Antique Collecting Mag November 2019

T H E J E W E L L E R Y O F A N D R E W G R I M A T O P C O L U M N I S T S M A R T I N WA R E I N F O C U S

ANTIQUE

COLLECTING

The BOOM IN ASIAN ART

ANTIQUE COLLECTING

Discover the £1 charity shop buy set to make £80,000

NOVEMBER 2019

Soviet artists

Behind the scenes at an exhibition of Russian lithographs

COLLECTING SPECIAL

VOL 54 N0.6 NOVEMBER 2019

CHINESE EXPORT SILVER Why now is the time to buy

Plus:

IN THE PSYCHIATRIST’S CHAIR:

INSIDE THE HEAD OF A COLLECTOR

THE SPOOKY WORLD OF HORROR PROPS ALL THE RAJ WESTERN PAINTINGS OF EARLY INDIA

ALSO INSIDE Railway ephemera

CALL TO ARMS: WHEN TO SELL MILITARIA SEE PAGE 32

• Asian Art in London • Previewing the best fairs

Mullany 1_Wilkinson's 1 09/10/2019 09:36 Page 1

Mullany / A GARDEN TAPESTRY Wool and silk Workshop of Jan Raes Flemish, Brussels, c.1610 H. 353 x W. 322 cm

HAUTE EPOQUE FINE ART NEW YORK FALL 1–5 November 2019 Booth 331

11 Bury Street, St. James’s, London SW1Y 6AB Telephone: +44 (020) 7592 0276; +44 (0) 779 630 3081 info@mullanyfineart.com www.mullanyfineart.com

FIRST WORD

IN THIS ISSUE

Welcome

In life, we pass through several milestones before that great gavel of doom finally falls: graduation, marriage, children, retirement. And, along that great journey, I’d like to throw in another landmark: getting a lock up.

In many ways it’s a crossroads. It’s either a sign it is ‘game over’ – you have officially reached the point when your ‘collection’ has got out of control, or it signals a new phase – when you turn from hapless collector to hapless dealer. This week, for £90 a month, I was handed the key to this brave new world.

And, if nothing else, I can now finally see the window in the back room Will I be transformed into Drew Pritchard, or Arthur Daley? I will keep you posted.

What drives this collecting mania? It’s a question we’ve all asked ourselves from time to time and, on page 44, we have the definitive scientific answer courtesy of the neuroscientist and Chinese export porcelain expert Dr Shirley Mueller. Dr Mueller has looked into the noggins of folk like you and I and come up with what makes us tick. It might not have a chapter on lock ups, but it is a fascinating read.

November is Asian Art in London week so expect to see a far few pieces devoted to the category. On page 16, the Chinese export silver expert par excellence Adrien von Ferscht reveals why it is makes such a worthwhile collection, both intellectually and financially. On page 20, Rob Dean unveils a collection of paintings of 19thcentury India by Western artists.

Elsewhere, we have the low-down on collecting props from horror films, railway ephemera and, to mark Remembrance Sunday, Mark Gilding presents a guide to selling medals and militaria at auction. I’m off to buy a sheepskin coat.

Enjoy the issue

Georgina

Georgina Wroe, Editor

P.S. Because next month’s magazine is a double issue, it will be with you slightly later. Expect it to arrive around the second week of December.

KEEP IN TOUCH

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

JAMES HAMMOND on his love of all things Japanese, page 10

JULIAN HOLLAND

on why he collects railway ephemera, page 34

DR SHIRLEY MUELLER reveals what makes collectors tick, page 44

We love This two-foot bronze letter ‘M’ from the nameplate of the R.M.S. Mauretania on sale at Tennants on November 27 with an estimate of £5,000-£8,000

MICHAEL JEFFERY

lifts the lid on two collections of Martin ware, page 50

The Team Editor: Georgina Wroe, georgina. wroe@accartbooks.com Online Editor: Richard Ginger, richard.ginger@accartbooks.com Design: Philp Design, james@philpdesign.co.uk Advertising: Jo Lord 01394 389950, jo.lord@accartbooks.com Subscriptions: Sue Slee 01394 389957, sue.slee@accartbooks.com Antique Collecting subscription £32 for 10 issues annually, no refund is available.

ISSN: 0003-584X

ANTIQUE COLLECTING 3

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CONTENTS

Contents

6

VOL 54 NO 6 NOVEMBER 2019

REGULARS 3

Editor’s Hello: Georgina Wroe guides us through this month’s issue, which has Asian art as its theme

6

Antique News: Keep up to date with all the latest from the world of antiques and fine art, including three exhibitions to visit this month

10 Profile: Behind the scenes with Ewbank’s new Asian art expert and Japanese specialist James Hammond 12 Around the Houses: Catch up on the latest, most important and quirky sales, from Freddie Mercury’s maracas to a commemorative Midget MG

12 T H E J E W E L L E R Y O F A N D R E W G R I M A T O P C O L U M N I S T S M A R T I N WA R E I N F O C U S

ANTIQUE

COLLECTING

The BOOM IN ASIAN ART

ANTIQUE COLLECTING

Discover the £1 charity shop buy set to make £80,000

24 Your letters: In response to our request for the oddest collection, you share your passions

NOV 2019

Soviet artists

Behind the scenes at an exhibition of Russian lithographs

COLLECTING SPECIAL

34 Why I Collect: Author Julian Holland lifts the lid on his exceptional collection of railway ephemera from the golden age of travel

VOL 54 N0.6 NOVEMBER 2019

CHINESE EXPORT SILVER Why now is the time to buy

Plus:

IN THE PSYCHIATRIST’S CHAIR:

INSIDE THE HEAD OF A COLLECTOR

THE SPOOKY WORLD OF HORROR PROPS

CALL TO ARMS: WHEN TO SELL MILITARIA

ALL THE RAJ WESTERN PAINTINGS OF EARLY INDIA

SEE PAGE 32

ALSO INSIDE Railway ephemera

• Asian Art in London • Previewing the best fairs

COVER

A Qianlong famille rose vase, estimated at £50,000-£80,000 at Sworders’ Asian art sale on November 8

FOLLOW US @AntiqueMag

26

40 An Auctioneer’s Lot: Charles Hanson uncovers a WWI cigarette case with a magical tale to tell

50 30

42 Cool and Collectable: With Halloween in the air and the nights drawing in, what better time to start a collection of props from horror films? Paul Fraser reports

52 Fair Play: Behind the scenes at all this month’s events around the world, from Harrogate to New York 58 Fairs Calendar: Never miss a fair in November with our essential guide 62 Auction Calendar: Up-to-date listings from the UK’s salerooms 66 Marc My Words: Antiques Roadshow expert Marc Allum on why collectors need to keep a weather eye on anniversaries

FEATURES 16 Chinese Fan: Discover why Chinese export silver expert Adrien von Ferscht believes now is the time to start a collection of this fascinating ware 20 All the Raj: Rob Dean unveils a new exhibition on Western artists whose portraits of 19th-century India are a hit among today’s collectors 26 Call to Arms: On the eve of Remembrance Sunday, Mark Gilding considers the pros and cons of selling medals and militaria at auction 30 Life of Grima: Until recently jewellery by Andrew Grima was out of favour. Now, he and other designers from the 1960s are back in vogue, says Frances Noble 36 Red Stars: Lithographs from Soviet artists go on show at a new exhibition opening this month. Curator Marie Stokes on the work that moves her to tears

47 Top of the Lots: The latest treasures up for sale this month include several pieces of Asian art

44 Mind Games: What drives collectors? Dr Shirley Mueller, the author of a new book on the subject, puts us all on the psychiatrist’s chair

50 Saleroom Spotlight: Two significant collections of Martin ware go under the hammer in Wiltshire this month

48 East Meets West: We preview some of the events taking place this month as part of Asian Art in London

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

NEWS All the latest

BOLEYN ALLY

WHAT’S GOING ON IN NOVEMBER

Minerva Beautifies Ulysses on show at the Château de Fontainebleau

ANTIQUE news

All the latest from the world of antiques and fine art this month

CAPITAL IDEA Three London galleries are among the 46 exhibitors taking part in this month’s Fine Arts Paris, which offers visitors an exclusive look behind the scenes of rarely-open museums in the French capital.

Charles Beddington, Callisto Fine Arts and Rafael Valls will all show work at the event from November 13-17.

Art lovers will also get the chance to visit private collections rarely on show to the public including that of Émile Hermès (1871-1951) reflecting its owners love of horses and travel.

The largest collection of public sculpture in France, the Conservation of Religious and Civil Works of Art, which stores more than 2,000 original plasters in Ivry, near Paris will also be open to the public.

Organiser, Bertrand Gautier, said: “This year’s off-site event, the third of its type, is held in partnership with various art institutions, and offers a series of special visits to major exhibitions and little-known places.”

6 ANTIQUE COLLECTING

Above Conservation of Religious and Civil Works of Art in a disused water plant at Ivry near Paris Above right The hidden collection of Émile Hermès (1871-1951) is devoted to horses and travel

The Château de Fontainebleau will showcase a new painting not currently on show to the public.

Minerva Beautifies Ulysses, is a rare example from the School of Fontainebleau.

For more details on the fair, and its satellite events go to www. finearts-paris.com

A late 16th-century portrait of Richard III has gone on display at a Kent castle, 567 years to the day after he was born.

The painting of the monarch – which has never been publicly displayed before – was unveiled in the Long Gallery at Hever Castle by the Tudor expert Dr David Starkey on October 2.

Dendrochronological analysis has dated the work, which has been in a private collection for many years, to 1586. The distinctive design of the hat jewel does not appear in any other recorded portraits of Richard III. The castle’s Long Gallery, which was created in 1506 by Thomas Boleyn, Anne’s father, has been restored to look as it would have done in the 16th century.

Top Henry VIII’s bedchamber,

the monarch stayed at the castle on several occasions when courting Anne Boleyn

Above Richard III, English School, Late 16th century © Hever Castle and Gardens

Left After Thomas Gainsborough, George IV (1762-1830) when Prince of Wales, oil on canvas, Royal Collection Trust © Her Majesty Queen Elizabeth II 2019 Right Ambrose McEvoy, Portrait of Lady Diana Cooper, 1916, oil on canvas, © Philip Mould & Company Far right Ambrose

McEvoy, Mademmoiselle de Pourtales, 1921, © Bradford Museums & Galleries

1

Royal line

A new exhibition in Suffolk this month aims to set the record straight on one of the UK’s most misunderstood monarchs.

King George IV: Royalty, Racing and Reputation, at Palace House, the National Heritage Centre for Horseracing and Sporting Art, will recast the reputation of the king as a dissolute wastrel, builder of the Brighton Pavilion or the slow-witted dupe of his scheming butler in the TV classic Blackadder.

The exhibition from November 28 to April 19 will reassess George’s legacy as not only a great patron and collector of art, but also as prominent and, at times controversial, patron of horse racing.

All but one of the 42 artworks featured, including portraiture, comical etchings and historic trophies, are lent by Her Majesty The Queen from the Royal Collection.

3

Java lamp

Part of the collection Sir Thomas Stamford Raffles (1781-1826), credited as being the founder of modern Singapore, continues on show this month at the British Museum.

Sir Stamford Raffles: Collecting in Southeast Asia 1811-1824 explores his relation with Java where he served as lieutenant-governor in 1811. Raffles was a collector of objects including Hindu-Buddhist antiquities, from the 7th century. The 2,000-piece collection was given to the British Museum in two large donations, one in 1859 from Rev. William Charles Flint, Raffles’ nephew, and the other in 1939 from Mrs J.H. Drake, Raffles’ great-grandniece. The exhibition continues until January 12.

Below right Ambrose

McEvoy, Portrait of a Lady, c.192, © Philip Mould & Company

3

to see in

November Left Paul Storr (17711844) Goodwood Cup, 1829, silver gilt Below Puppet of the comic

character Sabda Palon, central Java, 1700s, © Trustees of the British Museum

2

High society

A retrospective of the work of Ambrose McEvoy ARA (1877-1927), a society portraitist whose role in art history has been largely forgotten, opens this month.

40 works will go on show at Divine People: The Art of Ambrose McEvoy at Philip Mould & Company in London from November 18 to January 31.

McEvoy’s portraits of well-known sitters, including Winston Churchill, Lady Diana Cooper and Ramsay Macdonald, were largely overshadowed by the work of his friend and contemporary, Augustus John.

Philip Mould said: “At a time when public interest in the early-20th century has grown exponentially, the work of Ambrose McEvoy is ripe for re-evaluation. As an artist he straddles the margin between traditional society portraiture and gestural experimentation.

The resultant works, collectively displayed here for the first time, stand as testament to McEvoy’s unique and progressive vision.”

Right Mask of the demon

Macan Laut, central Java, late 18th century, © Trustees of the British Museum

Below Decanter case with

six bottles, 1700s, box from Java, bottles from Gujarat, © Asian Civilisations Museum, Singapore

ANTIQUE COLLECTING 7

NEWS All the latest Strike a chord

POT ON Ever wished you’d started collecting Lucie Rie’s pottery when it was still affordable? This month’s York Ceramics Fair will showcase the country’s leading potters at a price achievable to many collectors.

The event on November 23-24 is a chance to see some of the leading lights of this ancient craft. For more details visit www. yorkceramicsfair.com Above The potter Doug Fitch

at work, image Kim Ayres Below Two pieces by the

ceramicist Lara Scobie

An 18th-century English harpsichord has gone on show at Thomas Gainsborough’s childhood home in Suffolk.

The 1738 double-manual harpsichord by Joseph Mahoon (fl.

1729-1771) is the only one of its type known to exist and dates from a time when London was at the centre of instrument making in Europe.

Gainsborough’s House in Sudbury paid £91,000 to save it for the nation, with help from the National Heritage Memorial Fund, Art Fund and the V&A. Mahoon was well known for luxurious harpsichords. William Hogarth’s The Rake’s Progress, depicts Handel playing one of his instruments.

Antique lovers in need of Christmas inspiration should head to Kent next month for The Edenbridge Galleries’ open weekend on December 7-8.

Husband and wife team, Lennox and Susan Cato, opened the galleries, near Royal Tunbridge Wells in 2007 to bring together a collective of BADA dealers under one roof to provide a “one stop shop” for antique collectors.

Left Joseph Mahoon’s harpsichord can be seen at Gainsborough’s House Right Mince pies and

mulled wine will be served at the weekend

LOAN RANGER For the first time in its 119-year history, the Wallace Collection is to loan works within the UK and internationally.

When Lady Wallace left the collection to the nation in 1897 it was on the understanding it should never be loaned.

The collection includes paintings such as Frans Hals’ The Laughing Cavalier, Diego Velázquez’s The Lady with a Fan and Nicolas Poussin’s A Dance to the Music of Time – none of which has been able to be seen elsewhere.

Wallace Collection director, Dr Xavier Bray, said: “This is not a decision that has been taken lightly by the Board, mindful as we are that the Wallace Collection is loved by the public for being an intimate house museum.”

KERB APPEAL A Hampshire town is set to get a cultural shot in the arm thanks to a government scheme to revamp run down and deserted town centres.

A £95m grant from Historic England’s High Streets Heritage Action Zones (HSHAZ) will see Gosport’s old grammar school transformed into a museum and art gallery.

Gosport’s old grammar The aim of school will be at the scheme is the heart of the regeneration to regenerate project high streets across the country transforming disused buildings into cultural hubs.

8 ANTIQUE COLLECTING

CHRISTMAS FARE

Other institutions based around single owner collections, such as The Burrell Collection in Glasgow, have had similar loan restrictions.

Left Trustee chairman António Horta-Osório and Xavier Bray, photo Tom Mannion Below Oval drawing room © The Wallace Collection

On tour Bradley Wiggins’ bicycle handlebars, William Morris-designed wallpaper, and Japanese ceramics by Yukie Osumi are destined for UK museums and galleries next year – courtesy of the V&A. 40 iconic objects from the London museum will head off to towns and cities, including Doncaster, Ipswich and Blackpool as part of its DesignLab Nation project.

Six prints by British textile designer William Morris are now on display at Blackburn Museum and Art Gallery, while a set of Bradley Wiggins’ 3D-printed black titanium bicycle handlebars, will go on show at Coventry Transport Museum.

Sheffield’s Millennium Gallery will showcase silver by female contemporary designers, while the Sunderland’s National Glass Centre will display lights ranging from a 14th-century Egyptian mosque lamp to a 20th-century Memphis Group piece.

Girl on film

Above The luggage acted as a complete

mobile office

Below The trunk was made to suit the

requirement of the writer and globetrotter Sir Arthur Conan Doyle

The 1959 Hasselblad camera used on a photoshoot of Marilyn Monroe was expected to make up to $300,000.

The camera, used by the Hollywood photographer Douglas Kirkland for his legendary 1961 Look magazine spread, was due to go on sale at Christie’s on October 29.

The camera was set to be offered with two magazine backs, two Carl Zeiss lenses, and two limited-edition

CASE CLOSED A bespoke trunk-cum-desk created for the author Sir Arthur Conan Doyle has gone on sale.

In 1925, the celebrated creator of Sherlock Holmes collaborated with the Parisian trunk maker Goyard to create a piece of luggage which, when open, contains a folding table and a bookcase.

Of the seven cases put into production, two are today owned

by Goyard, one is in a French museum, three – including this one – are in private collections, while the whereabouts of the seventh case is unknown.

The trunk is on sale from the furniture maker Timothy Oulton priced £96,000.

Above The 1961 photo as it appeared in Look magazine Left Douglas Kirkland on set with Monroe Right The Hasselblad

camera was used on the iconic photoshoot

FAIR DO This autumn’s LAPADA fair boasted some record sales, with visitors to the prestigious event in London’s Berkeley Square including Florence Welch of Florence and the Machine and Sophie Conran. LAPADA

Dress altar-ations

Above Fruit wallpaper pattern on paper, designed by William Morris © Victoria and Albert Museum Left A lamp designed by Martine Bedin for Memphis, made by Fausto Celatti, Milan, Italy

archival prints of Monroe taken during the shoot. The fabled photo session took place in Beverly Hills on a Friday evening in November 1961, at the pinnacle of Monroe’s fame and less than a year before her tragic death.

Part of a dress once worn by Elizabeth I, which was later turned into an altar cloth, has gone on display at Hampton Court Palace – alongside a portrait of her wearing the gown. The richly-embroidered textile – named after the church in Bacton, Herefordshire, where it took on an ecclesiastical role – was identified by Historic Royal Palaces curator Eleri Lynn as being part of a 16th-century court dress.

It is thought Elizabeth I, who was known to give her

Legends, curated by Helen Linfield, featured a folio cabinet by Gillows of Lancaster and an Okimone carving from Japanese specialist Steve Sly along with a pair of bronze Meiki period (1868-1912) cranes.

•One of the two new owners of the BADA fair has quelled dealers’ fears that the new Open Art Fair, due to take place next March, will be just “another contemporary art fair”.

Antiques dealer Thomas WoodhamSmith said: “We will aim for diversity and sophistication while not losing sight of that nebulous concept ‘value for money’.”

Smith bought a majority share holding in the fair with Harry van der Hoorn, the owner of Stabilo, the Maastricht fair builder.

Above left The fair banished the Brexit blues

cast offs to servants, gave the dress to her chief gentlewoman of the bedchamber, Blanche Parry, who was born in Bacton.

Below left The material is tantalisingly close to that worn in the ‘Rainbow Portrait’, c. 1600 © Marquess of Salisbury, Hatfield House Below Bacton altar cloth © Historic Royal Palaces

courtesy of St Faith’s Church, Bacton

ANTIQUE COLLECTING 9

BEHIND THE SCENES James Hammond contentious. Even good cataloguing can be controversial or unsuccessful since experts and specialists often disagree on attribution, dating and cultural significance.

EXPERT PROFILE Having worked at both Christie’s and Bonhams, James Hammond joined Ewbank’s earlier this year as its Asian art expert

What do you like most about today’s antiques business?

Learning about the lives of vendors, buyers and colleagues is enormously enriching. The acquisition of academic information is always thrilling, it keeps your brain active and means you can never be complacent.

The more you study, the more there is to learn.

What do you dislike most about today’s antiques business?

There is a sense that rare objects are becoming rarer, and that some areas of collecting like ukiyo-e (woodblock prints), Chinese export porcelain or Japanese sword fittings are failing to inspire the next generation. Given the financial restraints of modern living, this is understandable, but it is noticeable that there are fewer investors and specialists who have progressed up the ladder.

Why, and when, did you start in the business?

About 40 years ago, there were limited opportunities for interesting work when you had poor qualifications, no work experience and no particular passion. Working as an auction porter offered fascinating work without demanding academic levels or previous experience.

Arriving below ground in what was known as the Japanese warehouse at Christie’s opened up a window that has never closed.

In those days, you lotted the sales yourself so it was necessary to learn a large Japanese vocabulary by heart in order to place the right lot number on the right object. Also, very few objects were photographed, so understanding each description was very important.

Do you attend fairs? If so, which?

Fairs are an extremely helpful barometer as to the market conditions. Most fairs offer something which either you have never seen before, or which you haven’t the faintest idea how to identify.

What is the reference book you couldn’t live without?

There is a library to list here, but anything on the Percival David Foundation Collection (now in the British Museum) is especially helpful.

Who influenced you most when you started?

The late William Tilley, Japanese sword specialist at Christie’s. He catalogued the Sir Frank Bowden Collection of Japanese swords and armour which included an ichimonji tachi, attributed to a swordsmith from the Bizen province. I am also indebted to a handful of British experts, including the late B.W. Robinson, author of The Arts of The Japanese Sword, whose catalogue descriptions of katana and wakizashi (swords) were so mysterious they left me wanting to know more.

What piece would you most like to find?

The mystery of the Honjo Masamune – a sword by the renowned Japanese swordsmith, Goro Nyudo Masamune – which disappeared at the end of WWII and whose existence haunts all those who wonder if it is rusting in a loft, sitting in a garage, or was destroyed in the war.

Best buy and biggest mistake?

Mistakes are a necessary part of learning to appraise.

Some areas are vexing, and some areas

10 ANTIQUE COLLECTING

What single thing would improve the quality of your life?

Finding the Honjo Masamune.

Ewbank’s next Asian art sale is on November 7.

Below Three Canton

famille rose porcelains from the Persian market of Nasr al-Din Shah, have an estimate of £80-£150 at Ewbank’s Asian art sale on November 7

Asian Art: 7 November Vintage Fashion, Textiles & Sewing: 7 November Jewellery, Watches & Coins: 27 November Silver & Fine Art: 28 November Antiques, Clocks & Furniture: 29 November Movie Poster Auction: 6 December

AUCTION Round up

AROUND the HOUSES A review of recent sales ranging from a campaign chest to Freddie Mercury’s maracas

JOHN NICHOLSON’S, HASLEMERE The well depicted background helped secure the high price

The twin carved doors open to reveal eight drawers

A rare 18th-century Ceylonese carved ebony campaign table, sold for £13,000 – more than 15 times its low estimate – at the Surrey auctioneer’s recent sale.

The cabinet was mounted on gilt metal mounts, carrying handles and came with removable feet as befits the style.

Most campaign chests date to the mid 19th century onwards and include brass corners and straps. They break into two parts and have removable turned feet.

CHORLEY’S, PRINKNASH ABBEY PARK The portrait had the unusual Western theme of the Virgin Mary

CANTERBURY AUCTION GALLERIES Two 18th-century Chinese paintings on glass purchased at a London market stall in the 1950s sold for a total of £8,700, spurred on by a bidding battle between Hong Kong and London buyers.

The more valuable of the two, which sold to the London bidder for £5,900 – almost double its low estimate – was a portrait of the Virgin Mary, in its original black lacquer and gilt decorated frame. The Hong Kong telephone buyer secured the second portrait also in its original frame, which sold for £2,700 against an estimate of £1,000-£1,500.

Reverse painting on glass flourished in the Qianlong period, with both pictures made for the export to European collectors.

The top seller The was a Qing dynasty intricately rhinoceros horn carved cup libation cup from measured c. 1700 which 17.7cm (7in) made £30,000.

12

ANTIQUE COLLECTING

A dated Barnstaple slipware harvest jug made £4,800 at the Gloucester saleroom’s recent sale – midway between its estimate of £4,000-£6,000.

The 24cm (9½in) piece read The ring is Round and Hath no Harvest jugs are traditional in End so is my Love unto the southwest of my Friend/Evan and England, especially Elanor Dalton, Aberystwith 1826. the port of Harvest jugs, used to carry cider Barnstaple or ale at harvest time, are made from slipware, with decoration carved through stained clay layers, a A 1638 book technique known as sgraffito, from the on life in the Italian for ‘scratched’.

East Indies sold for The jugs are traditional in the £9,500 at the southwest of England. same sale

LOCKDALES, MARTLESHAM A weapons set, including a Saudi Arabian ceremonial sword and a Nepalese Gurkha kukri, made 20 times its low estimate, selling for £2,000 at the Suffolk auction house.

The Auctioneer Chris Elmy put the sword had a high price down to the fact the leather and gold swords are still worn by Saudi scabbard and bone dignitaries, or the current high handle with gold price of gold. fittings

Freddie Mercury’s maracas came with a letter of authenticity

EWBANK’S, WOKING

Five jumpers from Lost in Space sold for £13,524

A pair of wooden maracas used by Queen’s Freddie Mercury on stage in 1979 sold for £4,637 against an estimate of £2,500-£3,500 at the Surrey auctioneer’s recent sale. The 28cm long shakers came with a letter of authenticity from their owner Peter Hince who began working as a roadie for the group in 1973.

Five jumpers from the cult 1965 American sci-fi series Lost in Space, starring Guy Williams, June Lockhart and Mark Goddard, sold for £13,524 at the same sale.

ELSTOB & ELSTOB, BEDALE A two-panelled, religious Russian diptych soared past its guide price of £200 when it fetched £6,800 at the north Yorkshire saleroom.

Believed to date from the 19th century, the 35cm (13¾in) hinged wooden panels open to reveal Christ on the cross set among various biblical scenes.

Director David Elstob said: “We had an inkling that the diptych would achieve a higher than expected price because it was the subject of much pre-sale interest from Russia and Eastern Europe. It was finally knocked down to an Eastern European bidder on the phone and reflects the strong market in this area for works of art.”

An oil painting of a young girl – entitled Miss Robertson with a Dove – in the manner of George Romney sold for £4,000, far in excess of its estimates of £600-£800.

Both lots came from the collection of the Winter Olympian and businessman Keith Schellenberg.

The market for Russian icons and works of art is strong

The portrait was in the style of George Romney (1734-1802)

MALLAMS, ABINGDON A bronze commemorative sculpture of an MG Midget sped past its low estimate of £1,000 to sell for £3,000 at the Oxfordshire auctioneer’s sale on October 8.

The bronze depicts Captain G. E. T. Eyston’s 1932 record-breaking speed of 118.38mph made The piece on Pendine Sands in South Wales. The piece had included a been consigned by a local man whose father dedication to the had worked at the nearby MG factory. After a ‘world’s fastest bidding war it sold to a UK trade buyer. baby car’

Three series of the popular show told the intergalactic story of the Robinson family ANTIQUE COLLECTING 13

CHISWICK AUCTIONS

Cox also made a large bronze gorilla for the 2012 Olympic village

A rare hardback first edition, first issue, copy of Harry Potter and the Philosopher’s Stone, which cost £10.99 in 1997, sold for £27,000 at the London auctioneers.

The book which The featured the words ‘1 Bloomsbury wand’ twice on page published 53, came with its original hardback cost pictorial boards, original £10.99 in 1997 The book end-paper book and library sold above ink stamp to the verso of its its low estimate title-page. of £20,000 The book, the first in the popular series, sold to a UK buyer bidding on the internet.

SUMMERS PLACE, BILLINGSHURST While Banksy’s chimp-based Devolved Parliament sold for a record £54.7m at Sotheby’s, a 1.82m bronze of a silverback gorilla was one of the top lots at the West Sussex auctioneer’s recent sale.

Its sculptor, John Cox, (1941-2014) was famous for his depiction of animals, and the impressive ape sold to an American buyer for £16,875, against an estimate of £8,000-10,000. The garden specialist’s next sale, called Evolution, is on November 19.

DIX NOONAN WEBB (DNW), LONDON A rare ‘Iraq 2004’ Conspicuous Gallantry Cross, awarded for rescuing eight soldiers under fire in Basra in 2004, sold for a record £140,000 at the London medal specialist’s recent sale.

The medal was one of a group of nine awarded to Warrant Officer Class 1 Terrence ‘Tommo’ Thomson, 1st Battalion, Princess of Wales’s Royal Regiment.

DNW’s managing director, Pierce Noonan, said: “Second only to the Victoria Cross, the C.G.C. is a scarce and prestigious award which we are very fortunate to have sold.”

After his vehicle was hit by a rocket, Corporal Thomson fought his way into the Ba’ath compound, where the soldiers were holed up, taking on a number of armed guards.

The award came as a shock to him. He said afterwards: “The medal was a big surprise. I know lots of people who’ve done what I would consider to be braver things.”

The rarelyawarded C.G.C. is second only to the Victoria Cross for valour

14 ANTIQUE COLLECTING

HANSONS, ETWALL Valentine cards and related ephemera struck a note at the Derbyshire auctioneer’s recent white glove sale of the 211-lot collection of Judith Howard, which made a total of £66,194.

The top lot was a late-Georgian handmade cut-out Valentine, with the words, If you refuse to be my wife, your will bereive me of my life, pale death at last must stand my friend, and turn my sorrows at an end. It sold for a hammer price of £4,000, from an estimate of £200-£300.

A Regency-period handmade Valentine in the form of a rebus, a puzzle with words represented by pictures, sold for £1,100 – five times its guide price of of £200-£300.

Another rare lot, a set of hand-coloured lithographic outfit designs, c. 1860, from Dolly’s Dressmaker, London, sold for The remarkable £2,700 against an estimate of Valentine sold for £40-£60. a heart stopping Hansons’ associate director, £4,000 Jim Spencer, said: “Judith Howard had a discerning eye for unusual objects with a The Regency rich historical -period card pedigree.” made more than five times its low estimate

The unusual Edwardian paper game sold for £2,700

ASIAN ART Friday 8 November, 4pm To be held at

The Westbury Mayfair Hotel 37 Conduit Street | London W1S 2YF

On view at our London Gallery 15 Cecil Court | London | WC2N 4EZ Sunday 3 - Wednesday 6 November 10.30am - 5pm Thursday 7 November 10.30am - 7pm Friday 8 November 10.30am - 5pm

Yexueli@sworder.co.uk 0203 971 2500

www.sworder.co.uk

A Chinese imperial famille rose wall vase, Qianlong (1736-1795), 19cm £50,000-80,000

COLLECTING GUIDE Chinese export silver

The teapot, Canton, c. 1840 is brimming with traditional Chinese decoration, image courtesy of Christie’s New York

CHINESE

FAN

Confusing as it may be, now is the time to bone up on Chinese export silver which is achieving great prices, writes specialist Adrien von Ferscht

T

here is little doubt that what we’ve all become used to calling ‘Chinese export silver’ – since it was burdened with this title back in the 1960s by American researchers – has a much higher profile today in auction house sales, e-commerce auctions and sales sites than it did, say, five years ago. Yet it remains the most confusing and most misunderstood silver category; it simply doesn’t do what it says on the tin!

16 ANTIQUE COLLECTING

Above The pseudo hallmark of the tea pot is still in evidence, image courtesy of Christie’s New York

For the past 10 years, I have researched the category with my academic colleague in China, Dr Chao Huang. From the onset, we had no idea where this academic journey would take us, but what became clear is that it is now time to draw a line in the sand for this enigmatic silver category to allow the understanding of it to reach new heights.

MISUNDERSTANDINGS While some of the silver created in China in the late 18th and first half of the 19th century was made specifically for export, our research shows the majority was made for the domestic market and would be better labelled ‘Qing dynasty silver’ and Chinese Republic era silver’. This would more accurately reflect the hybrid of Western forms and traditional Chinese decorative motifs that account for 312 years of the 3,000-year history of Chinese silver-making.

The misunderstanding is further exacerbated by the differing views of Chinese and Western collectors.

The majority of the former have no interest whatsoever in any silver marks that appear in Latin and have built up an understanding, of sorts, of marks that appear in Chinese characters.

Westerners generally are not able to read Chinese marks and have tended to carry on the habit of the 1960s researchers who focussed on the marks they could read – mistakenly believing them to be makers’ marks (in fact they were mostly marks used by Chinese retail silversmiths or merchants of luxury goods).

‘Westerners generally are not able to read Chinese marks and have tended to carry on the habit of the 1960s researchers who focussed on the marks they could read, mistakenly believing them to be makers’ marks’

GOOD RETURNS While this is an extremely interesting silver category, it is a very complex one and not for the fainthearted.

That said, it is probably one of the most rewarding silver categories to collect, both inspirationally as well as fiscally. While the value of antique silver remains stable at best, Chinese silver from the 18th, 19th and 20th centuries is on a upward curve – often quite dramatically.

And, as it is Chinese collectors who are driving the market, it is advisable to understand which silver made by which artisans is held in high regard by those collectors, since it can command extraordinary values.

MIDDLE CLASS By the latter part of the 19th century, open treaty ports in China created a burgeoning economy allowing Europeans and Americans to establish their own capsuled areas of colonial life. Perhaps more importantly, it resulted in a significant new phenomenon in China; an affluent, growing middle class. While the colonialists aspiried to the upper-middle class lifestyles they had left behind, the newly affluent Chinese sought to adopt Western styles and lifestyles. In England, this would have coincided with the height of the exuberant Victorian style.

The concept of a lidded standing cup is anathema to traditional Chinese decorative forms, but the late 19th-century example (overleaf) has managed to incorporate a virtual cornucopia of traditional Chinese decorative elements, to the point where it is a veritable Victorian confection in the Chinese style.

It was created by the well-regarded Chinese artisan silversmith known as Quan. Although there was no statutory obligation to mark silver in China, one can see how even the marks that were used had undergone their own transition; it shows the Chinese character mark for the name Quan and the latin letters ‘LC’ which stood for the retail silversmith Lee Ching. So it becomes understandable that a serious Chinese collector would be interested to own such an object today, hence its $13,700 (£11,200) price tag at a recent online auction.

Right 19th-century snuff boxes are finding a market as business card cases, image courtesy of Charterhouse Auctioneers, Sherborne Below right It carries the

mark of the silversmith Man Kwong, denoted by the Latin letters “MK”, and the artisan workshop mark of Yuan He

Below Made in the

Shanghai-based artisan workshop of Huang Qiu Ji, the garniture has the retail mark of Wo Shing, image courtesy of Sotheby’s New York

Bottom A three-piece altar garniture of two vases and a bowl with applied enamel-onsilver decoration, image courtesy of Sotheby’s New York

Snuff boxes

The 19th century also saw a significant number of snuff boxes, vinaigrettes and vesta cases made in China. What began in the late 18th and early 19th centuries as well-made copies of the English Georgian and Regency styles, later underwent the same transformation as most of the other silver wares, but this time they were also taken up by the Chinese merchant and middle classes. One can still find them at fairly reasonable prices, but they are fast becoming a status symbol of wealthy Chinese, as are cigarette cases, which they use for dispensing business cards.

The late 19th-century snuff box (above) carries the mark of the Canton and later Hong Kong-based retail silversmith Man Kwong, denoted by the Latin letters ‘MK’ with the artisan workshop mark of Yuan He. He chose to decorate the lid with a chased traditional Chinese peony motif against a punched ground.

Potential Western collectors of these boxes would do well to acquire some, since they will rise in value considerably more than any English silver counterpart is likely to do.

HUANG QIU JI The three-piece altar garniture of two vases and a bowl (left), all with applied enamel-on-silver decoration is a prime example of what particularly attracts the interest of Chinese collectors; it was sold at Sotheby’s New York in 2013 for $68,750 (£56,000) – almost 10 times its low estimate.

Made in the Shanghai-based artisan workshop of Huang Qiu Ji, it has become one of the favoured silver marks of Chinese collectors; the retail mark is Wo Shing, the mark Westerners almost always regard as being the ‘maker. Had these items not been made with applied enamel decoration, the value would probably be around one-tenth.

ANTIQUE COLLECTING 17

COLLECTING GUIDE Chinese export silver

Fluted and gadrooned tea wares made in Canton c. 1835, image courtesy of Christie’s New York

GEORGIAN STYLE

NEW STYLE

The true export silver wares are in the main not yet fully appreciated by Chinese collectors, but have always formed part of museum and private collections in the West, mainly because of their natural connection to the China trade. These pieces are almost always in the neo-classical English Georgian style and, although made by artisan silversmiths in Canton (Guangzhou) who had probably never been outside of the city walls, it is testament to their sheer skill that they could produce items of silver comparable to those of the best English silversmiths of the day.

Made in c.1835 in Canton, the fluted and gadrooned tea wares (above) could easily stand muster alongside a comparable Paul Storr tea pot but, unlike the latter, it will likely be a third heavier since Cantonese silversmiths, unlike their London counterparts, had no issue about the weight of silver required to make such an item. It carries the mark of a Canton merchant who went under the name of Cut Shing but, unfortunately, during this period – when export wares were a recognised business activity in Canton – merchant retailers were not keen to reveal the identities of artisan workshops, several of which were owned

by Hong merchants, sometimes even in collusion with English, American or even Scottish merchants operating in the city. Scots were the single most dominant nationality of so-called ‘foreign merchants’ who traded out of Canton at this time.

Silver ware carrying the Cut Shing mark created specifically for export carried a so-called ‘pseudohallmark’. Unlike a true hallmark, they were simply a pastiche that allowed the merchant to have some recognition – there has never been an official assay system in China, even to the present day.

Fast forward another 35 years, and a whole new hybrid style of silver ware was evolving in China. In 1842, China was forced to cede treaty trading areas to foreign powers and the island of Hong Kong had

18 ANTIQUE COLLECTING

Above Silver wares carrying the Cut Shing mark that were created specifically for export, image courtesy of Christie’s New York

Right While a lidded standing cup is not in the Chinese tradition, this late 19th-century example includes the country’s ornamentation, image courtesy of Christie’s New York Below The Latin letters

‘LC’ stood for the retail silversmith Lee Ching

become a Crown Colony, in effect ending the market for export silver wares, per se..

Gone were the neoclassical pieces, with a new transitional silver style that melded western forms with traditional Chinese decorative motifs and elements. The tea pot (first page) would have been made c. 1840 and, although the pseudohallmark is still in evidence, the artisan who created it lavished effort into ensuring every element is faithful to the Chinese tradition.

In addition to which, it is brimming with allegorical meaning and sub-texts that only a Chinese person would understand; a far cry from the Western conceptual style of the Chinoiserie, which has no such hidden meanings – in short a notional oddity.

For this reason, such a fine example of mid-late 19th-century Qing silverware is particularly attractive to the current Chinese audience. Because of this it was able to realise $8,125 (£6,650) at auction in August in New York. The heaviness of Chinese silver wares was still retained at this time, this piece weighing some 1,278gm.

BEWARE OF FAKES

It is until only recently that Chinese silver from this period escaped the perils of the fakers. Sadly, now they can be seen in abundance, in particular on some of the e-commerce platforms which equally sadly do nothing to regulate authenticity.

The fact Chinese have always been good at making imitations of every shape or form is not particularly comforting, in fact it has created somewhat of a paradox whereby the Chinese authorities, who are especially proud of promoting their history, culture and traditions, turn a blind eye to the ferocious economy of the various fake industries. But perhaps the most disturbing trend, over the last two years, is the e-commerce platforms that specialise in hosting auctions for what appear to be bona fide auction houses and dealers, all of which boast American addresses.

Left The stemmed goblet, c. 1860-70, carries the mark of the merchant house Cut Shing, image courtesy of Pushkin Antiques, London

BAROQUE The same devotion to traditional Chinese decorative motifs can be found in the c. 1860-70 stemmed goblet (right) which also has the mark of the merchant house Cut Shing. This time the pseudohallmark is a thing of the past and the artisan silversmith has been given recognition; in this case the Canton master known as Yi. This is not as strange as it may seem. The Chinese Imperial Qing court became enamoured by the baroque and rococo styles as early as 1747, when Emperor Qianlong began work on a vast extension to the Summer Palace in Beijing that became known as the Palace of Delights and Harmony.

Elevated to be chief painter at the Imperial Court, the Jesuit Giuseppe Castiglione had not only introduced the Western concept of perspective to Chinese painting but had established, by stealth, the concept of the European baroque. In 1751, Castiglione was elevated as an official of the imperial household. He was further commissioned to design the interiors and landscape the gardens of the new palace complex. It was these grandiose plans that unleashed a tsunami effect on Chinese visual and decorative arts.

Above In addition to the mark of the merchant house, the silversmith is stamped as the Canton master known as Yi

The auction houses in question tend to have rather spurious names and only hold online auctions. If one delves sufficiently deeply, they are bogus – as is almost all of the items they offer for sale, all of which is shipped from China and includes the full spectrum of Chinese decorative arts, including porcelain, jade, bronze, lacquerware, carved cinnabar and, of course, silver.

As with all things, caveat emptor. It is always advisable to make an effort to understand what you intend to focus on collecting.

What was fashionable in the Imperial court was immediately adopted by the larger imperial household, aristocracy and, to some extent, even the literati.

Significantly, it was embraced by artisan silversmiths working in both Beijing and Canton. It was this that gradually morphed into the hybrid Sino-Victoriana style that is best described as Euroiserie; a Chinese version of the Chinoiserie style in reverse.

It is perhaps most interesting that this phenomenon took hold in China in tandem with the mania for Chinoiserie-style architectural projects in many of Europe’s royal and imperial households; it is well recorded that the Emperor Qianlong and Catherine the Great corresponded regularly and exchanged gifts.

Adrien von Ferscht is one of the world’s leading authorities on Chinese export silver and an expert consultant to museums, important collections, private collectors, academics and enthusiasts.

‘Western collectors of 19th-century Chinese snuff boxes would do well to acquire more, since they will rise in value considerably more than any English silver counterpart is likely to do’ ANTIQUE COLLECTING 19

COLLECTING GUIDES Western paintings of India

All the

Raj

As part of this month’s Asian Art in London, Rob Dean unveils an exhibition of early views of India

by Western artists, which are fast returning to fashion

I

ndia in the late 18th century was an unusual mixture of two worlds. The East India Company exercised control over a small portion of the country, from the increasingly European-styled cities of Calcutta, Madras and Bombay. Elsewhere in India ancient ways of life continued as they had done for centuries. Rajas and nawabs ruled small kingdoms, and vast areas of the country remained largely unexplored and were covered in dangerous mountainous terrain or thick dense jungle. It was this exotic world of myths and legends, dotted with imposing forts, palaces and ancient ruins that excited a small courageous band of European Artists, who risked everything, to document a country and way of life that was almost unknown to the outside world.

20 ANTIQUE COLLECTING

Above Edwin Lord Weeks (18491903), Modern Fire Worshippers. An illustration from his book From the Black Sea Through Persia and India, published

by Harper & Brothers, 1896

THE DANIELL FAMILY Of the great European artists working in India in the 18th and 19th centuries, it was Thomas Daniell R.A. (1749-1840) and his nephew William Daniell R.A. (1769-1837), who played a pre-eminent role in documenting the country for European eyes.

The aquatints of India by the Daniell family have remained popular since their publication between 1795 and 1810. The British serving in India purchased them for their libraries, or framed them in their houses, offices and clubs. In the early 19th century, collectors eagerly acquired them as a celebration of the sublime, picturesque and the exotic, as well as to record many of the recently-documented heritage sites of India.

More recently, a new breed of Indian collectors has

begun to admire the ancient views that represent an India that has rapidly disappeared from view.

Right Edwin Lord Weeks (1849-1903) Steps in Sunlight, oil on canvas

GRAND TOURS

Below left George

Inspired by William Hodges (1744-1797), who had made a tour of the Ganges in 1780, the Daniells finally set off from England in 1786 to make their fortune in India. In the six years they spent in India, they ventured further than any previous European artists, completing three tours around India, along the Ganges from Calcutta to Srinagar (1788-1791), a tour of Madras (1792-1793) and, before their return to England in 1793, a tour of the temple sites in and around Bombay.

Included in the exhibition at the Grosvenor Gallery from October 31 to November 9, are several sketches and watercolours by Thomas and William Daniell including, Dalmow on the Ganges (overleaf). The watercolour was painted on their return journey to Calcutta in July 1789. Although the Daniells never turned the view into an aquatint, in 1804 Edward Orme published a print of a similar view based on paintings and sketches provided by the pair.

‘The British serving in India purchased them for their libraries, or framed them in their houses, offices and clubs. More recently, a new breed of Indian collectors has begun to admire the ancient views of India that have rapidly disappeared from view’

Chinnery (1774-1852), self portrait, 18251828, oil on canvas, image courtesy of the Metropolitan Museum of Art (not in exhibition)

Below right George

Chinnery (1774-1852), Indian Temple, 18081812, watercolour, image courtesy of the Metropolitan Museum of Art (not in exhibition)

Amateur works

Alongside the professional artists who visited India were a large number of amateur artists who provided further invaluable documentation of the subcontinent.

There are several examples represented in this month’s exhibition, including a particularly fine view of the Qutb Minar by an unknown artist of the early 19th century.

The Qutb Minar remains the tallest brick minaret in the world. Construction started in the late 12th century and underwent numerous additions and repairs over many centuries. In 1803, it was damaged by an earthquake, and Colonel Robert Smith, the British garrison engineer repaired the damage but controversially, in 1828, he added a Bengali-style cupola. The painting is depicted before the addition of “Smith’s Cupola” which suggests the painting was completed before 1828.

VIEWS OF MADRAS A sketch of Madras presents an early view of the city that was published as an aquatint titled Part of Black Town, Madras. It includes a view of the Armenian Church in Madras that remains one of the oldest surviving churches of the Indian subcontinent. A final watercolour of bullocks (overleaf) is a charming scene by William Daniell that depicts pack animals resting during one of their long journeys, giving us an intriguing insight into the challenges that the artists

ANTIQUE COLLECTING 21

COLLECTING GUIDES Western paintings of India was a talented artist, known as both a portrait and landscape painter, often working in miniature, he painted industriously, producing portraits of the local community and scenes of Eastern life. Three Figures by the Water (opposite) is a characteristic pen and ink sketch depicting women at the river’s edge collecting water and washing cooking vessels.

He produced these sketches in large numbers for reference, showing his concern for just the right ‘sentiment’ as he called it, in his oil paintings.

Above all, they confirm his talent as an outstanding draughtsman. A lively sketch of a small Indian temple, falling into ruin and buffeted by a passing squall, likely dates to his residence in Dacca between 1808 and 1812. In that period the artist stayed with the British East India representative Sir Charles D’Oyly. When not painting portraits, the artist sketched the local scenery and gave watercolour lessons to his host.

EAST INDIA COMPANY

Edwin Lord Weeks (1849-1903), Street Scene in Bombay, oil on board

faced during their travels. William documented their travels in a diary, which is full of amusing details that further highlight the problems they encountered.

In the first week of May 1792, a coolie tripped, breaking two bottles of madeira – ‘a serious consideration’ wrote William, the next day the dubash (interpreter) absconded taking the servants’ money and four days later they were robbed of all their clothes during the night. These problems were set against a backdrop of thugs, war, and the challenges of tropical diseases for which there were no known cures.

GEORGE CHINNERY (1774-1852) In light of these dangers it is sometimes surprising that so many artists risked so much to travel widely in Asia – but many did. George Chinnery followed the Daniells to India, leaving Britain at the age of 28 and spending the last 50 years of his life in Asia.

After leaving London in 1802 he lived and worked in India until 1825, before moving to Macao. Chinnery

22 ANTIQUE COLLECTING

Below Edwin Lord

Weeks (1849-1903), Merchants along a street in Bombay, c.1883, oil on canvas, signed E.L. Weeks

As the East India Company and then the British government took greater control of India, increasing numbers of Western artists travelled there to document the country. Among them were the Australian-born artist Mortimer Menpes (18551938) and the American-born artist Edwin Lord Weeks (1849-1903). Both artists are included in the exhibition and present a more typical 19th-century ‘Orientalist’ vision of India.

Weeks was the most famous American Orientalist painter in the expatriate community of academic artists of the late 19th century. He was born in Boston to an affluent merchant family who financed his interest in painting and travel.

In 1872, Weeks moved to Paris where he trained under Leon Bonnat. After his studies, he travelled to South America, Egypt, Persia and India (1882-1883).

On these trips he frequently completed paintings in situ, despite the dangers of travel and the problems of the climate. Having first shown at the Paris Salon in 1878, Weeks ultimately attained in 1896, the highest distinction in the academic painter’s world, the Salon’s award of the Chévalier de la Légion d’Honneur, and his works were exhibited across

AFFORDABLE TODAY

The paintings offer unique insights into the many faces of India at a time of sudden and extreme change.

Considering the importance of the artists represented in the exhibition, it is interesting to note that the artworks remain comparatively affordable, with sketches and paintings ranging in price from a few hundred pounds to a few thousand.

It is an area of the market which for many reasons remains somewhat overlooked. The exhibition will provide an opportunity for a new generation of collectors to become inspired by this exciting period of Indian art.

Europe and America from 1876 to 1903. Then, in 1903, Weeks died suddenly and mysteriously at home in Paris, aged 54.

Two years later his widow arranged a sale in New York of Weeks’ remaining works, from small sketches to monumental canvases, in a three-day auction so remarkable that it received front page coverage in the New York press. Sunset in Bombay, included in the exhibition, depicts carriages of wealthy Indian families gathered at the water’s edge to watch the sunset. The tall hats of many of the men depicted are of the Parsi style favoured in the late 19th century.

The choice of composition suggests it may have been a preparatory work commissioned by a wealthy patron from the Bombay Parsi community.

Views of India will be on view at the Grosvenor Gallery, London, from October 31 to November 9 as part of Asian Art in London.

Top Willam Daniell, R.A. (1769-1837) Part of Black Town, c. 1793 Above William Daniell R.A. (1769-1837) Bullocks, pencil and wash on paper, c. 1780-90 Right George Chinnery (1774-1852) Three Figures by the Water pen and ink on paper, c. 1810-20 Below William and Thomas Daniell, Dalmow on the Ganges, pencil

and wash on paper, 1789

‘As the East India Company and then the British government took greater control of India, increasing numbers of Western artists travelled there to document the country’ ANTIQUE COLLECTING 23

LETTERS Have your say

Your Letters We asked you to reveal some of your more unusual collecting habits...

One esoteric collection interest is for barbed wire.

In settler societies like Australia, Canada and the US with large areas to enclose, companies competed to produce different designs to avoid clashes with patents. I have met a few people here in Australia who have collections. For the record, I collect 18th-century English glass and 19th-century glass wine rinsers.

Peter Henderson, by email

Our star letter

receives a copy of 20th Century British Glass by Charles R. Hajdamach, worth £49.50. Write to us at Antique Collecting, Sandy Lane, Old Martlesham, Woodbridge, Suffolk, IP12 4SD or email magazine@ accartbooks.com

Left Some people collect barbed wire Above far right A selection of Ian’s handpainted paper folders

Star letter

Above Three of Ian’s

cutters, including a wooden paper cutter dated 1876, a silver Lund coupon square or divider from about 1845 and a silver cheque cutter from 1890

Among other things, I collect paper folders and paper tearers. Paper folders are not rare while paper tearers are exceedingly rare and are not at all well known.

Other than that, I am a ‘nicknackitarian’ which is a real word for someone who collects curious collectables, including a niddy noddy (1850), a rare sash window support (about 1930), an apple measurer, a horsehair singer (as in to singe the hair), a cucumber straightener, a night soil can, a Demon beetle trap (1901) and a billiard cue tip fastener. I am looking for a pair of hedgehog tongs.

Ian Spellerberg, New Zealand, by email

Be part of the conversation on Twitter and Instagram @antiquemag

CHINESE, JAPANESE & SOUTH EAST ASIAN ART Monday 11 November

VIEWING ST JAMES’S The Nine British Art 9 Bury Street London SW1Y 6AB

A Chinese monochrome porcelain bottle vase, Qianlong mark and of the period £3,000-£5,000

Sat 2 November 12 noon-5pm Sun 3 November 10am-9pm Head of Department Bill Forrest | billforrest@roseberys.co.uk 70/76 Knights Hill, London SE27 0JD | +44 (0) 20 8761 2522 www.roseberys.co.uk Antique Collecting 192mm X 128mm.indd 1

24 ANTIQUE COLLECTING

24/09/2019 18:43:37

Specialist Sales Nov and Dec 2019 Jewellery, Watches, Silver and Objects of Vertu

at Newby Hall, Ripon, HG4 5AE Thursday, 5 December at 6pm Viewing Sale Day from 10am

RUSSIAN DIPTYCH ICON SOLD FOR £6,800 PLUS FEES

Deadline for entries 1 November

Fine Art & Antiques

at Bedale Hall, Bedale, DL8 1AA Sunday, 24 November at 10am Viewing Friday, 22 November 10am-7pm Saturday, 23 November 9am-5pm Sale Day from 8am Deadline for entries 1 November

We make no charge for insurance, lotting, unsold lots and photography.

LATE 17TH CENTURY “BOSCOBEL OAK” SNUFF BOX SOLD FOR £1,700 PLUS FEES

RARE IRISH 19TH CENTURY GILT-METAL AND BOG OAK BRACELET SOLD FOR £2,400 PLUS FEES.

MOCHA WARE TORTOISESHELL PATTERN CUP SOLD FOR £480 PLUS FEES

Elstob & Elstob Limited Bedale Hall, North End, Bedale, North Yorkshire, DL8 1AA

t: 01677 333003 e: info@elstobandelstob.co.uk

www.elstobandelstob.co.uk

COLLECTING GUIDES Militaria

Call to ARMS

Treasured family heirlooms they may be, but today’s thriving market for medals and militaria means you could be sitting on a goldmine, says expert Mark Gilding

A

few years ago I visited a client in Leicester who had ‘a few items from their parents’ property’ to sell. We ended up holding a single-owner collection, within a sale of antique swords and firearms, which totalled more than £100,000. The reason being, in the last 20-30 years, militaria has moved from the specialist collecting sector to the mainstream.

Recent anniversaries such as the centenary of WWI in 2018 and this year’s 80th-anniversary of the outbreak

26 ANTIQUE COLLECTING

Top Medals and militaria continue to do well at auction Above An Indian Mutiny medal 1857-1858, belonging to Major C. H. Strutt, Royal Artillery which sold for £188

of WWII have contributed to a reinvigorated interest in these periods of history, as have period TV programmes and films such as World on Fire and Dunkirk.

Militaria as a broad category continues to hold its own compared to other sectors of the antiques and collectables market. I believe this good performance will continue for some years, with many items currently undervalued. If you’re considering expanding your collecting into the military sector, now is a very good time to do so.

Regular visitors to salerooms around the counrty will be familiar with medals for sale. The War Medal and Campaign Star from WWII are a relatively common sight, along with the somewhat less common British War Medal and the Victory Medal from WWI. Medals from earlier British conflicts, such as the Boer War, the Crimean War and Waterloo, are rarer, while medals from more recent conflicts, including Afghanistan and the Iraq War, are starting to come to market. In addition to medals, there is a thriving market for weapons, including 19th-century firearms.

‘Medals from earlier British conflicts, such as the Boer War, the Crimean War and Waterloo, are rarer, while medals from more recent conflicts, including Afghanistan and the Iraq War, are starting to come to market’

WHAT TO CONSIDER WITH MILITARIA

WHAT TO LOOK FOR As always, quality, condition and provenance are vital.

Militaria is no different from other antique categories.

Pieces in good condition will always command a higher value than poorer examples and will also retain their future value better. So, where possible, always be careful to preserve original packaging and conserve the condition of your collection.

Ultimately, it is an individual buyer’s wish to own a piece of history which makes militaria from a certain period of time collectable. So it’s inevitable that the world’s most iconic battles such as Waterloo, Trafalgar and Balaclava all capture people’s imagination.

Understanding the soldiers’ characters and what lay behind their individual acts of valour in a historicallysignificant conflict is what draws people into becoming enthusiastic collectors.

I love medals and prize researching a recipient’s service history over the rare and valuable. However, as in other areas of collecting, rarity is also important.

I see a high volume of standard military items, such as bayonets, basic uniforms and the more widelydistributed medals at auction. One of the most unusual objects I have come across is a rhino horn knobkerrie,

Top A Tower long sea service flintlock pistol, butt cap engraved ‘HMS Victory’ has an estimate of £1,500-£2,000 in this month’s auction Middle A German

bayonet, early 20th century, stamped Erfurt, sold for £177

Above A group including a WW1 medal pair (Victory Medal and The Great War medal), and a Princess Mary tin; with a ‘Death Penny’ commemorative plaque Top right A Queen’s Westminster Rifle Volunteers officer’s uniform, sold for £1,880

Authenticity: This is the issue that comes up most. Sadly there are unscrupulous manufacturers of fakes in all areas of militaria. Understandably, buyers want to know they are buying a genuine piece. This is why it’s essential to buy through a trusted auction house or dealer.

Ethical concerns: Many early weapons, such as a rhino horn knobkerrie, may have come from an endangered species.

Inevitably, when people buy militaria from certain regimes, whether Communist or Nazi, they may attribute political views to the purchaser.

However, in my experience that the vast majority of people collect artefacts, not politics.

Legal issues: When considering buying a sword or knife it is important to check the legalities with an expert.

When it comes to deactivated handguns there have been significant changes in the law in recent years so, again, it is necessary to check with an expert when buying or selling firearms as a licence may be required. a war club that was mainly used in southern and eastern Africa: it sold for £7,670.

STARTING A COLLECTION In such a broad category, it’s difficult to know how, or where, to start a collection. Think about areas you are most naturally drawn to – whether a regiment an ancestor served in, or a period of time you already collect in. If you are already interested in the late Victorian period, you may have an interest in militaria ANTIQUE COLLECTING 27

COLLECTING GUIDES Militaria What they sell for

As every collector knows, final selling prices will always depend on market conditions and the level and variety of interest of buyers on the day. In any case, vendors should seek the advice of a reputable auction house with a specialist department and proven track record.

As a general guide, these items could be expected to reach around the following amounts: A WWI pair (British War Medal and The Victory Medal): £25 Enfield Bayonet (used by British and Commonwealth forces in both WWI and WWII): £100 Waterloo Medal: £1,500 Lloyds Patriotic Fund Sword (ornate presentation sword for those showing bravery in conflict dating back to 1803): £40,000

• • ••

dating back to the Chinese Opium Wars, Zulu War or Boer War. As you gain experience, you will get an idea of of the different levels of condition and rarity. There is a huge amount of reference available on militaria in books and online so it’s easy to do your research. The key is to keep asking questions, reading and learning as you build your collection and you will soon be adding to it with confidence.

Above A group of WWII medals and subsequent conflicts in Malaya and associated miniatures

DECIDING TO SELL The main reason people decide to sell militaria is that, sadly, they don’t have an interest in the items their families have in their possession. Value can be a great motivator, as can lack of space if the collection is particularly large.

Whatever their reasons, vendors can struggle to reconcile selling an object with its significance in the family’s history.

After all, a medal earned by an ancestor on active service is arguably even more emotive an item than a piece of jewellery that has been passed down the generations.

But, in my experience, any mixed feeling about the decision to sell militaria is often assuaged when the item finds a new home with an enthusiastic collector who respects its provenance and will treasure it in years to come.

Mark Gilding, director of Leicestershire-based Gildings Auctioneers, oversees the company’s medals and militaria valuations, as well as the majority of the company’s home visits. For more details go to www.gildings.co.uk

28 ANTIQUE COLLECTING

‘Vendors can struggle to reconcile selling an object with its significance in the family’s history’

BEYOND THE MILITARY Above right A

percussion pistol by W J Rigby, Dublin, sold for £1,770

Left An unusual rhino horn knobkerrie, a war club that was mainly used in southern and eastern Africa Right The naval log detailing a voyage to the South Pacific sold for £600

Many items that come up for auction transcend the military category.

At a recent medals and militaria auction we sold a naval log kept between 1843 and 1845 by Joseph Henry Marryat, nephew of the famous novelist and naval officer Frederick Marryat.

Born in 1830, Joseph was only 12 when he joined the Royal Navy and only 13 when promoted to sub-lieutenant on Captain Sir Edward Belcher’s exploration of the coast of Borneo. As a result, it attracted a threefold interest from those interested in cartography, the southern Pacific region and the author – resulting in a sale price of £600.



    

  

    

 



COLLECTING GUIDES Modern jewellery

Life of Grima Jewellery by British designers from the 1960s and ‘70s – including Andrew Grima – is reaching sky high prices at auction, writes Frances Noble

Above Andrew Grima whose jewellery was worn by royalty and celebrities in the 1960s

T

Above A cultured pearl and diamond ring and earclip suite,

by Charles de Temple, mounted in 18ct gold, hallmarked for London, 1978 and bearing maker’s mark ‘CdeT’, sold last year for £3,840

he 1960s and ‘70s were a fascinating period in the history of jewellery. The decades emerged from the bleakness of post-war Britain. The country was bankrupt and living conditions poor and jewellery design had stagnated.

For 20 years after the end of WWII, jewellers did little other than copy earlier styles, putting their imagination and flare on hold. A tax on luxury goods and limited access to raw materials meant that production focussed on traditional pieces for the export market. It was almost a decade later that British designers were to embrace the simplicity of a new movement.

The swinging sixties heralded a vibrant new era for British jewellery with the explosion of a coterie of new designers, including Andrew Grima, John Donald and David Thomas who trained under Georg Jensen.

Theirs was a brave new world of bold, vibrant and contemporary designs, inspired by natural forms, they also drew on the artistic trends in Brutalist architecture and abstract modernist art, as well as popular culture.

NEW STYLES Their jewellery incorporated semi-precious and colourful gemstones, often in their uncut state, and mounted in their raw crystal forms. The pieces were handmade, using experimental techniques, often resulting (in some cases more by accident than design) in unusual textures and highly-creative finishes.

Rather than the machine-made and hum-drum styles of the ‘50s, these young designers were producing one-off pieces, which were mostly private commissions or limited editions. Their creations were exclusive and highly sought after by a discerning, fashionable and increasingly wealthy clientele. Up-and-coming socialites flocked to be part of this exciting new world of young and confident British designers.

Left A Louis Osman model of the Moon, made £26,400 at Dix Noonan Webb (DNW) in 2018, all images, unless stated, courtesy of DNB

30 ANTIQUE COLLECTING

ANDREW GRIMA (1921-2007) It was Andrew Grima, who led the way in revolutionising jewellery. Born in Rome in 1921 to a Maltese father and Italian mother, Grima was brought up in England, and trained in mechanical engineering at Nottingham University before joining the Royal Electrical Mechanical Engineers.

He fought in Burma during WWII, ending his service as a major. In 1946, he returned to London and joined the jewellers H J Company, working for Franz Haller, the adopted father of his soon-to-be wife Helène Hallar who he married in 1947.

In 1952, Grima took over the company on the death of his father-in-law. But it was to be the milestone 1961 International Exhibition of Modern Jewellery 1890-1961 held at Goldsmiths’ Hall that was to change his fortunes and that of many other designers. Curated by Graham Hughes, art director of the Goldsmiths’ Company, the exhibtion gave Grima the platform to exhibit six of his own designs as well as an opportunity to meet Hughes, who was to become a highly influential and significant figure in promoting his talents.

David Thomas (b. 1938) was another proponent of the new style. He studied at Twickenham School of Art and the Royal College of Art, and was another of the innovative young jewellers included in the exhibitions.

ROYAL APPOINTMENT Grima’s career soon took off after scooping a number of impressive awards including three De Beers Diamonds International Awards and, in 1966, the Duke of Edinburgh prize for elegant design (the first time it had been given to a jeweller).

The royal endorsement was soon followed by a call from the palace to discuss ideas for presents for state visits overseas. Now established as an up-and-coming

‘Rather than the machine-made and hum-drum styles of the ‘50s, these young designers were producing one-off pieces, which were mostly private commissions or limited editions’

Above right A track-

link bracelet, by Louis Osman, 1977, sold in September for £5,450 at DNW against an estimate of £3,000£4,000

Above Grima London was ‘By Appointment to the Queen’, until he renounced the position Below right A gold

brooch by Andrew Grima presented to the First Lady Betty Ford in 1976, the 2¾in piece features the Queen’s cypher at its centre, image courtesy of Wikicommons

talent, Grima’s customers included Prince Philip, who purchased a ruby and diamond brooch as a gift for Queen Elizabeth in 1966 – present that proved so timeless, she wore it in her 2018 Christmas broadcast.

Further society customers included Lord Snowdon, who had reportedly bemoaned the lack of creativity in jewellery design in a magazine of the day, and was invited by Grima to change his opinion. The visit resulting in him buying jewels for his then wife, Princess Margaret, who was herself to become an enthusiastic fan and supporter of Grima’s work.

Success bred success and, in 1966, he opened a shop at 80 Jermyn Street in St James’s, a premises now remembered as having an iconic, modernist shopfront.

Further recognition came in the form of a Royal Warrant from the Queen in 1970, and business expanded with shops opening in Sydney, New York, Melbourne and Tokyo. A decade of success followed for Grima.

Above A bracelet by John Donald sold for £6,800 at DNW this September

ANTIQUE COLLECTING 31

COLLECTING GUIDES Modern jewellery

decade. 2015 saw the auction of a 2.97 carat grey/ blue diamond ring by Grima, selling for a world record of £1.48m. An 18ct gold and diamond set shell ring and earclips suite, by Grima, made in 1972/3, fetched £7,800 earlier this year.

LOUIS OSMAN (1914-1996) Although Grima is considered now to be the most collectable of the British designers from the ‘60s and ‘70s, the work of his contemporaries should not be underestimated.

Interest in Louis Osman, the goldsmith who, 50 years ago this year, created the crown for the Prince of Wales’ inauguration at Carnarvon in 1969, (a ‘crown of our time’, as the Prince had requested), has also enjoyed a resurgence in the last few years.

Being principally private commissions, little of Osman’s work had been offered at auction until the sale of Louis Osman’s personal archive, offered for sale by his daughter, through auctioneers Dix Noonan Webb in March 2018. The large collection was made up of Osman’s personal drawings, designs, letters, some jewellery and objects.

A highlight of the sale was a 22ct-gold model of the Moon, commissioned to commemorate the lunar landing of 1969, which sold for £26,400. A 22ct gold and Britannia silver bracelet, made in 1977 as a private commission by Osman when he was living and working at Canons Ashby, in Northamptonshire, made £5,450 in June.

DECLINING FASHION However, by the mid 1980s, fashions were beginning to change with the modernist designers from the previous two decades falling out of favour. Grima’s business declined to such an extent he felt obliged to relinquish his royal warrant.

He said: “It broke my heart to do so” and resulted in him moving his business and family to Lugano, Switzerland in 1986, where he concentrated solely on private commissions.

The trend continued into the early 1990s with pieces selling at auction purely for their intrinsic value – essentially the gold bullion and gemstone value.

RETURN TO FAVOUR However, a major retrospective exhibition of Grima’s work in 1996 to mark his 70th birthday reintroduced his work to the next generation and, with Grima’s death in 2007, the values of his jewels started to rise rapidly, a trend that has continued throughout the

32 ANTIQUE COLLECTING

Above left The reverse of the Gilian Packard pendant which is mounted within an abstract setting Above right The

necklace is stamped with the maker’s mark ‘GEP’ and London hallmarks

Above An 18ct two colour gold mounted crystal set pendant, on matching chain by Gilian Packard, 1967, sold this September at DNW for £8,400, more than twice its low estimate

A two colour 18ct gold and beryl set dress ring, by Charles de Temple, 1969, signed ‘C de T’ and with full London hallmark for 1969, with original box, sold last year for £4,080, against an estimate of £1,500-£2,000

An 18ct gold and diamond set shell ring and matching earclips,

by Andrew Grima, signed ‘GRIMA’ and stamped with the maker’s mark ‘A G Ltd’, sold at DNW for £7,800 last March

The bracelet, which came with its original, dated receipt from Osman, showed an original purchase price of £300.

Below left A 1972 choker

GILIAN PACKARD (1938-1997)

Below right The choker

Another leading light of the British modernist jewellery movement was the Newcastle-born Gilian Packard, who was also the first woman to become a freeman of the Goldsmiths’ Company.

After studying at Kingston School of Art, the Central School and the Royal College of Art, Packard (who spells her first name with one ‘l’) established herself as a jeweller, becoming known for her innovative and elegant rings, which reflected the Brutalist movement of the day. She was also a pioneer of interlocking wedding and engagement rings.

In 2017, a pendant made of rhodocrosite, with an uncut rose-pink crystal, intergrown with calcite and pyrite and mounted on a textured 18ct gold setting (opposite), dated to 1969, sold for £8,400.

by David Thomas sold at DNW in 2016 for £5,760

is hallmarked London and stamped with the maker’s mark ‘DAT’

Bottom The choker is made up of two connecting bracelets, the larger bracelet set with three oval mixed-cut amethysts, the second bracelet of uniform square hinged panels

Designers who made their mark

In 2018, a two colour 18ct gold and beryl set dress ring, made by Charles de Temple in 1969 made £4,080 at auction. American-born De Temple grew up as part of a touring circus family before becoming a nightclub singer and jobbing Hollywood actor. After training as a jeweller in Massachusetts, he moved to London.

Other designers to look out for include Australian gold and silversmith Stuart Devlin (1931-2018), Austrian-born Gerda Flöckinger (b. 1927) and Wendy Ramshaw (1939-2018) who gained widespread acclaim in 1970 with a solo exhibition at the Pace Gallery in London and whose death last year may see an increase in the value of her work, as occurred with Devlin’s recent death.

Jewellery by Alan Martin Gard (b. 1935) and the London-born watch and jewellery designer Roy King (1913-2000), whose customers included Tom Jones and The Beatles, are currently attracting strong interest at auction.

The best-selling pieces are signed by the designers and fully hallmarked, which adds significant value. This year, a 18ct-gold bracelet by the influential designer John Donald (b.1928), showing his distinctive ‘cube’ technique, fetched £6,800 at auction.

Frances Noble is head of the jewellery department and associate director of Mayfair auctioneers Dix Noonan Webb whose next sale of jewellery, watches and objects of vertu (including examples of 1970s jewellery) is on November 26 with online bidding at www.dnw.co.uk

ANTIQUE COLLECTING 33

REASONS TO COLLECT Railway ephemera stopping me and over the following years I travelled far and wide, usually in the company of likeminded friends, to nearly every far-flung corner of British Railways in search of that elusive locomotive number or to travel on a soon-to-be-closed line.

When did you start collecting? Can you remember your first piece? Are there any forgeries?

To illustrate some of my books, in recent years I started collecting paper railway ephemera, specifically from the famous British trains of the 1930s, 1950s and 1960s, such as ‘The Silver Jubilee’, ‘Royal Scot’, ‘Cornish Riviera Express’ and the ‘Atlantic Coast Express’.

These nostalgic and historic pieces are beautifully designed and illustrated and are a joy to look at and read. I think the first piece I bought was a restaurant car menu from the ‘Bournemouth Belle’ Pullman train which turned out be a crude forgery so after that I became very careful when buying these pieces. Provenance is very important and I try and obtain confirmation of this from the seller.

Can you describe the collection?

Why I collect...

Which are the important lines?

The author of 30 books on railways, Julian Holland reveals why their ephemera is his driving passion

From the late 1920s until the outbreak of the Second World War in 1939, the ‘Big Four’ railway companies - Great Western Railway (GWR), London Midland & Scottish Railway (LMS), London & North Eastern Railway (LNER) and the Southern Railway (SR) – all introduced a plethora of named express trains and this

How did your love of trains begin?

I have a passion for railways, which has been with me since I was very young. As a young lad I was surrounded by steam railways in my hometown of Gloucester and my father even built me a large model railway in the attic of our home.

I can well remember the sheer excitement of seeing named express trains at my local station: the ‘Cheltenham Spa Express’ and the ‘Cornishman’ behind gleaming ex-GWR ‘Castle’ Class locomotives; the ‘Pines Express’ and ‘The Devonian’ usually hauled by ex-LMS ‘Jubilee’ locomotives – all heading to seemingly romantic and distant destinations such as London Paddington, Penzance, Bournemouth West or Kingswear.

My passion blossomed further in the late 1950s and early ‘60s when I became a trainspotter, travelling around Britain to visit smoky and dirty engine sheds or standing on station platforms, pencil and notebook in my hand, taking in the smell of smoke, steam and oil. There was no

34 ANTIQUE COLLECTING

My collection of famous named trains’ paper ephemera consists mainly of colourful and beautifully designed luggage labels, restaurant car menus and wine tariffs, descriptive leaflets of the journey and the view from the window.

I have several hundred pieces now and the beauty of my collection is that it takes up very little room and can fit into a small box. Obviously framing some of the best examples is an option but be careful where they are hung as direct sunlight can cause fading over time.

Top left Luggage

label supplied to passengers heading to Edinburgh Waverley on ‘The Coronation’ streamlined express (1937-1939)

Right The eye-

catching 1950s wine tariff from ‘The Comet’ express with artwork by ‘Hundleby’

Far Right The 1950s

restaurant car tariff from the ‘Cheltenham Spa Express’

‘For collectors of railway epemera there are two important periods. The first is the ‘Big Four’ from the late 1920s to 1939 and the second dates from the British Railways’ era in the 1950s and 1960s’ period of British railway history is rich in pickings.

High speed streamlined trains such as ‘The Silver Jubilee’, ‘Coronation’ and ‘Coronation Scot’ all had colourful and beautifully designed luggage labels, restaurant car menus, wine tariffs and descriptions of the journeys taken. The outbreak of war ended all this and was followed by a period of austerity which lasted into the 1950s.

Britain’s railways were nationalized in 1948 and after a slow start British Railways’ regions – Eastern, North Eastern, London Midland, Western, Southern, Scottish – were soon introducing even more named express trains, which continued to operate well into the 1960s. There are definitely rich pickings to be had here, with all of these trains again having colourful and beautifully-designed restaurant car menus and other related ephemera.

What are the railway milestones?

For collectors of famous named trains’ paper railway ephemera there are two important periods to concentrate on. The first is the period of the ‘Big Four’ from the late 1920s to 1939 and, secondly, during the British Railways’ era in the 1950s and 1960s.

The end of steam haulage and the introduction of diesel haulage in the 1960s soon brought an end to this romantic period of named trains and ushered in an age of boring uniformity from which we still suffer today.

Above Stylishly designed

in gold and red, the LNER’s publicity booklet for ‘The Coronation’ streamlined express of 1937 features Nigel Gresley’s ‘A4’ Class ‘Dominion of Canada’ and gives details of the seating plan

Is there a Holy Grail piece?

There are still a few named trains from British Railways’ era that have eluded me. Because of the fragile nature of this ephemera most of it will have been lost to the dustbin of history so obtaining a piece in good condition is fairly rare.

Any advice to the would-be collector?

Do your homework first. Be very specific about what you want to collect, stick to a particular era and don’t be sidetracked by the plethora of other railway ephemera – no matter how attractive it may appear..

Julian Holland’s latest book, Golden Years of Rail Travel, is published by Times Books, priced £30.

Right ‘The Queen of

Scots’ was an allPullman train that ran between King’s Cross, Edinburgh and Glasgow Queen Street Below ‘The Yorkshire

Pullman’ ran between King’s Cross, Leeds, Bradford and Harrogate Below right ‘The Flying

Scotsman’ ran nonstop between King’s Cross and Edinburgh Waverley

Who is the average collector?

I’m afraid I do not know of other collectors but any railway enthusiast of a certain age (ie over 70) will have some dim and distant recollection of these wonderful trains. No doubt railway museums will have collections of this kind of railway ephemera.

Quite a few of British heritage railways also go to great lengths to recreate these trains – riding through the countryside in a British Railways Mark 1 coach behind a beautifully restored steam locomotive is as close as you can get to that period.

Where are your hunting grounds?

I mainly bought these on Ebay but have also purchased some items at auction. I certainly was determined to get some rare pieces on this online auction site and have often stayed glued to my computer for hours to secure them, often paying over the odds for a very good piece.

ANTIQUE COLLECTING 35

THE EXPERT COLLECTOR Soviet art

‘Pieces by the workshop artists reflected the optimistic spirit of the times, and a period in the history of Soviet art when they were able to reconnect with the legacy of the Russian avant-garde and European modernism’

Red

STARS

Marking Russian art week, lithographs by 15 pioneering Soviet artists go on show in London this month. Curator Marie Stock lifts the lid

B

etween 1960 and 1964, the Americanborn art collector and founder of London’s Grosvenor Gallery, Eric Estorick, visited Russia 14 times, to ‘build bridges between East and West’. One of his first ports of call was Leningrad’s Experimental Graphics Laboratory where he was so impressed that he bought several hundred works on the spot. For a number of years his gallery hosted a stream of exhibitions featuring work by artists from the Soviet Union and, for the first time since the Russian Revolution, Westerners were able to see and acquire contemporary art from the USSR.

36 ANTIQUE COLLECTING

Above left Irina Nikolaevna Maslennikova, Station Lights, 1959, lithograph, Anna and Leonid Frants Collection Above right VY

Brodsky (1905-1981), University, Mendeleev Line, 1973, lithograph, Anna and Leonid Frants Collection

Titled Lithographs by 27 Soviet Artists, the 1961 exhibition created quite a stir in London. In contrast to prevailing stereotypes about Socialist Realism, garnered at government-sponsored shows, the works expressed an unexpected vitality, modernity and humanity. The Estoricks’ (Eric’s wife Salome was crucial to the process) timing was impeccable.

With Yuri Gagarin’s space flight and the Kirov Ballet’s London tour of Covent Garden, interest in Soviet science, culture and arts was piqued.

Attendance at Soviet art, culture and science exhibitions in both London and New York that year far exceeded expectations.

Gerta Nemenova’s portrait of Nikolai Gogol appeared in the pages of The Times and subsequently became part of the Museum of Modern Art collection in New York. MoMA also acquired exhibited works

by Aleksandr Semenovich Vedernikov (1898–1975), Boris Nikolaevich Ermolaev (1903-1982) and Anatoli Lvovich Kaplan (1902-1980).

Following Estorick’s London show, other private collectors and museums began to acquire works by these artists. The current exhibition, at London’s Estorick Collection of Modern Italian Art from November 20 to December 22, will be the first time since 1961 these artists have been exhibited together in the United Kingdom.

LENINGRAD EXPERIMENTAL GRAPHICS LABORATORY The rather scientific sounding workshop was created in what is now St Petersburg in 1933, a year after the idea of Socialist Realism was mandated in the USSR. Early on, the school became a refuge for artists whose creativity did not conform to the canons of Socialist Realism’s figurative style that supported the goals and ideals of Soviet society.

All workshop designers were members of the Leningrad Branch of the Artist’s Union of the USSR, a creative union of Soviet artists and art critics embracing all the republics of the Soviet Union.

Until the 1950s, the images produced by the workshop were widely disseminated and became familiar in homes, workplaces and schools around the USSR. The early 1920s slogan, Art to the Masses, came to life through the workshop. Later work, from the 1950s until the end of operations after the breakup around 1991, were increasingly guided by the artist’s own inner, creative voice.

Right Anatoli Lvovich Kaplan (1902-1980), Summer Garden 1940s, lithograph, Anna and Leonid Frants Collection Below left Mikhail

Nikolaevich Skulyari (1905-1985), Winter Swimming Pool: After Training, 1963, lithograph, Kononikhin Family Collection

THE THAW The new era fostered innovation and revitalisation in the visual arts as artists experimented with previously banned modernist styles. They sought to push past the rigid restrictions of Socialist Realism, while negotiating the boundaries of Soviet ideals and socialist principles.

ERIC ESTORICK

Eric Estorick (1913-1993) was born in New York City, his family having emigrated from Russia to the United States in 1905 to escape anti-Semitism. He became a political writer and lecturer in sociology at New York University before settling in London. Having fallen in love with modern art in his teens, he began to form a collection at a time when, in the aftermath of WWII, 20th-century European art could be bought very cheaply with the price of modern Italian paintings particularly low because of the taint of Fascism.

Estorick started art dealing in the early 1950s, with Hollywood as one of his main markets. Anne Douglas (Kirk Douglas’s wife) became his business partner and his customers included Tony Curtis, Burt Lancaster and Lauren Bacall. In 1960, Estorick opened the Grosvenor Gallery in London, where he developed a strong interest in Soviet art alongside his passion for modern Italian painting.

Workshop artists reflected the optimistic spirit of the times. It was a period in the history of Soviet art when they were able to reconnect with the legacy of the Russian avant-garde and European modernism.

As a result, the 1961 Grosvenor exhibition demonstrated that Soviet art had returned to its natural course after the 1930s detour during the institutionalisation of Socialist Realism.

ANTIQUE COLLECTING 37

THE EXPERT COLLECTOR Soviet art Left Nicholas Roerich (1874–1947) Blue Cliff, sold at MacDougall’s June sale of Russian art Right Boris Nikolaevich Ermolaev (19031982), Girlfriends, 1962, lithograph, Anna and Leonid Frants Collection Below right Aleksandr

Semenovich Vedernikov (1898–1975), On Markarov Embankment, 1960, Anna and Leonid Frants Collection

RUSSIAN ART WEEK Sotheby’s has two sales on November 26: Russian Pictures and Russian Works of Art, Fabergé and Icons. Bonhams holds its Russian Sale at New Bond Street, London, on November 27; while Russian art specialist MacDougall’s holds its Important Russian Art auction on November 27.

THE PROCESS Lithography is a multiple-edition art form and assumes dissemination and easy display. The artists experimented and prompted a renaissance in colourised, serial-printing with one of its tasks to create graphics for broad circulation.

According to the St. Petersburg art historian, Nikolai Kononikhin, the workshop produced three categories of multiple prints during its 50-year history.

The earliest phase produced mass-circulation images with a print run of 200 to 1,100. The second category, referred to work from the 1960s to ‘90s, and were ‘authored’ works of 10 to 25 prints.

The third group was experimental, with each print being different from the next. Each artist kept approximately 10 copies every image, while one was retained by the Artists’ Union for its archives.

The remaining prints were distributed and sold via the Artists’ Union. The stones from which the artists created their works were kept securely. After the artist had completed a design, stones were destroyed, or ground-down and reused.

ESTORICK TASTE By 1960, when Estorick visited, the recognised leaders in the group were Yuri Vasnetsov (1900-1973), Vedernikov, Ermolaev and Kaplan.

In making his selection Estorick relied solely on his own artistic taste and know-how. According to diaries by artists in the group, he shirked any political, or official art specialist ‘recommendations’ made by those accompanying him to visit the Graphics Laboratory or individual artist studios.

In his memoires, Grigor Aleksandrovich Izrailevich (1924-1999) recalls the speed and decisiveness with which Estorick purchased hundreds of prints.

38 ANTIQUE COLLECTING

Estorick maintained personal ties with Kaplan through the 1970s, as evidenced by correspondence.

Kaplan wrote to Estorick and updated him about the lives of various artists with whom he was acquainted.

COLLECTING THE PRINTS Individual prints by the artists who exhibited in 1961 and in the current show, as well graphics by artists who worked in the workshop over the years do occasionally come on the market in Europe and Russia. Most often, however, they are found unexpectedly in an artist’s family estate collection.

From a personal perspective, I appreciate the intense strength of the portraits of Gerta Nemenova (1905-1986) and the timelessness and joy of Vedernikov’s work. Ermolaev evokes the hopeful spirit of Russian avant-garde masters, while Kaplan’s simple, yet rich, scenes evoke the breadth and depth of Russian history that can bring one to tears, while Izrailevich’s owls call us to action and serve as a reminder to ‘carpe diem’.

Lithography from Leningrad runs at London’s Estorick Collection of Modern Italian Art at 39a Canonbury Square, London N1 2AN from November 20 to December 22. For more details go to www.estorickcollection.com

Wilkinson's 1_Wilkinson's 1 07/10/2019 15:21 Page 1

The OlD SAlerOOmS, 28 NeTherhAll rOAD, DONCASTer, DN1 2PW, eNglAND Tel: +44 (0) 1302 814884 Fax: +44 (0) 1302 814883 email: sid@wilkinsons-auctioneers.co.uk website: www.wilkinsons-auctioneers.co.uk

Period Oak, Country Furniture and effects

Sale Date:

Sunday 1st December 2019

Viewing Days: Thursday 28th November 2019 Friday 29th November 2019 Sunday 1st December 2019 Or by private appointment

11am start time

11-4pm 11-4pm 9-11am

Fully printed catalogues available for £8.50. Debit & Credit Cards Accepted.

EXPERT COMMENT Remembrance Sunday treasures

An Auctioneer’s Lot Provenance is everything when it comes to militaria, says Charles Hanson on the discovery of a WWI cigarette case with a magical tale to tell

I

t was an afterthought – but an afterthought that could spark an auction sensation.

We’ve just uncovered a cigarette case that potentially saved the life of a WWI soldier from Derbyshire by deflecting a bullet.

Many soldiers kept hard objects in their breast pockets to protect themselves from enemy fire, including coins, shaving mirrors and pocket bibles.

Consequently, such objects have gained historical significance. Earlier this year, a bent penny kept in a breast pocket that saved the life of a WWI soldier sold for £4,500, against a humble estimate of £30-£50.

Like many, our latest find emerged by chance when our militaria expert Adrian Stevenson was cataloguing an impressive set of wartime medals awarded to Sherwood Forester Second-Lieutenant William Alexander Lytle, from Bakewell. How much better the lot might be, he thought, if there was a picture of the young soldier to enhance it.

When seeking one out, his family came across his battered silver cigarette case which, as a note inside explained, had taken the full force of a bullet.

It read, ‘This silver cigarette case was given by

BROUGHT TO LIFE The family doubted it was worth anything. Adrian explained that the addition of the cigarette case to the lot would increase the guide price to £1,000-£2,000.

The discovery, together with a photo of William taken when he was 22 years old at rest billets in France in April, 1916, brings his story to life. A note with the picture tells us that it was taken eight months before he got married and, that at the age of 21, he received a Military Cross for bravery.

A newspaper cutting from the Derbyshire Advertiser reports it was given ‘for excellent work on several occasions, notably on November 26, 1915, near Boar’s Head Trench. He organised and carried out a bomb attack with great ability and collected valuable information regarding the enemy.

‘He was finally forced to withdraw but not before he had thrown 95 bombs (grenades) and inflicted serious loss on the Germans. He showed great judgement in withdrawing his casualties, being only one man missing and three wounded. Second-Lieut Lytle has shown a total disregard for danger and leads his grenadiers with great coolness.’

As we prepare to mark Remembrance Sunday, it’s a poignant story I’m honoured to share. It’s wonderful to know that a silver cigarette case, a gift given with love from his wife, may well have saved his life.

The cigarette case will be part of Hansons’ medals and militaria auction on November 22, with an estimate of £1,000-£2,000. If you have something to consign email astevenson@hansonsauctioneers.co.uk

Above William Alexander Lytle and the cigarette case, all images courtesy of Hansons Right Second-Lieutenant

William Lytle, aged 22, in France

Far right The silver case was damaged by a bullet, but could have saved its owner’s life Below right The note

inside the silver cigarette case

‘It’s wonderful to know that a silver cigarette case, a gift given with love from his wife, may well have saved his life’ 40 ANTIQUE COLLECTING

my mother to my father during the 1914-18 war.

He carried it with him in the trenches in his breast pocket where it was struck by a spent bullet. He was unharmed – JE Lytle’.

ac ad oct.indd 1

07/10/2019 09:22:54 AM

MEMORABILIA Horror films

Above The axe used used by Jack Nicholson in The Shining sold for £150,000 last month – more than three times its low estimate, image courtesy of The Prop Store

Right The front door to the Bates Motel from Alfred Hitchcock’s Psycho (1960) came to auction in 2018, image courtesy of Profiles in History Far right The Hitchcock directed film was a horror classic, image courtesy of Profiles in History

Cool & Collectable With Halloween in the air, horror films aren’t just for watching they are a treasure trove for collectors, says Paul Fraser

L

ast month the axe Jack Nicholson used to break down the bathroom door in Kubrick’s The Shining sold for £170,000 in London.

If you’re a horror fan, here’s what you need to know about the market.

THE BIG TWO

Right from the start, horror movie posters were special. The genre has a history of inventiveness and boundary pushing. By contrast, posters for comedies and romances have changed little since the 1930s.

Each generation finds different things frightening.

Yesterday’s nightmare is today’s tacky Halloween costume.

But who can forget Bela Lugosi’s menacing turn in Dracula (1931)? Or Boris Karloff’s curiously sympathetic performance in Frankenstein later that same year? Original posters for Frankenstein are profoundly rare, with one specimen selling for

42 ANTIQUE COLLECTING

Above right The door as it appeared in the iconic film

around £292,000 in 2015. However it’s Dracula that maintains the edge. A one-sheet made £428,000 in 2017.

WHAT’S DRIVING VALUE?

No one had a clue these posters would ever be worth anything. Over time most were lost or damaged.

There’s only a handful in pristine condition, which ensures rising prices.

So what to do if you love Lugosi’s Dracula but can’t stump up almost half a million pounds? Posters for re-releases are an affordable option. One from a 1970s Spanish showing sold for £285 last year. Foreign language movie posters have a kitsch factor that many collectors enjoy.

WANT TO OWN AN ORIGINAL HORROR POSTER ON A BUDGET?

For something that will provide you with investment potential and nods of approval from film buffs, look to lesser-known classics.

Cat People (1942) is a good candidate. It was way ahead of its time, relying on suggestion and subtext to unsettle its audience, and has the future appeal investors look for.

In one infamous scene, a frightening noise turns out to be a harmless bus. This technique has been used in practically every horror since. It’s still known as a “Lewton Bus” in homage to producer Val Lewton. You can own a quality original Cat People poster for as little as £6,500.

For the casual collector, posters from mid-20th century classics are the most affordable option. At the upper end of the market, an original Night of the Living Dead (1968) poster sold for £1,350 in 2008.

That price reflects the movie’s underground origins. Few were printed.

Meanwhile, original posters for modern classics like The Exorcist (1973), Alien (1979) or The Evil Dead (1983) can be had for less than £100. That’s a reflection of horror’s increasingly mainstream appeal. Posters were printed in huge numbers and there were many more active collectors around.

PARANORMAL PROPS

One of the great joys of horror movies is their sheer inventiveness, boasting some of the most intriguing props on the market.

Some old favourites include the Creature from the Black Lagoon (1954) mask. It sold for £57,000 in 2009.

Then there’s the giant copper electrode you saw in the lab in Frankenstein (1931) and Bride of Frankenstein (1935), which made £36,500 in 2010.

There’s a small but enthusiastic market for props from classic slasher flicks. The bladed glove Freddy Kruger wields in Nightmare on Elm St (1984) achieved £10,500 in 2014. Meanwhile the original ghost mask from Scream (1996), the first in the wildly successful franchise, sold for £14,000 last year. A human bonehandled kitchen knife from the Texas Chain Saw Massacre (1974) made £9,000 in the same auction.

My top tip is to seek out props from movies that are destined to become cult favourites. Midsommar (2019), Green Room (2016) and Get Out (2017), for example, are bona fide modern classics. An investment in a key piece of memorabilia from one of these movies has the potential to pay off in the future.

Above The 2016 Green Room is a film likely to excite collecting fans in the future Right The original ghost mask from Scream (1996), sold for £14,000 last year, image courtesy of The Prop Store

IT’S NOT ALL PLASTIC KNIVES

Some props have a more subtle menace. The front door to the Bates Motel from Alfred Hitchcock’s Psycho (1960) came to auction in 2018. For decades it had served as the front door of the Dallmann-Kniewel Funeral Home in Rib Lake, Wisconsin – a perfectly macabre location.

Costumes are equally sought after. Once again Lugosi and Karloff have the top end of the market locked down.

The jacket Lugosi wore in White Zombie made £81,000 in 2010, while the dark suit Karloff wore in The Black Cat sold for around £73,000 in 2009.

The market for modern pieces may be smaller, but it’s in rude health. In May, a beanie worn by Heather Donahue in The Blair Witch Project (1999), one of the highest grossing horror movies of all time, sold for £10,075. This is what makes horror so exciting. Just like the collectables market you have to expect the unexpected.

Paul Fraser is the founder of Paul Fraser Collectibles, for more details visit www.paulfrasercollectibles.com

Right The knife from the Texas Chain Saw Massacre, sold for £9,000, image courtesy of The Prop Store Left A beanie worn

by Heather Donahue in The Blair Witch Project (1999), sold for £10,075, image courtesy of Bonhams

ANTIQUE COLLECTING 43

THE SCIENCE OF COLLECTING Why we collect Chinese export underglaze blue porcelains in a library, c.

1737–40

It is not true I will do anything for my collection, but it is almost true. I have travelled to Turkey, China, Japan, the Netherlands and Europe many times to learn more about Asian porcelain and sometimes buy. The major mission, however, was always to learn about the cultures related to my collecting.

My collecting started many years ago when I was still practising medicine. I was working an 80-hour per week and found it hard to relax. But when I picked up a book on Chinese porcelain, I felt the stress disappear.

I started attending conferences on Chinese porcelain, collecting and writing about it, and finally lecturing on the subject. Finally, after contributing to two exhibitions at the Indianapolis Museum of Art, I became the guest curator of a 2017 exhibition called Elegance from the East, New Insights into Old Porcelain. It was the first time, to my knowledge, where an exhibition combined neuropsychology with objects, prompting visitors to consider how similar they were to collectors several hundred years ago. This is because our brains haven’t changed substantially in the four hundred or so years since the objects on show were made, purchased and appreciated.

Then, as now, humans searched for pleasure, intellectual stimulation, profit and social interactions, while also experiencing miscommunication and pain.

As a serious collector, I wondered why I made the decisions I did. I began to explore the subject of why people do what they do as it applies to collecting.

We do what we do for pleasure, not because we were deprived or depraved in childhood. This story, I felt, needed to be told.

MIND GAMES What makes a collector?

The American neuroscientist and Chinese export porcelain expert Dr Shirley Mueller reveals the fascinating psychology at work

I

n her latest book Inside the Head of the Collector: Neuropsychological Forces at Play Dr Shirley Mueller reveals the pleasure collecting gives us, providing intellectual stimulation, the excitement of the thrill of the chase, and the need to leave a legacy. Recent scientific research in behavioural economics and neuroeconomics has given an insight into the decision-making process at work.

Its principles apply not only to everyday financial choices, but also to a collector’s behaviour, an area long shrouded in psychoanalytic myth and mystery.

44 ANTIQUE COLLECTING

How far have you gone to improve your collection?

Why do we collect?

Below From Dr

Mueller’s collection, a Chinese Ming vase (1364–1644), all images courtesy of Thomas Mueller

In a word, because it gives us pleasure. Although psychoanalysts Sigmund Freud (1851-1939) and Werner Muensterberger (1913-2011) put it down to emotional issues from childhood, new science suggests pleasure is what drives us. It makes us happy. In routine aspects of living, we can reliably predict much of what will happen. With collecting, we don’t know what to expect. It can take us anywhere.

By collecting, we anticipate a whole new world of excitement.

Along with this comes a quest for knowledge. It extends into joining associations related to specialty, meeting wonderful people, attending conferences and travel. Collecting isn’t a job. Collecting isn’t a hobby.

It’s better. It’s a passion.

‘In routine aspects of living, we can reliably predict much of what will happen. With collecting, we don’t know what to expect. It can take us anywhere. By collecting we anticipate a whole new world’

THE SCIENCE BEHIND A BARGAIN

Left Detail from a large Chinese export porcelain charger originally decorated in underglaze blue Kraak, c. 1600

Is collecting falling out of fashion?

Collecting has always been with us from ancient man who collected shells, to the Medicis who collected paintings and sculptures, to the present day when one can collect almost anything.

The modern approach may involve collecting memories rather than objects, but the benefits are the same: meeting likeminded people and travel. Physical collecting is an experience, but one which has something concrete to show for it. Rather than telling our friends what we did, we can show them our art.

Due to lack of disposable income, most collectors don’t start until they are in their forties or fifties. The current generation, or the one after, is likely to fall into our collecting practices.

People don’t change substantially over one or two generations.

The urge to secure a bargain now has a scientific basis thanks to a study (Knutson and colleagues, 2007) which demonstrated the reaction of would-be buyers to the price of an object, relative to what they thought it was worth. Participants were examined using functional magnetic resonance imaging (fMRI) when making a purchase. During the sale, the nucleus accumbens (NAcc), or pleasure centre of the brain, was activated, indicating anticipation of a gain. But if the price was deemed excessive, the medial prefrontal cortex (MPFC) associated with decision-making was deactivated, while the insula — related to losses — was stimulated. This finding suggests that the insula suppressed the MPFC. In the words of the authors: “The brain frames preference as a potential benefit and price as a potential cost and lends credence to the notion that consumer purchasing reflects an anticipatory combination of preference and price considerations.”

I collect Chinese export porcelain because, when I was a teenager, I saw the movie, The Inn of the Sixth Happiness where Ingrid Bergman played a missionary. From that time, I imagined I would do the same.

After medical school, I expected to go to China, but I had acquired a husband and a child, somewhat limiting my life choices.

By collecting and studying Chinese export porcelain I could absorb China and its culture, so this is what I did.

If my earlier experiences had been different, perhaps I might have collected something else. It is my feeling each collector will have a story like this to tell, if he or she digs deeply enough.

Above Detail from a Chinese export porcelain famille rose teapot, c. 1735 Right Chinese export porcelain Imari coffeepot, c. 1740

What neurological impulses does collecting satisfy?

Collecting satisfies our inherent need to hunt and gather as our ancestors did. The product of these activities – food – nourished our forebears’ lives many years ago. Today, we do the same, not for physical sustenance, but for mental stimulation, important to our well-being.

Is it the same drive regardless of the object, or its value?

The general drive to collect emanates from our desire for pleasure. Beyond that, collectors are specific in the objects they collect.

ANTIQUE COLLECTING 45

THE SCIENCE OF COLLECTING Why we collect Left Chinese export porcelain famille rose Foo Dog teapot, one of a pair, c. 1730 Below left Detail of a

Mohtasham Kashan prayer rug, central Persia, c. 1890

Below right A pair

of Chinese export porcelain famille rose jugs, c. 1740

What happens to our brains when bidding for a piece?

New research demonstrates that we bid not to win, but to avoid losing. This relates to the cognitive psychology principle of loss aversion, which means humans prefer avoiding losses to acquiring equivalent gains. In the auction room, this behaviour is evident.

For example, consider when one dealer says to the underbidder, “I don’t know whether I paid too much, but I got it, and you didn’t.”

Is collecting governed by nature or nurture?

Collecting may very well have a genetic component.

We also think of collecting as a male pursuit. That is almost certainly because males traditionally had more disposable income and controlled the purse strings in the past. This is changing as women have more money and power. However, there have always been female collectors such as Catherine the Great. There is even a book about women collectors.

But there is also an environmental element and a role for experience. In my case, watching the movie The Inn of the Sixth Happiness influenced what I went on to collect.

Does understanding the psychology of collecting make you a more savvy collector?

How important to collectors is the thrill of the chase?

Very! Anticipation of what we desire stimulates our pleasure centre more than obtaining the object itself, which is why collectors do it again and again. This is when collecting transcends pastime and becomes a passion. The thrill of the chase, learning, looking for the novel, plus speaking with likeminded collectors and dealers, make this period of collecting exciting and magical.

This happiness carries over into the owning stage when our objects must be displayed, maximizing their beauty in our home or offices. Then, we not only receive pleasure, but also can use our organisation skills from our executive brain to make our collection what we desire. It reflects us and we want it to look as appealing as possible.

Finally, as we age, we must think of disposing of our beloved objects. This is the hard part and loss is registered in many areas of our brain including the anterior insula (diverse functions usually linked to emotion) and the anterior cingulate cortex (also linked to emotion). We have time and effort invested in this art. Leaving it is losing part of ourselves.

46 ANTIQUE COLLECTING

Yes. Since I became aware of the neuro and behavioural economic aspects of collecting, I make better collecting decisions. For example, before I buy (or sell, which I do occasionally), I visualise the biological processes within my brain using neuroeconomics.

Also, I think of the behavioural economics issues and how they are influencing my decision – anchoring, sunk cost, the heat of the moment, temporal discounting, too much choice, etc. By processing all these factors, I am able to make a better choice.

Dr Mueller will present a talk about her latest book at Asia House on November 1, as part of Asian Art in London. The talk and presentation will be followed by a drinks reception. For more details, or to buy a ticket, go to www.asianartinlondon.com or call 020 7307 5441.

ANTIQUES UNDER THE HAMMER Upcoming lots

TOP of the LOTS

Unsurprisingly, Asian art features strongly in this month’s sales Purchased for £1 from a Hertfordshire charity shop, a Qianlong famille rose vase, inscribed with an imperial poem praising incense, is expected to make £80,000 at Sworders’ Asian art sale on November 8.

After being deluged with enquiries after putting it on eBay, the consignor took it to the Mountfitchet auctioneers for a full appraisal.

The 19cm (8in) vase has ruyi handles and includes the two iron-red seal marks of the Qianlong Emperor.

Sworders’ Asian art expert Yexue Li with the vase

A Song dynasty Ding white-glazed ‘Dragon’ dish has an estimate of £12,000£15,000 at Lyon & Turnbull’s fine Asian and Islamic works of art sale on November 6.

The Song dynasty (960–1279 AD) was one of the most creative periods in Chinese history reaching a high point of the ‘Five Great Wares’ of Ru, Jun, Guan, Ge and Ding. Song porcelain is famed for its sophisticated forms and subtle monochrome glazes. Ding ware was produced in Ding Xian (modern Chu-yang) and was the first to enter the palace for official imperial use.

The interior is carved with an almost invisible three-clawed dragon with bulging eyes and a scaly body

A harlequin set of eight William III high-back chairs, c. 1700, has an estimate of £15,000-£20,000 at The Pedestal’s fine interiors sale on November 19.

Each chair has a scroll-carved crest and arched, fielded-panel back flanked by turned uprights with ball finials. The set includes an armchair with an elaborate scroll-carved crest and moulded back panel with central pierced and carved splat. The sale takes place at Moor Park Mansion in Rickmansworth, Hertfordshire.

The set of eight chairs date to c. 1700

Up to 400 models and prototypes from the collection of Doug McHard, once Meccano’s marketing manager, go under the hammer at Gildings Auctioneers on November 11. Having left Meccano in the late ‘70s, McHard and his wife Roly produced highly-detailed white metal models and kits of British cars from the 1930s-‘50s under the brand name of Somerville. The models became world renowned as some of the most detailed and highest quality in the industry.

Estimates for the collection range from £50-£500, with prototypes carrying a guide price of £150-£250

A rhino horn Chinese libation cup, which its owner thought had broken off a piece of old furniture, has an estimate of £5,000-£10,000 at Charterhouse Auction’s Asian art auction on November 15.

The intricately carved goblet could make £10,000

A work by Liu Guosong, considered the greatest living Chinese artist, has an estimate of £8,000-£9,000 at Chiswick Auctions’ fine Chinese paintings sale on November 11.

Liu – who was one of the founding members of the ‘Fifth Moon Group’ at the forefront of Chinese ink painting in Taiwan in the 1970s – was profoundly influenced by the Apollo 11 Moon landing of 1969.

His work merges the ink medium with collage and an iconic vision of the Moon, to create epochal and instantly recognisable works.

Moon Rising by Liu Guosong is in ink and colour on paper

An oil study of two horses by the ChineseIndonesian artist Lee Man Fong (1913-1988) has an estimate of £30,000-£50,000 at Roseberys’ Asian art sale on November 11.

Fong was heavily influenced by the much-famed scholar and painter Xu Beihong, whose paintings of horses form an iconic part of 20th-century Chinese art.

The work comes from a collection of Chinese works of art brought together by the owner of a sugar factory in Jakarta in the 1920s and 1930s.

The oil study is dated 1949

ANTIQUE COLLECTING 47

COLLECTING GUIDES Asian Art in London Simon Ray

What: Exhibition called Indian & Islamic Works of Art Where: 21 King Street, St James’s, SW1Y 6QY When: November 1-30 Look out for: This 19th-century white sapphire and ruby necklace from southern India. The combination of jewels in the composite flower-head resembles a kirtimukha, a mythical beast with protruding eyes and ears, horns and open mouth with fangs separated by a central tongue.

EAST

MEETS

WEST

We preview some of the highlights from the 22nd edition of Asian Art in London from October 31 to November 9, uniting galleries, auction houses and pop-up dealers Ben Janssens Oriental Art

What: An exhibition titled Mythical Animals Where: M&L Fine Art, 15 Old Bond Street, W1S 4AX When: October 31 to November 8 Look out for: This Qing dynasty (Qianlong period, 1736-1795) Canton enamel wine pot (above) with a domed cover, curved spout and tall, looped handle.

48 ANTIQUE COLLECTING

Did you know?

Chinese craftsmen learnt the technique of painted enamels from French missionaries in the late 17th and early 18th centuries, who brought specimens of the famous Limoges enamels.

Most Chinese painted enamels come from Canton, but, in the early 18th century, they were also produced in Peking workshops, catering to the discerning taste of the court.

Jonathan Tucker and Antonia Tozer Asian Art

What: An important group of sculptures from Gandhara, India, southeast Asia and China Where: 37 Bury Street, St James’s, SW1Y 6AU When: October 31 to November 22 Look out for: A collection of Khmer and other southeast Asian sculptures from the estate of a British collector; two fine Indian sculptures including a Shiva lingham and two grey schist Gandhara Bodhisattvas (one from northwest Pakistan, dated 2nd to 3rd century AD, pictured); as well as a small collection of Chinese jades acquired by an English collector in Hong Kong in 1954.

Sydney L. Moss

What: An exhibition entitled Inking Identity: Calligraphy of the Obaku School Where: 12 Queen Street, Mayfair, W1J 5PG When: October 31 to November 9 Discover more: The exhibition traces the lasting influence of the extraordinary calligraphy of the baku School founded by Ingen Ryki (1592–1673). The illustration below of two crabs is the work of Sokuhi Nyoitsu (1616-1671), a follower of Ingen Ryki, greatly admired in Japan for the understated strength of his brushwork.

Marchant

What: A display of Qing porcelain from three private collections Where: 120 Kensington Church Street, W8 4BH When: October 30 to November 15 Discover more: The exhibition includes pieces from three collectors, the first of whom is Tang Shaoyi, who became the Republic of China’s first prime minister in 1912 – before he was assassinated in 1938 by men posing as antique dealers. The other two are the French banker Henry Mazot who lived in Peking in the 1920s and the Kangxi expert Jeffrey Stamen.

The imperial Kangxi yellow bowl (pictured middle) is from Mazot’s collection; the Kangxi blue baluster vase is from the Jeffrey Stamen collection (left); while the Yongzheng red bowl (right) was owned by Tang Shaoyi.

Jorge Welsh Works of Art

What: Treasures: The Vases of the ‘Hundred Treasures’, Pocket Treasures: Snuff Boxes from Past Times, Timeless Treasure: The Runic Calendar Staff Where: 116 Kensington Church Street, W8 4BH When: November 2-9 Look out for: Treasures explores some of the most unusual and high-quality orders produced by Chinese artists for Western customers, including a pair of Yongzheng famille rose vases; one of the largest collections of 18th-century Chinese snuff boxes on record (left); and a rare enamel-on-copper staff.

ANTIQUE COLLECTING 49

UNDER THE HAMMER Martin ware Left A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, from the Daryl Fromm collection, estimated at £30,000£50,000 in the auction on November 27, all images courtesy of Woolley & Wallis Right The Martin

Brothers in their workshop in the early 1900s. The photograph sold for £380 in 2006

FAMILY CONCERN

SALEROOM SPOTLIGHT Two collections of iconic pottery by the Martin Brothers are set to make £160,000 in Wiltshire this month

G

othic horror meets caricature in two remarkable collections up for sale this month at Woolley & Wallis in Salisbury. From iconic Wally birds to grotesques and gurning face jugs, the sale presents 250 pieces of Martin ware – the most sought-after part of the British Victorian pottery market, where single pieces can sell for tens of thousands of pounds.

The haunting artworks also shine a light on the tragic tale of their creators: four brothers, only one of whom lived to see their genius finally meet financial success.

The first 200-lot collection was put together by George Twyman, who lived within walking distance of the Southall pottery site. He had a lifetime of collecting and championing the Martin Brothers and was even responsible for the official marking of their graves with headstones in 2006. The other 50-lot collection is from Daryl Fromm, a close associate of Twyman, including some fine examples of the brothers’ best work, such as a Wally Bird jar estimated at £30,000-£50,000.

50 ANTIQUE COLLECTING

Above Sir William Richard Drake FSA, a terracotta plaque by Robert Wallace Martin, dated 1888, from the Daryl Fromm collection and estimated at £1,500-£2,000

In 1873, the four Martin brothers – Robert Wallace, Walter, Edwin and Charles – fired up their first kiln.

Moving to a disused soap works in Southall, in west London, four years later, their 50-year production would come to an end in 1921, when only Robert Wallace, the eldest, was still alive to see bidding at Sotheby’s in London reach £50 for a single bird jar.

It was a poignant moment for a man whose family had only ever known poverty as they struggled to fulfil their artistic dreams – “my brothers and myself never got more than a labourer’s wages”, he said in 1910 – with Robert Wallace modelling the figures, Walter overseeing the kiln, mixing glazes and throwing pots, Edwin decorating the output and Charles managing the shop from where they attempted to sell their wares.

FINANCIAL LOW Artistic geniuses they may have been, but when it came to the commercial side of the business they were a uniform disaster, starting with Charles, who hid his favourite pieces under the floorboards of the shop because he could not bear to part with them and turned away potential customers. Eventually, the shop burned down, taking the stock and Charles’s remaining semblance of sanity with it. He died in an asylum in 1909, a mere six years after their sister had succumbed to a monkey bite.

The other brothers were little better when it came to money.

They could only afford to fire the kiln once or twice a year and because they had no money to pay for the protective containers required to hold the pots during firing, many emerged damaged beyond saving after their direct contact with the flames.

Two years after Charles’s death, Edwin started to show signs of the facial Right A Martin Brothers stoneware orchid vase by Edwin and Walter Martin, dated 1896 and estimated at £3,000-£5,000

IN MY OPINION...

We asked Woolley & Wallis’ head of design, Michael Jeffery, for his sale highlight

How important are the collections?

cancer that would kill him in 1915; shortly after that Walter knocked his elbow while packing the kiln in 1911. The resulting wound and blood clot caused a fatal cerebral haemorrhage just three months later.

Below A rare Martin Brothers

stoneware intaglio carved vase

by Edwin and Walter Martin, dated 1898, from the Daryl Fromm collection, estimated at £800-£1,200

Above A Martin Brothers stoneware face jug, dated 1908, from the Daryl Fromm collection, estimated at £2,000-4,000.

Rising stars

The brothers’ reputation grew quickly, with the Pre-Raphaelites Edward BurneJones and Dante Gabriel Rosetti, becoming collectors. In 1914, even Queen Mary ordered 60 pieces.

In 1978, London dealer Richard Dennis staged the landmark exhibition, The Martin Brothers Potters, at Sotheby’s Belgravia, alongside a specialist sale that created a new market. These days, prices for Martin ware have leapt, with one recently selling for £200,000 after a governmental export bar on it.

Right The Norwich Cryer a

Martin Brothers stoneware figure by Robert Wallace Martin, dated 1900, from the George Twyman collection, estimated at £3,000-£5,000

Above far left A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, from the George Twyman collection, estimated at £5,000-£10,000 at the same sale Above left A Martin Brothers stoneware dragon vase by Edwin and Walter Martin, dated 1899, from the Daryl Fromm collection, estimated at £10,000£15,000 Above An early Martin Brothers stoneware vase by Robert Wallace Martin, dated 1878, from the George Twyman collection, estimated at £200-£300

AUCTION fact file WHAT: Martin ware from the Twyman and Fromm Collections, part of the British Art Pottery sale WHERE: Woolley & Wallis, 51-61 Castle Street, Salisbury, Wiltshire, SP1 3SU WHEN: November 27 VIEWING: November 23, 10-1pm, November 25, 26, 10-4pm and November 27, 9-10.30am and online at www.woolleyand wallis.co.uk

London dealer and Martin ware expert Richard Dennis has described Fromm’s pieces as “the ultimate consummate collection.” The craftsmanship is also paramount because that is what creates the unbeatable character of Martin ware and that’s what collectors want.

Do you have a personal highlight?

The stoneware aquatic jar and cover by Edwin and Walter Martin, dated 1896, from the Daryl Fromm collection, estimated at £5,000£10,000, is probably one of the finest pieces of Martin Ware I have had the pleasure of handling.

The vase and cover are both beautifully incised with fish and grotesque water creatures, with this work being finely picked out in paint. After the decoration, the vase was fired, the entire process, – with little or no firing faults or burning to the glaze – shows the skill of the brothers, making it a great example of Martin ware. It has the added provenance of being included in the seminal Martin Brothers exhibition held

by Richard Dennis in 1978.

How have you amassed your knowledge of Martin ware?

In 2005, I was the first specialist to hold dedicated sales of Martin ware in the UK and I have twice set the world auction record for a Wally bird, culminating in the £75,000 price in 2014. I also negotiated the private sale of two large birds, dated 1896, designed to mimic the Victorian politicians Gladstone and Disraeli, for a record £150,000.

How is the current market for Martin ware?

When the landmark exhibition Boobies, Boojums and Snarks opened at the Jordan-Volpe Gallery in New York in 1981, it recreated the interior of the Martin Brothers’ shop and introduced a whole new generation to the Wally bird jars, satyr-mask jugs, and other gothic delights. The market for these wares has been on the rise ever since.

Above A stoneware jar and cover by Edwin and Walter Martin, 1896, has an estimate of £5,000-£10,000 at this month’s sale

ANTIQUE COLLECTING 51

EVENTS Round Up Quick fire questions Rami Kabbani from London-based RKade

For collectors new to the work of 18th-20th-century French and Italian architects and designers, what makes it so special?

Their pieces have an endless longevity in both their beauty and design. I think everyone should keep their mind open when it comes to furnishing their houses.

How did you start in the business?

FAIR PLAY

Our exclusive behindthe-scenes look at this month’s fairs

1

The Winter Art & Antiques Fair, Olympia London Providing an ideal opportunity to stock up on Christmas gifts for the antique lover in your life, one of the final London fairs of the year opens its doors at Olympia from November 5-10.

The fair, which runs alongside the interiors-orientated Spirit of Christmas,

52 ANTIQUE COLLECTING

I’ve always had a passion for beautifullydesigned furniture and lighting, and started collecting pieces by major architects and designers from a young age.

Eventually this led me to open a gallery space in London’s Wimbledon Village and now in Ledbury Road, Notting Hill.

will showcase 20,000 objects, each of which has been vetted by independent trade experts.

70 top dealers from across the UK use the fair as an opportunity to unveil their rarest and most recent finds to a captivated audience of thousands.

Fair director, Mary Claire Boyd, said: “Expect to see works by great artists and designers ranging from Matisse to Meissen, Cartier to Asprey, Gillow to Archibald Knox, Lalique to Warhol, as well as decorative pieces. Whether it’s modern art, period furniture, signed jewellery or stylish art deco suites that you’re interested in – our dealers are true experts in their fields.”

A talks programme to accompany the event will consider what’s hot in the art market and give savvy advice on how to buy and look after antiques.

Do you have a favourite designer, period or style?

I am devoted to the works of French and Italian masters, particularly from the 20th century – whether it is Gio Ponti or André Arbus. I am always on the look out for works by Ponti, Ettore Sottsass, Nanda Vigo, Pier Giacomo, Achille Castiglioni and Angelo Lelli – in particular their lighting designs for Arredoluce.

Are your customers collectors, or designers or both?

My customers are both collectors and designers who appreciate good design and rare, individual pieces by various creators.

What makes a perfect piece?

One that brings you the emotion and personality instilled by its creator.

Left A Guglielmo Ulrich chaise longue covered in Piers Fornasetti silk c. 1940, Italy, on sale from RKade Above left A 1970s tassels necklace on a gold, chain on offer from Anthea AG Antiques Below Mike Disfarmer, (American, 18841959), Two Pals with Cigarettes, 1944, on offer at this month’s fair from Henry Miller

2

Art and Antiques for Everyone, NEC, Birmingham The largest vetted fair outside London for the widest range of antiques, art and decorative interior pieces opens its doors this month.

Organiser Dan Leyland said: “This is the fair for anyone who collects antiques, wants to decorate their home in style and, with Christmas in view, find a unique gift for a loved one.”

One trend set to dominate is ‘mantiques’, with designer watches, cufflinks, tie pins, hip flasks, art deco drinks cabinets, cocktail shakers and vintage leather luggage all on sale, he added.

Dan continued: “1920s Peaky Blindersstyle flat caps and treasures from the Grand Tour qualify as desirable mantiques and are all bang on trend.”

From November 28 to December 1, the fair will showcase the finest wares of 200 specialist dealers offering pieces from £20 to more than £20,000.

MEET the EXPERT Antiques Roadshow’s Judith Miller, author of the famous guides, will present one of the expert talks at the fair

How did you start in the business?

I was at school in the Scottish Borders and fascinated by history. Starting to buy small pieces of ceramic in the local junk shops gave me a connection with the past. I have always thought if these pieces could speak what could they tell us. My first purchase was a very common transfer-printed blue and white Worcester porcelain saucer – in the ‘Fence’ pattern. It started me on this incredible journey and still sits in pride of place in my display cabinet.

I then started researching the pieces and I was hooked! I still love 18th-century porcelain but, as with any collector, my tastes have changed and I now look for the rarer patterns. But I also love 20th-century glass, treen and costume jewellery.

Is your taste dictated by the kind of home you have?

To a certain degree it is. We moved five years ago into a mid-century modern house. It’s the first time in my life I’ve lived in a 20th-century house but I love the space and the light. We started to buy

mid-century Scandinavian furniture, but we still have our 18th-century four-poster and collections of ceramics and glass.

What do you collect?

Before attending Art and Antiques for Everyone my husband always reminds me that we do not need any more chairs. Advice which I, of course, ignore.

At the last fair I bought an unusual 1930s Monart glass vase and a beautiful pair of Georg Jensen silver earrings. I still buy unusual ceramics and I am fascinated by the glass produced in Murano in the ‘50s and ‘60s – particularly Venini birds.

Have prices risen in your area?

Yes, and no. Prices of mid-century Murano glass by good designers have soared, as have good quality Chinese ceramics. Treen is very stable – except for genuine rarities. But 18th-century Worcester has lost value, except for rare shapes and patterns.

Above Fine furniture never goes out of style Below Jewellery lovers consider their next purchase Bottom Folk art and treen are perennial favourites

How has the market changed since you’ve been collecting?

As a young collector, I wanted to find an example of every pattern Worcester produced in the 18th century. I think that type of collector is a rare beast these days.

Today, people are much more interested in ‘the look’. Also the style is more minimalist, which is why anything high Victorian is so unfashionable. At a recent Antiques Roadshow I valued a Victorian floral tea set at £15-20 and a 1962 Barbie at £1,200-£1,800!

Where do you prefer to buy?

I don’t buy online a greal deal because I like to handle an item and you have to be so careful about fakes. I have bought costume jewellery online and Ronald Stennett Willson glass candlesticks designed for Wedgwood in the late 1960s.

One hint – many people misspell Wedgwood as ‘Wedgewood’. If you search using the misspelled version, many bargains can be found. (I’ve shared my secret!)

ANTIQUE COLLECTING 53

,,

What areas of Asian art remain buoyant, or are on the up?

A fair-goer snaps a reminder

Rare and unique pieces with strong, proven provenance will always remain sought after and we expect to continue to see high prices and growth in that segment of the market.

Examples include exquisite Song porcelain, Yongzheng and Qianlong vases and vessels made for the emperor at the height of the Qing dynasty, and archaic bronzes that exemplify the long and continuous history of China, to name just a few.

Have you got a favourite piece that has passed through your hands since you started dealing?

3

TEFAF, New York

‘Booth collaborations’ are the order of the day at TEFAF New York this month, with UK dealers teaming up with US colleagues to present unusual offerings.

Old master specialist Colnaghi from London will partner contemporary art dealer Ben Brown, while London-based antiquities and ancient art expert Charles Ede will team up with New York modern art dealer Sean Kelly.

Fair director Sofie Scheerlinck, said: “Ever-conscious of our savvy fair-going public, we want to ensure they have a new experience every time they visit the fair. TEFAF is about discovery, and about coming across something you didn’t think you would find. The mixed booth concept is very much in that spirit, with exhibitors joining forces to illustrate thought-provoking connections among their varying fields of expertise.”

Some 90 exhibitors will take part in the event on Park Avenue Armory, from November 1-5, including 16 new participants. Visitors include the world’s finest interior designers, museum curators and connoisseurs.

MEET the DEALER Matt Slaats from Londonbased Asian art experts Littleton & Hennessy is exhibiting simultaneously at TEFAF New York and Asian Art in London

How will you curate what goes to which fair?

Both London and New York have a strong collector base that is well informed and very interested in Chinese works of art. Of course there are slight differences or nuances in what clients are looking for. Asian Art in London, for example, coincides with the Chinese art auctions, which brings more Chinese dealers and agents to our exhibition.

Their varying areas of interest mean that we show a wider variety of Chinese scholars’ objects and works of art. In comparison, New York is an excellent opportunity to exhibit large, showstopper pieces that appeal to museum curators, existing collectors and – potentially – new collectors who fall in love with a work of art they see at the fair.

How is the US China trade war and the new tariff affecting the market?

I think it is too early to tell. It takes a bit of time for clients and the market in general to digest this. But, of course, it adds to the thought process of collectors, especially if they consider buying at auction in America.

I believe dealers are more flexible and will be more able to absorb the cost. We also have to remember these tariffs are not set in stone.

We hope the US and China will come to an agreement ending the trade war, effectively reversing and eliminating these tariffs.

54 ANTIQUE COLLECTING

A blue ground charger decorated with a dragon in white slip that was discovered hanging on a family’s wall in Canada, which we had the pleasure of presenting at TEFAF Maastricht in 2014.

The charger was a rare example of Yuan dynasty (1279-1368) porcelain of which only two other examples of similar size are known, both in museum collections. The craftsmanship and quality was incredible and, of course, its history is truly fascinating.

Do you collect anything, either Asian art, or in general?

While I am not a collector, there are definitely some pieces I just cannot part with yet. I like to combine Asian antiques with modern and contemporary works of art, both by emerging Asian artist and more established names. Combining the old and the new always creates plenty of talking points for guests.

Is it too late to start a collection of Asian art?

It is never too late to start collecting something you love. There are still opportunities to find nice pieces that are reasonably priced, like Ming blue and white ceramics, Tang pottery and Yuan/early Ming.

Left A piece from UK-based Gregg Baker Asian Art’s stand at a recent TEFAF New York Below London-based dealer Agnews is a regular exibitor in New York

4

The Pavilions of Harrogate Decorative, Antiques & Art Fair A collection of art pottery from the late 19th and early 20th centuries will be a major attraction when it goes on sale at the event from November 1-3.

Belonging to exhibitor Brian Ashbee, the collection includes examples from such famous factories as Pilkingtons, Della Robbia, Burmantofts, Moorcroft and Ruskin.

He said: “There is a strong demand for good quality designer pieces from the Decorative Arts era, a period in which designers excelled in Britain. It is a delight to offer such a fascinating, colourful and decorative collection of pieces at the Harrogate Fair. Prices will range from an affordable £25 up to £3,000.”

Among the highlights on offer at the Great Yorkshire Showground, will be a rare charger from Della Robbia designer Gwendoline Buckler, c. 1900, with a price tag of £2,450.

A collection of Pilkingtons Royal Lancastrian ware, made at Clifton Junction, Manchester, is equally colourful and collectable.

MEET the DEALER Mike Melody, owner of Chester-based Melody Antiques is a regular at the fair

How did you get your start in the art and antiques market?

Literally by accident! I had a bad car crash in my 20s and the therapy in the convalescent home involved being sent to enjoy a local auction! In 1977, I was married with a two year old and started filing the house with Victorian furniture, including a chest of drawers bought for the princely sum of £10!

We started doing flea markets with jugs and bowls, but when one dealer asked for larger pieces like chests of drawers we were off.

How has the market changed since you’ve been dealing?

It’s been through all the ups and downs but has gone back to being the same as in the early days. As I travel around, it seems in certain parts of the country, antiques are coming back in vogue. People are realising once again that they are great value for money.

Fairs vs shops vs online?

I started on a market stall, then had a big shop in Chester, and now am back on stalls at fairs. I don’t trade much online, we should do more but so much sells before it gets photographed and on the web. And, of course, the web starts to set prices.

And, as one dealer said, never forget your place in the world –the north – and play to your strengths. In the early days you really had to know how the system worked, from north to south, and from established dealers to beginners. There was a genuine pecking order it was necessary to follow.

What do buyers find most appealing at the moment in your chosen area?

I consider 2019 to be the antiques equivalent of the Klondike gold rush. I have been able to buy a lot of stock at very sensible prices At a recent sale in Bath, I bought a genuine Elizabethan court cupboard (that should have had a £20,000 price tag) for far less. One day it will be recognised again for what it really is and its true value will return.

Above & below The event attracts the cream of European dealers

5

Fine Art & Design, Cologne

Four London galleries head to Germany this month to take part in the 50th Cologne Fine Art & Design fair.

Gilden’s Arts Gallery joins Stern Pissarro Gallery, Trinity House Paintings and Willow Gallery at the event from November 22-25, which celebrates the 100th-anniversary of the German design school Bauhaus.

Art director, Daniel Hug, said: “We are in the middle of the Rhineland, in a region that is unbelievably rich in museums, collections, art dealers and galleries, but especially in dedicated and enthusiastic collectors and art lovers.”

What’s your ‘holy grail’ – something you would love to get your hands on?

Well, luckily, I’ve got it at the moment – a superb illustrated piece of English lacquered furniture, a chest on stand from 1680.

Do you use social media and if so, how?

Facebook, a little Instagram and Twitter, too.

I sold a piece on Twitter for £5,000. It’s an expanding part of the business.

Below The collection includes work from the factory Pilkington’s Lancastrian Pottery & Tiles

ANTIQUE COLLECTING 55

EVENTS Round Up

6

Britannia Medal Fair, London

The only dedicated medal fair in the capital takes place this month at the Victory Services Club in central London.

More than 50 specialist dealers are expected at the event, on November 17, which has been running for 30 years.

A variety of medals, ranging in price from £10 to £10,000, will be on sale, the majority being British, along with a selection of foreign orders and decorations.

Event organiser, the auction house Dix Noonan Webb, will also unveil its December sale catalogue at the fair.

Organiser, Mark Carter, said: “The fair continues its international feel with the return of Jean-Pierre Kantor from Belgium and US-based Joe Hardman. Coming from not quite as far away are medal specialists Scotmint from Ayr and Andrew Jukes from Hexham.”

After the November fair, other events will take place next April 26 and November 15, 2020, at the same location of 63/79 Seymour Street. For more information go to www.dnw.co.uk or email events@dnw.co.uk

‘A variety of medals, ranging in price from £10 to £10,000 will be on sale the majority of which being British’ Right The fair has been attracting medal collectors for 30 years

MEET the DEALER Richard Black, from the London Medal Company

How has the market changed?

I started trading 25 years ago when fairs were the mainstay of my business. These days, less than five per cent of my business is generated at fairs with 70 per cent online and I see this figure increasing over time.

In the past, collectors would meet over a cup of tea at one of the fairs, these days they interact through the many online forums that exist for medal collectors and

56 ANTIQUE COLLECTING

researchers. Easy-to-use and informative websites appear to be the way to attract the next generation of collectors.

What criteria makes a medal important?

In the majority of cases it is rarity and condition. While the latter is a consideration for collectors of British and Commonwealth named campaign medals, rarity and the man behind the medal are the most important criteria.

What is the most impressive medal you have come across?

A George Cross awarded to Roy Harris, a volunteer Air Raid Precautions officer, who displayed conspicuous gallantry in defusing an unexploded enemy bomb at Thornton

Heath, Surrey, during the early stages of the London Blitz in 1940. The George Cross is the second highest award of the UK honours system awarded “for acts of the greatest heroism or for most conspicuous courage in circumstance of extreme danger” to members of the British armed forces and to British civilians. It is all the more remarkable because Harris had no formal training in bomb disposal.

Do you collect medals?

I have a collection of medals to men who served at RAF Biggin Hill. My collection covers both world wars and intervening years and contains medals to both ground crew and aircrew together with medals to the army anti-aircraft units that protected the airfield during the wartime years.

NEC BIRMINGHAM

The largest vetted art, antiques and interiors fair outside London Over 150 specialist dealers Pieces to suit all tastes and budgets

www.antiquesforeveryone.co.uk

C O M P L I M E N TA RY T I C K E T F O R T W O

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FAIRS Calendar Because this list is compiled in advance, alterations or cancellations to the fairs listed can occur and it is not possible to notify readers of the changes.

We strongly advise anyone wishing to attend a fair especially if they have to travel any distance, to telephone the organiser to confirm the details given.

Adams Antiques Fairs 020 7254 4054 www.adamsantiquesfairs.com Adams Antiques Fair, The Royal Horticultural Halls, Elverton Street, SW1P 2QW, 10 Nov Clarion Events Ltd 0207 3848147 www.olympiaantiques.com. Winter Art and Antiques Fair, National Hall Olympia, Hammersmith Road, W14 8UX, 5-10 Nov Coin and Medal Fairs Ltd. 01694 731781. www.coinfairs.co.uk London Coin Fair, Holiday Inn Bloomsbury, WC1N 1HT, 2 Nov Sunbury Antiques 01932 230946 www.sunburyantiques.com Sunbury Antiques Market, Kempton Park Race Course, Staines Road East, Sunbury-onThames, Middlesex TW16 5AQ, 12, 26 Nov SOUTH EAST AND EAST ANGLIA: including Beds, Cambs, Essex, Hertfordshire, Kent, Norfolk, Suffolk, Surrey, Sussex.

B2B Events, 01636 676531 www.b2bevents.info Detling International Antiques, Vintage and Collectors’ Fair, Kent County Showground, Detling, Maidstone, Kent, ME14 3JF, 9-10 Nov IACF, 01636 702326. www.iacf.co.uk. South of England Showground, Ardingly, Nr Haywards Heath, West Sussex, RH17 6TL, 5-6 Nov Vanity Fairs, 01959 563041 www.vanityfairs.co.uk Brocante, Kings Arms Hotel, Market Square, Westerham, Kent, TN16 1AN, 1 Nov Brocante, Tonbridge Castle, High Street, Tonbridge, Kent, TN9 1BG, 17 Nov

58 ANTIQUE COLLECTING

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

British Horological Institute 01278 691264/07804 816724 www.westcountryclockfairs.co.uk West Country Clock and Watch Fairs, Holiday Inn Taunton, Somerset, TA1 2UA, 24 Nov

Mad Events 0207 7480774 www.antiquesforeveryone.co.uk Art and Antiques for Everyone, Hall 12, The National Exhibition Centre, Birmingham, B40 1NT, 28 Nov-1 Dec Specialist Glass Fairs 07887 762872 www.nationalglassfair.com National Glass Fair, National Motorcycle Museum, Bickenhill, Birmingham, B92 0EJ, 10 Nov

SCOTLAND B2B Events 07886 501931 www.b2bevents.info Edinburgh Antiques and Collectors Fair, Royal Highland Centre, Ingliston, Edinburgh, EH28 8NB, 23-24 Nov Galloway Antiques Fairs 01423 522122 www.gallowayfairs.co.uk Antiques and Fine Art Fair, Scone Palace, Perth, 8-10 Nov

IACF, 01636 702326 NORTH www.iacf.co.uk Shepton Mallet Antiques and WALES Cooper Antiques Fairs Collectors’ Fair, Royal Bath 01278 784912 & West Showground, Shepton Towy Events www.cooperevents.com Mallet, Somerset, BA4 6QN, 01267Page 236569 April pp.53-63:Layout 1 17/3/17 14:08 62 The Pavilions of Harrogate 8-10 Nov www.towyevents.co.uk Antiques and Fine Art Fair, Carmarthen Antiques and Harrogate Pavilions, Railway Road, EAST MIDLANDS Flea Market, United Counties Harrogate, N. Yorks., HG2 8QZ, Showground, Carmarthen, including Derbyshire, 1-3 Nov 24 Nov Leicestershire, Lincolnshire,

Northamptonshire, Nottinghamshire, Rutland.

Arthur Swallow Fairs, 01298 27493. www.asfairs.com. Vintage Flea Market, Lincolnshire Showground, Lincoln, LN2 2NA, 17 Nov

ANTIQUES CENTRES

EDENBRIDGE

THE

LONDON: Inc. Greater London

GALLERIES

IACF, 01636 702326. www.iacf.co.uk Runway Monday at Newark Antiques and Collectors’ Fair, Runway Newark, Notts, NG24 2NY, 18 Nov WEST MIDLANDS

including Birmingham, Coventry, Herefordshire, Shropshire, Staffordshire, Warwickshire B2B Events, 07774 147197 www.b2bevents.info Malvern Antiques and Collectors’ Fair, The Severn Hall, Three Counties Showground, Malvern, Worcs., WR13 6NW, 3 Nov Coin and Medal Fairs Ltd. 01694 731781 www.coinfairs.co.uk The Midland Coin Fair, National Motorcycle Museum, Bickenhill, Birmingham, B92 0EJ, 10 Nov

Why not pay a visit to the finest quality antique centre in the South East of England… you won’t be disappointed!

1 The Square, Church Street, Edenbridge, Kent, TN8 5BD T: 01732 864163 E: info@edenbridgegalleries.com www.edenbridgegalleries.com

THE N AN

Malvern Antiques & Collectors Fair

Scone Palace

The Severn Hall, Three Counties Showground, Malvern, Worcs, WR13 6NW.

Sunday 3rd Nov

Antiques, Art Deco, collectables & much more

- with no outside pitches

Antiques & Fine Art Fair Perth, Scotland PH2 6BD

2f or

1

Early Entrance: 8.30am - £4 • Entrance: 10am-4pm - £3

Detling Antiques, Vintage & Collectors Fair

8th - 10th November

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

Sat 9th - Sun 10th November

10.30am - 5pm daily. 4.30pm finish Sunday

Cash only: Saturday Early Entry: 8.30am - £6 Saturday Entry: 10am-4.30pm - £5 Sunday: 10.30am - 3.30pm - £4

Edinburgh Antiques, Vintage & Collectors Fair

Admission £6.00

Majestic Hotel

Antiques & Fine Art Fair

Cash only: Sat: Early 8.15am - £6 Sat: Entry 10am-4.30pm - £5 Sun: 10am-4pm - £4

2f or

Sat 23rd - Sun 24th November

1

Royal Highland Centre, Ingliston, EH28 8NB.

Harrogate, North Yorkshire HG1 2HU

R.H.C. £5 vehicle car parking charge.

3rd - 5th January

10.30am - 5pm daily. 4.30pm finish Sunday

Malvern Flea & Collectors Fair

Admission £5.00

Three Counties Showground, Worcestershire, WR13 6NW.

Sunday 8th December

Cash only entrance: 7.30am-3.30pm - £5

Tel: 01636 676531 www.b2bevents.info

Sandown Antiques Homes & Interiors Fair Sandown Park Racecourse, Sandown Park, Portsmouth Rd, Esher, Surrey KT10 9AJ

FREE ADMISSION & PARKING 2019 Market Dates: December

FREE

VALUATIONS & APPRAISALS

Open Tuesdays 7am-1pm Tuesday 3rd

2020 Market Dates:

Open Tuesdays 7am-1pm April

Tuesday 7th

October

Tuesday 6th

July

Sunday 19th

August

Sunday 30th

Further dates

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GallowayFairs @GallowayFairs Helping to raise money for

National Glass ss Fair SUNDAY 10 NOV

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Offering Inside Stalls, Inside Furniture Pitches and Outside Stalls

Tel/Fax: 01423 522122 Mobile: 07966 528725 Email: susan@gallowayfairs.co.uk

W. MIDLANDS B92 0EJ

9

Sunday 31st

97

May

“Vintage Inspiration to adorn your home”

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Sunday 16th

www.gallowayfairs.co.uk

NATIONAL MOTORCYCLE MUSEUM

Open Sundays 10am - 3pm February

Admit TWO for the price of ONE with this advert

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Bookings & Enquiries: 01932 230946 Free admission & Parking. enquiries@sunburyantiques.com www.sunburyantiques.com

Tel: 07887 762872

glassfairs.co.uk ANTIQUE COLLECTING 59

1 Tristram Hillier RA (1905-1983) Guijo de Calisteo, signed, oil on canvas.

Exhibitor: Freya Mitton

1

2 A Boulle mantel clock, English, with white enamel face and eight-day French movement.

Exhibitor: Mark Goodger

6

3 Early 19th-century continental centre table with marquetry top.

Scandanavian, c. 1810.

Exhibitor: Wakelin & Linfield 4 Auguste Cain (1822-1894) Crowing Cockerel, 1880.

Exhibitor: David Hickmet Fine Arts 5 A ruby and sapphire twist dress ring, 9ct yellow gold, 1970.

Exhibitor: Saul Greenstein

2 5

6 An ormolu lion’s head furniture mount, French.

Exhibitor: Matthew Holder 7 A 19th-century pair of Regency fire screens, rosewood, English c. 1830.

Exhibitor: S&S Timms 8 A Chinese pseudo tobacco leaf platter, Qianlong period, c. 1760 Exhibitor: Philip Carol 9 A rare Maurice Dufrene armchair, French, c. 1930.

Exhibitor: RKade 10 Dorothea Sharp (1874-1955) Summer Holiday, oil on board, signed lower left, 13¾ x 15¾in.

Exhibitor: Haynes Fine Art 11 A tortoiseshell sewing box and a selection of sewing tools (three of which bear an enamelled pansy, the famed Palais Royal trademark), c. 1820.

Exhibitor: Hampton Antiques 12 A gold bracelet by Bent Exner (1932-2006), Denmark.

Exhibitor: Grasilver

60 ANTIQUE COLLECTING

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ANTIQUE COLLECTING 61

AUCTION Calendar Because this list is compiled in advance, alterations or cancellations to the auctions listed can occur and it is not possible to notify readers of the changes.

We strongly advise anyone wishing to attend an auction especially if they have to travel any distance, to telephone the organiser to confirm the details given.

LONDON: Inc. Greater London Bonhams, New Bond St., W1 020 7447 7447 www.bonhams.com The Robert S. Huthart Collection of Iwami Netsuke - Part II, Nov 6 Fine Chinese Art, Nov 7 Fine Japanese Art, Nov 7 Masterpieces of Japanese Art from a Royal Collection, Nov 7 The Greek Sale, Nov 13 Modern British and Irish Art, Nov 20 Nicky Haslam – The Contents of The Hunting Lodge, Nov 20 Important Designs, Nov 27 The Russian Sale, Nov 27 Fine and Rare Wines, Nov 28 Antiquities, Nov 28 Bonhams, Knightsbridge, SW7 020 7393 3900 www.bonhams.com Asian Art, Nov 4-5 British and European Art, Nov 12 Medals, Bonds, Banknotes and Coins, Nov 13 Decorative Arts and Design, Nov 13 Watches and Wristwatches, Nov 19 Fine Glass and British Ceramics, Nov 20 Knightsbridge Jewels, Nov 20 Antique Arms and Armour, Nov 27 Modern British and Irish Art, Nov 27 Modern Sporting Guns, Nov 28 Chiswick Auctions, 1 Colville Rd, Chiswick, W3 8BL 020 8992 4442 www.chiswickauctions.co.uk Asian Art, Nov 11-12 Design and Interiors, Nov 19 Rugs and Carpets, Nov 20 Books and Works on Paper, Nov 20 Christie’s, King St., SW1 020 7839 9060 www.christies.com Fine Chinese Ceramics and Works of Art, Nov 5 The Collector: English and European Furniture, Nov 13 The Collector: Silver and 19th Century Furniture, Sculpture and Works of Art, Nov 14 Handbags and Accessories, Nov 19 Modern British Art, Nov 21

62 ANTIQUE COLLECTING

Important Russian Art, Nov 25 Important Jewels, Nov 27 Russia: Important Books and Manuscripts, Nov 27 Fine and Rare Wines, Nov 28 Roseberys, Knights Hill, SE27 0JD 020 8761 2522 www.roseberys.co.uk Design: Decorative Arts 1860 To The Present Day, Nov 4 Chinese, Japanese and South East Asian Art, Nov 11 Jewellery and Watches, Nov 20 Old Master, 18th and 19th Century Pictures, Nov 21 Fine and Decorative, Nov 22 Sotheby’s, New Bond St., W1 020 7293 5000 www.sothebys.com Style: Silver, Ceramics and Gold Boxes, Nov 11 20th Century Art: A Different Perspective, Nov 4-12 Travel, Atlases, Maps and Natural History, Nov 12 Irish Art, Nov 19 Modern and Post-War British Art, Nov 19-20 Russian Works of Art, Nov 26 Russian Pictures, Nov 26 Fine Jewels, Nov 26 SOUTH EAST AND EAST ANGLIA: Inc. Bedfordshire, Cambridgeshire, Essex, Hertfordshire, Kent, Norfolk, Suffolk, Surrey, Sussex Bellmans, Newpound, Wisborough Green, Billingshurst, West Sussex, RH14 0AZ 01403 700 858 www.bellmans.co.uk The Saturday Sale, Nov 16 Interiors, inc. Fine Asian Ceramics and Works of Art and Clocks, Nov 19-21 Bishop and Miller, 19 Charles Industrial Estate, Stowmarket, Suffolk, IP14 5AH 01449 673088 www. bishopandmillerauctions.co.uk Toys, Advertising and Posters, Nov 8 Music and Memorabilia, Nov 9

Mr Bishop’s November Auction, Nov 12 Fine Jewellery and Watches, Nov 30 Boningtons, High Rd, Epping, CM16 5HW 020 8508 4800 www.boningtons.com Antiques and Interiors, Nov 4, 18 Fine Art and Antiques, Nov 27 Cheffins, Clifton House, 1&2 Clifton Road, Cambridge, CB1 7EA 01223 213 213343 www.cheffins.co.uk Interiors with Toys, Nov 14 The Fine Sale, Nov 27-28 Ewbank’s, London Rd, Send, Woking, Surrey. 01483 223 101 www.ewbankauctions.co.uk Antique and Collector’s, Nov 6 Asian Art, Nov 7 Vintage Fashion, Textiles and Sewing, Nov 7 Jewellery, Watches and Coins, Nov 27 Silver and Fine Art, Nov 28 Antiques, Clocks and Antique Furniture, Nov 29 Keys, Aylsham, Norwich, Norfolk, NR11 6AJ www.keysauctions.co.uk Antiques and Interiors, Nov 26 Three-Day Winter Fine Sale, Nov 27-29

01279 817778 www.sworder.co.uk Asian Art, Nov 8 Homes and Interiors, Nov 12, 26 Fine Jewellery, Watches and Designer Handbags, Nov 19 The Pedestal, Moor Park Mansion, Rickmansworth, Herts, WD3 1QL 0207 2812790 www.thepedestal.com Fine Interiors, Nov 19 Toovey’s, Spring Gardens, Washington, West Sussex, RH20 3BS 01903 891955 www.tooveys.com General, Nov 5-8 T.W. Gaze, Diss, Norfolk 01379 650306. www.twgaze.com Antiques and Interiors, Beswick, Nov 1 Modern Design, Nov 2 Antiques and Interiors, Period Oak, Nov 8 Antiques and Interiors, Nov 15, 29 Architectural Salvage and Statuary, Nov 16 Antiques and Interiors, The Coin and Card Sale, Nov 22 Militaria, Nov 23 SOUTH WEST: Inc. Berkshire, Buckinghamshire, Cornwall, Devon, Dorset, Gloucestershire, Hampshire, Isle of Wight, Oxfordshire, Somerset, Wiltshire

Lacy Scott & Knight, 10 Risbygate St, Bury St Edmunds, Suffolk, IP33 3AA. 01284 748 623 www.lskauctioncentre.co.uk Home and Interiors, Nov 9 Toys and Models, Nov 16

Amersham Auction Rooms, Station Rd, Amersham-on-theHill, Bucks.

01494 729292 www.amersham auctionrooms.co.uk General, Nov 7, 14, 21

Rowley Fine Art, 8 Downham Road, Ely, Cambridgeshire, CB6 1AH 01353 653020 www.rowleyfineart.com Antique and Later Furniture, Collectables, Nov 9

Bearnes Hampton & Littlewood, Okehampton St, Exeter, Devon 01392 413100 www.bearnes.co.uk Sporting and Collectors, Nov 6 Antiques and Interiors, Nov 12, 26

Sworders Fine Art Auctioneers, Stansted Mountfitchet, Essex

Charterhouse Auctioneers The Long Street Salesroom Sherborne, Dorset 01935 812277

www.charterhouse-auction.co.uk General, Nov 14-15

Chorley’s, Prinknash Abbey Park, Gloucestershire, GL4 8EU 01452 344499 www.chorleys.com Fine Art and Antiques, Silver and Jewellery, Nov 19-20

OX13 6BH, 01235 462840 www.mallams.co.uk The Home Sale, Nov 4 Phillip Serrell, Barnards Green Rd, Malvern, Worcs. WR14 3LW 01684 892314 www.serrell.com Fine Art and Antiques, Nov 7 General, Nov 21

David Lay Auctions Penzance Auction House Alverton, Penzance, Cornwall 01736 361414 www.davidlay.co.uk Household/General, Nov 5, 12, 19, 26

Plymouth Auction Rooms, Faraday Mill Trade Park, Cattledown, Plymouth, Devon, PL4 OSE. 01752 254740 www.plymouthauctions.co.uk Westcountry Art, Nov 13

Dawson’s Auctioneers 01628 944100 9 Kings Grove, Maidenhead, SL6 4DP www.dawsonsauctions.co.uk Antiques and Fine Art, Nov 23

Stroud Auctions, Bath Rd Trading Estate, Bath Rd, Stroud, Gloucestershire, GL5 3QF 01453 873 800 www.stroudauctions.co.uk Antiques and Collectables, Nov 6-7

Dominic Winter Auctioneers, Mallard House, Broadway Lane, South Cerney, Cirencester, Gloucestershire, GL7 5UQ 01285 860006 www.dominicwinter.co.uk Printed Books, Maps and Documents, Nov 6 Military, Naval and Aviation History, Medals and Militaria, Nov 7 Duke’s, Dorchester, Dorset 01305 265080 www.dukes-auctions.com Avenue Auction, Nov 12 Lawrences Auctioneers Ltd. Crewkerne, Somerset, TA18 8AB. 01460 703041 www.lawrences.co.uk General, Nov 6, 13, 20, 27 Motoring Literature, Automobilia and Historic Cycling, Nov 12 Militaria, Coins and Medals, Nov 14 Collectors, Sporting and Textiles, Nov 15 Mallams Oxford, Bocardo House, St Michael’s St, Oxford, OX1 2EB 01865 241358 www.mallams.co.uk Jewellery, Watches and Silver, Nov 13 Mallams Cheltenham, 26 Grosvenor St, Cheltenham.

Gloucestershire, GL52 2SG 01242 235 712 www.mallams.co.uk Country House, Nov 28 Mallams Abingdon, Dunmore Court, Wootten Road, Abingdon,

Windsor Auctions, Unit 18B Vansittart Estate, Windsor, Berkshire, SL4 1SE 01753 336859 www.windsorauctions.co.uk Antiques and Collectables, Nov 23 Woolley & Wallis, Salisbury, Wiltshire, SP1 3SU 01722 424500 www.woolleyandwallis.co.uk Fine Chinese Paintings, Nov 12 Japanese Works of Art, Nov 12 Asian Art II, Nov 13 Medals and Coins, Arms and Armour, Nov 20 British Art Pottery, Nov 27 Wotton Auction Rooms Ltd, Tabernacle Road, Wotton-Under-Edge, Gloucestershire, GL12 7EB 01453 844733 www.wottonauctionrooms.co.uk Antiques and Collectables, Nov 19-20 EAST MIDLANDS: Inc. Derbyshire, Leicestershire, Lincolnshire, Northamptonshire, Nottinghamshire, Sheffield Bamfords, The Derby Auction House, Chequers Road, Off Pentagon Island, Derby, DE21 6EN 01332 210000 www.bamfordsauctions.co.uk Silver, Jewellery, Toys and Collectables, Nov 12, 26

Antiques, Interiors, Ceramics and Glass, Nov 13, 27 The Bakewell Auction House, Peak Shopping Village, Chatsworth Rd, Rowsley, DE4 2JE, 01629 730920 Antique Furniture, Interiors and Collectors, Nov 6, 19 Batemans, Ryhall Rd, Stamford, Lincolnshire, PE9 1XF 01780 766 466 www.batemans.com The Vintage Home, Nov 2 Jewellery and Watches, Silver and Gold, Nov 15 Gildings Auctioneers, The Mill, Great Bowden Road, Market Harborough, LE16 7DE 01858 410414 www.gildings.co.uk Annual Aero Model Engine Auction, Nov 2 Toys, Model Railways and Memorabilia, Nov 11 Antiques and Collectors, Nov 12, 26 The Stamford Auction Rooms The Sale Room, Unit 7, Meadow View Industrial Estate, Uffington Road, Stamford, PE9 2EX 01780 411485 www.stamfordauctionrooms.com Jewellery, Silver, Watches, Gold, Antiques, Fine Art and Collectables, Nov 30 WEST MIDLANDS: Inc. Birmingham, Coventry, Herefordshire, Shropshire, Staffordshire, Warwickshire, Bigwood Auctioneers, Stratford-Upon-Avon Warwickshire, CV37 7AW 01789 269415 www.bigwoodauctioneers.com Antiques and Collectables, Nov 1 Furnishings, Interiors and Collectables, Nov 8, 15 Christmas Antique Sale with Collectables, Nov 29 Brightwells, Leominster, Herefordshire. 01568 611122 www.brightwells.com Two Day Fine Art Sale, Nov 13-14 Cuttlestones Ltd, Penkridge Auction Rooms, Pinfold Lane, Penkridge, Staffordshire, ST19 5AP 01785 714905 www.cuttlestones.co.uk

Antiques and Interiors, Nov 13 Winter Auction, Nov 28 Cuttlestones Ltd, Wolverhampton Auction Rooms, No 1 Clarence Street Wolverhampton, West Midlands, WV1 4JL 01902 421985 www.cuttlestones.co.uk Antiques and Interiors, Nov 6, 20 Halls, Bowmen Way, Battlefield, Shrewsbury, Shropshire, SY4 3DR 01743 450700 www.hallsgb.com Collective, Nov 6 Asian Art, Nov 20 Hansons, Bishton Hall, Wolseley Bridge, Stafford, ST18 0XN. 0208 9797954 www.hansonsauctioneers.co.uk Antiques and Collectors, Nov 2 Mid Century Interior Design, Nov 5 Locke & England, 12 Guy Street, Leamington Spa, Warwickshire, CV32 4RT 01926 889100 www.leauction.co.uk General, Nov 7, 14, 21, 28 Potteries Auctions,, Silverdale Enterprise Park, Newcastle, Staffs, ST5 6SS, 01782 638100 www.potteriesauctions.com 20th Century British Pottery and Collectors’ Items, Nov 9 NORTH: Inc. Cheshire, Co. Durham, Cumbria, Humberside, Lancashire, Greater Manchester, Northumberland, Tyne and Wear, Sheffield, Yorkshire Anderson and Garland Crispin Court, Newbiggin Lane, Westerhope, Newcastle upon Tyne, NE5 1BF 0191 430 3000 www.andersonandgarland.com Town and County, Nov 6, 20 Comics and Books, Nov 7-8 Capes Dunn, Charles St., Manchester. 0161 273 1911 www.capesdunn.com Interiors, Vintage and Modern Effects, Nov 11, 25 Jewellery, Silver, Watches and Gold Coins, Nov 12 European and Oriental Ceramics, Glass, Nov 26 Elstob & Elstob, Bedale Hall, North ANTIQUE COLLECTING 63

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.

End, Bedale, North Yorkshire DL8 1AA. 01677 333003 www.elstobandelstob.co.uk Fine Art and Antiques, Nov 24 Hansons, Heage Lane, Etwall, Derbyshire, DE65 6LS 01283 733988 www.hansonsauctioneers.co.uk Antique and Collectors’, Nov 14-20 Coins, Nov 21 Medals and Militaria, Nov 22 Historica and Metal Detecting Finds, Nov 25 Hartleys, Victoria Hall Salerooms, Little Lane, Ilkley, West Yorkshire, LS29 8EA. 01943 816363 www.andrewhartleyfinearts.co.uk Fine Wines, Port and Whisky, Nov 15 Fine Art, Nov 27 Paul Beighton, 16-18 Woodhouse Green, Thurcroft, Rotherham,

South Yorkshire, S66 9AQ 01709 700005 www.pbauctioneers.co.uk Antiques and Collectables, Nov 4, 18 Antiques and Interiors, Nov 25 Peter Wilson Fine Art, Victoria Gallery Market St, Nantwich, Cheshire. 01270 623 878 www.peterwilson.co.uk Interiors, Nov 7 Coins, Tokens and Banknotes, Nov 7 Fine Art, Nov 20 Sheffield Auction Gallery, Windsor Road, Heeley, Sheffield, S8 8UB. 0114 281 6161 www.sheffieldauctiongallery.com Coins, Stamps, Postcards and Banknotes, Nov 7 Antiques and Collectables, Nov 8, 22

Vinyl Records and Music Ephemera, Nov 22 The Household Auction, Nov 23 Tennants Auctioneers, Leyburn, North Yorkshire. 01969 623780 www.tennants.co.uk Antiques and Interiors, Nov 8, 22 Autumn Fine Art, Nov 16 Costume, Accessories and Textiles, Nov 22 Toys and Models, Sporting and Fishing, Nov 27 SCOTLAND Bonhams, Queen St, Edinburgh.

0131 225 2266 www.bonhams.com Asian Art, Nov 14 Jewellery, Nov 28 Lyon & Turnbull, Broughton Pl., Edinburgh. 0131 557 8844 www.lyonandturnbull.com

Five Centuries: Furniture, Painting and Works of Art from 1600, Nov 20 Select Jewellery and Watches, Nov 21 WALES Anthemion Auctions, 15 Norwich Road, Cardiff, Wales, CF23 9AB 029 2047 2444 www.anthemionauction.com Fine Art, Antique and Collectors, Nov 20 Peter Francis Towyside Salerooms, Old Station Rd, Carmarthen, SA31 1JN 01267 233456 www.peterfrancis.co.uk Autumn Fine Sale, Nov 6 Antiques and Collectables, Nov 20

NOVEMBER SPECIALIST SALES gildings auctioneers

TOYS, MODEL RAILWAYS & MEMORABILIA Monday 11th November at 10am

ANNUAL AERO MODEL ENGINE AUCTION Saturday 2nd November at 10.30am

ANTIQUES & COLLECTORS INCLUDING MILITARIA Tuesday 12th November at 10am

GILDINGS AUC TIONEERS, THE MILL, GREAT BOWDEN ROAD, MARKE T HARBOROUGH LE16 7DE WWW.GILDINGS.CO.UK | TELEPHONE : 01858 410414 | EMAIL: SALES@GILDINGS.CO.UK

64 ANTIQUE COLLECTING

NEXT AUCTIONS:

Works of Art, Antiquities Nov. 13 - 14, 2019 LIVE AUCTION

Nov. 21, 2019 ONLINE AUCTION

Agate necklace and brooch early-mid 19th century Estimate £600-800

Next Auction 20th November 2019

Lot 2531 An exceptional Italian Renaissance head of a saint, early 17th century

Further information:

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

Three Day Winter Fine Sale

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04.10.19 08:34

Wednesday 27th, Thursday 28th & Friday 29th November 2019

Russian (Gardener Factory) Porcelain Figures of Peasants Estimate £500 - £700 www.keysauctions.co.uk | salerooms@keysauctions.co.uk 01263 733195 | Palmers Lane, Aylsham, Norfolk, NR11 6JA ANTIQUE COLLECTING 65

LAST WORD Marc Allum Stick around: there is only 35 years to the bicentenary of the Charge of the Light Brigade

The sinking of the Titanic in 1912 put the event on the collecting calendar

most anticipated. The sinking of the Titanic and, more recently, the Suffragette movement, culminating in votes for women in 1918, have seen a significant rise in interest, along with WWI and WWII

Marc My Words

I

Anniversaries are catnip to collectors, writes Antiques Roadshow specialist Marc Allum as he considers what the calendar has in store

’m constantly asked what’s the next big thing or what should people invest in. If only I knew and had the funds to invest, I would be a multi-millionaire.

A financial advisor once asked me why I didn’t sell the contents of my house and retire. But, to a collector, that kind of logic is highly flawed because – without the objects you have carefully amassed – you feel as if you no longer have any worth.

While I might ignore my own advice, I frequently advise collectors to acquire a varied portfolio. Like stocks and shares, when it comes to collecting, it’s worth spreading the risk. We all know that antique furniture, the staple ‘Rolls-Royce’ share of

The popularity of collectables like this Merrythought teddy bear increases on anniversaries

yesteryear, long ago ceased to produce significant returns. So creativity is called for these days and what better than the ‘anniversary’ investment portfolio?

CHOOSE WELL In principle it sounds like a winner, and it can be if you play it correctly and pick your anniversaries carefully.

Firstly, make sure they are historically and socially acceptable. Mostly, these types of anniversaries revolve around dramatic battles, such as Nelson’s victory at Trafalgar (1805), or the defeat of Napoleon at Waterloo (1815). While both of these are now deemed ethically and morally acceptable in collecting terms, you have, sadly, missed them. The numerical significance is also important. Hundred year, or bicentenary anniversaries, are

‘In principle it sounds like a winner, and it can be if you play it correctly and pick your anniversaries carefully. Firstly, make sure they are historically and socially acceptable’ 66 ANTIQUE COLLECTING

MOON LANDING The question is, what do you buy and how do you go about selling it? Naturally, items of quality can be in short supply and also expensive – serious collectors don’t just wait for an anniversary to buy and sell these precious snapshots from history.

Anniversaries are also about creating markets, so it’s important to know who’s planning what in terms of specialist sales so that you can monopolise on any upturn in value. Be creative. Sometimes the market also gets a little flooded, as was the case with this year’s 50th-anniversary of the Moon landing, when a lot of later-signed and ‘made-up’ material hit the market.

So what are my tips for future investment opportunities? The Battle of Balaclava and the Charge of the Light Brigade has its bi-centenary in October 2054. While I might not be around for it, the sword I own, which is purportedly from the battle, will be.

Marc Allum is a specialist on the BBC’s Antiques Roadshow and the author of several books on collecting.

The doomed vessel sank four days into the ship’s maiden voyage from Southampton to New York City

5 – 10 NOVEMBER 2019

Opening Soon Private Preview: Monday 4 November 3pm – 9pm

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1965 Rolex GMT-Master Pepsi Estimate: £15,000 William George & Co

George IV silver candlesticks Estimate: £350–520 Adam’s

Coffee table, Herman Miller Estimate: £760–1,150 Wright

Marble bust Late 19th/early 20th century Estimate: £11,500–15,500 Christie’s

Sear c 2000 h over a uct hous es fr ion om over the w all orld Andy Warhol, Mick Jagger Estimate: £30,000–50,000 Sotheby’s

Pumpkin, Yayoi Kusama (b.1929) Hammer price: £550 Forum Auctions

Hermès bag Kelly Starting price: £7,500 Stockholms Auktionsverk

Your search for art, design, antiques and collectables starts here

May Day V, Andreas Gursky Estimate: £450,000–650,000 Phillips

Mahogany dresser Estimate: £500–660 Uppsala Auktionskammare

Swivel chair by Hans J. Wegner Estimate: £2,460–3,300 Bruun Rasmussen

Style of Serge Mouille, ca. 1950s Estimate: £300–460 Rago Arts

Edwardian Art Noveau frame Estimate: £200–300 Tennants

Emerald cut diamond ring Fixed price: £27,400 Once Upon A Diamond

Without title, Alexander Calder Estimate: £430–600 Artcurial

Edwardian arm chair, ca. 1910 Fixed price: £3,850 Wick Antiques

Find the true value of your treasures - only £13. Visit barnebys.co.uk/valuation