June July issue of Antique Collecting

JUNE/JULY 2023

BASKET CASES

Why collectors are going crazy for the Japanese art of bamboo weaving

Inside: NORTHERN POWER HOUSE PAINTINGS BY L.S. LOWRY UNDER THE HAMMER

SEATS OF LEARNING UNDERSTANDING A PAIR OF HALL CHAIRS

BEHIND THE SCENES OF GERTRUDE JEKYLL’S HOME

Silver champions

Enamelled boxes from the Guild of Handicraft

5 From William Morris to Ernő Goldfinger

GARDENER’S DELIGHT Architects & their homes

Flyaway Success

Bird portraits by the pioneering 18th-century artist Sarah Stone are put in the spotlight in a new exhibition

MORE THAN 6,000 AUCTIONS ACROSS EUROPE

Old Masters paintings —

Furniture —

Jewellery — Books...

Welcome

A friend of mine, a serious TV watcher, claims to have seen so many antiques programmes over such a long period that she now spots several of the same pieces reappearing on di erent shows.

Love them or hate them antiques programmes have been a staple of the daytime TV schedule for years, with barely a combination of dealer/customer dynamic left undredged. Whether they are a force for good or evil is a moot point. is week, dealer Drew Pritchard entered the debate in e Telegraph calling them “dreadful” and responsible for ruining the business.

Of course Pritchard-watchers will know that the 52-year-old hatwearer is himself the host of Salvage Hunters, which claims 22 million viewers in 52 countries, and his controversial critique may be linked to the recent release of his latest book How Not to Be an Antiques Dealer: Everything I’ve Learnt, at Nobody Told Me. He told a reporter: “I’ve got great friends who are on them (the programmes), but they’re auctioneers, not dealers. It’s like saying a painter and decorator is a builder. ey both work on houses, but they do di erent things.”

I would love to hear your thoughts on the topic. Are you a fan, or would you gladly consign them all to Room 101? Do they engender a love of antiques, or just turn us into a nation of price guessers? Email your opinions to us at magazine@accartbooks.com.

Regular subscribers will know the combined June-July magazine usually takes its theme from the roster of London’s prestigious antiques fairs, which typically see us heading to the capital in June. is year, however, with so many of them having cancelled, it is slightly di erent.

While there still a number of events taking place (including London Art Week, in the rst week in July, and the new Treasure House Fair at Royal Hospital Chelsea, at the end of June) we have had to look elsewhere for inspiration.

On page 24 we consider the furniture of the inter-war designer Betty Joel whose work is currently causing a storm in the saleroom. On page 42 silver table boxes decorated by the Guild of Handicraft enameller Fleetwood Charles Varley is put in the spotlight ahead of the sale of his work in Berkshire this month and, in summer mood, we go behind the scenes at the Surrey home of the celebrated gardener Gertrude Jekyll before the partial contents of the house go under the hammer in June. Enjoy the issue.

We

Georgina Wroe, Editor

KEEP IN TOUCH

Write to us at Antique Collecting, Riverside House Dock Lane, Woodbridge, Suffolk, IP12 1PE, or email magazine@accartbooks.com. Visit the website at www.antique-collecting.co.uk and follow us on Twitter and Instagram @AntiqueMag

Antique Collecting subscription

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

ISSN: 0003-584X

KATHERINE SCHOFIELD reveals highlights of the Peter Green music collection, page 28

this summery gouache by Roland Collins (1918-2015) called Beach Chalet, Whitstable, which has an estimate of £200-£300 at Catherine Southon’s sale on July 19.

ERROL FULLER is on the trail of a pioneering female painter, Page 46

Editor: Georgina Wroe, georgina. wroe@accartbooks.com

Online Editor: Richard Ginger, richard.ginger@accartbooks.com Design: Philp Design, james@philpdesign.co.uk

Advertising and subscriptions: Charlotte Kettell 01394 389969, charlotte.kettell @accartbooks.com

DANIEL ESKENAZI the Asian art expert on the beauty of Japanese bamboo art, page 18

MARTIN GREEN

we go behind the scenes with the whisky expert, page 8

COVER

Fukunishi Ryōsei (b. 1941) Kagayaki II (Radiance II) flower basket, flowers by Sumie Takahashi, master of ikebana. Image courtesy of Eskenazi, see the feature on page 18

REGULARS

3 Editor’s Welcome: Georgina Wroe introduces the summer issue packed with features and collecting advice

6 Antique News: A round-up of all the events set to enthral this summer, as well as details of some long-awaited exhibitions taking place

10 Your Letters: Advice is sought on “antiquing” in Europe, while one reader reminisces about a family business

12 Around the Houses: A Ming-period cloisonné box discovered in an attic sells for £288,000 in Berkshire and a Beatles autograph hits the headlines

16 Waxing Lyrical: David Harvey opens the door on a stylish pair of gothic revival hall chairs

28 Saleroom Spotlight: Katherine Scho eld sings the praises of the musical collection of Fleetwood Mac founder Peter Green

30 Puzzle Pages: Challenge your antiques knowledge with our head-scratching crossword and riddles from our quiz editor Peter Wade-Wright

41 An Auctioneer’s Lot: Charles Hanson is bowled over when a 700-year-old, locally-found, Ming-dynasty table appears in the saleroom

50 Top of the Lots: is month’s preview includes six works by L.S. Lowry from private collections and an unusual Stuart crystal necklace

52 Book O ers: Stuck for a summer read? Choose from our sister publisher ACC Art Books’ latest titles and save a third on the recommended price

57 Fair News: Details of this summer’s London Art Week and a new event set to replace the cancelled Masterpiece fair

58 Fairs Calendar: Latest listings from the UK’s fair circuit taking place in June and July

60 Auction Calendar: Never miss another sale with ve pages of the most up-to-date listings from around the country

66 Marc My Words: e Antiques Roadshow expert Marc Allum shares stories of his life and work

FEATURES

18 Shooting Stars: Could the Japanese art of bamboo weaving be your next collecting obsession? Antique Collecting goes behind the scenes at a new exhibition

24 Ooh! Betty: e furniture of the unsung heroine of inter-war design, Betty Joel, is in the spotlight after estimate-busting sales in UK auctions

32 Jekyll and Pride: Contents from the home of the celebrated garden designer Gertrude Jekyll are up for sale this month in Surrey

38 Doll Face: A pro le of the German maker Kämmer & Reinhardt before one of its models goes under the hammer in Yorkshire

42 Box Clever: e designs of the talented enameller and member of the celebrated Guild of Handicraft, Fleetwood Charles Varley, are put in focus ahead of a sale of his work

46 High Flyer: Unknown to many, the 18th-century natural history painter Sarah Stone is the subject of a new exhibition opening this month

54 Hot Stu : Silver by the 17th-century maker Elizabeth Haselwood from the collection of the Colman mustard family makes its way onto the rostrum in June

Take a rake

Eight pieces of contemporary porcelain inspired by William Hogarth’s famous series A Rake’s Progress have gone on show at a London museum.

Sir John Soane’s Museum is hosting Visions in Porcelain: A Rake’s Progress, showcasing pieces made by the Dutch ceramicist Bouke de Vries, presented alongside Hogarth’s famous work.

The paintings chart the demise of Tom Rakewell, the heir of a rich merchant who squanders his inherited wealth, leading to his ruin and final descent into madness.

In the same way, de Vries’ pieces echo the Rake’s dissolution starting with an immaculate celadon vase, representing his youthful promise, sinking into an ever-darkening palate.

De Vries said: “It has been a pleasure to reimagine this tale of woe in porcelain, displaying it only feet away from Hogarth’s original paintings.” The vases are on show until September 10.

WHAT’S GOING ON IN JUNE

A NTIQUE news

Above A gure of de Vries’ Rake, alongside e Arrest by William Hogarth, photo by Sylvain Deleu

Right Mary Beale (16331699) Portrait of a Young Man, c.1685. Courtesy Dulwich Picture Galley.

Below Umberto Giunti (1886-1970), forgery in the manner of Sandro Botticelli (1444/14451510), Virgin and Child, 1920s, e Courtauld, London

Forging ahead

Forgeries claiming to be masterpieces by artists including Sandro Botticelli, Pieter Bruegel the Elder, John Constable and Auguste Rodin go on display this month at e Courtauld in London.

Featuring around 25 drawings and seven paintings, Art and Arti ce: Fakes from the Collection from June 17 to October 8, tells the fascinating stories behind the works and the discovery of their deception.

Some were known forgeries and given to the gallery to help students learn from them. Others were the pride of collectors whose donations were later unmasked through technical examination and historic research.

Others required less scrutiny. A supposed painting by Botticelli of Virgin and Child was revealed as a fake due to the Virgin’s resemblance to a 1920s lm star and the detection of modern pigments.

BEALE GOOD FACTOR

Curator Lucy West this month presents a lecture on the “secret” techniques of the trailblazing female artist Mary Beale (1633-1699).

The talk on June 15 accompanies Dulwich Picture Gallery’s ongoing exhibition Mary Beale: Experimental Secrets, running until September 3.

Beale was part of a small band of female professional artists working in London and the main financial provider for her family. She was also a highly-experimental and technicallypioneering painter.

The lecture traces the nature of her acclaimed portraiture business, shedding light the art world of 17th-century London where the discovery of new painting techniques was closely guarded by artists.

From must-see exhibitions to details of the sale of Freddie Mercury’s collection, the temperature is rising for collectors this summer

Left Jean Cooke (19272008) rough the Looking Glass, 1960, © Estate of Jean Cooke, © Royal Academy of Arts

Right John Minton (19171957) e Hop Pickers, 1945, image courtesy e Ingram Collection, © Estate of John Minton, All Rights Reserved, Bridgeman Images 2023

Below right John Craxton (1922-2009) Greek Dancer, 1952, image courtesy e Ingram Collection, © John-Paul Bland, © Estate of John Craxton, All Rights Reserved, DACS 2023

1Good Cooke

e rst exhibition of the under-rated artist Jean Cooke (1927-2008) opens this month at the Garden Museum in London. With more than 30 works, Ungardening, from June 21 to September 10, showcases an artist better known as the wife of the artist John Bratby (1928-1992) who she married in 1953.

Bratby’s overbearing jealousy towards his wife meant he destroyed some of her work and only allowed her to paint for a few hours a day. e large scale works on show have been unseen in public for nearly 50 years.

to see in June

Below right Keith Vaughan (1912-1977) e Garden at Ashton Gi ord, 1942, image courtesy e Ingram Collection, © John-Paul Bland, © Estate of Keith Vaughan, All Rights Reserved, DACS 2023

Far left Jean Cooke (19272008) Self-portrait, 1959, © Estate of Jean Cooke

Left Jean Cooke (19272008) Toujours en Fête, 1969, © Estate of Jean Cooke, Courtesy of Piano Nobile, London

2Essex boys

3e work of a group of artists who worked in northwest Essex from the 1930s to ‘50s, known as British neo-romantics, goes on show this summer. e Fry Gallery in Sa ron Waldon, Essex, is unveiling A World of Private Mystery: British Neo-Romantics from July 8 to October 29. e movement is explored in 30 works by a band of celebrated artists including Graham Sutherland (1903-1980), John Piper (19031992), Keith Vaughan (1912-1977), John Minton (1917-1957), Robert McBryde (1913-1966) and Robert Colquhoun (1914-1962).

3Going Bunburying

Gainsborough’s House in Sudbury, the Su olk town in which the artist was born, stages an exhibition this month o the work of Henry William Bunbury (1750-1811), one of the most popular amateur artists of the late-18th century.

Drawn from the gallery’s large collection of prints, drawings and manuscripts, the exhibition from June 17 to October 29, showcases Bunbury’s satires and caricatures of Georgian society.

Bunbury’s role in laying the foundations for the modern comic strip and cartoons is also explored, as well as the extreme fashions of the day including that of the “Macaroni” – the precursor to the Regency dandy whose outré style was frequently lampooned. e exhibition will also explore the role of the Grand Tour and the beginning of horse racing culture.

Below right Henry William Bunbury (1750–1811) Sir Andrew Aguecheek, Sir Toby Belch and the Clown, 1792, watercolour over pencil, image courtesy of Gainsborough’s House

Below Henry William Bunbury (1750–1811) e Full Blown Macaroni, 1772, etching, image courtesy of Gainsborough’s House

Hair today

Hair, both human and animal, is the focus of a new exhibition in Sheffield.

Hair: Untold Stories, at Weston Park Museum until October 29, explores the cultural significance of locks as well as the remarkable qualities of hair as a material.

Highlights of the exhibition include intricate clothing and jewellery made from hair by Naga people in India, historic and contemporary hair jewellery from Sweden and artwork by the Sheffield artist Kedisha Coakley, which examines African Caribbean natural hair and its place in women’s lives.

Cabinet o ce

e European elite’s obsession with the cabinet of curiosities and the role it played on global trade in the 16th and 17th centuries is put in the spotlight at a new exhibition in London.

Known as wunderkammer in Germany and studioli in Italy, the cabinets held anything deemed unique, exotic or valuable enough to collect.

Using 10 objects, Strawberry Hill

Chair raising

The presiding officer’s chair from what would have become the Scottish Parliament building in the event of a vote for devolution in the 1979 referendum has been acquired by National Museums Scotland.

The sleek black chair, made in a futuristic style which typified the decade of its creation, was once intended to be the focal point of the new devolved parliament sitting at the former Royal High School building on Calton Hill in central Edinburgh.

30 seconds with...

Martin Green, head of the new whisky department at Northamptonshirebased Graham Budd

Auctions

How did you start in the business?

After leaving school, I got a good grounding working for a company of motor auctioneers before moving to Christie’s as an administrator when I was 21. After the successful introduction of whisky to the fine wine sales we started devoted whisky sales, the first of which being the collection of one of the directors of Ballintine’s whisky – the starting block for many to come.

House in Twickenham explores how diverse natural materials, from coconuts to rock crystal, expanded trade networks between Europe and the Far East.

Highlights include a 16th-century English ewer, a tankard from southern Germany and an owl-shaped cup made from a coconut Treasures from Faraway is on at Strawberry Hill until July 19.

COVID BOOSTER

Online art and collectable sales grew six per cent in 2022, generating an estimated $10.8bn according to a new report. Data from the Hiscox Online Art Trade Report 2023 suggests that the pandemic provided a $5.4bn boost to annual online art market sales.

However, 30 per cent of collectors plan to make fewer online purchases in the next 12 months as a result of the cost of living crisis and shrinking disposable incomes. Just over a quarter (26 per cent) of new art buyers said they were likely to buy art in 2023 as compared to 57 per cent in 2022.

What has been your most memorable sale to date?

When I was at Bonhams we sold a Macallan-60 year old-1926 for £848,750 in 2018, the highest price paid for any artwork/item sold at auction in Scotland. But it’s when something sells for more than expected that really sticks in the memory. A Glenfiddich-55 year old-1955, Janet Sheed Roberts Reserve sold for £47,500 in 2011, more than the estimate of £30,000.

Which whiskies should we look for?

Among single malts look out for Ardbeg, Auchentoshan, Balvenie, Bowmore, Brora, Bunnahabhain, Caol Ila, Clynelish, Dallas Dhu, Dalmore, Glen Grant, Glen Moray. Also Glendronach, Glenfarclas, Glenfiddich, Glenmorangie, Glenturret, Highland Park, Hillside, Isle of Jura,

Knockando, Lagavulin, Laphroaig, Linkwood, Longrow, The Macallan, St. Magdalene and Talisker.

Whiskies from distilleries that have closed or been mothballed are in high demand. 19th and early 20th-century blended whiskies can be quite valuable, too. Names to look out for being Johnnie Walker and Chivas Regal. Sometimes an ordinary bottle can have a surprising value.

Which is your favourite tipple?

I have never tasted a bad single malt. Among my favourites though are whiskies matured in sherry casks. I’ve tasted some amazing old Bowmore, Dalmore, Glenfarclas, Glenfiddich and Macallan.

Graham Budd’s next whisky auction is on October 19.

Coconut cup in the form of an owl mounted in silver, parcel-gilt, 1556, © e Schroder Collection, photo Matt Chung

Above An advert for a human hair net, early 20th century © Horniman Museum and Gardens

boomed in the pandemic, image Shutterstock

Above Speaker’s chair before being transported to the National Museums collection centre, photo Stewart Attwood

Mercury rising

is summer Queen fans can view 1,500 personal possessions owned by Freddie Mercury ahead of a series of six auctions in September. From August 4 to September 5, (which would have been the singer’s 77th birthday) lots from the sale can be seen at Sotheby’s London gallery.

For over 30 years, Freddie Mercury’s London home, Garden Lodge, which he bequethed to his ex- ancée Mary Austin, was left untouched as a shrine to the singer who died aged 45 in 1991.

e sale will showcase the singer’s taste

BENT INTO SHAPE

An artist who bent a full-sized roller coaster into the skeletal form of a woolly mammoth is among four nominees shortlisted for this year’s Turner Prize.

Oxford-born, 41-year-old Jesse Darling’s exhibition No Medals, No Ribbons also used plastic bags and mobility aids bent into different shapes and scattered on the floor to highlight the “precariousness of power structures” and express the “messy reality of life”.

She joins Ghislaine Leung, Rory Pilgrim and Barbara Walker whose work will be exhibited at the Towner Eastbourne from September 28 before the jury’s final choice in December.

Tate Britain drector, Alex

Commercial break

Vintage and classic car lovers should head to Warwickshire this month to feast on one of the largest events in Europe.

and amboyance, with pieces ranging from Victorian paintings to 20th-century artists, as well as glasswork, and Japanese art and fabrics.

Other lots will include the working lyrics for We Are e Champions and Killer Queen, his1975 Martin D-35 acoustic guitar, and an 1880 painting by James Jacques Tissot ofthe artist’s muse and mistress, Kathleen Newton (estimated to fetch up to £600,000) as well as works on paper by Picasso and Matisse. A Tiffanyand Co. silver moustache comb, owned by Mercury, will also go under the hammer.

Above left Mercury wore the out t for the nal rendition of God Save the Queen, which ended the band’s last live performance at Knebworth in 1986, © Denis O’Regan

Above Mercury’s crown, modelled on St Edward’s crown, and his red velvet cloak is expected to make £60,000-£80,000

Farquharson, who is also chair of the Turner prize jury, called it a“fantastic shortlist” for a prize that “offers the public a snapshot of British artistic talent today.”

SEEK GODDESSES

Divas from Ellen Terry to Grace Jones take centre stage at a new exhibition at the V&A London this summer.

Highlights include the fringed black dress worn by Marilyn Monroe as Sugar “Kane” Kowalczyk in the 1959 lm Some Like it Hot; the towering Louis XIV-inspired wig and train worn by Elton John on his 50th birthday; and the costume worn by prima ballerina Tamara Karsavina as Salomé performed by Serge Diaghilev’s Ballets Russes in 1913.

DIVA runs at the London museum from June 24 to April 7, 2024.

BARD TIMES

e rst museum devoted to William Shakespeare is set to open next year on the remains of the Curtain Playhouse, one of London’s earliest theatres.

e new Shoreditch museum, located three metres underground, will use AI technology allowing visitors to walk across the stage as it would have been in 1598.

e British Motor Museum in Gaydon is staging its Classic and Vintage Commercial Show on June 10 and 11 made up of hundreds of hundreds of pre-2003 commercial vehicles.

e vehicles on show range from Ford Transits and Morris Minors to AECs, Atkinsons, ERFs, Fodens and Leylands. For vehicle restorers the event promises a large commercial autojumble selling vehicle spares, photos and brochures.

e musuem houses the world’s largest collection of historic British cars.

e Curtain Playhouse, which opened in 1577, was the largest and longest-standing of the early-Elizabethan playhouses housing 1,400 visitors with a 14m stage.

Below e Curtain Playhouse excavation, courtesy of Museum of London Archaeology

Above left e British Motor Museum’s event is the largest of its type in Europe

Above Jesse Darling, No Medals No Ribbons, installation view at Modern Art Oxford, 2022. Photo by Ben Westaby. © Modern Art Oxford.

Below Elton John’s 50th birthday wig and train, designed by Sandy Powell, 1997, © V&A London

Above A jewellery box by Jennens & Bettridge, embellished with mother of pearl inlay, presented to Jenny Lind after a charity concert in 1848, © V&A London

LETTERS Have your say

Your Let ters

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

Left Have any readers visited the famous braderie in Lille?

Above right Chris was reminded of his family’s old ironmonger’s shop

Now my wife and I are both retired and are blissfully unencumbered by children, we are keen to spread our wings and visit antiques fairs abroad. As such, I was wondering your readers could recommend any?We are both taken by the Braderie de Lille.We have readthat it is also known for its moules marinière and chips,so if we find nothing else we will be able to feast on oneof my favourite meals. However, any othersuggestions for further fairs are gratefullyaccepted.

Terry Sawby, by email

ank you for your article in last month’s magazine (Saleroom Spotlight May issue Antique Collecting magazine) on Guinevere, the famous antiques shop on the King’s Road, which is closing down.

I lived in Chelsea in the ‘60s and it’s di cult to describe the excitement of taking a stroll down it on a Saturday. Fabulous looking people and outrageous looking clothes. Mary Quant had been there a while in her Bazaar boutique and I well remember the boutique Hung On You, on Cale Street, a boutique almost too trendy to enter. anks for a trip down memory lane.

Mike Percival, Ipswich, by email

Below e closure of Guinevere on the King’s Road took readers down memory lane

Intelligence (May issue of Antique Collecting magazine). It brought to mind memories of my family’s former ironmongery business, and particularly my late grandfather, the third generation to head it up. I remember the old shop counter, its top worn by the countless notes and coins that had been passed back and forth over the decades, and a wonderful old safe which had a handle shaped as a hand grasping a bar. Under the stairs was a haul of old shing gear and lace-up leather footballs, which I regularly plundered, and would now, no doubt, be snapped up by a canny dealer to sell on to a themed pub or sports bar. Chris Greenage by email

The answers to the quiz on page 30

Q1 (c). Q2 (a) Although Spain learnt the art from the Arab invaders. Q3 (b) Wooden trenchers had been the ‘plates’ ofchoice but were thought to be the first to be replaced by ceramics. Q4 (c) Territorial Girl wore a soldier’s jacketand a very full skirt. Q5 (b) 16th/17th-century chairs. Every part of the frame had been turned on a lathe. Q6 (b) I have seen theyear 1652 suggested. Q7 (d) It was an early scouring and polishingpad for knives. The original came from Bridgwater in Somerset Q8 (b) It includes the Prayer Book of Henry VIII given to him by his sixth wife, Katherine Parr Q9 (a). Q10 (b), (c) and (d). The flat end of the bullet was hollowed out and the bullet expanded slightly as the rifle was fired making a tighter fit in the grooved bore. It could then be smaller than usual. The sighting was not good and by 1853 the Enfield rifle had superseded it.

Germ theory can be rearranged to form the word hygrometer; sniper lens can be rearranged to make the word linen-press; fled water can be rearranged to make the word Delftware and tracery bun can be rearranged to make the word Canterbury.

is month’s mailbag delivers memories of 1960s London and a plea for information on European antiques fairs

A ROUND the HOUSES

A complete set of early Beatles’ autographs, signed on a police charge sheet, sold for £3,400, more than tripling a pre-sale estimate of £600-£900 at the Leicestershire auctioneer’s recent sale. e vendor’s quick-thinking father acquired the signatures as a Newcastle police o cer. Working on shift on November 23, 1963 he was called on to drive the Fab Four to their hotel after a gig in the city. At the time the band was well known but “Beatlemania” had not yet hit. He took the opportunity to ask the band to sign the only piece of paper he had to hand – a police document for motoring o ences.

Che ns, Cambridge

A silver-gilt presentation cup awarded to William Scholes Withington for his “indefatigable zeal and intrepidity” in quelling the Peterloo Massacre in 1819 sold for £12,000, against an estimate of £4,000-£6,000 at the East Anglian auctioneers.

Withington’s troops took part in breaking up thousands of protestors at St Peter’s Fields in Manchester calling for franchise reform, which resulted in the deaths of up to 20 people.

At the same jewellery, watches and silver sale, described as the auction house’s “best ever”, a single row of natural saltwater pearls with a diamond-set clasp sold for ve times its low pre-sale estimate of £10,000 when it fetched £58,000.

Dreweatts, Newbury

A Ming-period cloisonné box discovered in the attic of a family home, which had been expected to make £6,000-£10,000, sold for £288,000 at the Berkshire auctioneer’s sale on May 18.

The

sold for £288,000 against an estimate of £6,000£10,000

e small casket, 12.5cm in diameter, had been forgotten about since the death 77 years ago of its owner Major Edward Copleston Radcli e (1898-1967) who bought it for £19 at Sotheby’s in 1946.

Valuers spotted it as one of a lost group of important pieces made for Xuande, the fth Emperor of the Ming dynasty (1426-1435).

e box, decorated with pomegranates (an emblem of fertility) is the only one (of four) in private hands, with one of the others being in the Palace Museum, Beijing. All examples are doubly marked with an incised Xuande six-character reign mark on their underside.

is month’s highlights include tableware from the legendary potter Lucie Rie and a set of autographs from the Fab Four

The single row of natural pearls was the record-breaking auction’s top seller

A set of Beatles’ autographs tripled its estimate to sell for £3,400

“lost” cloisonné box

The silver-gilt presentation cup commemorated the defeat of 19th-century protestors

Tennants, Leyburn

A Persian copper pedestal bowl de ed its guide price of £500-£700 when it sold for £20,000 at the North Yorkshire auction house’s country house sale on May 13.

e bowl, which was lavishly decorated with calligraphy and gures and animals in a garden, was possibly made in the 17th century at the time of the Safavid Empire.

e Safavid dynasty, which reigned from 1501 to 1736, was one of Iran’s most signi cant periods and is considered the beginning of modern Iranian history.

Fellows, Birmingham

A Roman intaglio gold ring sold for 450 times its original estimate of £150 to hammer for £90,000 at the Midlands’ auction house after a 17-minute bidding war.

e garnet ring featured an intricate intaglio of a man’s head in pro le, described by the auction house as possibly depicting Augustus Caesar, the rst emperor of the Roman Empire, ruling from 27BC until 14AD.

Fellows’ Nicola Whittaker, said: “It is rare to see such an intricately carved piece in such ne condition and it was a privilege to o er the ring for sale in our recent auction”.

Richard Winterton Auctioneers, Lich eld

A pair of 13cm-tall vases bought by a Sta ordshire mum for just €8 at a Spanish car boot sale sold for £1,200 in May.

e auction house revealed the iridescent glassware, acquired ve years ago, was, in fact, a pair of art nouveau vases by renowned European manufacturer Loetz dating back to 1900. With trefoil-shaped upper rims, the vases are from Loetz’s Phänomen range dating from when the glassmaker was at the height of its success.

Relaxing sold for £25,000 at the inaugural sale

Olympia Auctions, London

Hamed

(19241990) The African Wizard sold for £20,000 at the same sale

e auctioneer’s inaugural African and Middle Eastern auction in May re ected a growing global interest in the category.

e sale, which focused on modern and contemporary art works with an emphasis on art from Egypt, saw a work by Ragheb Ayad (1892-1982) sell for £25,000, beating its estimate of £3,500£5,500; while Hamed Nada’s (1924-1990) e African Wizard sold for 20 times its low estimate of £1,000-£1,500.

Interest came from all over the world, in particular Egypt, the UAE, Saudi Arabia and the UK. Head of sale, Janet Rady, said: “ e African and Middle Eastern art market has enjoyed signi cant growth in interest in recent years. I was delighted that paintings and sculpture from Morocco, South Africa, Syria and Iraq also drew keen bidders.”

Mallams, Oxford

An antique, gold-mounted, bloodstone circular box, 5cm in diameter, sold for £16,000 to an international phone bidder, well beating its estimate of £700-£900.

The box had the marks of the well-known Russian goldsmith

e box had the marks for Michael Perchin (18601903) head workmaster at the Russian goldsmith and jewellery rm Fabergé between 1886 and 1903 and, with Henrik Wigström, responsible for producing almost all of the imperial Easter eggs.

Elsewhere, an early Victorian silver mantle clock, 41cm tall, sold for £6,200, several times its low £1,000 estimate.

Sporting gothic arch supports, the dial was engraved with enamel Roman chapters, by C. Williamson, Royal Exchange, London.

Mallams’ head of jewellery and watches, Louise Dennis, said: “Unusual items of antique silver and objets, such as the early Victorian mantle clock and the bloodstone box, were very well received, attracting several above-estimate bids.”

The Roman ring attracted bidders from all over the world

The vases were bought at a Spanish car boot sale for €8

Ragheb Ayad (18921982) Villagers

Nada

Michael Perchin (1860-1903)

The Victorian mantle clock sold for £6,200

The bowl smashed its estimate of £500-£700 in Leyburn

The auctioneer put hundreds of London street signs under the hammer

Catherine Southon, Chislehurst

A Westminster street sign for “Princes Street” was the surprise top seller in the Kent auctioneer’s onlinesale on May 18when it sold for £5,500, against an estimate of £200-£300.

e sale of 335 signs saw all the best-known streets in the capital represented, including 11 plaques devoted to “Regent Street” , all of which sold around the £800 mark, with “London Street W2” smashing its estimate of £60 to fetch £900.But it was “Princes Street” which really excited bidders’ imaginations, perhaps sparked by the recent sighting of Princes George and Louis at the King’s coronation.

The sale’s top lot, among 335 street signs, was “Princes Street W1”

e Canterbury Auction Gallery

While ceramics by the Vienna-born potter Lucie Rie (1902-1995) can sell for six gures, her tableware is more a ordable. A co ee cup and saucer, with an oatmeal, manganese glaze, decorated with ne sgra to lines, sold for £840 at the Kent auction house’s recent sale, just pipping its pre-sale guide price of £600-£800.

Rie, one of the nest Modernist potters of the 20th century, was born and trained in Vienna before leaving Austria in 1938 to escape the persecution of Jews. She established a new workshop in London where she created highly individual bowls, vases and tableware - all extremely collectable today.

Roseberys, London

A pair of Chinese jars bought in a charity shop for £20 sold for £46,000, beating their estimate of £30,000-£40,000 at the auctioneer’s recent sale.

e vendor of the 12cm (5in) Qianlong-period doucai jars spotted a label to the base of one reading ‘Ch’ien-lung’, the emperor from 1736 to 1796.

Both are finely painted in underglaze blue and enamelled in iron-red, yellow and green with a pattern of lotus and chrysanthemum blooms.

Pairs with covers have brought as much as £200,000in recent years.

Hansons, Etwall

A mitten worn by the expedition leader of the first British ascent of Everest in 1953, discovered in a shoebox, sold for £3,200 at the auctioneer’s Staffordshire saleroom on May 10– the marking the 70th anniversary of the famous trip.

e glove was worn by trip leader Sir John Hunt (1910-1998) who donated it in the 1970s to help raise money for a new Scout hut inNewtown, Powys.

The coffee cup and saucer by Lucie Rie (1902-1995) beat its pre-sale upper estimate of £800

Even without lids, the charity shop-bought jars sold for £46,000 and gilt design indicates it was made for first-class passengers

While Hunt and two other young climbers attempted the nal push for the summit, they were forced to turn back due to oxygen problems. ree days later Edmund Hillary and Sherpa Tenzing Norgay famously achieved the ascent.

At the same sale, a saucer-less and chipped cup, part of a range of ceramics by Spode made for the ill-fated Titanic, sold for £3,200, more than four times its estimate of £800.

The mitten worn by the leader of the1953 British Everest Expedition was found in a shoebox

Vasari (1511-1574). Writing in 1550, he used it to describe the “barbarous German style” of northern European architecture for which he blamed “the Goths” for replacing ancient buildings for the much-hated style.

Buildings were introduced with pointed arches, ying buttresses, trefoils and a much more perpendicular style. is change meant the ceilings and roofs could be much higher and towers much taller.

Gothic furniture

Over the centuries there have been several revivals of the gothic taste reflected in the furniture of the day. I came across this illustration ofa 16th-century oak hutch or food cupboard in Percy Macquoid’s History of English Furniture: Age of Oak volume 1, in which he dates it to about 1525.

Waxing lyrical

David Harvey presents his guide to gothic furniture introducing two very special hall chairs in the celebrated style

When I acquired this delightful and very stylish pair of hall chairs it re-kindled my appreciation of the gothic taste, which lasted in Britain for several centuries.

e gothic style of architecture and art originated in the Middle Ages and was prevalent in Europe between the mid12th century and the 16th century. It was heavily ornate and conceptual, with its architecture characterised by high buildings, intricate aesthetics, cavernous spaces and expansive walls.

e name “gothic architecture” originated as a derogatory term coined by the Italian architect, painter and writer Giorgio

Above e hall chairs are wonderful examples of gothic furniture

Above right e food cupboard re ects the early gothic taste and William Kent’s drawing of a pulpit in the Cathedral at York

Right A gothic chair as illustrated in Chippendale’s Director

Left e shaped solid seats are raised on octagonal tapered front legs

Thecentre panel clearly shows the gothic influence and can be seen in many pews, screens and coffers in gothic cathedrals and churches throughout the country.

As we move into the early 18th century a number of architects and designers continued to use the gothic style in order to secure commissions which became the accepted style for places of worship of the day, as we see in William Kent’s drawing of a pulpit in the Cathedral at York 1737–1740).

Chippendale’s gothic designs

e enduring popularity o f t he style c an alsob e seen in the middleof the 18th century in the designs of the renowned furniture maker Thomas Chippendale. His celebrated The Gentleman and Cabinet-maker’s Director published in 1754 catalogued 160 designs that could be built for clients, or that other cabinetmakers could copy. It included a number of gothic icons in numerous designs. The plates showing hall chairs are described by him as : “Six designs of chairs for halls, passages or summer-houses. They may be made either of Mahogany or any other wood and painted and have commonly wooden seats.”

we have to consider the importance of Ackermann’s Repository of Arts, an illustrated periodical published between 1809 and 1828 and, in e ect, the Regency version of today’s World of Interiors.

It broadly spanned the time from the publication of omas Hope’s neo-classical and Egyptian-inspired designs of 1807 to the progressive, and hugely in uential, gothic designs of Augustus Welby Northmore (A.W.N.) Pugin (1812-1852) in the 1830s.

It was Ackermann who published a book of Pugin’s gothic furniture which was so important that the style is described as “Puginesque” in homage to him. Pugin’s most well-known endeavour, with Sir Charles Barry, was probably the Houses of Parliament, rebuilt after a devastating re in 1834. Pugin also designed many pieces of furniture for inside the palace including the above chair, which originally furnished the Speaker’s House which was completed in 1859.

Gothic hall chairs

However grand some of these designs may be, they all share very similar iconography to those in the back of one of the oak hall chairs in question.

e chairs are beautifully constructed in brown oak with deeply sabred back legs which are so reminiscent of the Regency period. e detail extends to the front legs which are not just tuned but octagonally turned, which would have taken the maker more time and therefore cost more to the client.

Left A.W.N. Pugin chair (1812-1852) furnished the Speaker’s House which was completed in 1859, image courtesy of the Metropolitan Museum of Art

Right A gothic state bed taken from George Smith’s 1807 book Household Furniture

Below right e chairs feature carved trefoil details to the arched backs

Regency revival

The later years of the 18th century were characterised by the neo-classical style so much favoured by Robert Adam. But by the time we get into the Regency period, we see a very strong resurgence of the gothic taste.

As the nation’s wealth increased the country saw a growing merchant and middle-class keen to reflect their status in opulent fashion and furnishings. An 1807 example of this glorious gothic state bed taken from George Smith’s Household Furniture is a perfect example –although how much of a “household” item it would have been is open to interpretation.

I date the chairs to the reign of William IV (18301837). ey are just that bit more restrained than the later examples. e gothic style continued into the Victorian period when as a style its popularity started to decline.

I hope, like me, you appreciate the joy of these chairs which I cannot help but smile at every time I look at them.

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

well-known endeavour, with Sir Charles Barry, was probably the Houses of Parliament, rebuilt after a devastating fire in 1834. Pugin also designed many pieces of furniture for inside

Shooting STARS

Collectors looking for their next obsession need look no further than the Japanese art of bamboo weaving, embracing as it does feats of technical and artistic beauty which have for centuries been underappreciated in the West. According to Daniel Ezkenazi, the organiser of an exhibition opening this month, museum-quality pieces are still within the reach of most collectors.

When Japan opened its borders in the 19th century, western merchants seized on the island’s artworks which most mirrored their own. Japanese woodblock prints, calligraphy and ceramics were all leapt upon by European collectors, while weaving –viewed as craft work at best and utilitarian at worst – was ignored.

But all that is set to change with western collectors nally getting to grips with its staggering complexity and skill.

Little known in the West, the art of Japanese bamboo weaving, both ancient and modern, is the subject of a new exhibition opening this month

History of bamboo

Bamboo has for millennia been at the heart of the Japanese way of life. By the eighth century, bamboo baskets were incorporated into Buddhist ceremonies, containing petals to be scattered or used to bless the deceased (sange). During the 15th and 16th centuries, bamboo vases took a central place in the important Japanese tradition of both ower arranging (ikebana) and the tea ceremony.

Although the Japanese word for the tea ceremony, chanoyu, literally means “hot water for tea,” the practice involves much more than its name implies. Chanoyu is a ritualized, secular practice in which tea is consumed in a specialised space with codi ed procedures. e act of preparing and drinking matcha, the powdered green tea used in the ceremony, is a choreographed art requiring many years of study to master.

e late Edo period in the second half of the 19th century was a time of transition in Japan from a feudal society to a modern nation-state.

e new elite organised large tea ceremonies held over several days, often for hundreds of guests. ese lavish displays required numerous high-quality, nely plaited large baskets for ower compositions, leading to a ourishing of bamboo craft.

Opposite page Fukunishi Ryosei (b. 1941) Kagayaki II (Radiance II) ower basket, c. 2017. Signed Ryosei. Madake bamboo and rattan. Height 35.6cm, width 38cm, depth 23.5cm with ikebana by Mrs Sumie Takahashi, master of ikebana and her husband. All images, unless otherwise stated courtesy of Ezkenazi

Right Dish with cherry blossoms in bamboo baskets, Edo period (1615–1868), 1690–1720, image courtesy of the Metropolitan Museum of Art

Below right Elstner Hilton (photographer), a basket weaver in Japan, 1915, image public domain

Below left Tanabe Chikuunsai I (18771937) drum-shaped ower basket made from old arrow shafts with ikebana by Mrs Sumie Takahashi, master of ikebana and her husband

SYMBOLISM OF BAMBOO

Depictions of bamboo appear on decorative arts, from lacquerware, ceramics and textiles to sword fittings.

In Chinese society bamboo was a favourite subject for painters for whom it represented strength and endurance due to its hardiness.

Bamboo is also linked to the pine and plum, the latter being the first flower of spring.

The plant also appears in the third century tale of the Seven Sages of the Bamboo Grove, which describes how seven Daoist scholars retire to a bamboo grove to embark on erudite conversation. Their story became legend and the frequent subject of painting in China, and eventually Japan.

Similarly, a tiger in a bamboo grove was thought to convey the idea of a peaceful and harmonious society, as the tiger is one of the few animals able to navigate the thick bamboo forest.

Ancient tradition

e cities of Osaka and Sakai became noted for the production of Chinese-style bamboo works. e Kansai region, where Osaka is located, was home to many wellknown Japanese literati, who patronised the region’s growing number of bamboo basket masters (kagoshi), primarily for ower baskets to be used in tea ceremonies.

e art of chabana (cha meaning tea, and bana meaning ower) came to the fore, which saw ower arrangements presented in beautiful receptables in front of which people sipped while admiring their beauty. Many a tea poem was born around this time period. During the same era, the practice of drinking loose leaf tea (versus powdered tea) also emerged.

By the end of the 19th century bamboo craft began to be recognised as an art form. Hayakawa Shōkosai (18151897) was the rst Japanese basket maker to sign his work.

‘Gaining an understanding of the unique properties of each type of bamboo takes years of practice and is a crucial part of the long apprenticeship required to become a master bamboo craftsman’

COLLECTING GUIDES Japanese bamboo art

Left Tanabe Chikuunsai I (1877-1937). Drumshaped ower basket made from old arrow shafts signed Chikuunsai made this Height 55cm, width 18.5cm, Depth 17.5cm

Below Wada Waichisai III (1899-1975). Flower basket with handle. Signed Made by Waichisai. Susudake (smoked bamboo), free-style plaiting and wrapping. Height 46cm, width 31.5cm, depth 25.5cm

e new style sweeping the West marked a signi cant shift in Japanese bamboo art, re ecting the ambition of Chikuunsai and other master bamboo craftsmen to achieve the same degree of recognition already given to ceramic and lacquer artists.

Wada Waichisai I

e Kansai-based bamboo artist Wada Waichisai I (1851–1901), established an equally important and longlasting lineage of masters. He is today recognised as one of the few great Meiji period pioneers of studio bamboo basket art. Highly regarded in his day, he won prestigious national prizes in 1881 and 1885 in the Exhibit for Promotion of Domestic Industry (created by the Meiji government to promote opportunities for foreign trade).

Known for his precise, delicate plaiting techniques, he began by producing simple baskets for everyday purposes, such as carrying fruits and vegetables, but later made sencha-related karamono-style baskets and tea ceremony utensils that came to be in high demand among literati circles.

Waichisai’s numerous disciples included his son, Wada Waichisai II (1877–1933), Yamashita Kōchikusai (1876–1947), and the previously mentioned Tanabe Chikuunsai I (1877–1937), all of whom carried on his tradition of meticulous, delicate plaiting.

Contemporary artform

e Chikuunsai dynasty

Before long, bamboo weaving techniques and styles were passed down established lineages – a long-standing tradition among prominent artists in Japan – with many of the leading bamboo craftsmen founding their own schools, most of which are still active today.

Tanabe Chikuunsai I (1877-1937) was at the head of one of Japan’s most important basket-weaving dynasties including his son Tanabe Chikuunsai II (1910–2000), grandson Chikuunsai III (1940-2014) and great grandson Tanabe Chikuunsai IV (b. 1973) who continues the lineage as the fourth-generation bamboo maker of the family.

Tanabe Chikuunsai I was born in Hyōgo Prefecture, the third son of a local doctor. He was only 24 when his master bestowed upon him the name of Chikuunsai (“Bamboo Cloud”), a name formerly held by Waichisai. Shortly afterwards, he founded his own workshop and became an independent artisan.

Tea master

Chikuunsai’s initiation ceremony as a tea master was attended by hundreds of guests from literati circles, including well-known painters and calligraphers.

He went on to become one of the most prominent leaders of a new generation of bamboo artist-craftsmen who, while producing functional pieces , began to elevate the craft into a new artform.

To that end Chikuunsai developed the Ryūrikyō style of basketry, based on Chinese painting. He presented his work at the in uential Exposition Internationale des Arts Décoratifs et Industriels Modernes, held in Paris in 1925, which helped introduce the art deco aesthetic.

In recent decades, the contemporary scene in bamboo art has re ected an even greater diversity in terms of technique and vision, while still re ecting the generations-old artform. Wada Waichisai III (1899 -1975),

the grandson of Wada Waichisai I, succeeded to the Waichisai name on his father’s death in 1933.

In WWII, the Japanese government issued restrictions on the production and sale of ‘luxury’ goods and Wada Waichisai III was one of the few artists allowed to continue working. In recent years, Tanabe Chikuunsai IV, who trained in bamboo art at the Occupational School in Beppu, is one of the most talented bamboo artists of his generation. Today’s contemporary artists continue to push the boundaries even further, created staggering works well beyond the functional.

WEAVING TECHNIQUES

It takes between five and 10 years to gain the basic technical expertise required to weave bamboo, while greater skills can require a lifetime to achieve.

Part of the training requires a deep knowledge of bamboo itself, of which 600 species grow in Japan, including madake, the Japanese timber (or giant) bamboo, with a very straight grain that lends itself to splitting into fine strands for plaiting. In order to gain an understanding of the unique properties of bamboo the apprenticeship requires artists to harvest the plants themselves, closely studying the characteristics of each type and even variations within specific groves.

Above Honma Hideaki (b. 1959). Zanzõ Nami - 1 & 2 (After Image - Wave 1 & 2), 2022. Signed ‘Hide Kurochiku’. Bamboo and rattan. Height 49.5cm, width 101.9cm, depth: 23.5cm

Right Bamboo can grow more than 60cm a day, image Shutterstock

Below left Tanabe Chikuunsai II (19102000). Unryu (Cloud Dragon) c. 1925-1937. Handled basket for owers. Signed Shochikuunsai made this. Susudake (smoked bamboo) and rattan, plaiting, wrapping and bamboo-root handle.

Height 45cm, width 26cm, depth 25.5cm

Below Honma Hideaki (b. 1959). So (Pair), 2008. Bamboo and rattan; twill plaiting and bending. Height 68cm, width 117.2cm, depth 27.4cm

Freshly-cut, green bamboo has to dry for about three months when the oil and sugar content is eventually removed.

Susudake refers to smoked bamboo taken from construction materials of a traditional Japanese house. It is much prized and sought after in Japan.

‘Most bamboo artists harvest the plants themselves, closely studying the characteristics of each type and even variations within specific groves’

Q&A

With Daniel Eskenazi, from the gallery Eskenazi, behind this month’s Japanese bamboo art exhibition

QWhy has the West been so slow to wake up to the skill and beauty of Japanese bamboo art?

AIt’s certainly taken a while for the West to rediscover the subject.

In Japan, there had been a long tradition of making baskets for tea ceremonies, floral arrangements and carrying fruit, but it was only in the late 19th century that artists pushed the traditional boundaries of the craft towards individualistic, artistic expression, and when bamboo artisans became more like studio artists.

Soon after, bamboo artworks were exhibited at international expositions with great success, bringing widespread recognition and praise; Yamamoto Chikuryusai I (1868-1945?) won prizes at the 1925 Paris International Exposition of Modern and Decorative Industrial Arts and at the 1933 Chicago World Fair.

There’s definitely a 21st-century rediscovery underway in the West: this has been helped hugely by recent major exhibitions including Japanese Bamboo Art: The Abbey Collection which was held at the Metropolitan Museum of Art, New York, in 2017, and Art of Bamboo in Japan which took place at the Musée du Quai Branly, Paris, in 2019.

We held our first exhibition of Japanese bamboo last summer and it was a huge success: we had a constant stream of visitors who were intrigued by these incredible creations, and the show was a sell-out.

QWhen did you first become aware of it?

AI’ve been travelling in Japan for the last 40 years or so, so I suppose I’ve been aware of it for most of that time. I’d even collected a few pieces over the years in a personal capacity.

It was only last year that we launched the series of summer exhibitions at Eskenazi for which this is such a perfect subject. While traditionally we show

Chinese works of art and host annual autumn exhibitions, we wanted to open the doors in the summer months and encourage a new audience to come and engage with the art of East Asia.

Japanese bamboo is perfect: it is a much more accessible subject and price range, yet it still reflects the gallery’s dedication to the the aesthetic of the East Asian literati.

QWhat is its greatest attraction?

AAside from the instant aesthetic appeal, it’s a subject of constant discovery. They have incredible presence and a sculptural quality, and can often look slightly different each time you look at them. And when you look at them for a long time, they start to reveal the incredible detail and the skill involved in their creation.

Q

Which UK museums have the best collections?

The genre is not yet hugely represented in UK collections. The V&A has some good examples, as does the British Museum.

A

Internationally, they can be found at the Metropolitan Museum of Art, New York; the Museum of Fine Arts, Boston; the Asian Art Museum, San Francisco; Philadelphia Museum of Art; Denver Art Museum; the Musée du Quai BranlyJacques Chirac, Paris; Seattle Art Museum; and the Museum of Fine Arts, Houston.

Q

How do collectors tend to display pieces?

In our experience, the majority of people who have acquired Japanese baskets display them as part of diverse and eclectic collections. They are fairly timeless and fit in with almost any aesthetic. Sometimes they’re placed in shelves, sometimes on pedestals, or sometimes people use them for their functional purpose, filling them with flowers or fruit.

A

What tips would you have on starting a collection – are there any ‘second-tier’ artists to look out for?

Q

A While the very best examples can be quite expensive, it’s possible to acquire a really good example by a top maker for under £10,000. It’s not often that you can acquire museum-quality works of art for four-figure sums. There are decent examples by established makers for the low-thousands, and they appear at auction sometimes, offering occasional bargains.

Bamboo Masterworks from Japan - Classical to Contemporary is on at Eskenazi, 10 Clifford Street, London until June 30, for more details go to www.eskenazi.co.uk

Above Katsushiro Soho (b. 1934) Kager (Heat Haze) hanging ower basket, 1968. Bamboo, rattan and staining. Height 33cm, width 33.5cm, depth 33cm

Below left Mimura Chikuho (b. 1973) Houn (Cloud on the Peak), 2018. Signed ‘Chikuho’. Madake bamboo and gilded lacquer. Height 39cm, width 39cm, depth 31.5cm

‘It’s not often that you can acquire museumquality works of art for four-figure sums. There are decent examples by established makers for the low-thousands, and they appear at auction sometimes, offering an occasional bargain’

Roland Collins (British 1918-2015) ‘Fishing Boats, Eastbourne’, gouache, mounted and framed

Ooh! Betty

e good news for collectors is Betty Joel’s designs can still be picked up at relatively a ordable prices at auction. But, warns Millard, values are certainly rising, with some of the best examples now selling for up to £10,000 within the trade.

Early days

Joel was born Mary Stewart Lockhart in Hong Kong in 1896, the daughter of British Colonial O cer James Stewart Lockhart and his wife Edith Rider. Betty, as she soon became known was educated in the UK, later returning to live in China at the age of 18.

Despite the shortness of Betty Joel’s career – she was active for only 11 years between 1927 and 1938 – the extent of the design legacy she left is testament to both her talent and desire to push the boundaries of furniture making. While well known in her lifetime, her designs fell out of favour, but her pieces are starting to excite salerooms around the world, with bargains still to be had.

Director of the Cambridge-based auction house Che ns, Martin Millard, said: “Well ahead of her time, Betty Joel was also a genius at marketing her furniture. Her factory in Kingston became a one-stop-shop housing a gift shop and fabrics as well as other interior design pieces.

“Her target market was the UK’s middle-class housewives, for whom she created designs with no beading to ensure no trapped dust and rounded edges to avoid bruised shins.”

Her early years in the Far East became pivotal in inspiring and in uencing her style. It was in Ceylon she

Betty Joel, one of the inter-war period’s best and most overlooked designers, is back in vogue but collectors need to act fast to snap up a bargain

Above A living room by Betty Joel, image Alamy Right Betty Joel (18941985), a Token Works walnut side cabinet, 1935, with two drawers above a pair of cupboard doors with adjustable shelves, sold for £900 at Che ns in 2021

met her husband David Joel, a naval o cer who she married in 1918. It was almost by accident, on their return to Hayling Island in Hampshire following the end of WWI that, with no formal training, she began designing furniture for her own home and then for friends.

She is quoted saying in 1921: “I began to design furniture because I despaired of trying to adapt old furniture to the needs of my own entirely modern house.”

Such was the popularity of her enterprise that the couple set up a small factory on the island, at rst employing mostly ship tters, seeking work after the war.

Soon, mainly by word of mouth, their popularity grew beyond the south coast and, needing a presence in the capital, the pair rented a showroom on Sloane Street. Orders ooded in and in 1929 the factory moved to bigger premises at Portsmouth, while Betty and David bought a large terraced house in Knightsbridge to live and work.

Left Betty Joel (18941985), a console table, in white sycamore and glass designed for Marion Brownlie Blackwell in 1937, estimated to make £800-£1,200 it sold for £1,200 at Bonhams’ design sale on April 27

Right Design for the lounge at 1 e Ridings, Ealing, watercolour, supplied by Harvey Nichols, 1934, image courtesy of Woolley and Wallis

Below right Design for the dining room at 1 e Ridings, Ealing, watercolour, supplied by Harvey Nichols, 1934, image courtesy of Woolley and Wallis

Below left Betty Joel (1894-1985), a Token Works walnut ‘Ashton’ dining table, 1935, 76 x 165 x 84cm, sold for £240 at Che ns in 2021

Bottom right Betty Joel (1894-1985), a Token Works walnut chest of drawers, 1929, with three short over two long graduated drawers, Token Works label to rear, sold for £1,100 at Che ns in 2021

A modernist house

Betty Joel Ltd was also called on to help furnish the British modernist home of the wealthy widow Marion Brownlie Blackwell (18771961) at 1 The Ridings, Hanger Hill in Ealing. Built in 1900, the house was purchased new by Mrs Blackwell who, anxious the interior should match its modernist exterior, commissioned a number of bespoke designs.

According to Roger Shuff Yatol’s article, A Modern Home for a Modern Woman in the Decorative Arts Society Journal, 2020, in 1933 Betty gave Mrs Blackwell an estimate for a set of “10 Winston type chairs, eight in Walnut, two in Sycamore” priced 38 guineas.

Five years later, in 1938, obviously delighted with the purchase, Blackwell returned to the Betty Joel showroom in search of a console table to match a pair she had bought the previous summer.

She was provided with a pair in white sycamore with glass rods for a price of 14½ guineas. One of the pair (above left) from the home sold at Bonhams in April for £1,200.

Clean lines

Like many other designers of art deco furniture, Betty focused on clean lines and simple forms with an intentional lack of ornamentation that showcased the materials used.

e signature style was one of restaint, typically used teak or oak giving rise to the brand name “Token Works” (combining the words teak and oak).

‘On returning to Hayling Island in Hampshire, following WWI, with no formal training, Betty began designing furniture for her own home and then for friends’

Her designs were also in uenced by her childhood in the Far East with functionality always a key factor: drawers were cedar lined to prevent moths, seating neatly slotted under furniture and plain surfaces were easy to clean.

Practicality was also the reason for the company name: Betty Joel Ltd. By using her own name she hoped to appeal to a growing number of women customers attracted by the modern look. Betty soon became the face of the company, featuring in promotional photographs.

Ideal Home

With the bold company strapline being “furniture for the working woman”, to further cash-in on the female market, the company took a stand at the Ideal Home Exhibition in 1922 where Betty’s designs were lauded for their sleek design and practicality.

Martin Millard continued: “She was a woman on a mission, such was her drive that her reputation as a serious designer was quickly earnt and her popularity ensured that commissions came from far and wide

Above Betty Joel (18941985), a large pair of cream upholstered modernist armchairs, with squared arms and raised on casters, sold for £250 at Che ns in 2021

Below left Betty Joel (1894-1985), a Token Works walnut triple wardrobe, 1929, with central bank of seven graduated drawers anked by hanging cupboards, sold for £650 at Che ns in 2021

Below right Betty Joel (1894-1985), a Token Works walnut table mirror, c. 1930, sold for £60 at Che ns in 2021

including from the likes of Sir Winston Churchill, St James’s Palace Hotel and Lord and Lady Mountbatten.”

Guests at the Savoy Hotel and transatlantic voyagers on the RMS Queen Mary sat in her armchairs.

In 1930, David Joel, called their showroom in Knightsbridge: “a fashionable rendezvous for modern furniture and other aspects of the Modern Movement.”

Room sets displayed paintings, often by female artists such as Laura Knight, Marie Laurencin and Anna Zinkeisen. Betty’s work was favourably featured in e Studio, the most in uential decorative arts publictaion of the day.

Boom times

During the ‘30s commissions continued to ood in demanding the building of a new factory in Kingstonupon- ames to cope with demand.

In the spring of 1935, the Royal Academy held its famed

exhibition of British Design in Industry and, along with the likes of Gordon Russell, Susie Cooper and Oliver Hill, Betty was called on to both exhibit and contribute to the accompanying catalogue called e Conquest of Ugliness edited by the exhibition organiser John de la Valette.

e centrepiece of Betty’s designs was a large, revolving, circular bed originally made for Lady Mountbatten.

In the catalogue John de la Valette wrote: “Into the somewhat sultry atmosphere of British furniture design shortly after the War, the name of Betty Joel entered like a gust of fresh air: disturbing to some, invigorating to many. She combines a Celtic exuberance in conception and a Scottish appreciation of reality in achievement with a broad human understanding.”

In 1936, a national newspaper described Betty

Left Betty Joel (18941985), a pair of Token Works mahogany drinks cabinets, 1931, each with a pair of cupboard doors above brushing slide and four long graduated drawers, sold for £1,600 at Che ns in 2021

Right Betty Joel (1894-1985), a Token Works walnut chest of drawers, 1936, with an asymmetrical arrangement of 10 drawers, sold for £3,300 at Che ns in 2021

Below right Betty Joel’s pieces gave credit to the craftspeople who made them, as seen in this 1932 label acknowledging the work of W. Perkins

as “one of Britain’s leading designers of furniture and among the few women in the history of furniture designing who have touched anything like eminence in this most specialised craft.” It predicted that in a couple of hundred years, collectors would be seeking out Joel furniture “as today they chase Chippendale or search for Sheraton.”

Marriage breakdown

By the late 1930s Betty was at the pinnacle of her success, with 80 employees and awards rolling in. But while she appeared to be on top of her game all was not as it seemed. Despite the plaudits and numerous orders, money was tight and splits in the partnership both personal and professional began to set in.

In 1938, her marriage unravelled and Betty left the home and business, never to design again.

e company was re-established as David Joel Ltd. and Betty’s reputation faded. For many decades it seemed that the forecast of greatness was doomed to be inaccurate. However, since the mid-1980s her pro le has started to rise again and now nally her work is attracting the attention it deserves.

Interestingly, works by Joel were signed both by her and also the craftsperson who made the piece, as she believed that their contribution to the work was just as important as her own.

1 e advert depicted Betty Joel Ltd’s new factory in Kingston, image public domain

2 e Conquest of Ugliness booklet showcased leading interwar designers, image public domain

3 Betty Joel’s controversial bed was made for Lady Mountbatten, image public domain

‘In 1936, a national newspaper described Betty as “one of Britain’s leading designers of furniture and among the few women in the history of furniture designing who have touched anything like eminence in this most specialised craft”’

e wooden balls worn by Mick Fleetwood as part of his attire for the album cover sold for £10 ,000 last year, image courtesy of Julien’s Auctions

SALEROOM SPOTLIGHT

After the two wooden balls on the cover of Fleetwood Mac’s Rumours sold for £105,000 in December, there’s a chance for serious musos to buy a real piece of the band’s history when the guitars of Peter Green appear in an online sale from June 16-28.

Green who died in 2020 aged 74, co-founded the band in 1967 alongside Mick Fleetwood and Jeremy Spencer. He was responsible for penning most of the band’s early songs including Albatross, Oh Well and Black Magic Woman, which went on to become a worldwide hit for Santana.

e lyrics for Green’s poignant song Man of the World written in 1969, a year before he quit the group, lead the sale with an estimate of £40,000-£60,000.

Above Leading the sale will be a rare set of Peter Green handwritten lyrics for the Fleetwood Mac hit Man of the World, which has an estimate of £40,000-£60,000

Above right e band went on to produce one of the best-known albums of the 1970s.

Right A poster for the 2020 concert organised by Mick Fleetwood and Friends, image courtesy of BMG, illustration only, not in sale

Lef t Fleetwood Mac (l-r) Mick Fleetwood, Peter Green, Jeremy Spencer and John Mc ie, image Alamy, illustration only, not in the sale

e song i n part chronicles Green’s s truggles with mental health, brought to a head by a three-day LSD binge which led himto leave the group ahead of the band’s ascent to superstardom.

After Green’s departure the band was joined by McVie’s wife, keyboardist-vocalist-songwriter Christine, adding a pop style resulting in themultimillion-selling Fleetwood Mac in 1975 and Rumours two years later.

East End boy

Peter Green was born Peter Allen Greenbaum on October 29, 1946, in Bethnal Green, East London. In his teens, he joined bands including Shotgun Express, a Motown-style soul band featuring ayoung Rod Stewart and later joined John Mayall and the Bluesbreakers as Eric Clapton’s successor on lead guitar.

It was Green who, with Mick Fleetwood, attempted to lure the bassist John McVie to join them with the promise of naming the new band Fleetwood Mac. For a time the band was known as Peter Green’s Fleetwood Mac.

Part of Green’s spiralling mental health problems saw his increasing anxiety about the group’s growing wealth which he, famously, wanted to donate to charity. According to legend, Green was arrested in 1977 for aiming a shotgun at his accountant, demanding that he stopped sending him his royalty cheques for Fleetwood Mac’s early work.

largely vanished from public lifefor 25 years, working variously as a gardener, lab assistant and a hospital orderly. During this time, he reportedly moved in with his older brother Len and his wife Gloria in Great Yarmouth, Norfolk.

During this time he sporadically returned to the music scene, forming the Peter Green Splinter Group in 1996 with, among others, Whitesnake’s Cozy Powell. A guitar from the period appears in this month’s sale.

Faithful fans

Over the years Green’s talents gained him a legion of faithful fans.

He was inducted into the Rock & Roll Hall of Fame in 1998, and a year later Rolling Stone ranked him 58 in its

More than 150 guitars owned by Fleetwood Mac founder Peter Green, as well as lyrics to some of the band’s most iconic songs, go under the hammer this month

list of the 100 greatest guitarists of all time. On February 25, 2020,Mick Fleetwood organised a tribute concert to himat the London Palladium bringing together Pete Towns end, Billy Gibbons, Steven Tyler, David Gilmour, Bill Wyman, Noel Gallagher and Kirk Hammett, who played Green’s celebrated guitar, Greeny.

Sale highlights

Over his long career, Green amassed a large range of guitars, as well as amps, pedals and other equipment.

As well as instruments the sale includes several important handwritten lyrics and some of his psychedelic sketches (below right).

Bonhams’ director of popular culture, Katherine Scho eld, said: “Peter Green was one of the greatest guitarists. Even when out of the limelight, the tributes paid to his playing throughout his lifetime continued to highlight his reputation and the esteem his fellow artists held him in.

“ is sale is a celebration of his love for the guitar, with a number of di erent makes and models, for enthusiasts and career musicians. With estimates starting at the accessible price point of £150, this is a unique opportunity to own a piece ofPeter Green’s legacy.”

‘According to legend Green was arrested in 1977 for aiming a shotgun at his accountant, demanding that he stopped sending him his royalty cheques for Fleetwood Mac’s early work’

WHAT: The Peter Green Collection Sale type: Online only at www. bonhams.com

Where: Bonhams, Montpelier Street, Knightsbridge, London, SW7 1HH

When: From June 16-28

IN MY OPINION...

How important a musician was Green? He is considered one of the guitar greats. He had a natural ability to play and resonate with an audience, the likes of which had not been seen in popular music before. Even when out of the limelight, the tributes paid to his playing throughout his lifetime continued to highlight his reputation and the esteem his fellow artists held him in.

Where do you expect the interest to come from?

We anticipate interest for this collection to be global. From known collectors, institutions, and professional guitarists, to Peter Green fans who may not have bid at auction before. With estimates starting at the accessible price point of £150, this is a unique opportunity to own a piece of Peter Green’s legacy.

How stong is the current market for pop memorabilia?

Very strong and is continuing to grow especially since the pandemic when it offered collectors a much-needed avenue to reminisce on different times. The category continues to evolve as new artists become collectable and buyers reach a stage in their life when they want to invest in an area which is rewarding both emotionally and financially. It’s exciting to see what the new trends will be.

In terms of collectability, is it possible to rank the band?

Since I became a specialist in this field 18 years ago, the mystic surrounding Peter Green, mainly due to the tragedy surrounding his mental state and him becoming a recluse, has always been there.

To my knowledge only a small handful of his items have ever come onto the market. When they have however, there has been excitement. To be honoured with the role of auctioning his collection is an absolute

Left A Gretsch White Falcon 6137 ‘stereo’ semi-acoustic guitar, 1968, has an estimate of £6,000-£8,000 at this month’s online sale

Right Peter Green’s notebook and drawing used on the cover, c. 1969, it has an estimate of £3,000-£4,000

AUCTION fact file

TEST YOUR KNOWLEDGE

Puzzle TIME

Having a break this summer? Keep your mind razor sharp by completing Peter WadeWright’s double page of perplexing puzzles

JUNE\JULY QUIZ

Q1 Italy started to use the art and science of faience in which century? (a) 13th, (b) 14th, (c) 15th, (d) 16th.

Q2 e blue and metallic lustre of faience was imported into Italy from which country? (a) Spain, (b) Portugal, (c) France, (d) Germany.

Q3 Italy may well have been the rst country to use ceramics to replace what? (a) Drinking cups, (b) ‘plates’, (c) washing bowls, (d) cooking vessels.

Q4 What were ‘Bolo’ and ‘Territorial Girl’? (a) WWII matchstick-holders, (b) WWI poster titles, (c) early 20th-century soft toys, (d) 1950s ceramic gures.

Q5 What are/were described as ‘turned all over’?

(a) Broken, but still desirable, post-war ceramics, (b) types of furniture, (c) Medieval maps with legends in all four directions, (d) an auctioneer’s term for a ‘job lot’ thoroughly investigated by many potential buyers.

Q6 Ceramics in the form of drinking cups became fashionable and were used in co ee houses. When is the rst co ee house in London thought to have been opened? (To the nearest date.) (a) 1640, (b) 1650, (c) 1660, (d) 1670.

Q7 If you were the proud owner of a ‘Bath brick’, what might you collect? (a) Geological samples, (b) early aircraft that didn’t y particularly well, (c) Su ragette memorabilia, (d) kitchenalia?

Send your answers to Crossword, Antique Collecting magazine, Riverside House, Dock Lane, Melton Woodbridge, Su olk, IP12 1PE. Photocopies are also acceptable, or email your answers to magazine@ accartbooks.com. e rst 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

SOLUTION TO LAST MONTH’S CROSSWORD:

The letters in the highlighted squares could be rearranged to make the word ‘Pre-Raphaelites’. The winners, who will each receive a copy of the book, are Mr A.P. Lonton, Windermere, Cumbria; Mrs Valerie Akhtar, Edinburgh and Helen Mylaw, Berks, by email.

Q8 Elton Hall near Peterborough has a superb collection of books. Which of the following categories would you most expect to see there? (a) bound Marvel comics, (b) Bibles and prayer books, (c) rst edition Penguin specials, (d) South American travelogues.

Q9 In which mid-19th century year was the Minié ri e adopted by the British Army? (a) 1851, (b) 1858, (c) 1862, (d) 1864.

Q10 What was special about the Minié ri e? (More than one answer.) (a) Excellent sighting, (b) it had a special-shaped bullet, (c) it used a slightly smaller bullet, (d) it had a grooved (‘ri ed’) bore.

Finally, here are four anagrams germ theory, sniper lens, ed water and tracery bun Rearrange them to form, in order: a scienti c instrument for measuring humidity; a cupboard with shelves for storing clothes etc. (two words); tin-glazed objects made in the Netherlands and a small stand with partitions for storing sheet music. For the answers turn to page 10.

Q8 Which books does Elton Hall house?

Anagram e letters ‘tracery bun’ make up the name of this small stand 5 11 13

4 7

6 9 10 16 19

14 15 20

8 21

17 18

T ALVA N TAT S A LCAA R E HS ND A B A

A C SIR O IV

HC TI AL L D O

A PE R Y E OR L U SIA R W PLA U P

A R T SHIWO G E RM ENID T IDVAN

15 DOWN CLUE

1 DOWN CLUE

Across

3 Motor company founded in Germany in 1909. It was responsible for many iconic designs, including the Type 35. (7)

6 Bejewelled head ornament. (5)

7 Pot (etc.) lacking a top. (7)

8 Monotheistic religion dating from the 7th century CE and source of outstanding art, architecture etc. (5)

9 Forename of the main character in a 1950s BBC children’s TV series. (4)

11 One of the more real and exotic coverings used for soft toys… now unacceptable. (3)

13 Originally Germanic dwarfish supernatural being causing nightmares. ____-shot = ‘bewitched’. (3)

15 Royal period (‘the age of walnut’) during which the cabriole leg became popular. (4)

3

ACROSS CLUE

16 ____ chain. Necklace made of interlocking gold links, for example. (5)

17 Device designed to supply a blast of air (sing. and pl.) (7)

18 Chris _____ (b. 1954) Outstanding American former No. 1 tennis player. (5)

19 Dennis and _____. Comic strip characters from the Beano comic. (7)

Down

1 Late Victorian German soft toy company with ‘button in the ear’ trademark. (6)

2 Gustav _____ (1860-1911) Czech-Austrian composer influenced by Bruckner and Wagner. (6)

3 Pierre _____ (1914-1982) French fashion designer. (7)

4 Mixture of chemicals/elements (one of which is a metal) that enhances certain properties…hardness, lustre, chemical resistance etc. (5)

5 Finishing adornment for fabric and clothing decoration. (6)

10 Originally a Medieval term (but now common) for furniture with open shelves in tiers or steps. (7)

12 ‘Sight ____’. No opportunity to view…buyer beware. (6)

13 Type of glass applied to surfaces as ornamentation. (6)

14 Ford model from the mid-1970s…to the present. (6)

15 Southern France coastal city where van Gogh lived and worked for a while. (5)

Finally, rearrange the letters in the highlighted squares to form the name (or at least one of them) given to two rows of veneerpatterning laid diagonally to each other.

Which German car maker made the Type 35? Image Shutterstock

Which toy company made this famous bear?

A market the French city once home to van Gogh

Jekyll & Pride

Gertrude Jekyll (1843-1932) is celebrated as the great garden designer whose work so often complemented that of the architect Edwin Lutyens (1869-1944).

Nowhere is more illustrative of their creative partnership than the rhododendron-lined lanes of deepest Surrey, where Lutyens’ arts and crafts, country house-style Munstead Wood, with its tall pepper pot chimneys and glowing brick and stone facades still nestles in the warm embrace of Jekyll’s herbaceous borders, brick paths and shrubbery.

Now the Grade 1-listed property has passed from private ownership into the hands of the National Trust, with much of the Jekyll-related furnishings. e remainder of the contents will be o ered at auction by Surrey autioneers Ewbank’s, at a dedicated sale on June 20. e multi-lot consignment includes pictures, silver, porcelain, glass, clocks and small gural sculpture, all collected by Sir Robert and Lady Clark who lived there.

Garden party

e house and garden is widely regarded as one of Lutyens’ most important country houses. But, along with their other celebrated collaborations, it wouldn’t have come about but for a chance meeting in the summer of 1889 between Lutyens and Jekyll, then aged 20 and 45 respectively.

Above Munstead Wood, near Godalming in Surrey, showing the famous gables, image courtesy of Knight Frank

Right Oak dominates the rst- oor gallery, image courtesy of Knight Frank

Below right e upstairs corridor at Munstead Wood, taken from Houses and Gardens by E.L. Lutyens, 1916, by Lawrence Weaver (18761930), image public domain

This month sees

Munstead Wood, the former home of the celebrated garden designer Gertrude Jekyll appear on the rostrum. Antique Collecting goes behind the scenes

Both were attending a neighbour’s garden party at the home of the plantsman Harry Mangles. At the time, Jekyll, an established garden designer, was living wth her mother in the nearby, newly-built Munstead House. Meanwhile, Lutyens – who, with scant training, had opened an architectural o ce at the age of 19 – was keen to make connections. Despite his di dence the young designer made an impression on Jekyll. Both shared the principles of the arts and crafts movement and a love of the vernacular architecture of southwest Surrey.

Jekyll invited Lutyens’ opinion on Munstead Wood, a 15-acre chestnut copse across the road from her home, which she had purchased seven years earlier.

Left e hall and stairs today, image courtesy of Knight Frank

Below left e hall at Munstead Wood, taken from Houses and Gardens by E.L. Lutyens, 1916 by Lawrence Weaver (1876-1930), image public domain

Right Hestercombe House and Gardens, one of Lutyens’ and Jekyll’s most successful collaborations, image Shuttertock

Bottom left e drawing room showing the replace, image courtesy of Knight Frank

LASTING PARTNERSHIP

Munstead Wood was the first of many influential major collaborations between Lutyens and Jekyll. After its completion, Jekyll introduced Lutyens to Edward Hudson - the founder of Country Lifewho was captivated by the young architect’s work and did his utmost to promote him (including commissioning work on three houses for himself).

Munstead Wood itself featured frequently in the magazine; in a 10-page feature in 1900 it was described as: “A beautiful house, its wood, its garden are clearly destined to become classical.”

After Munstead Wood, the pair workedon more than 100 houses and gardens, including Orchards at nearby Busbridge in Surrey (commissioned after its owners William and Julia Chance saw Munstead Wood); Goddards in Abinger Common, Surrey; and Folly Farm in Sulhamstead which the pair transformed into an iconic arts and crafts property.

Equally famous is their work at Hestercombe House and Gardens in Taunton, Devon, where they designed an Edwardian formal garden.

Writing in The Country Gardener in 2019 Vivienne Lewis called their partnership: “A symbiosis in which their talentsdovetailed – with his architectural eye in designing garden layouts, landscaping and stone structures perfectly complemented by Jekyll’s artistic use of colour and knowledge of plants.”

Meeting of minds

After designing her mother’s garden at Munstead House, Jekyll’s horticultural competence was growing. She was winning acclaim forplants selected and bred by her. In addition to her practical skills asa gardener, she contribute articles to William Robinson’s publication The Garden from 1881 onwards, becoming its editor from 1899-1901. At the same time, her success in the design andplanting of her friends’ gardens led to an ever increasingnumber of commissions.

She soon decided Lutyens’ architectural skills exactly complemented her plant and garden design and they created an informal partnership, with Jekyll’s contacts later bringing anumber of commissions to the young architect.

‘Munstead Wood is regarded as one of Lutyens’ most important country houses. But, along with their other collaborations, it wouldn’t have come about but for a chance meeting in 1889’

THE EXPERT COLLECTOR Munstead Wood contents sale

Left e arched replace in the hall of the house, image courtesy of Knight Frank

Below left A replace at Munstead Wood, taken from Houses and Gardens by E.L. Lutyens 1916, by Lawrence Weaver (1876-1930), image public domain

Right e drawing room at Munstead Wood, image courtesy of Knight Frank

Below right Rosa Munstead Wood bred by David C. H. Austin named after the garden designer Gertrude Jekyll’s home, image Shutterstock

Long Gallery. e interior of the house contains a number of innovative designs by Lutyens and Jekyll –including the window furniture, doors, replaces and furniture.

e house was built in a U-shape around a courtyard open on its north side. e west wing originally contained Jekyll’s workshops, while the east side contained its service wing. On the house’s south elevation, the tiled roof extends down to the top of the ground oor and is broken by two large gables.

Jekyll had de nite views on what she wanted for her new home but lacked the skills to bring them to life. In Lutyens she saw a talent she could mould and soon entrusted him with the design of Munstead Wood, the home she would live in till her death in 1932.

e Hut

e Hut was the rst building Lutyens designed on the property for his patron in 1894. It was intended as a workshop but also had the dual pupose of allowing Jekyll to keep a weather eye on the progress of the main house.

But when her mother died in 1895 and her brother and his family took up residence in Munstead House, Jekyll moved into the workshop-cum-outhouse, which she described as “tiny” in House and Garden in 1900.

Jekyll mentions the progress of Munstead Wood in her books Wood and Garden in 1899, which charts a year of owers and planting, and Home and Garden a year later, the rst chapter of which describes the building of the house. Jekyll liked to watch thunderstorms and Lutyens designed the under House in 1895, as well as Munstead Orchard which was designed by Lutyens for Jekyll’s Swiss gardener, Albert Zumbach, in 1898-1899.

Arts and crafts

e building was constructed using Bargate stone lined inside with brick, following arts and crafts principles of using local materials and local craftsmen ( omas Underwood) but combined with a more modernist approach (for example, the casement windows which are set ush with the outside walls).

e house has long roofs of clay tiles and prominent brick chimneys. Inside, Lutyens’ chose solid oak throughout the house (using wooden pegs rather than

Memorial stone

Jekyll lived at Munstead Wood until her death in 1932 and is buried in the church at Busbridge – only a few hundred yards away. Her memorial was designed by Lutyens, by then her long-term collaborator and friend.

After her death, Jekyll’s nephew, Francis, lived on at the property, during which time he wrote his aunt’s biography, based on her papers and drawings.

In 1948, buildings to the north and west of Munstead Wood, including Jekyll’s former gazebo, potting shed, gardener’s cottage and stables, were sold o and converted to four privately owned properties.

Francis Jekyll continued to live at e Hut until his own death in 1965. e upcoming sale of Munstead Wood follows the death in March this year, aged 97, of Lady Andolyn (Marjorie) Clark, who bought the house in 1987 with her late husband, Bob, later Sir Robert Clark.

MUNSTEAD WOOD UNDER THE HAMMER

The multi-lot consignment comes from the collection of Sir Robert and Lady Clark who lived at Munstead Wood until its recent sale

Expected to top the Surrey auctioneer Ewbank’s dedicated sale on June 20 is an oil oncanvas by the French artist Léon Richet (1847-1907). The 40 x 66cm landscape, of trees and a large pond against a brooding sky, has a pre-sale guide price of £2,000-£4,000. The work is typical of the realistic style of the French painter who was associated with the Barbizon School.

From the same collection come two Edward VII silver novelty miniature knife boxes by E. S. Barnsley & Co. and the Alexander Clark Manufacturing Co., Birmingham 1906, with an estimate of £300-£400.

A pair of George III silver entrée dishes with covers by Joseph Craddock & William Ker Reid, London 1817, and weighing 115oz, is expected to fetch £1,200-£1,500 at the same sale.

Mary Wondrausch (1923-2016)

The collection also includes works by local artist Mary Wondrausch (1923-2016), who trained at Farnham School of Art before embarking on a career at her Brickfields Pottery in Compton, also home to the Watts Gallery, on the eastern approaches to Godalming.

Among the Wondrausch pieces is a large slipware beer jug decorated with animals, a ship, armorial and motto, which is signed beneath the handle with initials. It has an estimate of £300-£500.

A 26.5cm diameter yellow-and-brown glazed bowl, with reserve panels of flowers and a motto on the neck, is another Wondrausch item and comes complete with dedication and paper label to the

Above An oil on canvas landscape by Léon Richet (1847-1907) is expected to make £2,000-£4,000 at the sale on June 20, image courtesy of Ewbank’s

Below Pottery highlights by Mary Wondrausch, the artist who worked from the Brick elds Pottery in Compton, image courtesy of Ewbank’s

base. The guide price is £200-£300.

Meanwhile a slip-decorated, 18.5cm pottery lion, decorated with the legend Silver Jubilee 19521977 to one side and Elizabeth Regina to the other, has an estimate of £100-£200.

A 30cm circular dish by Wondrausch, decorated with foliage and signed to the base, comes with hopes of £40-£60. While a 18.5cm-high yellowand-brown glazed jug, with the legend In the morning I awoke to find my garden was full of flowers, also attributed to Wondrausch, is expected to fetch £20-£30.

Ewbank’s partner, Andrew Ewbank, said: “It is wonderful to know that the legacy of Lutyens and Jekyll will be preserved for the nation at Munstead Wood as we disperse the personal collection of its final private owners.”

Country House Sale: the Contents of Munstead Wood Live takes place at Ewbank’s on June 20 with online bidding at www.ewbankauctions.co.uk

‘The collection includes works by local artist Mary Wondrausch (1923-2016) who trained at Farnham School of Art before a career at her Brickfields Pottery’

Architects’ houses

Left e Model room at Sir John Soane’s Museum, photo credit Gareth Gardener

1 Red House is the iconic arts and crafts home of William and Jane Morris

2 Ernö Gold nger’s design for the exterior of Willow Road, Hampstead, London, 1934. © RIBA Collections

3 e Cosmic House in Notting Hill, photo credit Gareth Gardener

Like Lutyens, the renowned neo-classical architect Soane (1753-1837) built his own house at 13 Lincoln’s Inn Fields to re ect his own architectural ideals and interests. Since his death in 1837 the house has been kept as it was, displaying his vast collection. Each of the ve architects featured in this month’s exhibition designed their own homes to re ect their architectural beliefs.

1. Red House, William Morris

Red House in Bexleyheath, southeast London, was designed by Philip Webb and William Morris and built as a home for Morris and his family. A leading gure of the arts and crafts movement, Morris believed in the importance of well-made, beautiful objects that were to be used in everyday life. e house re ects Morris’ visions of beauty: the designs drew inspiration from the architecture of French medieval churches and the wallpaper that lled the house was inspired by the surrounding rose gardens.

2. Willow Road, Ernö Gold nger

In 1939, Ernö Gold nger built 2 Willow Road, Hampstead, demolishing three neighbouring terrace houses and causing controversy among local residents. However, his house embodied two important sources of inspiration for the architect: London’s

Georgian architecture, re ected in the red brick façade, and the in uence of his teacher, French architect Auguste Perret, evident in the visible load-bearing columns which express the building’s structure. A socially committed architect, Gold nger believed in opening up green spaces and in allowing ample natural light into interiors, enabled by the large bands of windows at 2 Willow Road.

3. e Cosmic House, Charles Jencks

4 e interior of Hopkins House, photo Matthew Weinreb

5 e innovative design has been called the most important building of a generation, image public domain

Charles Jencks believed that the role of postmodern architecture was to create a symbolic architecture for the modern era. e Cosmic House, built in 1978 in Notting Hill, home to Charles, his wife Maggie and two children, John and Lily, was designed to re ect the pattern of the earth’s rotation around the sun and the universe-atlarge. On the ground oor, the rooms re ect each of the four seasons, rotating around the Solar Stair, representing the year. e garden, designed by Maggie and in uenced by Chinese and Renaissance gardens, also features the idea of time, with the months marked on a clockwise route, ending with a mirrored door inscribed ‘future’.

4. Hopkins House, Michael and Patty Hopkins

Hopkins House in Hampstead serves not only as a home, but also was the rst o ce for Michael and Patty Hopkins’ architectural studio. Built in the late 1970s, at the height of ‘high tech’ architecture, the Hopkins House was constructed from industrial materials and with a focus on economical, e cient design. e house was intended as a ‘feasibility study’ in how to achieve maximum, exible space. Nestled among a leafy garden, the building is a modular framework of steel columns and glass, allowing the interior space to be subdivided as needed. All structural elements are visible and painted blue to become the house’s main decoration.

5. Stock Orchard Street, Sarah Wigglesworth and Jeremy Till

Sarah Wigglesworth constructed 9/10 Stock Orchard Street in Islington as an urban eco-house. e hybrid space for living, working and gardening has the environment and sustainability at its core.

Built in the early 2000s, the house is naturally insulated using straw bales and sandbags, with a living roof that regulates the interior temperature. e sandbags also provide a natural sound insulation for Wigglesworth’s o ce from the clatter of a busy railway line which sits adjacent to the house.

Architects’ Houses, Celebrating the Homes of Five Leading Figures of British Architecture, is on at Sir John Soane’s Museum from June 7 to September 3.

e Sir John Soane’s Museum this month showcases ve London houses and the architects who lived in them

‘The house reflects Morris’ visions of beauty: the designs drew inspiration from the architecture of French medieval churches and the wallpaper that filled the house was inspired by the surrounding rose gardens’

DOLL FACE

bisque doll. “Walter” is dressed in his original knitted ecru cotton singlet and navy woollen cape. He is now set to make £12,000-£17,000 when he goes under the hammer at Vectis auctioneers in ornaby this month. e soughtafter doll was modelled on an 1898 sculpture of a boy by the German artist Professor Arthur Lewin-Funcke (18661937) and, at 56cm (22in) tall, is in one of the rarer sizes.

Munich art dolls

e Walter doll was based on a new genre of artist dolls which made their appearance in Germany in 1908.

ese were the ‘Munich art dolls’ so lifelike that amazed newspapers of the time said they were: “Not dolls. ey should be called real children.”

e dolls had came into existence after the manager of the Hermann Tietz department store in Munich hit upon the idea that a doll-designing competition might spark customers’ interest and encourage more sales.

One stipulation was that all the dolls entered had to resemble realistic street urchins. It was a sea change from the idealised beautiful faces typical of French makers, or the stylised dolly-face dolls that had been in fashion prior to this date.

Under the direction of Marion Kaulitz and her Munich Art Studio, a group of dolls known as the ‘Munich art dolls’ was entered into the competition. e dolls did not have bisque heads and were modelled on real children with heads developed in plaster and cast in hard composition. eir features were hand painted in heavy oil paints by accomplished artists and dressed by Lilian Frobenius and Alice Hagermann.

eir apperance heralded a ve-year period of manufacture and an era known as a golden age of doll making. Buying dolls became a passion for adults, rather than children. But the purple patch was to be short-lived. In 1914, the dolls disappeared almost overnight. War and rampant in ation had resulted in the production of poorer-quality, less intricate, expressionless baby dolls which proved to be less popular, with some doll heads even being smashed when they couldn’t be sold.

Kämmer & Reinhardt

e Munich art dolls quickly established the market for dolls as playthings and kickstarted the German character doll movement. One of the rst to take up the mantle was the bisque doll maker Kämmer & Reinhardt who seized the opportunity to make new sales.

It was only by chance, while clearing out her mother’s home that the doll’s vendor decided to keep it. She said: “It had belonged to my grandmother and I remember him living in the sitting room for years. It even endured our late dog chewing his foot o when he was a puppy.”

Having seen better days the doll had been destined for the skip. e vendor continued: “My husband remembered the doll fondly and decided to put him in the “to keep” pile.” Little did either know what had been destined for land- ll was, in fact, a rare German

Kämmer & Reinhardt was founded by the young businessman Ernst Kämmer and the modeller Franz Reinhardt in 1886 in Waltershausen in the central German region of üringia. e area is renowned for the high quality of its natural clay deposits which allowed the company to produce the nest quality bisque dolls.

From 1886 to 1909, Kämmer & Reinhardt made only doll-faced models with a bisque head on a composition ball-jointed body, often with an open mouth and teeth. While the company designed the dolls, creating the 100 series, the heads were manufactured by Simon & Halbig (which is why heads bear both marks) and Heinrich Handwerck made most of the composition bodies. e dolls were later assembled by Kämmer & Reinhardt and marketed under its name.

A frighteningly life-like doll destined for a skip has an estimate of £12,000-£17,000 at a sale this month in North Yorkshire – despite a dogchewed foot. Antique Collecting reveals what makes “Walter” such a special boy

Above e Walter 102 bisque doll by the German maker Kämmer & Reinhardt has an estimate of £12,000£17,000 at this month’s sale, all images courtesy of Vectis

Laughing baby

To capitalise on the success of the Munich art dolls, Kämmer & Reinhardt commissioned Professor LewinFuncke to create a bronze mould of a six-month baby in the style of the new aesthetic. e character baby head he produced, known as the “laughing” baby became the rst in the company’s 100 series – a range of lifelike bisque dolls, considered by many collectors to represent the pinnacle of German doll making.

ere are only two known examples of the bust existing in bronze; one of which is on permanent display in the Rothenburg Doll Museum.

Kämmer & Reinhardt’s use of bisque also enhanced the realistic appearance of the character doll, deemed far superior to that of the company’s competitors Kathe Kruse and Marion Kaulitz (who went on to issue a law suit against the rm).

e model 100 mould was the most widely manufactured and popular doll in the series, so it is not surprising how commonly they appear in today’s market, with the painted-eye version in Caucasian skin colouring being the most commonly-found model. As well as the “laughing” baby it is known as the “Kaiser” baby (although there was no link to Kaiser Wilhelm).

Ugly baby

However, in reprints of letters between Franz Reinhardt and Professor Lewin-Funke, Reinhardt made it clear that he, and many of his customers, found the model to be less

Above left Kämmer & Reinhardt, bisque character doll, German, c. 1909, impressed K * R, 100 36, height 36cm (14in), it sold for £168

Above right e unusual bisque character doll with a pierced ear, set an auction record when it sold for £242,500, image courtesy of Bonhams

Right Walter is dressed in his original shirt

Below He is based on an 1898 sculpture of a boy by the German artist Arthur Lewin-Funcke

RECORDBREAKING DOLL

A doll from the same series holds the world record price for a bisque doll at auction. The Kämmer & Reinhardt 108 character doll sold for £242,500 at Bonhams in 2012. Also designed by the same artist, LewinFuncke, there are no other known examples of this doll. The doll has unique pierced ears and is thought to be from an experimental mould.

a “laughing” and more of an ugly baby. In response to the criticism, it is believed that Lewin-Funcke went on to sculpt a second baby in 1911, based on his own son, Andreas, which went on to become mould 116 in the series. Interestingly for collectors, the name of Lewin-Funcke as the doll’s designer was only revealed in the 1980s as the

‘Reinhardt made it clear that he, and many of his customers, thought it was an ugly baby. In response to the criticism, it is believed that Lewin-Funcke went on to sculpt a second baby in 1911, based on his own son Andreas, that became the 116 mould’

professor had tried to keep his identity a secret (vowing to take the secret to his grave) for fear his reputation as a serous artist would be dented if it came to light.

His approach appears to have worked as he did go on to achieve recognition as a serious artist with works in the Metropolitan Museum of Art in New York City and the National Gallery in Berlin.

Expansion of the range

Despite the criticism of the laughing baby model, LewinFuncke went on to create original moulds for most of the other dolls in Kämmer & Reinhardt’s 100 series.

Having four children he had plenty of ready models for his doll sculpts. Next in the series, and modelled as a portrait of his oldest daughter, Karin, at the age of two or three, is the immensely popular model 101, which is known as “Marie” when dressed as a girl and as “Peter” as a boy.

e model 101 was also introduced in 1909 and, like the 102, is said to resemble a serene and thoughtful child. e doll can be found with either painted or glass eyes, in brown bisque as well as Caucasian, and in various sizes from seven to 20in. e glass-eyed versions of the dolls in

Right Kämmer & Reinhardt Marie, bisque character doll, c. 1909, German, impressed K * R, 101 39, wearing her original Black Forest style provincial costume, 38cm (15in) tall sold for £1,680

Below left Kämmer & Reinhardt/Simon & Halbig Gretchen bisque character doll, German, c, 1909, impressed K * R, 114, 57, height 54cm (14in) sold for £1,920

this series are rarer and more costly today, just as they were when originally manufactured. e brown bisque “Marie” with glass eyes is the rarest of all the 101 models and almost never found.

Walter model 102

Model 102 depicts a slightly older child than the 101 model and is known as “Walter”. It is distinctive for its great moulded and painted hair and only comes in 12in (30cm) and 56cm (22in) sizes - the model in this month’s sale. Walter has an oval-shaped face, deeply-sculpted, tousled blonde hair; painted light blue eyes; black upper eyeliner and full lips in a closed mouth.

e later model 107 uses the exact same sculpt as the 102 but has a wig instead of the moulded hair and is known as “Carl”. Model 107 also only comes in the two sizes and only with painted eyes. Like the Walter, Carl is also based on Lewin-Funcke’s 1898 bust, aptly entitled Portrait of a Boy

e use of painted eyes on the 100 series was an idea taken from the models designed by Marion Kaulitz (which might explain the legal action). e use of single stroke eyebrows with no painted lashes was also similar to the nish on the original art character dolls.

e doll goes under the hammer at Vectis doll and toy sale in ornaby in Stockton-on-Tees in North Yorkshire on June 6, for more details go to www.vectis.co.uk

An Auctioneer’s Lot

Ming dynasty

Measuring 94cm wide, 79cm high and 47cm deep, it has a oating-panel construction supported by three dovetail transverse stretchers underneath. It is an example of the very nest Ming furniture, the pinnacle of table design. Items like this are mentioned in 16th-century Chinese novels about life in big houses.

Its design has been seen in wall murals relating to the Jinyuan Dynasties of 1115-1368. It’s regarded as an alltime classic by furniture historians and would have been owned by a high-ranking member of society, perhaps a government o cial or magistrate.

Banzhuo literally means ‘half table’ and is so-called for its size, which is half that of an ‘eight immortals table’. e banzhuo was mainly used for serving wine and food and is also sometimes referred to as a jiezhuo, meaning extension table.

Ghost faces

Above e table dates to time of the Wanli Emperor (1563-1620), 14th emperor of the Ming dynasty

Chinese treasures never fail to amaze me and another ne example has taken my breath away thanks to its grace, symmetry – and the fact that, in UK terms, it dates back to Tudor times.

e remarkable centuries-old nd was made in my home county of Derbyshire and it is so important it could achieve £100,000 at auction this summer.

I rarely see oriental items from the Tudor period so to come across a piece of furniture made by a Chinese craftsman during the Ming dynasty period of 1368-1644 is breath-taking.

e banzhuo side table is made of huanghuali wood, which is endemic to China. It has been dated to c. 1580, making it around 743 years old.

Left Helen Smith, associate director of Hansons Auctioneers with the unassuming looking table

Below left e table dates to c. 1580, image credit Mark Laban, courtesy of Hansons Auctioneers

e industrial revolution of the early Ming Dynasty led to a golden age in furniture design. Emperor Longqing (1567-1572) lifted a ban on maritime trade which allowed huanghuali, a tropical hardwood, to be imported from southeast Asia.

Huanghuali (Dalbergia odorifera) literally translates as “yellow ower pear”. It is a slow-growing, small-tomedium-sized tree. With a nite supply, the availability of furniture made from it is limited, adding to the table’s rarity. e wood itself is a thing of beauty. Its dense, beautifully- gured grain displays a broad range of colours from pale honey to rich mahogany. It polishes to a translucent golden sheen. e nest huanghuali has a translucent shimmering surface with abstract gural patterns, including the famed darker cluster markings known as “ghost faces”.

It is a very durable material, impermeable to water and insects. e strength of the wood made it an ideal material to withstand the physical demands of the tenon and mortice construction of Chinese furniture.

Today huanghuali furniture it is in hot demand at auction. It appeals to wealthy collectors from the Far East due to its quality, elegance and historical signi cance.

High prices

e last two years have seen outstanding prices achieved for the most sought-after huanghuali pieces from the late Ming and early Qing dynasties.

At Christie’s in New York a rare pair of 17th-century huanghuali drum stools recently smashed its $120,000–$180,000 estimate to achieve $1.5m. e reason? Wealthy Chinese bidders are always keen to celebrate their culture and repatriate items like this to their homeland.

e table will be o ered for sale at Hansons Auctioneers’ suumer Asian art auction, date to be announced, with a guide price of £70,000-£100,000.

Charles Hanson is left marvelling when a 700-year-old Ming treasure is found on his doorstep

‘The design is regarded as an all-time classic by furniture historians and would have been owned by a high-ranking member of society, perhaps a government official or magistrate’

BOX CLEVER

Boxes enamelled by Fleetwood Charles Varley, one of the craftsmen in the celebrated Guild of Handicraft, are up for sale this month. Antique

Collecting lifts the lid

In the summer of 1902, the 39-year-old enameller Frank Charles Varley (1863-1942) took part in one of the most notable artistic migrations of the century. He was a member of the Guild of Handicraft, the architect Charles Robert (C.R.) Ashbee’s visionary, but ultimately doomed, collective of craftspeople who he moved from the East End, en masse, to the Cotswolds. In total 50 guildsmen and their families, some 200 people in all, descended on the Gloucestershire town of Chipping Campden, along with their workshops and equipment.

At the time the arts and crafts movement, with its hatred of machine-made products, was it its height. As a leading member of the group, Ashbee took the ethos one step further. He didn’t just care about creating beautiful things, he wanted to give artisans a satisfying and healthy work environment, forging an alternative society.

Ashbee had founded the Guild of Handicraft in 1888 in Whitechapel at the age of 25. In 1891, the guild opened workshops in Essex House on the Mile End Road.

While the guild’s premises were in one of the capital’s most impoverished areas, Ashbee was living in the ourishing artistic community in Chelsea at 74 Cheyne Road – one of seven neighbouring ames-side houses built to his own designs.

At the time the village-like Chelsea was awash with artists and poets. One of whom was the up-and-coming landscape watercolourist and enameller, Fleetwood Charles Varley. Varley, who lived in Beaufort Street o Cheyne Walk, was the grandson of one of this country’s most in uential watercolourists, John Varley (1778-1842), the founder of the Old Water-Colour Society in 1804 and even, so it is claimed, a descendant of Cromwell’s henchman, General Charles Fleetwood.

Firm pals

At the time Ashbee and Varley met, the guild was already ourishing, employing 50 men. Having opened a shop at Brook Street, just o Bond Street, it was also on the verge, in 1900, of obtaining its rst Royal warrant by appointment to Queen Victoria.

e guild’s work was being written about to critical acclaim in publications in the UK and abroad, even leading to a commission from the Grand Duke of Hesse’s Palace in Darmstadt in southwest Germany.

e two aspects of Ashbee’s life, architect and guildsman, ran hand in hand. He commissioned the guilde to provide furniture and decoration for his new builds, most of which were in Cheyne Walk.

Encountering Varley the two men found an immediate meeting of minds. Both shared arts and crafts’ ideals, particularly a preoccupation with the preservation of buildings of historic merit. Shortly after their rst meeting Ashbee invited Varley on the guild’s annual beanfeast – a boating trip along the ames.

A selection of silver boxes enamelled by Fleetwood Charles Varley (1863–1924) appearing in Dawsons’ sale on June 28

Below A silver box by the Guild of Handicraft, 1903, with an enamel plaque by Fleetwood Charles Varley (1863-1942), decorated with trees, signed ‘Varley’ to the lower left, it has an estimate of £1,500-£2,000 at this month’s sale

Above A large, spot-hammered copper table box, decorated by Fleetwood Charles Varley (1863-1942) for the Guild of Handicraft, signed lower right ‘Varley’, it has an estimate of £2,000-£3,000 in Dawsons’ sale on June 28

Magpie and Stump

Varley soon started working for the guild, albeit it at rst on an ad-hoc basis. He joined guild members called on to decorate and furnish Ashbee’s newly-built number 37 Cheyne Walk which was known as the Magpie and Stump (named after an old inn which had stood on the site).

Above A silver and enamelled trinket box by the Guild of Handicraft Ltd, 1906, the cover probably designed by Fleetwood Charles Varley (1863-1942). It has an estimate of £1,000-£1,500

Above right e bottle designed by Ashbee and George Hart was one of the guild’s most popular designs (not in sale)

Below right e interior of 37 Cheyne Walk with a frieze designed by Agnes Ashbee, image public domain

Below A hammered pewter and enamel table box with an architectural view of a gateway, possibly painted by Fleetwood Charles Varley (1863–1924), stamped 083 to the base, it has an estimate of £300-£400 at this month’s sale

e residence was a testing ground for many guild workers, who were developing techniques and ideas. Roger Fry painted the chimney-breast, while Arthur Cameron completed enamel work for the replace.

In the dining room Agnes Ashbee, the architect’s sister, designed a frieze of deer and peacocks. e room was furnished with a guild-built trestle table and ladder-back chairs. e rooms, at odds with prevailing Edwardian styles, were the rst evidence of Ashbee’s talents as an interior designer. e house went on to attract much critical acclaim, featuring in artistic periodicals of the day including e Art Journal and e Studio in 1895.

During the building work of 37 Cheynee Walk a number of glass bottles, which Ashbee believed to be Elizabethan, were excavated. In the late 1890s he designed a version of one of them (below) made by the glassworks of James Powell & Sons and later in his own workshops. e bottle went on to become one of the guild’s most successful and enduring designs, made by the

‘In 1902, or soon after, Varley joined the exodus of guild members quitting the capital for the Cotswolds. The move had been in the offing for years but came to fruition in 1902 when the lease on Essex House ran out’

COLLECTING GUIDES Fleetwood Charles Varley

Varley frieze

Ashbee also commissioned Varley for the hall of another of his new builds at neighbouring 39 Cheyne Walk. Varley created a panoramic frieze of buildings in the district in oil on canvas with bold red and black lettering. e resulting nine panels demonstrated Varley’s grasp of architectural draughtsmanship and his interest in recording the area’s important buildings.

But, despite both Asbee and Varley’s love of building preservation, the house was demolished in 1968, and when the interior of number 39 was stripped, Varley’s frieze was removed and sold. ey can now be seen at Petyt Hall, the parish hall attached to the rebuilt Chelsea Old Church.

Move to the Cotswolds

In 1902, or soon after, Varley joined the exodus of guild members quitting the capital for the Cotswolds. e move had been in the o ng for years but came to fruition in 1902 when the lease on Essex House ran out.

But for Ashbee the ‘back-to-the-land’ scheme may have always been his end goal for the guild. For months he had been mulling over potential sites visiting them with bicycling viewing parties, while overcoming the objections of the guildsmen, many of whom were attached to Whitechapel, despite its poverty. When a poll of 40 eligible

Top left Varley’s designs show the Old Church and Lombard Terrace. e nine panels can be seen in Petyt Hall, image courtesy of Tim Gates

Above left e frieze also depicts numbers 74 and 73 Cheyne Walk, image courtesy of Tim Gates

Above right A hammered pewter and enamelled cigarette box for Liberty & Co. decorated with a naive study of a galleon in full sail, possibly by Fleetwood Charles Varley (18631942), marked Tudric 0544 to the underside, it has an estimate of £400-£600

Below e guild in 1906, Fleetwood Varley appears on the back row, third from the left, image courtesy of Court Barn, a Museum of Craft and Design, www.courtbarn.org.uk

men was taken, of whom seven were absent, there were 11 against the move to Gloucestershire.

Before long the guild, including wives and children, descended on the 1,500-strong town. ey moved in stages, shifting workshop after workshop, with the wood shop arriving rst followed by the forge and metal shop. e plan was to take over the disused Silk Mill in Sheep Street which they leased for £40 a year.

e ground oor was scheduled to be the showroom, drawing o ce and the Essex House Press, the second oor was for furniture making with the rst oor reserved for jewellery, silver and enamelling and where Varley would have worked grafting alongside Bill Mark (1868-1956), the Australian-born silversmith and enameller who joined the guild after it moved.

Turn to enamelling

Turning away from his earlier friezes, Varley took up the enameller’s brush, decorating silver work made by his fellow craftsmen and Ashbee himself.

He produced iridescent enamels for boxes, cigarette cases, presentation ware, sugar casters and jewellery. His favourite subjects were windswept trees, meandering rivers, rocks and mountains with blues and greens predominating his idyllic landscapes.

His work was met with some acclaim. In 1903, e Studio wrote: “Mr F.C. Varley, a descendant of the watercolour painter, showed in his enamels a beautiful sense of colour as well as a pleasant freedom of design.”

e guild at rst ourished at Chipping Camden, thanks largely to the patronage of a uent locals allowing Ashbee to oversee the building of a swimming pool, the creation of a craft school and a purpose-built theatre.

‘In 1903, The Studio wrote: “Mr F.C. Varley, a descendant of the watercolour painter, showed in his enamels a beautiful sense of colour as well as a pleasant freedom of design.”’

Varley and Liberty & Co.

With the decline of the guild Varley found an outlet for his enamels working for the Birmingham silversmith William Hair Haseler, who founded W. H. Haseler & Co. in 1870.

His ranges for Liberty & Co. included designs for its famous Celtic-inspired Cymric range, created by freelance designers including Archibald Knox (1864-1933). Knox became well known for his Cymric work and its pewter counterpart, known as Tudric Varley’s work for the London retailer included gifts, silver and pewter cigarette boxes, pill boxes, jewellery caskets and pendants, all featuring his trademark enamels.

End of a dream

But the good times didn’t last long and sales began to drop in 1903. e guild, more suited economically to the city rather than the country, was swamped by larger commercial concerns, especially Liberty & Co., by then going from strength to strength which was able to machine-produce guild imitations at less cost.

As early as 1903 Ashbee’s wife Janet wrote: “Here is Liberty & Co. putting £10,000 into its Cymric Co., and we are struggling to get our hundreds having to potboil with vile brooches etc to make ends meet.”

In 1907 it went into voluntary liquidation. Some of the guildsmen stayed on, working under their own names but most of them had to go back to the city and look for work.

Above right A hammered pewter and enamel table box for Liberty & Co., probably by Fleetwood Charles Varley (1863-1942), marked Tudric 0236 to the base, it has an estimate of £500-£800

Below A silver cigarette box by the Guild of Handicraft, 1903, decorated by Fleetwood Charles Varley (1863-1942), signed ‘Varley’ to lower right corner, it has an estimate of £1,500-£2,000

It is ironic Varley had to turn to the company which was, in part, responsible for the failure of the guild’s dream of a better life.

Ashbee continued to work as an architect and, in 1909, published Modern English Silverwork, a record of his achievement as a designer of silver and jewellery.

Several enamel boxes by Fleetwood Charles Varley are among the lots at the Maidenhead auction house Dawsons’ sale Decorative Arts and Design: 1860 and Beyond on June 28. e author is indebted to Penelope Hunting for her article in the 2006 annual report of the Chelsea Society titled Fleetwood

A silver cigarette box by the Guild of Handicraft, 1903, decorated by Fleetwood Charles Varley (1863-1942), estimated at £1,500-£2,000, with Cymric silver and enamel spoons, from a set of six, dated 1902-1904 by Archibald Knox (1864-1933) for Liberty & Co., estimated at £300-£500

Above A silver and hard enamel rectangular presentation table box, Birmingham, 1912, by W.H Haseler Ltd, probably by Fleetwood Charles Varley (1863-1942), it has an estimate of £700-£1,000

Varley’s Frieze Cheyne Walk.

HIGH FLYER

of the trailblazing

from Australasia and the South Seas, including a number of objects collected on Captain Cook’s celebrated second and third voyages.

But despite her lifelike depictions, unlike modern painters, Stone had never seen any living examples of the birds she painted. e creatures’ expressions and poses all came from the work of taxidermists – who, like her, were preserving specimens brought to European shores.

Female pioneer

Stone was a woman operating in a world where commercial success was usually denied to females.

e achievements of women – in elds other than the domestic – went largely disregarded and even entirely dismissed. Although many women of the era were talented watercolour painters, their e orts were usually con ned to albums or, at best, allowed to decorate the walls of friends or family.

Few enjoyed any degree of commercial success or widespread admiration. e odds were stacked against women no matter how considerable their talents were.

Stone was one of the exceptions. Determined, highly skilled and with a clear vision of what she hoped to achieve, she enjoyed success from an early age.

ere is no record of her birth although a younger sister was born in London. She was the daughter of a fan painter from whom she learnt the technical aspects of painting, including how to prepare materials, make brushes and mix paint. Decorating fans would have required precision and delicate skills and it seems likely that from an early age Sarah was assisting in the work.

Indeed, there is no record that Stone received any kind of formal artistic training other than the guidance she received at her father’s knee.

ru ing feathers

While the name Sarah Stone may be known to few, other than dedicated followers of ornithological art, she was an esteemed British natural history painter and probably the rst English woman painter of animals to achieve professional recognition.

Like many other natural history artists working in the early 19th century, Stone took her inspiration from the newly-discovered (and vibrantly-coloured) creatures descending on western shores as the result of exploratory voyages to far ung corners of the globe. It was an exciting period. Zoological, botanical and ethnographical objects were being brought back to the West for the rst time, and Sarah Stone was one of the rst artists to paint objects

Above Sarah Stone (c. 1760-1844) a yellowheaded amazon and salmon-crested cockatoo, signed ‘Sarah Smith’ (née Stone) and dated 1801. All images, unless otherwise stated, courtesy of Finch & Co.

Right Sarah Stone (c. 1760-1844) a peacock pheasant, signed ‘S Smith’ at the bottom of the image

is month the work

18th-century female artist Sarah Stone is in the spotlight at a London exhibition. Errol Fuller takes a look at the artist

Leverian Museum

By the age of17 she was con dent enough to approach Sir Ashton Lever (1729-1788) a businessman and collector, friend of Captain James Cook and known to have agreat interest in ornithology. Lever was also resposible for assembling one of the major natural history collections of the late 18th century (some 27,000 objects) and, in 1775, putting it on public display,at his museum, the Holosphusikon in Leicester Square, London, later known as the Leverian Museum.

Lever was clearly impressed by the quality of the teenager’s work and commissioned her to record his collection, kickstarting a successful working relationship which lasted for years, with Stone attending the collection almost every day. Stone soon became a specialist in accurate images of birds, mammals, sh, insects, sea shells, fossils, minerals and ethnographic material. With the new museum attracting bumper crowds, Stone celebratedartist .

Meeting of minds

1789, aged almost 30, she married Captain John Langdale Smith himself an amateur artist who recognised his wife’s talent and, unusually for the time,encouraged her career In 1791, two years after their wedding, they were exhibiting together at exhibitions in London.

Stone also went on to illustrate John White’s Journalof a Voyage to New South Wales, published in 1790. Four years prior White had been appointed as chief surgeonon the expedition to establish a convict settlement in

Left Sarah Stone (c. 1760-1844) Demoiselle crane. Signed ‘Sarah Smith’ at the bottom of the image, with a black border

Right John Gerrard Keulemans (1842-1912) male and female Huia Heteralocha acutirostris

Below right Sarah Stone (c. 1760-1844) partridge. Signed ‘Mrs Smith, Smith Square, West London and J. , Mattias’ on a painted trompe l’œil label

The natural world

If we ignore prehistoric art and the art of antiquity, until the middle of the 15th century western art was dominated by religion with little place for anything other than visual expressions of religious faith. The Renaissance saw an increase in monumental secular works with new genres coming into vogue: portraiture, landscape, still life and the depiction of the natural world. Among the first great exponents of the latter was the German painter, printmaker, and theorist of the German Renaissance, Albrecht Dürer (14711528) who painted celebrated images of beetles, birds, hares a his famous painting of a humble patch of vegetation known as The Great Piece of Turf

While the popularity of producing images of nature continued into the 18th century, with artists such as the French artist Jean-Baptiste Oudry (1686-1755), it wasn’t until the 19th century with John James Audubon (1785-1851) in North America and the English ornithologist and painter John Gould (1804-1881) that the genre was brought to public acclaim. In Europe the style was championed by the Dutch bird illustrator Johannes Gerardus Keulemans (1842- 1912).

‘Despite her lifelike depictions Stone had never seen any living examples of the birds she was painting. The creatures’ expressions and poses all came from the work of taxidermists’

STONE AT AUCTION

In 2022, a total of 18 watercolours by Sarah Stone sold for £172,000, almost 12 times their top estimate at Mallams auctioneers in Oxford. The high price achieved perhaps reflecting the growing market interest in works by female artists.

They came from the estate of Patrick DockarDrysdale (1929-2020), who was a distant relative of Stone. Some of the works had come down through the family, while others had been bought from auctions over the last 30 years, including natural history sales at Sotheby’s.

The lots, made up of 15 watercolours alongside three groups of sketches, represented one of the largest collections of Stone’s work owned by a private individual.

As well as being rare, market-fresh and with excellent provenance, the group also benefited from being in a good general condition, although one of the watercolours had suffered from some staining over the years.

Stone’s works are currently held by several prominent institutions around the world including The British Museum, the Victoria Gallery and Museum at the University of Liverpool, the National Library of Australia, the State Library of New South Wales and the Australian Museum.

Above left Sarah Stone (c.1760-1844) a quantity of mainly ornithological sketches. Estimated to make £500-£1,000, they sold for £11,500 in 2022, image courtesy of Mallams

Above Sarah Stone, an engraving after a portrait by the miniaturist Samuel Shelley (1750/56–1808)

Above right Sarah Stone (c. 1760-1844) unidenti ed parakeets. Signed ‘S. Smith’ on the branch at the bottom of the image

Below left Sarah Stone (c. 1760-1844) golden eagle, with common bronze wing. Signed ‘Sarah Smith 1806’ at the bottom of the image

Australia, later known as the First Fleet, arriving at Sydney Cove in Port Jackson on January 26, 1788, a date still marked as Australia Day. Stone’s work appears regularly in Antipodean museums.

Lasting legacy

Stone had unrestricted access to objects that had never been seen before, and in many cases items that would only exist for a comparatively short space of time. Although she may not have realised it at the time, her detailed images were to acquire a historical and scienti c importance out of all proportion to their loveliness. Her work has become a visual record of signi cant historical specimens, many of which no longer exist, and some of which even vanished during her lifetime.

Stone’s lifelong output is extraordinary. She painted on most days of her comparatively long life and many of her pictures have survived due to their acquisition by museums around the world. She died in 1844 of pneumonia, with her age at the time of death given variously as either 82 or 83.

As part of London Art Week (LAW), Finch & Co. will be exhibiting a private collection of 23 works by Stone from June 27 to July 9 at its Cromwell Place gallery with an accompanying book. For more details on LAW turn to page 57.

Birds of America

This summer also sees the start of National Museums Scotland’s touring exhibition of works by the pioneering and controversial natural history painter John James Audubon (1785–1851).

Birds of America, on at Compton Verney in Warwickshire from July 1 to October 1, showcases 46 plates from one of the world’s most famous – and at almost one-metre in height –largest books. And with only 120 complete copies known to be in existence, it is also one of the rarest books in the world.

When it was first published as a series between 1827 and 1838, Birds of America was instantly recognised as a landmark work of ornithological illustration. It achieved international renown, not only due to the epic scale of Audubon’s ambition (to paint every bird species in North America) but also the length of time it took to complete (almost 12 years) as well as its spectacular, life-sized illustrations.

But while celebrated as a renowned American adventurer and naturalist, successful in identifying more than 20 new bird species, Audubon’s life was full of contradiction and controversy.

He profited from the ownership of enslaved people and showed disdain towards the abolitionist movement both damning character traits which have been overlooked until recently.

His scientific standing is also disputed, with Audubon today accused of completely fabricating several species and misidentifying others.

Right

Below

French background

John James Audubon was born in Les Cayes, in the French colony of Saint-Domingue (now Haiti), on April 26, 1785, being the illegitimate son of a chambermaid and a French sea captain.

He was brought up in France and received instruction in drawing from Jacques-Louis David (1748-1825) before moving to America in 1803 to avoid conscription in Napoleon’s army. In the US he lived as a naturalist, hunter and taxidermist, earning money as a portraitist and drawing master.

Audubon’s interests in art and ornithology came together when he forged a plan to complete a pictorial record of every bird species in North America.

Unable to find a publisher in America, Audubon spent three years in England, from 1826 to 1829, eventually persuading the London engraver and publisher, Robert Havell and Son, to take it on.

The Birds of America, from Original Drawings, with 435 Plates Showing 1,065 Figures appeared in four volumes of hand-tinted aquatints (1827–1838) and now ranks among the most famous and prized books of the world.

Left Sarah Stone (c. 1760-1844) Hartlaub’s Turac, signed ‘S Stone’

John James Audubon (1785–1851) detail of a print depicting Carolina parakeets from Birds of America, image © National Museums Scotland

John James Audubon (1785–1851) detail of a print depicting snowy owls from Birds of America, Image, © National Museums Scotland

‘Audubon profited from the ownership of enslaved people and showed disdain towards the abolitionist movement both damning character traits which have been overlooked until recently’

TOP of the LOTS

A Georgian necklace, made up of nine Stuart crystal memorial slides, has a guide price of £6,000-£7,000 at the Essex auction house Sworders' jewellery sale on June 27.

Fashioned from faceted rock crystal (quartz), enclosing a portrait or lock of hair in a closed back setting, Stuart crystals were the precursor to the memorial jewels which became fashionable in the Georgian and Victorian eras.

They were first popular in the wake of the execution of Charles I in 1649 when Royalist supporters showed their sympathy for the fallen Stuart monarch by wearing his likeness or initials woven in gold wire.

Above e central pair of slides contains the gold thread initials ‘EJ’ and ‘MJ’

A rare movie prop used in the 2001 film Harry Potter and The Philosopher’s Stone is expected to sell for more than £10,000 at Chiswick Auctions’ sale on June 22.

The letter, which invited the boy wizard to enrol at Hogwarts, was bought by the vendor at a school charity auction in 2002 after being donated by one of the movie’s producers.

While many letters were used in the making of the film, the envelope on sale features a real and unbroken red-wax Hogwarts’ seal.

Top e letter invited 11-year-old Harry Potter to enrol at Hogwarts

Above e envelope includes a rare wax seal

Aninlaid oak sideboard by the makers Shapland and Petter has an estimate of £1,000-£1,500 at Tennants’ 20th-century design sale on June 17.

This Barnstaple firm was established in the late 1880s by the cabinetmaker Henry Shapland and the salesman Henry Petter and sold designs through Liberty’s. While the company’s design roots were in the arts and crafts tradition, its philosophy – opting for factory-based production – was not. Many pieces carry the firm’s original mounted label.)

A 3m-tall astronomical clock by the celebrated French maker Jean-Louis Bouchet has an estimate of €600,000-€800,000 at the Paris auctioneers Hôtel Drouot on June 30.

Bouchet became a Master clockmaker in 1762 and worked until 1789. The clock, dated to 1770, would have been made for a Parisian palace of the day.

An auction spokesman said: “Although Bouchet’s clocks can be found in private collections and museums, there is nothing comparable to this exceedingly rare piece. It is a unique piece; no other model, even similar, has ever been presented at auction.”

Right Bouchet’s exceptional clock includes neo-classical motifs

An art deco sapphire and diamond brooch, and a 120-year-old lace fan, both given to Princess Margaret by her grandmother Queen Mary have estimates of £8,000-£12,000 and £1,000£2,000 respectively at Noonans’ sale on June 13.

The brooch, cased by Collingwood, was a gift to the 15-year-old princess on her confirmation on April 15, 1946; while the fan, given to the nine-year-old Margaret in 1939, had been made to order by Queen Mary, the wife of George V, in 1904 for the St Louis Exhibition in America.

From drawings by L.S. Lowry to a Harry Potter letter, collectors have much to get their teeth into this month

Above e fan was given to the young princess in 1939

Left e brooch is dated to c. 1925, image credit Noonans

Above Shapland and Petter’s designs have a keen collecting base

Six works by L.S. Lowry (1887-1976), all from private collections, including drawings, pastels and paintings go under the hammer in Tennants’ Modern and Contemporary Art sale on June 17.

Leading the sale, with an estimate of £60,000-£90,000, is Tug, a 1959 oil on panel signed and dated by the artist.

Inspired by Lowry’s love of the North Sea it was likely painted from the window of the Seaburn Hotel in Sunderland, one of the artist’s favourite holiday spots. While the tug appears small on the vast grey sea, Lowry has given it a strength and determination as it battles its way across the composition from right to left leaving an impressive trail of black smoke in its wake.

Street scene

More typical of Lowry’s later style is Street Scene with Figures, a pastel signed and dated 1947, which is expected to make £40,000£60,000. It is the earliest work from a series of pastel works by the artist made during his annual visits to Cumbria to stay with his lifelong friend, the Reverend Geoffrey Bennett (1902-1991).

Man in a Wheelchair, an oil on board, signed by Harold Riley (1934-2023) and L. S. Lowry has an estimate of £10,000£15,000. Lowry met Riley in 1945 when he was presenting the 11-year-old with a first place award at Salford Grammar School’s art exhibition. The pair went on to be close friends and painting companions for more than 30 years, jointly working on a project to record the area and its people.

Leading Lowry expert, Jonathan Horwich, said: “They more usually painted works on paper together, thus making this fully finished oil painting a rarity.

“I have seen a number of these joint ventures over the years and I imagine both artists had great fun deciding who would paint what, perhaps swapping their usual subjects to tease us. Now with the sad passing of Harold Riley in April we no longer have anyone to ask, so we will never know for sure, which would probably amuse both artists greatly.”

Oversized clothing

Two pencil drawings also appear in the sale. The first, Family Group at the Seaside, is signed and dated 1969 and has an estimate of £40,000-£60,000. While Group of Figures, Young and Old is signed, 1970 and comes with a guide price of of £30,000-£50,000.

Lowry taught himself to draw in the classical manner while studying at Manchester College of Art, by the 1920s he had developed his own, unique style.

Lowry continued to dress his figures in the same depression-era clothes of the 1920s – not just the time he developed the style but also, he claimed, the happiest period of his often-troubled life. He also said he found oversized clothing very amusing.

The final drawing in the sale, a pencil and biro, titled A Family Group, 1966, was also executed on one of Lowry’s frequent trips to the Seaburn Hotel. With an estimate of £5,000-£8,000, it was dedicated to the hotel’s manager, Leslie Anthony.

The L.S. Lowry artworks appear in Tennant’s Modern and Contemporary Art sale on June 17, for more details go to www.tennants.co.uk

1L.S. Lowry (1887-1976) Tug, oil on panel, 19cm by 17.5cm, it has an estimate of £60,000-£90,000 2 L.S. Lowry (1887-1976) Street Scene with Figures, pastel, signed and dated 1947, 27cm by 35.5cm, it is has an estimate of £40,000-£60,000 3 L.S. Lowry (1887-1976) Group of Figures, Young and Old, in pencil, signed, 28.5 x 40.5cm, it has an estimate of £30,000-£50,000 4 L.S. Lowry (1887-1976) Family Group at the Seaside, in pencil, signed and dated 1969, 41 x 28.5cm, it has an estimate of £40,000£60,000 5 L.S. Lowry (1887-1976) and Harold Riley (1934-2023) Man in a Wheelchair, oil on board, signed by both artists and dated (19)60, 25 x 14.5cm, has an estimate of £10,000-£15,000 6 L.S. Lowry (1887-1976) A Family Group, in pencil and biro, signed, inscribed and dedicated “To Leslie Anthony”, dated 13 September 1966, 18 x 18cm, it has an estimate of £5,000-£8,000

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Hot stu

Silver made by the 17th-century Norwich silversmith Elizabeth Haselwood, part of the collection of a member of the Colman’s ustard family, is up for sale in Essex this month

In the 1660s Norwich was the largest city outside London, having a population of 12,000, to the capital’s 70,000. It had its own silver assay o ce during three periods from 1565-1702, with the quality of its output seen on a par with that produced in both the capital and York.

is month sees several rare pieces go under the hammer at Sworders. Adding to collectors’ excitement is the factthe majority the work of the remarkable silversmith Elizabeth Haselwood (16441715) and come from the collection of the businessman Sir Timothy James Alan Colman (1929-2021), from the

Above A collection of 12 pieces of rare Norwich silver from the collection of Sir Timothy James Alan Colman (19292021) and his wife Lady Mary Colman (née Bowes-Lyon). e central tankard by omas Havers (c. 16471732), the rest from the Haselwood family of silversmiths

famous Norwich mustard dynasty of the same name, and his wife Lady Mary Colman (née Bowes-Lyon), the cousin of Queen Elizabeth II.

Sir Timothy was the great-grandson of Jeremiah James Colman (1830-1898), the man who turned Colman’s Mustard into an international brand, with the collection coming from Bixley Manor, near Norwich, the Colman family home for almost 150 years.

Top quality

Silversmiths were working in various smaller towns in East Anglia from the later 13th century, with the work produced in Norwich in particular approaching London quality. An act of 1423 by Henry VI allowed an assay o ce, but it was not until 1565 that the local guild put it into full practice, and a town mark and the rst cycle of date letters commenced. e rst mark was a castle on a lion passant, which was later changed to a crowned rose. e 1697 Act of Parliament provoked further changes but they were shortlived as the Norwich Assay O ce closed in 1702 – a short incarnation which ensures Norwich silver was both rare and of great quality.

While some ecclesiastical wares such as communion cups and patens were preserved in Norfolk’s oldchurches, relatively few secular silver objects bearing the city’s survived. Today it is thought there are only 200 surviving pieces of Norwich secular silver. Of these, 29 carry the maker’s mark ofthe formidable Elizabeth Haselwood.

A family concern

For three generations, from 1625 to 1740, the Haselwood family produced some of the best provincial 17th-century silver Arther Haselwood I, (1593-1671) started the dynasty before handing over to his son Arthur Haselwood II (1638-1684) who built up one of the biggest shops in the city. When he died aged 46 his widow Elizabeth (16441715) took over aided by her 11-year-old youngest son, also named Arthur; with, no doubt, the expectation the youngster would take over in a few years.

However, following in the footsteps of other womenof the period Elizabeth ran the business herself using her own maker’s mark – ‘EH’ crowned. While she would have employed journeymen goldsmiths to complete some work, she was central to the enterprise. Two months after her husband’s death the mayor’s court book records: “Mrs Haselwood to be paid 42/6 for gilding the sword.”

A further mark of a plain ‘HA’ is attributed to her by Jackson in 1702, following the 1697 Act of Parliament.

She died, aged 71, in 1715 (leaving the workshop to her son, Arthur Haselwood III)and is the only woman silversmith registered in Norwich in the 17th century.

Below right One of seven tre d spoons with marks ranging from 1675 to 1697, each carry the mark EH for Elizabeth Haselwood (1644-1715) and have estimates ranging from £500-£1,200

Right A silver sealtop spoon, by Arthur Haselwood I (15931671) Norwich, 1642, pricked work initials ‘N B TB 1642’, 16.6cm long, 1.4ozt. It has an estimate of £2,500-£3,500 at this month’s sale

rry the mark

the spoons ranging from 1675 to 1697, each having an estimate of £500-£1,200. e two plain beakers are marked for 1688 and 1697, with one having a pre-sale estimate of £2,000-£3,000 and the other £2,500-£3,500 (above left).

The sale also includes two silverseal top spoons by Elizabeth Haselwood’s father-in-law Arthur Haselwood

‘Today it is thought there are only 200 surviving pieces of Norwich secular silver. Of these, 29 carry the maker’s mark of a formidable woman - Elizabeth Haselwood’

Left A silver seal-top spoon, by Arthur Haselwood I (15931671) Norwich 1640, pricked work initials ‘N B TB 1642’, 16.6cm long, 1.4ozt. It has an estimate of £1,500-£2,000 at this month’s sale

I, dated 1640 and 1642, with guide prices of £1,500£2,000 and £2,500-£3,500. e nal tankard in the sale is by  omas Havers (c 1647-1732) a one-time mayor of Norwich. e tankard is marked for Norwich 1691 and carries pre-sale expectations of £4,000-£6,000.

In 2007, Sworders sold a cannon-handled basting spoon by Elizabeth Haselwood, Norwich, 1697, for £4,600.

e sale of 12 pieces of silver from the collection of Sir Timothy James Alan Colman (1929-2021) and his wife Lady Mary Colman (née Bowes-Lyon) takes place as part of Sworders’ ne interiors sale from June 14-15.

COLMAN’S MUSTARD

Colman’s mustard dates back to 1814 when Jeremiah Colman, Sir Timothy’s great grandfather, a flour miller, took over a Norfolk mustard manufacturing business. In 1823, with his nephew, James, the pair established J & J Colman. Best known for mustard, the company also made flour, starch, laundry blue and cornflour.

Below A William and Mary tankard by omas Havers (c. 1647-1732) marked for Norwich 1691, it has an estimate of £4,000£6,000

James’ son, Jeremiah James Colman, later took over the company. As well as being a marketing genius encourag Doulton to supply cafés and restaurants with mustard pots displaying the famous bull’shead trademark he promoted progressive ideas regarding employment and social welfare that were years ahead of time. He oversaw the building of a school for his employees children, almost 20 years before education became compulsory, and employed Philippa Flowerday, one of the very first industrial nurses, to help sick employees.

Famous bull logo

Under Jeremiah James Colman’s marketing prowess, the distinctive red and yellow livery was introduced with the company’s railway wagons painted yellow. Via other successful promotional campaigns, Colman’s became a household name.

The familiar bull’s head logo first appeared on the company’s ‘English Mustard’ in 1855. Introduced as the firm’s trademark, the bull’s head remains in use today as a symbol of both tradition and quality.

Later campaigns included The Mustard Club, an advertising campaign that ran from 1926 to 1933 with the first posters asking “Has father joined the Mustard Club?” Soon after a department of 10 employees was established to deal with up to 2,000 daily applications to join the club.

Above Bixley Manor, near Norwich, the Colman family home for almost 150 years

Top e famous mustard brand was started in 1814, image Shutterstock

Above Sir Timothy James Alan Colman (1929-2021) whose silver collection is on sale – credit EDP/Archant 2003

OUT AND ABOUT June & July

FAIR NEWS

Events in June and July include an exciting selling exhibition and a brand new London fair set to replace the defunct Masterpiece

Treasured possessions

With the cancellation of month’s Masterpiece fair at the Royal Hospital Chelsea, a new event in the shape of the Treasure House Fair is set to take its place.

Boasting an impressive line up, the five-day event from June 22-26, welcomes dealers from France, Belgium, Hong Kong, Switzerland and America.

The Washington DC-based dealer, Geoffrey Diner Gallery will showcase two works by American-born maker of Japanese descent George Nakashima (1905-1990) one of the most influential furniture makers of the post-war era.

Nakashima, who trained as an architect, learned traditional Japanese wood carving skills from a fellow inmate when he was interned in America during WWII.

LAW makers

This year’s summer edition of London Art Week (LAW) takes place in venues around the capital from June 30 to July 7. More than 50 of the UK’s leading fine art specialists are set to take part in the event, both in galleries and online, showcasing paintings, sculpture, and works on paper from antiquity to contemporary.

Venues across central London take part in the event with many situated in St James’s and Mayfair. LAW also encompasses sales at Bonhams, Christie’s and Sotheby’s. Highlights include H. Blairman & Sons’ showcasing of the collection of the scholar and V&A curator Clive Wainwright.

Mapped out

The largest antique map fair in Europe returns to its traditional London location this month from June 10-11.

Featuring 40 of the world’s leading antiquarian map dealers, as well as hundreds of visiting dealers, collectors and curators, the London Map Fair takes place at the Royal Geographical Society in Kensington.

Organiser, Harry Van der Hoorn, said: “It’s very important for London to have a key, multi-disciplinary event for art and antiques in June.” The fair will include antiquities, sculpture, ceramics, silver and jewellery.

Mall things

The New English Art Club’s (NEAC) annual exhibition opens its doors at the Mall Galleries in London on June 23, giving collectors and fine art lovers the opportunity to buy artworks at an affordable price.

More than 400 paintings, drawing and prints will be on show from both well-known artists who are NEAC elected members and emerging artists who have submitted fresh work to the show.

NEAC president, Peter Brown, said; “The annual exhibition is one of the purest ways to experience the best figurative, painterly work in the UK. We are not showing the paintings art dealers think will pay their gallery’s rent.”

Above George Nakashima (1905-1990) conoid bench, c. 1973, in American black walnut, image courtesy Geo rey Diner Gallery and e Treasure House Fair

Above Michael Weller, Winchester, December ’23 on o er at the exhibition priced £850

Above Dorothea Sharp (1874-1955) Summer Holiday, St Ives, oil on board, on sale from Haynes Fine Art

Above e London Map Fair takes place at the Royal Geographical Society in Kensington from June 10-11

FAIRS Calendar

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

LONDON: Inc. Greater London

Adams Antiques Fairs

020 7254 4054

www.adamsantiquesfairs.com

Adams Antiques Fair, The Royal Horticultural Halls, Elverton Street, SW1P 2QW, Jun 25, Jul 26

London Map Fair

www.londonmapfairs.com

Royal Geographical Society

1 Kensington Gore London SW7 2AR, Jun 10-11

Sunbury Antiques

01932 230946

www.sunburyantiques.com

Kempton Antiques Market, Kempton Park Race Course, Staines Road East, Sunbury-on-Thames, Middlesex TW16 5AQ, Jun 13, 27, Jul 11, 25

Wimbledon Antiques Market, Bushey Road, Raynes Park, London, SW20 8TE, Jul 30

The Treasure House Fair

020 4505 7760

www.treasurehousefair.com

South Grounds, The Royal Hospital Chelsea, London, SW3 4SR, Jun 23-26

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

Arthur Swallow Fairs

01298 274493

Decorative Home & Salvage

Show, Loseley Park, Polsted Lane, Guildford GU3 1HS, Jul 14-16

Arun Fairs, 07563 589725

Rustington Antiques & Collectables Fair, The Woodland Centre, Woodlands Avenue, Rustington West Sussex, BN16 3HB, Jun 4, Jul 2

Black Dog Events

01986 948546

www.ablackdogevent.com

The Grand Brocante

at Woolverstone Hall, Woolverstone,IP9 1AZ, Jun 11

The Bungay Antiques Fair, Maltings Meadown, Ditchingham Norfolk, NR35 2SA, Jul 23

Dovehouse Fine Antiques Fair 07952689717

dovehousefineantiquesfairs.com

Antiques and Decorative Arts Fair, Dorking Halls, Reigate Road, Dorking, Surrey, RH4 1SG, Jun 18

Grandmas Attic Antique and Collectors Fairs

www.grandmasatticfairs.co.uk

Antique and Collectors Fair, The Grange Centre, Bepton Road, Midhurst, GU29 9HD, Jun 4

Love Fairs 01293 690777

www.lovefairs.com

Lingfield Antiques, Vintage and Collectables Fair, Lingfield Park Racecourse, Lingfield. Surrey. RH7 6PQ, Jul 23

The Pantiles Antiques & Vintage Fair, The Pantiles, Royal Tunbridge Wells. Kent. TN2 5TN, Jun 10-11

Sunbury Antiques 01932 230946

www.sunburyantiques.com

Sandown Park Racecourse, Portsmouth Road, Esher, KT10 9AJ, Jul 16

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

AFC Fairs, 07887 753956

www.antiquefairscornwall.co.uk

Lostwithiel Antique & Collectors Fair, Lostwithiel Community Centre, Pleyber Christ Way, Lostwithiel, Cornwall, PL22 0HE, Jun 11, Jul 9

Pensilva Antiques Fair, Millennium House, Princess Road, Liskeard, Cornwall, PL14 5NF, Jun 25, Jul 30

Arun Fairs 07563 589725

Emsworth Antiques and Collectors Fair, Emsworth Community Centre., North Street, Emsworth, Hampshire, PO10 7DD, Jun 11, Jul 9

Continuity Fairs 01584 873634 www.continuityfairs.co.uk

Westpoint, Westpoint Arena Clyst St Mary, Exeter EX5 1DJ, Jun 3-4

Matford, Matford Centre Matford Park Rd, Marsh Barton, Exeter EX2 8FD, Jul 1

Arthur Swallow Fairs 01298 274493

Decorative Home & Salvage, The Bathurst Estate, Cirencester, GL7 6JT, Jun 9-11

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

IACF, 01636 702326 www.iacf.co.uk

Newark International Antiques & Collectors Fair, Newark & Nottinghamshire Showground, Newark, Nottinghamshire, NG24 2NY, Jun 1-2

Runway Newark, Jun 26

Red Fox Fairs 0790 359 5023

Collingham Antiques and Vintage Fair, Collingham Memorial Hall, 67 High Street, Collingham, Newark, NG23 7LB, May 28

Lowdham Antiques and Collectables Fair, Lowdham Village Hall, Main Street, Main Street, Lowdham, NG14 7BD, May 14

Stags Head Events 07583 410862

www.stagsheadevents.co.uk

Naseby Antiques, Vintage & Motor Vehicle Fair, Naseby Hall & Grounds, Northampton, NN6 6DE, (with BBC’s Bargain Hunt filming) Jun 24-25

International Antiques, Vintage & Collectors Fair, Fullhurst, Imperial Ave, Leics, LE3 1AH, Jul 9

Oakham Antiques Fair, Oakham Wilson Pavilion, Ashwell Road, LE15 7QH, Jul 29

WEST MIDLANDS including Birmingham, Coventry, Herefordshire, Shropshire, Staffordshire, Warwickshire, Worcestershire

Continiuity Fairs 01584 873634 www.continuityfairs.co.uk

Bingley Hall, Stafford Showground Ltd

Weston Rd, Stafford ST18 0BD, Jun 24-25

Nuneaton Antiques and Flea Market

01827 895899

U.R.C Hall, Chapel Street (off Coventry St.), Nuneaton, Warwickshire, CV11 5QH Jun 10

NORTH

including Cheshire, Cumbria, Lancashire, Northumberland, Tyne and Wear, Yorkshire.

Arthur Swallow Fairs 01298 274493

Antiques & Salvage Market, The Royal Cheshire County Show Ground, Clay House Farm Flittogate Lane, Knutsford WA16 0HJ, Jul 22

V&A Fairs, 01244 659887 www.vandafairs.com

Nantwich Town Square Antiques Market, Nantwich Square, Nantwich Town Centre, Cheshire, CW5 5DH, Jun 10, Jul 8

Nantwich Civic Hall Antique and Collectors Fair, Civic Hall Nantwich Beam Street, Nantwich, Cheshire CW5 5DG, Jun 22, Jul 20

SCOTLAND

Glasgow, Antique, Vintage & Collectors Fair 07960 198409, Bellahouston Leisure Centre, 31 Bellahouston Drive, Glasgow, G52 1HH, Jun 18, Jul 16

IRELAND

Antiques Fairs Ireland, Vintage Ireland, www. vintageireland.eu

South Dublin Antiques, Vintage & More Fair

Royal Marine Hotel Marine Road, Dun Laoghaire, Jun 4

Kilkenny Antiques

Vintage & Collectables Fair

River Court Hotel The Bridge, John Street Upper, Jun 18

North Dublin Antiques

Art & Vintage Fair

White Sands Hotel Coast Road, Portmarnock, Jul 2

AUCTION Calendar

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

LONDON: Inc. Greater London

Adam Partridge

The London Saleroom, The Auction Room, Station Parade, Ickenham Road, West Ruislip HA4 7DL, 01895 621991

www.adampartridge.co.uk

Antiques and Fine Art, Jun 20, Jul 25

Bonhams

101 New Bond St, London W1S 1SR, 020 7447 7447

www.bonhams.com

Fine Watches, Jun 21

Modern British and Irish Art, Jun 21

Prints and Multiples, Jun 27

Post-War and Contemporary Art, Jun 29

Old Master Paintings, Jul 5

Fine and Rare Wines, Jul 6

Antiquities, Jul 6

Fine Decorative Arts, Jul 12

Fine Clocks, Jul 13

Bonhams

Montpelier St, Knightsbridge, London, SW7 1HH, 020 7393 3900

www.bonhams.com

Summer Luxury (Online)

Jun 12-22

Knightsbridge Jewels, Jun 14, Jul 12

The Peter Green Collection (Online), Jun 16-28

Fine Glass and British Ceramics, Jun 20-21

Fine Books and Manuscripts, Jun 21

Modern British and Irish Art, Jul 12

Fine Decorative Arts, Jul 12

Chiswick Auctions

Barley Mow Centre

Chiswick, London, W4 4PH

020 8992 4442

www.chiswickauctions.co.uk

Wine, Whisky and Spirits (Online)

Jun 9-18

Jewellery, Jun 14

Watches, Jun 14

Designer Handbags and Fashion, Jun 15

Silver and Objects of Vertu, Jun 21

Autographs and Memorabilia, Jun 22

Homes and Interiors, Jun 27

Modern and Contemporary Prints and Multiples, Jun 28

Modern British and Irish Art, Jul 4 Fine Oriental Rugs and Carpets, Jul 12

A Middle Eastern Journey, Jul 12 Design and Modern Contemporary, Jul 18

19th and 20th Century Paintings and Works on Paper, Jul 25

Chiswick Auctions

1Roslin Square, Roslin Road, London, W3 8DH www.chiswickauctions.co.uk

Interiors, Homes and Antiques, Jun 27, Jul 26

Photographica, Jul 5

Christie’s

8 King St, St. James’s, SW1Y 6QT, 020 7839 9060 www.christies.com

Jewels Online: The London Edit (Online) ends Jun 15

The Private Cellar of Irwin Kotovsky Online: Part II, (Online), ends Jun 22

Antiquities, Jul 5 The Exceptional Sale, Jul 6 British and European Art, Jul 13

Elmwood’s 101 Talbot Road London, W11 2AT 0207 096 8933

www.elmwoods.co.uk

Designer Handbags and Fashion, Jun 13

Forum Auctions

220 Queenstown Road, London SW8 4LP, 020 7871 2640

www.forumauctions.co.uk

Modern Literature, Jun 8

A fourth selection of 16th and 17th Century English Books from the Fox Pointe Manor Library, Jun 15

Fine Editions and Works on Paper 1500 - 2023, Jun 22

Books and Works on Paper (Online), Jun 29

Natural History Books and Works on Paper (Online), Jul 6

Summer Selection: Modern and Contemporary Editions, Jul 12 Fine Books, Manuscripts and Works on Paper, Jul 13

Hansons Auctioneers

The Normansfield Theatre, 2A Langdon Park, Teddington TW11 9PS, 0207 018 9300

www.hansonsauctioneers.com

Art & Collectables Auction, Jun 24

Lyon & Turnbull Mall Galleries, The Mall, St. James’s, London SW1Y 5AS, 0207 930 9115

www.lyonandturnbull.com

Summer Jewels (Live Online), Jul 5

Handbags and Accessories (Live Online), Jul 5

Noonans Mayfair

16 Bolton St, Mayfair, W1J 8BQ, 020 7016 1700 www.noonans.co.uk

Jewellery and Watches, Jun 13

Silver & Objects of Vertu, Jun 14 Orders, Decorations, Medals and Militaria, Jun 21, Jul 26

Ancient Coins and Antiquities, Jul 18

Phillips 30 Berkeley Square, London, W1J 6EX, 020 7318 4010 www.phillips.com

Evening and Day Editions, Jun 7-8

Olympia Auctions

25 Blythe Road, London W14 0PD, 020 7806 5541 www.olympiaauctions.com

Fine Paintings and Works on Paper, Jun 14

Antique Arms, Armour and Militaria, Jun 28

Roseberys Knights Hill, Norwood, London, SE27 0JD 020 8761 2522

www.roseberys.co.uk

Arts of India, Jun 14

Prints and Multiples, Jun 15

Jewellery and Watches, Jun 21

Traditional Home (Live Online), Jun 27

Modern Home (Live Online), Jun 27

Design Since 1860, Jul 4

Old Masters, British and European Pictures, Jul 19

Sotheby’s New Bond St., London W1A 2AA, 020 7293 5000 www.sothebys.com

Photographs, ends Jun 13

Books and Manuscripts, Medieval

to Modern (Online) Jul 4-20

Timeline Auctions

23-24 Berkeley Square London W1J 6HE

www.timelineauctions.co.uk

020 7129 1494

None listed for June and July

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

Remarkable Rooms With Fine Pictures, Jun 29

Fine Jewellery and Wristwatches, Jul 13

Medals and Militaria Coins, Stamps and Postcards, Jul 19

Modern and Contemporary Art

Dr Automica’s Journey into Cool Music and Musical Instruments pirits, Jul 26

Bishop and Miller

Unit 12 Manor Farm, Glandford, Holt, Norfolk, NR25 7JP

bishopandmillerauctions.co.uk

Folk, Function and Frivolity with Garden Statuary, Jul 28

Bellmans Newpound, Wisborough Green, West Sussex, RH14 0AZ, 01403 700858

www.bellmans.co.uk

Wines and Spirits, Jun 12

Silver, European Ceramics, Jewellery and Interiors, Jun 20-22

Printed Books, Manuscripts and Maps, Jul 13

Burstow & Hewett The Auction Gallery, Lower Lake, Battle, East Sussex,TN33 0AT, 01424 772 374

www.burstowandhewett.co.uk

Home and Interiors, Jun 7-8, Jul 5-6

Antiques Sale, Jun 22, Jul 20

Fine Art and Sculpture, Jun 22, Jul 20

Luxury Watches, Fine Jewellery and Silver, Jun 30, Jul 28 20th-Century Design, Jul 20

The Canterbury Auction

Galleries 40 Station Road West, Canterbury, Kent, CT2 8AN, 01227 763337

canterburyauctiongalleries.com

None listed for later June and July

Catherine Southon Auctioneers

Farleigh Court Golf Club, Old Farleigh Road, Selsdon, Surrey, CR6 9PE, 0208 468 1010

www.catherinesouthon.co.uk

Antiques, Jul 19

Cheffins Clifton House, Clifton Road, Cambridge, CB1 7EA 01223 213343, www.cheffins.co.uk

The Interiors Sale, Jun 15, Jul 13

The Fine Sale, Jun 28

Ewbank’s

London Rd, Send, Woking, Surrey, 01483 223 101

www.ewbankauctions.co.uk

The Football Auction, Jun 9

Country House Sale - The Contents of Munstead Wood, Jun 20

Jewellery, Watches and Coins, Jun 21

Silver and Fine Art, Jun 22

Antiques, Books, Clocks and Antique Furniture, Jun 23 Cars and Motorbikes, Jun 30

Automobilia, Jun 30

Pre-loved, Vintage and Antiques, Jul 5

Vintage Posters (Timed), Jul 7

Retro Games and Consoles, Jul 14

Interiors and Modern Design, Jul 20

Contemporary Art, Editions and Modern British Pictures, Jul 20

Vintage Fashion, Jul 21

Excalibur Auctions Limited

Unit 16 Abbots Business Park

Primrose Hill Kings Langley, Hertfordshire, WD4 8FR 020 3633 0913

www.excaliburauctions.com

Marvel, DC and Independent

Comic Books, Jun 10

Toys and Model Railways

Collectors Sale, Jul 22

Gorringes

15 North Street, Lewes, East Sussex, BN7 2PE, 01273 472503

www.gorringes.co.uk

London Festival Opera Costume

Sale, Jun 12

Summer Fine Sale, Jun 27

Hansons

The Pantiles Arcade, 49 The Lower Pantiles, Royal Tunbridge Wells, Kent, TN2 5TE

01892 573540

www.hansonsauctioneers.co.uk

None listed in June and July

Horners the Auctioneers

Old Norwich Road, Acle, Norwich, NR13 3BY 01493 750225

www.horners.co.uk

Antiques and Collectables, Jun 15

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

www.johnnicholsons.com

Islamic and Oriental, Jun 14

Fine Antiques, Jun 15 General Auction, Jul 1

Lacy Scott & Knight 10 Risbygate St, Bury St Edmunds, Suffolk, IP33 3AA, 01284 748 623

www.lskauctioncentre.co.uk

Homes and Interiors, Jun 10, Jul 8, Jul 29

20th-Century Art and Design, Jun 16

Medals, Militaria and Country Pursuits, Jun 16

Wine, Port and Spirits, Jun 16

Fine Art and Antiques, Jun 17

Classic and Vintage Motor Vehicles, Jun 17

Toys and Models, Jun 23

Lockdales Auctioneers

52 Barrack Square, Martlesham

Heath, Ipswich, Suffolk, IP5 3RF 01473 627110

www.lockdales.com

The Banknote Sale, Jun 13-14

The Fine Sale, Jun 27-28

Antiques and Collectables, Jul 5 Coins, Medals, Militaria and Weapons, Jul 25-26

Parker Fine Art Auctions

Hawthorn House, East Street, Farnham, Surrey, GU9 7SX, 01252 203020

www.parkerfineartauctions.com

Fine Art, Jun 8, Jul 6

Reeman Dansie

8 Wyncolls Road, Severalls Business Park, Colchester, Essex, CO4 9HU, 01206 754754

www.reemandansie.com

Marvel, DC & Other Comics Part 2

- Timed Online Sale, ends Jun 4

Summers Place, The Walled Garden, Billingshurst West Sussex, RH14 9AB, 01403 331331

www.summersplaceauctions.com

Home, Garden & Natural History

(Sealed Bid), Jun 6

Sworders Fine Art Auctioneers Cambridge Road, Stansted Mountfitchet, Essex, CM24 8GE, 01279 817778

www.sworder.co.uk

Fine Interiors Two-Day Sale, Jun 13-14

Homes and Interiors (Online), Jun 20

The Clive Bullimore Collection of Autographs (Timed), Jun 16-25 Fine Jewellery and Watches, Jun 27

Toovey’s Antique & Fine Art Auctioneers

Spring Gardens, Washington, West Sussex, RH20 3BS, 01903 891955

www.tooveys.com

Asian and Islamic Ceramics and Works of Art, Jun 8

Die-Cast Model Vehicles, Figures and Accessories, Model Trains and Railways, Tinplate and Mechanical Toys and Models, Dolls, Dolls’ Houses and Accessories, Silver and Plate, Jewellery, Jun 14

Tribal Art, Antiquities, Natural History, Collectors’ Items, Works of Art and Light Fittings Rugs and Carpets, Jun 15

Coins and Banknotes, Firearms and Edged Weapons, Militaria, Medals and Awards, Jul 11

Prints, Maps and Posters, Decoratives Pictures, Silver and Plate, Jewellery, Jul 12

Furniture, Collectors’ Items, Works of Art and Light Fittings, Needleworks, Textiles and Clothing, Rugs and Carpets, Jul 13

T.W. Gaze

Diss Auction Rooms, Roydon Road, Diss, Norfolk, IP22 4LN, 01379 650306. www.twgaze.com

Jewellery, Jun 8

Antiques and Interiors, Jun 9, 16, 23, 30

Blyth Barn Furniture Auction, Jun 13, 20, 27

Vintage Fashion, Jun 15 Musical Instruments, Jun 22 Toys, Jun 29

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 Sale, Jun 20

Summer Sale, Jul 11-12

British Bespoke Auctions

The Old Boys School, Gretton Rd, Winchcombe, Cheltenham, GL54 5EE 01242 603005

www.bespokeauctions.co.uk

Collectables including Militaria, Jewellery, Silver and Stamps, Jun 15

Antiques and Collectables (Timed), Jul 20

Chippenham Auction Rooms

Unit H, The Old Laundry, Ivy Road, Chippenham, Wiltshire. SN15 1SB, 01249 444544 chippenhamauctionrooms.co.uk

Enamel Signs, Shop Display, Fairground, Petroliana, Arcade Games, Vending Machines and other Early Advertising, Jul 29

Chorley’s Prinknash Abbey Park, Near Cranham, Gloucestershire, GL4 8EU, 01452 344499

www.chorleys.com

Jewellery, Watches & Silver (Live Online), Jun 27

(Old Masters, British and European Art Live Online), Jun 28 Fine Art and Antiques (Live Online), Jul 18-19

David Lay Auctions

Penzance Auction House , Alverton, Penzance, Cornwall 01736 361414, TR18 4RE

www.davidlay.co.uk

Cornish Art and Fine Art, Jun 15-16

Islamic and Rugs, Jul 4 Asian Antiques, Jul 6-7

Antiques and Interiors, Jul 20

Rare Books and Works on Paper, Jul 27

Dawsons Unit 8 Cordwallis

Business Park, Clivemont Rd, Maidenhead, Berkshire, SL6 4BU, 01628 944100

www.dawsonsauctions.co.uk

The June Jewellery, Watches and Silver Auction, Jun 22

Decorative Arts and Design: 1860 and Beyond, Jun 28

the June Fine Art and Antiques Auction, Jun 29

Dominic Winter

Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ, 01285 860006

www.dominicwinter.co.uk

Printed Books, Maps &

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.

Documents, Children’s Books, Illustrated & Modern First Editions, Jun 14-15

Printed Books, Maps and Documents, Jul 19

British and European Paintings, 19th and 20th Century Prints and Drawings, Jul 20

Antiques and Historic Textiles, Jul 21

Dore & Rees

Auction Salerooms, Vicarage Street, Frome, Somerset BA11 1PU, 01373 462 257

www.doreandrees.com

Classic Cars - The Summer Auction, Jun 17

Fine Silver, Jun 28

Fine Jewellery and Watches, Jun 28

Dreweatts

Donnington Priory

Newbury, Berkshire RG14 2JE

01635 553 553

www.dreweatts.com

Old Master, British and European Art (Live Online), Jun 14

Art Online (Live Online), Jun 23

Fine Furniture, Sculpture, Carpets, Ceramics and Works of Art, Day 1 and Day 2 (Live Online), Jun 27-28

Modern and Contemporary Art (Live Online), Jul 11

Fine Jewellery, Silver, Watches and Objects of Vertu (Live Online), Jul 12

Duke’s Brewery Square, Dorchester, Dorset, DT1 1GA, 01305 265080 www.dukes-auctions.com

Fine Jewellery and Watches, Jun 15

East Bristol Auctions

Unit 1, Hanham Business Park, Memorial Road, Hanham, BS15 3JE, 0117 967 1000

www.eastbristol.co.uk

20th-Century Design and Interiors, Jun 23

Militaria, History and Transport, Jun 23

Cult TV Memorabilia, June (tbc)

Diecast, Trains and Models, Jul 27

Action Figures, Retro Toys and Gaming, Jul 28

Gardiner Houlgate

9 Leafield Way, Corsham,

Wiltshire, SN13 9SW, 01225 812912

www.gardinerhoulgate.co.uk

The Guitar Auction (Pt 1 and Pt 2), Jun 14-15

The Guitar Auction: Antique and Classical Guitars. Audio and Studio Equipment, Jun 16 Silver, Antiques and Works of Art, Jun 29

Greenslade Taylor Hunt

The Octagon Salerooms, 113a East Reach, Taunton, Somerset TA1 3HL 01823 332525

www.gth.net

General Sale, Jun 22, Jul 20 Antiques and Decorative Arts and Design Sale, Jul 6

Hansons Auctioneers

49 Parsons Street, Banbury, Oxford, OX16 5NB, 01295 817777

www.hansonsauctioneers.co.uk

Fine Art, Antiques & Collectors

Auction, Jun 3

Fine Jewellery & Watches Auction, Jun 9

Fine Art, Antiques & Collectors

Auction, Jul 1

Kinghams 10-12 Cotswold Business Village, London Road, Moreton-in-Marsh, Gloucester, GL56 0JQ, 01608 695695

www.kinghamsauctioneers.com

Cotswold Interiors and Collectables, Jun 16

Lawrences Auctioneers Ltd. Crewkerne, Somerset, TA18 8AB, 01460 703041

www.lawrences.co.uk

Silver and Vertu, Jul 11

Pictures, 19th/20th-Century Design and Ceramics, Jul 12

Jewellery and Watches, Jul 13

Furniture, Clocks, Rugs and Collectors’ Items, Jul 14

Mallams Oxford

Bocardo House, St Michael’s St, Oxford, OX1 2EB 01865 241358

www.mallams.co.uk

The Oxford Library Sale, Jun 21-22

The Picture Sale, Jul 12

Collective: Jewellery, Silver and Accessories, Jul 23

Mallams Cheltenham 26 Grosvenor St, Cheltenham. Gloucestershire, GL52 2SG 01242 235 712

www.mallams.co.uk

Country House Sale, Jun 28

Mallams Abingdon Dunmore Court, Wootten Road, Abingdon, OX13 6BH, 01235 462840

www.mallams.co.uk

The House and Gardens Sale, Jul 17

Moore Allen & Innocent Burford Road Cirencester, Gloucestershire GL7 5RH, 01285 646050

www.mooreallen.co.uk

Vintage and Antique Furniture and Home Interiors (Live Online), June 9-14

Philip Serrell Barnards Green Rd, Malvern, Worcestershire. WR14 3LW, 01684 892314

www.serrell.com

Interiors, Jun 29

Fine Art and Antiques, July 20

Stroud Auctions Bath Rd, Trading Est, Bath Rd, Stroud, Gloucestershire, GL5 3QF 01453 873 800 www.stroudauctions.co.uk

Jewellery, Watches, Silver, Clocks, Coins Designer Goods and Textiles, Jun 14-15

Special Auction Services

Plenty Close, Newbury, Berkshire, RG14 5RL 01635 580 595 wwwspecialauctionservices.

Photographica and Cameras, Jun 13

Dolls and Teddy Bears Auction, Jun 20-22 Glorious Trains Auction (Pt 2), Jun 27

Coins and Medallions, Jul 4 Antiques, Fine Art, Jewellery, Watches and Silver Auction, Jul 13

Toys for the Collector, Jul 18 Music and Entertainment Auction, Jul 25

The Cotswold Auction Company Bankside saleroom Love Lane, Cirencester,

Gloucestershire, GL7 1YG, 01285 642420

www.cotswoldauction.co.uk

Pictures, Antiques and Interiors, Jun 20-21

Toys, Dolls, Models, Antiques and Interiors, Jul 25-26

The Cotswold Auction Company Chapel Walk saleroom, Chapel Walk Cheltenham, Gloucesterhire, GL50 3DS, 01242 256363

www.cotswoldauction.co.uk

None listed in June and July

The Pedestal The Dairy, Stonor Park, Henley-on-Thames, Oxfordshire RG9 6HF, 01491 522733

www.thepedestal.com

Fine and Decorative Interiors, Jul 5

Wessex Auction Rooms Westbrook Far, Draycot Cerne Chippenham, Wiltshire, SN15 5LH, 01249 720888

www.wessexauctionrooms.co.uk

Antiques, Collectables and Furniture, Jun 10, 24, Jul 8, 22

Vinyl Records and Music Memorabilia, Jun 23

Toys, Jul 13-14

Woolley & Wallis, 51-61 Castle Street, Salisbury, Wiltshire, SP1 3SU, 01722 424500

www.woolleyandwallis.co.uk

Fine Arts and Crafts (Including Martin Ware), Jun 21

Wotton Auction Rooms

Tabernacle Road

Wotton-under-Edge, Gloucestershire, GL12 7EB, 01453 708260

www.wottonauctionrooms.co.uk

June Antiques Sale, Jun 26-28

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

Medals, Militaria and Firearms, Jun 12

Bamfords The Bakewell Auction

House Peak Shopping Village

Chatsworth Road, Rowsley, DE4 2JE, 01629 730 920

www.bamfords-auctions.co.uk

The Bakewell Country Home Interiors and Collectors Auction

Including Furniture, Ceramics, Textiles, Jewellery, Contemporary Design, Jun 14

Batemans

Ryhall Rd, Stamford, Lincolnshire, PE9 1XF, 01780 766 466

www.batemans.com

Jewellery and Watches, Silver and Gold, Coins and Banknotes, Jul 6

Gildings Auctioneers

The Mill, Great Bowden Road, Market Harborough, LE16 7DE 01858 410414

www.gildings.co.uk

Antiques and Collectors, Jun 6, 20

Golding Young & Mawer

The Bourne Auction Rooms, Spalding Road, Bourne, Lincolnshire PE10 9LE 01778 422686

www.goldingyoung.com

Bourne Collective Sale, Jun 14-15

Golding Young & Mawer

The Grantham Auction Rooms, Old Wharf Road, Grantham, Lincolnshire NG31 7AA, 01476 565118

www.goldingyoung.com

Grantham Asian and Islamic Art Sale, Jun 20

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 (Pt 2), Jun 22

Hansons

Heage Lane, Etwall, Derbyshire, DE65 6LS 01283 733988

www.hansonsauctioneers.co.uk

June Decorative Art Auction: To Include Works of Art, Teak, Ercol & 20th Century Furniture, Jun 8

June Decorative Art Auction: To Include Works of Art, Teak, Ercol and 20th Century Furniture, Jun 29-30

WEST MIDLANDS: Inc.

Birmingham, Coventry, Herefordshire, Shropshire, Staffordshire, Warwickshire

Cuttlestones Ltd

Wolverhampton Auction Rooms, No 1 Clarence Street, Wolverhampton, West Midlands, WV1 4JL, 01902 421985

www.cuttlestones.co.uk

Antiques and Interiors,Jun 8

Cuttlestones Ltd

Pinfold Lane, Penkridge

Staffordshire

ST19 5AP, 01785 714905

www.cuttlestones.co.uk

Antiques and Interiors, Jun 15, 29

Fellows

Augusta House, 19 Augusta Street, Hockley, Birmingham, B18 6JA 0121 212 2131

www.fellows.co.uk

Watches and Watch Accessories, Jun 8

Pawnbrokers, Jewellery and Watches, Jun 15, Jul 13, Jul 27

Fine Jewellery, Jun 15

Jewellery and Costume Jewellery, Jun 20

Jewellery Day Two, Jun 21, 28, Jul 5, Jul 12, Jul 26

Bags of Costume Jewellery, Jun 22

Jewellery Day One, Jun 27, Jul 4, Jul 11, Jul 25

The Gemstone Sale, Jul 6 The Luxury Watch Sale, Jul 13

Fieldings Mill Race Lane, Stourbridge, DY8 1JN 01384 444140

www.fieldingsauctioneers.co.uk

Centuries of Glass and Summer Jewellery, Jun 15-16

Back To The Future including Mid Century Design, Jul 20-21

Halls Bowmen Way, Battlefield, Shrewsbury, Shropshire, SY4 3DR 01743 450700

www.hallsgb.com/fine-art.com

Fine Art, Antiques and Jewellery, Jun 21

Antiques and Interiors, Jul 5

Books, Manuscripts and Autographs, Jul 6 Militaria (Timed), July 21 to Aug 8

Hansons Auctioneers

Bishton Hall, Wolseley Bridge, Stafford, ST18 0XN, 0208 9797954

www.hansonsauctioneers.co.uk

Toys, Dolls & Teddy Bears: Costume, Textiles & Accessories, Jun 7

Bloomsday Library Auction: Modern Firsts, Antiquarian, Manuscripts, Autographs & Letters, Jun16

Country House Attic & General Auction, Jun 17

Decorative Art Auction, Jul 6

Fine Silver, Jewellery & Watch Auction, Jul 7

Potteries Auctions Unit

4A, Aspect Court, Silverdale Enterprise Park, Newcastle under Lyme, Staffordshire, ST5 6SS, 01782 638100

www.potteriesauctions.com

Antiques and Collectables, Jun 9

Fine Art Jul 5-8

Potteries Auctions

The Cobridge Saleroom, 271 Waterloo Road, Cobridge, Stokeon-Trent, Staffordshire, ST6 3HR, 01782 212489

www.potteriesauctions.com

Antiques and Collectables, Jun 11, 25, Jul 16, 30

Trevanion

The Joyce Building, Station Rd, Whitchurch, Shropshire, SY13 1RD, 01928 800 202

www.trevanion.com

Fine Art and Antiques, Jun 28

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

Wines, Toys, Cars and Automobilia, Jul 5-7

Studio Ceramics (Day One), Jul 28

Adam Partridge The Liverpool Saleroom, 18 Jordan Street, Liverpool, L1 OBP 01625 431 788

www.adampartridge.co.uk

Toys with Antiques and Collectors’ Items, Jun 7-8

Asian Art with Antiques & Collectors’ Items, Jul 5-6

Anderson and Garland Crispin Court, Newbiggin Lane, Westerhope, Newcastle upon Tyne, NE5 1BF, 0191 432 1911

www.andersonandgarland.com

The Collectors’ Auction, Jun 14-15

Homes and Interiors, Jun 20, Jul 4

The Music Auction, Jun 28

Fine Silver Auction, Jul 18

Fine Jewellery and Watches Auction, Jul 19

Summer Country House and Fine Interiors Auction, Jul 19-20

Capes Dunn The Auction Galleries, 40 Station Road, Heaton Mersey, SK4 3QT. 0161 273 1911

www.capesdunn.com

Interiors, Vintage and Modern Furniture, Jun 12, 26, Jul 10, 24

Antiquarian and Collectable Books, Maps, Prints and Affordable Art, Jun 13

Jewellery, Silver, Watches and Gold Coins, Jun 29

Northern Artists and Modern Art, Jul 11

European and Oriental Ceramics; Glass, Jul 25

David Duggleby Auctioneers

The Gallery Saleroom, Scarborough, North Yorkshire, YO11 1XN, 01723 507 111

www.davidduggleby.com

Musical Instruments, Jun 9

The Summer Art Sale, Jun 16

Maritime, Scientific Instruments and Cameras, Jul 7

Fossils and Natural History, Jul 7

Jewellery and Watches, Jul 27

Duggleby Stephenson

The Saleroom, York Auction Centre, Murton, York YO19 5GF,01904 393 300

www.dugglebystephenson.com

Jewellery and Watches, Jun 22, Jul 27

The County House Sale, Jun 23 The Silver Sale, Jul 27

Elstob & Elstob

Ripon Business Park, Charter Road, Ripon, North Yorkshire HG4 1AJ, 01677 333003

www.elstobandelstob.co.uk

Antiques Jun 17, Jul 15

Gerrards Auction Rooms

St Georges Road, St Annes

Lancashire, FY82AE 01253 725476

www.gerrardsauctionrooms.com

Fine Art, Antiques, Jewellery, Gold & Silver, Porcelain and Quality Collectables, Jun 8-9, Jul 6-7

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.

Omega Auctions Ltd

Sankey Valley Industrial Estate, Newton-Le-Willows, Merseyside WA12 8DN, 01925 873040

www.omegaauctions.co.uk

A Single Owner Northern Soul Collection (Pt 2), Jun 13

Classical Music - LPs and Vinyl Records, Jun 13

Audio Equipment and Music

Memorabilia (Day One) and Rare and Collectable Vinyl Records (Day Two), Jun 27-28

Omega Showcase Sale - Guitars, Music Memorabilia and Rare Vinyl Records, Jul 4

Ryedale Auctioneers Cooks Yard, New Road Kirkbymoorside, North Yorkshire, YO62 6DZ, 01751 431 544

www.ryedaleauctioneers.com

Antiques, Interiors and Collectables, Jun 1-3. 29-30

Country House Sale, Jun 16-17

Sheffield Auction Gallery

Windsor Road, Heeley, Sheffield, S8 8UB, 0114 281 6161

www.sheffieldauctiongallery.com

Antiques and Collectables

Auction with BBC’s Bargain Hunt)

Jun 9

Specialist Collectable Stamps

Auction, Jun 22

Silver, Jewellery and Watches

Auction, Jun 22, Jul 20

Antiques and Collectables

Auction, Jun 23, Jul 7, 21

Specialist Collectable Toys

Auction, Jul 6

Silver, Jewellery and Watches plus Collectable Coins Auction, Jul 6

Football Programmes and Sporting Memorabilia Auction, Jul 20

Shelby’s Auctioneers Ltd

Unit 1B Westfield House, Leeds

LS13 3HA, 0113 250 2626

www.shelbysauctioneers.net

Antiques and General Sale, (Online) Jun 13, 27, Jul 25

Tennants Auctioneers

The Auction Centre, Harmby Road, Leyburn, North Yorkshire

DL8 5SG, 01969 623780

www.tennants.co.uk

Antiques and Interiors,

Jun 16, 30

Modern and Contemporary Art, Jun 17

20th-Century Design, Jun 17

Militaria and Ethnographica, Jun 28

Stamps, Postcards and Postal History, Jul 12

Summer Fine Sale, Jul 14-15

British, European and Sporting Pictures, Jul 15

Fine Jewellery, Watches and Silver, Jul 15

The Summer Transport Sale, Jul 15

Toys and Models, Sporting and Fishing, Jul 26

Thomson Roddick The Auction Centre, Marconi Road, Burgh Road Industrial Estate, Carlisle, Cumbria, CA2 7NA, 01228 535 288

www.thomsonroddick.com

Antiquarian and Collectable Books and Related Items, Jun 15

Vectis Auctions Ltd

Fleck Way, Thornaby, Stockton on Tees, TS17 9JZ, 01642 750616

www.vectis.co.uk

Specialist and Diecast(Online), Jun 13

Specialist and Diecast(Online), Jun 15

General Toy Sale, Jun 20 Model Trains, Jun 22 TV and Film-Related Sale, Jun 27

Action Man and Lego Sale, 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 and Effects Ft Private Treen Collections, Jun 18

Wilson55 Victoria Gallery, Market St, Nantwich, Cheshire CW5 5DG 01270 623 878

www.wilson55.com

Northern Art, Jun 8

Modern and Contemporary, Jun 8 Fine and Classic, Jul 6

SCOTLAND

Bonhams 22 Queen St, Edinburgh, EH2 1JX, 0131 225 2266

www.bonhams.com

Fine Whisky and Spirits, ends Jun 8

WALES

Anthemion Auctions, 15 Norwich Rd, Cardiff, CF23 9AB. 029 2047 2444

www.anthemionauction.com

Monthly General sale, Ceramics, Glass, Paintings, Furniture, Clocks, Works of Art, Books, Sporting Memorabilia, Jun 15, Jul 5

Jones & Llewelyn Unit B, Beechwood Trading Estate, Llandeilo, Carmarthenshire, SA19 7HR, 01558 823 430

www.jonesandllewelyn.com

General Sale, Jun 17, Jul 1, 15

Rogers Jones & Co 17 Llandough Trading Estate, Penarth, Cardiff, CF11 8RR, 02920 708125

www.rogersjones.co.uk

Jewellery and Collectables, Jul 7

Fine Art and Interiors, Jul 7

The Welsh Sale, Jul 22 Selections, Jul 22

IRELAND

Adam’s 26, Stephens Green, Dublin 2, D02 X665, Ireland (00 353) 1 6760261

www.adams.ie

At Home, Jun 14

The Jewellery Box, Jun15

Fonsie Mealy’s Chatsworth Auction Rooms, Castlecomer, Co. Kilkenny, Ireland (00 353) 56 4441229 www.fonsiemealy.ie

Fine Art and Antiques, Jul 11-12

Whyte’s 38 Molesworth St. Dublin D02 KF80, Ireland (00 353) 1 676 2888

www.whytes.ie

Summer Art Auction Jul 10

COTSWOLD AUCTIONEERS

& VALUERS

SPECIALISTS IN SINGLE-OWNER COLLECTIONS

NATIONWIDE VALUATIONS & ADVICE

Jewellery | Watches | Silver | Ceramics | Glass | Decorative Arts

Paintings | Furniture | Clocks | Design | Books | Designer Goods

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

www.kinghamsauctioneers.com

Mary Fedden R.A. (British, 19152012), Cat in a Flowerbed, oil. Sold for £8,900

CATO ANTIQUES & WORKS OF ART EST: 1978

LENNOX

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 horse exercise chair (pictured)

Signed and unusual furniture. Georgian, Regency, William IV. Sofa / Pembroke / side tables, library furniture / bookcases. Also Victorian campaign chests, armchairs etc. Ross of Dublin, Morgan & Sanders, Williams & Gibton, James Winter, Hill & Millard and many others.

1 The Square, Church Street, Edenbridge, Kent TN8 5BD

01732 865 988 or 07836233473 cato@lennoxcato.com

•WANTED• VINTAGE WRISTWATCHES

Omega Seamasters and pre-1980s Omegas in general.

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

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

Breitling Top Times, Datoras and 806 Navitimers.

Pre-1960s Rolex models, with a focus in pre-war tanks, tonneaus etc. Gold or silver/steel. Also World War I Rolex 13 lignes etc. Princes.

Breitling Top Times, Datoras and 806 Navitimers. Pre-1960s Rolex models, with a focus in pre-war tanks, tonneaus etc. Gold or silver/steel. Also World War I Rolex 13 lignes etc. Princes.

Longines, Tudors and Zeniths, pre-1970. Even basic steel models in nice condition. All the quirky oddities like Harwoods, Autorists, Wig Wag, Rolls etc, and World War I hunter and semi-hunter wristwatches.

Longines, Tudors and Zeniths, pre-1970. Even basic steel models in nice condition. All the quirky oddities like Harwoods, Autorists, Wig Wag, Rolls etc, and World War I hunter and semi-hunter wristwatches.

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

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

Early, pre-war ladies’ watches also wanted by Rolex, Jaeger LeCoultre etc. Prefer 1920s/30s deco styles, but early doughnuts also considered. Yorkshire based, but often in London and can easily collect nationwide.

J Alderman. Daws and George Minter reclining chairs. Shoolbred/ Hamptons / Cornelius Smith Victorian armchairs.

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

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. Wide reclaimed floorboards. Approx 100 m2. Early decorative oil / gas / electric light fittings. Ceiling, wall or table. Early gasoliers. Colza lamps. Gimble lamp.

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

Roland Ward, Van Ingen taxidermy. Human skull. Hippopotamus skull. Stuffed crocodile / alligator.

Marble fire surrounds from 1750 to 1850ish. White or coloured. 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. Grand tour souvenirs.

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

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.

Marc My Words

Above e trade has to embrace everything, even My Little Pony, image Shutterstock

Right e antiques trade is changing, as the sale of a giant Rubik’s Cube artwork on e Greatest Auction proves, image courtesy of Channel 4

an acceptable part of the market as the traditional ‘antique’ genres the demise of which ismuch bemoaned. Pop and lm memorabilia are a case in point.

No more ‘antiques’?

This is where the burden ofthe word ‘antique’ comes into play. In recent years, I’ve found that people like me are regularly admonished for manipulating its meaning, with those on social media and armchair critics all keen to shout loudest.

Oddly, I got none of this when my career was evolving. No one batted an eyelid over the popularity of art deco which was only 50 or 60 years old at thetime.

So is‘antique’ a wordthat we should drop from the titles of out television shows,magazines and hallowed publications? I think not. How about we all embrace the wonderful and ever-evolvingvariety of objectsthat fuel our rich and culturally varied world and letpeople –without criticism – enjoy what they collect. I certainlydo.

Marc Allum isan author, lecturerand specialist on the BBC’s Antiques Roadshow, for more details go to www.marcallum.co.uk

Itake pride in being known as an antiques generalist. It’s a title that allows me to operate with a broad brush, often serving as the rst port of call on a long and involved journey to sort out highly eclectic estates for auction or insurance valuations. I even use the bene t ofthat knowledge to further my own varied interests as a collector across a wide range of disciplines.

So this week, as usual, I have been working across a range of disciplines. Starting with a collection of 18th-century miniatures, then cataloguing stamps and coins, while adding a Tang-dynasty model tomb granary to my already overloaded personal collection of ancient artefacts. I also spent a day sorting out a wonderful collection of 18th and 19th century intaglio fob seals. ere wasn’t any of those areas that I didn’t delight in, or nd interesting.

My Little Pony

Indeed, it’s that thirst for knowledge that constantly enables me to adapt andmove forward ina world of changing markets and new elds of collectability. I have always shown a tolerable appreciation ofother people’s likes and dislikes – re ecting these cultural changes allows me to be good at my job.

For instance, I’m not a fan of collectables such as My Little Pony but if there’s a collector’s market for them and people enjoy seeking them out, then why not? My remit over theyears, has been to tap into some of those changing markets, which can eventually become as much

‘So this week, as usual, I have been working across a range of disciplines. Starting with a collection of 18th-century miniatures, then cataloguing stamps and coins, while adding a Tang-dynasty model tomb granary to my already overloaded personal collection of ancient artefacts’

With a job title embracing the entirety of the world’s material culture, it’s no wonder Marc Allum is a busy man