Issue 10- The Legacy of Craftsmanship

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Inherited.

Tuesday Riddell: Contemporary Japanning Artist

Interview with Amy Burton of Hancocks

Interview with Mark Purllant, BADA Art Prize 2023 winner

The Legacy of Craftsmanship

CONTRIBUTORS

Editor: Beth Hodges

Selected Photography and Design: Tingshan Liu

With thanks to the following Contributors: To Tuesday Riddell for her detailed interview on the craft of Japanning and to Martin Weller for his fascinating article on the history of the craft. To Rainier Schraepen for giving our readers insight into being a dealer for Butchoff! To Amy Burton, Creative Director at Hancocks for her enjoyable piece about designing stunning jewellery pieces. To Mark Purllant for talking to us about his life and work as an artist, sculptor and craftsman. To the BADA members whose images are featured within this issue.

For Media and Press enquiries, please email: media@bada.org

For further information about joining BADA Young Friends, please email: bethany@bada.org, or call 020 3876 0147

For further information about contributing to Inherited., please email: bethany@bada.org

Follow us on Social Media: @bada1918, @badafriends

Please note, the opinions shared in Inherited., are not held by the British Antique Dealers' Association and those expressed are those of the contributing individuals. Inherited . All Rights Reserved

4 / Letter from the Editor, Beth Hodges

5 / Tuesday Riddell: Contemporary Japanning Artist

14 / The Maker’s Series: Japanning

16/ Interview with Amy Burton of Hancocks

30 / Meet the Dealer: Rainier Schraepen of Butchoff Antiques

33 / Interview with Mark Purllant, BADA Art Prize winner, 2023

Letter from the Editor: Beth Hodges

Dear Reader,

Welcome back to Inherited. for the Legacy of Craft issue, which believe it or not is the tenth edition of the magazine! To celebrate this milestone, we are re-focusing on the main goal of the magazine- to gain an appreciation of the craft behind the objects that we consider to be, or one day will be, antiques. We hope you enjoying reading this issue and that it brings you some inspiration for your home décor or your own creative endeavours during these autumn months.

We begin by speaking to contemporary Japanning artist, Tuesday Riddell who has immersed herself in the world of the 17th Century craft. We are also privileged to speak to the creative director of Hancocks, Amy Burton who tells us about her journey to becoming a designer, as well as the inspiration behind her Disorient collection!

We bring you another edition of ‘Meet the Dealer, where we speak to Rainier Schraepen of Butchoff Antiques who tells us about his own collection of antiques and gives you his tips and tricks for beginning to collect for yourself.

Finally, we catch up with Mark Purllant- the BADA art prize winner, 2023. He updates us on his upcoming projects, as well as telling us about his creative processes and experimentation with materials.

As always, do let us know if there is anything you would like to see in upcoming issuesInherited. is curated by you!

For more information on membership to BADA Young Friends, email Co-Ordinator, Beth Hodges at bethany@bada.org or call 020 3876 0147.

Tuesday Riddell: Contemporary Japanning Artist

B: Firstly, please could you introduce yourself and your practice to our readers who are unfamiliar with your work?

T: I’m Tuesday Riddell, a Londonbased artist, and I practice a technique called Japanning, an endangered 17th century form of European lacquer work. I use this technique to create artworks that explore the forest floor, inspired by the Sottobosco painters of the 17th century.

B: Could you talk me through a few of the techniques applied in your work?

T: The main techniques I use are lacquer work and gilding. My process begins with a gessoed board, onto which I build up 25-30 layers of black lacquer to create a shiny, black mirrored surface. I then gild images on top of this surface and paint them with layers of shade and line before polishing them and sealing with shellac. Occasionally, I incorporate shell inlays into my work, and I have also explored a technique called Coromandel, where the lacquer is carved to reveal the gesso underneath, which is then dyed, leaving a colourful carved image surrounded by black lacquer.

B: What advice would you give to budding artists on how to develop confidence in their own practice?

T: If things don’t feel or flow right, try different techniques and materials, to switch things up. I think changing mediums takes your mind and hands in a different direction so new ways of working and making come out of it I never in a million years would have thought that my oil paintings and sculptures that weren’t quite working were actually meant to be expressed through a 17th-century lacquer technique! I also think it’s important to just create the work without worrying about how to explain it. I used to spend too much time overthinking what I would say about a piece or where the idea came from, but my favourite pieces often come from painting a shape or plant or insect I like then the piece grows out naturally around it. So, I’d say, focus on making things rather than stressing over how to talk about them

B: What would you say is the most important aspect of quality craftsmanship?

T: To me, the most important aspect is being curious about learning, understanding, and getting a feel for your materials. It’s also important to care about the tiny details, even if no one else notices and always be determined to make your work that little bit better.

B: Within Inherited., we like to give the space for creators to speak about their peers and other work they admire. Could you name a couple of painters/artists you think our readers should take a look at?

T: There are too many to name but I recently visited Diane Chappalley's studio and adore her ceramic flowers and paintings, which reflect on our capacity for rebirth, and our relationship with the natural world. I also recently saw a beautiful show at Castor Gallery, ‘The Nature of Things’ and especially loved the works of Robin Mason, Georg Wilson, and Jane Hayes Greenwood. I’m a sucker for dreamy, otherworldly symbolic pieces with a touch of darkness, so it was such a treat!

B: There is an eeriness to your work that lingers with the viewer- could you tell us about your influences in this aspect of your work?

T: There’s an eeriness and darkness to most of the things I find beautiful, in films, books, music, and fashion. It’s the darker elements that have always woken up my imagination the most, so naturally, I think that comes through in the atmospheres of my own work. This explains why I was so attracted to the Sottobosco painters- they paint the forest floor, and they are very dark, atmospheric and enchanting scenes.

B: Could you tell us about how you develop the imagery for your piecesdo you work from photography?

T: I mainly work from my imagination and prefer for ideas to evolve as I go. My approach is quite intuitive, but I also spend a lot of time filming and taking photos in nature. If something in my mind is sparked by something I’ve seen on a walk, but I can’t quite recall a gesture or shape I’m trying to create, I’ll jump back into those images and videos.

B: How do you see your work developing in the future? Do you have any new projects on the horizon?

T: I’m working on a larger scale now with triptychs and polyptychs, which allow me to expand and travel the works across multiple boards. The technique is always evolving. Each year, the finish changes significantly, along with my understanding of the materials. I feel like I’m constantly learning, and the works are growing and changing. I currently have some exciting group shows at Pamela Salisbury Gallery in New York and the Homo Faber Biennale in Venice. In October, I’m co-curating a show at Painter’s Hall, where I’ll also be exhibiting three pieces, with the wonderful Painter Stainer company that funded the fellowship where I learned lacquer work and which I’m now a member of. Additionally, I’m working on a larger solo project for next year.

B: Your works are incredibly detailed- could you give us an insight as to how long your piece takes to create?

T: I work on many different pieces simultaneously, usually managing about 4 to 8 at a time due to drying times. It’s difficult to estimate how long each piece takes, as it varies Sometimes a tiny piece can take longer than a medium one, depending on what mood the lacquer is in (sometimes lacquer acts up with the temperature or weather). But for instance, my solo show of around 23 works took about 2 years to complete, but when I’m working on multiple pieces, it could take just a few months With such a range of sizes, it’s hard to give a definitive timeline.

B: Could you recommend to our readers some organisations, courses, or communities you think they should engage with, should they wish to pursue a career or interest in japanning?

T: City and Guilds of London Art School runs the Painter Stainer fellowship in Decorative Surfaces, where I was taught Japanning They also teach it as part of their conservation courses and have a wonderful community of tutors who teach the technique. I recently heard that the School of Stuff also offers workshops for people interested in learning.

B: Japanning has been included as an endangered craft on the Heritage Crafts Association website since 2021. Why do you think it is low on uptake as a craft and what would you say to creatives to convince them that it is a worthwhile craft to explore?

T: It’s incredibly time-consuming and labour-intensive. I think the low uptake is probably due to the pace of the world and the cost of being in it. I was incredibly lucky that the fellowship and Cockpit Radcliffe development award provided me with the time, studio space, and materials to experiment and practice. It’s very hard not to fall in love with the process and the effect and depth that building up so many layers creates, which I think makes it a beautiful craft to explore.

B: The world of conservation and restoration is integral to preserving the art form of japanning. You also depict wildlife and forestry in your works- a world that we are also desperately trying to preserve. Is there an intentional synergy between these ideas in your work?

T: It wasn’t intentional, it just happened that two things I love and care about naturally had a poetic relationship. Various aspects of Japanning felt like that for me, not just relating to conservation, like the symbolisms attached to gold, 17th century art and many others. I think I still would have fallen in love with Japanning even if this wasn’t the case, but there was definitely a feel of serendipity when I started using the technique to make my work, everything seemed to start clicking into place.

B: How do you create such depth within your pieces, with the relatively restrictive colour palette of gold and black?

T: I actually love having limitations in my work. I always struggled with colour in my oil paintings, which often felt overwhelming and didn’t feel very ‘me’. It felt a bit forced, so having the options stripped back has been incredibly freeing for me. It allows me to focus more on exploring line and layers and I enjoy layering lustre powders and paints, as well as playing with the negative space of the lacquer, to create depth in my pieces.

B: How does your work differ from traditional japanning pieces?

T: I use different imagery in my own pieces, that wouldn’t be considered to fit the traditional practice. In traditional japanning, craftspeople would replicate the imagery of landscapes and popular motif’s found in East Asian lacquer works. In contrast, my imagery comes from what I previously painted in oils, focusing on British nature and the forest floor. I often call my work European lacquer work because although technically the technique is Japanning, my imagery isn’t

B: The lacquer in your work and the gold itself is reflectivecould you talk about how your work changes and interacts with the light and is it difficult to display your pieces in a gallery environment?

T: My works are very reflective and change throughout the day with the sun and night. During the morning they are quite sharp then become very beautifully soft and warm during the evenings. At nighttime I feel like the pieces have a ghoulish quality and the leaf, even when the studio lights are out, manages to pick up light and glows from the darkness, it’s very spooky !

I actually love the way they are illuminated by gallery lighting as it gives them an almost religious or sacred quality with the gentle glow. Often, the light in my studio is dappled through the trees, which adds a lot of movement to the pieces, whereas gallery lighting fosters a beautiful sense of stillness.

B: What do you think it is about japanning pieces that has appealed to collectors over the years?

B: What is your favourite piece you have created, and could you describe it to us?

T: I have many for different reasons and change my mind quite a lot I’ve just made a piece that I had so much fun with of a cat in the shadows of hollyhocks. I really enjoy repetitive gestures so appreciated painting so many leaves and fur. It’s not finished yet so who knows, something else could steal all my attention instead.

T: I think it’s the magical feel of them, they have a jewel-like quality, akin to precious treasures. With thanks to Dominick Soar for his photography.

The Maker’s Series: Japanning

Japanning is the term given to the European practice of applying East Asian style lacquer work decoration to large items of furniture and household goods. The term originates from the late 17th century as the opening of trade routes in the East triggered an interest in Chinese and Japanese fashions in Britain, France, Italy and the Netherlands.

European japanning differs from traditional East Asian lacquerwork which uses sap from the ‘Toxicodendron vernicifluum’ tree, also known as the Chinese lacquer tree, which is not indigenous to the West. Instead, japanned furniture in Europe and North America uses resin-based varnishes, similar to Shellac.

The seminal work on the subject was ‘A Treatise of Japanning and Varnishing: Being a Compleat Discovery of Those Arts’, by John Stalker and George Parker, first published in 1688. The book not only offers recipes for creating lacquers and guides to their application, but even includes a series of illustrated designs for readers to copy.

Japanned items usually use a rich black lacquer which is then highly polished to create a smooth glossy finish. Eastern motifs are then added, predominantly in gold which contrasts powerfully with the rich dark base

Although black is the most common base colour, it is not unusual to find japanned items in red, green and even blue, such as the examples illustrated in this article.

In its earliest form in Europe, the art of japanning was encouraged as a suitable pastime for wealthy young ladies with publications such as “The Art of Japanning: Varnishing, Pollishing, and Gilding ... by Mrs. Artlove” proving immensely popular upon its release in 1730.

By the mid-18th century examples of japanning could be seen on items of fine furniture, trays and all manner of chests and boxes throughout the manor houses and country seats of England. Indeed by 1760 the fashion had become so popular that more than 20 firms operated professionally in Wolverhampton alone.

Soon commercial companies were applying the art of japanning to a vast range of household objects and demand for their products remained popular throughout the Victorian era, with some firms continuing production well into the 20th century.

These days artists skilled in the craft of japanning are in sadly short supply and work predominantly in the field of restoration and conservation. Perhaps more concerning was the inclusion of Japanning as one of 74 endangered crafts on the Heritage Crafts Association’s Red List of 2021.

Amy Burton of Hancocks

B: Firstly, please could you introduce yourself and your practice to our readers who might be unfamiliar with Hancocks and your designs?

A: My name is Amy Burton and I’m the Creative Director at Hancocks and one of its owners. Hancocks is a family run business and it was established in 1849. It’s been run by my family for over 30 years and this year marks Hancocks’ 175th year. It has a beautiful heritage and legacy of fine jewellery, silver, manufacturing, creating, buying and selling. We have recently moved to a new premises on St James’s Street which we are really excited about.

B: What defines you as a creator and designer in your field?

A: A difficult question! For a long time I tried to define myself as a designer and find what that meant, but now I’ve stopped. For me now, that no longer matters, I design what I feel is right, what I love and everything is from the heart. I no longer seek what that definition is as I don’t like to keep my designs contained and I don’t feel the need to have all the answers anymore Everything I design and create is in keeping with Hancocks, because the ethos is so deeply entwined in my being, with my family, I just follow my gut! I think once I stopped trying to battle with myself, things became a lot easier in terms of design. Everything I design will connect to the heritage, the craftsmanship and the values we hold dearly at Hancocks. There will be a logical reason for every aspect of my designs that will tie into the legacy of the company When I was younger I found it very difficult, I was trying so hard to be different, but I’ve realised now that I didn’t need to do that- I could just be myself, and that’s enough. My creativity and designs definitely benefit when I do not have an internal battle going on, feeling not enough or getting into the dark world of comparison. The most creative I’ve felt is since I’ve let go of all of that! I’ve made mistakes, sure, everyone has – it’s part of the journey! If someone says they haven’t they’re probably delusional! There are very early pieces I designed that I would happily take a hammer to now!

Sometimes it’s an explorative experience and being on the same wavelength about expectations and outcomes are key. For my Disorient range, there is only one person who has ever made the pieces with me and I don’t think I would ever work with anyone else on this collection.

In hindsight, I do wish I had some experience at the bench. If I could go back in my career, I would have liked a little experience in this aspect. I wouldn’t have tried to reach the amazing levels of expertise that the individuals who make my jewellery have, but it would have given me some interesting insight and there’s nothing I love more than learning!

B: What would you say is the most important aspect of quality craftsmanship?

A: Being incredibly detail orientated is paramount for me with craftsmanship Everything I have learnt from the antique and vintage jewellery world, I apply to my own pieces because I want to have respect for my own pieces. I’m not going to settle for anything that isn’t perfectly crafted in my eyes, so communication and understanding with our Craftspeople is essential I designed a honeycomb ring recently and there were so many conversations about which tiny angles to polish and which to leave brushed, which may seem such small details in the context of the finished article but it’s about these small details that create the whole.

B: What is your earliest memory relating to your love of jewellery and gemstones?

A: I’ve always been surrounded by jewellery as long as I remember! My Dad used to take me to Portobello market when I was little. One of the stories I’ve been told is from when I was quite little, less than 10 years old I apparently had some very strong opinions about what my Dad should or should not buy… if a piece was missing a diamond or anything that would need a tiny repair, I was not a fan! To manage this he would apparently have to leave me on another dealer’s stand on the market so that he could sneak back and buy in peace without my loud and embarrassing tantrums! Guy and I both remember always being the official cabinet cleaners at all the fairs we visited as children. We were always handed a Windowlene bottle and some cloths and got to work!

A jewellery moment that was instrumental for me was when I dropped out of university after a year and during the following months, I was really lost, and I didn’t have a clue what to do. We were never pushed by our parents to join them in the jewellery business, both Guy and I arrived here on our own. So, around this time, my Dad was going to a JAR exhibition, and he asked if I wanted to come along. It really had a profound effect on me- it was amazing. At that time, I was young, and I didn’t know anything really about jewellery or who JAR was, but it was different to anything I had seen before, and it really sparked a deep joy in me seeing those jewels. I have never ever forgotten the impact that exhibition had on me.

B: Could you talk about the steps you took in order to learn the skills applied in your work today?

A: My first step was to do an apprenticeship in New York at Paul Fisher Inc. I’m so proud to have been a Paul Fisher Inc. apprentice, they have had many over the years, including some real legends in the trade, it was an honour to have that opportunity I wasn’t working in this business at this point, I was actually a newly qualified beauty therapist. However, I was helping my parents at a trade show in USA, I couldn’t afford a holiday and was really in need of a break, so my parents invited me to join them at the show in Miami, the plan wasn’t for me to work all the time but I did and I loved it! During the show I talked with Marianne Fisher and she offered me the exciting opportunity to apprentice with them in New York. I handed in my notice as soon as I got home and moved to New York for six months. It was a great experience- very different to anything I knew before. It was very fast paced and exciting, with a lot going on and so much to learn.

The team in that office were amazing and were all so kind – I absolutely loved working there. When I returned, I did have insecurities about not having a university degree or anything like that, but I received a lot of encouragement and advice and was reminded that the best way to learn about jewellery was to handle it and gain experience.

In time I did do my FGA and DGA. I was scared about doing these because I always found science quite difficult. However, I need not have worried as I absolutely loved it. Having these qualifications helped me greatly with my own confidence The main thing in my opinion is to never stop learning. For the design aspect I did a course at GIA London. It was purely for hand drawing and painting then which I loved so much I believe they now only do the course mixed with CAD which I don’t personally use and never will, I like to keep it more old-school.

B: Could you tell us about a piece of jewellery that has stayed in your mind due to the quality of its craftsmanship?

A: I’m so lucky to say that there have been so many. Hancocks have had extraordinary pieces over the years. Some of my favourite from a craftsmanship point of view are some of the Art Nouveau jewels, I particularly have ones by Rene Lalique and Fouquet in my mind. These are pieces that could never dim in my mind’s eye. Their intrinsic value is not much really- but they are true masterpieces. Everyone understands masterpieces in terms of paintings, but people forget that some jewels are easily of equal standing and deserving of that term too.

B: You work closely with your brother, Guy. How do you divide the roles involved in the creation of jewellery collections at Hancocks?

A: We bring different skills to the table. Guy and I are seamlessly aligned in terms of our vision, where we want to be and our company trajectory. Working with family can certainly be difficult, but we’ve found what works for us and in a nutshell, that is allowing each other to do what we do best. Guy’s passion about old cut diamonds and gemstones is unparalleled, he really lights up talking about them. All of the rings etc. on the second floor, he knows each one down to every detail and I trust his opinion on stones 100% - I would never go and source a diamond for our collection! In terms of vintage pieces, my Dad and I source almost all of it. Guy does a bit, but he would usually defer to our thoughts on this area. We both defer to my Dad with his extensive experience and knowledge in the vintage world, he has this amazing natural instinct with fine jewellery. In terms of designing, Guy brings the gemstone, and I bring the ideas, but all our ideas, taste and inspirations are all very intertwined

B: Could you tell us about how you were inspired to create the Disorient collection?

A: Family, as always was a big part of my inspiration for designing it. We were on a family trip to Venice to celebrate my Dad’s birthday, we had visited so many museums We were at the Peggy Guggenheim museum and I was a bit overwhelmed and needed a break. I went outside and sat near those beautiful gates and it just came to me whilst looking at them. It felt very right, I took lots of photos and I got back home and designed the first ring For me it’s all about thinking outside the box and being open-minded to allowing different things to have an affect you. With Disorient, it may look chaotic, but it really isn’t at all. Every wire is placed very intentionally. Everything is so carefully considered. It’s funny because I really don’t like making ‘collections’. I like making individual pieces, but this one does seem to have continued to grow and evolve.

B: Could you describe your design style in three words?

A: My three words are: Uncompromising, considered and intricate.

With thanks to Hancocks for their beautiful imagery and selection of jewellery pieces.

B: What is the first thing you look for when sourcing a new gemstone?

A: I look for Guy and his box of treasures! You never quite know what you’re going to find in there. The idea for my honeycomb ring design was sparked by going through his box and spotting that lovely hexagonal diamond… I try not to rummage in there too often though as I get a little overwhelmed with my imaginary to-do list of designs that starts flashing up in my mind!

B: What is your most treasured piece of jewellery in your own private collection?

A: The pieces I wear daily are some of my most treasured items. I have my grandmother’s eternity rings on nowshe used to wear them all stacked together. There’s an emerald, a sapphire and a ruby one. I mix them up and wear them every day and think of her! She loved jewellery so much, she always wanted to know what we were making and doing. She passed a few years ago, so they are very important and significant for me. I have a beautiful antique diamond heart pendant that I was given for my 18th. I am into wearing chunkier pieces at the moment and I’m enjoying wearing yellow gold these days For example, the bracelet I am wearing right now, I wear a lot and it was given to me for my 21st birthday.

I do have an interesting story to one of my most treasured jewels - I was at the Miami trade show years ago and I had reached that boredom stage of the show so I decided to go for a stroll There are hundreds of stands there and I found myself on one I had never been before going through shoeboxes full of jewels. I spotted a locket pendant with hair in the back, I’ve always had a thing for Victorian mourning jewellery, I had this theory for a long time that a jewel that had been made with such strong sentiment and symbolism being found in the trade, indicates that its meaning has been forgotten. So I had been always wanting to find a mourning jewel that related to me in some way, something that spoke to me, my intention was to give it a new home which would honour the jewel and it’s original sentiment at the same time. I turned this locket over and to my surprise, it had my initials on it – ALB! It was also the most perfect and beautiful mourning jewel I have seen. The chain is enamel black with little roses, the ALB initials are all set in diamonds and has a tiny pearl drop. When I launched my very first range, back when I used to put my own name on the pieces instead of Hancocks, I used the exact ‘ALB’ design from the pendant I found as my logo. I wear it a lot. It was absolutely meant to be!

B: Have you always been interested in art and drawing?

A: I did A-level art at school and doing art has always given me a lot of joy. I had a period of time where I didn’t keep that part of my brain alive. It wasn’t until I decided to bring design and art back into my life as part of my career that I realised how much happier I was – it had left a real hole in my soul! I found that course I did at GIA really helpful to find my feet creatively again and I know I always need to nurture my creativity.

B: What is your favourite aspect of the design process?

A: My favourite part of the design process is when I’ve decided on a design, and I’m painting up the final design. I put on a podcast and honestly, I am truly so relaxed. Nothing else is happening, it’s completely meditative for me.

I do enjoy the earlier design stages too of course but I tend to have this moment when I just know what I want to design. I will adapt and evolve it of course but the initial idea usually does just jump out at me I am a strong believer that everyone has their own process and it does not matter how yours works, as long as it works for you.

For years I had a complete block and didn’t design anything at all outside of bespoke engagement rings when someone knew what they wanted. The creativity for myself was completely gone which was an incredibly painful experience which to be honest is a whole conversation in itself. I’m so happy to say it came back though and has done as a bit of a tidal wave. This is a little overwhelming, but I’m not complaining, I’m grateful for it I do, however, need to learn to focus and prioritise a little better!

B: Within Inherited, we like to give the space for creators to speak about their peers and other work they admire. Could you name a couple of jewellery designers and/or gemologists you think our readers should take a look at?

A: From a historical point of view I admire the work of so many, from Belperron to Verdura, Andrew Grima to Aldo Cipullo. It’s hard to pin down just a few as there are so many iconic historical designers. I find having a very sound knowledge of vintage and historic jewellery very useful, you can be inspired in the most wonderful ways by iconic legends. You can’t help but be influenced by the greats, but I would never dream of copying them. In terms of Contemporary designers, I have to say Francesca Grima. I’m going to sound biased, because she is my best friend (!) but putting our personal friendship aside and purely with my jewellery hat on, I love what she does. Having Andrew Grima as your father is quite something. In my opinion she honours her Father and his legacy in every design, because every jewel she designs is not only recognisable as Grima, but also undeniably Francesca. That’s a difficult balance to achieve. I have no doubt that he would be extremely proud of her. I think what she does is very hard because it’s difficult to feel compared or like you’re walking in someone’s shoes but what she does is truly so natural to her, and she does it all with incredible grace and humility. From a friendship point of view, she was also always a huge source of inspiration for me- when I was struggling, she was always there and is one of the reasons I kept going wanting to rediscover my creativity. I really enjoy the work of designers and jewellers today that when you see their jewels you know who made them – whether it is someone like Castro Smith or Michael of David Michael Jewels. They are both craftsmen and designers, they do it all and their artistry and talent is extraordinary in my opinion.

B: What advice would you give to budding designers or those who are interested in gemmology on how to develop confidence in their own practice?

A: Never stop learning! Ask questions and be inquisitive. People love talking about their own expertise so when you are around someone don’t be shy about picking their brains! Be a sponge. Get the gemology qualifications certainly but the value of experience and handling jewellery is the best education From a confidence point of view, I did learn a very valuable lesson by selling amazing vintage jewels before designing my own - I also learnt that there is no jewel in this world that will appeal to everybody. I have heard people criticising the most incredible, museum-worthy jewels from the world’s greatest jewellery houses. So now, if someone doesn’t like one of my pieces, to be frank, I really don’t care!

B: Your pieces could be considered as the antiques of the future. What do you ink about his and how do you think people will interpret your creations?

A: I would love to think people would treasure my jewellery for years to come. The main reason I create jewellery is for the joy it brings to people. Jewellery is a joyful thing. I find it hard to talk about my designs in such an elevated way, but I can say that every piece is made with such precision, craftsmanship and love. They will physically endure, and I all I can hope for is that they keep bringing joy You don’t need jewellery to breath, but it will bring a smile! That’s what we were aiming for with the new townhouse- we wanted it to be a lovely, enjoyable experience and we aim to nurture that at Hancocks.

Meet the Dealer

Rainier Schraepen of Butchoff Antiques

Get to know the people and personalities that make the BADA, as we delve into their businesses, passions, and insights on buying and collecting. Through a series of interviews, we uncover their stories and discover what drives them in the world of art and antiques.

Rainier Schraepen, from Butchoff Antiques.

Established in 1964 and located on Kensington Church Street in London, Butchoff Antiques specialises in 18th and 19th century English and Continental furniture, mirrors and related objects. This includes well-known cabinet makers of the period, such as Holland & Sons, Wright & Mansfield, Jackson & Graham and Gillow of London & Lancaster.

Could you tell us about your favourite piece currently in your stock and what makes it special?

One of our latest finds is an exceptional bronze coupe by Ferdinand Barbedienne. Not only is it of monumental proportions, but the design is also phenomenal and takes inspiration from ancient Roman basrelief panels. For me, discovering the initials of Charles Cauchois (Barbedienne’s premier bronze chaser) was a real thrill, and their presence suggests it may have been exhibited at the 1889 Paris Expo.

What would you say has been your biggest personal achievement in your career in fine art & antiques so far?

Together with Christopher Payne, Butchoff Antiques embarked on a journey to write, research & publish an up-to-date reference book about 19th century British furniture. Such a project had not been attempted since scholars such as Edward Joy were writing nearly half a century ago As dealers, we are privileged to come across such a broad range of pieces, and it is our responsibility to share our expertise and promote new learning.

How did you first discover your love for fine art and antiques?

I was studying Mechanical Engineering in Montreal, Canada, when I stumbled into a class called “The Language of Art” which forever changed my outlook on life and prompted me to pursue my studies in the History of Art.

Had you always wanted to work in the industry or did you have a career change?

I completed my Masters at the Courtauld focusing on the history of Dutch Golden Age art. From there, I transitioned into the industry, first in the Fine Arts, then discovering my love of the Decorative Arts.

Is there a house that you would love to design the interiors for/ furnish, or perhaps a client you would like to work with?

Without a doubt it would have been Jayne Wrightsman (1919-2019), the American philanthropist, arts collector, and veritable scholar who not only amassed one of the finest private collections of decorative arts in the US but, together with her interior designer Henri Samuel, presented the collection with impeccable taste!

Could you tell us your three top tips for buying and collecting antiques?

Buy what you love. Don’t be afraid to break the mould and find your niche. Lastly, value craftsmanship and novelty over brand names with clout.

Could you tell us about a recent visit to a gallery, exhibition or fair you have visited and enjoyed?

Everyone’s recent obsession is the Gabrielle Chanel exhibition at the Victoria & Albert Museum, and with good reason! Her studio’s early work from the 1910s1920s, especially the embroidery, can and should be celebrated as works of decorative art.

What is an experience or an object that has shocked or surprised you in your time collecting and dealing?

Oftentimes, it is the engineered aspects of a beautiful piece of furniture that surprise me most. A lacquer bureau plat of mine by Alfred Beurdeley contains a hidden mechanism allowing a single key to simultaneously unlock several drawers. I like to think Mr Beurdeley knew he would be surprising and entertaining audiences with his furniture for decades to come, even centuries.

Will you ever stop collecting or dealing?

I have never met an antiques dealer who ever stopped collecting, and I will certainly not be the first!

Do you have a collection in your home?

Of course, and it is very eclectic The collection includes 19th century furniture and a sprinkle of Art Deco. At home, I also indulge in my passion for Post-War Murano Glass lighting.

Who do you admire in the world of art and antiques and why?

Ian Butchoff, owner and director of the business, who has dedicated his whole life to finding, buying, selling, studying and sharing some of the greatest furniture and fine arts Europe ever produced.

What is an item that you wish you had never sold to a client and kept for yourself?

A faultless première-partie Boulle marquetry inlaid cabinet by CharlesGuillaume Winckelsen, dated 1869. Undoubtedly one of the finest pieces of furniture the 19th century every produced by one the century’s greatest pioneers.

What is your favourite appearance of an antique in a film, play or book?

My Boulle marquetry inlaid bureau plat by Toms & Luscombe, made for the 1862 exhibition, made its movie debut in 1962 in the first James Bond film, used in Dr No’s lair!

What events have you got coming up and where can we next view your stock?

We have a busy fair schedule, but conveniently our next showcase is just around the corner in Chelsea, at the Treasure House fair from 26 June – 2 July 2024!

Mark Purllant

Artist, Sculptor, Craftsman

B: Firstly, please could you introduce yourself and your practice to our readers who are unfamiliar with your work?

M: My name is Mark Purllant and I call myself an artist and a sculptor. I work with pretty much any material that I can get my hands on. For me, materials are really important, especially combining them. My particular interest is exploring how different materials respond to and react with each other.

B: What would you say is the most

aspect quality craftsmanship?

M: That’s an interesting question- I bang on about this all the time. It’s all about the fundamentals. I was incredibly lucky as I was brought up at the woodwork bench, by my father who was a woodwork teacher. For as far back as I can remember, I was taught how to work with wood, and I was shown how to use tools. When I was 8 or 9 years old, I was making mouldings for clocks. My dad had a pretty good workshop where he worked, so he had access to other materials, metal and plastics, which I could explore and work with too. The fundamentals are so important to learn, they form the basis for experimentation. They allow you to understand processes and where you might be able to make changes to them. The same is true for drawing and painting. I used to draw all the time when I was younger. I would copy Disney characters and draw perspective street scenes out of my head, using the fundamental principles I had been taught. I think these days, there is a tendency to rush the fundamentals. As a result, those people that know me, know that when it comes to artwork, I am hard to please! I look at something with a technical point of view, as well as an emotive one, and originality. I struggle to find that today, you don’t see the craftsmanship in the artistry. Recently I did come across someone who’s work I could look at for quite a while, not something I have done very often, but it clearly showed all the aspects I want to see in art.

I think we have lost, in contemporary artperhaps more so in the case of conceptual artwork, the value of skills. It doesn’t always seem to be considered, or of much importance. It’s all about the idea. Maybe it’s about making what people want to buy, or what’s on trend. For me, great artwork is found between two extremes. At one end, you have ‘pure craftsmanship’, i e the chair maker of old- pure craftsmanship, fantastic skills, making the same thing time and time again, beautifully crafted with a great knowledge of how to use their tools. And then, on the other end of the scale, you have philosophy. Artwork is somewhere in the middle. You could consider this balance as a seesaw, it will tilt differently, depending on what you’re creating. The seesaw might also have different strings attached at various points, pulling it in different directions. I guess part of me is trying to make the ultimate piece of artwork, which incorporates craftsmanship and philosophy in equal measures, as well as all the variables.

B: Could you tell us about some of the techniques involved in the creation of your works? For example, the bending and shaping of the wood elements in your pieces.

M: My father, after leaving teaching, went to do a course on traditional boat making and from that, he lectured on the same subject. I watched him planking the boats and helped him do the steam-bending. What I did, was learn the fundamental skill and then changed it and used the technique in ways that were unconventional. With steam-bending, I experiment with different types of wood Green oak of course is brilliant for this, but even the most unlikely of woods offer interesting results. I have a steambox and I will use this to steam wood that I have sawn into various dimensions Once steamed, the bending process is quite instinctive I don’t use a form, as I’m not looking for a specific type of curve. I bend the wood in my hands, and then I look for a way of keeping it in that shape, perhaps keeping it wedged between 2 things in the workshop or with clamps. I don’t like to force the wood to do something it doesn’t want to do. You can feel it bounce back or it wanting to snap or happy to oblige. It’s like having a dialogue with the wood. I have to say, that there is wastage as sometimes it all goes wrong, but I do like the risk, as often it can lead to adaption and different ideas I enjoy going off on a tangent, one that I didn’t anticipate.

B: With your sculptures, do you begin with aspect of bending the wood?

M: It differs. Some of the pieces are only about bending wood, but many others are about incorporating other materials. My piece, ‘Freedom’ had the bend as its backbone which started the whole sculpture There are other pieces that have no wooden elements until the very end, when I feel like it needs something else.

B: Your work feels very balanced and satisfying, like everything is doing what it’s supposed to.

M: I think aesthetics are very important. Beauty is important. I need to consider how the work makes me feel- this can be down to the balance, the form or the material components having a luscious quality. When I’m making, I ask how each piece relates to the next and if there is any tension and if so, I ask whether I need to add something else. I consider the connection between different elements. I’m very diplomatic with my materials and it’s important to me that they all have their own voice.

B: Balance and harmony are fundamental aspects of your works, especially in regard to your sculptures. Could you tell us how you reach the point in your creative process when this has been achieved and how you know when to walk away from a piece?

M: There’s not a starting point with my process, I don’t draw any of them out. They happen and I have no idea that I’m going to make a certain piece at the start. I’m constantly considering why I create the pieces I do, and I’ve come to the conclusion that they are purely a reflection of me- almost like self-portraits. Finding a balance in my sculptures is just part of that process Perhaps I’m the sort of person who looks at both sides of the coin and try to give a balanced analysis.

From a Judo perspective, the sport is all about balance, or lack of. When you have two human forms trying to throw each other, the important moment is kuzushi or break of balance. I’ve worked in Judo for a long time, with elite players where finite differences make a huge impact. This must make a difference in how I sculpt Another interesting element for me is the differences between Eastern and Western design. I have taken part in a few exercises which question how you look at something. It became really clear that I have more of an Eastern approach, more as a whole and holistically. I like describing looking at my pieces, like layers of an onion. You tend to have an instant reaction- the aesthetics and how they appeal. And then, there is the appreciation of craftsmanship and the relationships between the materials. Then it’s about the philosophy and narrative and finally it's about what you can’t see, the void or the space I want my pieces to ask questions.

B: Could you tell us about the process of adding colour and pattern to your pieces?

M: I think we have gone through a phase where we have had minimalism in sculpture and now, the process and methods of creating sculpture seem to be the most important This allows the material to speak about itself. Sometimes, I do this, but I feel sculpture is in a unique situation to ‘speak’ a lot more There is a lot more we can do with the surfaces and the finishes that can be applied to a sculpture. I think if I were to pick, oil painting is my passion. Consequently, I am somebody who is tempted to add splashes of colour here and there in my sculptures, this has progressed into full paintings in the sculpture. I have been criticised for going a touch too far, but I’m always tempted to do something that hasn’t been done before- it excites me.

B: You clearly have a respect for the materials you use in the way that you shape them and create form, but I do like it when you add colour, as it works as another way to create the relationships we spoke about earlier on in the interview

M: It’s about looking at why you are creating things. Some artists have a very clear message they are trying to communicate- immigration or climate change for example. I don’t have such a specific narrative, but I am talking about is all the things we encounter on a day-today basis, the bombardment and chaos we face. Somehow, we must find a way of making sense of it all, even when they seem so variable and at odds with each other.

B: Do you find that when your personal life is unbalanced, the artwork is difficult to make, or does it work the other way round for you?

M: I think it works in the opposite way. I heard an interview the other night with Nick Cave on Jo Whiley and she asked him a similar question about his writing. He felt that he had to go through hard times to achieve his best writing, because struggle brings you to an edge. I think that when you are comfortable, you make comfortable things. When you are being stretched in other ways, you will respond and it will show in your work as well. I have always liked the idea of doing something that frightens you every day. There are certainly some personal difficulties. An easy one to talk about are some of my Judo players who have gone through really hard times and who should be getting greater recognition and opportunities. It certainly created tension and bitterness, within me. I’m sure it comes out in my artwork.

B: Could you tell us about where you draw inspiration from for the movement and fluidity in your works?

M: My sister danced and my daughter dances as well. I have always sat in on her classes and I’ve spoken at length with her ballet teacher about certain things I have also got some of my Judo players to have a go at ballet, which was interesting, and I think this sort of experimentation helps you get better at certain things and inform your practice.

I think what dancers do is incredibly aesthetically pleasing. That’s what they’re aiming to do most of the time Their movements are so graceful, yet technically difficult and the strength required in their body is on another level. We take that for granted when we watch it. That’s something I relate to a lot. Unless something is a struggle, I don’t see it as worthwhile. Maybe that’s why I keep asking questions about my work- I like to make the struggle harder for myself by pushing it and making the balance harder to find. I liken it to a Tolkien adventure!

Some people see figures in my work, and some see an essence of a figure. The reality is that I subconsciously decide to do things in a certain way, because of who I am, the experiences I have had, in this case judo athletes and dancers. I choose not to over-analyse it, because that’s academia and I don’t enjoy it. For me it takes away the ability to look at things from a higher level. Maggie Hambling talks about this, and she says she just lets the brush do what it wants.

B: Could you tell us about the work you did prior to becoming a full-time artist and how it helped you develop the skills you use today?

M: I used to run a theming company- we created 2D and 3D artwork for themed environments. That included places like Alton towers, their themed hotel, Madame Tussauds, museums and visitor attractions, as well as a huge number of nightclubs that were themed back in the 90s. We also did loads of bars, like Chicago Rock Café. This was affectionately known as ‘bric-a-brac’pieces curated on the walls, but sometimes we would create a kind of ‘feature’ that had to work, like a huge record player. We also did a lot of work abroad. Sometimes we were involved from the start of a project, concept and design, other times it was just the manufacturing process of someone’s ideas..

We used a wide variety of materials and large-scale sculpting techniques, with foam-sculpting and glass fibre We also had a woodwork part of the business, making furniture for pubs and hotels. My father was involved, and he made some of the first mirrored furniture that was sold in Harrods. One of the things the company did was just say ‘yes’ to any opportunity and we would figure it out from there. Consequently, we worked with a large variety of materials- like some of the first of a particular kind of silicon rubber for animatronics. We also did a lot of mould making, clay sculpting and model making for architects. It was fast paced, interesting and very much a learning curve. We became known as a company that you would go to, when no one else could achieve the brief. I became quite a good project manager, juggling the various aspects and appreciating the different viewpoints and expectations.

B: How do you see your work developing in the future? Do you have any projects on the horizon that our readers should be aware of?

M: I have a new collection of work, which is about two thirds of the way through. It’s about involving some new materials I have been working with a friend of mine who is a glass blower. I spent a day with him blowing some pieces which we then pulled and manipulated. It has been challenging to bring the glass pieces into my work but there are some great results, linking the glass to other materials and my forms. I’m also working with a silversmith who is creating some small hand beaten forms that I will use in some new sculptures. I have used gilding before but I’m now working with an artist who is really experienced at this and other specialist decoration. We are now working on an exciting new piece that draws some references from Gustav Klimt. I feel my work is moving to another level, which I’m very excited about. Some of the work is commenting quite deeply on how we are viewing things in the world today. I am also liking my greater understanding of how I see the space within the sculptures, as talked about in Eastern cultures. How what is unseen is just as much a part as the physical elements.

B: What is the most challenging aspect of creating your work?

M: Sometimes, when I’m working with a new material, it’s difficult to figure out how to use it and integrate it into my work Going back to the glass- I’d never done glassblowing before, and I was desperate to do it. But we couldn’t do some of the things I thought we could. I had to think about how we could achieve something similar and how we could adapt to make it work. I think the biggest challenge is making different things work together. By this, I don’t mean that I expect them to instantly gel. Sometimes they might be opposites and don’t want to work together. Sometimes, you can add something into the mix that will bring them together in a different unexpected way- for me, that’s the challenge. Sometimes it just happens, other times, you have to constantly work at it and throw different ideas at it over time.

B: How do you feel when you put two different materials together and they don’t seem quite happy in their connection, but they are definitely ‘talking’ to each other?

M: This absolutely makes sense- I have a piece now that is in this exact situation and all I can do is put it to the side and come back to it. I work on around 5 or 6 pieces at a time, so I can do this. The process of working on the other pieces, helps me to think of different things I can apply to the ‘problem piece’ that might resolve the issue I’m having. All the pieces are helping each other to evolve That is always the most challenging part of it. There is also an element of ‘Is it just me?’, as in, am I the only one seeing things this way? I have come to realise that what I am doing is not really on trend, so I’m sitting on the outside a bit. It means that I have to be confident about what I am doing and find myself not really caring what others think! Having said that there has been a great response to the new work!

B: Could you recommend to our readers some organisations, courses or communities you think they should engage with, should they wish to pursue a career as an artist/ sculptor?

M: For a long time, I stayed away from all these things. When I went back to do an MA, I did question whether it was the right thing to do. It was, but there were negatives with the experience. Many people have told me in the past to engage with groups of different artists, but really, I’m not sure that it’s right for me. I remember thinking as a kid, that the more I read about something or look at it, the more it will affect what I do and the more I will start to copy those things. Some people do need to be a part of something to help them go forward. I am a part of other things, like Judo, which provides its own community. I have got to a point in my life where I’m confident in what I’m doing, so therefore it’s fantastic to get any acclamation and it does elevate your work. For example, last year when I won the BADA art prize and the London Biennale, as well as being shortlisted for the Aesthetica art prize twice, it gave me confidence that people can see something in what I’m doing and can relate to it. I was very lucky with my upbringing and how I’ve been exposed to both craftsmanship and artistry at an early age, learning the fundamentals. I think once you have fundamentals and are doing something like this, the best way to learn is just to do it, with a willingness to make mistakes. We must allow ourselves to play, make mistakes, adapt and learn- it’s perhaps a bit of a numbers game Over time, the number of pieces we like will increase. Sometimes initially I really like something I have made and then return to it to find myself not so sure!

B: Within Inherited, we like to give the space for creators to speak about their peers and other work they admire. Could you name a couple of artists you think our readers should take a look at?

B: Your pieces could be considered as the antiques of the future. What do you think about this and how do you think people will interpret your creations?

M: I will always love Degas- that’s the starting point for me. I also love Gabo, his sculptures are really inspiring. Frank Stella, is somebody that I came across on my MA. He evolved from minimalist paintings to maximalist sculptures – I like that! When I first saw his sculptures, I thought “Shit, someone’s already done it”. He died recently and I know that academia didn’t particularly value his sculptures in the same way as Calder. I love what Frank Stella did, it was exciting! Currently, I am really enjoying Andreana Dobreva’s work. When I look at her work, it makes me think that if I was just painting, it’s the sort of work I would like to be making. It’s clear the fundamentals are there- her drawing and painting skills are very evident, but she also captures a huge amount of emotion. Her work is about migration, drawing on her work with immigrants. In one sense they are very surreal paintings about very real problems. I really love what she’s doing, and I think it encapsulates what art should be. I recently spent an hour with one of the BADA members, Malcolm Fairley. A shop specialising in Japanese work. Malcolm spent time sharing his objects with me and we discussed the craft behind the antiques - I was really inspired by his generosity of time and the amazing objects.

M: I was lucky enough to know my great grandfather for a little while, he was a clock restorer. I lived with him for around 4 to 5 months when I was 11. He had grandfather clocks, cuckoo clocks and a little workshop. My grandfather was a craftsman at a well-known private college and in the holidays, I would spend time with him in the workshops and historic buildings. They both gave me an interest in what we consider antiques, things that were made some time ago and held in high regard. Maybe as a consequence, that’s why I have a desire to create things that will be held in a high regard in the future. I remember seeing the advert for the BADA Art Prize, which I think came through Norwich University of the Arts website. Immediately, I thought ‘that fits’. For me, the idea of making something that people enjoy not just now, but for the future, and my ancestors will look at is a really nice thing.

I think that as a nation, we used to be good at innovation, creativity and making quality items. I’m sure the skills are still there but within today’s throw away instantaneous society it is difficult to do this and survive!

B: Your sculptures comment on the human condition and the space around them, so I think they have a transcendent quality because they will always comment on their surroundings, whether they are in light or dark etc.

M: That’s a great compliment, that you see that. Physically, I think a lot of people look at my work and think they will work in a very minimal environment, but they will sit quite happily anywhere. I think that’s because the sculptures unite not just physically with different materials but also through their balance of tension and harmony, energy and serenity. They seem to have a life, an essence that captures the imagination.

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