Inherited. Issue 5

Inherited.

Chloë Ashby, Award Winning Writer and Art Critic shares her new novel: Second Self Creative Space, Gordon Monk Collectors’ Cohort, What is a Sleeper?

John Carey, Maker of Maps

July 2023

Issue #5

DISCOVERY

CONTRIBUTORS

Editor: Beth Hodges

Photography and Design: Tingshan Liu

With thanks to the following Contributors: Chloe Ashby, for her wonderful interview and allowing us to have sneak peek at her new novel. To Gordon Monk for giving us insight into his craft of chair making. To Ashley and Tingshan who contributed to Objects of Desire and Martin who wrote the fascinating article on John Cary. To Anne Green for introducing me to both Chloe and Gordon! To the BADA members, whose items feature throughout this issue, with a special thanks to Tomasso Gallery for this month's cover image.

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

5 / Letter from the Editor, Beth Hodges

6 / Chloë Ashby: SecondSelf

17 / John Carey: Maker of Maps

21 / Objects of Desire

25 / Calendar of Events

26 / Creative Space, Gordon Monk

33 / Collectors’ Cohort – What is a Sleeper?

36 / Day in the Life of…Cathy from SecondSelf

School of Fontainebleau, circa 1550-1570. Portrait of Poppaea Sabina.Tomasso Gallery

Letter from the Editor: Beth Hodges

The theme of this month’s Issue of Inherited. is discovery. The word discovery is one of the first to come into my head when I think about the world of antiques. Those in the trade are often inspired to discover objects that give us insight into the past. Provenance is a journey of discovery to learn about where an object has been and through whose hands it has passed. Dealers live for the discovery of a ‘sleeper’, with the ability to spot something in an object that to others, might have gone a miss.

Within this month’s collectors cohort feature, we take a look at the terms surrounding ‘sleepers’ and explore what it really feels like to make a discovery. We look at the life of John Carey, map maker extraordinaire and within Objects of Desire, we look at hidden gems and clothing discovered in vintage shops.

This month sees an extremely exciting special feature, with Chloe Ashby sharing her new book with the Inherited. audience, prior to the release date. I have been lucky enough to read the intimate and heart warming novel for myself and you can read my review in this month’s issue. Chloe also answers some burning questions for me and I also imagine a day in the life of her main character- Cathy.

Last but not least, Gordon Monk gives an insight into his studio and his process for creating his chairs, from design to completion. His truly original, sculptural chairs provide a unique insight into the carpentry trade.

This month has been the most fun to put together and I hope you enjoy reading it!

Beth

Chloë Ashby

Chloë Ashby is an author and awardwinning arts critic.

Since graduating from the Courtauld Institute of Art, she has written for publications such as the Times, TLS, Guardian, FT Life & Arts, Spectator and frieze. She has interviewed artists Judy Chicago and Damien Hirst, novelists Ottessa Moshfegh and Jeanette Winterson, photographer Tim Walker and fashion designer Christian Louboutin, among others. She frequently reviews exhibitions and books.

She is the author of Look At This If You Love Great Art (Ivy Press; 2021) and Colours of Art: The Story of Art in 80 Palettes (Frances Lincoln; 2022), a Times best book of 2022. She has written texts for exhibitions and spoken at literary festivals and museums.

Her first novel, Wet Paint, was published by Trapeze, an imprint of Orion, in April 2022. Her second novel, Second Self, is out now.

How did you discover that you wanted to be an author?

When I first turned to fiction, I was working at Monocle magazine; I’d been in my job for a few years and I wanted to shake things up, try something new. I was growing tired of having to ask for permission – pitching an idea for an article, receiving a yes or a no, a wordcount, a deadline. I wanted to give my writing some breathing room.

So, I signed up for a short creative writing course – one evening a week for ten weeks. By the end I was supposed to have written the first chapter of my ‘novel’. I didn’t have a plan, or even any sure sense that I would write a book, but I loved it. After the course, I kept going.

To begin with I wrote when I felt like it, mostly on the weekends, just for fun After a while I began to take it more seriously and started getting up early each day to write for an hour before work. That hour was my favourite part of the day – it felt exciting and fresh, and also protected, in a way, like it was my time. It grew from there, and eventually I had my first novel – or at least my first draft!

How is the experience of transitioning between reviewing and critiquing works of art and books, to writing your own novel? Do you maintain that critical and analytic voice in your head when writing?

I think the two balance each other out – being an art critic and a novelist. I appreciate the change of pace and environment When I’m reviewing exhibitions and interviewing artists, I’m out and about, working to tight deadlines. With novel writing, it’s just me, sitting at my desk, spending time with the characters that are emerging from my head and settling into the word document.

Voice is so important when it comes to fiction. For me, it’s the most important thing. And while it’s mine, it also belongs to the characters. The voice in Wet Paint is spiky, restless, detached. In Second Self it’s softer, contemplative. I find that I quite naturally remove my art critic hat when I’m writing fiction, though the art creeps in….

When reviewing exhibitions and works, you tend to recognize an artist’s influences or where they may have drawn inspiration. Can you point to any particular authors, who may have shaped your fiction writing?

The books I like best explore real life – often the messy sides of real life. Things that affect us all, and that we can all relate to. I love Ali Smith for her way with words; she also smuggles art into fiction. Zadie Smith for her observations on culture and society. Ottessa Moshfegh because her books feel gritty and raw, and because of the way she writes about the body. Tessa Hadley for her loyalty to the everyday. Also Olivia Sudjic, Rachel Cusk, Lorrie Moore… there are so many.

You are saturated with art, through your work. How did you choose such a particular focus and setting for ‘Second Self’, when there is such an expanse of topics and artists to choose from?

I wanted to write a novel about a woman who thought she didn’t want children and then begins to wonder whether one day she might. So, I was thinking a lot about the unknowability of bodies, a woman’s internal clock, our ability to change our minds. As is often the case, I turned to art for inspiration: I wondered at the similarities between the material nature of bodies and paintings, and the way both are at the mercy of society and nature and deteriorate over time. I started looking into conservation, and that’s when I came across this quote on the National Gallery website: ‘It is an unfortunate physical reality of the material nature of paintings that these objects are vulnerable to change and damage as a consequence of exposure to a variety of damaging causes ’ The painting that Cathy is working on throughout the book exists in real life: a Dutch seascape called View of Scheveningen Sands (c. 1641) by Hendrick van Anthonissen. It hangs in the Fitzwilliam Museum in Cambridge, but I used creative license and moved it to the National Gallery in London. The painting paired well with the themes in the novel – Cathy’s mother lives on the coast, and Cathy is preoccupied by the sea – and for some time it too was shrouded in mystery. As Cathy peels back the layers of paint, she’s searching for clarity about both the artwork and her own mind and body.

In an interview you had with Prudence Flint, she commented “I painted my lived experience.” Does this ring true to you and to what extent have your own experiences shaped your fictional writing?

I definitely draw from personal experience, though of course being a novelist is about so much more than transcribing life onto the page. Second Self began back when I was thinking about whether I wanted to have a child, and if so when. It was a question I’d answered long ago in a vague and abstract way – sure, one day! – but that became knottier as I approached my thirties and others began to act on it. As I was working my way through my indecision, I began to imagine how much more complicated figuring things out would be if two people – partners – felt differently. The book follows Cathy as she navigates her body and her marriage, and the way one threatens to cheat the other. Her story isn’t mine – we start and end in very different places.

Wet Paint was my first novel, and as such, the culmination of years of thinking On the surface, Eve and I have lots of things in common – we both studied art history and live in London. I was her age when I started writing the book. She spends a lot of time at the Courtauld Gallery, in front of A Bar at the Folies-Bergère (1882) by Édouard Manet, which is also my favourite painting. But we’re very different, too. She’s scatty, impulsive, reckless. Also brave – it takes guts to be a life model and to stand naked in front of a room full of strangers. She has an unhappy home life, while I’m fortunate to come from a loving and supportive family. I actually think the main thing we have in common, beyond those more superficial characteristics, are the emotions we’ve both felt – and I hope they make the book less personal and more universal.

Her story isn’t mine – we start and end in very different places.

When interviewing a creative, as you know, setting the scene of their studio can be very telling. Could you describe the space/ spaces in which you work?

When I was writing Wet Paint, I was working full-time in an office, so I would snatch every pocket of free time I could –writing as I walked to work, on the tube. Now I’m freelance and lucky to have my own writing room at home. There’s a window to the right of my desk, overlooking our small patch of green and the row of terrace houses beyond. To the left are three wonky piles of books –overflow from the crowded shelves – and above them a pinboard of postcards scavenged from public galleries and museums. Straight ahead, arranged around my computer screen in a sort of halo, a handful of paintings and prints: oranges spilling out of a paper bag; two arms interlinked; and, my favourite, an artist at her easel. I try to keep it fairly tidy.

To the left are three wonky piles of books – overflow from the crowded shelves…

Tell me about the book cover- the image is very striking, what does it say to you?

To me, the cover captures the idea that each of us has multiple versions of ourselves. There’s a sense, I think, when we’re young, of wanting to live every life, but of course you have to choose The decisions we make along the way determine who we’re going to become. Cathy is at a crossroads, imagining one version of herself with a child, and another without.

What do you think is the role of an author in today’s society?

I’m not sure there’s any one definitive role, but for me, it’s about reflecting real life back at the reader. Today, we’re overwhelmed with information and images, and I hope to draw attention to the little things as well as the big things, to make room for observations, thoughts and feelings that might otherwise go unspoken or unnoticed. When life is messy and uncertain, I often turn to fiction; for me, it’s a way to explore on the page thoughts and feelings that I find hard to articulate, as well as a means of testing out different modes of living. I want to write novels that readers can relate to, that might make them feel less alone in whatever they’re feeling or experiencing.

There’s a sense, I think, when we’re young, of wanting to live every life, but of course you have to choose.

Book Club

Second Self is a novel about the complexities of life and the challenge of trying to achieve an intricate balance. Chloe Ashby’s second novel follows Cathy, a thirty-five-year-old conservator, living with her doting husband of ten years. As Cathy conserves a mysterious painting, with an unfolding narrative, her own path in life becomes less clear. Cathy’s serene and contented life is interrupted by a growing urge to consider the possibility of motherhood and she finds herself amidst a storm of indecision, having to choose between her marriage with Noah and the possibility of becoming a mother. Second Self will touch the hearts of anyone who is lost at sea in a storm of indecision and expectations, all whilst those individuals who we see as anchors are no longer as stable as they seem.

Having previously worked in a restoration studio, I was so taken aback by the accuracy and detail of Ashby’s account of Cathy working in the studios of the National Gallery, that I was compelled to ask her if she had previously worked in the trade. Ashby describes the immersive experience of shutting out the real world, to simple focus on the minute details of brush strokes, canvas weaves and overpaint In the basement of the gallery, without the pre-occupations of the world outside, Cathy is permitted to reengage with her body, to feel present and ultimately to welcome her second- and true- self

Her friendship with her colleague, Frank is reserved and respectful and a lot seems to be communicated without much being said, due to the presence of a painting that tells a thousand words. The painting in question, a 17th century, Dutch beach scene, by Hendrick van Anthonissen, depicts a crowd of people on the shore of a sandy beach. It is not clear in the beginning, exactly what they are gathered in aid of. However, with Cathy’s investigative skills, a beached whale is soon to be revealed as the object of their attention. Throughout the novel, the whale acts a metaphor in Cathy’s life- initially as a sign that there is something being left unsaid- something that is missing from her life that has not yet been revealed. She wonders if the beached whale might be a bad omena symbol of ill fate or a thing of beauty that cannot be saved. The whale speaks to memories of Cathy’s childhood, when her and her mother found their own beached whale that subsequently haunted her young dreams.

Ashby calls into question the true meaning of family, with Cathy’s own family presenting as a network of friends, new and old, a father lost and a mother for whom the roles of care are reversing. Second Self speaks of how sometimes, compromise is not failure, but rather shows a dedication to an overarching quest for fulfilment and happiness. Ashby reminds us that it is normal to regret, acceptable to change our minds and common to feel unsure. In a world in which feminism seems to preach determination and ruthlessness, Ashby reminds us that power and privilege resides in the ability for us to have a choice and to allow ourselves to preserve our options.

The most unusual and somewhat comforting theme within Second Self is ambivalence. It’s a rare occasion when you find characters within a book settling into a genuine ambivalence, whilst still maintaining an engaging and stimulating plot. The book speaks of the ability to find contentment in not knowing and that decisions which on first glance may look to be very black and white, are much more nuanced. Frank and his partner let parenthood pass them by and admit that their happiness together caused them to be indifferent to the prospect of a child

It took me all of a few pages to fall in love with Cathy and Noah. The experience of reading Second Self, was the first time, in a long time, that I have read about a relationship that involved separation, disappointment and autonomy. Noah is not a character to aid as a vehicle to progress a plot. Noah comes with his own defined history and set of reference points and therefore, strong boundaries and opinions. He is not written to coach Cathy in her character development, but rather to challenge her, as a means of sounding out her own boundaries and needs.

Second Self is delicate and subtle, considerate and curated. Ashby’s craft is not unlike that of a conservator- she gently unpicks the story or Cathy, a closed individual and gives her a space to breath within the pages of the book. It is hard not to read Cathy as an advocate for womanhood, and in this sense, Ashby is careful not to over-embellish or glaze over the aspects of being a woman that are untidy and unappealing. She depicts women, and men alike at their worst and most vulnerable and Cathy’s inner monologue makes the reader take a sharp inhale at the uncanny similarities to ones own trail of thought.

The purpose of art, in my opinion, is to reflect life back at the viewer. This book is for anyone who wants to be comforted by the notion that they are not alone in the chaos of life

John Carey: Maker of Maps

One of the most celebrated and successful cartographers of the Regency period, John Cary’s detailed depictions ushered in a modern era of map-making, spurning the decorative in favour of precision and professionalism.

Born in 1755, in the village of Corley on the borders of Wiltshire and Somerset, John was the second of four sons born to George and Mary Cary. Shortly after his 15th birthday, Cary travelled to London to begin his apprenticeship as a map engraver with William Palmer at his premises in New Street Square.

In 1783, Cary set up his own business as a map seller and engraver, operating from premises at 188 the Strand, London. He quickly earned a glowing reputation, not only for the quality and accuracy of his work, but also for the innovation he brought to his craft.

As the city of London experienced rapid growth at the turn of the 19th century, it became difficult to acquire accurate maps of the city as many sellers simply offered re-issues of earlier work. However, Cary was diligent in his map-making and took time to reflect the growth and changes in the ever expanding city, making his maps far superior to those of his peers.

One of the first works to cement John’s reputation was his 1786 “Actual Survey of the country fifteen miles around London”. At a scale of one inch to one mile, the work is so detailed that it even includes the names of the owners of some of London’s more important houses.

A prolific worker, Cary offered a broad range of works from detailed maps of roads, towns and counties to larger scale globes and atlases of the world and the stars. No doubt this degree of diversity helped the firm succeed in a market where many of Cary’s contemporaries’ careers ended in bankruptcy.

One of his most popular publications of the time was ‘Cary's New Pocket Plan of London, Westminster and Southwark’. This innovative guide not only provided a detailed overview of the city but included a handy table of local coach fares and was reissued many times during his lifetime.

In 1791, John expanded his business as J & W Cary, going into partnership with younger brother William, who was a gifted maker of scientific instruments, having apprenticed to the celebrated mathematician and instrument maker Jesse Ramsden. No doubt William’s understanding of surveying and measuring instruments proved a significant benefit in the firm’s next project.

With the onset of the era of mass production in Britain, which would become known as the Industrial Revolution, it became increasingly important to accurately document the state of the country’s road infrastructure. Given his peerless reputation for detail, that accolade was handed to Cary in 1794, when he was commissioned by the Postmaster General, Philip Stanhope, 5th Earl of Chesterfield,

to survey England’s roads

The painstaking work took Cary and his team of five surveyors nearly four years to produce, resulting in John’s 1798 publication, ‘Cary's New Itinerary’. A priceless guide for any traveller of the era, the book not only provides an accurate distance (in miles and furlongs) from central London to any conceivable destination but even documents all inns and coach houses along the route!

The publication proved so popular that it was reprinted multiple times over the next three decades, with updates and revisions by Cary’s teams, as well as submissions sent in from the public. The work would also help Cary secure a lucrative contract producing topographic maps for the Ordnance Survey board

Perhaps Cary’s most influential work was his 1808 publication ‘Cary’s New Universal Atlas’, an ambitious collection of 56 hand-coloured maps covering all the principle states and kingdoms of the world. The book would define the standard for early 19th century map-making worldwide and was re-issued a further seven times over the next 30 years.

Cary’s career was not without adversity though and the company was dealt a particularly devasting blow in 1820. When a fire broke out in a neighbouring building, Cary’s premises, then based at 181, the Strand, were destroyed along with a great deal of their stock. A business card from these premises can be seen in the collection of the British Museum. Having trained his sons George and John Jr in the business, Cary Snr, now 65, opted to move the business to their premises at 86 St James’s Street. Also handing over the reins of the company which would operate as as G & J Cary until 1850

John Cary lived a further 15 years before passing away at the age of 80 and was buried at St Mary Abbots Church in Kensington. Rather fittingly St Mary Abbots stands at the foot of Kensington Church Street, one of London’s most popular destinations for antique collectors.

Cruchley's New Plan of London improved to 1836, by CRUCHLEY, George Frederick

Objects of Desire.

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

1.

This exquisite gold, diamond, and seed pearl Etruscan Revival pendant is a story of discovery. Originally described as unmarked English or Italian, I scooped it up at for at bargain due to lack of attribution. However, as I began to look for parallels to confirm whether it was English or Italian, it became obvious it was stylistically neither. Feeling anxious that I may have purchased “a dud”, it was only after hours of examining every millimetre of its surface that it appeared – an eagle head – the gold hallmark used in Paris. It turns out my lovely little treasure was not English or Italian, but French!

Recommended by Managing Director, Ashley

If you’re looking for something a little more challenging to read around the pool this summer, the debut novel from Ukrainian author Andrey Kurkov, ‘Death and the Penguin’ is a Kafkaesque black comedy in the very darkest sense.

First published in 1996 and set in post-Soviet era Kyiv, the story centres on Viktor, an aspiring writer, and his pet penguin Misha. Thwarted in his ambitions as a short story writer, Viktor finds work compiling obituaries of prominent citizens for a local newspaper.

As his obituaries receive acclaim, Viktor and Misha inadvertently assemble a non-nuclear family and life seems to take a turn for the better. However, while all appears well on the surface, there are altogether more sinister forces at work in the shadows.

A savage satire of the Soviet legacy in Ukraine, Kurkov’s naïve characters deftly capture the public’s general uneasiness as Kyiv struggled to shake off Moscow’s shackles and avoid the dangers of an emboldened mafia style underclass.

Recommended by team member, Martin

3.

Discovering vintage clothes is like going on a treasure hunt through fashion history, with each piece holding a story and unique character. I often find kilo sale events to be great places to discover hidden gems. Last year at the monthly Brixton vintage kilo sale, I found an incredibly light jacket that quickly became my go-to choice for breezy weather. Its lightweight design allows me to easily fold it into my bag. The best part? Discovering such a lightweight item at a kilo sale is a fantastic deal as it basically costs nothing!

Recommended by team member, Tingshan

Having recently moved to Didcot, I spending a fair bit of time at the Cornerstone Arts Centre, which is where I participated in the Queer Life Drawing class, featured in last month’s issue. The centre boasts a variety of assets, from a spacious auditorium, through to art and study spaces and a lovely café. They also have a rotating exhibition space which sells artwork from local artists My object of desire for July, is a print I purchased from this area of the Cornerstone. It is by the artist, Linda Benton, a local illustrator based in Oxfordshire. She has previously exhibited at The Royal Academy Summer Exhibition and Oxford Art Society, among others. The reason I love this print is how it represents the vibrancy of the town, which is fast becoming a community focused, diverse and artistic place to live. Cornerstone is at the centre of the print, as the hub of all of the town’s creativity. The print also includes the power station- an important part of Didcot’s past and the Wittenham clumps- an interesting historical site and great place for a picnic!

Didcot Print by Linda Benton, recommended by Inherited. Editor, Beth

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 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.

A Young BADA Friends Introduction Series

to:

Kintsugi for Beginners with Sujin Jung.

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 ageold art which embraces the beauty of flaws and celebrates fragility.View more information and book tickets click here.

Location: BADA Offices, First Floor, 21 John Street, WC1N 2BF.

Date and Time: 26th of October, 6:30pm -8:30pm.

£40

Photo by Motoki Tonn on Unsplash

Gordon Monk

This month, our Creative space is inhabited by craftsman, Gordon Monk. Gordon designs and creates beautifully unique chairs, using green wood. He refers to his black pieces as ‘pickled oak chairs’. Surprisingly, Gordon does not paint or even stain these chairs, but simply treats them with vinegar and steel wool which reacts with the tannins in the oak and turns black. The result is high impact and unusual. Gordon specialises in the creation of both free-form and stick chairs. His free form chairs, are shaped by and emphasise the natural twists and forms of the wood grain, therefore each piece is unique and defined by nature’s way. To compose these free-form pieces, requires many adjustments and decisions, to ensure that the designs are also comfortable. Gordon’s designs derive from the classical blueprints of both Windsor chairs and Welsh stick chairs. These chairs are made from components that are turned on a pole lathe. Gordon notes that he prefers to use a tool called a rounding plane, which can be compared to a giant pencil sharpener, to shape his spindles, rather than turning them. The Windsor chair design became popular in High Wycombe, with an astounding 4,700 chairs being crafted a day, in the year of 1877. That same year marked the creation of a chair arch, to welcome queen Victoria to the town. The Windsor chair is traditionally made entirely of wood and the design derives from a tradition of woodland crafts. Craftsman often used turned sticks or spindles rather than sawn sections of wood. The legs and backs are never integral to the design, with the seat being perfectly functional if these elements were to be removed. The Windsor chair derived from local craftsman trying to fulfil local demands. Although the design is often called primitive, the design, which is highly functional and admired for its angles and proportions, is also highly aesthetically pleasing. In July’s Creative Space, Gordon Monk gives us an insight into his methods, tools, designs and studio, so that we can learn about this long-standing craft

Artisan’s Platform: Gordon Monk Chair Maker

What is your background? Have you always made furniture?

For 15 years I was a primary school teacher, I left and became self-employed computer troubleshooter but also made chairs.

Have you always made furniture?

I have always been interested in making things from wood. I used to make garden furniture from found wood using hammer and nails. I graduated to screws and then joints. 21 years ago I went on a 9 day chair-making course where I made my first chair. The course was in a wood so no power tools. I enrolled on the same course the following year to go over the things I thought I’d learned but somehow hadn’t After that I started making my own chairs. It took a couple years before I sold one. Since then I probably have made and sold 160 – 170

chairs

Could you walk me through your process of making a chair, from design to completion?

When I first started making chairs I used to make a drawing of what I intended I no longer do that. Now I start by deciding is it going to be a big chair or a small chair. Is it going to have an open wide arm or more enclosed, is the back upright or splayed inwards or outwards Sometimes these decisions are decided by the components I have available.

I tend to make 2 or 3 chairs at the same time.

Legs and bent arms are made long before I make a chair. A lot of wood delivered – in the case of oak I buy greenwood sleepers, ash might arrive as a tree trunk – and then it has to be rough worked into components and then left to dry before being finally shaped and then incorporated into the chair

Chair assembly starts with the arm. Having decided on the piece of bent wood I intend to use, I look for the seat. I have a stack well-seasoned planks. Having selected that I place the arm on the plank, decide on the shape of the seat and cut it out. Then I carve out the hollow of the seat; for many years I used a long handled adze and chipped away at it for about an hour. These days I have a power tool that will do the job in ten minutes. The seat is made smooth using traditional tools - a scorp and then a travisher.

The next stage it to mark up the position of the legs, decide on angles and drill the holes. I fit the legs and then work on the stretches. The stretchers are the bits between the legs, they’re called stretchers because rather that hold the legs together they push them apart which make the legs joints very secure. I make the spindles ( or in my case the sticks) using a rounding plane, this is a tool rather like a pencil sharpener that will make a specific size stick.

The next stage would be to drill the holes for the sticks into the arm and then fitting the sticks in place. Once that is done the holes for the sticks are drilled into the seat and the back is offered into place The arm supports and then fitted. At this point the back and arm are finally assembled. The last part of the assembly is to fit the top or comb.

And then comes the finish. Black chairs are treated with a solution of vinegar and iron(steel wool). The iron reacts with the tannins in the oak and it turns black. I used to finish my chairs with shellac ( a sealer) and wax, these days I use Danish oil, partly because it’s waterproof and partly because it’s a more durable finish, but also because it can be waxed later.

Can you describe your studio/ workspace?

I have a workshop with a bench but I tend to work outside. I think this is probably a hangover from those early chairs making courses. However, my outside space has evolved over the years so that it now involves several opensided sheds and canvas in under trees

Do you have a favourite tool? If so, what is it and why?

All the tools have different purposes so there isn’t really a favourite The tool I use most is a spoke shave. A couple of years ago a bought two new Clifton spoke shaves – one flat bottomed and one concave. These behave like no other spoke shave I’ve used, they have a good feel to them, substantial weight with a good solid blade that will hold a sharp edge.

Do you make custom orders, or do the chairs come first and then they find a suitable home?

Usually I make the chair and it finds a buyer. I have done many commissions but these days I do them if I want to make the chair.

What influences your designs?

My chairs are Windsor style in origin although they have evolved. They are also reminiscent of Welsh stick chairs (The Goat street Gallery in St David’s sell a lot of my black chairs probably for this reason). Sometimes the shape of the wood influences the final design. Some chairs are very wide, this started from an early attempt at bending a piece of wood. I could only bend it so far, I tied it up and abandoned it. Later I used this arm as the starting point of what became my first wide chair.

I’m interested about the process of steam shaping- is it a long process?

It took me a while to get the hang of steam bending, in the early days it was very hit and miss. I would spend an hour or so preparing a piece of wood only for it break within seconds of bending. I even went back on the chair-making course to try to understand what I was doing wrong. What I discovered was that former (shape used to bend round) needed to be bolted to the work bench and that bending was easy if three people were involved in the actual bending. Since there weren’t three people and devised a system that used a handturned winch provide the bending power.

I have greater success with bending now. The process involves preparing a straight piece of wood – straight grain, no knots, or at least knots in critical places – attaching a metal strap and placing it in a steam box. In the past I used to have cut oil drum filled with water on which the box sat and then lit a fire under it to make the steam. It was very nice thing to do, but you had to maintain the fire to keep the steam These days I use a wall-paper steamer to generate the steam – steam flow is constant.

The piece of wood – or pieces as I tend to bend 5 or 6 at a time – stays in the steamer for about and hour and a quarter before coming out and being fitted onto the former. A rope is attached to hooks on the strap and the winch will pull both ends round the former in one go – takes about 10 – 20 seconds. The ends need to be fixed together in some way before releasing the winch. The bent wood could then be taken off the former at this stage ready for the next piece, although I now have enough formers that I keep it on the former and replace with a different former for the next bend. It then needs to be left for a least a week before it will hold its position – I tend to leave it until I’m ready to use it

Your chairs will be antiques of the future- what trademark of your chair would help dealers to authenticate your chairs in the future?

I don’t think of my chairs in these terms, but I do write with a pencil (a white pencil for black chairs) Luddington in the Brook (my village) and the month and year on the underside.

What do you think is the most important aspect of quality craftsmanship?

This I don’t know I suppose I don’t regard myself as a quality craftsman as even after more than 20 years of making chairs I still make stupid mistakes. The trick is I’ve learnt how to mostly hide them – any woodworker or someone looking carefully could spot some. I guess that’s what makes them handmade.

Images by Gordon Monk

Collector’s Cohort

Your Guide to collecting from the leading Trade Association in fine art, design and antiques. This month, we provide you with useful terms and concepts you may require, when looking for a ‘sleeper’…

Circle of…

When a work of art or an object is described as being by an artist in the ‘Circle of…’, this means to say that the work is associated with an acclaimed artist, but not created within the same studio. The work is likely to have been completed during the lifetime of the acclaimed artist. The work is said to be more distant from the acclaimed artist, than if the work was described to be by a ‘follower of ’ Sometimes, works described as by an artist in the ‘circle of…’, can cause quite the buying frenzy, as there is the opportunity to carry out research on a piece and occasionally, even attribute it to the aforementioned artist, which would increase the value considerably. The work is often influenced by the acclaimed artist, however, not to a high level of detail. Perhaps the work may share a vaguely similar composition or colour palette.

Attributed to…

‘Attributed to…’, suggests that the auction house or dealer is almost certain that the work is by the acclaimed artist, however it cannot be one hundred percent sure. Often, terms such as ‘follower of’ and ‘attributed to’ are used to protect the seller of an artwork. For example, in some cases, buyers have the right to return their purchase if an auction house is proven wrong about the provenance. If they are careful with their claims, they have less liability and protection from scholars and dealers with specialisms who may be able to correctly and definitively attribute an item.

A rare bronze bust of Charles I attributed to John Cheere (1709-1787) From the collection of James Graham- Stewart Ltd.

Circle of Pieter Jansz Pourbus (1523/4-1584)

Portrait of a young lady, Circa 1570. From the collection of Strachan Fine Art

This term is often used to unify artworks that cannot be defined by any other term or attributed definitively or loosely to a particular artist. If a work of art, for example, is labelled as from the ‘American school’, it quite often means to say that the work was quite likely created in America. Quite often, ‘Schools of’ are created as market terms in auction houses, to indicate a unity between artworks and therefore make them more collectable. Furthermore, it sounds much better than saying ‘We do not know who made this, but it is likely to have been created in Europe’ Sometimes, an item will specify a school that is more defined, such as ‘the school of Pre-Raphaelite Brotherhood’. When more specific, ‘school of’, can refer to a group of artists that share the same vision.

Sleeper

School of…

A sleeper, is an item that has been misattributed under one of the terms discussed previously in this article. This is often due to there having been a lack of research carried out on the item in order to fully understand its provenance. This can be due to lack of funding, resources or expertise. Such items are referred to as sleepers, because they can be found for sale at a much lower cost, than if they were properly researched and attributed. A sleeper can also be an item that is in poor condition or badly restored, so that the true identifying elements of the work cannot be recognised. It is often the job of a specialist dealer, to find such items and recontextualise them with sufficient research and broader understanding of the history surrounding the work

Belle Epoque Ring Attributed to Georges le Turcq (born 1859).Gold Black Opal. From the collection of Tadema Gallery.

A late 19th century Italian finely carved alabaster figure of a sleeping cupid. Circa 1870. Restored.

From the collection of Nicholas Gifford-Mead

A day in the life of… Cathy from Second Self

By Beth Hodges

9:00am

. Swigging the last dregs of this morning’s extra shot latte, I nudge the door of the studio open with my shoulder. The smell of acetone fills the air and I enjoy it much more than I should. I flick the main lights on, which flicker before the room is cast in a yellow, ambient light. It’s just as well we have our bright lights, especially for casting raking light onto paintings, or else this environment would be less than ideal. Clearly, Frank has been in the studio late again, as the chemicals are lined up in his particular fashion and a post-it had been left, noting that he would pop in for some paint samples, later in the day. I pull on my apron and adjust my seat lower, so that I can focus on the lower left quadrant of the painting this morning. I am removing the last bit of varnish from the painting today, which although requires concentration, it is not painstaking enough that I can’t listen to a podcast for a few hours. I choose a podcast about political scandals that Noah recommended to me and sort my first swab of the day. My jar of swabs is almost full, and I ponder once again how many I must have used in my career so far. The varnish lifts with ease, which is always reassuring. It always makes my stomach sink when the varnish is stubborn, and I have to mix up a different and stronger solution- as conservators we always want to be as gentle as possible with the surface of a painting- especially one of this age.

1:00pm

. It's gone 11 when I fail to hear Frank enter the studio- lost in the podcast. He startles me as he appears from behind the easel, and I almost jab him with my swab stick. He asks how my morning has been, but laughs ‘say no more’ when he steals a glance at the painting, which has truly transformed since the beginning of the week. Earlier in the month, we had established that this piece was really quite special Having noted the brush strokes near the shore of the beach scene were not quite uniform, I gained permission from the curator to do a test window into the area just above the horizon line. We were surprised to discover a dark swatch of paint, completely juxtaposed from the rest of the painting. Since this discovery, we had revealed an extra special character within the painting…a beached whale. Now that the whale was within sight, it was quite evident that the crowd of people gathered in the blustery wind, must have been looking at something! Clearly, the whale had been removed, so as not to offend the wealthy inheritors of the painting- a dead whale isn’t the most desirable of talking points. I have since learnt the fascinating history behind such depictions in the Dutch 17th Century. Beached whales were seen as bad omens, perhaps of disasters at sea Back then, so much was still unknown about the creatures, so whales were like unicorns to us in the present day – with people being unsure if they were myth of reality.

Frank had taken his paint samples, at this stage, purely for the documentation of the painting. I was looking forward to seeing the final report once it was complete, as I am always so fascinated by the chemical and natural composition of different pigments- it can tell us so much about how artists used to work. We decide to take a break and surface to the main level of the museum. It is always a bit jarring to leave the studio, where the shouting and screeching of visitors is muted. We decide to stick with the gallery café, as there is a lot of work to do this afternoon. It was best not to stray too far, prior to a new show opening, as the curators always have so many questions. I have a salmon sandwich, which is my mum’s favourite, when she comes to visit and I treat myself to another coffee, as it was going to a long day, with babysitting Theo after work. He was usually as good as gold, however whenever he had previously woken up and not been comforted by Anna, all hell let loose… it could be a long night.

3:00pm 5:30pm 6:30pm

The afternoon is a rare treat. The curator had agreed for Frank and I to choose the frame for the painting, once it is exhibited. The team can clearly see how invested we are in this piece and realised how much extra curricular research I have carried out at home. In the end, we went with a traditional frame from the period and it was agreed that Frank would slightly patinate it to match the age of the painting We are both thrilled to be a step closer to the piece being complete.

I say goodbye to Frank and wrap my scarf tight around my neck. There was an ice-cold wind blowing when I was out on my morning run, and I wanted to be shielded from the cold when I stepped out of the warm confines of the gallery. Once on the tube, I tug the book I am currently reading out of my bad- a book on colour theory by Chloe Ashby. I have always enjoyed reading her articles in various art publications, so was thrilled when I saw this for sale in Daunt books. I am reminded that I never seem to leave work far behind…

When I arrive at Anna’s, I am relieved that I have my own set of keys, as her and Caleb can’t seem to hear the doorbell over Theo’s screaming…joy. As I enter the hallway, I tread on a big lump of duplo and let out a squeal. Noah comes jogging around the corner, a smear of orange baby food on his shirt and his tie askew. I am pleased to see he is already here as I hadn’t expected him to join me until after Theo had been put to sleep. In contrast to Noah’s bedraggled appearance, Anna and Caleb look immaculate. Anna was shrugging on a maroon coat, the exact same shade as her lipstick, as Caleb fought to look in the mirror to finish perfectly styling his hair. Anna towered above me in her black chunky boots, as she wrapped me in a perfume infused hug Caleb thanked Noah and I again for taking care of Theo this evening and right on queue, he toddled into the doorway, with a fist full of blueberries in one hand and his tatty tiger drooping in the other As his mum and dad gave him kisses goodbye, his lower lip wobbles and he shifts agitatedly on his tiny feet. Just in time, Noah swoops in and heaves him onto his shoulders, calling ‘Bed time!’ He has him cleaned up and tucked in bed in no time.

7:00pm 10:30pm