Inherited. Issue 7

Inherited.

Collectors’ Cohort: The Darker Side of Heritage Creative Space: Joy BC

Mudlarkers of Instagram featuring @flo_finds

CONTRIBUTORS

Editor: Beth Hodges

Photography and Design: Tingshan Liu

With thanks to the following Contributors: To Joy BC for welcoming us into her studio and for sharing so much about her inspirations and practice, to Martin for the excellent article about William De Morgan and for the review of Geoffrey Munn’s new book. To Ashley and Tingshan for their contributions to Objects of Desire. To all those mudlarkers in the Mudlarkers of Instagram feature, with a special thanks to Florence for taking the time to answer our questions! A huge thank you to Lewis Walduck, for writing to Inherited. and for sharing his expertise! And finally, to the BADA members, whose items feature throughout 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

Letter from the Editor: Beth Hodges

This month, Inherited. is exploring the theme of Heritage. As always, we attempt to take a look at the lesser explored areas of the topic and provide different perspectives than the normal discourse.

We take a look at the heritage on our doorstep, exploring the centuries old past time of mudlarking. With a wide variety of Instagrammers showcasing their finds online, with montages of Victorian and Edwardian treasures and trinkets from London’s past, it has been fascinating to learn of the dark past of mudlarking. We have also been privileged to talk to mudlarking expert, Florence of ‘Flo Finds’ .

In Creative Space, we visit the haven that is Joy B.C’s studio and speak to her about the astounding commission that began her career, as well as her apprenticeships in Japan and current project work with Giovanni Corvaja.

Within Collectors’ Cohort, we provide definitions and information about the negative issues that impact heritage Worldwide, such as looting and blood antiquities.

We are very excited to have Lewis Walduck providing an insight into a day in his life as an Antiquarian Horologist. We were beyond delighted when he reached out to share with us how he gained his expertise and grew his passion at the age of just 17!

On a final note, now is the time to book your tickets for the Kintsugi for Beginners event, with Sujin Jung. Find a link to the booking page in this month’s issue and we look forward to seeing you there!

Enjoy!

Beth

For

Joy BC .

Joy B.C’s work is firmly rooted in her fascination with all things 'classical’. Her use of ancient techniques gives weight to the way in which she questions social and political constructs, often derived from Antiquity, in her pieces In this month’s feature, we discuss how Joy’s work is a call-to-action for female empowerment and celebrates historical figures who have otherwise had their voices muted.

Joy’s artistic practice rests at the precipice of a deep and complicated history of goldsmithing and therefore it is important to first contextualise key techniques employed in her work before delving into her mastery of the metal of the gods – gold.

Goldsmithing is the practice of forging an object from gold and can be traced as far back as 4500 BCE to the Varna culture in northeastern Bulgaria. However, the widespread use of gold came about in ancient Egypt where the precious material was believed to be an indestructible metal from the gods. It was around this period that we see the emergence of the niello technique; the application of a black powder (usually made from a sulphide mixture) which is set into an engraved design through heat treatment to create a strong contrast.

It is also in Antiquity that we find the beginnings of the embossing techniques repoussé and chasing. Repoussé (French for “pushed up”) is the hammering of a design into a sheet of metal from the underside to create a low relief on the reverse. One of the most famous ancient Roman examples is the Warren Cup currently housed at the British Museum. From the French word chasser meaning “to drive out”, chasing is the opposite of repoussé whereby the pattern is hammered into the face of the metal to create a sunken design.

Another notable ancient technique is filigree Derived from the Latin filum meaning thread, this technique uses threads of gold woven, curled, twisted, or plaited into intricate patterns and is often using in combination with granulation. Filigree was most prolific in Etruscan civilization (c 900 BCE) however, saw a resurgence in the mid to late 19th century when Italian and French goldsmiths were inspired by the treasures uncovered from recently discovered Etruscan tombs. This style is known as Etruscan Revival. Throughout the ages gold has remained a social symbol of wealth and prosperity and to that end, a highly valued material. Used to create objects of utility, as well as beauty, gold continues to be associated with international trade and the transferal or mobility of personal assets. Within her practice, Joy re-examines the canon as we understand it, whilst playing with mythologies and looking at how precious materials can be used in the transferal of importance from men to women and from stoicism to raw emotion.

Creative Space: Joy Bonfield-Colombara (aka Joy BC)

Artist Goldsmith

Tucked away behind the unassuming façade of Cockpit Studios in Holborn you will find the hidden jewel that is Joy BC’s studio. As neighbours (and often muses) of the BADA team, we are more than familiar with the makers and artists at Cockpit. Each time we step into the space of a new artist or maker, we are astonished by the talent and skill on display. After several months (and much anticipation) we finally got to sit down with the illustrious Joy BC and, wow, she did not disappoint!

Joy’s space is particularly unique. With a multi-purpose design in which visitors effortlessly are made to feel at home, as though you are simultaneously in someone’s living room, a bespoke design space, and a luxury café. An exquisite marble table offers a space for clients to unwind and discuss their dream piece while to the left, a shelf of curiosities offers a sneak peak into the inspiration of the artist: sketch books from her studies and trinkets from her travels, including a collection of antique Japanese combs

Tucked behind her work bench is a coffee station. Oat milk and coffee beans sharing the same space as precious metals – Joy has her priorities straight. Taking pride of place, illuminated by the soft sunlight streaming through the windows, is an alabaster sculpture by Joy’s father. Its sleek form serves to emphasize the beauty of raw material, speaking to Joy’s own practice. Growing up within a creative family, in a house which Joy describes as having been chaotic and beautiful, it is obvious that art and design runs through her blood

A memento from university, her work bench still bears the number plaque. The pale blue painted walls and rich wooden furniture gives the space an ethereal feel –the perfect setting for Joy to take her clients on a journey back to a time when Greek gods vied for power or to the depths of the ocean with pearl divers. Each detail of her studio is an invitation to explore worlds beyond our own and you cannot help but feel this sense of limitless possibility when speaking with Joy.

Her pieces embrace time as cyclical rather than linear, sitting at the axis between past and present. Recurring themes such as the female form or the relationship between material and semiotics are anchored in an ancient craft. Yet behind these delicate forms lies a provocative or perverse message.

Inspired by the goldsmithing techniques from antiquity, Joy’s pieces feature misrepresented mythological or ancient historical characters While the use of these figures as the focal point brings light to their long-misunderstood narratives, the works are also synonymous with contemporary issues surrounding exile, persecution for beliefs, discrimination, physical illness and mental health.

Joy tells us that one of her clients commented that the thought of wearing a piece of jewellery depicting a crying woman was quite difficult. This is exactly what is illustrated by Joy’s ‘Hypatia’ rings and brooches. However, my experience of seeing these pieces was surprisingly contrary – I was overcome with a feeling of empowerment! To hold items that encapsulate a woman’s struggles and emotions, as well as beauty and poise, is to hold a beacon of hope for women today; a renewed rally cry that they do not have to hide. This reaction prompted Joy to discuss how in many cultures crying is a means in which to cleanse and to encourage rest, as the chemical makeup of tears induces fatigue. In discussion of her ‘Precious Tears’ series, Joy says:

“ By transforming an ethereal liquid tear into a hard stone sapphire, I am putting emphasis on the strength it takes to show one ’ s vulnerabilities. The wearer by engaging with this ‘totem’ becomes the owner of their vulnerability ad honestly confronts the aspect of ourselves we often ignore or suppress There are three types of tears, ones secreted to keep the eye lubricated and free of dust, ones to remove particles when the eye becomes irritated (think off cutting an onion), and ones that fall when we feel emotional stress, pleasure, anger, suffering, mourning, or physical pain. Whatever the type of tear, in my view, they are all precious- and even more so in a moment of empathy or as an expression of mourning for a loss of someone who was important to us. There is even a type of butterfly in the amazon rainforest that survives by lapping up the salty tears of turtles.”

It is a rare occasion to meet someone as dually adventurous yet disciplined and measured as Joy. With an enthusiasm that can only be described as contagious, it is a pleasure to be in her presence, especially when discussions lead to the unpicking of the web of influences, techniques and references that comprise her work.

Having witnessed first-hand the struggles of sustaining oneself as an artist in an increasingly expensive and challenging world, once upon a time, Joy aspired to be a marine biologist. However, in Joy’s words: “being of an artistic nature is an illness” with which she has “been plagued since she was tiny and experimenting with materials in the company of her sculptor father and print-maker mother”.

As the conversation weaves on, Joy recounts the hilarity of her first major commission –a gold necklace for the birthday of acclaimed rapper, Lil’ Wayne Having faced difficulties in paying her course fees, Joy was shocked when she received an e-mail enquiry from the R&B artist’s friend who had come across her work through a chain of acquaintances. Initially surmising that it must be a scam, Joy was taken aback when further details of the commission came through, leaving her to believe it was the real deal. And it was. Not only would the commission pay her course fees but a few months later, the necklace was worn by Lil’ Wayne in his music video. “What a life” she mused with an infectious smile.

Joy is a rarity in that it is her hand alone that carries a piece from conception to completion. She shares her bemusement at how many expect that she must only design her jewellery, as a woman cannot be expected to use tools and materials as industrious as those required for metalwork. To set that point straight –Joy takes great joy in brandishing her torch (which the photographs accompanying this article are evidence).

When discussions move onto Inherited. and the idea that Joy’s works are the antiques of the future, she explains that, although her work is loaded with thought and conceptual ideas, she does not want it to be prescriptive but rather for it to take on the life and meaning of its beholder

For example, for some Joy’s Medusa’s comb represents the powers of petrification possessed by the Gorgon to punish her victims. The combs have tendrils as well as teeth, which are indeed petrified, their imagined movement paused For others, though, the combs illustrate the metamorphosis of women through history and speaks to those who have been misunderstood – Medusa was not born a monster, instead being turned into one as a means of hiding from being raped by Neptune. With one of Joy’s favourite literary works being Orlando by Virginia Wolf, one can see how giving a voice to those misrepresented or misunderstood is of central importance.

Developed during her two residencies in Tokyo with Sensei Ando and Sensei Kagaeyama, Joy learnt the craft of Damascus steel and metal casting. Damascus steel is the art of forging steel for the blades of swords smithed in the Near East from ingots of Wootz steel Historically, these are imported from southern India or made in Sri Lanka or Iran. The steel is characterized by banding patterns and mottling which looks like ripples in water. As well as being beautiful, the blades are known to be tough, sharp and resilient. She then carried out a research fellowship at a school in Kyoto, learning the art of Urushi by Sensei Kuramoto and Sensei Sasai

Joy’s work is a love letter to materiality, with texture and form being the crowning jewel of each piece She had only recently returned to the UK from Italy where she has been working alongside Giovanni Corvaja. Corvaja is best known for his work in the early 90’s, when he developed a system that enabled him to reduce gold and platinum to the dimension of one fifth of a human hair. Corvaja wants to pass on his skills and years of research, with Joy being the goldsmith he has entrusted

Joy prides herself in her dedication to both concept and execution. She spends extended amounts of time with the pieces she creates, sometimes spending up to nine months on a single ring. A piece’s form and symmetry, as well as the way in which it sits against the body, is as important as the narrative it represents. It is as much about the material as it is about the design – the way in which the shapes curve or interact with the wearer while celebrating the organic beauty of the gold, silver, or copper.

Joy is particularly interested in experimenting with how various metals interplay with one another in a piece; having copper as a centerpiece and embellished with gold, shifting the emphasis on a metal which is often regarded as common or “not precious” .

Joy’s works are also intended to interact with the user’s body. For example, a recent piece, in the form of a lioness with a Peridot Sundisk, has two intricate paws adjoined to the band so that they press into the wearer’s skins – a reassuring grasp but also a fusion of two entities.

Her ‘Listening Aid’ series serves as a reminder to listen actively when in conversation. When discussing this body of work, Joy explained:

“I have become dedicated to striving to be a better listener. Active listening is a communication technique that requires the listener to understand, interpret and evaluate what they hear. The ability to listen actively can improve personal relationships, strengthen cooperation and foster enhanced understanding or increase empathy People often are not listening attentively They may be distracted, thinking about other things, or about what they are going to say next The latter case is true in conflict or disagreement. Active listening is a structured way of listening and responding to others, focusing on the speaker. Suspending one ’ s own frame of reference, suspending judgement and avoiding internal activities are important to be fully attuned to the speaker.”

… a technique we should all employ more.

Upcoming Events

Founded in 1998, the Young Friends aims to provide a social and intellectual introduction to the world of fine art and antiques. Join the Young Friends membership here

BADA Week 13th- 17th November 2023

BADA Week 2023 is a nation-wide, gallery-based and online series of events to celebrate the diverse and outstanding community the BADA represents. We want to highlight the benefit of visiting our members’ galleries, exhibition spaces, collections and specialities in person with an exciting offering of events both in person and online. For information on participating dealers and to view the full programme, please listen out for further announcements.

Just around the corner…

Join Sujin Jung, professional ceramic and related materials conservator for an enjoyable evening of Kintsugi restoration. Sujin will teach you about the beautiful art of “joining with gold”, an age-old art which embraces the beauty of flaws and celebrates fragility. View more information and book tickets click here.

Tickets: £40 for Young Friend Members £50 for non-members

BADA Terms of the Trade: William De Morgan

One of the cornerstones of early British Art Pottery, William De Morgan’s beguiling creations are amongst the finest of the Arts and Crafts movement. A prolific producer of household tiles, his iconic designs became an essential and often imitated element of mid-Victorian interior design.

Born in London’s fashionable Bloomsbury district in 1839, William was the eldest of seven children born to Sophia and Augustus De Morgan. His mother Sophia was an activist for women’s suffrage and played a role in the establishment of Bedford College, London, the UK’s first higher education college for Women.

His father, Augustus, was one of the leading mathematicians of his time, and would instill a passion for geometry and symmetry in William which can be seen throughout his later designs. With such welleducated and liberal parents, it is no surprise that young De Morgan enjoyed a comfortable childhood and was encouraged to pursue his interests in the visual arts.

After taking classes at Francis Stephen Cary’s academy in Bloomsbury, William earned a place at the Royal Academy of Arts, where he began studying in 1859. However, after a meeting with William Morris in 1863, De Morgan chose to leave the course midway through his studies. Instead, he opted to pursue a career as a designer for the former’s recently established company Morris, Marshall, Faulkner & Co

De Morgan’s initial work for the company was largely in the field of stained glass although his fascination for innovation and methods of production would soon trigger a switch to ceramics. While experimenting with silver oxide in a glass kiln, William noted that when starved of oxygen an opaque, iridescent finish was left on the glass, similar to the lost technique of lustreware.

He became so obsessed with the need to perfect the technology that De Morgan inadvertently set fire to the roof of his home in Fitzroy Square, whilst using the hearth as a makeshift kiln. This led to William taking premises at Cheyne Row, Chelsea, where his output swiftly changed focus from stained glass to ceramics production.

Ironically, De Morgan never learned to throw his own clay but would buy in blank tiles, plates, and chargers from the likes of Wedgwood, Mintons and Poole Pottery to satisfy his prolific output. Heavily influenced by Medieval designs and Iznik pottery of the Ottoman Empire, Williams vibrant depictions of flora and fauna, majestic ships and mythical creatures proved immensely popular

With easily cleaned surfaces, tiles revolutionised Victorian domestic tastes and could be found in kitchens, bathrooms, fireplaces and even furniture designs. Perhaps the most ingenious element of De Morgan’s early tile designs is the geometric versatility which enabled the tiles to be installed both vertically and horizontally with equal impact.

To meet demand, William took on more staff, including decorators Charles and Fred Passenger, brothers who would play an influential role in the evolution of the business. He also relocated to larger premises at Merton Abbey, South London, finally enabling the factory to throw and fire their own pots. In fact, at its height, De Morgan had a workforce of up to 40 employees at the Merton studio.

Notable patrons of the time included the British Royal Family and the Czar of Russia, who ordered several commissions The Peninsular and Oriental Steam Navigation Company (P & O) even commissioned De Morgan to design a range of tiles for installation across 12 of their luxury liners

Despite the phenomenal output of tiles from this period, it was during his time at Merton Abbey that William was able to produce some of his finest art pottery. Having refined and perfected his mastery of lustreware and glazes, De Morgan focused his attention on transferring his trademark designs from 2D tiles to three dimensional vessels and chargers with remarkable affect.

In the early 1880s, William’s health began to fail and after marrying the preRaphaelite painter Evelyn De Morgan in 1887, the couple would spend half the year in Florence to avoid the London winter. To shorten the journey from his central London home, De Morgan also relocated the company once more to Sands End, Fulham in 1888.

Despite the unquestionable quality of his work and the demand from notable patrons worldwide, De Morgan & Co. struggled to make a meaningful profit throughout the 1890s and early 1900s.

Increasingly, William handed the day to day running of the business over to the Passenger Brothers before stepping away altogether in 1904.

Having dedicated his life to the creation of his art, De Morgan slipped into a deep depression, but happily his story does not end there. Encouraged by wife Evelyn, William began writing, and published his first novel, ‘Joseph Vance an Ill-Written Autobiography’ in 1906

A semi-autobiographical work, the book became an international hit, and was the first of seven novels De Morgan would release. In a supreme irony, his writing would not only make William’s fortune but bring him more contemporary acclaim than he had achieved in a lifetime in ceramics.

Thankfully, more than a century after his passing in 1917, William De Morgan’s brilliant ceramics once again enjoy the worldwide appreciation they so richly deserve.

Collectors’ Cohort

Your guide to collecting from the leading trade association in fine art, design and antiques. This month, we explain the terms associated with the darker side of heritage…

Looting

Looting, in terms of the world of antiquities, involves the illicit removal of artifacts from archaeological sites. This can either be opportunistic or organized and often leads to the unrecorded destruction of archaeological sites in order to provide artifacts for sale. Looting often occurs in areas of conflict, especially during war time, when subsistence looting (looting as a means of generating income for survival) is common. The key issue with looting is that it creates a demand for unprovenanced antiquities, which causes further damage to cultural sites and heritage. As highlighted in current news, undocumented antiquities often leads to their stewards being contested and there being further conflict in line with cases of repatriation. In order to avoid the trafficking of looted goods, there is a huge onus placed on the documentation of provenance, which is an aspect of dealing that BADA members take very seriously.

Trafficking

Trafficking involves the buying and selling of looted goods. The term can encompass the illicit transactions of all manner of things which abuses human rights and dignity. The trafficking of looted goods is damaging to communities and cultural heritage. The trafficking of looted goods is commonly known as a ‘Grey Market’ , as those who purchase looted goods do not often fear legal reprisal The very nature of collecting antiques is to have them displayed, whereas other trafficked goods such as drugs or arms are dealt with in complete secrecy. It is important that those who become involved in the trade of antiquities carry out their due diligence with research and confirmation of provenance. Interpol advises on how to avoid the worsening of illegal traffic with the following advice: Make sure to take care when purchasing items and use all available means to determine an item’s provenance and to check whether it originated from conflict zones. Check the Interpol ‘Stolen Works of Art Database’ , which is open to the public. Make sure to compile inventories of collections, including photos and descriptions of each object. Make sure to be firm in the requirement of adequate documentation. Try to make objects identifiable by marking them as the owner or specialist private company. Of course, one should ensure the adequate protection of their premises, in which the items are held and in the worse case scenario, it is important to report thefts immediately to the police, with evidence.

Digital Elevation Models

Digital elevation models are used to detect illegal excavations which are often identified by ‘pits’ that are not formed in the same way as those in archaeological sites that are excavated with methodological archaeological work. Using Satellite imaging and software that looks for irregularities in the landscape, sites are monitored. Sites that are more likely to be subject to looting will be regularly surveyed and sometimes a dual approach is taken, with drones, helicopters or airplanes.

Stewardship

Stewardship is the term used within archaeological and wider circles, such as descendant populations (refer to issue 6, to read more about stewardship and indigenous populations). The term, previously describing individuals or groups who manage, preserve and conserve antiques or cultural heritage sites, is now becoming increasingly collaborative and inclusive of different discourses. The idea of stewardship is to care for and translate the important relationships individuals and groups have with objects of the past and to establish frameworks in which these relationships can be protected and respected

Operation Bullrush

Operation Bullrush was a case in the UK in which the law cracked down on the illegal trafficking of antiquities. The case lead to the prosecution of Jonathan Tokeley-Parry in 1997, for smuggling numerous antiquities out of Egypt, under the guise of them being tourist trinkets. He was also sentenced in absentia in Egypt Following officers from Scotland Yard’ s arts and antiques squad carrying out a raid at his home, a number of these objects were found.

Blood Antiquities

Blood antiquities is the term used to refer to objects plundered during conflicts. It is common practice for terrorist groups in war zones, such as the Middles East, to traffic Blood antiquities. The Islamic State has been known to have made millions from its plunder It made £36 million from the looting of al Nabuki in Syria. Items that are as much as 8,000 years old have proven lucrative as financial carriage, when at the disposal of ISIS. Amr Al-Al, of Shawnee state University in Ohio states, “There is no doubt that looting and illicit trade in antiquities is highly lucrative for ISIS.”The term is derivative of the term ‘Blood Diamond’ . Blood diamonds are those that are mined in war zones and sold to finance an insurgency. Diamonds used to fund terrorism or invading war efforts are also given this title. Diamonds mined throughout the 20th - 21st century civil wars in Angola, the Ivory Coast, Sierra Leone, Liberia, Guinea and Guinea- Bissau are often referred to as blood diamonds, to reflect the violence and crime associated with their trade.

MUDLARKERS OF GR A M INS A T

Mudlarking is a pastime that requires the often not so simple art of looking. In London, we become trained to look at our feet or phones, often speeding past interesting architecture, or the quaint smaller details of a city that is constantly revealing itself to us. An aspect of the city that is often neglected, is the Thames. Used as a compass and a marker for navigating the city, many Londoners don’t often dare to get close to its shores, but rather admire it from afar or disregard it all together as being dirty or uninteresting Despite it having the potential to be incredibly dangerous and indeed, very polluted, the river has been a constant in the city for centuries, whereas other aspects, such as the architecture, is constantly changing and growing.

The Thames holds trinkets and evidence from London’s often dark past. Londoners often complain about the lack of seaside in the city, however for many, London holds some of the most interesting beaches and shorelines Whereas mudlarkers were previously a community for which you had to be ‘in the know’, to be privy to the best locations and what to look out for, the community has since grown, with the allure of new places to walk and explore, during COVID.

There are, in fact, many access points to the river, throughout London and there are pockets of opportunity throughout the day, in which the tide recedes and reveals the treasures of the riverbed. A permit is required to carry out mudlarking, and digging and the use of detectors is forbidden, unless your permit specifies otherwise. It is also important to acknowledge that any findings from mudlarking that are over 300 years old, must be revealed to the Finds Liaison Officer at the Museum of London. The findings of mudlarking are to be discussed and shared with the community and acknowledged as a collective historical find.

The phrase ‘ one mans trash is another mans treasure’ comes to mind, when considering mudlarking as a pastime. Loot from a session of scouring the shores, can include pieces of broken pottery, old bottles and shoes, beads and doll legs These items, once disregarded by societies of the past, tell us about changing times, as they are the debris of progression and help us to fill in the gaps. These trinkets give us a human connection to the past and it is the very thought of these items having passed through someone elses hands, sometimes 100s of years ago, that makes us feel connected to history Due to the Thames being an anaerobic water source, the items are actually relatively well preserved. On occasion, a glass object can be found in its entirety, or the painted detail on a shard of ceramic can still be seen. The physical effects of the seabed, means that time is worn on the surface of these items. Softened edges and pitted surfaces are the evidence that they have spent many years, immersed under the water.

The discovery of these items acts as a stark reminder of the endurance of manmade items. These objects that we throw away, carelessly, will one day resurface and this highlights the importance of recycling and adequate disposal for communities today. One does feel a sense of dismay, considering the eagerness of hoards of people to trawl the shores of the Thames for historic treasures, however express a reluctance to litter pick the debris of the modern day.

The vast number of beads that can be found during mudlarking is an interesting topic for rumination. These beads that are now collected and repurposed as jewellery, or stashed away as keepsakes for small children, used to be a currency for the slave trade. Once upon a time, individuals would work hard to salvage at least one bead form the shores, to keep themselves fed The re-appropriation of objects is a great way to provide contextualized learning about history.

The history of mud larking began in Victorian times. 19th Century foragers were often young boys or children who scavenged coal, iron, nails and ropes to sell, in order to pay for food and keep. What is now known as the longest archaeological site in Britain (11 miles), acts as a liquid history, filled with items from docks, wharfs, warehouses, shipbuilding yards, ship-breaking yards, fish markets, factories, breweries, slaughterhouses, municipal buildings, offices, pubs and houses. In the 1970s, the Society of Thames Mudlarks was founded and members were granted a mudlarking license from the Port of London Authority. This lead to the Museum gaining one of the largest collections in the world of Medieval pilgrim and secular badges, as well as post-medieval pewter toys.

There is now an expansive community of mudlarkers on Instagram, who share their treasures, tips and tricks. Whereas some mudlarkers have specific interests and therefore have eyes for a select type of object, others leave themselves open to whatever is revealed to them by the river. Social media plays a key part in revealing the mudlarkers finds and therefore their shared history to the wider community

London mudlark, Lara Maiklem is one of the most well established mudlarkers in London. She is known for her book ‘mudlarking’ , and beginners guide to mudlarking. Her book speaks to her plus 25 years of scouring the river Thames, discovering Roman hair pins, medieval buckles, Tudor buttons, Georgian clay pipes and Victorian toys. The book explores the full length of the river and speaks to the search for solitude in the busy city of London. Lara has extensive knowledge of object related history and she is known for her public talks about the river. One of her most interesting finds was a ‘Put and Take’ top from the 1920’ s. Put and Takes were popular worldwide from the 1920s to 1930s and were used for gambling games in social situations, such horse racing. Lara found a put and take inscribed with the name of British horses, with a top tier odds, on the shore below a pub. Lara’ s fascinating finds can be viewed on her Instagram.

Images:©@London.mudlark

Alan Murphy, the ‘Mudlark Thames Larker’ , enjoyed a version of mudlarking, before it became as fashionable an activity as it is today. He speaks of playing by the River Thames as a child and in the old warehouses and abandoned boats along its shores. He and his friends looked for bootlaces and fishing weights, and often came across clay pipes and bottles He is known for making replicas of axe heads from Mesolithic times, from flint he finds on his adventures. His finds have included a Prehistoric woolly mammoth tooth and a coin of

‘Mudlarking About’ , aka Guy, is known for his stunningly composed photographs and curated Instagram feed of finds. His star find is an incredibly rare model of Venus, likely to have been imported to London from Gaul (now France) in C1/C2nd AD. The model would have been made with a clay or plaster mould, which would have been pressed with wet clay in the interior An insight to the process can be seen, with the ventilation hole in the Venus’ leg, which would have let hot air escape when firing it. The Venus is in remarkably good condition and once upon a time, would have been used as part of a shrine or pagan ritual practices.

Images:©@mudlarking.about

Images:©@tidelineart

Nicola White, AKA ‘Tideline art’ is a sort of philanthropist of the Thames. Her work encompasses a variety of projects, from collecting messages in bottles and sometimes making contact with their original authors, as well as making art from recycled pieces of glass and plastic, found on the shore. She also takes beautiful and unusual photographs of ‘tideline toys’ . For Nicola, the river really does act as a blank canvas. An advocate of recycling and a true lover of a story, her Instagram account and website alike is one to watch Recent treasures found by Nicola, have included two gold rings, one of which was set with two large diamonds. After not being able to track down their rightful owners, she commissioned Wendy Meister of Clark Jewelry to turn them into a new, bespoke diamond butterfly ring. Previously, Wendy hand made a cast of a butterfly Victorian brooch, found by Nicola and created a stunning necklace inspired by it. Inspired by mudlarking objects, including silver pipes, trowels and onion bottles, Wendy makes unique and personalized pieces of jewellery, often embellished with ‘Thames garnets’ .

Images:©@flo_finds

BH: Have you ever submitted a mudlarking find as a treasure, to a museum or similar institute?

FE: I have for the last few years recorded my historic or interesting finds every six months or so with the Finds Liaison Officer at the Museum of London, though I've never had anything officially processed under the Treasure Act (silver or gold items over 300 years old, excluding silver coins). One time I found a solid silver Queen Ann cufflink and the FLO was nonetheless loath to record it under the act, due to the amount of time it takes to declare something as treasure, and the work-load involved therein, poor chap! He rightly holds out for rarer items, or gold, for that process. However, everything else is nicely written up and photographed for the Portable Antiquities Scheme.

I was recently admitted to the Society of Thames Mudlarks and Antiquarians, of whom there are only 52 members at any one point, for which we get a special permit to dig quite a bit deeper on the foreshore than the standard permit holders. That means that going forward I will be recording my finds more regularly every 3 months at the Society's meetings.

BH: What do you think is the appeal of mudlarking?

FE: For me it is an escape from everyday life, the thrum of London, and a place where I can let go of my day and zone out to the sound of water, with thoughts only of what I might find...

BH: Do you think that mudlarking has a positive effect on London as a community?

FE: It is a lot more mainstream than it was even five years ago, however it's still a niche pursuit. If it has brought more people to enjoy the Thames and all it has to offer, then it can be no bad thing. The mudlarking community is always growing, but I am not sure every Londoner has heard of it!

BH: Do you have any tips for mudlarking etiquette (for those who hold a permit!)?

FE: Don't hover over someone else's spot or engage in chit-chat unless it feels natural and welcome. A lot of people are mudlarking to get away from it all...

BH: What is something you would like to find, but have yet to spot?

FE: This is going to sound very peculiar, but I would love to find an early glass linen smoother. They are beautiful, tactile objects, rather like a paperweight. There's one waiting for me, somewhere!

BH: What would you like to happen to your finds in the future? We are interested in how objects will be handled and perceived in years to come.

FE: My finds are catalogued and kept carefully in a cabinet at home, which I share with my daughter, who is, for now, a very willing companion mudlark. I just imagine it becoming hers. But in the end, we are only ever custodians of these wonderful snippets of history, and they will outlast us all.

BH: Is there an item you wish you hadn’t found?

FE: It's common to see plastic on the foreshore, and it's getting worse. I wish we could find a solution.

BH: How did you begin mudlarking?

FE: I grew up very near the river and my mother took me down at low tide to play and rootle around from when I was very small. She let me pick things up and it progressed from there. We certainly didn't call it mudlarking back in the '80s & '90s though! It was just an esoteric little-known Victorian name for the pursuit, back then.

Objects of Desire.

Every month, we take a look at cultural objects or reference points that have taken our interest or inspired us creatively.

For work or pleasure, I have read a great many biographies over the years from Rock Gods to Sporting Greats, Military Heroes to Hollywood Movie Stars, yet to the best of my recollection Geoffrey’s is the first to open with a tale of wanton public urination!

Written with a self-effacing charm that is at once instantly engaging and hugely entertaining, A Touch of Gold is the autobiography of Geoffrey Munn. A former Managing Director of world-renowned jewellers Wartski, he is perhaps best known to the public as a long-standing expert on the BBC’s Antiques Roadshow.

The book opens with a detailed and deeply personal account of the author’s family history and formative years in Sussex. These were amongst my favourite chapters, given that Munn himself is the focus of the narrative which all to soon diverts towards the glamour of Royalty, Celebrity, and jewels.

Written with the dexterity of an experienced raconteur, the book has an energy that rewards the reader with an anecdote on every page. Having rubbed shoulders with the likes of Princes Margaret, Frank Sinatra, Vivienne Westwood and Elton John, there are many highlights to enjoy but Munn’s exchanges with the eccentric and rather abrasive collector Anne Hull Grundy are a particular treat.

Vintage items tell stories of the eras gone by and represent part of the heritage of the fashion history. I found this small shoulder bag at a second-hand stall in Walthamstow I was drawn to its intricate and exquisite carvings around the bag, which made me wonder when it was crafted and the narrative within it I can also feel its connection to fashion heritage by imagining the process of how the skilled makers designed and crafted this bag. That is also one of the reasons that I like to discover second-hand and vintage gems. They tell stories, and often, these stories are left to our imagination alone.

Created with recycled 22ct yellow gold, recycled platinum, 18ct recycled white gold and colour D/E natural diamonds, the ‘Hypatia’ ring is as classic in design as it is unique. The Hypatia ring was released in 2022 as an edition of three, with an additional two Artists’ Proof Each piece is unique within the series and carved with care. The piece is the perfect display of Joy’s signature ‘hewn’ texture, which originates from her family lineage to 12th century stone masons.

The ring memorializes Hypatia as a purveyor of female talents but also as an ode to women who suffer for their beliefs. The tears represent a mourning for women harmed by the violence of the patriarchy

A beautifully crafted piece concealing a message of remembrance and solidarity, the Hypatia ring is the item I certainly covet this month!

Recommended by Managing Director, Ashley

Recommended by team member, Tingshan

month, with the theme being heritage, I wanted take a look at what items were on offer with our BADA members that caught my eye. Walpoles, deals in items that are categorized under three spheres of interest, being ‘The Army’, ‘The Navy’ and the ‘English Country House’. They have a small showroom at Atlam, on Portabello road and offer a broad collection of fascinating items with hugely detailed provenance The first object that got my attention is a Great Western railway Clothes Brush As a regular commuter to and from London, I was intrigued by this object that gives a glance into the history of the company The brush is made from satin birch, by David Burrow and Sons of Leeds, stamped with their details on the underside of the handle. It is neatly fixed with small brass screws.

The brush making company was established in 1861 by Mr David Burrow and by 1882 the business was employing 38 men, 8 boys, and 9 girls. They made all kinds of brushes, including paintbrushes, and supplied many of the railway companies of the time, eventually supplying brushes to British Rail. Perhaps it was used in Great Western Railway hotels or alternatively it could also have been used to keep station staff in tidy order. This object is very accessibly priced and would make a lovely addition to a dressing table

Recommended by editor, Beth

With the subject of mud-larking featured this months’ issue, I had to include these lovely earrings, which I picked up Devon from a small craft shop. They are made of sea glass, which has been weathered and softened by the waves. They are set with copper wiring, which over time with gain a lovely patina I have really enjoyed wearing these as a small memento of my holiday and I always enjoy something that has been hand made.

piece is a Fine George III cut glass pocket scent bottle, inset with a silver urn shaped patch box with bright-cut engraving centred by a shield and surmounted by the Prince of Wales feathers; above the hinge is a small tablet of blue Vauxhall glass and within the lid a mirror shaped to fit. The piece is English, with a date of circa. 1780, and again is very accessibly priced. I adore the functionality of this little pocket piece, with a compartment to stash treasures and a lovely little compact mirror combined.

Recommended by editor, Beth

A Day in the Life of… Lewis Walduck

Antiquarian Horologist of The Clock Workshop, Hampshire

My Name is Lewis Walduck and I am an Antiquarian Horologist.

Being an antiquarian Horologist is great fun and It’s something I’ve always wanted to do, for as long as I can remember. In this job I get to visit some incredible places and handle fascinating objects. As you can probably imagine, it takes a lot more than a day to restore/conserve a clock, so instead I will take you through the process of conserving one clock. This particular clock is quite interesting, it was made in the first half of the 18th century in London's Covent Garden, however its most unusual feature is that it’s year going. These days we take timekeeping for granted and we don’t associate having to re-wind and set modern clocks. But, in the 18th century, most clocks needed to be wound at least once a week. So, to have a clock that would last for a year on a single wind was really quite rare and something we don’t often see as clock makers.

The clock itself belongs to the Royal Yacht Squadron -a sailing club on the Isle of Wight. When I first saw the clock, it was in situ at the clubhouse. It had been stopping randomly and wouldn’t work for long periods of time so we decided the best thing to do would be to fully overhaul the movement. The biggest problem with any long duration clock is dirt getting into the mechanism. They run for such a long period of time and they use very little power, so when anything gets into the movement train, it can be a problem.

Cutting forward in time to the workshop and starting the actual overhaul of the clock, the first thing we would do before taking it apart is to assess the condition of the movement. In our workshop we have a saying that is: “we want the next clockmaker who repairs this clock to think that the previous clockmaker did a good job” because we see so many clocks that have been badly repaired in the past and it’s so satisfying to repair a clock that’s been previously well looked after. The year going clock had previously been repaired well, so that was great!

After assessing the clock, it’s time to disassemble it!

This particular clock is really well made, and the clockmaker who made it designed the clock to be easily disassembled. It doesn’t use pins to hold the movement together like most clocks but rather it uses specially designed “latches” which slide open with great ease allowing the clock to be taken apart very efficiently. Any clockmaker will tell you they love a clock with latched pillars and they are only ever seen on the best quality timepieces.

On taking it apart it was quite clear to see that the pivots were very worn and as a consequence, so were the pivot holes, causing them to go oval which is almost certainly what stopped the clock from working. In an ideal situation you want the pivots (bearings) of a clock to be completely smooth and burnished to reduce the amount of friction because if there is any it might stop the clock

So, I Burnished all of the pivots then re bushed the pivot holes which involved brooching out (essentially drilling) the old worn pivot holes and filling them with small brass bushes (new bearings) and disguising them so you shouldn’t be able to tell they are there.

All of this is pretty standard practice for a clock repair. However, in this case it was important to just double check everything as it was it was more precise than the average clock.

After all of this it was time to clean the clock and reassemble it. Now. I would say the biggest debate in the world of horology is that different people approach the cleaning of clocks in different ways. I am somewhere in the middle of the argument. A lot of people believe that we shouldn’t clean any clocks at all because each time you do, you remove a small layer of brass from the surface and over the course of many centuries, you may lose the clock. However, I strongly disagree with this argument in most situations I think you have to take each clock as it comes. If you are working on a very important and historically interesting clock then yes, you should be very careful if you clean it and you would probably just remove the old dirt and oil instead of actually cleaning the brass. But if you are just working on a 19th century carriage clock that was made in its millions, it’s absolutely fine to clean it to as high a standard as you want. You have to remember that most clocks are not static Museum objects, but working machines that need maintenance.

In the case of the year going clock, I was very careful and only gave it a very light clean

One thing I do love about this job is the hidden messages and signatures you find from clockmakers past. For example, on this clock we found several signatures behind the dial. Sometimes, signatures can date from hundreds of years ago and the only people who ever see them are us: the clockmakers. In some ways, it’s actually quite entertaining because you can tell if the clock has been playing up, when it has many signatures close to each other in date I personally do not leave my own mark, as attitudes have changed and I don’t enjoy seeing modern dates scratched into antique clocks, as to be honest with you it is graffiti.

Returning back to our clock, once it’s been reassembled, it’s time to oil the movement People often think that their clock needs to be oiled so they get the WD-40 out of the garage and drench the clock in it. WD-40 is water based and rusts the steel in a clock, so it’s never a good idea and I always say to people it’s the equivalent of pouring a bucket of oil over a car engine. In reality, clocks use very little oil and it’s a very high grade, special oil. When the clock has been fully oiled it’s time to put the clock on test This is probably one of the most satisfying parts of the restoration as in some cases, it’s the first time the clock has worked in living memory. Our clock took a bit of adjustment to get going, but once it did it worked well for the two weeks we normally put aside for testing clocks. After testing the clock, it’s time at our workshop comes to an end and it’s time for it to return to its home on the Isle of Wight. It’s a real perk of the job, getting to go to places like the Royal yacht squadronit’s an incredible place!

When I get there, it needed some more final adjustments and we managed to get it going just before I had to go and hopefully it will last a good many years before needing any more work.

Finally, I would like to pay a special mention to Anthony, the Royal Yacht Squadron’s ‘Honarary Custodian of Artefacts’ who very kindly helped hang the weight on this clock! Year going clocks have extremely heavy weights and I certainly wouldn’t have been able to do it without his help!