHER-MORGAN

on his life and times, ahead of a new memoir, page 6

ANDREW GRAHAM-DIXON

the historian considers why image is so vital to the monarchy, page 18

MARK WILTSHIRE

on the sale of some very special first editions, page 30

Georgina Wroe, Editor

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

We love

This commemorative bracelet for the coronation of Edward VII, c.1902, which has an estimate of £400-£600 at Sworders’ fine jewellery sale on June 28

MARC ALLUM

reveals the royal memorabilia worth investing in, page 74

THE TEAM

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

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

ISSN: 0003-584X

ANTIQUE COLLECTING 3

Old Master, British and European Art Entries Invited by Friday 5 August

Contact us for free auction valuations and sales advice pictures@sworder.co.uk | 01279 817778 | sworder.co.uk

THIS MONTH

Contents VOL 57 NO 2 JUNE/JULY 2022

58

REGULARS 3

6

Editor’s Welcome: Georgina Wroe introduces the bumper summer edition celebrating this year’s Platinum Jubilee Antique News: Five pages of news and events to appeal to collectors taking place around the UK

11 Your Letters: This month’s postbag trawl includes memories of a previous royal event 12 Around the Houses: All the latest from the UK’s salerooms, including the whopping sale of a Chinese vase and a Georgian apothecary’s box

B E S T CO LU M N I S T S A R E G E N C Y L I B R A RY C H A I R LO N D O N FA I R S F O C US

32

JUNE/JULY 2022

PLATINUM JEWELLERY

Special

JUBILEE ISSUE

From the Belle Époque to Art Deco

ANTIQUE COLLECTING

Celebrating 70 years of Queen Elizabeth II on the British throne

Royal watchers d

VOL 57 N0.2 JUNE/JULY 2022

Treasure timepieces the monarchy loves to wear

GOING DOWN MEMORY REIGN

COMMEMORATIVE WARE IN FOCUS

Inside:

SPICE UP YOUR LIFE

COLLECTING NUTMEG GRATERS SPECIAL BREW LIFTING THE LID ON TEA CHESTS AND CADDIES

ALSO INSIDE Royal lots on sale

• Auction results • Annotated first-edition books

COVER

The Queen’s coronation dress and robe, on display at Windsor Castle from July 7 to September 26. Credit Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021

38

FOLLOW US @AntiqueMag

16 Waxing Lyrical: David Harvey shines a light on a Regency library chair by the makers Morgan and Sanders

65 Fairs Calendar: All the latest listings from the best events around the UK in June and July 68 Auction Calendar: Never miss another sale with five pages of up-to-date listings 74 Marc My Word: Antiques Roadshow’s Marc Allum reveals the royal commemorative wares to buy – and avoid

FEATURES

46 Puzzle Pages: Quizzing supremo Pete Wade-Wright puts us through our paces

18 Reigns on Parade: Monarchy’s need to control their subjects’ opinion of them dates back to Elizabeth I, writes Andrew Graham-Dixon

53 An Auctioneer’s Lot: Discover why Charles Hanson is sweet on a baby’s blanket knitted by Queen Mary which appeared in his saleroom

24 Time for Tea: Author Gillian Walkling celebrates that most British beverage, and the intricate caddies and chests made to house its leaves

55 Top of the Lots: Photographs of three of the 20th-century’s greatest cultural icons are up for sale in London and Paris

32 Grate British Isles: Nutmeg graters shed light on both the spice’s popularity and the era in which they were used, writes John Reckless

58 Jubilee Showcase: We preview some very special pieces, all with a royal connection, up for sale this summer

12

landmark London fairs return this June, as well as London Art Week

30 Saleroom Spotlight: Some 80 first editions annotated by the literary giants who wrote them go under the hammer in London

56 Saleroom Spotlight: Behind the scenes at the sale of motorcycling medals belonging to a WWI naval hero

48

42

60 Book Offers: Subscribers can save more than a third on the latest titles from our sister publisher ACC Art Books 63 Subscription Offer: Save 33 per cent on an annual subscription and receive a free book worth £75

38 White Heat: Why platinum has been a jewellery lovers’ favourite since Edwardian times to the present day 42 Royal Watchers: The Queen has one of the most enviable collections of timepieces in the world. But which brands make the monarchy chime?

48 Memory Reign: From the coronation of Charles II to William and Kate’s wedding, collectors are suckers for royal memorabilia. We separate the duds from the must haves

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

NEWS All the latest Left Cecil Beaton, Queen

Elizabeth II on her Coronation Day, 1953, Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021 Above right A Machin-

inspired coloured silk scarf from the new range is priced £150 Right A Machin-inspired

mug, priced £20 Below right A bone

china cup and saucer, inspired by the purple Robe of Estate worn by the Queen at her coronation, is priced £65

WHAT’S GOING ON IN JUNE/JULY

ANTIQUE

news

A round up of the best events for antiques and fine art lovers this summer, including those celebrating the Platinum Jubilee Crowning glory Windsor Castle hosts a number of events this summer to celebrate the Queen’s 70-year reign, including an exhibition of designs worn on her coronation in 1953.

The British couturier Sir Norman Hartnell submitted nine different designs for her dress, from which the Queen accepted the eighth, suggesting the addition of embroideries in various colours, rather than all silver.

The resulting satin dress was embroidered with floral emblems in gold and silver thread and pastel-coloured silks, encrusted with seed pearls.

Her purple velvet robe was made by Ede and Ravenscroft and woven by Warner & Sons.

It was stitched at the Royal School of Embroidery.

Platinum Jubilee: The Queen’s Coronation is on at Windsor Castle from July 7 to September 26.

6 ANTIQUE COLLECTING

Did you know?

The Queen’s coronation robe took 12 embroiderers 3,500 hours to make using 18 different types of gold thread

ROYAL LINE For royal watchers who prefer to celebrate at home, the Royal Collection Trust has launched a range of commemorative products inspired by Arnold Machin’s iconic profile portraits of the Queen created by the former Wedgwood designer in 1966.

The Platinum series features homeware items and accessories ranging from a recycled leather key ring, priced £4.95, to a Platinum Jubilee teapot on sale for £350.

The sculptor and Royal Academician Arnold Machin (1911-1999) was responsible for the basrelief of the monarch which has featured on all British definitive postage stamps since 1967.

The range can be purchased online from www. rct.uk/shop or from Royal Collection Trust shops in London, Windsor and Edinburgh.

Below left The Queen’s coronation dress, designed by Sir Norman Hartnell, and coronation robe by Ede & Ravenscroft, 1953, Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021 Below right The

menu celebrates food produced at Chatsworth

Queen of puddings A family-recipe Bakewell tart and Chatsworth gin-cured salmon both appear at a London auction house’s Platinum Jubilee-inspired menu.

Sotheby’s head chef Myles Fensom, came up with the menu in partnership with producers at Chatsworth – home to the Duke of Devonshire.

A selection of Chatsworth Estate cheese from the Derbyshire stilton creamery, established by the 8th Duke of Devonshire in the 1870s, is also on offer, along with Chatsworth gin made from estategrown botanicals, including the Cavendish banana leaf unique to Chatsworth. The jubilee menu is on offer until July 15.

SWEET JUSTICE

Hands down

Plans to celebrate the remarkable life and work of the artist Sarah Biffin (1784-1850), who was born with phocomelia, have been unveiled by a London gallery.

When as a teenager Biffin, who was born without arms and legs, was asked to join a travelling show it seemed her fate was sealed.

But in her midtwenties she studied under the miniatures artist William Marshall Craig and, in 1816, set herself up as an independent artist taking on a number of royal commissions.

Without Hands: The Art of Sarah Biffin will be on this autumn at Philip Mould & Company from November 1 to December 21.

Above Sarah Biffin (1784-1850)

self-portrait

A gold bonbonnière, one of 100 stolen from a Buckinghamshire stately home, is to go back on display 19 years after it was taken.

In 2003, a masked gang broke into Waddesdon Manor before making off with a collection of 18th-century French boxes, few of which were ever recovered.

Last August one of the sweet jars was spotted by the Art Loss Register (ALR) when it appeared in a regional auction house.

Now returned to Waddesdon, it has gone on display in the Rothschild Treasury.

Below The recovered Waddesdon gold box, © Paul Quezada- Neiman Photos

Glaze of glory Some of the world’s leading ceramics experts come together in London to take part in a two-day seminar in June – 40 years since its inception.

In 1982, Brian and Anna Haughton founded the International Ceramics Fair and Seminar, which, for the first time, united collectors and museum curators.

Today, lectures are an integral part of most antiques fairs. This year’s seminar, at The British Academy on June 29-30, is entitled Fragile Splendour: Prestige, Power and Politics from the Medicis to the Present Day. Tickets cost £110, for more details and the programme go to www.haughton.com Above Dr Mathieu Deldicque will present a talk on Chantilly

porcelain, including this figure, c.1735-1740

A fight at the museums Five UK museums have until July 14 to discover which has scooped the prestigious title Art Fund Museum of the Year 2022 and a prize of £100,000.

The finalists are: Derby Museums’ Museum of Making; Horniman Museum and Gardens in London; Manchester’s People’s History Museum; The Story Museum in Oxford and Wrexham’s Ty Pawb.

30 seconds with...

Antiques Roadshow expert Ronnie ArcherMorgan whose memoir Would it Surprise you to Know? is out this month How did you start in the business?

I have had an interest in beautiful objects since I was seven and took my little sister to Kenwood House in London and fell in love with what I saw. I was brought up in institutions and I was struck by the contrast between what was on show and my everyday existence.

Years later, when working on film sets, I’d visit local antique haunts. When I returned the pieces were snapped up by the cast and crew. I thought if they like it, I must have a good eye.

Celebrating museums’ creativity, previous winners have included The Lightbox in Woking, St Fagans National Museum of History in Cardiff and last year’s winner Firstsite in Colchester.

Right Horniman Museum and

Gardens, London, Museum of the Year finalist 2022, © Emli Bendixen/ Art Fund 2022

What Roadshow surprises have you had?

Two spring to mind: one was a New Zealand jade tiki, which a lady had discovered in the garden of her Midlands home – neither of us had any idea how it got there.

The other was a pair of Sooty and Sweep puppets which I had actually played with as a child. They belonged to the daughter of Harry Corbett’s props manager and were the same ones the puppeteer had brought in to the children’s home I was at years before.

What surprise would you most want to find?

I am passionate about the Knights Templar, the religious order which protected travellers to the Holy Land, so it would have to be anything related to them, such as a sword, shield or badge. But, as such pieces are as rare as hens’ teeth, I might have a wait on my hands.

What has been your most memorable sale?

Years ago I came across a wonderfully ornate decorative plaque about 2ft by 1ft in a

provincial auction house. I immediately spotted its similarity to an armchair in the V&A designed by the London-based painter Lawrence Alma-Tadema.

The chair was part of a suite of furniture for the music room of the New York mansion of Henry Gurdon Marquand (1819-1902), the second president of the Metropolitan Museum of Art. The suite cost £25,000 in 1884, something like £3.5m today. AlmaTadema would have used the plaque like a mood board to show Marquand. I went on to sell it for 30 times the price I paid.

Why do you love the business?

Every day is different, you never know what you are going to find – it fills me up with optimism which is not a bad feeling.

Would it Surprise you to Know? is out on June 23 published by Century, priced £16.99

ANTIQUE COLLECTING 7

NEWS All the latest Left John Knox

(1778–1845), View of the Clyde from Fairfley and Duntocher, c. 1816, © The Fleming Collection Right Sir Alfred Munnings (1878-1959) Violet Seller, c. 1900, © Estate of Sir Alfred Munnings, Dedham Far right Sir Alfred Munnings (1878-1959) Design for Caley’s Domino Crackers, 1890s, © Estate of Sir Alfred Munnings

1Highland fling

Below right Sir Alfred

Munnings (1878-1959) Fancy Dress Ball, 1901, © Estate of Sir Alfred Munnings, Dedham

More than 30 significant works exploring the history of Scottish art can be seen at a Surrey gallery.

A Window into Scottish Art, on at The Lightbox, in Woking until July 3, includes paintings, drawings, sculpture and collage by artists such as George Jamesone (1587‐1644) known as ‘the Scottish Van Dyck’, through to the Glasgow Girls and Boys and the Scottish Colourists (SJ Peploe, JD Fergusson, GL Hunter and FCB Cadell).

20th‐century figures such as Eduardo Paolozzi and John Bellany join contemporary artists including Caroline Walker, Alison Watt, Barry McGlashan and Iman Tajik. All works are chosen to reflect the many facets of the Scots’ creative imagination.

3 to see in

June

Far left Phoebe Anna

Traquair (1852-1936), Portrait miniature of Hilda Traquair, age five years, 1884. Watercolour on paper, © The Fleming Collection Left Anne Redpath

(1895-1965), Window in Menton, 1948. The Fleming Collection, © The Artist’s Estate. All Rights Reserved Bridgeman Images

3

Fjord clinic

A major group of works by the Norwegian artist Edvard Munch (1863-1944) go on show in the UK for the first time at The Courtauld in London, until September 7. Munch Masterpieces from Bergen brings together 18 seminal paintings seen as a group for the first time outside Scandinavia.

It includes Munch’s early work Morning, 1884, painted when he was 20, as well as his large-scale canvas Summer Night, 1889, depicting his sister Inger sitting by the shoreline of a fjord. It also includes Self-

8 ANTIQUE COLLECTING

2Poster boy

Best known for his equine depictions, the early poster designs of Sir Alfred Munnings (18781959) are on show until October 23 at his former Essex home-turned-museum.

Aged just 14, Munnings moved from the family home in Mendham, Suffolk, to Norwich, where he became an apprentice at Page Bros. & Co. Ltd, a firm of lithographic printers.

During the 1890s, he undertook work for local companies, including Colman’s Mustard and Caley’s – the Norwich confectionary firm which added Xmas crackers to its range in 1898.

Alfred Munnings: the Art of the Poster at Castle House in Dedham features more than 100 designs and paintings, including 13 loans from private collections.

Right Edvard Munch

(1863-1944) Morning, 1884, Kode Bergen Art Museum, The Rasmus Meyer Collection Far right Edvard

Munch (1863-1944) Evening on Karl Johan, 1892, Kode Bergen Art Museum, The Rasmus Meyer Collection Below right Edvard

Munch (1863-1944) Self-Portrait in the Clinic, 1909, Kode Bergen Art Museum, The Rasmus Meyer Collection

Portrait in the Clinic, 1909, painted aged 45 when he was undergoing treatment for stress in Copenhagen.

Left Fabergé egg, rhodonite with diamonds, © National Trust Images, David Brunetti photography Right The Dissecting Room, T C Wilson after Thomas Rowlandson, 1838, coloured lithograph, © RCP, photography by John Chase Below right Consultation

1Greville toaster

of Physicians, unknown artist, 1760–1830, coloured engraving, © RCP,

Treasures by Fabergé and Cartier are on show at an exhibition in July, marking 80 years since society hostess Dame Margaret Greville left her Surrey country home to the National Trust.

Between 1907 and 1942 Polesden Lacey was Mrs Greville’s weekend retreat where she hosted lavish parties with guests including Edward VII and Winston Churchill.

Society etiquette of the day demanded guests give precious objets d’art as thank yous.

Presents included a Fabergé egg, complete with a diamond clasp fashioned in the shape of a snowflake. Treasured Possessions: Riches of Polesden Lacey, continues on display until October 29.

Far right Satirical brass button, France, late 17th century, © RCP, photography by John Chase

3 to see in

July

Left Charles Emile

Auguste Duran (18371917) Margaret Anderson, The Hon. Mrs Ronald Greville DBE (1863-1942), © National Trust Images, John Hammond Far left Collingwood & Co.

brooch of diamonds and rubies, © National Trust Images, David Brunetti

3

Wall to wall

Eight murals by Sir Frank Brangwyn (1867-1956) go on public display for the first time at Ditchling Museum of Art + Craft in East Sussex.

The large-scale paintings were commissioned by The Skinners’ Company between 1901 and 1912 to chart the history of the guild from the 13th-century medieval fur trade, to its growing emphasis on philanthropy and education by the 19th century.

The museum in Ditchling (the village where Brangwyn spent his later years) is hosting the 2.5m long panels until October 16, while Skinners’ Hall undergoes restoration work.

2

Gallows humour

An exhibition of satirical images from the mid-18th century to the 1980s continues at a London museum this month.

A Taste of One’s Own Medicine at the Royal College of Physicians (RCP) near Regent’s Park, includes William Hogarth’s print The Company of Undertakers which famously attacked the medical profession, as well as cartoonist James Gillray’s print criticising Edward Jenner following his successful vaccine against smallpox. An illustration of one of the adventures of Baron Munchausen is also on display.

The RCP Museum’s senior curator, Lowri Jones, said: “I’m delighted to welcome visitors to our first new exhibition since the museum reopened in January. I am particularly happy to be able to showcase such an engaging but previously under-used part of our collections.”

Right Frank Brangwyn (1867-1956), Education, Banqueting Hall of the Worshipful Company of the Skinners, London Middle right Frank Brangwyn (1867-1956), Education, Banqueting Hall of the Worshipful Company of the Skinners, London Far right Frank Brangwyn (1867-1956), Sir Andrew’s Defense of London, 1554, Banqueting Hall of the Worshipful Company of the Skinners, London

ANTIQUE COLLECTING 9

NEWS All the latest Snap happy

Water coloured A view of Waterloo Bridge by the Suffolk artist John Constable (1776-1837) has returned to Anglesey Abbey in Cambridgeshire after being brought back to its former glory by conservators.

National Trust experts spent 270 hours removing layers of badly yellowed varnish to reveal the full majesty of a long-lost Thames view. Constable may have been at the 1817 opening of the bridge by the Prince Regent.

The painting, Constable’s largest, has gone on show alongside his other works at the abbey, including a view of Stoke-byNayland in Suffolk, previously thought to be a copy but recently confirmed as a work by the artist.

Above Constable’s painting of The Opening of

Waterloo Bridge, 1817, has returned to East Anglia, © National Trust Images, James Dobson

VALUE ADDED

Collectors who want to value their treasures for free can do so thanks to a new service at an online antiques platform.

The website www.antiques.co.uk is offering the resource for both private collectors and professional dealers.

Founder, Iain Brunt, said: “If you’re looking to sell, or just want to know how much an item is worth, we have a free online service that connects you with the most accurate experts.”

Collectors wanting to sell can list an item for £5 with no other fees.

Visit www.antiques.co.uk, or email iain@ antiques.co.uk for further information.

Below The valuation service is free to dealers and private collectors

A photograph of the Mexican artist Frida Kahlo (1907-1954) painting from her wheelchair in the final months of her life is one of 60 portraits of artists in their studios taken by Magnum photographers on show this month at a Warwickshire exhibition.

Magnum Photos: Where Ideas Are Born is on at Compton Verney until October 16, bringing together images of artists at work, including Pablo Picasso, Andy Warhol and Francis Bacon taken by more than 20 photographers from the world-renowned agency Magnum Photos was formed in 1947

by four pioneering photo journalists: Robert Capa, Henri Cartier-Bresson, George Rodger and David Seymour, the Polish photographer known as Chim.

Above Frida Kahlo (1907-1954) Mexico City,

Mexico, 1954, Werner Bischof / Magnum Photos

MAGIC ACT More than 500 items belonging to the German-born magicians Siegfried & Roy go under the hammer at Bonhams Los Angeles in June, with proceeds going to the duo’s animal conservation charity.

The pair amassed a large collection of jewellery, furniture, and decorative objects – ranging from Victorian clocks to Japanese bronzes, as well as Cartier necklaces and Breitling wristwatches, at their two Las Vegas homes, known as Jungle Palace and Little Bavaria.

Roy Horn died of covid complications in 2020, some 17 years after a career-ending injury when a 380lb tiger dragged him off stage in Las Vegas after biting him in the neck.

Siegfried Fischbacher died eight months later from pancreatic cancer, aged 81. At the time of Roy’s accident the naturalised Americans’ magic show was the most-visited show in Las Vegas.

Stage costumes from the famous duo are also up for sale in Los Angeles

Right An 18 carat Cartier

necklace with emerald and diamonds has an estimate of $60,000-$100,000 at the sale on June 8-9

Above Leopard Spot pattern Tiffany & Co. tea

service, has an estimate of $200-$300 in the same sale

BY THE BOOK The last Charlotte Brontë (1816-1855) miniature book known to be in private hands has been bought for $1.25m and returned to the Brontë Parsonage Museum in Haworth, Yorkshire, where it was originally written.

Measuring just 3.8 x 2.5in and written when Brontë was 13, the manuscript contains 10 poems and is one of her famous ‘little books’. Inch for inch it is possibly the most valuable literary manuscript ever sold.

Thrown on their own resources while growing up in a rural parsonage, Charlotte, Anne, Emily and Branwell Brontë came up with an imaginary world based on a nation called Angria and a city called Glasstown.

Right The miniature manuscript, entitled A Book of Ryhmes [sic] by

Charlotte Bronte, Sold by Nobody, and Printed by Herself

10 ANTIQUE COLLECTING

LETTERS Have your say

Your Letters This month’s postbag includes memories of a special royal event and more uses for a former coal scuttle

In reply to the letter from SJ Green concerning the bedside coalscuttle (Your Letters, April issue) I too have one. I bought it at an auction in Brigg, north Lincolnshire 30 years ago. It was described then as a purdonium.

It is definitely for coal and is complete with a removable metal lining. As you see from the photo, I use mine as a telephone table in my hall. It was very useful for storing telephone directories in the days when they were required. I hope this will be of interest to SJ Green.

Sue Fry, Gainsborough, Lincs., by email It was lovely to read an article on Mary Watts and the Compton Pottery (Partners in Thyme, May issue). I have been researching both for many years and, for the sake of accuracy, feel I should make the following points.

Mary Watts did not work for Liberty and would have been very annoyed by this inference. She was irritated by the inclusion of her pots with those of Archibald Knox in Liberty’s Book of Garden Ornament, and wrote on her copy, ‘Libertys [sic] Advertisement of his things under my name – 19 of Libertys [sic] 14 of mine’, marking her designs with ‘MSW’ and the others ‘Liberty’. I know of no contract between Mrs Watts and Liberty.

Although the initial classes for those modelling the decoration of Compton Cemetery Chapel were held in Limnerslease, the Compton Pottery was moved to purpose-designed buildings across the road and the pots were fired in a kiln built beside the coachman’s cottage at the foot of Limnerslease garden.

Louise Boreham, Fife (co-author, with Hilary Calvert, of Mary Seton Watts and the Compton Pottery, 2019)

Our star letter receives

a copy of British Designer Silver by John Andrew and Derek Styles worth £75. Write to us at Antique Collecting, Sandy Lane, Old Martlesham, Woodbridge, Suffolk, IP12 4SD or email magazine@ accartbooks.com

Above right Joyce inherited a Silver Jubilee teapot Left Sue’s purdonium

was used to house telephone directories rather than coal Below A Compton Pottery snake pot, c.

1900, image courtesy of Hill House Antiques

Star letter

I was particularly delighted to discover this month’s magazine was to be themed around the Platinum Jubilee. I have great memories of the Silver Jubilee, in 1977, when I was 12. We excitedly lined the bunting-filled streets of our East Anglian village to watch the Queen drive by. A few weeks later families got together for a garden party on the local recreation grounds (where I won a spoon in the three-legged race).

All the children were given commemorative mugs, which I soon smashed, but I later inherited the teapot (above) from my mother. I can’t imagine it is worth anything but, as they say on the Antiques Roadshow, “I would never part with it”.

Happy memories of a long-gone rural past.

Joyce Lewis, Bedfordshire

Answers to the quiz on page 46 Q1 Green. Q2 (b) His masterpiece is considered to be the 1927 Etoile du Nord in which he used perspective to emphasise the speed of the train.

Q3 (c) Painted glass containers for Kraft Cheese Spreads, which was popular during the American Depression. Q4 (b) It was the earliest form of flint-lock. Q5 (c) By 1888 they were producing toy boats, carts and Ferris wheels. In 1891 they produced the first model clockwork train. Q6 (d).

Q7 (a). Q8 (b). Q9 (d). Q10 (c) Due to the poor quality of post-war leather the balls burst in both matches.

The anagram corn stamen is rearranged to create monstrance, an ornamental vessel for holding consecrated wafers in church ceremonies.

Avoid tingle is rearranged to create dovetailing, the technique of joining two pieces of wood.

Acid tray isrearranged to form caryatid, a female figure motif used as a column and as a decoration on furniture.

Turtle left baby is rearranged to create butterfly table, a popular early 18th-century American drop-leaf furniture with outward slanting legs.

ANTIQUE COLLECTING 11

AUCTION Sales round up Noonans, Mayfair

The Celadon vase included a poem by the Qianlong Emperor

A hoard of 142 Roman silver coins unearthed by three metal-detectorists in a Wiltshire field sold for £81,160 at the London The auction house, (previously Romanknown as Dix Noonan Webb) on May 17. hoard was The hoard was buried around AD 410 unearthed over a when Emperor Honorius was recalled to weekend in Wiltshire Rome and Roman rule in Britain dwindled.

Noonans’ specialist, Nigel Mills, said: “As a result, Britain became a treasure island of late 4th century and early 5th century coins as the local population buried their valuables which then fell victim to Saxon raids.”

Adam Partridge, Macclesfield

AROUND the HOUSES

From a set of opium weigths to a tailless clockwork elephant, there has been much in recent sales to delight collectors Woolley and Wallis, Salisbury A rare, 18th-century celadon jade vase smashed its guide price of £10,000£20,000 selling for £250,000 at the Wiltshire auctioneer’s sale on May 17.

The Qianlong vase, which has the four-character Qianlong Yu Wan mark on the base, came with a 1963 receipt from Spink & Son for £1,100, stating it came from the collection of Queen Maria of Yugoslavia, granddaughter of Queen Victoria.

It was inscribed with a poem on its base, composed by the Qianlong Emperor, a passionate collector of antiques, translating as: “Modern designs are too vulgar to use, and so instead I have imitated an archaic style.”

12 ANTIQUE COLLECTING

The lot came with a receipt stating it once belonged to the Queen of Yugoslavia

A stoneware vase by Hans Coper (1920-1981), which was exhibited at the potter’s first one-man show in London in 1958, sold for £13,000 at the Cheshire auctioneer’s recent sale, beating its low presale estimate of £7,000.

A German Jew, Coper fled Germany for London in 1939 and, through a chance introduction, heard of a fellow refugee potter from Vienna who needed assistance in the production of ceramic buttons. So began the remarkable artistic partnership between Coper and Lucie Rie. Coper was given a solo exhibition by the gallerist Henry Rothschild The at Primavera, angular Sloane Street, vase appeared in Coper’s first in 1958, and its one-man show at success spurred Primavera future and fuller achievements.

Hansons, Etwell An antique medicine chest uncovered in Leicester, still containing potions for ailments 210 years later, sold for £360 at the Derbyshire auctioneer’s recent sale.

The pink velvet interior of the rosewood apothecary box, c.1810, housed Gregory powder (made from rhubarb and used as a laxative), Epsom salts, soda, magnesia and belladonna (taken as a sedative, or to stop whooping cough).

Two lead compartments also contained ancient pills from ‘Savory & Moore, Chemists To The King, Belgrave Square, London’.

The medicine box, c. 1810, was found in Leicester and included ancient pills

Lawrences, Crewkerne A pair of mid-18th-century redpainted Windsor armchairs, part of a suite, sold for £15,000 at the Somerset auctioneer’s recent sale.

The chairs, which were expected to make between £12,000-£15,000, had been made for John Perceval, 2nd Earl of Egmont (17111770) in about 1756, with a similar chair currently in the Victoria & Albert Museum. Other chairs from the suite have appeared at intervals, including another pair at Lawrences some years ago.

A similar polychrome Windsor chair is currently in the V&A

McTear’s, Glasgow A skeleton clock given as a retirement gift in 1880 sold for three times its low estimate at the Scottish auctioneers when it was snapped up for £9,000 at auction in Glasgow.

The clock Employees at Victorian shoemaker, was given in recognition of Clarks of Kilmarnock, gave the 74.5cm-high a much-loved clock to the company’s founder George Clark boss engraving it with the words ‘...in recognition of his untiring energy and as a mark of their esteem and regard for him as their Employer.’

The clock is powered by a three train, triple fusee driven movement with quarter-striking on eight bells and hour-striking on a coil. It has a repeater mechanism with Roman numerals, lacquered brass case and a time-compensating mercury bob.

Sworders, Stansted Mountfitchet Am 8cm-tall, 900-year-old bronze figure of a Buddhist deity, expected to make £400-£500, sold for a “shell-shocking” £273,000 at the Essex auction house’s Asian art sale on May 13. The diminutive piece, which depicts the four-faced, eightarmed goddess Amoghapasa (wisdom giver) was found in the bottom of a box of miscellaneous metalware by Sworders’ specialist, Yexue Li. The figure, made by the cire perdue (lost wax) casting process, dates towards the end of the Pala dynasty, which flourished from the 8th-12th century in far northeastern India. It is among the highest prices ever paid at auction for a Pala bronze.

Lyon & Turnbull, Online

The mid-century Danish chair beat its pre-sale estimate

A mid-century teak and rattan chair by the Danish designer Finn Juhl (1912-1989) sold for more than three times its low estimate when it fetched £6,875 in an online sale at the auctioneer’s London saleroom.

It was designed in 1956 for the Danish maker Søren Willadsen, with which Juhl started his collaboration in 1949 creating a total of 15 designs.

Meanwhile, a pair of ‘Bird’ pattern curtains by William Morris (1834-1896) fetched £7,500, seven times its low estimate William of £1,000, at an Morris designed online auction at the pattern for the auctioneer’s Morris & Co. in 1884 Edinburgh HQ.

Olympia Auctions, London Six 12th-century Burmese opium weights, depicting folklore animals, sold for £4,000 at the west London auction house, against a pre-sale guide of £300-£400.

Such pieces would have been used with balance scales in early commerce, sizes most commonly ranging in weight from ½ to 100 ticals (3.5lbs). Animal motfs were prevalent in Burmese mythology and religion, with weights, The opium loom pulleys, textiles and household items weights are commonly decorated with animal forms. decorated with However, some debate exists, given their size, images from Burmese whether the weights were, in fact, used to weigh folklore the narcotic.

The bronze figure was discovered at the bottom of a box of metalware

ANTIQUE COLLECTING 13

AUCTION Sales round up Bishop & Miller, Stowmarket A late 17th-century olivewood cabinet-onstand, c. 1675-1690, sold for £30,000 at the Suffolk auctioneer’s oak sale on May 25.

The oyster-veneered piece came from the celebrated Edward V. Phillips collection, as illustated in Country Life on June 3, 1982. It was presented with a receipt from ‘Trevor of Lewes’ dated the same year. Inside, 11 drawers The twoday sale helped surround a central door put the Suffolk which opens to reveal auction house on three further drawers. the map of oak A table with a similar spiral and ball leg specialists design exists in the furniture collection at Beningbrough Hall, North Yorkshire.

Having welcomed Bonhams’ former oak expert David Houlston as a consultant, the auction house is establishing itself as one of the country’s leading specialists in the field.

Oliver Miller said: “Safe to say, the recent two-day oak auction was the best auction we have had and I think is now putting us up there as the oak auctioneers in the country – with some really great results on some absolutely wonderful pieces.”

Vectis, Stocktonon-Tees A toyshop promotional display sold for £15,600 at the North Yorkshire auction house’s recent sale – three times its low Moko estimate.

Lesney The ‘Star Wars produced early Return of the Jedi’ display, which depicts the die-cast toys battle scene on Endor, had been on show under the at a Teeside shop, and was hand-built by NJ "Matchbox" name Farmers Associates Ltd for Palitoy in the early ’80s to promote the film.

Vectis specialist, Nick Dykes, said: “These large toy displays are fondly remembered by so many children, bringing back so many memories.”

At another sale an early Matchbox Moko Lesney tinplate clockwork elephant, The high price reflects who had lost its tail, beat its pre-sale the power of expectation of £300 to sell for £2,160. nostalgia surrounding the famous franchise

Dreweatts, Maidstone The Chinese Imperial blue-glazed ‘Bat and Crane’ vase, which appeared on the cover of last month’s magazine, estimated to make £100,000-£150,000, sold for a cool £1.5m at the Berkshire auctioneer’s May 18 sale. Created in the 18th century for the court of the Qianlong Emperor, the vase was bought for a few hundred pounds in the 1980s and found in a kitchen, with its owner not realising its true value.

Setting a house record for the auctioneers, the 2ft-tall vase bears the distinctive sixcharacter mark of the Qianlong period (1736-1795) on its base. Its extremely rare enamelling techniques, using gold and silver against a vivid blue ground, helped push up the price. Such a vase would have required at least three firings.

The cover star of last month’s magazine turned out to be a saleroom star

14 ANTIQUE COLLECTING

Catherine Southon, Farleigh

The candlestick was given to John Brown by Queen Victoria in 1871

A late 17th-century yellow gold and enamel-decorated locket, c. 1690, sold for £4,000, against an estimate of £500-£800, at the auctioneer’s Surrey saleroom.

The locket, which was discovered in a suitcase full of pieces, came with a lozenge inscribed ‘There is no sting in sweets I bring’.

At the same sale a silver candlestick believed to have been given by Queen Victoria to her personal attendant and court favourite John Brown (1826-1883) sold for £3,800, eclipsing its pre-sale guide price of £800-£1,200.

The candlestick The was engraved 17th-century ‘From V R locket was Xmas 1871’, and discovered in a initialled J.B.’ suitcase full of trinkets

Fine Art Auctioneers & Valuers

NEXT AUCTION Tuesday 19 & Wednesday 20 July Fine Art & Antiques

PRINKNASH ABBEY PARK GLOUCESTERSHIRE GL4 8EU

www.chorleys.com

01452 344499 | enquiries@chorleys.com

EXPERT COMMENT David Harvey the room to get the best light rather than adjusting one’s chair.

Chairs with book stands were mentioned in Thomas Sheraton’s 1803 Cabinet Dictionary as: “…intended to make the exercise of reading easy and for the convenience of taking down a note or quotation from any subject.”

It is, however, Ackermann’s Repository of Arts, Literature, Commerce, Manufactures, Fashions and Politics that tells us who made this chair. The periodical was published monthly from 1809 to 1828 and included hand-coloured plates of interiors, furniture and the decorative arts – a Regency equivalent of today’s World of Interiors magazine. Plate 19, below, published in September 1810, gives the true provenance of our library chair.

Sales pitch If the journal reader could not understand how it worked, the editorial goes on to describe the functions thus: “Gentlemen either sit across with the face towards the desk, contrived for reading, writing &c. and which, by a rising rack, can be elevated at pleasure; or, when its occupier is tired of the first position, it is with the greatest ease turned round in a brass grove, to either one side or the other; in which case, the gentleman sits sideways. The circling arms in either way form a pleasant easy back, and also in every direction, supports for the arms. As a proof of their real comfort and convenience, they are now in great sale at the warerooms of the inventors, Messrs. Morgan and Sanders, Catherine-street, Strand.”

Shedding light

Waxing lyrical David Harvey sheds light on an ingenious Regency period library chair designed to make reading easier

E

ven as a child, I was fascinated by the ingenuity of our cabinetmakers who produced pieces of metamorphic furniture to solve everyday problems. When I first saw this chair it sparked all sorts of memories of years gone by. I must have handled half a dozen of them over the past 50 years – each being very similar, with differences only in their finish and decoration.

Imagine living in a Regency home with a library where you would read and write for both education and pleasure – all in an age long before electric lighting. In those days you would have been reliant on daylight and candlelight to pursue your pastime. So consider just how annoying it would have been to follow the sun around

16 ANTIQUE COLLECTING

Above A library reading

chair by Morgan and Sanders Above right A mention

in the prestigious magazine guaranteed popularity among the cognoscenti Right The chair was

deftly articulated to allow the sitter to maximise the light

Not only was the library chair fitted with articulated brass candle holders, to give light on whatever one was reading at night, it also has a pull-out, ink-and-pen drawer on each side of the book stand, under the adjustable book rack, which doubles as a writing surface when horizontal.

The arcade to the back splat and the arm supports give it a strong Gothic feel. One could, of course, always use it as a conventional chair – assisted by the fact that the reading flap can be lowered out of sight completely.

Left The stand could be

tucked neatly away when not in use Right Morgan and

Sanders’s advertisement showcases the breadth of its designs Below right As attractive

when viewed from the back, the chair was the ultimate piece of portable furniture Below left The 1809 edition of Ackermann’s Repository of Arts, Literature, Commerce, Manufactures, Fashions and Politics shows a room in Morgan and Sanders’s showrooms

Morgan and Sanders Thanks to Ackermann’s editorial we know that the chair was designed by Morgan and Sanders, and we are fortunate in that a lot is known about this illustrious firm which flourished from 1801 to just 1822.

It was certainly an important company employing more than a hundred staff at its Catherine Street premises in 1809 and 10 times as many in other parts of London.

Its speciality was patent and export furniture and it even furnished Nelson’s cabin on HMS Victory before winning a commission to furnish his house at Merton just before he was killed.

To give an idea of the scale of this undertaking, Ackermann published an engraving of one of the many showrooms Morgan and Sanders had in the August 1809 edition. The weighed anchor on the far right of the picture below is no accident, as was the naming of the premises “Trafalgar House” after their deceased patron.

As well as being premier furniture manufacturers, Morgan and Sanders was also able to bring together feats of engineering with upholstery, leather working and even curtain making, Some 20 years ago a friend and colleague of mine showed this chair at an important New York antiques fair where it caused quite a stir. In this summer of the Platinum Jubilee, isn’t it nice to have this piece of very special history safely back in Great Britain?

Fuelling the Industrial Revolution

While Morgan and Sanders’s skills are more than apparent in this outstanding chair, the firm would also have come up with a number of other designs for more commerical or middle-of-the-road clients.

There are a number of “patent” extending dining tables in existence which were known to have been made by Morgan and Sanders, many of which are evident from this broadsheet advertisement dating from 1810.

It clearly shows many of the ingenious traits which were to fuel the upcoming Industrial Revolution during which people of different skills came together to design and build the products which filled the great exhibitions of the day, and went on to fund some of our most important museums and collections.

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

‘Morgan and Sanders was a premier furniture manufacturer able to bring together the talents of cabinetmaking with that of engineering, upholstery, leather working and even curtain making’ ANTIQUE COLLECTING 17

THE EXPERT COLLECTOR Reginal portraits

Reigns on Parade

Just how the monarchy is portrayed has fascinated royal watchers and collectors for centuries. Andrew Graham-Dixon looks back on Tudor sovereigns to the present day

T

he history of the British monarchy suggests that women have a particular aptitude for ruling the waves – and, indeed, for waiving the rules.

There have been relatively few regnant queens, hardly surprising given that the laws of primogeniture are stacked in favour of men, but their collective record is outstanding. Think of Queen Elizabeth I, of Queen Victoria, of our present monarch, Queen Elizabeth II: all of them long-lived, popular with their subjects (most of the time) and enviably adept at plotting a course through the fraught political landscape of their times.

18 ANTIQUE COLLECTING

Every successful monarch needs to manage the royal image, since it is largely through their images that rulers have been able to shape public perceptions and influence the judgements of posterity. And in this, too, the prominent queens have excelled greatly. This is partly so, perhaps, because of the intrinsic difficulty of being a woman in a traditionally male role.

It could be argued that regnant queens have been so adroit and innovative in developing the symbolism of power – not just through portraits, but through costume, ceremony, seals and many other media – because they have had no alternative. The royal image has been one of their main weapons against the historic chauvinistic preconception that queens must be weaker than kings, because women are the supposedly the weaker sex.

Virgin Queen

Above Elizabeth I (1533-1603), The Armada Portrait, © From the Woburn Abbey Collection

Few rulers have used the propagandistic power of art as effectively as Elizabeth I. Well schooled in the classics, she understood the way in which ancient myths could be used to bolster the monarchy. The imagery of her court is full of classical allusions: a labyrinth of allegories, codes and emblems, at the centre of which, awaiting discovery, is always the same one image, namely that of Elizabeth herself, whose favoured alter-ego was Astraea, the Virgin

Left Marcus Gheeraerts

the Younger (b. 1561 – ) Queen Elizabeth I (‘The Ditchley portrait’) c. 1592

Standard issue

Right Nicholas Hilliard

In 1586, Elizabeth I commissioned a bold alternative from her court painter, Nicholas Hilliard (1547-1619), which bore her own image, wreathed in Tudor roses and clothed in a dress and ruff similar to that which she would don for the Tilbury troops and The Armada Portrait two years later.

Not only did Elizabeth ensure that her own image proliferated everywhere at court – even encouraging her male courtiers to wear miniatures of her close to their hearts (making them her platonic lover) – she rigorously controlled the ways in which that image was created and presented.

No paintings or drawings of her could be circulated without her prior knowledge, and in the images which she did approve she was frozen at the same relatively young age.

(1547-1619), Portrait of Elizabeth I, 1586-1587 Below right Chris

Levine (b.1960) Lightness of Being, Lenticular Lightbox, 2004

Queen. Vestiges of such symbolism still persist in unlikely places, such as the American state of Virginia, colonised by Sir Walter Raleigh and named in deference to his queen.

The daunting example of her father, Henry VIII, both as patron of Holbein and as a master of public pageantry, helped Elizabeth I to understand the ways in which the imagery of power might also help a monarch hold on to it.

She had an instinctive grasp not only of how to present herself, but when to do so, to maximum effect. In the summer of 1588, on the eve of the attempted invasion of England by the Spanish Armada, she made a personal appearance on horseback before 17,000 English troops deployed at Tilbury. Somehow managing to remain in the saddle while dressed in a hooped construction of jewelencrusted silks and damasks, her neck encircled by an elaborate ruff and arrayed with pearls in her hair, she must have seemed to the men gathered before her more vision than flesh-and-blood.

The speech she made that day – prototype for those made by Winston Churchill during WWII – has been remembered as the most famous of her reign:

“Let tyrants fear... I am come amongst you, as you see, at this time, not for my recreation and disport, but being resolved, in the midst and the heat of the battle, to live or die amongst you all, to lay down my life for my God and for my kingdom and for my people, my honour, and my blood, even in the dust. I know I have the body of a weak and feeble woman, but I have the heart and stomach of a king, and a king of England too...”

The Armada Portrait In The Armada Portrait, commissioned later that year to mark victory over Spain, Elizabeth I is probably shown in the same costume she had worn to address her troops.

‘The daunting example of her father, Henry VIII, both as patron of Holbein and as a master of public pageantry, helped Elizabeth I to understand the ways in which the imagery of power might also help a monarch hold on to it. She had an instinctive grasp not only of how to present herself, but when to do so, to maximum effect’ ANTIQUE COLLECTING 19

THE EXPERT COLLECTOR Reginal portraits Left Andy Warhol

(1928-1987) Reigning Queens, 1985, Private Collection Below Sir Godfrey Kneller,(1646-1723) Queen Anne Presenting the Plans of Blenheim to Military Merit, 1708.

Reproduced with kind permission of his Grace the Duke of Marlborough, Blenheim Palace

Wearing pearls in her hair, multiple pearl necklaces and with yet more pearls embroidered with gold thread into the rich fabric of her sleeves, her hands and face are all that can be seen of her body. Her left hand rests on her thigh, her right on the globe, protecting England and its empire. Beside her rests the crown.

The room in which we find her would seem airless were it not for two glimpses of the outside world disclosed by open curtains. Through one window we see the English fleet, advancing implacably across calm seas and under sunny skies; through the other, Spanish ships scattered by storms and dashed against rocks. Elizabeth wears an expression of utter impassivity, shot through with steely resolve. In the universe of the painting she is the sun, the unmoved mover: a queen as powerful as any king, because she has God on her side.

To emphasise her special relationship with God, the painter has been bold enough to paint her in a pose very close to that of Christ the Judge in paintings of the Last Judgement. Her left hand is down, as if to condemn the Spanish (who sink and flounder on the same, sinister side) to damnation; her right hand is raised, as if to bless England and the English for all eternity.

20 ANTIQUE COLLECTING

Dialling down Later regnant queens of England (and the British Isles) took an understandably more cautious approach to the creation and dissemination of their own royal images.

Mary II, who was co-monarch with her husband, William III of Orange, did not live long, but those portraits of her that do survive – by Jan van de Vaart, for example – show that she had a far less exalted sense of herself than Elizabeth I; in fact, were it not for the ermine, the sceptre held so loosely between first and second finger, and the lurking crown, it might be thought she were a courtier rather than the queen herself.

Similarly, in Kneller’s depiction of her sister Anne presenting the plans of Blenheim to military Merit, the queen is portrayed not as an omnipotent ruler, but as a benevolent figurehead endowing the spoils of victory and distributing a cornucopia of riches amongst her people. As the first monarch of a sovereign Great Britain following the Acts of Union of 1707, Anne’s reign brought peace and stability to the British Isles, not through autocratic decree but by democratic consent.

‘Were it not for the ermine, it might be thought she were a courtier rather than the queen ’herself’

Broad shouldered Below her waist, dead centre, where Henry had worn that extravagant codpiece, we find a single very large dangling pearl, made all the more prominent by an x-marks-thespot ribbon of silk tying it into place. The pearl stands for purity and therefore virginity, proudly displayed.

What might in normal circumstances have been regarded as a weakness in a monarch – the lack of an heir – has been transformed into an advantage, through

the alchemy of art. Flaunting her virginity was Elizabeth’s way of reinforcing her subjects’ impression that she might live in this world but remained essentially above it.

The cult of her purity takes on another meaning besides in The Armada Portrait, encapsulated in that detail of the pearl at her groin: just as she has guarded her virginity, so too has she preserved Protestant England against violation by Catholic Spain.

Right Jan van der Vaart, c. 1692-1694. Queen Mary II (1662-1694)

Queen Victoria Queen Victoria came to the throne when the powers of the monarchy had been further diminished by the beginnings of parliamentary democracy.

In Europe’s era of revolutions, she realised what she needed to be, above all, was popular and she developed a series of strategies to make herself so. After marrying Albert and, as a mother, she cultivated a different but equally unthreatening image of queendom.

The polar opposite of Elizabeth I’s Virgin Queen, remote and aloof, Victoria became the quintessential figure of the loving wife and doting mother, the incarnation of Victorian family values. Edwin Landseer’s portrait shows a thoroughly domesticated queen, greeting Albert on his return from the shoot, tellingly entitled Windsor Castle in Modern Times.

Through the dark years of her widowhood Victoria shape-shifted again with the most memorable images being sculptures, such as the statue of her created by Sir Edgar Boehm in 1887, to mark her Golden Jubilee. Seen from the back, she appears more as shape than person, from the front she resembles the figurehead of an invisible vessel, as if to suggest that the ship of state would still be guided by her, even after death.

Above Edwin Landseer

(1802–1873) Windsor Castle in Modern Times, 1840-1843

Queen Elizabeth II The challenge facing any modern king or queen is not alienating their public. But they also need to assert their apartness, their sense of belonging to a world unlike

‘The challenge facing any modern king or queen is running the risk of alienating their public but they also need to assert their apartness’

that in which ordinary people live, or they will lose that aura of uniqueness which is their birth right and key to survival.

The problem has been compounded by the mass media’s appetite for multiplication. Put bluntly, there are far more famous people than ever before sparking a mind-boggling number of pictures.

This may have been part of Andy Warhol’s point when he created his well-known silkscreen image of the Queen. Its effect was the opposite of that aimed for by most royal portraiture. It placed her fame on a par with that of all the other famous people – the Marilyns, the Elvises, even the Chairman Maos – to whom he had accorded the same treatment.

Advancing years Chris Levine’s Queen Elizabeth II: Lightness of Being, a photograph of Her Majesty suspended spectrally within the frame of a lightbox, proposes an impressive solution to the problem. She is poignantly present, shown in the frailty of her advancing age (the original picture was taken in 2007), with every crease and wrinkle of her face caught by the camera.

But she is also not quite there. Her body is a blur of pulsing grey, and she has been abstracted by the details of her costume – to something nearer an emblem than a human being. This is perhaps as close as Elizabeth II has ever come, in her royal imagery, to that of Elizabeth I: impassive, withheld, the unmoved mover.

Andrew Graham-Dixon is an art historian, broadcaster and author. The exhibition Power & Image: Royal Portraiture and Iconography is on view at Sotheby’s New Bond Street until June 15.

ANTIQUE COLLECTING 21

THE EXPERT COLLECTOR Reginal portraits Left Dorothy Wilding,

Her Majesty Queen Elizabeth II, 26 February 1952, Royal Collection Trust / © Her Majesty Queen Elizabeth II 2022 Below 1953 Royal Mint sovereign, portrait by Mary Gillick, image courtesy of the Royal Mint

WOMEN behind the COINS To many of her subjects one of the most enduring images of the present Queen comes from a photograph taken on February 26, 1953, just 20 days after the 26-year-old sovereign ascended to the throne.

On that day some 60 portraits were taken by the royal photographer Dorothy Wilding (1893-1976), which were used on postage stamps until 1971, and on coins from 1953 to decimalisation.

A few weeks after Wilding’s shoot, the photographs were sent to another woman, the 71-year-old sculptor and medallist, Mary Gillick (1881-1965). Gillick had beaten 17 other artists to be awarded the prestigious commission by The Royal Mint Advisory Committee (RMAC) to design the portrait that would appear on the new coinage.

Gillick’s depiction of the young monarch was light and fresh, unencumbered by a crown. Instead she is wearing a laurel wreath in the classical style. Gillick avoided using a couped portrait, where the bust is cut off by the neck, which was the norm for coins issued earlier in the century, opting instead to include the shoulders and décolletage.

22 ANTIQUE COLLECTING

Later portrayals

Designed by artist, Arnold Machin, the second definitive UK coin portrait exudes elegance. It was released with the introduction of the new five and ten pence decimalisation coins in 1968. The bust displays the Queen wearing the Girls of Great Britain and Ireland tiara – a wedding gift to the Queen from her grandmother Queen Mary in 1947. The Queen’s hair is loosely waved and fabric is draped around her shoulders. The portrait was used on coins until 1984.

The third portrait came from the sculptor Raphael Maklouf in 1985 and shows a traditional couped bust. The Girls of Great Britain and Ireland tiara has been replaced by the King George IV State Diadem, which is worn by the Queen for the annual State Opening of Parliament.

The fourth portrait, in 1998, by sculptor Ian RankBroadley, shows the Queen in her later years with a greater degree of realism, once again wearing the Girls of Great Britain and Ireland tiara. The fifth, in 2015, by Jody Clark, depicts the 88-year-old monarch in the King George IV State Diadem and Diamond Jubilee pearl earrings. Her chin is slightly lifted and the neck in an elegant, sweeping curve.

Portraits of the Queen by Dorothy Wilding are on display with jewellery worn at the sittings at the exhibition Platinum Jubilee: The Queen’s Accession at Buckingham Palace from July 22 to October 2. An exhibition of Mary Gillick’s designs for the first coins can be seen at the British Museum until July 31, the exhibition is accompanied by a book on the sculptor

by Philip Attwood, published by Spink Books.

Princely intervention

In the process of refining her submission for striking, Gillick was guided by the RMAC, of which Prince Philip was president. In this role, and as husband, the Prince queried Gillick’s depiction of the length of his young wife’s neck and the curve delineated.

Gillick later wrote: “At first I made the neck rather straight in the proud manner of a queen. The Queen, however, has a very beautiful neck and before the end of the sitting the Duke of Edinburgh came in and

suggested it should be inclined more gently. I agreed that this was an improvement.”

In the final coin, the Queen’s portrait sits within a continuous inscription, harking back to the coins of Elizabeth I. While youthful, the depiction gave the Queen a dignified presence, seeming to sum up post-WWII optimism. It was received with great praise from the public.

Right Mary Gillick

with the bust of Queen Elizabeth II. Reproduced by permission of the artist, © The Trustees of the British Museum

REMARKABLE  ROOMS June 2022

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COLLECTING GUIDES Tea chests and caddies

TIME for TEA

Nothing sums up the British way of life like a cup of tea. Author Gillian Walkling reveals how the 18th-century Midlands was central to the manufacture of tea chests and caddies

W

hen Samuel Pepys wrote in his diary on September 25, 1660: ‘I did send for a Cupp of Tee (a China drink) of which I had never drunk before’, he could not have imagined that this simple infusion of leaves in hot water would one day become Britain’s national beverage and would be consumed on a daily basis in households throughout society. The number of community tea parties organised to celebrate the Queen’s Platinum Jubilee is testimony to both its ‘Britishness’ and its enduring popularity.

It is often said that Catherine of Braganza was responsible for introducing tea to Britain when she married Charles II in 1662, but this is not so. It was first

24 ANTIQUE COLLECTING

Above A mahogany tea

chest containing two silver tea canisters and a larger sugar canister, the canisters marked for William Vincent, London, 1768. Mark Goodger Antiques, Northamptonshire

advertised for sale – as a medicinal drink – in a London coffee house in 1658. Nevertheless, by drinking tea at Court, the queen undoubtedly encouraged the habit, and tea-drinking very quickly became a social phenomenon.

The brewing of the tea evolved into a ritual, for which various accessories – most importantly Chinese porcelain teawares – were considered essential.

Expensive brew Initially, tea was extremely expensive, having been brought all the way from China on East India Company ships and then subjected to a high import duty. It was soon apparent that a designated container was needed for its domestic storage, partly to keep it fresh and partly to protect it from the hands of pilfering servants.

Before long, pairs of silver or tinplate flask-shaped tea canisters – one for green and one for black tea – were being made, and similarly shaped porcelain canisters were being imported from China. In the early 18th century, these canisters were sometimes accompanied by a container for sugar, and the items were placed in a lockable ‘tea-box’ or ‘tea chest’.

Tea chests, like the one above, were made in this format throughout the 18th and 19th centuries, although in about 1780 the sugar container was generally replaced by a glass sugar bowl. (Note that these bowls are not for mixing tea leaves, as is often stated.)

The popularity of the tea chest was challenged in the late 1760s by the tea ‘caddy’, a box with one or two fixed

interior tea compartments with removable lids. Caddies were smaller than chests, and a favourite with ladies.

Many were sold as gifts or souvenirs. Today, both chests and canisters are often incorrectly referred to as ‘caddies’.

Heart of England Being a great status symbol for their owners, tea chests and caddies were considered important pieces of furniture, with both Thomas Chippendale and George Hepplewhite including designs for them in their celebrated pattern books.

The largest number were constructed wholly of wood and were made by cabinetmakers, the most fashionable of whom were based in London. However, during the second half of the 18th century, the Industrial Revolution taking place in England’s Midlands resulted in the emergence of a range of tea containers with a very different appearance, produced by craftsmen using some exciting new, or improved, techniques and materials.

At the centre of these developments was Birmingham, a town already famous for its metalwares and its production of small luxury items known as ‘toys’. One of the first techniques to be exploited (but not invented) there was japanning – a process simulating Oriental lacquerwork. It involved the application of varnishes and painting and gilding, all interspersed with stoving (baking in an oven). Japanning was first applied to tinplate, and later to papier mâché too.

Initially, the metal pieces were quite sophisticated – some chests housed silver canisters – but competition from the flourishing papier mâché market gradually resulted in the metal japanners’ focus turning towards slightly less glamorous pieces (below), and eventually to cheaper, more utilitarian goods.

Above Johan Zoffany

(1733-1819) John, 14th Lord Willoughby de Broke, and His Family in the breakfast room at Compton Verney, Warwickshire, c. 1766.

On the table are Chinese painted porcelain teawares and a plate of buttered toast, and nearby is a handsome silver tea urn on a stand.

Digital image courtesy of the Getty’s Open Content Program Left A japanned tinplate tea chest, c. 1760, painted with naturalistic flowers and containing two tinplate tea canisters and a sugar box. Private collection Below right A papier

Henry Clay The outstanding 18th-century exponent of japanned papier mâché in Birmingham was Henry Clay, who patented an improved way of making ‘paper-ware’ in 1772. The method involved pasting and layering together sheets of specially-made paper, and then stoving them to make large laminated sheets.

Although widely used for making coach panels, Clay found that the sheets were hard enough to work in a similar manner to wood, and also had a smooth surface suitable for japanning in the same way as metal; both of these features were ideal for producing boxes such as chests and caddies.

The process was adapted to make the oval caddies that were especially popular in the 1780s and 1790s by wrapping the pasted paper around an oval wooden form before the stoving. Clay’s very wide range of papier mâché products were extremely high-quality, with some superb painted decoration, and large numbers of finelydecorated oval caddies were included in his repertoire.

mâché tea caddy, c. 1785, with gilded decoration of flowers and vines. Private collection

‘The popularity of the tea chest was challenged in the late 1760s by the tea ‘caddy’, a box with one or two fixed interior tea compartments with removable lids. Caddies were smaller and lighter than chests, and were a particular favourite with ladies’ ANTIQUE COLLECTING 25

COLLECTING GUIDES Tea chests and caddies Left An ivory tea caddy,

c. 1780-1790, with tortoiseshell stringing, an engraved gold shield, and gold and mother-ofpearl piqué work. Private collection Below right An enamel

tea chest with gilt-metal mounts, c. 1765-1770, painted with coloured enamel and gilding.

Private collection Below left A tortoiseshell tea caddy, c. 1780-1790, with ivory stringing, a gold shield for initials, and mother-of-pearl piqué work. Private collection

Ivory veneer Birmingham was particularly well known for its workers in ivory, tortoiseshell, and mother-of-pearl, and it was not unusual for individual workshops to employ craftsmen to work with all three materials.

Despite the importation of ivory tea chests from China and India, it seems that ivory was not employed to make them in Britain. It was, however, used extensively during the 1780s and 1790s to veneer small caddies. These were mostly octagonal in shape, with tented or flat lids and some form of decoration on the front, either a plaque for initials, a framed medallion, or a jasper cameo. Their edges were usually strung with contrasting tortoiseshell. Many had additional decoration of mother-of-pearl and silver or gold piqué work.

Below A mother-of-pearl tea caddy, c. 1780-90, with tortoiseshell stringing and a gold-framed painted plaque. Fine Antique Boxes (Tony and the late June Stone)

Enamel caddies Birmingham was also home to some accomplished enamellers, as were nearby Wednesbury and Bilston. The basic technique of enamelling involves fusing a coloured glass to a metal base through firing, and then painting the resulting plain surface with finely powdered glass, coloured by the addition of metal oxides; each colour requires a separate firing, during which the colour is liable to change, thereby requiring a high level of skill.

Some superb enamel tea chests fitted with matching canisters were painted in this way during the 1760s and 1770s. Although enamelling was by no means a new technique, it was 18th-century Midlands craftsmen who mastered the technique of transfer-printing, thereby simplifying the decorating process. Single-coloured transfer-printed canisters can be found in chests with matching decoration, as well as in some fine examples made of gilt-metal, framing panels of aventurine glass or papier mâché. Surprisingly, enamel caddies are uncommon; those that do appear tend to be oval in shape with raised lids fitted with a gilt-metal handle.

Tortoiseshell designs Similar caddies were veneered with tortoiseshell (actually turtle shell), with ivory stringing. Being a pliable material when heated, tortoiseshell was often pressed into moulds to create patterns in its surface. Paint or coloured foil was sometimes used as a backing to alter or enhance its colour.

Much more difficult to work with, and generally only available in much smaller pieces, was mother-of-pearl, although some exceptional chests with sizable carved pearl panels were imported from China. While similar to their ivory and tortoiseshell counterparts, mother-of-pearl caddies are relatively rare.

26 ANTIQUE COLLECTING

Ceramic canisters Transfer-printing is much more often seen on tea canisters produced at the Staffordshire potteries.

Ceramic canisters are something of an anomaly, as they seem to have been designed to be free-standing and have no lock; no British examples fitted in a chest have been found. However, earthenware and stoneware canisters, with various glazes and forms of decoration, were made in great quantities. Many were press- or relief-moulded, while others were painted with coloured enamels, or decorated with prints. Some had additional gilding. The majority were of basic flask shape, but square-based, cylindrical and vase-shaped examples were also made. The most successful Staffordshire potter was undoubtedly Josiah Wedgwood, whose experiments with new bodies and glazes lead to the production of fine and sophisticated pottery capable of rivalling the new British porcelain wares being made elsewhere.

Most successful, and widely imitated by others, were his cream-coloured ‘Queen’s Ware’ (creamware), perfected in 1763, and his ‘Pearl White’ (pearlware), launched in 1779. The latter had a smooth white finish very similar to that of Chinese porcelain, and pearlware tea canisters often have blue-and-white Chinese-style decoration.

Left A creamware

tea canister by Josiah Wedgwood, c. 1770-1775, transfer-printed with The Tea Drinkers, a version of the engraver Robert Hancock’s designs for the Worcester porcelain factory entitled The Tea Party. The Metropolitan Museum of Art Right A family taking

tea, unknown artist, 18th century Below left A pair of opaque-white glass tea canisters, c. 1755-1760, with gilt-metal and enamel lids, and coldpainted decoration.

Private collection

Glass canisters Last but not least of the Midlands-made tea containers are those made of glass. There had been glassmakers in the Stour Valley – an area rich in the essential raw materials – since the 16th century, and other businesses were subsequently established in Birmingham, Wolverhampton, and Dudley.

It was in Dudley and Stourbridge that glass makers first began experimenting with steam-driven glass-cutting lathes in the 1790s. Unfortunately, as glass was hardly ever marked by its makers, and as most factories were producing very similar items, it is almost impossible to attribute individual pieces firmly to any specific area, but it is likely that some of the many and various glass tea canisters, chests, caddies and sugar bowls that came onto the market were made in the Midlands factories.

Some pairs of opaque-white glass canisters, with enamelled decoration and gilt-metal enamel cap lids are attributed to the area, as are some very fine gilt-metal chests with panels of aventurine glass.

The canisters, chests and caddies described here represent only a fraction of the vast range of tea containers made between about 1670 and 1900. Wooden examples are almost infinite in their variety of shapes and styles, and huge numbers were made in silver, Old Sheffield plate and pewter. Many wooden pieces were finished with japanned decoration, others with penwork or rolled paper, and distinctive souvenir caddies were produced in Tunbridge

Below right A wooden-

framed caddy, c. 1790, with plain rolled paper decoration over red coloured foil, and a painted ivory plaque.

The recessed panels are covered by protective glass. Fine Antique Boxes (Tony and the late June Stone)

Collecting guide For the collector there are countless opportunities, with examples to suit all pockets.

However, there are caveats. Although their owners held them in high esteem, during their lifetime caddies will have been well-used, and many are no longer in prime condition.

Over the years there were conventions for handles, hinges, feet, escutcheons, interior linings etc., so make sure you know what to expect. Look out for replacement hinges and locks, and for repairs to veneers or other surface decoration. Restoration, even when done well, will affect value.

Be aware also of very convincing fakes, especially in ivory, tortoiseshell and enamel caddies. If buying on the internet, check all the details and, if spending a large sum, consult an expert in the field before making your purchase.

Wells, and in Mauchline and its environs in Scotland.

Napoleonic prisoners-of-war carved caddies in bone or covered them with straw work, while ladies decorated them with feathers or shells. Some were constructed of wood from Shakespeare’s mulberry tree or Nelson’s flagship, and numerous pieces were made in the forms of fruits, houses, books or coal scuttles. Drawers containing canisters were fitted in tables and chests of drawers, and in the 19th century teapoys proliferated.

The Story of British Tea Chests and Caddies: Social History and Decorative Techniques. General Editors: Anne Stevens, Kate Richenburg and Gillian Walkling is published by ACC Art Books priced £55. Subscribers can save £19.25 on the cover price, see page 61 for details.

ANTIQUE COLLECTING 27

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ANTIQUE COLLECTING 29

ANTIQUES UNDER THE HAMMER in June/July

SALEROOM SPOTLIGHT

Ever wondered what really inspired some of the 20th-century’s literary giants? An auction of 89 first-edition books and works of art annotated by their authors gives a wonderful insight

F

rom Mark Haddon’s agent unknowingly lending his name to the rat in The Curious Incident of the Dog in the Night-Time, to a rant by John le Carre’s housemaster being used in The Spy Who Came in from the Cold, the reason writers write what they do largely remains a mystery. But there is a wonderful opportunity for collectors and fiction aficionados to gain a unique insight into the minds of some of the 20th-century’s finest authors this month when 89 first-edition books and works of art annotated by their authors go up for sale.

Notes include Margaret Atwood explaining the politics behind The Handmaid’s Tale and Salman Rushdie discussing how Midnight’s Children changed his life, with Quentin Blake providing an original drawing of the BFG. The annotations, in some cases totalling over 4,000 words, lift the curtain on the authors’ minds like nothing else.

Below John le Carré, (1931-2020).

The Spy Who Came in from the Cold. First edition, London: Victor Gollancz, 1963

Top Some 89 first editions annotated by their authors go under the hammer this summer with estimates starting at £1,000

Below Hilary Mantel, Bring Up the Bodies. First edition, London: Fourth Estate, 2012

Above Mark Haddon, The

Curious Incident of the Dog in the Night-Time. First edition, London: Jonathan Cape, 2003

In most cases the annotations were added several years after publication, allowing authors to comment on the social mores of the time they were written.

Monica Ali writes in her 2003 book Brick Lane: “Haven’t read BL in last 16 or 17 years. Sense of Trepidation. Also curiosity.” While on page 130 of The Handmaid’s Tale; next to the word “natalist” Margaret Attwood explains: “People said that.”

On the title-page of Atonement, shortlisted for the 2001 Booker prize, author Ian McEwan reveals how fellow author Tim Garton Ash persuaded him to drop ‘An’ from the title.

Below Atwood annotated the book author across 161 pages, with 1,137 words. It has an estimate of £4,000– £6,000

Above Margaret Atwood

The Handmaid’s Tale. First edition, London: Jonathan Cape, 1986

Above Le Carré passed

Above The Booker Prize-

away having annotated only the first 45 pages of his book. It has an estimate of £8,000£12,000

winning title includes detailed notes from Mantel. It has an estimate of £4,000-£6,000 at this month’s sale

30 ANTIQUE COLLECTING

Below Haddon doodled throughout the book, including a spaceship on page 155. It has an estimate of £2,000-£3,000 at this month’s sale

While some books include learned historical additions, Mark Haddon, author of The Curious Incident of the Dog in the Night-Time, lines his pages with stars and drawings of space ships.

Below McEwan added more than 4,000 words of commentary to his 2001 book. It has an estimate of £4,000-£6,000

Above Ian McEwan,

Atonement. First edition, London: Jonathan Cape, 2001

Hilary Mantel said: “The process of publication (however welcome and necessary) is a process of estrangement. Annotation gives your book back to you…

A special kind of memory comes into play and you realise, if you didn’t know it already, that there’s another book behind the book.”

New collectors

AUCTION fact file

WHAT: First Editions, Second Thoughts: An Auction to Benefit English PEN When: Online from June 24 to July 12 From: Christie’s, 8 King Street, St. James’s London Viewing: A selection of lots will be on view from June 6-15 at Christie’s, St James’s, London and online from June 17 before all lots go on show at a standalone exhibition from July 8-11 and online at www.christies.com

Above Monica Ali,

Brick Lane. First edition, London: Doubleday, 2003

We asked Mark Wiltshire, Christie’s books and manuscripts specialist for his personal highlights How unique are these first editions?

Book collectors are used to seeing signed copies of important books, but these are much more special. The extent to which the authors have engaged with their texts, many providing thousands of words of the most insightful commentary in the margins is incredible. I might daydream about discovering a copy of Jane Austen’s Pride and Prejudice or Charles Dickens’s Great Expectations with the author’s notes and corrections, but I don’t think such things even exist. This sale offers us the modern-day equivalent.

What do the annotations reveal?

With estimates ranging from £1,000 to £20,000, and bidding on most lots set to start from £100, it is an ideal opportunity for collectors to put a toe in the field.

Christie’s international head of books and manuscripts, Margaret Ford, said: “These works offer new insights into the work, life and career of some of the most important writers of our generation. As such, they are ‘copies of record’ which will excite collectors, readers and literary enthusiasts around the globe.”

Other authors’ work taking part in the online sale, from June 28 to July 12, include Sebastian Faulks, Ben Okri, Bernardine Evaristo and Phillipe Sands, as well as books by artists Anish Kapoor, Tracey Emin, Antony Gormley, Ai Weiwei and Edmund de Waal. The auction is raising funds to support the charity English PEN, which works to defend freedom of expression and campaign for writers who are at risk around the world.

Below The first edition has more than 1,000 words of commentary over 79 pages by Ali. It has an estimate of £1,500-£2,000 at this month’s sale

IN MY OPINION...

In each case there is a clear sense of personality and individuality. What struck me most of all was how the authors could recall such precise details about where and when a particular passage was written, how they felt, what they were thinking and doing at the time.

It is incredible to witness an author responding to their text as a reader, being surprised by certain phrases, reacting emotionally as if reading it for the first time. I love the Hilary Mantel’s annotations in Bring up the Bodies – they are acutely personal with a profound emotional attachment to the story.

Do you have a favourite book?

Below right Max Porter,

Grief is the Thing with Feathers. First edition, London: Faber & Faber, 2015 Below far right Porter’s annotations and illustrations appear on almost every page. It has an estimate £1,500£2,000 at this month’s sale

I’ve enjoyed spending a little time with each and every one. I think the first edition of Max Porter’s Grief is the Thing with Feathers is just wonderful – replete with illustrations and colour and additional material pasted into the margins. I love the book anyway, but it’s almost as though the original publication has evolved into something new in his hands.

Eleanor Catton’s The Luminaries is another favourite. Her annotations are copious – more than 4,000 words of deeply engaging, informed, humorous, personal and selfdeprecating notes on her extraordinary Booker Prize-winning novel.

‘While some include learned historical additions, Mark Haddon author of The Curious Incident of the Dog in the Night-Time, lines his pages with stars and drawings of space ships’ ANTIQUE COLLECTING 31

COLLECTING GUIDES Nutmeg graters

GRATE BRITISH ISLES

More than 500 years since nutmeg was ‘discovered’ in Eastern Indonesia, author John Reckless lifts the lid on the most collectable graters

I

n Medieval times nutmeg was a rare, perfumed spice from the ‘unknown East’ with fabled, perceived medicinal and disease-preventative properties. It was 1512 before the Portuguese reached the Banda archipelago in Eastern Indonesia – six tiny islands to which, for reasons largely unknown, the Myristica fragrans nutmeg tree was confined.

Subsequently, from 1600 the colonial Dutch endeavoured to monopolise the trade, with resistance from the British. Since then, with its high financial and human cost, nutmeg and mace (its associated spice), has exerted a surprising influence on both world politics and social mores. Wealth from the trade monopoly even altered European buildings and artistic sponsorship,

32 ANTIQUE COLLECTING

Above Nutmeg grater,

c. 1690, British, cowrie shell, silver Right Michel Garnier

(1753–1829) Myristica fragrans, 1801

while international conflict altered world politics. Rarity of early nutmeg and mace supplies, fuelled perhaps by the medieval belief in its disease-management potential, contributed to it being valued at more than its weight in gold. As tastes changed nutmeg was increasingly used in food and drink as flavour. Now, graters are functional rather than celebrated, antique models making beautiful collectors’ items, reflecting the skill of their artisan makers and the spice’s intriguing history.

Plague protector From the 16th century, nutmeg was an essential component in many apothecaries’ therapeutic balsams which filled their pomanders, many made apple-shaped.

Many balsams used nutmeg butter for its perfume and to contain other more volatile scents. Masking foul smells, balsams were considered as protection against plague and other diseases regularly sweeping across Europe.

Pomanders were small, opening to several tiny segments with balsams that might be called rose, clove, cinnamon or apoplexy (this last to treat a faint or collapse). Pomanders would be carried by nobility or the wealthy few.

Right A London-made

silver grater mounted on a cowrie shell, 1690s Below left South German silver pomander (c. 1680s), externally modelled as a snail.

The snail can retreat into its shell for safety, so wearing an amulet showing a snail carries the symbolism or meme to help avoid plague Below middle left The pomander opens to four gilded segments covered by a hinged central disc labelled for contents. The other more open side would hold a sponge Below The pomander is modelled as a snail which, being able to retreat into a shell for safety, was seen as being about to ward off plague

Cowrie shell boxes To go with the exotic spice a silver-mounted shell might be used as the box, a very few dating from the end of the 17th century, with cowrie shell boxes, without graters, being much more common for snuff a century later.

The cowrie shell above(Cypraea tigris) originated from the wider Indo-Pacific area. This example is silver-mounted and, while not marked, is likely to have been London-made as a rarity in the 1690s. The silver has neat linear and foliate engraving with a dog-tooth border. The hinged grater is held shut by a delicate rotating disc and hook catch but provides access to the nutmeg and to nutmeg gratings.

Gold and gilded designs

Early designs In London in the early 1680s someone, name unknown, decided to have made a small silver nutmeg box with a grater for personal use. With nutmeg costing more than its weight in gold the wealthy would often wish to grate their own to avoid adulteration. Some flat steel rasps (often called ‘tobacco rasps’) had beautifully decorated cases and would have been used for nutmeg and ginger.

The habit spread widely in the British Isles, with the first graters being round silver cylinders with a separate

‘Many balsams used nutmeg butter for its perfume and to contain other more volatile scents. Helping to mask foul smells, balsams were considered to protect against plague and other diseases, pestilences regularly sweeping across Europe over centuries’

Above right An

unmarked cylindrical nutmeg grater in gold filigree, probably London or Birmingham, c. 1780s.

Both ends of the cylinder open, one to the grater and the other to hold the nutmeg Below right Silver tear-

drop grater by John Albright in London (c.

1720) with beautiful scratch-engraved tulip and five-petalled rose

Gilding of silver graters, internally or also externally, is not unusual but only a very few were made in gold (although such boxes for snuff, or as vinaigrettes, are a little more common).

The grater (above) appears not to have been used – being gold it would not have been very effective and unlikely to have survived. Perhaps it was made for show, not use. There is another filigree example in the Birmingham Assay Office collection, apparently identical but in silver, not gold. grater. Silver graters worked well but would blunt over time – especially from 1697 when the higher Britannia grade silver was required, and steel became more common. One of the earliest forms was a tear-drop, with scratch engraving and a fixed steel grater, the engraving becoming more delicate around the 1700s.

ANTIQUE COLLECTING 33

COLLECTING GUIDES Nutmeg graters Tourist market

18th century During the 18th and into the 19th centuries graters were made in a wide variety of styles including eggs (rococo and plain), barrels, cylinders, and oval and rectangular boxes. Many naturalistic forms were produced, largely in Birmingham, including melons, acorns, nuts, strawberries, pears or clams.

During the second half of the 19th century American forms occur, mostly as melons or in ovoid shape, and tend to be somewhat larger than English boxes. The ‘pumpkin’ shape (above) seems to have been a one-off example from a very well-regarded London silversmiths. The more egg, or ovoid-shaped grater, shown here as a melon (top), is a very rare design.

From the 1760s, oval and navette-shaped boxes appeared, with rectangular boxes often with canted corners or rounded ends from the 1790s, while table graters became increasingly popular from the 1800s.

Enamelled graters By the 18th century, enamelling had been decorating objects for centuries, with Limoges the French centre from the 16th century. Huguenot religious persecution caused French enamellers and painters to move to London, which developed as a respected centre from about 1750, with the trade widely established in Birmingham and Staffordshire towns by the 1760s. Items made in the 1770s-1780s are often referred to as ‘Bilston-made’ but exceedingly few pieces have impeccable provenance.

At the same dates other nutmeg graters were beginning to be made with wood and with the coquilla nut shell. They might be lathe-turned and often followed the style of the silver boxes.

Above left Silver grater modelled as a pumpkin on a bed of leaves by Edward, Edward Jr., John, and William Barnard, London, 1846.

The cover opens with a butterfly finial sharing its hinge with the silvermounted steel grater Top A silver grater modelled as a cantaloupe melon.

Unmarked but its size suggests an American origin, perhaps c. 1865 Above A boat-shaped

silver-gilt large table grater made in London in 1823 by Phillip Rundell for George IV and carrying the royal armorial Above right A multi-

compartment treen spice box (96mm diameter) with a central nutmeg grater, English, 1800s.

Right Whitewood

Tunbridge ware nutmeg grater modelled as a cottage with a chimney and a thatched roof. It is painted with a door, two windows, a bush, a vine, and a bird in a cage. southeast England, c.

1790s-1830s Left A very early

oval, waisted, floral decorated, enamel English box, possibly made St James’s, London, c. 1750, before the short-lived Battersea factory (1753-1756)

34 ANTIQUE COLLECTING

From the 17th century, English health resorts and spas such as Bath and Buxton developed.

Tunbridge Wells spa grew a wood-based industry in small souvenir ‘toys’ for tourists.

Such Tunbridge ware came to be made more widely available in southeast England. To painted or parquetry decoration might be added mottoes, place names or transfer prints of local scenes.

The 18th-century concept of picturesque (Italian ‘pittoresco’) was popular, and this led to landowners adding rustic cottages to their landscapes. This was reflected in such souvenirs as ‘orné-style’ nutmeg graters (below). Other nutmeg graters in treen were modelled as naturalistic fruits and nuts, as barrels, and as bottles.

Treen spice towers were made in two to six sections.

The two-section ones, labelled for nutmeg and ginger, may have a grater in their lid.

The body of the example shown (above) is bent in a circle from laminated thin wood, with thin base and cover of different woods, the latter with coloured veneers added.

The nutmeg grater, in a whitewood mount and a dark burrwood base to contain the nutmeg, sits in a central well surrounded by six segments for different spices. There is an internal cover to contain the spices, and originally the small holes would have been for silk or material tabs with which to lift it.

Many kitchen spice boxes have segments for different spices and often a nutmeg grater, placed in the centre in the circular ones. Most were in tin but occasionally wood and Tunbridge or Mauchline origin.

Birmingham centre In the 19th century, in Birmingham in particular, a concentration of artisans and a degree of mechanisation produced items in multitudinous designs using various materials. They were termed ‘Birmingham Toys’, but referring to small, often decorative, items for adults.

Silver items included many nutmeg graters, often with excellent bright-cut decoration, by makers such as Samuel Pemberton, Joseph Taylor and Nathaniel Mills.

Birmingham makers were able to use thinner, silver sheets less expensively than in London, for silver had much more cost than the labour. With nutmeg also being more available, less costly, and used for food and drink from the 1820s, many of the box styles began to be made in base metals in large quantities. In London in 1854 there was even a disabled street seller of tin graters.

Left Rectangular nutmeg

grater with exceptional bright-cut decoration, Joseph Taylor, Birmingham, 1817 Right The Edgar grater,

patented in 1891, has a cast frame shaped to the grater surface, with a collar to hold the sheet metal holder which has a sprung plate to press against the nutmeg Below right A large,

unfolding cylinder, silver nutmeg grater, India, mid-19th century. The cylinder is close-worked in a deep repoussé foliate and floral pattern

Regional variations A number of silver graters were also made in provincial centres such as Chester, Newcastle, Norwich and York, all of which are greatly sought after, as are Scottish examples where provincial ones may only have local marks.

Hallmarking was a legal requirement but there were risks of loss during journeys to and from Edinburgh, while contributing Scottish monies to an English exchequer was an anathema.

With the domination of the early trade in nutmeg by the Dutch, it is surprising that few silver graters appear to have been made in the Netherlands in the 18th century (presumably with rasps still being used), although more occur in the 19th and 20th centuries. Occasional silver graters can be found from other European countries.

Indian market With the proliferation of European trading and occupation in India, a significant silversmith industry grew up from the 1790s. With India’s role in local spice growing and in trading those imported, it is unsurprising that silver nutmeg graters were made there. Some had makers’ marks and might have ‘tally’ marks placed by the local artisan to ensure payment for his labour. These graters tend to be quite substantial and heavier than similar English pieces, which they might approximately copy.

While unmarked, the grater (right) is almost certainly from Trichinopoly, Tamil Nadu, the work being typical of that town. It is in exceptional condition and has probably never been used.

The decoration is unusual as most Indian graters copy, or are based on, English designs. The cylinder is close-worked in a deep repoussé foliate and floral pattern.

After repoussé working from the back the front was then chased. There are depictions of Krishna and Lakshmi.

Mechanical versions While one or two very rare examples of mechanical nutmeg graters were made in silver in England, Scotland, The Netherlands and the USA, very large numbers were made in tin, cast iron, steel, wood and brass, a few being British but the great majority American.

Reasons for this are complicated. The 19th century saw great emigration from Europe to the USA, for political, religious, and social reasons, with food poverty contributing, such as during the Irish potato famine. Such individuals had to be self-sufficient and entrepreneurial, while American industrialisation was occurring a little after Europe’s.

As American patent laws were introduced, hundreds of thousands of applications were made, many for household kitchen items including graters.

By this time the very small Caribbean island of Grenada was becoming the second major world producer of nutmeg, exporting quite cheaply to the USA. The grater might be linear or circular, along or around which the nutmeg moved. The advantage of mechanical graters was that all the nutmeg could be used and one’s fingers were protected.

In the example shown above, there is a cast rod and body of the grater which can slife along the curved tin grating surface against which the nutmeg in the body is pressed by a spring. Later versions replaced the cast component with wire rod. Cheaper to make, these are more common, and some have a shaped handle painted black.

The lid with an elephant finial clips off the main cylinder, half of which then unfolds to reveal the inner part of the cylinder with the perforations.

The Chinese export silver, largely from Canton, included some nutmeg graters, some of which have a maker’s mark.

John Reckless’s book Nutmeg: Graters, Pomanders and Spice Boxes, is published by ACC Art Books priced £50.

Subscribers can save £17.50 on the cover price, turn to page 60 for details.

‘A number of silver graters were also made in provincial centres such as Chester, Newcastle, Norwich and York and all are greatly sought after, as are Scottish examples where provincial ones may only have local marks’ ANTIQUE COLLECTING 35

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JEWELLERY | WATCHES | MAKERS | DESIGNS | COLLECTING

IN THE

A Bulgari emerald, diamond and gold serpent ‘Serpenti’ bracelet watch, c. 1965, sold for £300,000 at Christie’s Geneva sale on May 11

Loupe

From Edwardian ‘white on white’ jewellery to Hollywood, platinum has enchanted makers and wearers for decades. Plus!

We reveal the watch brands loved by the royals

‘Of all the accolades given to the Queen in her 70-year reign, accomplished watch collector is one of the lesser known’

ANTIQUE COLLECTING 37

IN THE

Loupe

White on white

White Heat In the Platinum Jubilee year, we celebrate the precious metal’s enduring popularity from the Belle Époque to Hollywood

L

argely unknown until the mid-19th century, platinum’s rise was as meteoric as the supernova which spawned it, soon becoming a royal must-wear. At his 1937 coronation, George VI’s wife, Elizabeth, (the late Queen Mother) wore a platinum crown holding the famous Koh-I-Noor diamond. The Duke of Windsor, who abdicated to marry divorcee Wallis Simpson, also exchanged platinum wedding rings made by Cartier. The leading ladies of Hollywood adorned themselves in platinum, summed up by Jean Harlow’s character in Frank Capra’s movie Platinum Blonde. May West only wore platinum jewellery and Marilyn Monroe, the quintessential platinum blonde, wore a platinum eternity ring with 35 emerald cut diamonds during her marriage to Joe di Maggio.

Such was the precious metal’s rise, in 1934 a German correspondent in New York wrote: “If you take a look at the shop windows of the local jeweller’s shop, you would think that there is only one metal available: platinum.” And its popularity continues to this day. Guy Burton, director of the London jewellers Hancocks, said: “The appeal of platinum jewellery is timeless.

While there has undoubtedly been a surge in the popularity of gold in recent years fuelled by the renewed interest in vintage jewellery of the ‘60s, ‘70s and ‘80s, platinum jewellery never goes out of fashion.”

38 ANTIQUE COLLECTING

Above A platinum,

natural seed pearl and diamond choker necklace by Theodore B. Starr, c.1910, which separates into two bracelets to be worn stacked together or one on each wrist, price £25,000, image courtesy of Hancocks London Below left An art deco diamond cross pendant

by Van Cleef & Arpels, 1921, the platinum has been expertly pierced and the diamonds expertly placed so the metal seems to disappear, price £45,000, image courtesy of Hancocks London Below right An

Edwardian black bow brooch crafted in platinum over gold

For many years platinum’s high melting point put solid jewellery made from it beyond the capability of Western jewellers. However, change was on its way in 1877, with the first production of liquid oxygen. Further scientific advancements were at hand when, in 1895, two French engineers, Edmond Fouché and Charles Picard, created an oxyhydrogen torch that quite literally lit the touch paper for platinum jewellery.

Prior to this Western jewellers had looked to silver as the ideal complement to white diamonds. But silver had its drawbacks with its fragility and tendency to bend.

But platinum’s day really came when the newlydiscovered South African diamonds from the Kimberley mines came to market. For the first time, jewellers had a wealth of pure, large brilliants at their disposal and no metal was as suitable to show them off as platinum.

Guy Burton said: “The purity of platinum’s colour coupled with its strength makes it the perfect metal for setting diamonds. It holds them securely while casting no unwanted warmth into the whiteness of the stones.”

Garland style When Edward VII came to the throne in 1901, lending his name to the era, he ushered in a style revolution. The sobriety of the Victorian era was soon forgotten. Its heavy jewellery designs were replaced with lighter and brighter styles. Turn-of-the-century jewellers became inspired by

Platinum jewellery Royal favourite More than any other ruler before him, Edward VII was regarded as the ultimate icon for male fashion. His Danish wife, Alexandra (who was queen from 1863 to 1901) was equally stylish, with fashion followers around the world looking to her sartorial example.

After the long reign of her mother-inlaw, the latterly dowdy Queen Victoria, Alexandra was a fashion icon, reviving the idea of wearing jewels stitched to clothing in the style of Queen Elizabeth I.

Pearls and platinum

the delicate imagery of French rococo decoration from the end of the 18th century.

Tiny diamonds were placed in shell and lattice motifs, bows and hearts, surrounded by complex sprays of leaves: or set in articulated swags, drops and clusters in a range of wonderfully feminine jewellery known as the ‘Garland’ style.

As technically adept as craftsmen were during the period, such fine and intricate workmanship would have been impossible without the introduction of platinum.

The metal was perfectly suited to the creation of pierced trellis work sections that could be hinged to mimic the best quality fabrics. Precious stones could now be mounted in unobtrusive claws or gripped in minute beaded lines and clusters known as millegrain settings.

So popular were these delicate designs that many earlier jewels were recycled, so an early 20th-century piece may be made from 19th-century brilliant-cut diamonds.

Above A pavé diamond

platinum and gold heart pendant by Tiffany & Co., c. 1915, price £19,950, image courtesy of Hancocks London Above right Queen

Alexandra in 1889, W. & D. Downey, London photographers Below An antique platinum gold and diamond bracelet, c.1920, with the gemstones creating a ‘river of diamonds’ effect, priced £35,000, image courtesy of Hancocks London

Alexandra had a passion for tapered clothes with a pinched-in waist and her favourite piece of jewellery, a high-necked collier de chien, or dog collar choker, made of pearls and diamonds. The piece was highlighted by her upswept hair, was also widely imitated across Europe.

The popular Queen’s style was followed for the next 50 years with pearls taking centre stage, sparking a global appetite for the gemstone.

Guy Burton said: “Platinum also works particularly well with pearls and the fashion during the early 20th century for ‘all white’ jewels saw the Belle Époque choker become hugely popular.”

Queen Alexandra was also a dedicated tiara wearer sparking a trend both sides of the Atlantic, particularly among America’s royalty – the new wealthy industrialists.

Beth Bernstein in her book The Modern Guide to Antique Jewellery writes: “With a lightness that was designed to emulate the most intricate of lace or petitpoint embroidery, and the use of swirly foliate motifs known as Garland style, jewellery from the Edwardian and Belle Époque era, which lasted from 1895 to 1915, is famous for its ultra-feminine styles.”

‘Platinum was therefore an ideal vehicle for this ‘white-on-white’ jewellery which required thinner shanks and stones set together with smaller almost invisiblyset prongs’ ANTIQUE COLLECTING 39

IN THE

Loupe

Left Platinum pendant

with peridot and amethyst, c. 1910, image courtesy of Anthea AG Antiques Above Hollywood’s

platinum blondes also favoured the precious metal Below right An art

deco geometric ruby, diamond and platinum crossover ring, c.1930s, priced £8,500, image courtesy of Hancocks

40 ANTIQUE COLLECTING

Art deco The fashion for white jewellery continued into the ‘20s with art deco styles favouring white metals, primarily platinum, over yellow gold.

Women’s fashion dramatically changed after WWI. Fashion was transformed from the relative formality and restriction of the Edwardian era to fun, elegant and practical styles celebrating freedom.

Corsets disappeared, hemlines grew shorter. This freedom and sense of fun was reflected in the new, exciting jewellery styles and fashions. Platinum suited the period ideally.

It was an opportune moment to create beautiful jewellery that was inspired by Cubism, Futurism and the ‘machine’ aesthetic. Art deco is known for its clean lines, and simple shapes juxtaposed to create beautiful compositions. Pavé settings also became popular during this time. (The term refers to diamonds that are set so closely together that they create an illusion of a “paved” surface where the setting becomes invisible.)

Cartier, Van Cleef & Arpels, Jean Fouquet, Jeanne

Platinum jewellery

Above A Cartier art deco

diamond and platinum bracelet, c. 1928, sold for £1.8m (estimated at £1.6m-£2.5m) at Christie’s sale on May 11. The bracelet features the maker’s mark Henri Picq, one of Cartier’s most famous craftsmen Left Platinum, diamond

and aquamarine pendant, 1920s, image courtesy of Anthea AG Antiques

Did you know?

Bovin, Suzanne Belperron, Boucheron and Chaumet, all produced some of the most influential and sought-after jewellery of the day.

While each house had its own interpretation, there was a unified movement towards streamlined looks, both circular and linear, sometimes in all white, sometimes in black and white, with an emphasis on platinum, rock crystal, onyx, and new and mixed cuts of white diamonds.

The metal also received another boost with the discovery of the world’s largest platinum deposit in the Merensky Reef in northeast South Africa in 1924.

Around this time, the technology for diamond cutting also improved, so jewellers were able to achieve various geometric cuts.

War footing But jewellers’ love of platinum proved double-edged in WWII. With its inherent resistance to erosion and a melting point much higher than steel, platinum became a crucial commodity for the war effort, and was even used in aircraft engines on the frontlines. In the US, platinum, which had defined the jewellery of the preceding period, was banned for non-military use during the war.

The end of the war also marked a very distinct change in fashion. As usual, this was led by the French couturiers with new designers such as Balmain, Givenchy and

When 16th-century conquistadors came across platinum in the rivers of Equador they thought it was unripe silver.

Calling it ‘platina’ (little silver), they threw it back in the water to ripen.

Enter Cartier No other jewellery house put its mark on platinum jewellery as much as Cartier. Established in Paris in 1847, the prestigious French house quickly earned a reputation as the jeweller of kings.

At the end of the 19th century, Alfred Cartier and his three sons Louis, Pierre and Jacques began experimenting with platinum and its exceptional properties.

They soon found its malleability was perfect for hand fabricating Cartier’s popular elements of the day, namely knife-edged fret work, millegraining, delicate prongs, beads integrated into finely pierced patterns, light and lacy scrolls, flowers, bows and hearts.

In 1890, Cartier introduced an all platinum, luxury jewellery in its iconic garland style. Henri Picq, who founded a jewellery manufacturing workshop in Paris towards the end of the 19th century, was Cartier’s preferred maker of gemset platinum jewellery from 1900 to 1918.

Hans Nadelhoffer in his 1984 book Cartier writes: “Cartier’s was said to use the best platinum in Paris. It was renowned for its white, shimmering surface, an alloy of which the Henri Picq workshop was especially proud.’

Balenciaga taking the lead. Their feminine dresses were characterised by short skirts, décolleté tops, and bolero jackets. Christian Dior’s ‘new look’ launched in 1947 was a triumph of femininity, typified by ample, extravagant skirts, thin waists, and tight tops with elaborate necklines.

Jewellery changed accordingly.

After years of privation, precious materials became accessible once more, sparking a widespread desire to recapture some of the glamour of the pre-war years. The stylish crowd adopted the fashionable trend to wear gold in the daytime and white metal in the evening.

Nostalgic styles assumed the forms of wide-strap bracelets and large double-clip brooches set with diamonds in platinum. The metal had once more found its fans.

‘After years of wartime privation, precious metals became accessible once more, sparking a widespread desire to recapture some of the glamour of the the pre-war years’ ANTIQUE COLLECTING 41

IN THE

Loupe

Royal Watchers While checking the time in public may not be the best regal protocol, the royal family owns a fabulous array of timepieces. But who favours what? world’s smallest mechanical calibre. 50 years later, in 2012, Jaeger-LeCoultre presented her with a white gold replica 101 watch in celebration of her Diamond Jubilee.

More recently, a more understated watch, the Audemars Piguet Jules Audemars in gold, has been seen on the Queen’s wrist a number of times, most latterly when she addressed the nation in April 2020 at the height of the Covid pandemic.

Swiss masters

O

f all the accolades achieved by the Queen in her 70-year reign, accomplished watch collector is one of the lesser known. The now 35-yearold puplication titled The Queen’s Jewels: The Personal Collection of Elizabeth II, estimated the monarch had at least 14 wristwatches in her collection – a number much larger now. Most are feminine and discreet (staring at a watch in the hope an engagement will soon be over is a royal no-no). And, as one might expect, brands tend towards the giants of Swiss watch makers, including Patek Philppe, Audemars Piguet and Vacheron Constantin – the latter being a particular royal favourite. Princess Margaret’s diamond-encrusted Vacheron Constantin timepiece, estimated to make some £1,000 at Christie’s sale in 2006, sold for £26,400.

Many of the watches in the Queen’s collection are gifts. On her marriage to Prince Philip on November 20, 1947, the Swiss Federal Council gave her a 1947 Vacheron Constantin gold and diamond cocktail watch, which was subsequently given to Princess Diana after her marriage to Prince Charles in 1981. Like the rest of us, passing on watches down the generations is common.

Coronation watch The Queen wore another gift on her coronation day.

Named ‘La Reine’, it was a present from Vincent Auriol, the French president of the day, and was a discreet Jaeger-LeCoultre 101. Famous for its small movement, which was developed in 1929, it’s still considered to be the

42 ANTIQUE COLLECTING

Above A Cartier art deco

watch, dated 1911, given to Princess Margaret on her 20th birthday in 1940, by the Queen Mother (who bought it second hand from the jewellers for £100) sold for £57,600 (against an estimate of £2,000£3,000) at Christie’s sale in 2006, image courtesy of Christie’s Above right Patek

Philppe made the diamond-encrusted watch for the Queen Right The Prince with his

Parmigiani Fleurier Toric on a royal walkabout, image Shutterstock

Patek Philippe is another favourite with the Queen. We know this because, in 2015, she loaned her Patek Philippe 4975/1G (made specially for her) to an exhibition of the Swiss maker at London’s Saatchi Gallery where it appeared alongside Queen Victoria and Prince Albert’s Patek Philippe watches.

The watch face is encrusted with baguette-cut diamonds, and it sits on decadent strands of pearl. The Queen also wore it at the State Opening of the House of Lords in 2006. Another Patek Philippe, the Golden Ellipse – in white gold with a blue dial and diamond bezel – is another recurring favourite.

The Queen was also an early adopter of the Omega Ladymatic, developed in 1955 and famous for being the first automatic ladies’ wristwatch. The newly-crowned monarch jumped on the new watch trend on its launch, and has been seen wearing a gold version through the decades, including in her official portrait from 1992.

Royal timepieces Princess Diana

Prince Charles The heir apparent has inherited his mother’s love of unusual timepieces, with a comprehensive collection. Known for his love of craftsmanship and heritage, Prince Charles’ taste is both classic and eclectic. For many years the Patek Philippe ref. 3445 (also seen on Princess Diana’s wrist in 1981) was a triedand-tested favourite.

Prior to that, he wore a wider variety of models including a two-tone Cartier Santos and yellow gold Jaeger-LeCoultre Reverso. In addition, he owns a Hamilton RAF Pilot’s Chronograph, which he likely received during his training at RAF College, Cranwell.

Today, he is most often seen sporting an 18ct yellow gold 39mm-diameter Parmigiani Fleurier Toric chronograph with Roman numerals. Somewhat of a new arrival by Swiss watchmaker standards, Parmigiani was founded in 1996, and its rare Fleurier Toric with gold case and black leather strap has been Charles’ watch of choice on several recent occasions, including Prince Harry and Meghan Markle’s wedding and at Royal Ascot in 2019.

The Prince also received a classic Breguet 3680BA, engraved with the Prince’s seal, and given to him on his 60th birthday by the jewellers Ogden of Harrogate.

Above A Parmigiani

Fleurier Toric chronograph, image courtesy of Parmigiani

As well as the diamond-set Vacheron Constantin watch given to her by the Queen, Princess Diana was most often photographed with two of Cartier’s iconic Tank watches – a Tank Louis Cartier with a yellow gold case and a black alligator bracelet, and a yellow gold Tank Française. The latter hadn’t been seen in public for years until 2020 when Meghan Markle wore it (along with a Cartier bracelet that also belonged to Princess Diana) during her appearance at Fortune’s Most Powerful Women Summit.

The Cartier Tank dates back to 1918 and draws design inspiration from the then-new Renault military tanks seen

by Louis Cartier during the WWI. Other celebrities who sported the Cartier Tank included Jackie Kennedy, Yves Saint Laurent and Andy Warhol. The Tank Française was introduced in 1996.

Princess Diana also owned a gold Patek Philippe ref.

3618 given to her by Prince Charles on her 20th birthday.

In fact, she famously wore it alongside Prince Charles’ Patek Philippe ref. 3445 for luck watching him play polo at Guards Polo Club in Windsor in 1981.

William, Duke of Cambridge

Right Prince William

Prince William never goes out without his Omega Seamaster Professional 300M mid-size– a gift from his mother, Princess Diana. The watch, which Below left Charles he wore when he married received the Breguet 3680BA on his 60th Kate Middleton in 2011, birthday is a classic quartz model in stainless steel with a Below Presented by blue dial. the jewellers Ogden of Harrogate it is engraved Should he ever with the Prince’s seal and need it, the Seamaster dated November 14, 2008 features a date dial, a Below right The Duke and chronometer, a screw-in Duchess of Cambridge crown, a unidirectional tend to wear the same rotating bezel, and a watches most days, image helium-escape valve.

Shutterstock The dial is covered with sapphire crystal, resistant to scratches, and the wristband is made from stainless steel. wears an Omega Seamaster Professional given to him by his mother, image courtesy of Omega

‘The heir apparent has inherited his mother’s love of unusual timepieces, with a comprehensive collection. Known for his love of craftsmanship and heritage, Prince Charles’ taste is both classic and eclectic’ ANTIQUE COLLECTING 43

IN THE

Loupe Harry, Duke of Sussex Like his brother, William, Prince Harry doesn’t believe in special occasion watches and tends to wear one of two watches: a Rolex Explorer II ref. 216570, one of only 48 existing models, made on special order for the Attack Helicopter Regiment, in which Prince Harry served during his two tours of Afghanistan. The other is a special version of the Breitling Aerospace Advantage, also presented to Apache pilots who have completed combat missions. The dial features an illustration of an Apache helicopter at the nine o’clock position and the Army Air Corps wings at three o’clock.

The Breitling, which he wore at his brother’s wedding, features a digital calendar with the day and date programmed for four years and a chronograph.

He wore his Rolex Explorer II at the Diamond Jubilee cathedral service and has also been spotted sporting a Casio G-Shock and Pulsar G10, which is a standard Ministry of Defence issue.

Left The Duchess of

Sussex owns two Cartier Tanks, image courtesy of Cartier Right Harry wears a

Rolex Explorer II ref.

216570, image courtesy of Rolex Below right The Cartier

Ballon Bleu is the ideal accessory to the Duchess of Cambridge’s sapphire engagement ring

Duchess of Sussex As mentioned, Meghan owns Princess Diana’s yellow gold Cartier Tank Française (legend has it Prince William took possession of the watch after his mother’s death in 1997, before giving it to Prince Harry in exchange for what became Kate Middleton’s engagement ring).

The other two-tone Cartier Tank was a gift to herself, bought while she was starring in the TV show Suits and is engraved on the back To MM, from MM . Only six models of the Cartier Tank were ever made.

It has a characteristically rectangular shape, with Roman numeral dials, sword shape hands and a simple cabochon sapphire.

44 ANTIQUE COLLECTING

Royal timepieces Duchess of Cambridge The Duchess of Cambridge is only ever seen with one wristwatch, a 33mm Cartier Ballon Bleu with stainless steel case and matching strap.

It has a silver dial and blue sword-shaped hands, complementing her sapphire engagement ring once owned by Princess Diana.

The Ballon Bleu was unveiled in 2007, the name referring to its most distinctive feature – a covered crown housing a cabochon sapphire, which gives an otherwise circular case a shape like a tied-off balloon.

Like many new-era Cartier releases, the Ballon Bleu combines a fresh shape with the maker’s traditional finishing techniques, notably the blued-steel sword hands, Roman numerals and delicate guilloché patterning.

Duchess of Cornwall Ever happy to plough her own furrow, the watch most worn by the Duchess of Cornwall is a FitBit Charge 3, introduced in 2018. The Duchess was first seen wearing the fitness tracker during an appearance in Wiltshire in 2020. It most recently appeared on the royal wrist when the royal family attended The Commonwealth Day Service At Westminster Abbey on March 14, 2022.

Princess of Style

Above The Duchess is

rarely seen without her 33mm Cartier Ballon Bleu, image courtesy of Cartier

As a style icon it is little surprise Princess Margaret owned and wore a number of high-end time pieces.

In 2006, as part of Christie’s three-day sale of her private possessions (which raised £13.7m), 10 watches were sold, totalling £231,000 in all.

The collection included a rare Cartier art deco watch bought by the Queen Mother second hand from the famous jewellers as a present for Princess Margaret’s birthday in 1940 for just £100.

Another Cartier – an art deco platinum diamond set wristwatch, made in 1911, later engraved with the ownership mark of ‘M’ beneath the princess’s coronet, sold for £36,000 (against an estimate of £3,000-£5,000 at the same sale).

Above right Princess

Margaret in 1965, 10 of her watches sold for a total of £231,000 in 2006 Far right A Cartier art deco platinum diamond set watch with a rose-cut diamond border and hexagonal case, image courtesy of Christie’s Right A diamond-set

Vacheron et Constantin watch belonging to Princess Margaret sold for £26,400, image courtesy of Christie’s Left The Duchess of

Cornwall favours a health-monitoring watch, in discreet black, rather than red

‘The Queen was an early adopter of the Omega Ladymatic, developed in 1955 and famous for being the first automatic ladies’ wristwatch. The newly-crowned monarch jumped on the trend and has worn it throught the decades’ ANTIQUE COLLECTING 45

TEST YOUR KNOWLEDGE

Puzzle TIME

Feeling mentally chipper? Give your brain a workout with these puzzles from quiz editor Pete 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, worth £6.95

JUNE/JULY QUIZ Q10 Old leather footballs used in the professional game are very popular with collectors. What was special about some of the balls used in the Wembley FA Cup finals of 1946 and 1947? (a) they were not leather, (b) kicked into the crowd they were never seen again, (c) they burst, (d) they became mishappen and bounced erratically.

Q1 Early Penguin books were colour coded: orange for fiction, blue for biography, what colour was used for crime?

Q2 The French artist known as Cassandre (190168) primarily produced illustrations for what? (a) boxes containing toy cars, (b) posters, (c) cigarette cards, (d) film and theatre brochures.

Q3 Swankyswigs were what? (a) cartoon characters, (b) hairpieces, (c) cheese containers, (d) high-end jewellery.

Q1 Penguin used orange

for fiction, but what colour for crime?

Q4 What was a snaphaunce? (a) flower vase, (b) flint-lock gun, (c) belt buckle, (d) medical instrument.

Q5 In 1859 the German firm Märklin began producing miniature (a) glass slippers (b) toy soldiers, (c) tin kitchenware toys, (d) wooden Bavarian-style buildings?

Q6 Baccarat glass uses what as a trademark? (a) a bee, (b) a bird, (c) a flower, (d) a butterfly.

Q7 To what does ‘Mont Blanc’ refer? (a) fountain pens, (b) banknotes, (c) jelly moulds, (d) early Thomas Cook travel vouchers.

Q8 The firm of Meller (est. 16th century) is known for what? (a) decorative fans, (b) jewellery, (c) fine wines, (d) smoking paraphernalia.

Q9 William Wordsworth’s first poetical publication (1793) is very rare. What was its title? (a) A Morning Stroll, (b) Mid-Day Musings, (c) Churchyard at Dusk, (d) An Evening Walk.

46 ANTIQUE COLLECTING

Q7 To what did Mont

Blanc give its name?

Finally, here are four anagrams corn stamen, avoid tingle, acid tray, and turtle left baby. Rearrange them to form, in order, (a) An ornamental vessel (often glass set in precious metal) for holding the consecrated wafer in church ceremonies. (b) Technique of joining two pieces of wood using shaped parts. (c) Originally an architectural female-figure motif used as a column, but later as decoration on furniture etc. (d) Popular early 18th century. American drop-leaf furniture with outward slanting legs (two words).

For the answers turn to page 11

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SOLUTION TO LAST MONTH’S CROSSWORD:

The letters in the highlighted squares could be rearranged to form ‘firedogs’.

The winners who will each receive a copy of the book are: Jenny Thwaites by email, S.J. Woolnaugh, Lowestoft, Harry Felding, by email.

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ACROSS CLUE

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Across

3 Elemental constituent of brass. (6) 6 German city which, along with Darmstadt, became a major centre of German Art Nouveau (Jugendstil) design. (6) 7 Jean-Auguste-Dominique _____ (1780-1867) French Neoclassicist and Orientalist painter. (6) 9 Snake-haired Greek mythological figure, beheaded by Perseus. (6) 10 ____-ring. Popular male personal adornment during the reigns of Elizabeth I and James I, and revived for men sometime in the last century. (3) 11 Book lover. (11) 15 Arcadian god of shepherds and hunters, and skilled in music. (3) 17 Enrico _____ (1873-1921). Acclaimed Italian tenor.

Surprisingly his signed photographs seem to have lowered in price recently. (6) 18 Furniture with hinged writing surface introduced in the 17th century (6) 19 Type of pierced plate. (6) 20 Greek god (twin brother of Artemis) challenged by 15-Across to a musical contest. (6)

Down

1 Henry _____ (1741-1825). Swiss-born painter of the Romantic movement, active mainly in England. His The Nightmare is a haunting image. (6) 2 ____ arts. Created to be looked at. (6) 3 The use of strong contrast between light and dark to produce a sense of depth and dimension. (11) 4 Historically, a boy in training for knighthood. (4)

5 Large jug, originally for water. (4) 8 A Hindu Queen, and the name of the popular and successful Pakistani actress (1946-1993). (4) 12 In Medieval art, an animal used as an emblem of ferocity and sensuality. The ‘Sanglier’ in heraldry. (4) 13 Train sets launched in 1920 with the slogan ‘British Toys for British Boys’ reflecting a reluctance to import German toys after WWI. (6) 14 Major Portuguese city and home to the royal factory of Rato (1767-1835). (6) 15 ‘____ Fiction’ 1994 American comedy crime film by Quentin Tarantino. Posters are popular and collectable. (4) 16 ‘Pretty, witty ____’. Restoration celebrity and mistress of Charles II. (4)

13

DOWN CLUE Finally: Rearrange the letters in the highlighted squares to form the name of the province in Belgium and the name given to the manuscript illuminators, brothers Herman, Jean and Paul, who all died in 1416.

ANTIQUE COLLECTING 47

COLLECTING GUIDES Royal memorabilia

The commemorative industry exploded in the reign of Queen Victoria, image courtesy of the Museum of Brands, whose exhibition Jubilation: 200 Years of Royal Souvenirs is on now

Memory Reign Royal memorabilia is in the spotlight like never before. From sought-after ceramics to throwaway ephemera, commemorative pieces shine a light on Britain’s historic and social changes

A

s a gauge of public sentiment, levels of patriotism and even history itself, royal memorabilia is a valuable barometer.

Consider this: there were 20-25 lines of official merchandise for the marriage of Prince Charles to Camilla Parker Bowles, compared to 1,600 for Charles’ previous wedding (while there were 700 for the Queen’s Silver Jubilee compared to 600 for the Golden event).

48 ANTIQUE COLLECTING

Right A slice of cake

from William and Kate’s wedding sold for £260, image courtesy of Chiswick Auctions

Because of its very nature, royal souvenirs rarely fulfil collecting’s number one requirement – rarity. For all the limited-edition descriptions, royal memorabilia is a mass market where few people make any money – save for the producers. Paul Fraser, of Paul Fraser Collectibles, goes even further. He said: “Don’t invest in jubilee memorabilia. It’s being produced in such large numbers (even the “limited edition” pieces) that there’s not enough rarity to drive prices upwards in the decades to come. Plus, so many people today are alive to the idea of buying memorabilia as an investment. It means most owners will keep their jubilee mugs and plates in pristine condition so the market will be saturated for decades to come.”

But such has been the case throughout history.

300 years ago engraved goblets marking the accession of Queen Anne in 1702 cost a shilling to make and were punted out for a guinea to the waiting public.

Edward VIII’s coronation

Personal connection When it comes to collectables the rule of thumb is a personal connection.

The ultimate example of which being the sale of the Duchess of Windsor’s jewels, which made £31m in 1987.

Paul Fraser continued: “If you’re looking to profit from the Windsors, concentrate on the high end of the royal memorabilia market.

This is where you find those rare pieces touched, owned or worn by the royals. These are the items that have historically grown in value, due to their scarcity and desirability.”

Pieces like the bicycle Princess Diana rode in the months before marrying Prince Charles which sold for £211 in 2008. In 2018 it sold again. For £9,200. That’s 45.8 per cent per annum growth over 10 years.

Long history Royal memorabilia can be traced back to the coronation of King Charles II in 1661 when ceremonial pomp was encouraged after 10 years of puritanical austerity under Oliver Cromwell. Handmade chargers by English Delft marking the coronation are extremely rare and can fetch more than £60,000. It was more than 100 years before transfer printing on pottery replaced hand painting, and a still longer wait for the Victorian era’s sophistication of distribution to help ship royal souvenirs.

Above left An English Delftware charger of Charles II, 1670, sold for £60,000 in 2015 (against an estimate of (£40,000£60,000), image courtesy of Christie’s Above right Ravilious’

mug commemorating the coronation of Edward VIII can fetch £600 Left Souvenirs

commemorating Queen Elizabeth II, image courtesy of the Museum of Brands, whose exhibition Jubilation: 200 Years of Royal Souvenirs is currently on show

While the monarchy despaired at Edward VIII’s abdication announcement on December 10, 1936, the souvenir industry was equally plunged into chaos. The coronation, due to take place in May 1937, was off – leaving warehouses full of commemorative china and other objects set to celebrate the big day.

Many collectors assume, because the coronation didn’t take place, their mugs and plates must be valuable. Not so. The UK was already awash with more than 400 separate designs of souvenirs issued for the coronation – the majority being mugs.

When it was announced Edward’s younger brother, the Duke of York, would be crowned George VI on May 12, 1937 – the original date for Edward’s coronation – the factories got to work.

To recoup losses they started adapt transfers of inscriptions and images.

A Wedgwood mug by the artist/ designer Eric Ravilious commemorating the coronation of Edward VIII can fetch as much as £600, with the hurriedly redesigned version fetching half as much again. Dame Laura Knight’s mug added new transfers to the later designs to read ‘Proposed Coronation King Edward VIII’ with the inscription ‘Abdicated Dec. 10th 1936’ hastily added to the rim.

The industry had previously been caught out at the coronation of Edward VII (which was delayed for four days when the prince had appendicitis and almost died). More recently, the marriage of Prince Charles and Camilla ParkerBowles in 2005 had to be postponed a day due to the funeral of Pope John Paul II.

Right Dame Laura

Knight designed mug for the planned coronation of Edward VIII, image courtesy of Black Bough Below right Knight

adapted her design for the coronation of his brother, George VI, with a portrait of him and his wife, Elizabeth, image courtesy of Black Bough

‘Royal memorabilia can be traced back to the coronation of Charles II in 1661 when ceremonial pomp was encouraged after 10 years of puritanical austerity under Oliver Cromwell.

Hand-made chargers to mark the event are rare and can fetch more than £60,000’ ANTIQUE COLLECTING 49

COLLECTING GUIDES Royal memorabilia

LOOK OUT FOR • Two-handled loving cups and three-handled friendship ‘Tyg’ mugs tend to be worth most because they are the easiest to break - and are therefore more rare.

• Humorous one-offs can add to the appeal.

A Spitting Image Prince Charles ‘big ears’ mug by cartoonist Marc Boxer, costing around £1 in 1981 can now fetch £100. A favourite with the critics, it made the Design Council’s list of top wedding commemoratives.

•If you have deep pockets the Royal Mint’s proof coins are desirable as only 850 were minted – only the gold coins hold their value, not the silver ones.

• A limited-edition 1992 commemorative ‘Annus Horribilis’ mug is also sought after today.

In the meantime, royal troubles proved a boon.

Drinking glasses to commemorate the abortive Jacobite rising are among the most expensive examples of glass collecting, and the Queen Caroline Affair (where the public sided with badly-treated wife of the Prince Regent) featured on ceramics which can command large prices.

Victorian age But it was during the Victorian period that the commemorative market reached its peak, aided by the new means of mass production later in her reign which

Above left The ear handle made the mug more delicate and hence rarer over time Above Charger with

a double portrait of William III and Mary II, c. 1690, Dutch, Delft.

It depicts William and Mary after the 1688 Glorious Revolution, image courtesy of the Metropolitan Museum of Art Right Queen Victoria’s

Golden Jubilee, 1887, scarf, image courtesy of the Metropolitan Museum of Art Left A Swansea mug

showing a youthful Victoria at her coronation in 1838 Above right Queen

Victoria’s Golden Jubilee, 1887, by medallist Anton Scharff Austrian. The profiles represent Queen Victoria at ages 18 and 68

50 ANTIQUE COLLECTING

coincided with her jubilees.

One of the most charming pieces is a Swansea purple transfer coronation mug marking her coronation in 1838. A million miles from the dour portraits of later years, it shows a girlish young monarch a year after she was crowned aged just 18.

It would have been one of the few portraits of the sovereign many of her subjects would have have seen.

Left A pair of Queen

Caroline engraved commemorative goblets, English, c. 1821, on offer for £850 from Fileman Antiques Right Charles and Di’s

splicing spawned the first royal wedding commemorative coin Below left Bowl, c. 1700. probably Dutch, English Delft, depicting King William, image courtesy of the Metropolitan Museum of Art

Double jubilee Fast forward 50 years to her Golden Jubilee in 1887 and Diamond Jubilee in 1897, and the commemorative market had changed along with production methods and the population in general. The jubilee, on June 22, 1897 was a grand procession, covering six miles of the streets of London with thousands hoping to catch a glimpse of the 17-carriage procession.

Victoria had surpassed her grandfather George III as the longest-reigning monarch in British history in September 1896 and to celebrate street feasts were supplied with free ale and tobacco to more than 400,000 Londoners. The celebration wasn’t limited to the capital. In Derby, as elsewhere, children received an enamel beaker.

In Pendlebury Sunday school children were given a brown salt-glaze mug. Several factories updated themes from the Golden Jubilee 10 years prior, with some adding pictures of Prince Albert who had died in 1861. These are greatly sought after as little was produced at the time of his death.

Below right Two

Regency glass crown scent bottles made for the coronation of George IV, English, 1820, £650 and £850 from Fileman Antiques

Coining it in Richard Beale from the auctioneers Warwick & Warwick Ltd reveals six of the most notable, though not necessarily valuable, commemorative coins issued by The Royal Mint 1935 George V silver crown, issued to mark the Silver Jubilee of George V, commonly referred to as the ‘Rocking Horse’ crown due to its art deco interpretation of the traditional St George and the Dragon coin design.

1953 Queen’s coronation five shilling crown, issued in 1953 to celebrate the Queen’s coronation, this coin has a face value of 25p but is worth far more to a collector.

1972 Silver wedding anniversary commemorative crown, issued in 1972 to mark the silver wedding anniversary of the Queen and Prince Philip.

1977 Queen’s silver jubilee commemorative crown, issued in 1977 to commemorate her 25-year reign.

1981 Royal Wedding Charles Diana commemorative crown, issued to mark the marriage of Prince Charles and Lady Diana Spencer, it is the first ever royal wedding commemorative coin.

2011 Royal Wedding gold £5 proof crown, issued in 2011 to celebrate the marriage of Prince William and Kate Middleton.

‘In 1897, for Victoria’s Diamond Jubilee, the commemorative market had changed along with production methods and the population in general’

ANTIQUE COLLECTING 51

FORTHCOMING AU C TION O F

J E W E LL ERY, WATC H ES A N D O BJEC T S OF VERT U • TO B E HELD ON : 14 JU NE 2022 AT 12 NO ON A L L EN QU IR IES PLE A SE CO NTAC T FRANC ES NO BLE ON 020 7016 1700 OR EMAIL JE WELLERY@NO O NANS .CO.UK 16 BOLTON ST REET MAYFAI R LONDON W 1 J 8 BQ T. 020 7016 1700 W W W. NOONANS .CO.U K

IF YOU ’ R E I NT E R E S T E D I N S EL L ING A N D YO U ’ D L I K E A F R EE VA LUAT I O N , O U R E X P E RT S AR E H E R E TO H E L P

A ROYA L C Y P H E R P R ESEN TATIO N D I A M O ND B RO O C H TO B E O FFERED FO R S A L E O N 1 4 J U NE 2022 E S T I M AT E : £ 4 , 0 0 0 – £ 6 ,000

EXPERT COMMENT Charles Hanson servicemen with her husband. She was dismayed when her eldest son Edward abdicated to marry his American mistress, Wallis Simpson, but supported her next son, Albert Frederick Arthur George, (known as Bertie) when he ascended the throne as George VI in 1936. Queen Mary died aged 85 only 10 weeks before her granddaughter’s coronation.

Queen Mary had crocheted the blanket to be given to the winner of a competition. It sold on May 26 for £400, still bearing its original ‘1st prize’ tag and a handwritten note on Marlborough House headed paper saying ‘Made

by Her Majesty, Queen Mary, 1938’.

Competition prize

An Auctioneer’s Lot

A baby’s blanket crocheted by Elizabeth II’s grandmother, Queen Mary, was the star lot of Charles Hanson’s recent Platinum Jubilee sale

A

s a staunch royalist I couldn’t let this year’s Platinum Jubilee pass me by without paying homage to the Queen.

I’m hugely grateful for her devotion to duty and Britain’s rich regal history. In addition, I’m forever grateful that royal finds have put Hansons on the map.

Back in 2008, three years after I opened my first saleroom in Derbyshire, a pair of Queen Victoria’s 50in-waist bloomers sold for £4,500, sparking huge publicity.

In 2020, we found another pair, together with a skirt, bodice, stockings and leather boots belonging to Queen Victoria. After languishing in a Norfolk wardrobe for 100 years, they sold for more than £17,000. Most of the items were secured for £14,000 by Historic Royal Palaces and are now part of the Royal Ceremonial Dress Collection.

In the same year, we sold a lifetime collection of private letters and cards from members of the British royal family, including Prince Charles and Princess Diana, consigned by Princess Alexandra of Kent’s personal maid.

Treasured possession So I was intrigued to see what Hansons’ Platinum Jubilee auction would uncover. I was not disappointed. One lot came about after I received an email from a family whose grandmother, Kathleen Pritchard, wanted to sell her most treasured possession – a baby blanket made by Queen Mary in the 1930s – for charity.

Queen Mary (1867-1953), the wife of George V, was the mother of kings Edward VIII and George VI, and the grandmother of Queen Elizabeth II. Devoted to public service, when WWI broke out, she instituted food rationing at the palace and frequently visited wounded

Its current owner Kathleen, 83, from Rainham in Essex, inherited the blanket from her mum Florence who won the blanket in the competition organised by the London mother and baby clinic where Kathleen was born.

Two royal blankets were up for grabs – pink for a girl and blue for a boy. Florence won the pink one for her new daughter to whom she gave the middle name Mary, after the queen. The tiny blanket meant so much to the family they even took it unused into bomb shelters during WWII. I was thrilled when fellow staunch royalist Kathleen, now a retired machinist with seven grandchildren and five great-grandchildren of her own, made the lengthy trip to Hansons’ Derbyshire saleroom with her family to deliver the blanket. She told me it was her mother’s most precious possession. It was never used but kept boxed up in a draw and given to Kathleen after she married.

Ukrainian appeal Top Charles Hanson in 2020 with a previous royal lot Above Queen Mary,

grandmother of the current monarch, was the queen from 1910-1936 Below right The pink

blanket was hand crocheted by Queen Mary in 1938

As Kathleen had been extremely saddened by the Ukraine conflict, the idea emerged to sell the royal blanket to help war-torn children. It seemed particularly fitting to choose Save the Children’s Ukraine appeal as Princess Anne is patron. Queen Mary was Anne’s great grandmother and the connection warmed Kathleen’s heart.

It was a privilege to help Kathleen celebrate her royal heirloom and raise money for an important cause.

I hope Hansons helped to spread a little royal joy in this special year.

Items are invited for Hansons’ summer fine art auction.

For a valuation email Isabel Murtough, imurtough@ hansonsauctioneers.co.uk or call 01283 733988.

‘Devoted to public service, when WWI broke out, Queen Mary instituted food rationing at the palace and frequently visited wounded servicemen with her husband’ ANTIQUE COLLECTING 53

Silver & Objects of Vertu 22 & 23 June at 11am Bid now

Visit chiswickauctions.co.uk or email john.rogers@chiswickauctions.co.uk

LOTS UNDER THE HAMMER Lots in June/July Picasso’s Dora Maar

Left Ernesto “Che”

Guevara (19281967), one of 130 photographs in the online sale Above As well as

photographs, the sale includes personal possessions of the leaders of the Cuban revolution, including Che Guevara’s signed water bottle, which has an estimate of £100,000

TOP of the LOTS Photographs of some of the 20th-century’s greatest cultural icons go under the hammer this month in the UK and France

I

t was the face that launched a thousand T-shirts.

Now 130 photos of Che Guevara, along with Fidel Castro and Raul Castro – many of which have never been seen before – are part of an online sale of the personal possessions of the Cuban leader.

Some 73 of the original prints, which have a pre-sale guide of £50,000, were taken by Castro’s personal photographer, Alberto Korda.

They span the earliest days of the Cuban Revolution, to Castro’s last years and come from the estate of Fidel Castro’s long-term mistress, Natty Revuelta Clews.

Dora Maar Meanwhile, on June 27-28, the Parisian auction house Artcurial is offering 750 photographs in 400 lots by Pablo Picasso’s mistress and muse – the French photographer, Dora Maar. The majority of the archive is unpublished, made up of personal images taken during her years with the Spanish artist.

Below Fidel Castro (1926-2016) doing pull-ups, part of the archive expected to make £50,000 Right Lee Miller

(1907-1977), Dora Maar against a leafy background, c. 1936, has an estimate of €2,500-€3,500 Below right Dora

Maar (1907-1997) Pablo Picasso in an armchair in Mougins, near Cannes, c. 1936, has an estimate of €2,500-€3,500 Bottom right Fidel

Castro (1926-2016) eating a Chinese meal washed down with a bottle of Coca-Cola, is part of the online sale this month

Picasso’s 1939 portrait of his mistress Dora Maar sold for $21.6m in Hong Kong in April, making it the second most expensive Picasso work sold in the region.

At the time of its painting, two years after Guernica, the world was on a knifeedge, an anxiety present in Picasso’s work.

With her head resting on her hand, Maar looks pensively toward the viewer, conveying a sense of intensity and gravity.

Her calmness contrasts with the fiery red background, a reference to Maar’s passionate and spirited character. The portrait shows her in a self-possessed and proud pose, her face both contemplative and inscrutable. Her most striking features – a thick mantle of rich black hair (which she kept long at Picasso’s request) and her wide, soulful eyes are powerfully portrayed. Maar was also Picasso’s muse for Weeping Woman, 1937.

Picasso and Maar met in Paris in 1936, at the café Les Deux Magots at a time when she was a wellestablished photographer with an interest in surrealism.

Throughout their nineyear affair, Picasso neither divorced his wife Olga, nor gave up his relationship with his previous mistress, Marie-Thérèse Walter. From the start of the Spanish civil war to the end of WWII, they remained close and influenced each other’s work.

The Fidel Castro collection, including a number of his personal possessions, as well as photographs, will be on show at the Royal Yacht Hotel, Jersey, Channel Islands on June 15 from 2-8pm alongside the online sale which ends on June 23. For more details and to bid go to www. paulfrasercollectibles.com.

Dora Maar’s photographs will be on public display from June 21-26 at Artcurial, 7 RondPoint des Champs-Elysées 75008 Paris before the sale on June 27-28.

ANTIQUE COLLECTING 55

ANTIQUES UNDER THE HAMMER in June/July Naval success The man who was to become RearAdmiral Sir Robert Keith Arbuthnot, 4th Baronet, KCB, MVO, RN, was born in Alderminster, Warwickshire, in 1864. From a well-todo family, he joined the Royal Navy as a midshipman at the age of 13.

The history books record his rise through the ranks. In 1901, aboard HMS Royal Sovereign, he survived an accidental heavy gun explosion at the breech, which killed six men. He later succeeded in the naval defence of the German raid on Scarborough, Hartlepool and Whitby in 1914.

Arbuthnot’s naval career ran parallel to his passion for all sports, including boxing and running, but most of all motorcycling. He was an early member of the Motor Cycling Club Ltd (MCC) founded in 1901 by a small number of “automotive pioneers” determined to test themselves and their machines.

MCC success

SALEROOM SPOTLIGHT

Medals awarded to a WWI naval hero for his motorcycling prowess go under the hammer in Norfolk this month

I

n the pioneering early days of long-distance motorcycling few names compare to that of the triallist and naval hero, Rear-Admiral Sir Robert Keith Arbuthnot (1864-1916), who went down with his armoured cruiser, HMS Defence, at the Battle of Jutland in 1916 with all 903 hands.

The rear admiral’s heroism at sea was mirrored by his determination and skill on two wheels. Just eight years before he died, then aged 44, he came third in the singlecylinder class of the second ever Isle of Man TT. In fact, his love of both the sea and motorbikes came together in a very unusual and tragic way. Arbuthnot kept his Triumph Sunbeam Tonneau on board his ship in his day cabin, so it is said it went down with him the day he died.

56 ANTIQUE COLLECTING

Above Four 9ct gold

Motor Cycling Club (MCC) medals, each with an estimate of £200-£300 at this month’s sale Top right Rear-Admiral Sir Robert Keith Arbuthnot (1864-1916) Right Two 9ct two-tone

gold Newcastle & District M.C.C Reliability Trial medals, dated August 1908 and awarded to Capt R.K Arbuthnot-Bart R.N (one 12.1g and one 10.5g) both stamped to verso.

The aspirations of the members of the MCC were to “trek along the unmade and unlit roads and hills between London and Edinburgh”. One of its first races was The Edinburgh Trial, established in 1904, which gave entrants 24 hours to cover the 400 miles from English to Scottish capital along remote roads, few of which were tarmacked.

Arbuthnot won five gold medals in the trial from 1908 to 1914, and in the 1910 Land’s End Trial, its inaugural year, he scooped the Shulte Cup for the best performance by a motorcycle.

In 1922, in his honour, a motorcycle trial called the Arbuthnot Trial was instigated. It involved a day of gruelling off-road riding with time checks, which was open to naval and marine officers only, and was run in different locations each year.

Fattorini & Sons Some of Arbuthnot’s medals include makers’ names, such as Fattorini & Sons, making them collectors’ items of their own.

Antonio Fattorini, came to the north of England from Switzerland in 1815 when Britain was encouraging skilled European immigrants to help fuel the rapid industrialisation.

By 1826, he was selling watches and jewellery in Leeds market. In 1831, he moved to Bradford to open his first ‘fixed shop’.

Another part of the family (he employed both his sons), opened a firm in Birmingham, taking advantage of the demand for badges, medals, and medallions required by the growing number of sports clubs which were flourishing throughout the country – including the MCC.

AUCTION fact file

WHAT: The motorcycling medals of Rear-Admiral Sir Robert Keith Arbuthnot, part of the Automobilia sale When: June 23 Where: TW Gaze, Diss Auction Rooms, Roydon Road, Diss, Norfolk, IP22 4LN Viewing: Online at www.twgaze.co.uk Above left Fattorini’s label for Masonic wear Below left A third place MCC 5 Lap 350cc scratch race medal, dated 1913, and a Newcastle & District Non-stop Trial Jedboro & Back medal, dated 1908, (made by Fattorini & Son Bradford).

The pair has an estimate of £100-£200 at this month’s sale Far left A 15ct gold Auto

Cycle Union Land’s End to John O’ Groats medal, dated 1908 and awarded to Capt Sir R.K Arbuthnot-Bart. R.N, 11.1g and stamped to verso. It has an estimate of £300-£400 at this month’s sale Left A 9ct gold MCC

London, Exeter, London medal, dated December 1912 awarded to Rear-Admiral Sir R.K Arbuthnot, 12.3g and stamped to verso. It has an estimated of £200£300 at this month’s sale Below An early Triumph

Sunbeam motorcycle.

Sunbeams were manufactured from 1912 to 1956. Not in sale, image courtesy of Bonhams

IN MY OPINION...

We asked Andre Ling from TW Gaze’s automobilia department for his sale highlights In an extraordinary life, do any particular stories stick in your mind?

The fact that Sir Arbuthnot sailed with his motorcycle stowed in his quarters on board his naval ship always makes me smile. It is an image which sticks in my mind because, although charming and innocuous, and possibly only a sign of mischievous individualism or even eccentricity, it indicates his strengths of total commitment, devotion and dedication to what he was passionate about. These traits continued into the command of all his ships until tragically, at the Battle of Jutland, where he lost his life after performing a brave, yet unsuccessful, manoeuvre.

How important is the collection?

The importance of the medals is multi-fold.

They uniquely document some of the earliest MCC races. Such medals do not come to market very often, certainly not in multiples, and when they do, each one is different. The fact that these were won by, and bear the prestigious name of, Robert Arbuthnot, and have remained in Arbuthnot’s family until now adds extra special significance to historians and enthusiasts. They also represent an interesting piece of social history, giving us an insight into how a prominent naval officer and member of the aristocracy relaxed when not on duty.

Describe early long-distance trials They

were feats of extraordinary daring, physical strength and personal aptitude. Roads were usually unmade tracks; street-lighting was limited to cities and larger towns, navigation was unsophisticated and road-side signs were few and far between. Add to this the fact vintage motorcycles were heavy, with little suspension and hard leather saddles.

Where do you expect interest to come?

‘Arbuthnot kept his Triumph Sunbeam Tonneau in his day cabin, and it is said that at the time of his death his motorcycle was aboard his ship’

Hopefully there will be a broad cross-section of bidders due to the potential appeal to gold buyers, militaria collectors and automobilia enthusiasts. One would expect the main interest to be from the UK, given the very patriotic themes of naval history and the MCC; – notably from museums, collectors or archive managers. However, I wouldn’t rule out some international enquiries, too.

ANTIQUE COLLECTING 57

ROYAL ANTIQUES FOR SALE This summer

Jubilee Showcase

To mark the Platinum Jubilee we round up some very special royal pieces A skeleton clock by Camerer, Kuss & Co. of London to celebrate Queen Victoria’s 1897 Diamond Jubilee with gilt bronze figures of the monarch and her husband Prince Albert. On sale from Butchoff Antiques, POA.

Two photograph albums for the pantomimes Aladdin and Little Red Riding Hood, staged by the princesses Margaret and Elizabeth (who played Aladdin) at Windsor Castle in 1943 and 1944, each has an estimate of £1,500-£2,000 at TW Gaze’s sale on June 14. The performances raised money for the Royal Household Wool Fund, which supplied blankets for soldiers on the front.

A pair of silver and gold Stuart crystal cufflinks, c.1700, with octagonal faceted rock crystal covers, over a monogram believed to be that of the Earls of Bose-Lyon, has an estimate of £200-£300 at Sworders‘ fine jewellery sale on June 28.

An art deco platinum and diamond brooch, which once belonged to Princess Margaret, has an estimate of £6,000£8,000 at Noonans‘ sale on June 14. Unseen on the market in 43 years, it is one of seven pieces sold by the princess in 1979 a year after her divorce from Lord Snowdon.

58 ANTIQUE COLLECTING

An enamel and rock crystal mourning ring, c. 1760, containing a hexagon of hair, which was once owned by Princess Margaret, has an estimate of £10,000-£15,000 at Elmwood’s important jewels sale on June 9. The ring is engraved with the princess’s monogram ‘M’ and her coronet.

A diamond brooch given to the Duchess of York by Princess Elizabeth to thank her for being her stand-in at a rehearsal for her upcoming coronation at Westminster Abbey has an estimate of £4,000-£6,000 at Noonans‘ sale on June 14.

The brooch, by Garrard & Co. Ltd, 1953, modelled as ‘ER’, comes with a handwritten note from the soon-tobe Queen ending: ‘The Archbishop was very grateful for all your patient help and Mummy hopes that my understudy will be available when I am next ill in bed!! I hope you will accept this small gift, which was Philip’s inspired idea, as an enduring reminder of my appreciation. Yours sincerely Elizabeth R.’

Chris Levine (b.

1960) Lightness of Being, 2012, has an estimate of £100,000£150,000 at Sotheby’s British Jubilee sale on June 29. See the article on page 18 for more details.

A cold-painted Vienna bronze corgi, c. 1910, the royal favourite, is on offer from Hickmet Fine Arts, priced £550 A pair of neo-classical Victorian corner cabinets, both stamped to show they were included in an 1866 inventory of Windsor Castle, is on sale from Mayfair Gallery Ltd. in London priced £22,000.

An 18th-century carved limewood royal coat of arms, c. 1780, is on offer from Lennox Cato Antiques, in Edenbridge, Kent, priced £22,000.

William Harding Collingham Smith (1848-1922) Kensington High Street on Queen Victoria’s Jubilee in 1897, showing the crowds at the intersection with Kensington Church Street on June 20, is priced £2,850 from Harrogate-based Walker Galleries.

A life-size bronze bust of the Queen Mother by Vivien Mallock (b. 1945), an Associate of the Royal Society of British Sculptors, one of three ever made, is offered

by Wick Antiques in Lymington priced £35,000.

ANTIQUE COLLECTING 59

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There is much to thrill collectors in this month’s selection from our sister publisher ACC Art Books, including discounts on books about nutmeg graters and tea caddies

UP TO

35% DISCOUNT THE POWER OF PHOTOGRAPHY

BY PETER FETTERMAN ISBN 9781788841221 RRP £30.00 OFFER PRICE £19.50

The power of photography lies in its ability to ignite emotions across barriers of language and culture. This selection of iconic images, compiled by pioneering collector and gallerist Peter Fetterman, celebrates the photographs unique capacity for sensibility. From the bizarre Boschian fantasies of Melvin Sokolsky, to the haunting humanity of Ansel Adams’s family portraits; and Miho Kajioka’s interpretation of traditional Japanese aesthetics to the joyful everyday scenes of Evelyn Hofer. Also included are rare interior shots by famed nude photographer Ruth Bernhard and Bruce Davidson’s wistful depiction of young men playing ballgames on a street. A must-read for lovers of all areas of 20th-century photography.

MOODY BLOOMS – DESIGNING WITH NATURE

BY TRICIA GUILD

ISBN 9781788841634 RRP £35.00 OFFER PRICE £22.75 At Designers Guild, Tricia Guild uses flowers, leaves and stems to enhance a room’s mood, bringing soul to the spaces we live in. A flower has many phases over the course of its life, from the promise of innocent buds, to the joy of full blooms and the wistful glory as they fade. The cycle of nature provides an ever-evolving muse for Tricia Guild as she presents a plethora of inspirational designs that breathe fresh life into our homes and workspaces.

NUTMEG GRATERS, POMANDERS & SPICE BOXES

BY JOHN RECKLESS ISBN 9781788841450 RRP £50.00 OFFER PRICE £32.50

Once, nutmeg was worth its weight in gold.

For much of human history, the tiny Banda Islands in Indonesia were the only source of this esteemed spice. Combining the social history of nutmeg with explanations of the spice production and transportation process, and illustrating in detail examples in international nutmeg grater collections and museums, this book is the essential reference work for collectors, antique dealers and auctioneers.

60 ANTIQUE COLLECTING

ORDER NOW! Email lauren.kerr@accartbooks.com, or call 01394 389988. Postage to UK addresses is £6, call for overseas rates.

FLAMINGO

BY CLAUDIO CONTRERAS KOOB ISBN 9783961713875 RRP £35.00 OFFER PRICE £22.75

Rarely does a bird mesmerise us as much as the flamingo: graceful, elegant and decked out in colourful plumage, it has evolved into a trendy bird with a cult following in recent years. And no one can give us a better understanding of this animal than Claudio Contreras Koob. A biologist and photographer, he has had a special relationship with the flamingos of his native Mexico since childhood. With over 120 spectacular photographs, this book offers a glimpse into the behaviour and life of a flamingo colony as never seen before. It is the result of over 20 years of a passion that combines biology and photography.

THE 500 HIDDEN SECRETS OF LONDON (FULLY UPDATED EDITION)

BY TOM GREIG

ISBN 9789460583193 RRP £16.95 OFFER PRICE £11.02

THE STORY OF BRITISH TEA CHESTS & CADDIES

Where are the five best places to find street food in the capital?

Which are the five best restaurants to grab your lunch at in Soho? Which pubs have the most amazing interiors? Where are the best places to discover vintage vinyl? Which are the most innovative theatre companies? Where will you find the most unusual museums? The best places for an outdoor swim? This book reveals these good-to-know places and many more. A book for visitors who want to avoid the usual tourist spots and for residents who are keen to track down the city’s best-kept secrets.

BY ANNE STEVENS, KATE RICHENBURG & GILLIAN WALKLING ISBN 9781788841467 RRP £55.00 OFFER PRICE £35.75

Tea was introduced to Britain in the 1650s. Its popularity burgeoned over the following two-and-a-half centuries, until it became a defining feature of British culture. This book brings together a great range of decorative antique tea containers, presenting them alongside detailed historical research conducted into their making and their place in British society across the centuries. It also explores the materials and techniques employed. With historical art showing tea’s integration into British society, examples of old trade cards and original designs, and a wealth of illustrations of the objects themselves, this is a must-buy book for historians, collectors and those interested in the decorative arts.

ANTIQUE COLLECTING 61

Vintage Posters: 17 June Classic Cars & Automobilia: 21 June Jewellery, Watches & Coins: 22 June Silver & Fine Art: 23 June Antiques, Books, Clocks & Furniture: 24 June An Auction for Muggles: 7 July Entertainment & Memorabilia: 8 July Toys & Models: 14 July

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OUT AND ABOUT June and July

FAIR NEWS

Antiques and fine art lovers have some treats in store this summer with the return of two milestone London fairs

London Art Week

Taking place in galleries and online from July 3-8, London Art Week (LAW) takes visitors on a dizzying tour of the capital’s finest art galleries.

With this year’s theme of ‘music and dance’, the New Bond Street gallery, Raccanello Leprince, is showing a 16th-century, tin-glazed earthenware majolica dish with a putto playing a lira da braccio, attributed to the workshop of Pietro Bergantini, Faenza.

Other galleries taking part include new exhibitor Miles Wynn Cato, as well as returning exhibitors Moretti; Rountree Tryon Gallery and Stuart Lochhead Sculpture, all in St James’s.

A special performance by the Philharmonia Orchestra on July 3 in Cromwell Place kickstarts the proceedings.

Above Music is the theme of this July’s event, as reflected in the putto playing

a lire on this majolica plate

Masterpiece, London

Art & Antiques Fair Olympia

After a two-year break the Art & Antiques Fair Olympia returns to West Kensington from June 22-26.

Fair director, Mary Claire Boyd, said: “With fewer London art and antique fairs following the pandemic, Olympia offers one of the few remaining opportunities for art and antique collectors and connoisseurs to explore a treasure trove of items.”

The event, which welcomes back more than 120 high-end dealers, runs alongside the Spirit of Summer fair which sees dozens of independent interiors boutiques joining them at a parallel event at Olympia Exhibition Centre. Prices at the antiques fair range from £100 to hundreds of thousands. For more information on the event go to www.olympia-art-antiques.com Above A mantel clock on offer at the 2019 event

The Pavilions of Harrogate

An 1838 silver teapot is one of the attractions at the Pavilions of Harrogate Decorative Antiques & Fine Art Fair from June 10-12.

On offer from silver dealer Mike Wilson from Highland Antiques, priced £2,995, the teapot came from the York silversmiths James Barber & William North.

Other highlights at the event, at the Great Yorkshire Showground, include a painting by Harrogate artist Brian Shields (1951-1997), also known as Braaq, titled I’ll bring my own boat then! on sale from Rowles Fine Art. Above Mike Wilson with a rare York teapot by James Barber & William North,

dated 1838

64 ANTIQUE COLLECTING

Four days after Art & Antiques Olympia shuts up shop, the doors open on Masterpiece London – marking the landmark fair’s first physical event since 2019.

Taking place at the Royal Hospital Chelsea, more than 120 galleries and dealers attend the event from June 30-July 6.

This year the fair overlaps with TEFAF Maastricht, which moved from its usual March date to June 25-30.

In addition to the galleries at the fair, two monumental light installations by artist Anila Agha (represented by Sundaram Tagore Gallery) will be on display at the gala’s columned entrance.

Above A primitive elm and oak Georgian vernacular wingback armchair, with

an enclosed panel back, c. 1780, on offer from Robert Young Antiques Below The London fair returns for the first time since 2019

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 0207 254 4054 www.adamsantiquesfairs.com Adams Antiques Fair, Lindley Hall, 80 Vincent Square, Westminster, SW1P 2PE, Jun 12, Jul 13 Clarion Events Ltd 0207 3848147 www.olympia-antiques.com The Art and Antiques Fair, National Hall Olympia , London, Hammersmith, W14 8UX, Jun 23-26 Coin and Medal Fairs Ltd 01694 731781 www.coinfairs.co.uk Holiday Inn – London, Coram Street, London WC1N 1HT. Jun 12, Jul 10 Etc Fairs 01707 872 140 www.etcfairs.com Bloomsbury Spring Book Fair, Booker & Turner Suite at Holiday Inn, Coram Street, WC1N 1HT, Jun12, Jul 10 Bloomsbury Ephemera Fair, Royal National Hotel, 38-51 Bedford Way, WC1H 0DG, Jun 26, Jul 31 Haddon Events 07519 276507 www.haddonevents.co.uk Orsett Classic & Vintage Show.

Orsett Showground, Orsett, Essex, RM16 3JN. Jul 10 Masterpiece London www.masterpiecefair.com Masterpiece Fair, South Grounds, The Royal Hospital, Chelsea, London, SW3 4LW Jun 30-Jul 6 Sunbury Antiques 01932 230946 www.sunburyantiques.com Sunbury Antiques Market, Kempton Park Race Course, Staines Road East, Sunbury-onThames, Middlesex TW16 5AQ, Jun 14, 28, Jul 3, 12, 26

SOUTH EAST AND EAST ANGLIA: including Beds, Cambs, Essex, Hertfordshire, Kent, Norfolk, Suffolk, Surrey, Sussex.

Arthur Swallow Fairs 01298 27493 www.asfairs.com Decorative Home and Salvage Show, Lower Basildon, Pangbourne, Reading, RG8 9NW, Jun, 17, 18, 19 Loseley Park Decorative Home and Salvage Show Losely Park, Guildford, Surrey, England, UK, GU3 1HS, Jul 9 Arun Fairs 07563 589725 www.antiques-atlas.com Rustington Antiques & Collectables Fair, The Woodland Centre, Woodlands Avenue, Rustington, West Sussex, BN16 3HB, Jun 5, Jul 10 Aztec Antique & Collector Fairs 01702 549623 www.norfolkantiquefair.co.uk The Norfolk Antiques & Collector Fair, Norfolk Showground, Dereham Road New Costessy,Norwich NR5 0TT, Jul 16-17 B2B Events 01636 676531 www.b2bevents.info Detling Antiques, Vintage & Collectors Fair,The Kent County Showground, Detling, Maidstone, Kent, ME14 3JF, Jun 18-19 Black Dog Events 01986 948546 wwwablackdogevent.com Bungay Antiques Fair, Maltings Meadow, Bungay, NR35 2SA Jul 24 Grand Brocante, Riddlesworth Hall, Hall Lane, Diss, Norfolk IP22 2TA, Jun 12 Saxmundam Street Fair, High Street and Market Place, Jul 9 Continuity Fairs 01584 873634 www.continuityfairs.co.uk

Epsom Antique and Collectibles Fair, Epsom Racecourse, Epsom Downs, Epsom, Surrey, KT18 5LQ, Jul 5 Dovehouse Fine Antiques Fair www.dovehousefine 07952689717 Dorking Halls, Reigate Road, Dorking, Surrey, Jun 26 IACF 01636 702326 www.iacf.co.uk Ardingley International Antiques and Collectors Fair, South of England Showground, Ardingly, Nr Haywards Heath, West Sussex, RH17 6TL Jun 21 -22, Jul 19-20 Love Fairs 01293 690777 www.lovefairs.com Lingfield Antiques, Vintage & Collectibles Fair, Lingfield Racecourse, Racecourse Road, Lingfield, RH7 6PQ Jun 12 Kent County Show, Antiques and Collectibles Village, Detling, Maidstone, Kent, ME14 3JF Jul 8-10 Marcel Fairs 07887648255 www.marcelfairs.co.uk Marcel Fairs. 07887648255 www.marcelfairs.co.uk Antique & Collectors Fair, Sarratt Village Hall, The Green, WD3 6AS, Jun 12, Jul 10 Antique & Collectors Fair, Berkhamsted Sports Centre, Lagley Meadow, Douglas Gardens, Berkhamsted, Herts, HP4 3QQ, Jul 31 Melford Antiques Fair 07837 497617 www.melfordantiquesfair.co.uk Long Melford Antiques & Vintage Fair, The Old School, Hall Street, Long Melford, Suffolk, CO10 9DX, Jun 25-26, Jul 30-31 Suffolk’s Graham Turner Antique Fairs 01379 897266 Long Melford Village Hall, Chemists Lane (Opposite Bull Hotel), Long Melford, Suffolk, CO10 9LQ, Jul 6 Sunbury Antiques 01932 230946 www.sunburyantiques.com Antiques Market, Sandown Park Racecourse, Esher, Surrey KT20 9AJ, Jun 19, Jul 17

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

AFC Fairs 07887 753956 www.antiquefairscornwall.co.uk Pensilva Antique & Collectors Fair, Millennium House, Princess Road, Pensilva, Liskeard, Cornwall, PL14 5NF, Jun 26, Jul 31 Antiques and Collectors fair, The Parkhouse Centre, Ergue-Gaberic Way, Bude, EX23 8LD, Jun 11 Lostwithiel Antique Fair, PL22 0HA, Cancelled Arun Fairs 07563 589725 www.antiques-atlas.com Emsworth Antiques and Collectors Fair, Emsworth Community Centre, North Street, Emsworth, PO10 7DD, Jun 12, Jul 10 Benson Antiques & Collectors Fair, 01235 815633 Benson Parish Hall, Sunnyside, Benson, Nr Wallingford, Oxfordshire, OX10 6LZ, Jun 19, Jul 17 Cameo Fairs 07790 126967 Corfe Castle Antiques & Vintage Fair, Village Hall, East Street, Corfe Castle, Dorset, BG20 5EE, Jul 3 Minstead Antique Fair, Village Hall, London Road, Minstead, Hampshire, SO43 7FX, Jun 19, Jul 17 Continuity Fairs 01584 873634 www.continuityfairs.co.uk Exeter Antique and Flea Market, Matford, Park Road, Marsh Barton, Exeter, EX2 8FP Jul 2 IACF 01636 702326 www.iacf.co.uk Shepton Mallet Antiques, Vintage & Collectors Fair Royal Bath & West Showground, Shepton Mallet, Somerset, England, BA4 6QN, Jun 12 Marlow Antique & Vintage Fair 07394 704272 Liston Hall, Chapel Street, Marlow, Buckinghamshire, SL7 1DD, Jul 2 Stockbridge Antiques Fair Stockbridge Town Hall, , Hampshire, SO20 6HE, Jul 2 ANTIQUE COLLECTING 65

EAST MIDLANDS including Derbyshire, Leicestershire, Lincolnshire, Northamptonshire, Nottinghamshire, Rutland.

IACF 01636 702326 www.iacf.co.uk Runway Monday at Newark, Newark and Nottinghamshire Showground, Newark, Notts, NG24 2NY, Jun 27 Stags Head Events (formerly Guildhall Antiques Fairs) 07583 410862 www.stagsheadevents.co.uk Antiques, Vintage & Motor Collectables Fair, Naseby Village Hall, Naseby, Northants, NN6 6D, Jun 18-19 International 1-Day Antiques & Vintage Fair, Fullhurst, Imperial Avenue, Leics, LE3 1AH, Jul 10 WEST MIDLANDS including Birmingham, Coventry, Herefordshire, Shropshire, Staffordshire, Warwickshire, Worcestershire B2B Events 01636 676531 www.b2bevents.info Malvern Flea and Collectors Fair, Three Counties Showground, Malvern, Worcs, WR13 6NW, Jun 26, Jul 24 Continuity Fairs 01584 873634 www.continuityfairs.co.uk Bingley Hall, Stafford Showground, Stafford, ST18 0BD, Jun 25-26 Coin and Medal Fairs Ltd. 01694 731781 www.coinfairs.co.uk The Midland Coin Fair, National Motorcycle Museum, Bickenhill, Birmingham, B92 0EJ, Jun 12, Jul 10 Mark Carter Militaria & Medal Fairs, 01753 534777 Stratford Leisure Centre, Bridgefoot, Stratford Upon Avon, Warwickshire, CV37 6YY. Jun 26 NORTH including Cheshire, Cumbria, Lancashire, Northumberland, Tyne and Wear, Yorkshire.

Arthur Swallow Fairs 01298 27493 www.asfairs.com

66 ANTIQUE COLLECTING

Antiques and Salvage Market, Clay House Farm, Flittogate Ln, Cheshire Showground, Tabley, Knutsford, WA16 0HJ, Jul 2 Cooper Antiques Fairs 01278 784912 www.cooperevents.com The Pavilions of Harrogate Decorative, Antiques and Art Fair, Railway Road, Harrogate, North Yorkshire, HG2 8NZ, Jun 10-12 Rose and Brown Vintage 07985 181120 www.roseandbrownvintage.co.uk The Great Seaside Vintage Fair, Whitby Pavilion, West Cliff, Whitby, YO21 3EN, Jul 16-17 V and A Fairs www.vandafairs.com 01244 659887 Nantwich Town Square Antiques Market, Nantwich Town Centre Nantwich, Cheshire, CW5 5DH , Jun 11, Jul 9 Antiques Market, Civic Hall Nantwich, Beam Street, Nantwich, Cheshire, CW5 5DG, Jun 23

Detling Antiques, Vintage & Collectors Fair 18th - 19th June

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

Sat: Early Entry: 8.30am - £6 Sat: Entry: 10am-4.30pm - £5 Sun: 10.30am - 3.30pm - £4

Malvern Flea & Collectors Fair

Three Counties Showground, Worcestershire, WR13 6NW.

Sunday 26th June Sunday 24th 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

WALES Barbara Riva-Palacio 01492 518597 Betws-y-Coed Antique, Vintage & Collectors Fair St Marys Church Hall, Betws-yCoed, North Wales, Conwy, LL24 0AA, Jun 16 RJG Events 01492 623763 Llandudno Antique & Collectors Fair Llandudno Town Hall, Lloyd street, Llandudno, Conwy, LL30 2UP, Jun 15 SCOTLAND Ayr Antique, Vintage & Collectors Fair 07960 198409 Citadel Leisure Centre, South Harbour Street, Ayr, Ayrshire, KA7 1JB, Jul 30 Glasgow, Antique, Vintage & Collectors Fair 07960 198409 31 Bellahouston Drive, Glasgow, G52 1HH, Jun 12

www.oldhenantiques.com

77 71

NEXT AUCTION:

Works of Art, Antiquities and Asian Art 78 72

73 71

20 th June 2022 ONLINE AUCTION

Lot 7173 A North German/Flemish statue of a mourning Madonna, circa 1600 Lot 7278 A four-piece Tiffany & Co silver coffee service, early 20th century

55 75

Lot 7177 The Mother of God with child on the crescent moon, 18th century Lot 7555 A Russian silver and nephrite tankard, St. Petersburg, Semen GavrilovitchandMichailGratchev, 1908 - 1917

Hermann Historica GmbH ❘ Bretonischer Ring 3 ❘ 85630 Grasbrunn / Munich ❘ Germany ❘ www.hermann-historica.com



 

 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.

LONDON: Inc. Greater London Bonhams 101 New Bond St, London W1S 1SR020 7447 7447 www.bonhams.com Indian in Art, Jun 7 The Old, the Rare and the Only an Extraordinary Single Owner Collection of Whisky, Cognac and Armagnac - Part II, Jun 8 Fine Watches, Jun 15 Works in Progress: A Sale of Sketches, Studies and Maquettes, Jun 21 Modern British and Irish Art, Jun 22 Aeropittura Italian Futurism in Sight, Jun 20-28 Prints and Multiples, Jun 29 Fine and Rare Wines, Jun 30 Port-War and Contemporary Art, Jun 30 Old Master Paintings, Jul 6 Antiquities, Jul 7 500 Years of European Ceramics, Jul 7 Decorative Arts, Jul 13 Fine Clocks, Jul 14 The Gand Tour Sale, Jul 14 Bonhams Montpelier St, Knightsbridge, London, SW7 1HH 020 7393 3900 www.bonhams.com Knightsbridge Jewels, Jun15, Jul 13 Fine Glass and British Ceramics, Jun 22 Fine Books and Manuscripts, Jun 22 The Moeskops Collection of Chinese Snuff Bottles (Online), Jun 13-23 Collections Sale, Jun 28 British and European Art, Jul 6 Chiswick Auctions 1 Colville Rd, Chiswick, W3 8BL, 020 8992 4442 www.chiswickauctions.co.uk Urban and Contemporary Art, Jun 14 Silver & Objects of Vertu, Jun 22-23 19th & 20th Century Paintings and Works on Paper, Jun 29 Jewellery, Jun 30 Watches, Jun 30

68 ANTIQUE COLLECTING

Christie’s 8 King St, St. James’s, SW1Y 6QT 020 7839 9060 www.christies.com Jewels Online: The London Edit (Online), Jun 6-16 Finest and Rarest Wines, Jun 8-9 Jewels Online: The London Edit, starts Jun 8 20th/21st Century: London Evening Sale, Jun 28 Impressionist and Modern Art Day and Works on Paper Sale, Jun 29 Post-War & Contemporary Art Day Sale, Jul 1 Old Master and British Works on Paper: Drawings, Watercolours and Prints 1500 - 1900, Jul 5 Antiquities, Jul 6 Old Masters Evening Sale, Jul 7 Valuable Books and Manuscripts, Jul 13 Noonans (formerly Dix Noonan Webb) 16 Bolton St, Mayfair, W1J 8BQ, 020 7016 1700 www.dnw.co.uk Jewellery, Watches and Objects of Vertu, Jun 14 Coins and Historical Medals, Jun 15 Orders, Decorations, Medals and Militaria, Jun 29, Jul 27 Coins, Historical Medals and Antiquities, Jul 12-13 Elmwood’s 101 Talbot Road London, W11 2AT 0207 096 8933 www.elmwoods.co.uk Jewellery Jun, 9, 16, 23, 30, Jul 7, 14, 21, 28 Forum Auctions 220 Queenstown Road, London SW8 4LP, 020 7871 2640 www.forumauctions.co.uk Modern Literature (Online) Jun 9 The Gastronomy Library of the late Caroline Crisford (Online), Jun 23 Forum Auctions @ Artsy: Summer Editions, Jun 29 Books and Works on Paper (Online) Jul 6, Jul 28 Fine Books, Manuscripts and Works on Paper, Jul 15 Hansons Auctioneers The Normansfield Theatre, 2A Langdon Park, Teddington TW11 9PS, 0207 018 9300 www.hansonsauctioneers.com

June Fine Art & Antiques Auction: To Include Fine Jewellery & Watches, Jun 25 Lyon & Turnbull Mall Galleries, The Mall, St. James’s, London SW1Y 5AS, 0207 930 9115 www.lyonandturnbull.com None listed Olympia Auctions 25 Blythe Road, London, W14 OPD, 020 7806 5541 www.olympiaauctions.com Antique Arms, Armour & Militaria, Jun 29 Morton & Eden Nash House St. George Street, London W1S 2FQ , 020 7493 5344 www.mortonandeden.com The Wolff Metternich Collection of German and European Coins, Jul 19-20 Phillips 30 Berkeley Square, London, W1J 6EX, 020 7318 4010 www.phillips.com Evening and Day Editions, Jun 14-15 Roseberys Knights Hill, Norwood, London, SE27 0JD 020 8761 2522 www.roseberys.co.uk Impressionist, Modern & Contemporary Art, Jun 7 Arts of India, Jun 14 Jewellery and Watches, Jun 15 Traditional and Modern Home, Jun 23 Modern and Contemporary Prints and Multiples, Jul 5 Old Master and 19th Century Pictures, Jul 20 Fine and Decorative, Jul 21 Sotheby’s New Bond St., W1 020 7293 5000 www.sothebys.com Fine and Rare Scotch, Jun 15 Fine and Rare Scotch and Japanese Whisky, Jun 17 British Art: The Jubilee Auction, Jun 29 Modern & Contemporary Evening Sale, Jun 29 Modern British Day Auction, Jun 30 Modern & Post-War British Art, Jun 30 Modern & Contemporary Day

Sale, Jun 30 Ancient Sculpture and Works of Art, Jun 29-Jul 5 Master Sculpture from Four Millennia, Jul 5 Old Master Sculpture & Early Jewels, Jul 1-5 Master Works on Paper from Five Centuries, Jul 6 Old Master and British Works on Paper, Jul 1-6 Old Masters Evening Sale , Jul 6 Old Masters Day Sale, Jul 1-7 European and British Art Pt. I, Jul 13 European and British Art Pt. II, Jul 7-13 19th and 20th Century Sculpture, Jul 7-13 SOUTH EAST AND EAST ANGLIA: Inc. Bedfordshire, Cambridgeshire, Essex, Hertfordshire, Kent, Norfolk, Suffolk, Surrey, Sussex Bishop and Miller 19 Charles Industrial Estate, Stowmarket, Suffolk, IP14 5AH, 01449 673088 bishopandmillerauctions.co.uk Selected Antiques Jun 8 Audio Equipment Jun 9 Ephemera, Books & Maps Jun 15 Monthly Jewellery & Silver Jun 15, Jul 20 Collectors Toys & Poster (Online) Jun 19 Fine Watches Jun 22 Fine Jewellery Jun 23 Music Jun 26 Selected Antiques Jun 29 Modern Living Jul 6 Rural Bygones Jul 6 Selected Antiques Jul 13 Dr Automica’s Journey Into Jul 14 Music & Musical Instruments Jul 14 Collectable Ceramics Online only timed auction ends today Jul 17 (Online) Photography Jul 24 (Online) Bellmans Newpound, Wisborough Green, West Sussex, RH14 0AZ. 01403 700858 www.bellmans.co.uk Wines and Spirits, Jun 13 Interiors, incl. Silver, Jun 21-23 The Friday 500, Jun 24 Printed Books, Manuscripts and Maps, Jul 14

Burstow & Hewett The Auction Gallery, Lower Lake, Battle, East Sussex,TN33 0AT, 01424 772 374 www.burstowandhewett.co.uk General Collectables, Jun 8 Home and Interiors, Jun 9 Watches & Clocks, Jewellery & Silver, Antiques & Fine Art, Jun 22-23 The Canterbury Auction Galleries 40 Station Road West, Canterbury, Kent, CT2 8AN, 01227 763337 canterburyauctiongalleries.com General Sale, Jun 11-12 Catherine Southon Auctioneers Farleigh Court Golf Club, Old Farleigh Road, Selsdon Surrey CR6 9PE, 0208 468 1010 www.catherinesouthon.co.uk Jul 20 Cheffins Clifton House, Clifton Road, Cambridge, CB1 7EA 01223 213343, www.cheffins.co.uk The Interiors Sale, Jun 9, Jul 14 The Fine Sale, Jun 22-23 Durrants Auctions The Old School House, Peddars Lane, Beccles, Suffolk, NR34 9UE, 01502 713490 www.durrantsauctions.com Antiques and Interiors with Collectables, Jun 10 Ewbank’s London Rd, Send, Woking, Surrey, 01483 223 101 www.ewbankauctions.co.uk Vintage Posters, Jun 10 Cars, Motorbikes and Automobilia, Jun 21 Jewellery, Watches and Coins, Jun 22 Silver and Fine Art, Jun 23 Antiques, Books, Clocks & Antique Furniture, Jun 24 An Auction for Muggles, Jul 7 Entertainment and Memorabilia, Jul 8 Antique & Collectors’ Inc. Silver and Jewellery, Jul 13 Trading Cards: Pokemon and More, Jul 13 Toys and Models, Jul 14 Decorative Arts, Vintage and Modern Design, Jul 27 Contemporary Art, Editions & British Modern Pictures, Jul 27 Asian Art, Jul 28 Vintage Fashion & Textiles, Jul 28 Excalibur Auctions Limited Unit 16 Abbots Business Park

Primrose Hill Kings Langley, Hertfordshire, WD4 8FR 020 3633 0913 wwwexcaliburauctions.com Marvel, DC & Independant Comic Books Jun 11 Toy and Model Railways Collectors Sale July 23 Gorringes 15 North Street Lewes, East Sussex BN7 2PE 01273 472503 www.gorringes.co.uk

Weekly, Jun 13 Summer Fine Sale, Jun 28

John Nicholson’s Longfield, Midhurst Road, Fernhurst, Haslemere, Surrey, GU27 3HA, 01428 653727 www.johnnicholsons.com

Fine Paintings, Jun 8 General Auction, Jun 18

Lacy Scott & Knight 10 Risbygate St, Bury St Edmunds, Suffolk, IP33 3AA, 01284 748 623 www.lskauctioncentre.co.uk Homes and Interiors, Jun 11, Jul 9, 30 Medals, Militaria and Country Pursuits, Jun 17 Fine Art & Antiques with Classic Cars and Motorcycles, Jun 18 Toys and Medals, Jun 24 Lockdales Auctioneers 52 Barrack Square, Martlesham Heath, Ipswich, Suffolk, IP5 3RF 01473 627110 www.locakdales.com The Fine Sale Jun 8-9, Toys, Antiques, Books and Ephemera Jun 28-29, Coins, Militaria and Paper Collectibles (Stamps and Cards) Jul 20-21 Parker Fine Art Auctions Hawthorn House, East Street, Farnham, Surrey, GU9 7SX, 01252 203020 www.parkerfineartauctions.com Fine Paintings and Frames From the Collection of Alexander G Ley and Son, Jun 9, Jul 7 Reeman Dansie 8 Wyncolls Road, Severalls Business Park, Colchester, Essex, CO4 9HU, 01206 754754 www.reemandansie.com Specialist Collectors’ Sale, Jun 14-16 Royalty, Fine Art and Antiques, Jun 28-29 Summers Place, The Walled Garden, Billingshurst West Sussex,

RH14 9AB, 01403 331331 www.summersplaceauctions.com None listed in June/July Sworders Fine Art Auctioneers Cambridge Road, Stansted Mountfitchet, Essex, CM24 8GE 01279 817778 www.sworder.co.uk Homes and Interiors (Online), Jun 8, 14, 21, Jul 5, 19 Fine Interiors – Two Day Sale, Jun 14-15 Fine Wine and Spirits (Timed) Jun 10-19 Fine Jewellery and Watches, Jun 28 Modern and Contemporary Art (Timed), Jul 1-10 Design Two-Day Sale, Jul 12-13 Jewellery, Jul 27 Toovey’s Antique & Fine Art Auctioneers Spring Gardens Washington, West Sussex RH20 3BS, 01903 891955 www.tooveys.com Silver and Plate, and Jewellery, Jun 8 Furniture, Automobilia and Aeronautica, Collectors’ Items, Works of Art, Needleworks, Textiles and CLothing, Light Fittings, Rugs and Carpets, Jun 9 Asian and Islamic Ceramics and Works of Art, Jun 23 T.W. Gaze Diss Auction Rooms, Roydon Road, Diss, Norfolk, IP22 4LN, 01379 650306. www.twgaze.com Antiques & Interiors, Jun 10, 17, 24 Blyth Barn Furniture Auction, Jun 14, 21, 28 Books and Ephemera, Jun 14 Clocks and Watches, Jun 16 Automobilia, Jun 23 Musical Instruments, Jun 30 SOUTH WEST: Inc. Berkshire, Buckinghamshire, Cornwall, Devon, Dorset, Gloucestershire, Hampshire, Isle of Wight, Oxfordshire, Somerset, Wiltshire Bearnes Hampton & Littlewood St. Edmund’s Court, Okehampton Street, Exeter EX4 1DU O1392 41310 www.bhandl.co.uk Maritime, Jun 21 Three-Day Fine Art, Jul 12 British Bespoke Auctions The Old Boys School, Gretton Rd, Winchcombe, Cheltenham, GL54 5EE 01242 603005 www.bespokeauctions.co.uk

Automobilia, Antiques and Collectables, Jun 16 Collectables Incl. Books (Timed), Jun 21-28 Silver, Jewellery and Collectables, Jul 21 Chippenham Auction Rooms Unit H, The Old Laundry. Ivy Road, Chippenham, Wiltshire.

SN15 1SB 01249 444544 chippenhamauctionrooms.co.uk Toys, Vinyl, Pop Memorabilia, Posters, Postcards, Coins, Stamps and Other Collectables, Jun 9 Enamel Signs, Shop Display, Fairground, Petroliana, Arcade Games and other Early Advertising, Jun 11 Chorley’s Prinknash Abbey Park, Gloucestershire, GL4 8EU 01452 344499 www.chorleys.com Fine Art and Antiques, Silver and Jewellery, Jul 19-20 David Lay Auctions Penzance Auction House , Alverton, Penzance, Cornwall 01736 361414 www.davidlay.co.uk Cornish Art & Fine Art, Jun 9-10 Jewellery, Watches, Luxury Fashion and Accessories, Jun 16 Asian Art, Jun 23 Antiques and Interiors, Jul 7 Books, Manuscripts and Maps, Jul 21 Dawsons Kings Grove Estate, Maidenhead, Berkshire, SL6 4DP 01628 944100 www.dawsonsauctions.co.uk

Jewellery, Silver and Watches Jun 23, Jul 21 Fine Art, Antiques and Asian Art Jun 30, Jul 28 Dominic Winter Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ 01285 860006 www.dominicwinter.co.uk Printed Books, Maps & Documents Jun15, Jul 20 Modern First Editions, Children’s & Illustrated Books Jun 16 British & European Paintings, Old Master Drawing & Prints Jul 21 Antiques & Historic Textiles Jul 21 Dore & Rees Auction Salerooms, Vicarage Street, Frome, Somerset BA11 1PU, 01373 462 257 wwwdoreandrees.com Classic Cars - The Midsummer Auction, Jun 18 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.

Dreweatts Donnington Priory Newbury, Berkshire RG14 2JE 01635 553 553 www.dreweatts.com Interiors Day 1 (Live Online), Jun 14 Interiors Day 2 (Live Online), Jun 15 Art on a Postcard, Charity Auction in Aid of the Hepatitis C Trust (Timed Online), Jun 21-Jul 5 Fine Furniture, Sculpture, Carpets, Ceramics & Works of Art, (Live Online), Jun 29 Western Manuscripts and Miniatures (Live Online), Jul 6 Fine Jewellery, Silver, Watches and Luxury Accessories (Timed Online), Jul 7 Fine and Rare Spirits (Live Online), Jul 21 Jewellery, Silver, Watches, Pens and Luxury Accessories (Timed Online), Jul 13-Aug 3 Duke’s Brewery Square, Dorchester, Dorset, DT1 1GA 01305 265080 www.dukes-auctions.com Avenue Auctions, Jun 14 Jewellery and Watches, Jun 16 The Book Auction, Jun 17 East Bristol Auctions Unit 1, Hanham Business Park, Memorial Road, Hanham, BS15 3JE 0117 967 1000 www.eastbristol.co.uk Antique & Vintage Jewellery, Watch, Gold & Silver Auction Jun 8 June Antiques & Collectables Furniture & Decorative Interiors Auction, ends Jun 13 (timed), June Antiques & Collectables Ceramics, Collectables, Music Memorabilia & Postcards Jun 14 (timed).

Gardiner Houlgate 9 Leafield Way, Corsham, Wiltshire, SN13 9SW, 01225 812912 www.gardinerhoulgate.co.uk The Guitar Sale, Jun 15 Entertainment Memorabilia, Jun 16 Jewellery and Watches, Jun 29 Watches, Jun 29 Antiques, Silver and Works of Art, Jun 30 Paintings and Prints, Jun 30 Decorative Arts and 20th Century

70 ANTIQUE COLLECTING

Design, Jun 30 Vintage and General, Jul 21 Hansons Auctioneers 49 Parsons Street, Banbury, Oxford, OX16 5NB, 01295 817777 www.hansonsauctioneers.co.uk June Fine Art & Collectors Auction, Jun 11 July Fine Art & Collectors Auction, Jul 2 Killens Mendip Auction Rooms, Rookery Farm, Roemead Road, Binegar, Somerset BA3 4UL, 01749 840770 wwwmendipauctionrooms.com Fine Art, Antiques, Militaria, Coinage and Stamps, Jun 11 Modern Design, Interiors and Collectables, Jun 21 Interiors and Collectables, Jul 5, 19 Fine Art, Antiques, Silver and Jewellery, Jul 9 Kinghams 10-12 Cotswold Business Village, London Road, Moreton-in-Marsh, Gloucester, GL56 0JQ, 01608 695695 www.kinghamsauctioneers.com Designer Goods, Jewellery and watches Jun 17 Cotswold Interiors and Collectables, June 24 Rene Lalique and his Contemporaries Jul 8 Lawrences Auctioneers Ltd. Crewkerne, Somerset, TA18 8AB, 01460 703041 www.lawrences.co.uk General Sale, Jun 8, 15, 22, 29 Silver and Vertu, Jul 5 Pictures, 19th/20th Century Design & Ceramics Militaria, Coins and Medals, Jul 6 Jewellery and Watches, Jul 7 Furniture, Clocks and Rugs, Jul 8 Mallams Oxford Bocardo House, St Michael’s St, Oxford. 01865 241358 www.mallams.co.uk Jewellery, Watches and Silver, Jul 27 Mallams Cheltenham, 26 Grosvenor St, Cheltenham.

Gloucestershire, 01242 235 712 www.mallams.co.uk Country House Sale, Jun 22

Mallams Abingdon Dunmore Court, Wootten Road, Abingdon, OX13 6BH, 01235 462840 www.mallams.co.uk The House and Gardens Sale, Jul 11-12 Michael J Bowman Chudleigh Town Hall, Chudleigh Newton Abbot, Devon TQ13 0HL, 01626 295107 www.michaeljbowman.co.uk General, Jul 30 Moore Allen & Innocent Burford Road Cirencester, Gloucestershire GL7 5RH, 01285 646050 www.mooreallen.co.uk Vintage and Antique Furniture with Interiors, Jun 8, Jul 6 Vintage and Antique Furniture with Interiors (Timed), Jun 10, Jul 8 Philip Serrell Barnards Green Rd, Malvern, Worcs. WR14 3LW, 01684 892314 www.serrell.com Interiors, Jun 9, 30 Fine Art and Antiques, Jul 21 Stroud Auctions Bath Rd, Trading Est, Bath Rd, Stroud, Gloucestershire, GL5 3QF 01453 873 800 www.stroudauctions.co.uk Jewellery, Watches, Silver, Clocks and Coins, Jun 15-16 Classic Cars, Motorcycles and Transport, Toys, Vinyl Records, Musical Instruments, Pictures and Paintings, Books, Stamps and Ephemera, Jul 13-14 The Pedestal The Dairy, Stonor Park, Henley-on-Thames, Oxfordshire RG9 6HF, 01491 522733 www.thepedestal.com Fine Interiors, Jul 5 Special Auction Services Plenty Close, Newbury, Berkshire, RG14 5RL 01635 580 595 wwwspecialauctionservices.

Glorious Trains Part Two, Jun 14 Dolls and Teddy Bears, Jun 21 Photographica & Cameras, Jun 28 Antiques & Collectables, Jul 5 Music & Entertainment, Jul 12 Jewellery, Silver, Watches and Coins, Jul 21

Wessex Auction Rooms Westbrook Far, Draycot Cerne Chippenham, Wiltshire, SN15 5LH, 01249 720888 www.wessexauctionrooms.co.uk Jewellery, Silver, Watches and Coins, Jun 17 Antiques, Collectables & Furniture, Jun 18, Jul 2, 16, 30 Toys, Jun 23-24 Wokingham Auctions Wokingham Town Hall Wokingham, Berkshire RG40 1AS, 07446 802450 www.wokinghamauctions.com Jewellery, Watches, Silver, Art and collectables Jul 14 Woolley & Wallis, 51-61 Castle Street, Salisbury, Wiltshire, SP1 3SU, 01722 424500 www.woolleyandwallis.co.uk Arts and Crafts, Jun 15 Furniture, Works of Art and Clocks, Jun 29-30 Silver and Objects of Vertu, Jul 12-13 Fine Jewellery, Jul 14 Wotton Auction Rooms Tabernacle Road Wotton-under-Edge, Gloucestershire GL12 7EB 01453 708260 wottonauctionsrooms.co.uk Antiques and General Auction Jun 20-22, Jul 25-27 EAST MIDLANDS: Inc. Derbyshire, Leicestershire, Lincolnshire, Northamptonshire, Nottinghamshire, Sheffield Bamfords The Derby Auction House, Chequers Road, Derby, DE21 6EN, 01332 210 000 www.bamfords-auctions.co.uk The Bakewell Country Home Interiors & Collectors Auction Including Furniture, Ceramics, Textiles, Jewellery, Contemporary Design, Jun 8, 22, Jul 6, 20 Medals, Militaria and Firearms, Jun 13 The June Classic Toy, Juvenalia, Advertising & Collectors Auction, Jun 14 Antiques, Interiors, Estates and Collectables, Jun 15, 29, Jul 13, 27 Country House, Jun 18

The Collector’s Grand Tour: Curated Objects and Curiosities, Jun 23 Batemans Ryhall Rd, Stamford, Lincolnshire, PE9 1XF 01780 766 466 www.batemans.com Antiques and Collectors, Jun 11, Jul 2 The Art Sale – Pictures and Paintings, Jun 24 Asian Art, Jul 15 Golding Young & Mawer The Bourne Auction Rooms, Spalding Road, Bourne, Lincolnshire PE10 9LE 01778 422686 www.goldingyoung.com Bourne Collective Sale, Jun 8-9 Bourne Toy, Transport and Automobilia Sale, Jun 22 Bourne General, Jun 23 Golding Young & Mawer The Grantham Auction Rooms, Old Wharf Road, Grantham, Lincolnshire NG31 7AA, 01476 565118 www.goldingyoung.com None listed Golding Young & Mawer The Lincoln Auction Rooms, Thos Mawer House, Station Road North Hykeham, Lincoln LN6 3QY, 01522 524984 www.goldingyoung.com Lincoln Collective Sale, Jun 15-16 Hansons Heage Lane, Etwall, Derbyshire, DE65 6LS 01283 733988 www.hansonsauctioneers.co.uk June Connoisseur 18th & Early 19th Century Ceramics Auction, Jun 10 June Music and Film Auction, Jun 15 June Antique and Collectors Auction, Jun 16-21 June Decoratve Auction, Jun 22 June General Toy and Camera Auction, Jun 23 June Medals and Militaria Auction, Jun 24 June Football and Sporting Auction, Jun 29 Derbyshire Fine Art and Collectables, Jun 30 July Bargain Hunt Collectors Auction, Jul 6 WEST MIDLANDS: Inc. Birmingham, Coventry, Herefordshire, Shropshire, Staffordshire, Warwickshire

Bigwood Fine Art Auctioneers The Old School, Tiddington, Stratford-Upon-Avon, Warwickshire, CV37 7AW 01789 269415 www.bigwoodauctioneers.com Furnishings and Collectables, Jun 10, 17, Jul 8, 15 Selected Antiques and Collectables With Wine, Jul 1 Selected Antiques, Jul 29

Potteries Auctions Unit 4A, Aspect Court, Silverdale Enterprise Park, Newcastle, Staffordshire, ST5 6SS, 01782 638100 www.potteriesauctions.com Two Day Fine Art Auction of 20th Century British Pottery, Jewellery, Watches, Works of Art, Collectors’ Items, Antique and Quality Furniture, Jun 10-11, Jul 8-9

Cuttlestones Ltd Wolverhampton Auction Rooms, No 1 Clarence Street, Wolverhampton, West Midlands, WV1 4JL, 01902 421985 www.cuttlestones.co.uk Antiques and Interiors, Jun 22

Potteries Auctions The Cobridge Saleroom, 271 Waterloo Road, Cobridge, Stoke-on-Trent, Staffordshire, ST6 3HR 01782 212489 www.potteriesauctions.com 20th Century British Pottery, Collectors Items, Household Items, Antique and Quality Furniture, Jun 26, Jul 31

Cuttlestones Ltd Pinfold Lane, Penkridge Staffordshire ST19 5AP, 01785 714905 www.cuttlestones.co.uk Antiques and Interiors, Jun 8 Summer Antiques, Jun 30 Fellows Augusta House, 19 Augusta Street, Hockley, Birmingham, B18 6JA 0121 212 2131 www.fellows.co.uk Pawnbrokers, Jewellery and Watches, Jun 9, 23 Watch Accessories, Jun 13 Jewellery, Jun 21 Jewellery and Costume Jewellery, Jun 28 Fieldings Mill Race Lane, Stourbridge, DY8 1JN 01384 444140 www.fieldingsauctioneers.co.uk The Collectors Sale Incl. Watches, Jun 23-24 July Sale Incl. Back to the Future, Jul 21-22 Halls Bowmen Way, Battlefield, Shrewsbury, Shropshire, SY4 3DR 01743 450700 www.hallsgb.com/fine-art.com The Summer Auction, Jun 15 Antiques, Interiors and Books, Jul 6 Militaria (Timed Online), Jul 14-Aug 2 Hansons Auctioneers Bishton Hall, Wolseley Bridge, Stafford, ST18 0XN, 0208 9797954 www.hansonsauctioneers.co.uk June Library Auction, Jun 8 June Fine Art & Antique Auction: Including Toys and Nostalgia Auction, Jun 28

Trevanion The Joyce Building, Station Rd, Whitchurch, Shropshire, SY13 1RD, 01928 800 202 www.trevanion.com Fine Art and Antiques, Jun 29 NORTH: Inc. Cheshire, Co. Durham, Cumbria, Humberside, Lancashire, Greater Manchester, Northumberland, Tyne & Wear, Sheffield, Yorkshire Adam Partridge Withyfold Drive, Macclesfield, Cheshire, SK10 2BD 01625 431 788 www.adampartridge.co.uk Three Day Auction of Toys, Wines and Spirits with Furniture and Interiors, Jun 22-23 Studio Ceramics: The Jack Blackburn Collection, Jul 29 Adam Partridge The Liverpool Saleroom, 18 Jordan Street, Liverpool, L1 OBP 01625 431 788 www.adampartridge.co.uk Sporting with Antiques & Collectors’ Items, Jul 6-7 Anderson and Garland Crispin Court, Newbiggin Lane, Westerhope, Newcastle upon Tyne, NE5 1BF, 0191 432 1911 www.andersonandgarland.com The Music Auction, Jun 15 Modern Art and Design Auction, Jun 16 Homes and Interiors, Jun 21, Jul 5 The Pictures Auction (Timed Online), ends Jun 27 and Jul 29 to Aug 30 The Collectors’ Auction, Jun 29-30 Fine Silver, Jewellery and Watches

Auction, Jul 19 Summer Country House and Fine Interiors Auction, Jul 19-21 Capes Dunn The Auction Galleries, 40 Station Road, Heaton Mersey, SK4 3QT. 0161 273 1911 www.capesdunn.com Interiors, Vintage, & Modern Furniture, Jun 13, 27, Jul 11, 25 Jewellery, Silver, Watches and Gold Coins, Jun 14 Collectors and Toys, Jun 28 Northern Artists and Modern Art, Jul 12 The Summer Auction, Jul 26 David Duggleby Auctioneers The Gallery Saleroom, Scarborough, North Yorkshire, YO11 1XN, 01723 507 111 www.davidduggleby.com Jewellery and Watches, Jun 9 Coins, Banknotes and Stamps, Silver Sale, Jun 9, 30 Decorative Antiques, Collectors and Toys, Jun 10 Collectors and Clearance, Jun 10, Jul 1, 22 Affordable Art, Jun 11, Jul 2 The Furnishings Sale - Furniture, Interiors and Clocks, Jun 11, Jul 2, 23 The Summer Art Sale, Jun 17 Musical and Scientific Instruments, Cameras and Maritime, Jun 24 History and Memories Incl. Hull and Yorkshire, Jun 24 Jewellery, Watches and Coins, Jun 30, Jul 21 Decorative Antiques and Collectors, Jul 1 Elstob & Elstob Ripon Business Park, Charter Road, Ripon, North Yorkshire HG4 1AJ, 01677 333003 www.elstobandelstob.co.uk Fine Art and Antiques, Jun 10 Jewellery, Watches and Silver, Jul 15 Sheffield Auction Gallery Windsor Road, Heeley, Sheffield, S8 8UB, 0114 281 6161 www.sheffieldauctiongallery.com Silver, Jewellery and Watches, Jun 23, Jul 7, 21 Specialist Collectable Stamps, Jun 23 Antiques and Collectables, Jun 24, Jul 8, 22 Specialist Collectable Toys, Jul 7 Specialist Auction, Jul 21 Omega Auctions Ltd Sankey Valley Industrial Estate, Newton-Le-Willows, Merseyside WA12 8DN, 01925 873040 www.omegaauctions ANTIQUE COLLECTING 71

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.

The White Label Auction in aid of the Brit Trust,- 2022, Jun 7 The Bob Solly Collection, Jun 14 Rare Vinyl Records, Jun 14 Tennants Auctioneers The Auction Centre, Harmby Road, Leyburn, North Yorkshire DL8 5SG. 01969 623780 www.tennants.co.uk Antiques and Interiors, Jun 11, 24, Jul 8, 22 Militaria & Ethnographica, Jun 15 Modern and Contemporary Art, Jun 25 20th-Century Design, Jun 25 Stamps, Postcards and Postal History, Jul 6 Summer Fine Sale, Jul 15 The Fabulous Designer Fashion Sale, Jul 15 British, European and Sporting Pictures, Jul 16 Fine Jewellery, Watches and Silver, Jul 16 Toys and Models & Sporting, Jul 27 Vectis Auctions Ltd Fleck Way, Thornaby, Stockton on Tees, TS17 9JZ, 01642 750616 www.vectis.co.uk Diecast, Jun 8-9 Matchbox Sale, Jun 22 Model Trains, Jun 24, Jun 22 General Toys, Jun 28 Dolls and Teddy Bears, Jun 29 Wilkinson’s Auctioneers The Old Salesroom, 28 Netherhall Road, Doncaster, South Yorkshire, DN1 2PW, 01302 814 884 wilkinsons-auctioneers.co.uk Period Oak, Country Furniture & Effects, Featuring Part 1 of the Hines Treen Collection, Jun 16 Wilson55 Victoria Gallery, Market St, Nantwich, Cheshire CW5 5DG. 01270 623 878 www.wilson55.com Northern Art, Jun 9 Modern and Contemporary Art (Live Online), Jun 10 Fine Jewellery and Watches, Jun 16 SCOTLAND Lyon & Turnbull 33 Broughton Place, Edinburgh. EH1 3RR,

72 ANTIQUE COLLECTING

0131 557 8844 www.lyonandturnbull.com Form Through Time (Live Online), Jun 8 Jewellery (Live Online), Jun 15 Watches (Live Online), Jun 15 Scottish Paintings and Sculpture, Jun 16 Hints on Household Taste by Paul Reeves (Live Online), Jun 28 Rare Books, Manuscripts, Maps and Photographs (Live Online), Jul 13

Ceramics, Glass, Paintings, Furniture, Clocks, Works of Art, Books, Sporting Memorabilia, Jul 20

McTears Auctioneers 31 Meiklewood Road, Glasgow, G51 4GB, 0141 810 2880 www.mctears.co.uk Silver and Luxury Accessories, Jun 9 19th and 20th Century Design, Jun 9 Asian Art, Jun 10 Jewellery, Jun 10, 30, Jul 22 Stamps, Jun 10 Antiques and Interiors, Jun 17, Jul 1, Jul 15, 29 Paintings, Drawings & Prints (Online), ends Jun 19, Jun 29 -Jul 31 Watches, Jun 30 The Scottish Contemporary Art Auction, Jul 10 Militaria, Jul 20 British and Inernational Pictures, Jul 20 Clocks and Instruments, Jul 21 Fine Furniture and Works of Art, Jul 21 Toys, Models and Pop Culture, Jul 21 Sporting Medals and Trophies, Jul 22

Rogers Jones & Co 17 Llandough Trading Estate, Penarth, Cardiff, CF11 8RR, 02920 708125 www.rogersjones.co.uk Fine Art and Interiors, Jun 10, Jul 29 Jewellery and Collectables, Jul 1 The Welsh Sale, Jul 16 Selections and Collections, Jul 16

Thomson Roddick The Auction Centre, Irongray Road, Dumfries, DG2 0JE, 01387 721635 www.thompsonroddick.com Antiques and Works of Art, Jun 21

Thursday 23rd June 9.30am

WALES

Jones & Llewelyn Unit B, Beechwood Trading Estate, Llandeilo, Carmarthenshire, SA19 7HR, 01558 823 430 www.jonesandllewelyn.com General Sale, Jun 11, 25, Jul 9, 23

IRELAND

Adam’s 26, Stephens Green, Dublin 2, D02 X665, Ireland 00 353-1-6760261 www.adams.ie Important Asian Arts, Antiques and Paintings, Jun 28 Whyte’s 38 Molesworth St. Dublin D02 KF80 Ireland 00 353- 1-676 2888 www.whytes.ie Important Irish Art, Jun 6

TIME TO SELL? We are now accepting entries for our June & July auctions.

Get in touch for a complimentary auction estimate.

FORTHCOMING AUCTIONS JEWELLERY, SILVER & WATCHES

FINE ART, ANTIQUES & ASIAN ART Thursday 30th June 9.30am

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

CONTACT US TODAY

Anthemion Auctions, 15 Norwich Road, Cardiff, CF23 9AB. 029 2047 2444 www.anthemionauction.com General Sale, Jul 6 Fine Art, Antique and Collectors’ Sale Incl. Jewellery, Silver,

Rogers Jones & Co Colwyn Bay Saleroom, 33 Abergele Road, Colwyn Bay, Conwy, North Wales LL29 7RU, 01492 532176 Fine Art and Interiors, Jun 21, Jul 5 Jewellery and Collectables, Jun 28, Jul 26

0207 431 9445

A Platinum Diamond Solitaire Ring

SOLD FOR £22,000

OFFICES IN LONDON AND BERKSHIRE Connect with us: info@dawsonsauctions.co.uk dawsonsauctions.co.uk

Antique collecting-preview.indd 1

19/05/2022 17:10

LENNOX CATO ANTIQUES & WORKS OF ART EST: 1978

•WANTED• ~ WANTED ~

for epic East Yorkshire Georgian townhouse restoration.

For East Yorkshire town house renovation.

Labelled/ stamped branded furniture from Georgian to Victorian, eg Thomas Butler, Morgan & Sanders, J Alderman, Ross of Dublin (pictured), Gregory Kane, Wilkinson of Ludgate Hill, Robert James of Bristol, James Winter, W Priest, Samuel Pratt and many others. Tables all types, chairs, bookcases, , Davenport. mirrors etc. Campaign shower.

Georgian chamber horseIVexercise chair (pictured) Signed and unusual furniture. Georgian, Regency, William . Sofa / Pembroke / side tables, library furniture / bookcases. Also Victorian campaign chests, armchairs etc.

Ross of Dublin, Morgan & Sanders, Williams & Gibton, James Winter, Hill & Millard Unusual to William IV architectural features andGeorgian many others. eg doors, door frames, over door pediments. 18th century

J Alderman. Daws and George Minterspindles recliningand chairs.

Shoolbred/ Hamptons staircase handrail needed.

Anything/ Cornelius Georgian Smith Victorian with armchairs. or Regency lots of character considered.

Marble fire surrounds. Georgian / Regency/ William IV. Bullseyes etc.

Exceptional Georgian / Regency fire grates

Rectangular Georgian fanlight.

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

Four identical reclaimed Georgian wooden sash windows Wide reclaimed floorboards.

Approx 100 m2. with boxes, approxCeiling, 60 highwall x 37orwide.

Early decorative oil / gas / electric light fittings. table.

Early gasoliers. Colza lamps. Gimble lamp.

1 The Square, Church Street, Edenbridge, Kent TN8 5BD 01732 865 988 or 07836233473 cato@lennoxcato.com

www.lennoxcato.com

•WANTED• •WANTED•

Roland Ward, VanMarble Ingen fire taxidermy.

Human skull. surrounds fromskull.

1750Hippopotamus to 1850ish. White or coloured.

Stuffed crocodile / alligator.

Bullseyes, William IV styles etc. Brass Regency reeded fire

insert and Victorian griffin grate (pictured)

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

Human skull, stuffed crocodile/ alligator.

Victorian canopy shower bath. Decorated toilets etc Unitas, Simplicitas, Deluge etc.

Grand tour souvenirs.

Decorated basins x 3.

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

The centres are open 7 days a week 10am - 5pm

VINTAGE VINTAGE WRISTWATCHES WRISTWATCHES Omega Seamasters and pre-1980s Omegas in general.

Omega Seamasters and pre-1980s Omegas in general.

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

Breitling Breitling Top TopTimes, Times,Datoras Datorasand and806 806Navitimers.

Navitimers.

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

Gold Gold or or silver/steel. silver/steel.Also AlsoWorld WorldWar WarIIRolex Rolex13 13lignes lignesetc. etc.Princes.

Princes.

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www.hemswell-antiques.com Tel: +44 1427 668389 Email: enquiries@hemswell-antiques.com Hemswell Antique Centres, Caenby Corner Estate, Hemswell Cliff Gainsborough, Lincolnshire DN21 5TJ

Longines, Tudors Tudors and and Zeniths, Zeniths,pre-1970. pre-1970.Even Evenbasic basicsteel steelmodels modelsininnice nicecondition. condition.

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

1920s/30s

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

Yorkshire

vintagejewellery@yahoo.co.ukor ortel tel07958 07958333442 333442 vintagejewellery@yahoo.co.uk

PM Antiques & Collectables are a modern and innovative antiques retailer based in Surrey.

Specialising in a wide array of collector’s items, including contemporary art, entertainment and memorabilia, vintage toys, decorative ceramics, watches and automobilia.

We Buy & Sell pm-antiques.co.uk Contact us: phil@pm-antiques.co.uk 01932 640113

ADVERTISE TODAY PLEASE CALL CHARLOTTE KETTELL ON 01394 389969 or email: PMAntiques2015 PM_Antiques Charlotte.Kettell@accartbooks.com ANTIQUE COLLECTING73 65 ANTIQUE COLLECTING

LAST WORD Mark Allum

Marc My Words From the Duke of Windsor’s pug collars to Queen Victoria’s bloomers, memorabilia with a royal connection will always be collectable, writes Marc Allum

black taffeta “cleavage” gown worn by the then Lady Diana Spencer for her first official appearance, following her engagement to Prince Charles, was sold by Kerry Taylor auctions for £192,000 (having been expected to make £30,000).

Another dress worn by Kate Middleton at the St Andrew’s University charity fashion show in 2002 was also sold by Kerry Taylor auctions for £78,000.

Royal pugs My own collecting habits are often governed by fate and I tend to become the owner of an object more by circumstance than by design. I once owned a piece of Bonny Prince Charlie’s tartan trews and then seriously regretted selling it to an American collector. I have a card signed by the Duke of Windsor (Edward VIII) together with a photograph of him in his polo gear and another photograph signed by George V. I value these for their tangible connection to these historic figures and it’s a passion that drives most collectors to own objects with concrete provenance.

In 2008, five dog collars came up for sale in Bonhams New York. Our monarchy has always had strong associations with their animals. Just as our present Queen has her corgis, the Duke and Duchess of Windsor had their pugs – as many as 11 at a time! The pooches all apparently ate out of silver bowls and were perfumed with Miss Dior. At $1,680 the collars seemed like good value, particularly the one with the tag engraved; ‘I belong to the Duke of Windsor’.

T

here’s nothing like a royal event to boost the country’s morale and with the Queen’s popularity riding high, the Chinese kilns have already roared into action to satisfy the demand for cheap souvenirs. I usually meet any valuations of royal memorabilia with apprehension, envisaging shelf upon shelf of mass-produced near worthless knick-knacks.

The question I’m often asked is what royal souvenirs are worth buying? My advice is to look for the rare and unpredictable, or even downright bizarre. Stalwarts of the market are an 1838 Queen Victoria Swansea coronation mug, or an exceedingly rare George III 1809 Jubilee mug priced at around £500 and £1,000 at auction respectively.

But I tend to favour the more unusual items.

In 2008, Hanson’s Auctioneers in Derbyshire sold a pair of Queen Victoria’s 50-inch bloomers for a staggering £5,000, while a pair of stockings in the same sale sold for £8,000. Although this is much higher than would normally be expected, it illustrates the strong demand for personally-related royal objects. In 2010, the famous

74 ANTIQUE COLLECTING

Above Five dog collars

worn by pugs belonging to the Duke and Duchess of Windsor sold in 2008, image courtesy of Bonhams Above right Hanson’s

Emma Carberry models Queen Victoria’s bloomers, image courtesy of Hanson’s

King’s handkerchief My personal favourites tend to be a little bit more macabre so I was rather taken by a royal handkerchief in 2005. However, far from being used to blow a royal nose, it was employed to cover the face of the corpse of William IV. Sold with a similar handkerchief and ‘some sweet herbs taken out of the King’s coffin’ this might have been just a little bit too odd for most collectors and sold for a very reasonable £450. Who knows what gems the current monarchy might throw up? God save the Queen!

Marc Allum is an author, lecturer and specialist on the BBC’s Antiques Roadshow. For more details go to www.marcallum.co.uk

‘‘The dress worn by Kate Middleton at the St Andrew’s University charity fashion show in 2002 was also sold by Kerry Taylor auctions for £78,000’

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VIEWING DATES Thursday 16th June & Friday 17th June 10-4pm, on the sale day from 9-11am or by private appointment.

Hardcopy catalogues are available £10.

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