BBC Antiques Roadshow - July 2014

ANTIQUES
ROADSHOW
BEHIND THE SCENES
TOP TIPS
BEAUTIFUL HOMES
bbcantiquesroadshowmagazine.com
JULY
2014
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MAGAZINE
100s of
dazzling
collectables
WIN!
A STAY IN A
BEAUTIFUL
LANDMARK
PEOPLE
STORIES
SURPRISES
FUN AT THE
ROADSHOW!
INSPIRED
BY OUR
HISTORY
JOHN FOSTER START A COLLECTION
FIONA BRUCE EXCITING SHOW VALUES
WILL FARMER MY FAVOURITE MAKER
Romantic
DESIGN
6
OF THE
BEST
AUCTION
HOUSE
FINDS
The 50p pot
worth 1,000s

English Embroideries from the Feller Collection
THE EYE OF
THE NEEDLE
BOOK NOW
1 August12 October 2014
www.ashmolean.org/needle
DISCOVERING
TUTANKHAMUN
BOOK NOW
24 July2 November 2014
www.ashmolean.org/tut
Hello!
This may only be our third issue but already, working with the
team behind the programme, were discovering enough stories
to ll not one, but two or three issues a month. There were plenty
in the programmes we feature inside one lmed at White Lodge,
Richmond Park, London, and the second at the Sainsbury Centre
in Norwich, Norfolk. Both attracted thousands of visitors and
witnessed spectacular nds. A common factor in all shows is the
items that have been spotted in junk shops or car boot sales.
Purchased for a song, they often prove to have a wonderful story
and, sometimes, to be of signicant value.
Take the wooden vessel that artist Harry Bloom picked up for the
equivalent of 50p years ago. Specialist Ronnie Archer Morgan
couldnt believe what he was seeing when Harry brought it along to
the Richmond recording. Heres a clue: it was made in China and we all know what is happening
to prices of antiques from that part of the world. The story lies within our Roadshow section, from
page 13. Ronnie, who has been in the antiques business for some 30 years, is also, we hear, a
trend-predictor. Now if theres one emergent fashion weve spotted, its the return of the glass
dome. Once a centrepiece of the Victorian parlour, with origins in the bell jars of early science labs,
domes currently take the stage at antiques fairs and shops. Intrigued and inspired (we love it when
an antique becomes all the rage), weve given it pride of place in our Style pages (see page 38).
Something that never fades from fashion is the black and white photograph. As a result, when we
heard about the 1960s lost-then-found album of images taken by Hollywood actor Dennis Hopper,
we had to investigate. The pictures go on show at the Royal Academy, London, soon, but for now
enjoy our preview (page 76). Elsewhere, we have the story
on our cover: that of a maker of Elizabethan-style decoration;
and we explore the magical and little-known house of a
Kenyan poet, Khadambi Asalache. As I say, we had
enough stories not for one issue this month, but three
Wed love to hear from you, whether its about your experiences at a show, or on any topic youd like to see
us cover in the future. Email editor@bbcantiquesroadshowmag.com or write to us at the address on page 6.
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DELECTABLE DOMES
The height of current fashion
G
et n ouch!
Follow us on Twitter:
@AntiquesRSMag
Like us on Facebook:
facebook.com/AntiquesRSMag
Explore our website:
Sue Herdman, Editor
ON LOCATION
Join us behind the scenes
FAMOUS FACES
Darcey Bussell visits a show
EDITOR'S WELCOME
bbcantiquesroadshowmagazine.com JULY 2014 3
PS
Our Roadshow reporter Fiona Malcolm and photographer Sylvaine Poitau will be at all the
shows this summer. If youd like to have your items featured here, theyd love to meet you!
bbcantiquesroadshowmagazine.com 4 JULY 2014
ANTIQUES
ROADSHOW
BEHINDTHE SCENES TOP TIPS BEAUTIFUL HOMES
JULY
2014
3.99
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AG
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E ISSU
E 3 JU
LY 2014

RO
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STO
RIES C
O
LLEC
TA
BLE TIPS IN
SPIRIN
G
H
O
M
ES
NEW!
MAGAZINE
100s of
dazzling
collectables
WIN!
A STAY INA
BEAUTIFUL
LANDMARK
PEOPLE STORIES SURPRISES
FUN AT THE
ROADSHOW!
INSPIRED
BY OUR
HISTORY
FIONA BRUCE EXCITINGSHOWVALUES
Romantic
DESIGN
6
OF THE
BEST
AUCTION
HOUSE
FINDS
The 50p pot
worth 1,000s
001_AR_JULYCOVERv12F.indd 1 20/05/2014 11:50
ON THE COVER
Romantic design inspired
by our history: page 54
Win a stay in a beautiful
landmark: page 121
Fun at the Roadshow:
page 13
6 of the best auction
house nds: page 52
The 50p pot worth
1,000s: page 17
John Foster: page 23
Fiona Bruce: page 16
Will Farmer: page 75
30
23
122
13
Contents
OUT & ABOUT
10 Diary dates Flagging up this months best shows and events
45 To market, to market You can nd all sorts of antiques
and collectables on the world famous Portobello Road
101 Combing Cambridge Glorious architecture, museums,
galleries and shops to take in on a weekend visit
FILMING
13 COVER STORY Behind the scenes with the Roadshow
Meeting the people, hearing the stories, sharing the nds
60 My day at the Roadshow How one womans inherited
treasures led to more than just a stint on-screen
96 Countdown to camera Follow Roadshow specialists
journey from their day jobs to our television screens
111 Hall of fame A heavenly result, as this model for a
modern angel hit the programmes million-pound high
122 Endnote Renowned ballerina and Strictly judge, Darcey
Bussell, recalls her own visit to the Antiques Roadshow
ANTIQUES
21 Antiques detective A woman with a birds head? This
curious ceramic fails to fox specialist Henry Sandon
23 COVER STORY Get to know: the Roadshows John Foster
How collectables and coffee fuel his passion for miscellanea
29 The view from here No two days are the same for one of
the Roadshows antiquarian books experts, Justin Croft
52 COVER STORY Under the hammer Auction house nds
106 Finest of forms Roadshow team member Marc Allum
gives us the low-down on how to care for antique furniture
109 Whats it worth? Your turn to work out the values of items
encountered on recent Antiques Roadshow programmes
114 Pit your wits Spot the difference between a Pratt and a
Whieldon, a Fang and a Tang with our challenging quiz

HOMES
30 A touch of the exotic Malcolm Billings visits an
extraordinary interior, the work of a Kenyan poet
38 Pleasure domes Having wowed the Victorians, bell jars
are bringing a touch of glass to 21st-century homes
62 The new Victoriana Animal-adorned textiles mingle with
antiques in the home of this 19th-century-obsessed artist
MAGAZINE
MAGAZINE
BBC ANTIQUES ROADSHOW LOGO(NEW).indd 1 19/03/2014 11:56
45
92
COLLECTING
75 COVER STORY What Id collect now Roadshow
specialist Will Farmer gets in a fever over Fornasetti
76 Darkroom dazzlers A once-lost collection of images
by Hollywood actor and photographer, Dennis Hopper
80 The house of textiles Elizabeth Baers Cotswolds home is
the ideal setting for her collection of timeless French fabrics
MADE WITH PRIDE
54 COVER STORY Renaissance style Discover Melissa
Whites Elizabethan-inspired textiles and wall-hangings
70 Drawn from history How Fluxs classic ceramics have
breathed new life into the Staffordshire potteries
92 The king of style Glitz, glamour and sheer technical
brilliance characterised William Kents designs
REGULARS
6 Whos who Meet the contributors to this months issue
9 Letters and tweets Your reaction to our new magazine
88 Great reads From Bloomsbury bites to a look at the
work of past housekeepers: this months great reads
112 Tap in to our digital side Explore whats on offer
113 Treasure hunting Make a note of essential dates this
month in our round-up of the nations best antiques,
crafts, arts, vintage and salvage fairs
116 My world The National Trusts Emile de Bruijn talks
about the story-sharing blog hes established
121 COVER STORY Competition Win a holiday with the
Landmark Trust, rescuer of fascinating buildings
62
10
G
o on
lin
e!
Feature Graphic
App icon
Splash Page 800 x 1200
MAGAZINE
MAGAZINE
MAGAZINE
MAGAZINE To find out more, download our app or log
on to bbcantiquesroadshowmagazine.com
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JULY 2014 / ISSUE 3
EDITOR Sue Herdman
DEPUTY EDITOR Anna Lambert
ART EDITOR Heather Heward
CHIEF SUB/PRODUCTION EDITOR Sarah Farley
ROADSHOW REPORTER Fiona Malcolm
EDITORIAL ASSISTANT Ellen Blake
Email: editor@bbcantiquesroadshowmag.com
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Thank you to
WILL FARMER
An auctioneer with a love of 20th-century ceramics and
glass, Will joined the show in 2004. One of his most
memorable nds was a desk by Piero Fornasetti. Writing in
our regular What Id Collect Now column (page 75), he
reveals just what it is about Fornasettis work that he loves
and why, if he could, hed be making certain pieces his own.
RONNIE ARCHER MORGAN
I always choose the things I love, says Ronnie of the pieces
he lms on the Roadshow. A more recent recruit to the
team, joining in 2011, Ronnie features in our story on how
the specialists are chosen and what it is like being on
camera for the rst time. I was absolutely terried, he says
of his inaugural session see page 96 to nd out how it went.
ELAINE BINNING
A busy auctioneer, Elaine became a Roadshow specialist
in 1999. Despite furniture being her main thing, just like
everyone on the team she never knows what she will see
next items she has valued include chrome car mascots
and bronze monkeys. Elaine appears in our Countdown to
camera feature on page 96, alongside Ronnie.
JUSTIN CROFT
Antiquarian bookseller Justin joined the books and
manuscripts table at the show in 2005 and works with
collectors and libraries across the globe. Who better, we
thought, to pen this months The View From Here column
on page 29? There he tells us of the jaw-dropping gure
achieved recently for the rst book ever printed in America.
All the specialists from BBC Antiques Roadshow who
have helped us put this issue together, among them:

At: Kelsey Media, Cudham Tithe Barn, Berrys Hill,
Cudham, Kent, TN16 3AG. Call: 01959 543727
Contact us
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MAGAZINE
MAGAZINE
CONTACTS & CONTRIBUTORS
FERGUS GAMBON
Part of the ceramics and glass team, Fergus has been with
the Roadshow since 2004. The world of antiques hasnt
always been his calling he started as a lawyer and surveyor
but his interest was sparked early by visits to antiques
shops with his parents. In our feature on Portobello Market
(page 45), he recalls the part it has played in his career.
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A LEHMANN
CLOCKWORK MOTORBIKE
Estimate: 3,800
Chorleys
1930S TRAVEL KIT
Estimate: 120160
The Auction Room
JEFF KOONS
GIRL WITH LOBSTER
Estimate: 5,0007,000
Phillips
NECKLACE, TIFFANY & CO
Estimate: $60,00080,000
Sothebys
CARTIER GOLD & GREEN
ENAMEL SHRIMP EARCLIPS
Estimate: 3,460
Auctionata
A FRENCH BOULLE
MANTEL CLOCK
Estimate: 400 - 600
Woolley & Wallis
ABRAHAM JANSSENS
ALLEGORY OF SIGHT
Estimate: 43,200
Lempertz
CHIPPENDALE STYLE CARVED
MAHOGANY ARMCHAIR
Estimate: $100
Charlton Hall
ROLEX OYSTER PERPETUAL
Estimate: 8501,350
Fellows
A PAIR OF ARMCHAIRS
Estimate: $6,800
Paddle8
DINO MARTENS, ORIENTE VASE
Estimate: $9,00012,000
Wright
GLOBE
Estimate: 200300
Dreweatts & Bloomsbury
HANS J. WEGNER
SWIVEL DESK CHAIR
Estimate: $8,00012,000
LA Modern
NAPOLEON III TABLE
Estimate: $1,0001,500
Rago Arts
ART DECO WALNUT VENEERED
TWO-TIER STAND
Estimate: 225
Sworders
TOMASSO BROTHERS
FINE ART
info@tomassobrothers.co. uk www. tomassobrothers.co.uk
Bardon Hall Weetwood Lane Leeds LS16 8HJ UK
Tel: +44 (0)113 275 5545
12 Duke Street St Jamess London SW1Y 6BN UK
Tel: + 44 (0)20 7839 9394
We buy European sculpture
of all periods and would be
delighted to receive images,
please send these to:
info@tomassobrothers.co.uk
Pietro Simoni da Barga
(active circa 15711589).
Antinous Belvedere.
Bronze
27 cm high
(41 cm high inc. base)
Provenance: Private Collection, UK
BBC Antiques Roadshow Magazine,
Kelsey Media, Cudham Tithe Barn,
Berrys Hill, Cudham, Kent, TN16 3AG
Email us at: editor@bbcantiques
roadshowmag.com
Follow us on Twitter: @AntiquesRSMag
Like us on Facebook: facebook.com/
AntiquesRSMag
.. .,
I returned from my local supermarket with your magazine
and my weekly food shop. Eager to see what was inside
I quickly made a cup of tea and sat outside in the spring
sunshine. My shopping lay unpacked. I relished every
page as I progressed through the magazine and my cup
of tea went cold. I didnt move until I had read everything.
Several hours later I made another cup of tea and put my
shopping away. Well done to everyone who contributed
to this rst class magazine!
JACKIE SUTHERLAND
Eds note: a big thanks to Jackie for being the rst reader to
email in one for our launch-issue archive!
DOCTORS ORDERS?
I have really enjoyed reading
BBC Antiques Roadshow
Magazine. It is nice not niche.
There is more write-space than
white space. It is the kind of
magazine you would buy a coffee
table for (especially an antique
one). It is also environmentally
friendly, as no one will throw them
away (strengthen the loft-oor,
Charlie!). It is a publication that
can be borrowed but never lent.
They should be made compulsory
for doctors surgeries to cut down
on missed appointments.
Roll on next month!
JOHN DALLIMORE
Eds note: John has attended
some 160 Roadshows, even
travelling to Australia to attend
two recordings there!
., ...
I was surprised and delighted to discover an
article on Dr Christopher Dresser in your new
magazine. Marc Allum and your readers may be
interested to know that the Dorman Museum
in Middlesbrough has the largest public
collection of Dressers work and is opening a
gallery dedicated to him this summer.
For further details visit dormanmuseum.co.uk.
Good luck with the magazine!
GILL MOORE, CURATOR, DORMAN MUSEUM
MYSTERY OBJECT
When Gordon Wright sent this
curious image in to us, it caused
some interest in the magazine
of ce: can you guess what it is?
Our contact details are just to
the right of this box!
A FAMILY AFFAIR
Just sat browsing through
your second magazine with
my father, who is 78. Yesterday
I went through it with my
eight-year-old daughter who is
a budding collector. That just
proves that your magazine has
spanned three generations:
how many other magazines can
full that remit? Long may you
continue! Next job: to watch
the Roadshow en famille!
REBECCA FOX
DEAR EDITOR
Share your news, views and pictures with us
A huge thank you to everyone who has written in about
our frst two issues! Among your emails and letters were
bbcantiquesroadshowmagazine.com 92 MAY 2014 bbcantiquesroadshowmagazine.com MAY 2014 93
T
hese days, its easy. Tap a name into an online
search engine and the information arrives
instantly. Thirty or forty years ago, when my
interest in objects and design began to
develop, it was a very diferent world. If you were curious
about such things, you had to read a book or a magazine,
visit a museum, talk to people. It was a path you had to
want to pursue. Luckily for me, an innate curiosity fuelled
my interest in creating a mental list of landmark designers
and innovators, which was partly based on the exciting
assumption that a bit of knowledge would lead me to lost
and valuable objects that were still waiting to be re-
discovered. Foremost on this list were AWN Pugin,
WilliamBurges, Archibald Knox and a man who was a key
proponent in the history of design, particularly industrial
design, Dr Christopher Dresser (1834-1904). Browsing
through the pages of missing WilliamBurges commissions
was thought provoking enough, but more tangible was the
idea that Dressers design ethic had produced a much
larger body of retrievable objects, and whats more, his
legacy was still not (and still isnt, even to this day) fully
known or documented.
Born in Glasgow, Christopher Dresser was immediately
recognised as a talented child. At the age of 13 he won a
place at the newly established Government School of
Design at Somerset House in London. There he specialised
in botany, an important element in much of his later design
work. Dresser maintained that nature, particularly plants,
had a purity and simplicity of form and function, and it
was his role to apply this precept to the principles of
design. He left the school in 1855 and the following year
was appointed as Professor of Artistic Botany in the
Department of Science and Art, South Kensington. His
numerous articles, written for publications such as The Art
Journal in 1857, included such unusual pieces as Botany as
Adapted to the Arts and Art Manufacturers. Not long
after this Dresser was selling his frst designs.
He applied himself across a wide range of disciplines
including ceramics, metalware, glass, ironwork, furniture
and textiles. By 1868 he was becoming increasingly
successful, juggling roles as an advisor to manufacturers
while designing, writing and teaching. Its said that
Dresser was running the most successful design practice
of its type in the country. His stature increased signifcantly
in the 1870s, with clients such as Minton and Wedgwood
and his name became a highly marketable commodity,
printed or impressed on many products, particularly
electroplate and ceramics. His advisory role to many
companies promoted the idea that the burgeoning
Victorian middle classes wanted - and needed - well
designed and stylish products that were afordable and
easily manufacturable. Dresser was a master of design
solutions, advocating their ef cient and cost efective
production, often using standard components which, in
turn, saved manufacturers money without appearing to
compromise on their quality and design. He moved away
from the highly conventional use of silver and promoted
the use of copper, brass and nickel silver. Its in this period
that we see some of his most iconic items, including the
classic range of electroplated toast and letter racks, claret
jugs and other tablewares produced by his successful
collaboration with Hukin &Heath of Birminghamand James
Dixon & Sons of Shef eld. So enduring are his designs
that Alessi still produces a seminal Dresser toast rack.
Christopher Dressers philosophy of design was highly
infuential amongst his peers. Few would have denied his
radical role in infuencing their work (Morris, Godwin,
Tifany and Knox, to name but a few) and many were
inspired by the foreign and cultural infuences of South
America, North Africa, ancient Britain and Japan that he
incorporated into his designs. His production, as artistic
director of the Linthorpe pottery near Middlesbrough,
mixed the ancient Peruvian shapes of Moche pottery with
startlingly modern metal oxide glazes. Contextually, they
were striking at the time, but even now the pieces have a
contemporary feel.
Strangely, the diversity of his infuence made Dresser an
enigmatic fgure. At times it has proved hard to pin down
stories about him. Certain designs for the Watcombe
Pottery, for instance, are generally accepted to be by
Dresser (and their simplicity of form suggests this),
although there is absolutely no written evidence to
confrm that he worked with the pottery. What is certain
is that Dresser took a Watcombe lemonade set on his
famous trade mission to Japan in 1876 and presented it to
the Emperor. Evidence enough perhaps? The mission was
one of Dressers greatest coups, making him the frst
European designer to be of cially invited to Japan after it
THE DESIGN
DOCTOR
Antiques Roadshow specialist Marc Allum
takes a look at one of the Victorian eras most
innovative designers, Christopher Dresser
RIGHT Designed
by Dresser for
Benham & Froud,
this tall brass jug,
with its scrolled
handle and hinged
cover, is estimated
to be worth
between 500 and
800 by auctioneer
Woolley & Wallis
RIGHT Minton
tiles designed by
Dresser, today
worth around
160 for six
BELOWHis
electroplated
Hukin & Heath
double basket
is worth an
estimated
400600 today
LEFT A rare and
possibly unique
Elkington & Co
electroplated
kettle designed
by Dr Dresser,
circa 1867. It
sold at Woolley
& Wallis in 2013
for an impressive
15,000
LEFT Dresser's
collaboration
with renowned
British companies
extended to
Asprey & Co,
for whom he
designed this
electroplated
letter rack. It sold
last year for 300
LEFT This
electroplated
cruet set, with
its T-bar handle,
is typical of
Dresser's pared-
down style.
Designed for
James Dixon &
Son, it sold in
the summer of
2013 for 400 at
Woolley & Wallis
Dresser was the Philippe
Starck of his day, a design
polymath capable of applying
himself to ref ining and paring,
yet, conversely, ornamenting
the humblest of objects
CHRISTOPHER DRESSER | MADE WITH PRIDE MADE WITH PRIDE | CHRISTOPHER DRESSER
092_AR_The Great Makers.indd 92-93 06/05/2014 09:53
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This month we asked
If you won the lottery, which antique
item would you buy?
FACEBOOK & TWITTER
Jean Middlebrook A piece of Ren
Lalique glass or Emile Galle would be
what I would buy. Just to be able to
look at every day and admire.
@SarahHardingPH
@AntiquesRSMag that's difcult! A
large William de Morgan ruby lustre
plate, a 1930s Jaeger Reverso watch
or an Andrew Grima ring..or all 3
Rebecca Benson I collect Susie
Cooper pottery and have a good
interesting selection but would really
love to shell out on a pristine early tea
set! That would be such a treat!
Carol Knight It has to be something
gold as its a good investment. Heavy
gold sovereign on heavy chain.
. .. .
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OUT & ABOUT
Art and antiques, history, and stories:
see the best of the past and present at
our pick of top shows and events
In parallel
Dont miss the chance to see works
previously unexhibited to the
public and indeed rarely viewed
by a power pair of 20th-century
painting: Ben and Winifred
Nicholson. Art and Life will reveal
the couples different takes on the
same views, such as this seascape,
Cornwall,1928 (left) by Ben
Nicholson. Dulwich Picture Gallery,
London; until 21 September.
Chinese reasures
Ming: The Golden Empire, at
the National Museum of Scotland
in association with Nanjing
Museum, eastern China, will give
UK visitors a unique chance to
see some of the wonders of an
age when economic prosperity
allowed art to ourish. Highlights
include silk textiles, gold and
jades, and this rare, elaborately
enamelled incense burner or
censer (right); until 19 October.
MASTERS FOR SALE
London Art Week, from
4-11 July, is surely an art
lovers must-see. Hosted
in galleries and auction
houses across the capital,
the week will feature 50
specialist dealers exhibiting
and selling works spanning
ve centuries of art history,
including this 19th-century
portrait, A Young Man by
George Dawe, on display
from Lowell Libson;
londonartweek.co.uk.
RINGING
THE
CHANGES
Summer 1814 and
Europe is celebrating
the Treaty of Paris and the
arrival of a long-awaited
peace... Displaying over 100 rare
items, such as this Napoleonic ring, Peace
Breaks Out! will explore this pivotal period
in European history. Sir John Soanes
Museum, London; until 13 September.
COMEDY OUT OF
TRAGEDY
100 years on, the impact
of the First World War is
explored in shows such
as Never Again! World
War I in Cartoon and
Comic Art, revealing the
stories behind unlikely
artworks, such as Arf a
Mo Kaiser! (left). Cartoon
Museum, London;
until 19 October.
DIARY DATES
Come and join
a Roadshow soon!
If you have an item youd
love to see assessed by a
specialist and if youre
keen to see the BBC
Antiques Roadshow in
action, come along to one
of the following venues:
Thursday 12 June
LOWTHER CASTLE
Penrith, Cumbria
Sunday 22 June
TREDEGAR HOUSE
Newport, Wales
Thursday 26 June
HILLSBOROUGH CASTLE
Hillsborough, Northern
Ireland
Thursday 3 July
CHENIES MANOR
Near Amersham,
Buckinghamshire
Sunday 20 July
THE ROUNDHOUSE
Derby, Derbyshire
Thursday 31 July
BELTON HOUSE
Grantham, Lincolnshire
For further dates go to
bbc.co.uk/antiquesroadshow
MAKING AN
IMPRESSION
Discover how an important
19th century art movement
travelled across the Atlantic in
the Glasgow-based Scottish
National Gallery of Modern
Arts American Impressionism:
A New Vision. The exhibition
will explore how painters in
the USA came to embrace
the Parisian phenomenon at
home and abroad. Artists
featured will include major
gures such as Mary Cassatt,
John Singer Sargent,
William Merritt Chase and
Edmund C Tarbell, whose
Three Sisters: A Study in
June Sunlight 1890 (left),
caused a sensation when it
was rst displayed in his
home town of Boston.
The exhibition will run from
19 July until 19 October.
Animal magic
Are you a keen animal lover?
Then make sure you visit
Capturing the Art of Native Breeds
at the Fosse Gallery, Stowe-on-
the-Wold, Gloucestershire, for
the chance to buy some of animal
artist Seren Bells fnest work,
from 8 to 28 June. Her original
crayon, pen and ink drawings
feature images of cattle, dogs,
geese and poultry, as in Maran
Cockerel (above). Prices range
from 395 to 1,500.
BALANCING ACT
Enjoy the summer sun (we hope!) while
admiring Open Air Sculpture at Knebworth.
From 9 July until 31 August the gardens
of Knebworth House, Hertfordshire
will play host to works by nineteen
contemporary sculptors, including
Ivor Abrahams RAs Tableau
Balance (above).
COLOUR ME BEAUTIFUL
Discover more about the man behind the
paintings in Tate Liverpools Mondrian and his
Studios. Highlights include Composition with
Red, Yellow and Blue (above) and a life-size
replica of his Paris Studio; until 5 October.
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THE PASTEL SOCIETY
Sponsored by Caran dAche
Pastel Society Annual Exhibition
10 to 21 June 2014
10am to 5pm (closes 4pm on nal day)
Includes a special section celebrating Plants &
Flowers. All works for sale with prices starting
from just 300. Artist demos and workshops
taking place. For more information visit:
www.pastelsociety.org.uk
The Mall, London SW1
www.mallgalleries.org.uk
Free entry
for two
with this
voucher
Image: Bess Avery PS, Garden
Hours of sunshine drew visitors by the thousand to Richmond and Norwich, this months
chosen locations. Read on, to discover the stories behind the many great fnds
ON THE ROAD WITH
ANTIQUES ROADSHOW
LOCATIONS
RICHMOND
NORWICH
BEHIND THE SCENES
|
FILMING

S
o many of our great historic houses
and landscapes underwent major
transformations during the 20th
century, none more so than the two
locations featured in this months run of
Antiques Roadshow. White Lodge in
Richmond, commissioned in 1727 as a
hunting lodge for King George I, became
home to the Royal Ballet Lower School in
1955, while in the 1960s, over 360 acres of
the Earlham Estate on the edge of the city of
Norwich were transformed into the campus
of the University of East Anglia (UEA).
Early morning rain cleared and the sun
shone down from big Norfolk skies at UEA
on the day of flming, which took place in
and around the Sainsbury Centre for Visual
Arts. This large cuboid steel structure by
Norman Foster opened in 1978, adding to
the university buildings designed by Denys
Lasdun, many of which are now Grade II
listed. The centre was originally built to
house over 300 pieces donated to the
university by Sir Robert and Lady Lisa
Sainsbury, but the collection had increased to
such an extent that, by the late 1970s, a
larger space was needed. The artefacts now
number more than 1,700, illustrating over
5,000 years of human talent for creating
desirable objects. It proved the ideal setting
for a Roadshow, where pieces ranging from
a 17th-century Bellarmine jug, to a
pair of striking Art Deco armchairs
contributed to the days fnds.
The weather was equally kind
in Richmond. Warm summer
rays glinted through leafy
Richmond Park, as
thousands of visitors
streamed in. White Lodge
originally Stone Lodge
and then New Lodge is
only twelve miles from the
centre of London and has drawn
illustrious inhabitants and visitors
since the 1720s, many of them royal. Its
elegant proportions and serene setting made
it a favourite with Queen Caroline, wife of
King George II. It later became the home of
the Prince of Wales, subsequently Edward
VII. Lord Nelson visited in 1805, six weeks
before the Battle of Trafalgar, when he
explained his proposed strategy to Lord
Sidmouth by tracing a fnger dipped in wine
across a tablecloth. In 1923, the Duke and
Duchess of York made it their home and it is
Summer stories
and surprises
1. GRAHAM LAY was moved by the story of a German war artist. 2. HILARY KAY valued two unusual homemade microscopes. 3. ALASTAIR
DICKENSON was intrigued by the decoration on a salver. 4. RONNIE ARCHER MORGAN told the owner of a Chinese brushpot, bought for a
song, its true worth. 5. LARS THARP admired a visitors instinct in buying two green glazed medieval jugs. 6. LAWRENCE HENDRA appeared on
one of his rst Roadshows. 7. DEBORAH LAMBERT was tempted to recline on one of a pair of Art Deco armchairs purchased in South Africa.
Contrasting sites, Norwichs Sainsbury Centre and
White Lodge, Richmond, attracted large crowds
1 4 5 6 7 2 3
Fiona Bruce looks at a First
World War naval shell case
Setting up for lming begins
at White Lodge, Richmond
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Some of the team players
the address that appears
on the Queens birth
certifcate. Later the cost of
upkeep became an issue, and the family
moved out in 1927. Today, Prince Charles is
President of the Ballet School. Each year 50
young dancers begin their training at White
Lodge or in the senior school at Covent
Garden a fraction of the 700 who apply.
Among the visitors was one such student,
who went on to become Principal Ballerina
with the Royal Ballet: Darcey Bussell (see
our interview with her on page 122!).
FILMING
|
BEHIND THE SCENES
When the centre opened
in 1978 there were
around 600 objects
in the collection;
now there are
more than
1,700
AT THE
SAINSBURY CENTRE
JULY 2014 15
One of the shows production crew
stopped in Norwich to ask a local
how to fnd the Sainsbury Centre;
he was given directions to a
well-known supermarket
John Neal, Engineering Manager
TOP SPARKLERS
John Benjamin will remember the Sainsbury Centre in
Norwich as the venue that delivered some of the best
jewellery he has ever seen on a Roadshow. A visitor arrived
with a necklace and an intriguing little blue box. This is a
really long and very lovely necklace, with little natural
pearls separated by platinum links, made around 1900, he
told her. The best surprises often come in small packages,
however, and the blue box delivered a pair of diamond
drop earrings that John described simply as fabulous.
The large pear-shaped drops were detachable, so the studs
could be worn on their own in the day and the drops
re-attached for instant evening glamour. These are 18th-
century old mine diamonds, of the kind we long to see and
so rarely do, he went on. I love them! What did he value
them at? Catch the show to fnd out.
Jon Baddeley discusses drawings
by the designer of a famous mascot
Youngest specialist Lawrence
Hendra, 24, examines a painting
A bronze sculpture by GF Watts
catches Paul Vineys attention
Printing blocks tell the
story of a local murder
BEHIND THE SCENES
|
FILMING
DECO DELUXE
I love the low horizontal lines of
these armchairs and the large,
rounded armrests, Deborah
Lambert told the owner of this
pair of Art Deco chairs at the
Sainsbury Centre show. Their
owner had bought them in South
Africa in 1999 for the equivalent of
around 70 each. Deborah thought
from their appearance that they might
well have been made in Africa, but with no
makers stamp, she couldnt be sure. In terms of date I think theyre
1930s rather than 1920s. Theyre certainly worth a great deal more
than you paid for them. The value? All will be revealed on the show!
16 JULY 2014
MYSTERY GIRL
Shes always been known to
us as the Little Dutch Girl,
said the owner of this Art
Nouveau ceramic gure, which
so impressed Lars Tharp at the
Royal Ballet School Roadshow.
I dont recognise the
signature, said Lars, but the
modelling is exceptional. Its a
real show-off piece and Id be
amazed if it sold for anything
less than 2,000 at auction.
TOP 3 FINDS
PATTERNED JOY
What a fantastic vase! enthused
David Battie, when he spotted
this Japanese beauty (seen with
Fiona Bruce, right). Its of a type
known as brocade Satsuma,
made about 1870, earlier than the
nely painted and more desirable
pieces but I like it better. At
auction it would make 800 to
1,200, he said. My late wife
would have been delighted,
said owner David Edwards.
SPECTACULAR PLATTER
This is no ordinary salver,
Alastair Dickenson told the
owner of this silver gilt piece, to
whom it has always been known
as the Princess Augusta plate,
thanks to its monogram of the
second daughter of King
George III. Made by silversmith
Robert Abercrombie in 1736,
its decoration shows Baroque
giving way to Rococo, making it
worth at least 15,000.
D
iana Copinger Stedman clearly remembers sitting for eminent sculptor Sir Jacob Epstein
(1880-1959) as he worked on this bust of her at the age of seven, which she brought to the
Sainsbury Centre show. In turn, Philip Mould was entranced by the story of how she became a
subject for one of the most celebrated artists of the 20th century. My mother went to an exhibition of
his work and decided she wanted me to sit for him, Diana explained. The gallery contacted him and
he invited my mother to send photographs. Once he saw them, he agreed to the commission. He
seemed intrigued by my plaits. We travelled to London from Sufolk, which was very exciting. My
father was a farmer, so we stayed at the Farmers Club in Whitehall and went to Epsteins enormous
studio in Kensington every morning. I remember sitting quietly while he manipulated the lump of clay
with his thumb and an old nail, chatting as he worked. He was very friendly and signed my autograph
book at the end. As far as Diana knows, only one bronze was cast, so her bust is unique and all the
more precious for that. My mother asked him to sign it, and he said, No, no, I dont sign but he did
in the end. Philip unveils the value of the bust in the show; see TV listings for confrmation of the date.
SITTING PRETTY
Philip Mould enjoys a
bust by Jacob Epstein
White Lodge, Richmond Park
provided an elegant backdrop
FILMING
|
BEHIND THE SCENES
Geoffrey Munn examines a
collection of costume jewellery
JULY 2014 17
AWESOME ORMOLU
Elaine Binnings attention was immediately caught by the
glory of this ormolu casket, brought to the Royal Ballet School
by Andrew Landsdale. She was astounded when he told her he
had bought it from a bric-a-brac shop in Sydney in 1963 for
5. I was earning 15 a week as a cadet in the merchant navy
at the time, sailing between India and Australia. Most of my
money went on beer and cigarettes, but I saw this tucked away
and really liked it, said Andrew. It went around the world
with me, stored in my quarters with all my letters in it.
The quality of the casting was top notch, with a crisp
chamfered border to the interior that reminded Elaine of cases
made for the best carriage clocks by British companies such as
Dent. The foral pietre dure (hardstone) inserts would have
found their way to this country from Italy in the mid-19th
century, when the piece was made. You chose well, said
Elaine. If you decided to sell at auction, I think your beautiful
casket might well make 3,000-3,500. Andrews
verdict: Ive had it with me so many years, I have no intention
of parting with it, despite the surprising value!
White Lodge was an astonishing oasis, with views of central London
from a rural location. I was mesmerised by an almost Highland scene
of a stag surrounded by trees out of one window, with a vista of
London tower blocks from another. Elaine Binning
AN ARTISTS LUCKY FIND Marine artist Harry Bloom
was on holiday in East Sussex over 50 years ago, when he spotted a carved
wooden vessel outside a junk shop. He snapped it up for 10 shillings 50p
today. It was full of worn brushes, but I have used it ever since for my
own, he told Ronnie Archer Morgan at the Royal Ballet School show.
Ronnie was captivated; the piece was deeply carved in China from rare
huanghuali wood, a member of the rosewood family that is now widely
protected. It was made as a Daoist scholars brush pot. Im
delighted youve carried on using it in the way it was intended
for all these years, he told Harry. The market in Chinese works
of art has been buoyant for some time; Ronnie was convinced it
could make over 5,000 in the right auction.
Four striking portraits by
Scottish painter James Giles
The first in the queue
arrived at 6.50am
Three coaches constantly
whizzed visitors to
and from local
car parks
AT THE ROYAL
BALLET SCHOOL
BEHIND THE SCENES
|
FILMING
The Sainsbury Centre unleashed
fond memories for me, as I was an
undergraduate at UEA in the late
1970s. I spotted one of my old
tutors, Sandy Heslop, in the crowd
just as I was about to begin a
recording. 35 years slipped away in
an instant and I was an art history
student once again. Philip Mould
MAGICAL MEMORIES
Being on stage with Dame Margot Fonteyn was once the fantasy
of every aspiring ballerina. For Vernie Stilwell, the dream came
true. I was in the corps de ballet when Fonteyn danced the principal
roles in The Nutcracker and Sleeping Beauty in 1958 and 1959,
when both ballets were flmed at the BBC studios, Vernie said.
She was the most charming person such a calming presence and
very good to all of us. Everyone adored her. When the auction of
Fonteyns efects came up at Christies in 2000, Vernie noticed
that one of the lots was the tiara she wore in The Nutcracker. Vernie
has photographs of herself on stage with the star and was
determined to secure the piece. I had a sum I wasnt prepared to
exceed and had to bid right up to it, she recalled. I raised my
paddle for the last time and waited with bated breath for someone
elses to go up, but there was silence. When the hammer came down
in my favour, the woman sitting next to me gave me a big hug!
Vernie was a pupil at the Royal Ballet School so it was ftting
that she brought the tiara and photographs along to the Roadshow,
where she shared her magical memories with Fiona Bruce.
Mark Poltimore gets serious
over a painting of Venice
Specialist Hilary Kays fascination with the mechanical and
scientifc is well known. She was entranced at the Richmond
show when Joan Lambert unwrapped two microscopes made
by her grandfather, David Martin. He ran a bakery in Kirriemuir,
Scotland with his brother Rattray, creating spun sugar wonders
by day and scientifc instruments in his spare time. These
microscopes were made using the system of cardboard tubing
with a tilting, refecting mirror pioneered by famous British
makers Robert Hooke and John Marshall in the late 17th and
early 18th centuries. I grew up to become a bacteriologist, said
Joan, and when my granny heard I was working in a laboratory,
she sent the microscopes down from Scotland because she
thought they might be useful. I had them on my bench
alongside all the latest equipment much to the amusement of
my colleagues. That was in 1947 and theyve been with me
ever since. Hilary reckoned 1,000-1,200 for the pair.
LOOKS SWEET
FILMING
|
BEHIND THE SCENES
John Bly wonders how this northern
European seat ended up in a pub
W
eve got to be ready for anything the day brings be it
wind, rain or sunburn so although this show is all
about surprises, the technical planning that goes on
before the visitors arrive leaves nothing to chance. We rehearse
camera positions the afternoon before, checking where well be,
and early the next morning were back on site, usually praying
that it wont rain a lot of the shows are flmed outdoors. There
are three main cameras, with four cameramen. The central camera
number two does all the close-up work, capturing the tiny details
on a piece of jewellery, say, or a curious mark on a piece of silver. Id
always advise anyone whos going to be flmed to forget about the
camera! Never look directly at it, just concentrate on the specialist
who is telling you the tale of your item. Its easy as everyone gets so
absorbed in what is happening including us! For me the best pieces
to flm are the paintings. Theres always a story and often things hidden
in the work, which the camera can focus on. The biggest challenge
is when someone has brought in multiple pieces and we have to
chase around the table following the specialist as they pick up each
one. My favourite location so far? RAF Marham in Norfolk. The
Tornado planes made a powerful backdrop. Perfect on camera.
MEET THE
Roadshow cameraman,
Paul Baldwin, who as
part of the team has been
filming the show for
some thirteen years
CENTURIES OLD
We rarely come across medieval
European pottery at the Roadshow,
so Im amazed to see these two
large and wonderfully tactile 16th
century jugs, Lars Tharp told a visitor
at the Royal Ballet School show.
Theyre so robust and you can see the
potters prints all over them, the way he ran his thumb around the
rim. We cant be sure where they were made but my guess is
either England or France. Containers like this were multi-purpose,
so they could have been used for either ale or water. Theyre
magnicent survivors of the pre-industrial age and would make
between 1,000 and 2,000 if you decided to sell.
Mark Hill tells a collector
about his visiting-card cases
A visitor meets Bunny Campione
at the miscellaneous table
COME TO A ROADSHOW!
A BBC Antiques Roadshow cant happen without its visitors!
So if you have an item that youve always wondered about,
come along and join in. Theres sure to be a show near you
this season. For details go to bbc.co.uk/antiquesroadshow
or see our listing on page 10. Keep an eye on TV listings
pages for dates and times of the shows new series,
which can be subject to change.
Get in touch!
Have you been to a show? If so, wed love
to hear about your experience and see your pictures.
Write in to us at the address on page 6
Email us at editor@bbcantiquesroadshowmag.com
Ronnie Archer Morgan sees
a carved Maori feather box
S
everal weeks in advance of a Roadshow recording, its
pre-publicity posters include this line: If you have large
pieces of furniture or other big items you can send
details to. Each time people respond, emailing or
posting photos to the of ce, where each enquiry is carefully
collated. Everyone who gets in touch and lives within 25 miles
of a venue (and occasionally further afeld) is likely to receive a
visit in the days before the event.
Specialists Nicholas Mitchell, Paul Atterbury, Marc Allum
and John Foster are veterans of the
Furniture Round, taking it in turns almost
a full week before the show. They have as
many as twenty appointments a day over
four days. I may see four-poster beds, huge
paintings or even, in one case, the most
enormous stufed gorilla, but the object
doesnt have to be large or dif cult for me
to drop by, says Nicholas, adding that as a
matter of courtesy, Ill have a look. His
long association with the programme has
seen him picking his way by torchlight
across broken foorboards, and being led
through an empty meat market on a Sunday
morning to look at a selection of medical
antiques in a back room. Most visits,
however, are to warm and welcoming
homes. Ive come away with homemade
jam and cuttings from plants Ive admired,
he says. Were often invited to stay for tea,
but sadly, theres never time to stop.
If a Roadshow takes place on a Thursday,
fnal selections are made on Tuesday. On
Wednesday an experienced removals company,
skilled in handling antiques, collects and
delivers to the venue. On the day after the
Roadshow, each piece is carefully returned
to its owner. The specialists oversee each step in the process.
Every object is packed as if it were being transported to the
moon, says Nicholas. Were also fercely discreet. Apart from
us, only one other person at the BBC in Bristol holds the names
and addresses of the people who contact the programme.
Although only eight or ten pick-ups fnally take place, the
team like people to feel it was worth getting in touch. They
usually supply a pass so that visitors whose items havent made
it can go straight to Reception, should they wish to visit the
show. Nicholas and the others have also
become adept over the years at matching
object to expert. I know who will be there
on the day, he says, so I might bring in a
piece of Arts & Crafts furniture for Paul
Atterbury, or a piece of Welsh porcelain
that I know will excite Fergus Gambon.
For Marc Allum, the thrill of discovery
never diminishes. Its so rewarding taking
an item to the Roadshow without the
owner knowing why youre so keen, he
explains. And then theres the satisfaction
of seeing it flmed, knowing you spotted
it. Whatever the outcome (and not every
item brought in will be flmed), the team
wants everyone who receives a visit to have
a good experience. The furniture round is
a vital ingredient in the magic that is
Antiques Roadshow. Do keep writing in!
If you have an object you would like to
submit such as large paintings, furniture,
heavy pots or any items that are dificult to
carry you can contact the Roadshow by
sending details and photographs of the objects
to: Antiques Roadshow, BBC Bristol,
Whiteladies Road, Bristol BS8 2LR, or email:
antiques.roadshow@bbc.co.uk.
An experienced
removals company,
skilled in handling
antiques, collects
and delivers to
the venue
From sideboards and longcase clocks, 1950s kitchens to Old Master paintings: how do
all the large items seen on screen, asks Fiona Malcolm, fnd their way to each show?
THE BIG ROUND UP
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FILMING
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BEHIND THE SCENES
The Antiques Roadshows
Henry Sandon reveals
the story behind this
quirky porcelain tribute
to a world-class soprano
What is this?
Its a porcelain candlesnufer,
frst produced by Royal
Worcester in the 1850s, and
named for the Swedish operatic
superstar of her day, Jenny Lind
(1820-1887). She was known as
The Swedish Nightingale, hence
the snufers half woman, half
bird design. She also had
connections with Worcester,
retiring to Malvern and once
performing a concert locally to
help pay for a chapel at The
Royal Worcester Infrmary.
Jenny Lind died at Wynds Point
on the Malvern Hills and is
buried in Great Malvern.
How was it
decorated?
The head was hand painted and
the skirt was glazed in a variety of
colours; as well as the pink here
there are blue and yellow versions.
I spy
Look out for a date code printed
on its interior. The earlier it is,
the more valuable the piece. The
word England was added only
after 1891, so anything without
it may predate this time.
What is this
piece called?
This is Confdence, as its head is
raised. These snufers were often
produced in pairs, so keep your
eyes open for a piece where the
birds head is positioned at a
demure, downward angle. That
one is known as Difdence.
Any comments as
to its worth?
A piece like this, in good
condition and dating from the
Victorian era, should sell for
around 150. A pair dating from
1928 and 1929, both featuring
dresses in bright yellow, sold at
Bonhams in 2010 for 780.
Pieces dating from the mid-19th
century will sell for several
hundreds of pounds.
Where can I see
an example?
Youll fnd others in The
Worcester Porcelain Museum,
Worcester; visit worcester
porcelainmuseum.org.uk.
candle
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(Left) Henry Sandon;
(above) Jenny Lind in
1847, two years before
retiring from opera at 29
curio
ANTIQUES DETECTIVE
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FOSTERS
fancy
Youll fnd Roadshow specialist John Foster at
the miscellaneous table on flming days, but
theres no pinning him down otherwise, as
he shoots from one project to another, always
with an eye for the covetable and curious
WORDS
|
CAROLINE WHEATER IMAGES
|
SYLVAINE POITAU
John, prior to an
auction sale, with
green toleware tea
canisters from a
grocers shop and
an antique globe
JOHN FOSTER
|
ANTIQUES
A
Tuesday morning in Cambridge,
and a furry of academics, students
and children make their way to
lecture halls and schools. Bikes
dart everywhere as the city whizzes into life.
Tucked away in a backwater, Chefns auction
house is about to rev up, too, as the specialists
prepare for the weekly valuation day. We get
through pots and pots of cofee on a day like
this, says John Foster, Antiques Roadshow
miscellaneous expert, as he flls up a large
cafetire and digs out some mugs.
From 10 oclock people start to drift in
clutching 1930s fur hats, a toy wooden sailing
boat, a 1950s mirrored cofee table and all
manner of other items to sell. Along with
valuer Angela Marshall, John greets visitors
warmly, sitting down to see what theyve got.
This is one of the best parts of the job, that
sense of discovery, he says, scrutinising a
reindeer antler covered in tiny drawings of
dog sleds. Hmmm, Id say Finnish or Lap,
early 20th century, he assesses. Being stumped
is not an option for John, who has spent the
past 25 years studying collectables in minute
detail for various leading auction houses,
joining the Roadshow in 2007. On the
miscellaneous table we never know what were
going to get, from man-traps to teddy bears. I
think its the most interesting category, he says.
There is no shortage of quirky items to
assess. At the Exeter show last year, a visitor
brought in a walking stick handle
thought to be worth around
20. It was in the shape of a
phrenology bust, made of marine
ivory probably walrus from
1820 to 1830, incredibly rare and
in amazing condition. I put
3,000 to 5,000 on it, recalls
John. And at Hatfeld House, in
2010, he came across a model ship
made of bone by a prisoner in the
Napoleonic Wars, estimating its
value at a whopping 6,000 to
8,000. But its not always about
pound signs. People expect the
excitement to come from the
monetary value, but sometimes
its the story. At one show a lady
came in with a piece of wartime
shrapnel in a tin. It had been
embedded in her fathers back for
20 years before making its way out. It was
worth nothing, but to her it was priceless and
obviously all about the family memory.
On a similar theme, at the 2009 Bolton
Abbey Roadshow, a pilots daughter brought
ABOVE An unusual chunk of
raw opal mounted with a silver
pheasant is closely examined
RIGHT Framed items include an
ecclesiastical letter written by
the Bishop of Norwich in 1662
John and a Chefns
colleague, Martin
Millard, examine
some obsolete
early 19th century
pistols and a small
bore shotgun
ANTIQUES
|
JOHN FOSTER
in a collection of First World War Royal
Flying Corps memorabilia. She loved the
collection because it was about her dad, John
recalls, but she didnt realise how interesting
it was to other people. Now shes bequeathed
it to one of the air museums.
Johns interest in history was fred up in
childhood when he accompanied his father on
trips to examine the wrecks of two Spanish
galleons, the Santa Margarita and the Atocha,
which sank of the Florida Keys during the
early 17th century. These two ships were
considered amazing fnds and each one held
enough silver, gold and jewels to fll a
museum. With my brothers I would go diving
around the reef thats when I got into
militaria and coins. Auctioneering seemed a
promising career path for the 18-year-old
John and he started out in 1988 as a porter at
Phillips auction house, quickly rising through
the ranks to become a valuer and auctioneer.
In 2011, after more senior roles at Dreweatts
and Sworders, he set up on his own as an
independent valuer and sourcer of antiques.
Having run auctions at least once a week
for many years he is now less frequently to be
This is one of the best parts of the job, that
sense of discovery, John says, scrutinising a
reindeer antler covered in tiny drawings
CLOCKWISE FROM TOP LEFT An 18th-
century Lowestoft tea bowl; moving a stone
head; decoration on a pistol; vintage comics
are an auction house staple; the much used
gavel; John investigates the base of a clock
seen wielding a gavel, unless its for charity
hes on the committee of the East Anglian
Air Ambulance and works with childrens
cancer charities but he doesnt miss the
saleroom cut and thrust. For me, the best
part of the job is fnding things. I love calls,
when you go out to a house and assess whats
there. The other day I went to a country hall
in Norfolk whose owners said theyd got very
little that might be of interest. Needless to
say, it was enough to fll a whole saleroom
they just didnt realise what they had.
When hes not involved in ofcial business
with Chefns, for whom he works two days a
JOHN FOSTER
|
ANTIQUES
week, valuing and cataloguing, or his private
consultancy, John, who lives in Cambridge
with his wife Louise and their three children,
is often to be found hunting at car boot
sales, that is. On summer weekends my son
and I are up at 5am. I like the people, the
banter and the barter. I usually take around
300 and do really well or really badly. Some
of the things are for my own collection, but
most of it is to sell on.
Over the years hes collected 18th-century
Lowestoft pottery, ceramic fgures, coins,
antiquities and religious manuscripts and
books. I get bored with collections after a
while, so I tend to sell them, he explains.
Theres so much variety it seems a shame to
limit yourself to one thing. As he and Louise
disagree on what looks nice in the house,
most of Johns fnds are kept in his study. In
pride of place is an original picture of a two-
headed catfsh by James Sowerby (inset
below), the 18th century English naturalist.
John bought it in a mixed lot over 20 years
ago when he didnt fully appreciate the
collectability of Sowerby artworks. The lot
contained two studies of pears by Sowerby,
which I sold at an American fair for $800
[500] each. I was gutted when I saw them
sold at Sothebys a few months later for
10,000! I learnt a good lesson then as soon
as you think you know it all, youre in trouble.
John also has a highly practical side. In the
last few years hes done up his
own townhouse, a wreck that
had to be supported with
scafolding and, armed with this
experience, has begun to project
manage other house renovations
for time-poor clients. I oversee
the whole job, says John,
organising the builders, the
architects, sourcing fooring,
lighting and kitchens.
Theres no space for downtime
in the Foster psyche and his
latest passion is a turquoise 1974
Porsche 911S, which he has been
restoring on his drive. Ive
always wanted one. I stripped it
all and now its gone of to the
body shop for new panels and
welding. At the beginning of
July he plans to drive it down to
France to watch the Le Mans Classic race
with a group of friends. Id like to go on a
road trip around Italy too, he confdes.
Knowing John, itll defnitely happen.
Chefins, 01223 213343; chefns.co.uk
ABOVE This late Victorian
boneshaker bicycle achieved a
price of 2,200 at auction
LEFT The latest project Johns
turquoise 1974 Porsche 911S,
which he is restoring himself
John was given this
Indian Jain god as a
housewarming present;
(right) Johns prized
James Sowerby drawing
of a two-headed catsh
JOHNS TOP TEN TIPS
on creating a collection
1
I buy things because
I love them, always.
Religious manuscripts,
for example, to me, are
true things of beauty.
2
If youre interested
in investment, look
out for things that are
out of fashion, or
under-rated. John
believes theres potential
money to be made in
Indian art and good
quality 20th century
British and European
furniture. For a great
buy that may not go up
in value, however, look at
antique longcase clocks.
3
Put your toe in the
water by buying a
mixed lot at auction
often youll fnd
something really good
hidden among the
fotsam and jetsam.
4
Dont be shy about
using auction
houses to sell as well as
buy things at. Make use
of the valuation days
the staf will be friendly
and you could make
some money on an
object that otherwise
would be languishing
in your garage.
5
When youre
bidding at auction,
work out who youre
up against. If its an
antiques trader who is
buying to sell on, youll
get a trade price. If its a
private bidder and they
really want that thing,
and are prepared to bid
ever upwards for it, you
could end up paying
well over the odds.
Buyer beware!
6
Restoration can cost
a lot, so if youre
unsure about a piece
coming up at auction,
go to one of the sale
preview days and talk
through your concerns
with a valuer. Check
how much restoration it
might need. The valuer
will be happy to advise
you, says John.
7
If coins are your
collecting bag dont
ever be tempted to clean
them. Condition is
everything in coins
never clean them as
it will wipe of 70 per
cent of their value
immediately. You are
cleaning away their
patina and original
lustre, says John.
8
If youre starting
a collection, be
discerning. For example,
buy one coin that is
great rather than ten
that are mediocre.
9
Dont be afraid
to clear out a
collection and start
something new.
10
Go to car boot
sales for the best
bargains and take cash
to spend. The early bird
catches the worm
This carved chess
piece appeared with
the green serpentine
vase at the valuation
on the day of our
photoshoot, as well
as an engraved antler
JOHN FOSTER
|
ANTIQUES
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M
y Roadshow season has
just begun, looking at
books and manuscripts
at the wonderful Kirby Hall in
Northamptonshire. But in my
other life, as an antiquarian
bookseller, 2014 has been a busy
one already. Between February
and June Ive been at book fairs in
Los Angeles, Edinburgh, Paris and
London. As you can imagine,
moving a small library from fair to
fair is a logistical juggling act it
always feels like a minor miracle to
arrive at my book fair stand ready
for action. Every fair has its own
character: balmy California is a
pleasure in February, of course;
Edinburgh is relaxed and civilised,
as you would expect; the London
fair at Olympia is arguably the best
in the world, while Paris is the
most elegant, under the Beaux-
Arts domes of the Grand Palais.
Putting together a collection for
each fair is a challenge and a
pleasure. Its always good to have
new fnds and some highlights to
get people talking. What have I
had on my desk recently? Well,
my favourites have included a
remarkable Georgian manuscript the
account book of an of cial at Hampton
Court, revealing details about the
comings and goings at the royal courts
of King George I and the Prince of Wales.
Then there was a tiny illuminated
manuscript book, made by a 16-year-old
nephew of Gustav Klimt in Vienna in
1920, with jewel-like images and
calligraphy. I have a fascination, too, for
the works of amateur writers and artists,
so another treasure has been a botanical
manuscript put together by a Victorian
lady in Sufolk, full of watercolours of
fowers and plants in her garden. Of
course, none of these things appear by
magic, so Im often on the road looking
for new stock. I also have a special
interest in French books, which gives me
the perfect excuse to be in Paris.
The antiquarian book market is a very
interesting place to be now. Prices are
strong for the right books and there
have been a couple of stellar auction
sales recently. An example of the frst
book printed in America, the so-called
Bay Psalm Book, printed in 1640, brought
an eye-watering $14.2 million (8.8
million) in November, becoming the
most expensive printed book in history.
It was a scrufy little thing a similar
prayer book printed in England in the
same year would barely raise a couple
of hundred pounds. The magic of its
early American origins counted
for everything. Another highlight
for me was the early 16th-century
Rothschild Hours, a fabulously
illuminated manuscript prayer
book, which sold for $13.6 million
(8.4 million) last January. Oddly,
illuminated manuscripts from this
period are not that rare, with
several appearing every year, but
this one was the very best of its
kind. It was commissioned by an
unknown aristocrat, from the
fnest artists working at Ghent or
Bruges, its pages sparkling with
colour and light like a stained
glass window.
A few years ago there was a
worry that somehow the internet
and e-books would lead to the
death of the book. If anything,
though, our appreciation of the
pleasures of the real book has
been sharpened, with a new
generation of buyers and
collectors getting excited by the
physical presence of books. Of
course, its hard for independent
bookshops to compete in a
crowded market dominated by
the internet, but I have noticed a
resurgence of interest in fne and rare
books among younger people, who
perhaps do most of their reading on the
screen. For them, real books, or old
books, carry a signifcance far beyond
the text itself, and provide a tangible
connection with the era of their writers
or former owners. The Roadshow is the
perfect venue to hear about the special
meanings and stories people attach to
their books; they are always interesting,
and just occasionally, they are amazing.
Im looking forward to meeting you
during the summer.
Justin joined the Roadshow in 2005.
From his bookshop in Kent he works with
collectors all over the world
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Roadshows antiquarian book specialist, Justin Croft, brings something diferent
For the love of a good book
An example of the frst book printed
in America, the so-called Bay Psalm
Book, printed in 1640, brought
an eye-watering $14.2 million in
November, becoming the most
expensive printed book in history
THE VIEW FROM HERE
|
ANTIQUES
ABOVE The entrance hall offers a breathtaking introduction to 575
Wandsworth Road CENTRE Detail of the hand-carved ligree woodwork
RIGHT The decorations were designed to be seen by candlelight
A touch
of the Exotic
Tucked of the pavement
of a London road lies
a Georgian house. So
understated is its faade that
no one would ever guess at
its extraordinary interiors.
Malcolm Billings pays a visit
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W
ow! The visitor on the doorstep is
taken aback as she steps into the
narrow hall of 575 Wandsworth
Road. She has negotiated the tiny
front garden and a couple of steps up to the entrance of
one of the National Trusts smallest and most exotic
houses. The front door closes and another world is
revealed. The doors, walls, ceiling and the foors are all
decorated with symbols and highlighted by intricate
fretwork. That was the wow factor. The visitor tells me
that she was on the phone at 7am when bookings opened
for tours of the house. Just six people at a time are carefully
guided by three volunteers through the rooms of carvings
and wall paintings, all of which were painstakingly executed
by the man who once lived here: Khadambi Asalache.
The son of a tribal chief from Kenya, Khadambi arrived
in London in 1960 to study the philosophy of mathematics
at the University of London. A novelist and poet, he then
worked as a civil servant at the Treasury in Whitehall.
Before he died in 2006 he gave his house to the National
Trust. His partner, Susie Thomson, an artist from Scotland,
acts as executor and unofcial curator of Khadambis
fusion of cultures in South Londons Wandsworth Road.
Susie takes me downstairs to the heart of the house
the dining room and kitchen on the lower ground foor.
The original stove is still the focal point in a room that is
decorated with carved niches containing a collection of
crockery that Khadambi and Susie used for supper parties.
The light from ornate candelabra gives the carved walls
and ceiling a golden three-dimensional efect.
Susie met Khadambi at one of his supper parties. He
was a charismatic man, she tells me, older than me, but
one of those ageless people, so that the diference in our
ages had no impact. She recalls how he enjoyed cooking
and that he would serve a dish made from tuna caught of
Mombasa, dried in the East African way, and delivered to
the Kenya High Commission in London in the diplomatic
bag. The obvious thing missing at Khadambis table
though, would be cutlery. Some of his friends worried
about eating with their fngers. Susie recalls how
Khadambi would brush their difdence aside. He said that
had to be overcome. Using ones fngers was a sensation
to be enjoyed. The kitchen cupboards still hold spices and
tins and packets of basic ingredients, such as cornfour
and drinking chocolate. One of the volunteers assures me
that the cupboards are regularly checked for weevils.
The dining room is special in another way. It is here
that the whole enterprise of creating an Eastern world on
the Wandsworth Road began in 1981. When Khadambi
bought the house, damp was creeping up one wall, so he
HOUSE WITH HISTORY
|
HOMES
On he urface
CLOCKWISE FROM LEFT
Lustreware pieces, such as
this teapot, were for use as
well as display; a souvenir of
colonial history; in the front
sitting room, warm colours
from woven textiles contrast
with the wood decorations;
glass ink bottles and silver
pieces on display to their
advantage near the window;
slippers and a Victorian
vanity case stand ready in
the bedroom; a string of
carved ballerinas dances
along the mantelpiece, home
to photographs, postcards
and metal objects
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HOUSE WITH HISTORY
ABOVE The early
19th-century stove
is surmounted by a
collection of
Victorian plate
warmers; the
cupboards are still
lled with supplies,
local and exotic
RIGHT Blue and
white antique
covered ceramic
dishes lined up on
the kitchen dresser
devised a way to deal with the bubbling plaster and paint.
He found some foorboards in a skip and nailed them over
the damaged walls. It was not the most elegant solution,
but he had an answer. Reaching back into his memories of
the East African coast, he took as his inspiration the
carvings of the stone towns of Zanzibar and Lamu. He
looked, too, to the palaces of Islamic Spain, such as
Granadas Alhambra, and to Ottoman architecture, the
wooden houses of Istanbul. All enriched his ideas about
decoration and design and he began to emulate the carving
and plasterwork of those places in his modest home.
Gradually the vertical pine boards covering the London
damp were transformed with niches and shelves. It was all
done by hand with an adapted Stanley knife. Then, carved
designs were glued and nailed to the vertical boards, the
walls and ceilings. Skips were raided until a local timber
merchant took an interest and supplied the right gauge of
wood for the carvings. The same technique transformed all
the rooms of the house. If a design turned out to be wonky, it
was consigned to the fre and Khadambi started again.
Occasionally the Stanley knife left rough edges that were not
always smoothed of. Khadambi argued that the overall efect,
that is the shadowy three-dimensional softness of the fretwork,
lit by a house full of candles, created just the right feel.
As a broadcaster, I am very aware of the sounds
of a place. The trafc of the Wandsworth Road hardly
HOUSE WITH HISTORY
|
HOMES
34 JULY 2014
impinges on the interior of 575. Instead, every foorboard
has its own voice, creating a symphony of creaks and
squeaks as visitors pad gently in stockinged feet up the
carved and decorated stairwell to the double-sized sitting
room. During the day the light from a large sash window
foods into the room and highlights Khadambis collection
of memorabilia: postcards, books and old invites; hand-
made glass ink bottles on the carved table by the window;
Ethiopian silver crosses; religious icons; Victorian pink
and copper lustreware objects given a sheen by a
metallic glaze which Roman and Egyptian craftsmen are
said to have passed on to the early Islamic world. English
potteries made lustreware popular in the 19th century
and Khadambi and Susie never passed an antiques market
without looking for examples for the house.
Above the mantelpiece is a frieze of fretwork ballerinas.
Alongside the dancers are two swans, while on top of the
door frame a group of elephants is on the move. Whatever
Khadambi saw (the ballet) or recalled from his childhood
could appear on his walls. To the right of the window,
which looks out on to the street, an angel with a raised
trumpet is intricately carved. On the shelves are many of
the books he owned, including his own novel A Calabash of
Life, which won him critical acclaim when published in
the mid 1960s. The bedrooms with cushions, hangings and
bedspreads are straight out of the Arabian Nights. His
Reaching back into his memories of the East
African coast he took as his inspiration the
carvings of the stone towns of Zanzibar. He
looked, too, to Islamic Spain, the Alhambra
ABOVE The main
bedroom has the
feel of a fantastical
pavilion, with its
intricate carvings
including the hand
made head- and
foot-boards
LEFT Some of the
fretwork frames
hand painted
African coastal
scenes, as in this
back bedroom
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HOUSE WITH HISTORY
Fel t home
CLOCKWISE FROM LEFT
Poet, novelist and artist:
Khadambi Asalache, who grew
up in Kenya and created his
own fusion of different worlds
here in his home; Susie
Thomson, Khadambis partner,
who describes herself as the
houses memory bank; much
of the woodwork in the house
is made using reclaimed oor
boards and timber from skips;
a traditional ikat weave robe
hangs behind the door; this
chairs cane inserts and
carvings echo the abundant
woodwork; even the bedside
table has a fretwork edging
HOUSE WITH HISTORY
|
HOMES
elaborate gown still hangs behind a door and on his desk
in the back room is his Olympus portable typewriter.
The National Trust did not immediately know what to
do with Khadambis extraordinary house. It took about
two years to make a decision, Susie tells me. Opinion was
divided about its future. One idea had been to let it as a
Trust holiday home. The fnal decision was taken in 2010
to raise 2 million to conserve the house, resolving the
damp issue, and its contents. Still a fragile place, the policy
is to allow only 2,000 visitors a year. There is no shortage
of interest: 3,000 people applied to visit in just one weekend.
Susie, as the donor of the house, defnes her role as its
memory bank and she is now enthusiastic about a new
use being developed for it. There is a plan afoot to invite
composers from the London Symphony Orchestra scheme
to fnd inspiration in the house, and we hope that readings
of Khadambis poetry could become part of an educational
role for the house and its collection. Khadambi loved to
have his house flled with people and laughter. This seems
a ftting salute to the man, his poetry, his writings and,
above all, his dedicated work with that Stanley knife,
creating this set of unexpected and beautiful interiors.
575 Wandsworth Road is in Lambeth, London. To book a
visit call 0844 249 1895; nationaltrust.org.uk
ABOVE The
bathroom is tucked
under the stairs;
delicate outline
drawings contrast
with the carvings
LEFT These unusual
suspended shelves
offer a perfect
display place for
lustreware jugs
HOMES
|
HOUSE WITH HISTORY
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A
Fresh
Breeze
From
A
Distant
Land
Blew
Through
His
Pen
KHADAMBI
ASALACHE
The warm glow of
the unpainted
wooden surfaces
makes this an
inviting and
welcoming home
HOUSE WITH HISTORY
|
HOMES
Domes filled with vivid displays
of ceramics and birds adorn the
drawing room of the National
Trust's Calke Abbey, Derbyshire
(nationaltrust.org.uk). Vintage
butterflies look as vibrant as they
would have done half a century
ago in this 1950s example (far
left), from Home Barn (265,
homebarnshop.com)
HOMES
|
STYLE
From the Victorian drawing room to
your own home, glass cloches, domes
and bell jars can bring a new lease of life
to even the simplest arrangements
DOMES
Pleasure
STYLE
|
HOMES
Make a feature of antique
gurines (and protect them
from dust) by presenting
them under glass, as with
these Indian terracotta
examples (left) at Chastleton
House, Oxfordshire
(nationaltrust.org.uk)
Group together different
sized domes (below left) to
create an eclectic look
Set a large cloche such
as this one (right) from India
Jane (59, indiajane.com)
against a colourful backdrop
and use to cover a delicate
oral arrangement for an
unusual summer centrepiece
On display
Whether used separately or grouped together, domes
make a striking focal point on a mantlepiece
HOMES
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STYLE
STYLE
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HOMES
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The decorative glass dome
has its origins in the bell jar
found in early science
laboratories. As glass making
techniques improved during
the 17th and 18th centuries,
it became possible to blow
much thinner glass into
moulds. There are examples
of parlour domes from as
early as the end of the 18th
century, but these are not as
thin as the majority of those
found in the 19th century.
The Victorian era saw the
emergence of a growing
middle class keen to pursue
fashionable hobbies,
especially the so-called
parlour arts. Leisure time
was spent creating intricate
displays, ranging from wax
owers and shellwork to
automata or designs created
entirely from human hair. The
parlour shade (the word
dome came in the 20th
century) served a practical
purpose in protecting these
homemade masterpieces
from dust and damage.
Domes have a magical
quality to them, too. When
an item is covered by glass it
appears to inhabit a totally
separate world that the
viewer can look at, but not
touch. An object without its
dome will never evoke the
same curiosity as something
thats encased in one.
Under glass
John Whitenight, author
and dome collector,
gives us a brief history
of the parlour dome
Find more
information in
Johns book,
Under Glass:
A Victorian
Obsession
(Schiffer)
HOMES
|
STYLE
ABOVE: a delicate
shellwork vase of
flowers at A la Ronde,
Devon (nationaltrust.
org). Placing vintage
coral under a cloche
(right, 35, paleand
interesting.com)
creates an intriguing
contrast between
rough and smooth
Add colour to a
neutral scheme by
displaying a
statement piece
under a bell jar
Graham & Green
sells a range of
sizes (from
12.95, graham
andgreen.co.uk)
STYLE
|
HOMES
INDIA 2014 & 2015
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Essential India
The Indian Mutiny
Painted Palaces of Rajasthan
Bengal by River at Christmas
Sacred India
Indian Summer
Temples of Tamil Nadu
Contact us:
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www.martinrandall.com/india
MA RT I N R A NDA L L T R AV E L
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TO
Antiques_Roadshow_Ad_HR_Layout 1 05/03/2014 13:01 Page 1
For seventy years Portobello Market has been a beacon on the
antique hunters map, luring visitors from across the globe. With
local resident author Julian Mash (right) as our guide, we weave
our way through its stalls, to view the quirky pieces up for sale
TO MARKET
,
o market
PORTOBELLO MARKET
|
OUT & ABOUT
IMAGES JOHN MILLAR
A
little after 8am on a bright Saturday morning
and cash is changing hands on Portobello
Road. Deals are being done as goods are
hastily wrapped in newspaper and bubble
wrap. A woman holds up a green hand-painted Victorian
vase to the light, rubbing at a mark on its side. The
stallholder, a wiry gentleman dressed in a tweed jacket
and faded blue jeans, busies himself laying out his wares
on the table, in anticipation of the day ahead.
Scenes like this have been a feature of the street since
the 1940s, when this stretch of road in West London,
between Notting Hill Gate in the south and Golborne
Road in the north, became synonymous with antiques.
Portobello can now claim to be home to the largest
antique market in the UK, with over 1,000 dealers
attracting 100,000 visitors a week. Every Friday and
Saturday stalls appear overnight, populating the street
and selling every kind of antique imaginable. Living close
by, I have acquired many bargains here over the years,
from rugs and record players to books and clothes; you
really can fnd it all down on Portobello Road.
In recent years the street has not been immune from
the encroachment of chain shops, threatening small
independents, forced out by rent and rate hikes. There
was uproar in 2010 when the much-loved Lipkas antiques
arcade on Westbourne Grove was bought by a developer
and rented to a high street retailer, with the loss of 150
antique stalls. A Save the Portobello Market campaign
sprang up, garnering local and national support, reminding
us what a wonderful resource we have on our doorstep.
Starting at the southern end I stop and chat to Michael
Barham, proprietor of Barham Antiques at 83 Portobello
Road. His father bought the shop in 1962 and Michael and
his brother Robert now run it. I admire an inlaid walnut
jewel box, dating from 1880, and priced 360. Its out of
my price range so I hastily return it to the shelf, where it
joins clocks, decanters and tea caddies. Walking on, I nod
to the dealers, many of whom I recognise, before stopping
at a silver stall. It is full of beautiful silverware, from
teapots and plates to candlesticks and hip fasks. I chat to
the stallholder, Muhammad, who tells me that he has been
a Portobello trader for 25 years. He declares that it remains
the best place in London to source antiques. Noticing me
admiring a set of silver teaspoons, he switches to salesman
mode. He can do them for me for only 75. At this moment
a gentleman approaches and whips out a silver picture
frame from his pocket. After a brief exchange Muhammad
declines to buy it and the man slopes of. Turning to me
he explains that you cant be too careful who you buy
from, adding that this business is all about reputation.
It is mid-morning now and the street is getting busier
as tourists rub shoulders with locals, who are doing their
weekly shop at the fruit and vegetable stalls. I notice a
couple dressed head to toe in 1940s clothes, standing at a
stall that specialises in Art Deco. I stop at another further
along that is full of cameras of all sizes and eras. At a
ABOVE, FROM
LEFT Silver cutlery;
all ages enjoy
browsing; a large
teapot signposts an
arcade; box Brownie
cameras; nd
everything from
a royal crest to a
boxers punchbag
BELOW, FROM
LEFT vintage cricket
balls; collectables
across the centuries;
walking canes with
bird and animal
heads; guess the
former owner; a
gramophone in action
OUT & ABOUT
|
PORTOBELLO MARKET
Vinyl records. I am an addict for these[the
dealer] tells me he has seen prices rocket in recent
years, with early pressings of Beatles records,
depending on their rarity and condition, fetching
anything from 50 to thousands of pounds
time when the mobile phone provides many of our
photographic needs, it is wonderful to be reminded of
photographys heritage. Pentax SLRs and Olympus Trip
models are being sold for as little as 25, with dozens of
box Brownies of varying condition and age. On a wooden
tripod next to the stall stands a beautiful 905 Conley
8 inch by 10 inch cherry wood and chrome hardware feld
camera, dating from 1905. The dealer only wants 280
for it. Smiling, I tell him I will think about it.
Ive spotted something a few feet away that I fnd
irresistible: vinyl records. I own thousands of these and
ficking through the stall under the keen eye of the dealer,
there are many that catch my eye. He tells me he has seen
prices rocket in recent years, with early pressings of
Beatles records, depending on their rarity and condition,
fetching anything from 50 to thousands of pounds. I
then go for a look at the Red Lion Arcade, the oldest on
the street, founded in 1951 by antiques dealer Susan
Garth. There are around six arcades along Portobello
that trade on Saturdays and the stalls inside are compact
Fergus Gambon
In the 1980s, I worked in
an antiques shop near
Portobello and often went
there before work. It was a
very happy hunting ground
and I still have many of the
purchases I made. A large
number of ceramics people would go to the
market in the very early hours, then move on
to the posh shops later to chew the cud over
their purchases. Things could get quite
heated at the market. If two dealers spotted
something they really liked it could lead to a
tussle each dealer grabbing opposite
handles of a piece of porcelain! You could
nd wonderful things, a piece of unmarked
Rockingham, for instance, and if you knew
what it was, get it for a fraction of the price
you might pay elsewhere. It was, in a way, the
beginning of a food chain; what started
there could end up in the best places. It was
also a useful place for young dealers you
might be able to afford a pitch at Portobello
and launch yourself there.
Fergus is a Roadshow ceramics specialist
PORTOBELLO MARKET
|
OUT & ABOUT
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operations where you can pick up everything from pocket
watches, candlesticks and cigarette cards, to 19th-century
prints, Russian dolls and refurbished telephones. It is easy
to see why Peter Blake chose to wander down here in
1967, seeking inspiration for his famous sleeve for the
Beatles Sgt. Peppers Lonely Hearts Club Band album.
Under the Westway fyover there is a bustling vintage
fashion market. Anyone with even a passing interest will
be aware that labels from the past 50 or 60 years can
command big prices. I spot a beautiful Biba dress hanging
tantalisingly from one stall with a price tag of 350, and
further up an Ossie Clark blouse for 150. Paul Breuer,
one of the longest-established vintage dealers here
explains how he gets to the market at 5am, week in, week
out, whatever the weather and scours the street for
bargains. The one thing he regrets not buying was a pair
of Max Millers shoes in black and white correspondent
leather, signed on the soles. Shaking his head at the
memory he says the seller only wanted 60 quid for them.
Further along, just north of Cambridge Gardens, I chat
to Peter Foster (right), an antiquarian bookseller. He shows
me a complete set of leather-bound Dickens, dating from
1880, that have just come in and have a price tag of 750.
He sells a lot of Dickens and Shakespeare and specialises
in editions of Alice in Wonderland. He was recently lucky
to fnd the frst text edition of Blakes Songs of Innocence
stalls inside are compact operations where you can
pick up everything from pocket watches, candlesticks
and cigarette cards, to 19th-century prints, Russian
dolls and refurbished telephones. It is easy to see why
Peter Blake chose to wander down here in 1967, seeking
inspiration for his famous sleeve for the Beatles
Sgt. Peppers Lonely Hearts Club Band album
Susan Rumftt
I headed to London from
Edinburgh in the 90s to
work at Phillips auction house
and couldnt wait to see
Portobello. There was such a
buzz between store holders,
dealers and, of course, the
tourists. It was even better when I moved from
working in Bond Street to Phillips in Bayswater,
as it was only a short walk away. When I get
back to London I often head to Portobello to
catch up with dealers and look for hidden
gems. I may now be a few hundred miles
away, but the memories of Portobello never
disappear - its fun for antiques hunters.
Susan is a Roadshow jewellery specialist
OUT & ABOUT
|
PORTOBELLO MARKET
ABOVE, FROM
LEFT A miniature
des res, circa 1960s;
badges and buttons
BELOW, FROM
LEFT Sporting
trophies; curiosities
abound; pets are
welcome; around
the world and back
in time; a pair of
silver candelabra
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Peter Fosters
antiquarian book
stall attracts casual
browsers and serious
collectors alike
and Experience for a very reasonable price explaining that
it is worth thousands of pounds; it was one of those
tickles that you need every once in a while to remind
yourself why you do this. Towards Golborne Road the
stalls have more of a fea-market feel with goods laid out
on the pavement. Trendy thirty-somethings stroll along
with babies in buggies, surveying G Plan furniture and
shabby-chic pine tables. What a wonderful way to spend
the morning, I think, as I quicken my pace in anticipation
of the bargains ahead.
Julians forthcoming book, Portobello Road: Lives of a
Neighbourhood, is published by Frances Lincoln.
Duncan Campbell
In 1987 I was a student and
had met an antique silver
dealer who needed some
help at his Portobello outlet.
I went along to help, learned
a huge amount and in time
got a stall of my own. I was
there for twenty years and miss it dreadfully.
It was grubby and fun and full of people who
had an encyclopedic knowledge of antiques.
There really was the best concentration of
people quirky, often dog-eared types with
expert knowledge in every eld. There was
always something fascinating to look at. The
nds were incredible. I remember coming
across a knife for 15 that turned out to be
medieval; I just had a hunch it was interesting.
And I found one of the rst forms of wine
funnel, developed by Thomas Hyde in the
1770s. It was one of his prototypes, sold to
me as a fake which it wasnt! The sheer
amount of stuff that moved through the
market was astonishing. I loved it. Getting
up at 4.30am and setting up the stall
by 6am. Spending an early hour walking
up and down seeing what was there. And
the bacon rolls: truly memorable!
Duncan is a Roadshow silver specialist
TOP, FROM LEFT
Bookish treasures;
bargaining begins;
a vintage bike and
assorted signs
LEFT Everythings
for sale at Portobello
market even the
road sign
OUT & ABOUT
|
PORTOBELLO MARKET
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TATE BRI TAI N PRESENTS
BRITISH FOLK ART
PI MLI CO
#BRI TI SHFOLKART
10 JUNE 31 AUGUST 2014
Unknownmaker Suntradesign- Thesignformerlyhungoutsidethepremises
of GortonandSons, veterinarychemists, locatedat 146HighStreet, Whitechapel
fromabout 1720 (detail) Museumof LondonUnknownmaker HorseVertebra
Wesley BeamishMuseumPhoto: Tate. Anon. BoneCockerel (detail) Vivacity
CultureandLeisure- PeterboroughMuseum
Media partner
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Hallmarking App Advert (Antiques Roadshow) Qtr Page_Layout 1 26/11/2013 13
Rogers de Rin specialises in Scottish Wemyss Ware, Staffordshire and
Sunderland Pottery, Needle and Shellwork, Objets de Vertu, Treen, Mauchline
and Papier Mach Snuff Boxes, Tole and Vienna Bronzes.
Our gallery exhibits the oils and watercolours of Alan Carr Linford RWS and
Nicholas Lysaghts unique creations incorporating ancient fossils into works of
art produced on the potters wheel.
The shop is an ever-changing scene which can be viewed on our website, or
if you would prefer a copy of our colour catalogue, please contact us and we will
be delighted to send one free of charge.
We look forward to your visit to the shop.
Rogers de Rin Antiques
76 Royal Hospital Road, Paradise Walk, Chelsea, London SW3 4HN
Tel.:+44 (0)20 7352 9007 Fax:+44 (0)20 7351 9407
Email: rogersderin@rogersderin.co.uk Website: www.rogersderin.co.uk
By appointment to
His Royal Highness The Prince of Wales
Antique Dealer and Restorer
Rogers de Rin Antiques
London
Large Wemyss Pigs with Piglets
Fom 70 o 70,000
Although initially described as Svres and estimated at a mere 70-90,
this dish was in fact made by the Vincennes porcelain factory for the
Louis XV Service and made 70,000 at Wellers in Guildford, a new
record for the auctioneers. The Louis XV Service was the rst large
service produced by the factory and its creation marked the introduction
of the famous Bleu Cleste ground, as well as many new shapes
designed specically for it by the goldsmith Jean-Claude Duplessis.
The service of 1,749 pieces was used at Versailles and delivered to the
king in three stages between 1753-55, at a huge cost of 87,272 livres
over 560,000 in todays money. Additional deliveries were made in the
later 1750s and 1770s. The dish above somehow came to the Surrey
saleroom from a local deceased estate of apparently modest means
and, with bids arriving in 5,000 increments, it sold to Voltaire
Antiquits-Vandermeersch, Parisian dealers in French porcelain.
RARE BREEDS
Was this man-with-sh a sign for a shmongers or perhaps a tackle
shop? Whatever its original use, the wrought iron 18th-century
piece, just over one metre high, belonged to the antiques
dealer Danny Robinson until it was sold as part of his
collection at Bonhams Oxford earlier this year, where it
made 1,400 (estimate 500-800). Another unusual shy
number, albeit smaller (far right), appeared at Woolley &
Wallis. The common dab is not the obvious inspiration for a
ladys accessory, but it clearly appealed to someone and this dinky
19th-century silver sewing case in the form of the atsh, with hand
mirror, was retailed by the Bond Street jeweller Alfred Clark in the
19th century. It was hallmarked for the Soho silversmith Louis Dee, London,
1884, and, as a real rarity, it sold to a dealer for 3,600.
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LUCIANS LOVE LETTERS
The late artist Lucian Freud was almost as well
known for his love of women as he was for his
paintings, but he was guarded about his affairs
of the heart. Imagine the interest, then, when a
group of eleven unpublished letters written by
Freud to his rst girlfriend, art student Felicity
Hellaby, whom he met when he was sixteen,
recently surfaced at Sothebys. They sold for
100,000, over 30 times the pre-sale estimate.
Full of boyish enthusiasm and Freuds sardonic
humour, the letters have remained in Felicitys
possession since the 1940s. Addressed to his
Darling Felicity, they show an early fascination
with people and animals, and a single minded
dedication: in one he writes My life is at a very
1,400
3,600
70,000
100,000
ANTIQUES
|
AT THE AUCTIONS
Each week thousands of fascinating items come up for sale
at UK auction houses. Anna Brady winkles out some of the
most interesting recent stories from around the nation
UNDER THE
HAMMER!
Max Silberberg, a Jewish industrialist based in Breslau, built up one of
the nest collections of 19th- and 20th-century art in pre-war Germany
but, in 1935, as happened to so many Jewish connoisseurs, it was taken
over by the Nazi authorities. He later died in Auschwitz. In 2000, one
of his best Impressionist paintings, Camille Pissarros Le Boulevard
Montmartre, Matine de Printemps from 1897, was nally restituted
to his family. This was one of several paintings of the city by Pissarro.
He spent over two months on his Boulevard Montmartre series, and
apparently considered this oil on canvas one of his best. Impressionist
paintings come to auction very rarely now and are ercely sought after,
fetching mind-boggling sums. When this came up for sale at Sothebys
in February 2014, it sold to an anonymous phone bidder for 17.5m,
three times the existing record for a single painting by Pissarro.
Fashions come and
go in the antiques
market and, for
some, English
delftware is not hot.
However, a piece
recently cropped up
that, to dedicated
collectors, was really
special: a 17th-century English
delftware wet drug jar (right),
which was part of a collection
of pharmaceutical objects
consigned by a local collector
to Cheshire auctioneers Adam
Partridge. The jar originally came
from the collection of John F Wilkinson MD, a
Manchester physician who donated his collection
of over 600 drug jars to the Thackray Medical
Museum, Leeds. Although given a tentative
estimate of just 300-500, it was the subject of
a bidding war between a Derbyshire dealer and
the well-known Manchester artist Geoffrey Key.
It sold to the dealer for 12,500. But this price
isnt without precedent a similar jar, with the
same rare man smoking pipe design as this
example, sold at Christies in 2008 for 15,000
(including premium).
Also breaking the mould for standard prices
was this Victorian silver castle top card case
(below), sold at Dreweatts in Berkshire in
February. Most of these cases, which are
engraved or embossed with views of British
landmarks, sell for under 1,000, their values
dictated by the rarity of the scene depicted. This
example, hallmarked for 1852, was made by the
celebrated Birmingham box maker Nathaniel
Mills and shows the Dublin International
Industrial Exhibition building of 1853, a lavish
event that nancially ruined William Dargan
(Irelands greatest railway engineer and promoter
of the exhibition), but laid the foundation for the
National Gallery of Ireland. The diminutive 10cm
case, whose crisp
condition suggested
it had been kept in
its leather holder
for most of its life,
sold to a European
collector for 8,500,
double the estimate.
HOT OR NOT?
Record breaker
crucial stage at the
moment, one day I
think I am beginning to
make my work how I
want it to be and then I
feel so dissatised with it
that I leave the house.
Freud makes light of
wartime England: I have
just been bitten by an
enormous dog in the
blackout, and describes
distinctive objects, such
as a stuffed zebra head,
which recur in his early
works. With the letters
were three of his drawings,
also given to Felicity,
including this portrait of a
boy with a letter in one
corner, bringing the total
for the collection to
412,000. A lot of money for some letters and
drawings perhaps, but not surprising considering
the multi-million pound sums commanded by
Freuds paintings in 2008, his Benet
Supervisor Resting sold for an artist record
$33.6m, around 20.6m (including premium).
110,000
17.5m
8,500
12,500
Anna Brady writes for Antiques Trade
Gazette and the_saleroom.com
AT THE AUCTIONS
|
ANTIQUES
54 JULY 2014
MADE WITH PRIDE
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DECORATION
Melissa sews two large painted cloths together before
they are nailed up at Blakesley Hall Museum, Birmingham.
The cloths are replicas of original 17th-century pieces
showing the Old Testament story of Joseph, here being
removed from the pit by his brothers to be sold as a slave
Renaissance
Meet Melissa White, who creates bespoke
painted textiles and wall decorations,
originally inspired by the designs and
techniques of the English Renaissance
WORDS SARAH WHELAN
T
he beauty of wall painting and
painted cloths is part of our
decorative DNA. Our cathedrals
and churches, palaces and country
houses have all been graced, at some time,
by this form of art, which reached new
heights during the century that ran from the
mid-1550s to mid-1660s. The cloths, which
could be produced at a fraction of the cost
of a tapestry, were highly fashionable. The
painted walls beautied a space in just the
time it took a painter to cover oor to ceiling
with pigment creating images and hues
that would later inspire key gures in the
decorative arts, such as William Morris and
Augustus Pugin. Today, an artist working from
her studio in Hastings takes her inspiration
from those early artisans, known as painter-
stainers. Her name is Melissa White.
For Melissa, a normal days work may
include visiting a historic house to advise on
re-instating authentic period decoration;
painting and distressing a fresco secco
panel (a traditional technique of painting
on dry plaster); or developing her latest
collaboration with a textile designer. Its all
interrelated, she says, and it all stems from
her original interest in Elizabethan interiors.
Having completed a degree in Art History,
Melissa worked with the late David Cutmore,
a respected expert on Elizabethan interiors
and decoration, and together they became
known for researching and recreating
designs for a number of major historic
projects, often working with academics or
heritage bodies to produce wall paintings
and painted cloths.
The latter are produced by stretching
linen on huge frames at the studio to be
painted with glue tempera. The linen is then
nailed oor to ceiling in situ around a room.
Next, the work is aged and distressed, by
cracking the paint, washing it out and
rubbing it back in, creating the sense of a
DECORATION
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MADE WITH PRIDE
LEFT A panel of
Golden Cross
Strapwork in fresco
secco, Melissas
technique that
imitates aged and
worn plaster walls
ABOVE Work in
progress on a
painted cloth for
Stiffkey Old Hall,
Norfolk, made to
cover and protect
old stencilling
style
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patina of age. You can see Melissa and
Davids work at historical sites such as
Shakespeares Birthplace in Stratford-upon-
Avon, St Nicholas Priory in Exeter and the
Weald and Downland Open Air Museum in
Sussex. But viewing the nished product
gives no clue to the process behind it.
Through experimentation and detective
work, Melissa explains, we would gradually
piece together the authentic decorative
techniques from fragments of original
Elizabethan wall cloths and paintings.
FAR LEFT, CENTRE
The painted cloth in
place at Stiffkey; a
small panel can be
removed to reveal
the stencilling
underneath
LEFT Melissa
painting the original
artwork for her
Bacchus design,
made into linen
fabric and wallpaper
by Lewis & Wood
Melissas studio table, at
which she paints on to
linen fabric (left, top and
bottom). This pattern is
called Saffron Walden
MADE WITH PRIDE
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DECORATION
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DECORATIVE SURFACES
Elizabethan wall painting is easier to
research than the contemporary painted
cloths that were also fashionable at the
time. Much less is known about those cloths,
because the linen they were painted on has
perished over the years, making them
extremely rare. But there are still examples
of wall paintings across the country, and
they generally survive pretty well, because
the earth pigments used to make them,
such as yellow ochre and burnt sienna, are
really stable, Melissa explains. So when she
needs to research authentic textile motifs of
the era, she sometimes uses tapestries as
source material just as the 16th-century
painter-stainers did, too.
These craftsmen were kept busy during
the Elizabethan era. It was a time when
houses and their layouts changed
dramatically. The great medieval halls were
ceilinged-over, creating more rooms
above; the open hearth was replaced with
cleaner replaces; cheaper glass meant
better-glazed windows and more light. It
was really the period of the birth of modern
interior design, Melissa suggests, and wall
painting was hugely popular. People
imagine that Elizabethan houses had
austere white walls and black beams, but it
wasnt like that. Walls and ceilings were
richly decorated with pattern and colour
the motifs even ran across architectural
features such as beams, doors and stone
replaces. This riot of form and palette was
literally whitewashed out during the Puritan
era, but some survived hidden behind
wooden panelling, often to be discovered
by later generations.
Continuing her historical research, in 2007,
Melissa was awarded a grant by the Queen
BRUSH WITH HISTORY
The earliest reference to paynters is in 1283, and those who
worked under that name decorated, gilded and coloured solid
objects. They went on to be charged with work such as painting
portraits and murals, banners and barges. In the Middle Ages
this group joined together to form the Guild of St Luke, also
known as the Painters Guild. The Guild grew in stature, and played
a central part in culture of the time, forging strong royal links.
The steyners, meanwhile, were those who applied colour to
woven fabrics. They formed their own Guild in around 1400,
melding with the Paynters in 1502 to form the Worshipful
Company of Painter-Stainers. It is said that Queen Elizabeth I
approved of the Guild because its members maintained painting
standards and ensured that her image was presented in the way
she wished. For more about the Guild, visit paintershall.co.uk
Melissa and her mentor
David Cutmore were
asked to re-create the
rare verdure wall cloths
for Owlpen Manor,
Gloucestershire (above)
DECORATION
|
MADE WITH PRIDE
Elizabeth Scholarship Trust (QEST), to delve
further into Elizabethan decoration. As a
result of her involvement with the Trust, she
was invited to paint a landscape mural for
the Summer House in the gardens of
Buckingham Palace, as part of the 2013
Coronation Festival celebrating HM the
Queens Diamond Jubilee. Seven QEST
scholars were involved, from furniture
makers to upholsterers to sculptors. Melissa
took her inspiration from a series of
landscape studies by the 18th century artist
John Wootton, kept in the Royal Collection.
I came across these lush landscapes of
gently rolling hills, depicting views of
Henley-on-Thames. She offered this idea
and two other proposals for approval, and
the Queen herself chose the Henley scene.
ARTISTIC INFLUENCE
More characteristic of Melissas work is her
interpretation of the famous garden fresco
from the Roman house of Livia, which she
adapted as a series of 24 panels to be hung
People imagine that Elizabethan houses had
white walls and black beams, but of course it
wasnt like that. Walls and ceilings were richly
decorated with pattern and colour the motifs
even ran across beams, doors and freplaces
with a warm sheen that adds character.
Melissa says shes not tied to the Elizabethan
period, and looking at her portfolio, its
obvious that she also has an interest in
French Rococo and Japanese prints and
textiles, as well as more modern design.
Her recent textile designs, however,
reect an historic provenance. The Arden
collection for Zoffany, which she designed
with David before he passed away in 2012,
was based on wall paintings spanning a
hundred years, from the mid-16th to the
mid-17th centuries. It features vegetation
and animals such as stags and unicorns,
referencing design elements from the 16th-
century Lady and the Unicorn tapestries in
LEFT Fabric from
the Arden collection
produced by Zoffany
(top and centre);
Melissa trying out
colour tones in her
Hastings studio
RIGHT Melissa at
work on landscape
canvases which were
installed during the
Buckingham Palace
Summer House
renovation in 2013
on the wall of a very contemporary Notting
Hill interior. I had to re-size the original
fresco design to t the clients wall space,
she explains. So I raised the tree-line and
added more sky. Once it was planned out,
the design was painted on to hessian
primed with plaster, using natural pigments
and Pinebrush Colourman paints, which are
made in Devon and designed for furniture
makers. Melissa then distressed the hessian
with her fresco secco technique, which she
has developed over the years to create an
aged look. The artwork was then xed to
solid panels and nished with a coat of wax.
Waxing breaks the colour up, she enthuses,
and causes nice unpredictable paint effects,
MADE WITH PRIDE
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DECORATION
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the Cluny Museum, Paris. The collections
Verdure design is based on vegetation and
trees, echoing a particular form of tapestry
with the same name that took plant forms
and pastoral views as its inspiration, which
was very popular by the late 17th century.
Back in 2002, Melissa and David were
commissioned to reproduce the rare
verdure painted cloths at Owlpen Manor in
Gloucestershire, and this design has clear
references to those cloths.
BACK TO THE BEGINNING
Another recent collaboration, with fabric
designers Lewis & Wood, incorporates the
basic elements of an Elizabethan wall
SLEIGHT OF HAND
The Painter-Stainers Guild banned the
use of stencils in 1581 as false and
deceitful. Beyond their jurisdiction,
however, stencilling was widely used.
UNIVERSAL BACKDROP
Painted cloths peaked in popularity
during Shakespeares time. He mentions
them in many plays, for example in the
epilogue to Troilus and Cressida: Good
traders in the esh, set this in your
painted cloths His grandfather had
eleven sets of cloths. Many were listed
in King Henry VIIIs inventories, along
with his 2,000 tapestries.
TRADITIONAL CHARM
For Melissa, the appeal of Elizabethan
wall painting is its hand-painted vitality,
warts and all. Look close and you nd
drips, scruffy brushstrokes, spelling
mistakes and a kind of wonkiness we
just dont put up with these days.
WALL WONDERS
FIND OUT MORE
ARTISAN ART: Vernacular Wall Paintings
in the Welsh Marches, 1550-1650
by Kathryn Davies, Logaston Press.
DOMESTIC INTERIORS: The British
Tradition 15001850 by James Ayres,
Yale University Press
ALL MANNER OF MURALS: The History,
Techniques and Conservation of Secular
Wall Paintings edited by Robert Gowing and
Robyn Pender, Archetype Publications.
If youd like to read up on the subject Melissa recommends:
painting that was uncovered in the 1930s
behind panelling at Sandwich in Kent. In
2009, Melissa reproduced this design for a
castle in Stiffkey, Norfolk, creating a painted
cloth to line bedroom walls that were
covered in 19th-century stencilling, which
couldnt be painted over. Its fascinating, as
the original in Kent was a wall painting,
which then became a painted cloth, and the
design is now being made up as both a
wallpaper and a fabric, so with this project I
feel weve explored every aspect of wall
decoration and brought it full circle back to
its historic origins.
Visit melissawhite.co.uk to see more of
Melissas Elizabethan designs.
ABOVE Melissas Verdure pattern, inspired
by 17th-century wall cloths, has now been
produced as a wallpaper by interior design
company Zoffany
DECORATION
|
MADE WITH PRIDE
FILMING
|
MY DAY AT THE SHOW
I
had been storing my collection of items to do with the
ballerina Anna Pavlova (1881-1931) for over a decade, when
I discovered the Antiques Roadshow was coming to my area.
The collection, which had been given to me by my Great
Aunt Tab, comprised chests full of photographs, newspaper cuttings,
programmes and ballet shoes not to mention the garden furniture
that once sat in the grounds of Ivy House, Pavlovas London home.
Aunt Tab (real name Lillian Scott-Wood) was a true eccentric. She
befriended Anna Pavlova when she rst arrived
in London, subsequently becoming a dedicated
fan. She attended almost every performance
and amassed the memorabilia over the years. As
a child I took an interest in the ballet shoes, so
when she moved house years later, she gave me
her entire collection quite a responsibility!
I knew I couldnt transport the furniture to the
show myself, but Id heard that larger items
could be picked up, so I got in touch with the
Roadshow team. Specialist Marc Allum arranged
to come. He was friendly and chatty, but didnt
really say much about the collection. When he
left I had no idea whether it was of any interest
or not, but the next day, a lorry arrived to take it all to Hever Castle.
It was a challenge for the workmen, as we soon discovered that there
was no hope of getting the garden furniture through our house! It
had arrived before we built our extension. Eventually, the men
managed to hoist it over the garage roof a Herculean effort!
It was pouring with rain on the day of the Roadshow. We had been
given a morning slot, but the weather caused such delays, that it was W
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ve oclock before I sat down in front of the cameras with Judith
Miller. I had become more nervous as the day wore on, despite
having my husband Clive and daughter Lotte along as support, so
spent part of the afternoon sitting quietly in the car listening to
Radio 4. Miraculously, just as lming started, the sun came out, and
I couldnt believe it when two swans swam past while Judith and I
discussed Pavlova. She had kept swans at Ivy House and danced the
role of The Dying Swan around 4,000 times. Judith said it was a
difcult one to value, but reckoned the entire
collection was worth somewhere between
5,000 and 10,000.
When the day ended and the collection was
safely returned, I thought no more about it. You
could have knocked me down with one of
Pavlovas feathers when representatives from
both Ivy House (now the London Jewish Cultural
Centre) and the Victoria & Albert Museum
contacted me after the programme went out.
An exhibition was being planned at Ivy House in
2012 to mark the centenary of Anna Pavlova
making the Hampstead house her home. I was
delighted to be able to lend shoes, fans and
photographs many of which had formed part of the auction of the
houses contents held in June 1931 after Pavlovas death. My aunt
had acquired many items at the auction and a copy of the catalogue
forms part of the collection. I also lent material to the Victoria &
Albert Museum, where Curator of Dance Jane Pritchard was writing
a new book on Pavlova. Jane discovered two rare etchings of her by
Malvina Hoffman among my aunts material, which was a further
The pieces, which had
been given to me by
my Great Aunt Tab,
comprised of chests
full of photographs,
newspaper cuttings,
programmes and
ballet shoes
MY DAY AT THE
ROADSHOW
When Helen Parmleys collection of Anna Pavlova memorabilia was
flmed at Hever Castle in 2011, she had no idea it would fnd a new home
MY DAY AT THE SHOW
|
FILMING
revelation. Several items were photographed for the book. It was
now obvious to me just how much the collection meant to ballet
enthusiasts and to Pavlova acionados in particular. Anna
Meadmore, curator of the White Lodge Museum at The Royal Ballet
School, Richmond came to see me, nding more material directly
related to the school. I decided to offer the collection to the museum
on a long-term loan, and its a great relief to know that its in the best
possible hands. Once it has been archived and conserved, another
exhibition is planned. What makes me happiest is that Aunt Tabs
collection has nally received the recognition that it deserves. I know
she would have been thrilled and proud.
Come along to a Roadshow recording this summer! Visit the
website at bbc.co.uk/antiquesroadshow or check out the list of
venues and dates on page 10. To nd out more about the White
Lodge Museum visit its website at royalballetschool.org.uk or call
020 8392 8440, option 7
ILL NEVER FORGET
Having my make up done by a
professional make up artist. It was a
real pleasure to be pampered.
Chatting with everyone in the waiting area and
listening to the stories behind all the other objects
people had brought in.
Watching the rain pour down and praying that it
would stop before it was my turn it did!
Seeing the swans swim by as we flmed. The story
goes that one of Pavlovas swans died shortly after
her death and another soon pined away.
Anna Pavlova with her
favourite swan and in
her garden (below);
Helen Parmley shows
her collection to
Judith Miller
HOMES
|
HOUSE WITH ANTIQUES
house with antiques
|
HOMES
T
hat artist, author and photographer
Charlotte Cory is an antiques-lover is
without doubt. She lives in central London
surrounded by the Victorian objects and
images that have fascinated her from childhood. Charlotte
bought the Georgian house, which dates from 1760,
some fve years ago and set about organising the space
according to her particular needs. Its a tall, narrow
building with only one room on each foor, she explains.
As my Columbian printing press which dates from the
1860s was much too cumbersome to get up the stairs,
I turned the original kitchen on the lower ground foor
into my studio. Clearly the kitchen was going to have to
be moved elsewhere. Initially Charlotte commissioned an
architect to draw up plans for the alterations. But I
realised early on that, as my builder is very practical,
I could plan changes with his help. In due course I was
granted permission to build an additional foor at the top
of the house, which is now the new kitchen-dining room.
Being so high up means that light foods in through
the windows at the front and at the back. Its now the
lightest room in the house and, thanks to the reconditioned
Aga, its also the warmest.
Charlottes interest in Victorian style began early on.
My grandmother started me of by giving me Dickens
novels one by one, in order to encourage me to read. Id
read them, along with all the Bront novels, by the time I
was ten, when I won a short-story competition run by the
local library. Using my prize money of ten shillings I
joined the Bront Society as a life member. It was a good
investment on my part but not theirs, says Charlotte,
THE NEW
Victoriana
In her London home, artist
Charlotte Cory adds a surreal
spin to the textiles and pieces
she creates, combining them
with antique furniture and
accessories for a whimsical feel
In the library ,
both the Victorian
chaise longue,
bought at auction,
and a repro gilt
dining chair are
upholstered in
fabric printed with
Charlottes
Visitorian images
(based on
Victorian calling
cards). The
oor-standing
lamp dates from
the 1930s
WORDS
|
AMANDA HARLING
IMAGES
|
ANDREAS VON EINSIEDEL
laughing. Nowadays it costs more than the equivalent of
ten shillings to post a single letter! The Society cant have
been too upset, though, for at the end of last year, Haworth
Parsonage hosted Charlottes exhibition, Capturing the
Bronts, which later transferred to Londons Long & Ryle
Gallery. The exhibition received mixed responses from
the Parsonages many visitors. Images that Charlotte
calls her Visitorians, a surreal take on the Bront family
and their servants, were hung throughout the house,
along with Victorian artefacts she felt the Bronts might
have owned. It altered the visitor experience somewhat,
which was doubtless a shock to traditionalists, but it went
down very well with younger visitors, as well as with the
Japanese, who love the Bront novels and fock to Haworth,
says Charlotte. I was pleased, whatever the reaction. It got
people talking and thinking about the Bront family and
reading their books, and thats what matters.
An inexpensive box Brownie camera given to Charlotte
when she was six years old engendered her enthusiasm
for photography. Even then, my favourite subject matter
was sheep and I still take lots of photographs of animals,
but these days they are mostly dead ones. As a lover of
animals and a committed vegetarian, Charlotte is clearly
referring to the stufed animals that can be seen around
the house. These play an important part in her Visitorian
work, as their heads are blended digitally on to the bodies
of the portraits of unknown Victorian men, women and
children that feature on the calling cards that became a
craze during the Victorian era. She explains, with the
invention of photography, almost everyone could aford to
have a studio portrait taken of themselves and their loved
ones. There was a tremendous range of imagery available
studios provided props and decorative backdrops,
though the better-of might arrange to have a sitting in
their own home or garden. What I fnd most difcult is
fnding the appropriate animal to match the setting and
the character of the sitter, says Charlotte, who hunts
down taxidermy in museums, at auctions and in specialist
antique shops. The visiting cards are easier to fnd I
fnd that antique fairs are a good source.
While Charlotte is a devotee of 19th-century art and
design, there is nothing fusty about the airy look of her
house. Walls throughout are painted palest blue, with a
While Charlotte is a devotee of 19th-century
art and design, there is nothing fusty about
her house. Walls throughout are painted
palest blue, with a darker shade for woodwork
ABOVE The librarys
walls are lined with
specially designed
blue-painted
shelves. Newly
tted oorboards
were lightly painted,
then rubbed down
and waxed
HOMES
|
HOUSE WITH ANTIQUES
house with antiques
|
HOMES
While the house is lled with
objects that Charlotte has
collected over the years, there
is a sense of order about how
they are displayed, with ashes
of blue, a leitmotif that runs
throughout the house
darker shade for the woodwork and the staircase. Its my
favourite colour, so there are touches of blue everywhere
on the Aga, in the freplace in the library and on many
of the light fttings. People think of it as being a cold
colour but it depends on which tone you use.
Charlottes decision to ft plantation shutters instead of
curtains adds to the pared down simplicity of the
decoration, which is a foil for the thousand or so books,
innumerable photographs, dolls, ceramics and the
menagerie of animals, both stufed and photographed,
that she has collected throughout her life. But she is by no
means a purist contemporary pieces include the
sparkling glass-topped kitchen table and the spherical
pierced metal ceiling lights in the library.
In the kitchen, Charlottes animal images, digitally
printed on to fabric, were used to upholster the gilded
ABOVE The kitchen
occupies the newly
constructed top
oor. The sense of
light is maximised
with a limestone
oor and mirrored
glass tted in the
splendid console
and in the window
reveals a feature
used by the
architect, Sir John
Soane (1753-1837).
A Victorian brass
chandelier serves as
a table decoration
dining chairs. She added their various accoutrements later
on. One or two of the animals wear their medals with
pride. Others are embellished with buttons, bows and
brooches. Theyre good company, she says, glancing
afectionately at a girafe.
On the frst foor is the book-lined library, which
Charlotte designed herself. In the centre of the L-shaped
room is an unusual trio of Victorian buttoned-back chairs
upholstered in her own fabric design, which features the
ornate typography of Victorian visiting cards. In another
part of the room, digitally-printed fabric depicting a
lifesize Victorian reclining nude stretches out on the
chaise longue, with a feline face added for seductive efect.
Charlottes interest in Victorian typography and
photography began during her twenties when, after her
studies in Medieval Literature at university, she became a
HOMES
|
HOUSE WITH ANTIQUES
ABOVE RIGHT
Charlottes Victorian
Columbian printing
press was installed
in what was once
the kitchen, on the
lower ground oor.
Light bounces off
the mirrored and
glass shelves
RIGHT An Aga in
Charlottes favourite
shade of blue, plus
a glass-fronted
dresser and simple
cupboards give the
kitchen a timeless
appearance
house with antiques
|
HOMES
HOMES
|
HOUSE WITH ANTIQUES
freelance magazine illustrator. Then I acquired the press
and started making prints, and that led on to the Visitorian
idea. I print all the images myself.
In addition to the Visitorian images, examples of which
are in the Royal Collection, Charlotte produces a range
of cards and mugs for The Soane Museum, of which she
is a keen supporter. Also artist-in-residence at Marcus
Wareings restaurant The Gilbert Scott at the St Pancras
Renaissance Hotel, she advises the restaurant on the
stylish and seasonal afternoon teas that it serves, as her
Visitorians look down on the proceedings, with the
images changing according to the seasonal theme. Its an
amazing Victorian building and the Visitorians do feel at
home there, says Charlotte. Afternoon tea was considered
an important occasion during the Victorian era and I love
the idea that the tradition continues within such a
remarkable Victorian building.
Charlotte Corys work can be seen by arrangement with
Long & Ryle, 4 John Islip Street, London SW1; 020 7834
1434; longandryle.com. You Animal, You! by Charlotte Cory
is published by Black Dog
ABOVE An elegant
brass bedstead
takes centre stage
in the bedroom,
where shutters
allow light to lter
in gently. Useful
storage space for
blankets is provided
by a ne 18th-
century wine-cooler
RIGHT A
freestanding
Victorian bath,
painted blue, and
gilt-framed mirror
contrast with the
contemporary
mirrored storage
unit in the room.
Blue glass knobs
bring colour to the
double doors
house with antiques
|
HOMES
GET
THE
LOOK
Bring some animal magic and
a touch of exotica to your
own four walls with these
quirky accessories
PRINT CUSHION
19.99, Zara Home
zarahome.com
MR DOG WALL HANGING
120, Alexander & Pearl
alexanderandpearl.com
THREE-OVEN AGA
from 7,695, Aga
agaliving.co.uk
LAPIN CHAIR
365, Sweetpea and Willow
sweetpeaandwillow.com
LIBRARY WALLPAPER
17.99 a roll, Albany at
Wallpaper Direct
wallpaperdirect.com
ORIENTAL BIRD CAGE
129, Not on the High Street
notonthehighstreet.com
DAPPLED OAK ROCKING HORSE
5,220, Stevenson Brothers
rockinghorses.uk.net
EDGAR CAT TRAY
85, Ibride
liberty.co.uk
70 JULY 2014
HISTORY
FROM
Drawn
With its meld of old and new, a tableware
coming out of the potteries in Stoke-on-Trent
leads Serena Fokschaner to ask: could it
be a collectable of the future?
MADE WITH PRIDE
|
TOMORROWS ANTIQUES
JULY 2014 71
TOMORROWS ANTIQUES
|
MADE WITH PRIDE
ABOVE The twelve
Flux ceramic designs
clearly belong to the
same family, thanks
to their cobalt blue
decoration on white
porcelain, with
touches of gold
BELOW A Solas
plate and Archibex
espresso cup
and saucer
RIGHT Flux jug
patterns include
Novella and Bendot,
complemented by
gilded handles
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audience it evokes that very English tradition of creativity
and craftsmanship. I wanted to make Stoke more
relevant to modern customers while holding on to the
traditional qualities we all love.
Fired by his idea, David asked the students and alumni
of his MA Ceramics Course to come up with tableware
designs. Davids course draws students from all over the
world: Israel, Brazil, Korea, Bulgaria, Taiwan or Ireland,
and it is this broad range of inuences that gives Flux
designs their individuality. I might give my students a
reference point for a design but they all bring their own
particular sensibility to a piece; my job is to not be too
prescriptive, its about balancing creativity with saleability.
The resulting portfolio proved good enough to
command a sizeable grant from the Higher Education
Innovation Fund, which enabled the company to go into
production in Stoke. We took our rst pieces to the
Maison et Objet [Paris] trade show in 2011. All we had
was a small stand, but by the end of the day wed taken
over 50,000 worth of orders, recalls David.
There are currently twelve different Flux designs and
all the designers receive a royalty from sales. What binds
the collection together is the rich cobalt blue in glaze
decoration, which gives the pieces their striking depth
and lustre. Unlike the less costly on glaze technique,
where the glazed piece is decorated and red at a much
lower temperature, the Flux glaze is the result of two
successive rings. The process was perfected in ancient
China and ensures the colour wont fade over time,
which gives the pieces their ageless appeal, says David.
Turn each item over and youll nd Flux, Made in Stoke
on Trent stamped on the base.
There is the best-selling Novella, for instance, inspired
by the architecture of Santa Maria Novella, Florence.
Another popular design is Archibex, an eclectic study of
traditional English architecture, with references to
Georgian buildings and the black and white ceramics of
MADE WITH PRIDE
|
TOMORROWS ANTIQUES
T
here is something reassuringly familiar about the
tableware made by Stoke-on-Trent company
Flux. The weighty but milky translucence of the
bone china edged by the nest ash of gold;
the crisp interplay of cobalt blue and white; all qualities
evoking the treasured dinner services of our parents.
But look again and you will see that all is not entirely
traditional. On plates, cups and bowls, classic motifs are
re-invented to breezy, contemporary effect.
This mix of tradition and modernity marks Flux out as
one of the more innovative companies to have emerged
from Stoke in recent years. In an era when competition
from abroad has seen many British rms shift production
to the Far East rather than close, Fluxs founder, Professor
David Sanderson, who is based at the University of
Staffordshire, has set out to reverse the trend.
Ive travelled the world looking at ceramics production
and saw that the market was ooded by
cheaper modern tableware, explains
David, who joined the University
in 1987. I felt there was a gap
in the market for a new
brand that drew on the
provenance and integrity
of Stoke wares. Like
Rolls Royce, Stoke still
has a cachet abroad;
even with a younger
ONES TO WATCH
PLUSH PLATES
Battersea Power Station and the
Trellick Tower (below) are some of
the landmark buildings that feature
on the tableware by British rm
People Will Always Need Plates.
The companys founders, designers
Hannah Dipper and Robin Farquhar,
set up their business ten years ago
after their rst designs proved a sell
out. Featuring crisp, black and white
prints on bold colour,
the plates also
commemorate
lost landmarks,
while a pick of
their wares can
be found in the
V&As collection.
peoplewillalways
needplates.co.uk
FINE LINES
Combining traditional embroidery
patterns with ne drawing, Charlene
Mullens distinctive designs feature
famous London sites (below). Her
designs have caught the eye of Royal
Doulton, which has commissioned
her to produce a range of tableware.
Her hallmark is a touch
of red, perhaps on
a London bus.
I think its really
important to
have an element
of surprise and
fun, she says.
charlene
mullen.com
A QUIRKY EYE
There is a more than a dash of the
Victorian eccentric about artist Rory
Dobners idiosyncratic tableware.
Cats with monocles, beetles, lobsters
and galleons adorn his distinctive
black and white pieces. The designs
are based on Rorys pen and ink
drawings and reect his
ne art background.
Rory has worked
for Fortnum &
Mason and
Christian Dior
and his plates
can be found at
Liberty, London.
rorydobner.com
These are not easy times for
the industry but I hope that
in the future Flux will come to
be seen rather like Clarice Clif
or Susie Cooper as part of
another chapter in Stokes
continuing history of
innovation and ingenuity
PROFESSOR DAVID SANDERSON
Fornasetti. Bendot plays with classic polka-dots to
produce a Bridget-Riley-esque optical illusion. All the
designs can be mixed and matched so that nothing feels
too staid or, as David puts it, predictably historical.
Nowadays, Fluxs wares gleam on the shelves of stores
such as Fortnum & Mason and Aria in London. The rm
has just produced its rst range for the Manhattan Loft
Corporation as well as Transport for Londons shops,
and is collaborating with tableware specialist Goodfellows
to produce pieces for the linen-bedecked tables of
ve-star hotels. Flux wares sell all over the world and one
of its biggest customers is China, where porcelain
was invented. We set out to try to capture the
quintessentially English qualities of bone china but with
a totally different stamp and, gratifyingly, people really
respond to what were doing. These are not easy times
for the industry but I hope that in the future Flux will
come to be seen rather like Clarice Cliff or Susie
Cooper as part of another chapter in Stokes continuing
history of innovation and ingenuity, says David.
Flux, 00 31 077 306 1504; ux-shop.com
TOMORROWS ANTIQUES
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M
y mum loved life, her
family, animals, and of
course she loved her
antiques. From as early as I can
remember every spare moment and
penny would be spent searching for
the next treasure. My childhood (in
Bakewell, Derbyshire) was flled
with visits to auctions, antiques
shops and fairs and my mothers
passion, enthusiasm, knowledge
and love of fne craftsmanship were
all infectious. Inspired by her, from
around the age of six, I began to
form my own small collections.
First to catch my eye were little
silver-backed prayer books, easily
bought for a few pounds. Then
came German toys, especially those
made by Steif. By the age of twelve
I had begun what was to be a life-
long obsession, with the bold and
colourful work of Clarice Clif.
Over the years I have handled
hundreds of her pieces, reading,
researching, and learning everything
that there is to learn about Clarice,
whom I consider one of the greatest
designers of the 20th century.
Her work, however, was merely
the starting point of my interest in
that century. From deco to mid-century
modern, I crave all things signed and
designed. Ceramics and glass are my frst
love, but my collection also includes
furniture and art, with diferent styles
working comfortably alongside each
other. Pots by Carter Stabler Adams
(later Poole Pottery) sit on Gordon
Russell furniture; Edward Bawden prints
hang above Orrefors glass.
Of the countless things I
have read about, handled
or owned, however, it is the
work of one particular
Italian designer that sets my
heart racing. He created
pieces that I wish I had
begun collecting many years ago. His
name was Piero Fornasetti (1913-1988),
and my interest in him was frst awakened
in 1993 while I was studying jewellery
and silversmithing at Birmingham
School of Art. One of my closest friends
was studying ceramic design. I remember
visiting his studio to fnd his desk covered
with an array of bold graphics showing
houses made of playing cards,
hot air balloons, weird and
wonderful creatures and
one of Fornasettis most
famous and enduring images:
that of a womans face. Said to
have been modelled on that
of an Italian opera singer
called Lina Cavalieri, Fornasetti
manipulated the image into a
mind-boggling array of comic,
even surreal images, which he
called Tema e Variazioni. The
strength and impact of these
graphics have never left me.
Fornasetti was a visionary;
an artist, illustrator, graphic
designer, craftsman and, of course,
a businessman. The greater
majority of his work, however, is
decoration applied to objects
designed by others, be it the
interior of an apartment or the
surface of a desk. Some fve years
ago I found myself at Samars
Manor on Jersey for the Roadshow,
standing before a glorious piece of
vintage Fornasetti. It was a writing
desk, designed in collaboration
with the Italian architect, Gio
Ponti. Purchased by the owners
mother from Libertys for 200 in
the early 1960s, it is worth well in
excess of 20,000.
Over the years I have built up a
small collection of Fornasettis
work. I do regret not starting to
collect his work before. His pieces
have always been expensive, but
prices in the past are nothing compared
to the values we see today, with original
pieces averaging well into fve fgures. In
recent years there has been a resurgence
of interest in his distinctive style, spurred
on by, for example, Cole & Sons range of
licensed wallpapers, and it is still possible
to buy new pieces featuring his designs.
While I would love to surround myself
with images of fantastical cities, tumbling
acrobats or smiling suns, I think given
the prices I may have to settle for
looking through my books on his work
and enjoying their images instead.
Will joined the Roadshow in 2004 and is
one of its ceramics and glass specialists. He
is a director of Fieldings Auctioneers
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Inspired by his mother, Antiques Roadshow specialist Will Farmer has long been
an avid collector, but given the chance, what would top his wish list today?
What Id collect now
The enigmatic face was
manipulated into a mind-boggling
array of images and the strength
of their impact has never left me
(Right) Tema e Variazioni
plate; (below) Bocca stool
MY CHOICE
|
COLLECTING
ABOVE LEFT Irving
Bloom and Peggy
Moftt, 1964
ABOVE RIGHT
Andy Warhol, Henry
Geldzahler, David
Hockney and Jeff
Goodman, 1963
ABOVE Dennis
Hoppers self
portrait, Untitled
(On Railroad Tracks
in Los Angeles),
1961-67
L
ying undiscovered for over 40 years, a collection of
400 black-and-white photographs taken in the 1960s
by Dennis Hopper is soon to go on display in London.
Best-known as a hell-raising actor and director,
Hopper, who appeared in flms such as Rebel Without A
Cause and Easy Rider (which he also directed) was, says the
exhibitions curator, Petra Gilroy-Hirtz, talented, self-
confdent and radical the defnitive Hollywood rebel.
First shown in Berlin and New York, this fascinating
collection was originally selected by Hopper
for his frst print show at Fort Worth, Texas
in 1970, and rediscovered after his death in
2010. Spontaneous and poetic, the pictures
document America during an epoch of
progress, violence and upheaval. The
American curator and Hoppers friend,
Walter Hopps, says the images can be seen as
small movies, still photographs made on the
sets and locations of imagined flms in progress.
As well as being a keenly observed, personal
visual diary, The Lost Album is a valuable
social document of the 1960s. Many images
depict stars such as Paul Newman, Jane Fonda,
Andy Warhol and artist Robert Rauschenberg, alongside
shots of key historical events, such as Martin Luther
Kings civil rights marches and John F Kennedys funeral.
Hippy festivals and Hells Angels outings are documented,
too. He was just always around, taking pictures and
making things, commented his friend, artist Ed Ruscha.
So why did Hopper pick up a camera in the frst place?
After quarrelling with director Henry Hathaway on the
set of From Here to Texas in 1958, he had found himself
blacklisted by Hollywood. His phone stopped ringing, he
assumed that his acting career was over and he was broke.
After a fre devastated their home, Hoppers frst wife (he
was to have fve), Brooke Hayward, gave him a 35mm
Nikon camera to raise his spirits. He carried it everywhere
in the 1960s, snapping anyone and anything that caught
his observant eye. Interviewed years later, he claimed that
taking photos had been his only creative outlet for years
until Easy Rider. For this shy man, too, the camera served
an additional purpose: it kept people at a distance.
Hoppers photography and growing contemporary art
collection helped ensure his return as one of the movers
and shakers of his era. His home, in the hills overlooking
Sunset Strip, Los Angeles, became a hangout for the most
exciting, creative people of 1960s America. He was in the
middle of everything and there were a lot of drugs and
parties, Petra comments. Despite his connections, Hopper
wasnt content to spend his days snapping Hollywoods
glitterati. His photographs also have a melancholy depth,
exuding his feelings of solitude and self-doubt.
The necessity to make these photos and paintings came
from a real place a place of desperation and solitude
with the hope that someday these objects, paintings and
photos would be seen flling the void I was feeling, he said
in an interview in 2007. His images of desolate highways,
graf ti and torn posters on city walls refect both these
One maverick actor of the 1960s
was also a highly accomplished
photographer. Rebecca
Wallersteiner takes a look at
Dennis Hopper: The Lost Album,
opening at the Royal Academy,
and his career behind the lens
COLLECTING
|
A PLACE TO VISIT
DARK ROOM
Dzzlers
Paul Newman,
1964; a star whose
best-known roles
throughout his life
embodied the rebel
Untitled (Hippie Girl
Dancing), 1967
encapsulates both
the freedom of the
1960s counterculture
and the confusion
with which it was
greeted by many
mainstream Americans
A WORD ON VALUES
Hopper became a prolic painter and sculptor, as well as an actor, director and
photographer. He favoured abstract expressionism and realism, whether in his
painting or in art collecting, but he considered lm-making the greatest art
form of the 20th century. Always creatively adventurous, in the 1960s Hopper
participated in art happenings organised by the underground Ferus Gallery.
Now hugely valuable, Hoppers art collection had a strong Pop Art focus.
One of his rst collected works was a print of Andy Warhols iconic Campbells
Soup Cans bought for US$75, which now fetches millions. He also acquired
Warhols Mao, but damaged it by shooting it. Ironically, the bullet holes only
added to its value, as it sold for US $302,500 (some 182,000) at Christies, New
York, in 2011. Hoppers own photographs now sell well at auction, with Double
Standards of 1961 making up to 50,000. A portrait of Jane Fonda recently sold
at Christies London for 3,500, the only time this work has appeared at auction.
sentiments, and his interest in urban decay. As a keen
supporter of civil rights, too, Hopper teamed up with
actor Marlon Brando to follow Dr Martin Luther King, Jr
on the marches from Selma to Montgomery, Alabama,
where things turned violent. Police dogs were biting and
people were being bombed, said Hopper. His portrait of
Luther King, an exhibition highlight, perfectly captures
Kings expression of charged intensity.
Artist, photographer and academic Dr Pauline Amos
knew Hopper as a neighbour. His beautiful portraits of
friends, actors, artists, musicians perfectly capture the
atmosphere of this exciting era, as well as being
aesthetically pleasing. I found him an engaging personality
and treasure the two photography books he signed for
me. He was passionate about all facets of his work. Yet
that passion did not prevent him from turning his back on
it. The collection was found by Hoppers daughter, Marin,
in a cupboard of his house in LA, with assorted Christmas
decorations, when it was cleared after his death. He had
thrown the album into it when his Fort Worth exhibition
closed, and when he moved to Mexico he threatened to
burn it. Luckily Walter Hopps rescued and stored the
prints until his death in 2005, when his widow returned
them to Hopper, who then tossed them back into the
closet. There they lay, undisturbed, only coming to light
again after his death in 2010 aged 74, from prostate cancer.
Covering everything from playfulness to pathos,
glamour to the everyday, Hoppers captivating photographs
refect the dreams and disappointments of 1960s America.
I wanted to leave something that would be a record, he
explained. The Lost Album is that legacy.
Dennis Hopper: The Lost Album, is at the Royal Academy,
London from 26 June until 19 October. A book of the same title
by Petra Gilroy-Hirtz is published to coincide with the show
ABOVE LEFT Jane
Fonda and Roger
Vadim at their
wedding in Las
Vegas, 1964
ABOVE RIGHT
Martin Luther
King, Jr, 1965
RIGHT Untitled
(Blue Chip Stamps),
1961-67
The collection was found by Hoppers
daughter, Marin, in a cupboard of his house
in LA, with assorted Christmas decorations,
when it was cleared after his death
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COLLECTING
Take one early Georgian
house, fll it with a collection
of antique French fabrics and
the result is a home thats as
comfortable as it is elegant
THE HOUSE OF
textiles
WORDS & STYLING
|
GABI TUBBS
IMAGES
|
JODY STEWART/NARRATIVES
AT HOME
|
COLLECTING
T
he owner of this rather grand early Georgian house in
Bradford-on-Avon, Wiltshire, is Elizabeth Baer, the
undisputed grande dame of antique French textile
collecting. It frst came to her attention from a chair in
her local hairdressers, as she gazed out through the salons window
opposite, and thought it her ideal town house. As fate would have it, a
year or so later, she noticed the house advertised in Country Life.
We went to see it, put in an ofer the very next day and landed it!
she recalls enthusiastically.
Elizabeth and her husband Derek had lived in the country near
Bradford-on-Avon for many years, so knew it well as a beautiful small
market town full of interesting ancient buildings. The town also has
all the amenities that make life easier including a library, post ofce,
doctors surgery and good grocery shops, so is ideal for anyone who
doesnt want to drive. The town also ofers more than 25 societies to
join for hobbies and activities, so there is absolutely no chance of
running out of things to do, laughs Elizabeth, who fnds it impossible
to be idle. At the moment she attends French lessons.
When it came to decorating the house, she was infuenced largely by
its classical architecture and sought to emphasise the symmetry of the
main rooms by placing several pairs of furniture against the walls.
When we moved here, I was able to furnish the whole house with
things from our previous Georgian house, so I didnt need to buy
anything new, she remembers. She did, however, treat herself to two
wonderful Italian 17th-century cabinets, painted in pink faux marble,
LEFT Fittings in the
dining room date
from 1731, when
the house was built.
The 19th-century
damask table linen
and matching
napkins are typical
of those found in
Normandy
BELOW AND
ABOVE Elizabeth
outside her Bath
stone home.
With its magnicent
Palladian faade,
the house is almost
certainly inspired by
the architect of
Bath, John Wood
COLLECTING
|
AT HOME
beds and chairs, lots of good brown furniture,
warm colours, faded carpets and old needlework
cushions as her home-making essentials. Add
to this a generous blend of family treasures and
task lighting, and the result is an easy, informal
atmosphere in which everyone feels welcome.
Throughout her life, Elizabeth has been
greatly infuenced by the romantic and
colourful buildings and interiors designed and
built by her uncle, Sir Clough Williams-Ellis;
she preferred his exotic furnishings to the
Victorian interiors of her own home. On the
whole, her husband leaves the interior design
to Elizabeth, but the garden is his domain.Derek
is the designer there and I am the underling
who does the maintenance, she laughs.
So, with such a grand house to maintain, is it
an expensive business? Confdes Elizabeth, we have always bought
and lived in houses too big for our means and taken a long time to
restore and complete their furnishing but working on half a
shoestring has been much more interesting and challenging than
spending large sums on decorators and expensive materials. I am very
keen on recycling, mostly because I hate waste, but also because I
think that the makers of fne furniture, decorations and textiles made
them with great industry and skill, to last and give pleasure over a
long period of time. Elizabeth fnds that running a business from
home where clients can come to see her works well. The advantage
from a kitchen in Venice, which now hold spare
linen in the ante-room of the couples bathroom.
The cabinets, which Elizabeth spotted in a local
shop, are rare and so were very expensive;
I have never regretted that purchase, though I
see them every day and their beauty gives me
pleasure every time I pass them.
Elizabeths love afair with tones of pink and red is further revealed
in the drawing room, painted in a warm and inviting old-rose colour
that she mixed herself, while her bedroom features red-and-white toile
de Jouy wallpaper and bed hangings. Colour is very important to me
it has a great efect on peoples moods, she explains. Another passion
is antique decorative items: she has collections of china, needlework,
papier mch and shell-work, as well as pieces that would have originally
fallen within the category of Ladies Amusements: feather pictures,
pin-prick work and silk-on-silk embroideries. Elizabeth describes her
own taste as typical English country-house style, and lists comfortable
ABOVE In the hall,
the Queen Anne
walnut chest a
section from what
was originally a
larger piece came
from Elizabeths
childhood bedroom
in Wales and has
accompanied her
from home to home
ABOVE RIGHT
The kitchen-cum-
breakfast room
features an old pine
buffet as a useful
central worktop.
RIGHT A shelf in the
kitchen displays
Victorian shellwork,
with a framed shell
picture beneath
On the master
bedrooms marble
mantelshelf sit
treasures including a
Wedgwood jug and
pearlware basket
COLLECTING
|
AT HOME
Elizabeth has built up
her collection of linen
over the past 40
years. After a buying
trip to France, she
washes and irons
every piece herself so
that she can be sure
its spotless. She also
sources specifc
textiles to order
to having showrooms at home, as I do in the original wine vaults
beneath the house and in the house itself, is that it gives me the chance
to meet people face to face who share my ideas on decoration. Another
plus is that youre always wanting the house to look its best, so you
have to keep on top of things!
She fts in home appointments for customers around visits from
family and friends and other social events. Helping people to fnd what
theyre after is very satisfying. I get genuine pleasure when, for
instance, a flm-costume designer discovers the very Victorian bonnet
or particular parasol she needed to fnd by a certain shoot date, and she
dashes away with a big smile on her face.
Elizabeth discovered the immense richness of French textiles when
buying French folk art for the Crane Calman Gallery in Londons
Sloane Street. She saw them piled up, unloved and unwanted in the
brocante sheds in rural France, ripped out of the nearby chateaux and
ABOVE In the
master bedroom,
Elizabeth has
upholstered the
Irish Chippendale
bed in a pretty red
toile with a canopy
of French lace
TOP RIGHT The
desk in the guest
room is a painted
pine piece from the
Regency period,
topped with a
welcoming glass
vase of owers
RIGHT A French
armchair by the
marble replace,
one of a pair, is
covered in what was
originally a French
curtain dating from
the 1880s
AT HOME
|
COLLECTING
large bourgeois houses that were being modernised.
Initially, she used them in her own house and then found
other people wanted them, too. I believe I was the frst
person to use hand-woven sheets for curtains and
furnishings back in the 1980s, and when I discovered
there was a huge demand for them, I stocked up with over
800 sheets, she recalls. She continues to do all her buying
herself on regular trips to France and insists on washing
and ironing all the textiles herself, so that she can be sure
that everything is spotless. At the moment, she has one
client looking for a backing for some valuable early
crewelwork, another wanting hemp cloth to camoufage
an old sofa, and one wanting several sheets for a new
curtain project in an early Tudor house. As always,
Elizabeth is happiest when she is busy.
ABOVE The striped
turquoise wallpaper
in the study is by
Colefax & Fowler;
the curtains are a
famous Victorian
pattern, Hollyhocks
by Warner, which
Elizabeth has
had in three
different houses.
The Chippendale-
style gentlemans
desk is mahogany,
while the chair
dates from the
Regency period
COLLECTING
|
AT HOME
ABOVE Elizabeth
outside the house
with one of her
many nds. She
particularly enjoys
the process of
matching pieces
with customers
BELOW Treasures
are piled up on a
table, in baskets
and old luggage
waiting in the
summer sunshine
to be perused by
visitors to one of
Elizabeths frequent
home sales
AT HOME
|
COLLECTING
GET
THE
LOOK
Embrace Elizabeths love
afair with pinks and reds and
recreate her informal country
style with these key pieces
DOUBLE BRANCASTER LIGHT
125, Jim Lawrence
jim-lawrence.co.uk
VINTAGE-STYLE BUTTERFLY PRINT
125 for two, Cowshed Interiors
cowshedinteriors.com
HARROGATE TOILE CUSHION
70, Emily Humphrey
amara.com
FLORAL PRINT CHAIR
169.99, Homebase
homebase.co.uk
SUNBURST MIRROR
49, An Angel at My Table
anangelatmytable.com
NATURAL WICKER BASKET
28, Next
next.co.uk
LARGE COTSWOLD CLOCK
89, Marks and Spencer
marksandspencer.com
COUNTRY ROSES CREAM JUG
27.50, Royal Albert
royalalbert.co.uk
great reads
Splash out on the denitive tome on 19th-century furniture, whip up the
Bloomsbury Groups favourite dishes, or lose yourself in lavish interiors
A GLIMPSE INSIDE
London is a fascinating battleeld
between the conservative and creative
spirits, declares renowned gallery-owner
David Gill in his foreword to this new
title. Writer-photographer duo Barbara
and Ren Stoeltie have used their talent
to winkle out a diverse range of the
capitals properties, from spacious lofts
to tiny apartments, contemporary ats
to period homes even a houseboat
moored on the Regents Canal. What
unites these places is their owners
awareness of the buildings theyre in
and a desire to work with, as opposed to
against, them. Were told, for instance,
that interior designer Francis Sultana is,
convinced that we have to be inspired
by the architecture of the places in which
we live. Above all, though, this book is
about the owners individualities, which
means the houses featured are as
diverse as the people who live in them.
Antiques dealer Christopher Gibbs
at epitomises the style of the erudite-
but-nonchalant English gentleman, with
its exotic textiles, engravings and piles
of books. At the other end of the scale is
architect Seth Steins conversion of a
Victorian coach house into a modern
space that features glass walls, sliding
doors and a curvaceous spiral staircase.
A house does not need clutter, just
architecture! declares Seth, and he
sticks to his guns, including 1950s lamps
by Serge Mouille, early furniture by Arne
Jacobsen and Eileen Grays famous
design, the Bibendum chair, among his
own well-edited collection of pieces.
Theres no denying that this is a work
that leaves Rens photos to tell the
owners stories and, as such, its the
ultimate coffee-table book a gorgeous
volume to pore over, and glean
inspiration from, at leisure.
London Interiors:
Bold, Elegant, Refined
by Barbara and Ren Stoeltie,
published by Flammarion, 32.50
FROM LEFT two elegant rooms in Quinlan and Francis
Terrys remarkable new-build, Veneto Villa in Regents Park,
London; trompe loeil in the home of the late Roy Alderson
BOOKS
|
REVIEWS
FABULOUS
FURNITURE
Given that the 19th-century was a period of
unprecedented change within Europe, its
inevitable that furniture design would reect
the era in its hugely varied styles. Yes, France
dominated decoratively, but other inuences
ltered in from Turkey, Africa and the Far East.
Christopher Paynes glossy and informative
book provides the denitive guide to a
potentially bamboozling array of treasures.
His accessible and engaging style, so evident
as a specialist on Antiques Roadshow, is
equally impressive on the page. As much for
the enthusiastic layman as the seasoned
expert, this is a title worth investing in.
European Furniture of the
19th century by Christopher
Payne, published by Antique
Collectors Club; 75
A VERDANT REBIRTH
As a portrait of a marriage, the Herefordshire
garden that Sir Roy Strong created over a
thirty-year-period with his wife, the renowned
theatre designer Julia Trevelyan Oman, is
testament to the richness of their relationship.
By the time Julia died in the autumn of 2003,
however, The Laskett, as it is known, had
grown in on itself, and so Sir Roy and his team
began the great cull that this book
chronicles, with trees and hedges chopped
down, paths widened and vistas opened up.
The projects message, says Sir Roy, is one
for all garden-makers. Do not be afraid to
change your garden indeed to be quite
brutal with it in order to give it new energy
and excitement.
Remaking a Garden:
The Laskett Transformed
by Sir Roy Strong, photographs
by Clive Boursnell, published by
Frances Lincoln, 30
A SENSUAL FEAST
Youre never too Bohemian to eat: not if this
book is anything to go by, anyway. References
in letters to meals anticipated and devoured,
plus recipes galore from Lady Ottoline
Morrells Plum Pudding to Vita Sackville-
Wests Magnicent Strasbourg Pie reveal
that members of the Bloomsbury Group saw
food as one of lifes great pleasures. Having
little to do with its preparation at Charleston
in Sussex (servants saw to that), Vanessa Bell,
Roger Fry et al were able to concentrate on
avour and occasion. Staff were encouraged
to master dishes featuring then avant-garde
ingredients such as garlic. With its sense of
place and period, The Bloomsbury Cookbook
is part social history, part recipe book.
The Bloomsbury Cookbook:
Recipes for Life, Love and Art
by Jans Ondaatje Rolls, published
by Thames & Hudson, 24.95
THE WONDER OF
WANDERING
What is it about little or unknown places that
attract us? Theres something about our need
to belong and to hide that is primal. From
hidden dens to curious places such as Sealand,
an abandoned gun platform off the British
coast that one man has made into his own
nation, its this need that author Alastair
Bonnett Professor of Social Geography at
Newcastle University explores and celebrates
in this fascinating new read.
Off the Map: Lost Spaces,
Invisible Cities, Forgotten
Islands, Feral Places and
What They Tell Us About
The World by Alastair Bonnett,
published by Aurum Press, 16.99
ONES TO WATCH
Given the books title, therell be no prizes for
guessing how many designers are featured in
this lively compilation, all of whom have
established themselves in the UK since the
start of this millennium. From Jaime Hayons
quirky installations to the simplicity of Klauser
and Carpenters Utility chairs and hooks
(designing is not about trying to do something
new all the time, its about trying to do
something better,), the work featured in this
book intrigues and invigorates. Will it endure
into the next century? Time will tell.
21 Twenty One: 21 Designers
for Twenty-First Century
Britain by Gareth Williams,
published by V&A Publishing,
19.99
REVIEWS
|
BOOKS
*To access the 2-for-1 Offer register www.iacf.co.uk/offers
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The better fairs
Tell us a bit about the book
I focus on fve women from various eras to
look at the role the housekeeper played
within the country house. She held a
position of power and enjoyed certain
comforts that went with the job: you
only have to look at the size of the
housekeepers desk in most homes to get
an idea of her status. But hers was a
vulnerable role, too. The women whose
stories I tell faced some grim situations:
unwanted pregnancy, a court case and
scandals. Dismissal was an ever-present
threat. Its all a world away from the cosy
housekeeper image as exemplifed by
Mrs Hughes in Downton Abbey.
How did you structure
your research?
I was drawn to houses with good archive
collections where I might fnd enough
for a story though in the case of Hannah
Mackenzie, who survived a scandal and
went on to be heiress Grace Vanderbilts
housekeeper in New York, all I had was a
photograph and a diary to go on. Instinct
played a part did these small clues about
a woman intrigue me? Did I want to fnd
out more? The rest was detective work,
creating enough material for a story,
and using my imagination and the
house to fll in the gaps.
Were struck by the conditions
these women worked in
Yes, forget the idea of attractive servants
quarters painted in tasteful shades of
todays heritage paints. I discovered
that Sarah Wells mother of novelist
HG Wells sufered from the sort of
depression that was clearly exacerbated
by the fact that she longed to be outdoors,
but was largely confned to life below
stairs. Her situation wasnt helped by the
fact that shed already known a life as
wife, mother and mistress of her own
home. She only accepted the role of
housekeeper because she and her family
were on their uppers.
AUTHOR Q&A
A new book examines the life and times of a major powerhouse within the large
country homes of the past: the housekeeper. We meet its author to nd out more
TESSA BOASE
Was social progress possible?
Not unless you got lucky, like Mary Ann
Bullock, dairymaid at Uppark in Sussex.
She ended up married to her master,
70-year-old Sir Harry Fetherstonhaugh
but found that, from then on, she never
quite ftted in with any social group.
Tell us about Ellen Penketh
of Erddig in Clywd
Thats a tale that arguably has some
21st-century parallels with recent
well-known court cases. A housekeeper
gets friendly with the lady of house,
crosses one too many boundaries and ends
up being in court accused of theft. But in
this case it seems almost as though the
employers who brought the prosecution
are on trial, with the judge describing them
as idlers on the great highway of life.
What do you think these women
would have made of the book?
As modest women, they probably wouldnt
have thought their stories worth sharing.
By the time I interviewed the fnal
housekeeper in the book Nicky Garner,
who works for Lady Coke at Holkham
Hall, Norfolk it was fascinating to see
how the role has evolved. I approached
Lady Coke frst, and she said shes a big
believer in praising and thanking her
housekeeper, making for a more mutually
satisfying relationship, which isnt exactly
how Id describe some of the other
housekeeper-mistress relationships
examined in my book!
What hasnt changed in the role?
Nicky is clearly meticulous in her work
and a real stickler for detail. Her motto is
methodical, adaptable and logical. I think
her predecessors would relate to that.
Are you hoping the book will
lead you to more tales from
behind the green baize door?
Yes, and I can be contacted about them via
my website, housekeepers-tale.com.
ABOVE Hannah Mackenzie (left) and
the York family of Erddig Hall, North
Wales; Sarah Wells's diary from 1892
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The Housekeepers Tale: The Women
who really ran the English Country
House by Tessa Boase is published
by Aurum Press; 20
REVIEWS
|
BOOKS
MADE WITH PRIDE
|
WILLIAM KENT
THE
KING OF
Syle
When it came
to design and
architecture, the
name on many
Georgian patrons
tongues was that of
William Kent. Julius
Bryant reveals why
the polymath became
one of Britains
great makers
WILLIAM KENT
|
MADE WITH PRIDE
W
illiam Kent, the leading architect and
designer of early Georgian Britain,
was born in 1685, the son of a joiner
in Bridlington, Yorkshire (a port now
best known for its shellfsh, and as a home of artist David
Hockney). Showing early promise, some say that Kent
began his career as a sign and coach painter; he clearly
managed to impress local gentry enough to sponsor him
to train as a painter in Italy. One even told him: dont
return until you are the second Raphael. In Rome Kent
trained as a decorative painter while climbing the social
ladder of patrons, until he had convinced the fabulously
wealthy Lord Burlington to take him back to Britain. The
partnership was to be a powerful one. From 1719 until his
death in 1748, Kent lived as a guest of the family at Burlington
House, Piccadilly (today the home of the Royal Academy);
on Sundays he rested at Burlingtons Italianate villa in the
country, at Chiswick, another collaboration between the two.
Through Burlingtons patronage, Kent diversifed.
Knowing he was no Raphael, this decorative painter
became an interior designer, architect and the inventor of
the English landscape garden. He is Britains frst
signature interior designer, more versatile than Robert
Adam or William Morris. Like Robert Adam in the second
half of the 18th century, Kent gave his name to an entire
style in the early Georgian period (1714-60). But unlike
designs by Adam, Kents work can look foreign, and
British collectors are still having dif culty coming to terms
with the glamour or gaudiness of William Kents style.
A MATTER OF TASTE
Despite his fame, the current exhibition at the V&A,
William Kent: Designing Georgian Britain, is the frst major
exhibition with a focus on his work. One reason for this is
that the style he promoted divided fashionable society in
his day and can still look brash and nouveau riche to 21st
century eyes. If the word bling had been around in the
LEFT William Kent,
painted here by
William Aikman in
1723-25, decorated
the Cupola Room
at Kensington
Palace (opposite)
at about the same
time, with the
elaborate ourish
that would become
his signature
LEFT An armchair
designed by Kent
between 1733
and 1740 for
Devonshire
House, Piccadilly,
London home of
the Dukes of
Devonshire,
which was also
designed by Kent
LEFT A drawing
by Kent for a
Chinoiserie
garden temple,
dating from
around 1730-35,
as his scope
extended from
interior to
garden design
LEFT A square
console table,
circa 1727-1732,
for Chiswick
House, the
country villa of
Kents rst great
sponsor, Lord
Burlington, which
they worked
on together
MADE WITH PRIDE
|
WILLIAM KENT
He is Britains first
signature interior designer,
more versatile than Robert
Adam or William Morris
RIGHT Kents
oor plan and
elevations of
1735-36 for the
interior of the
House of Lords
ABOVE Kents
vaulted and
gilded Library at
Holkham Hall,
Norfolk, dating
from 1734-41
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1730s, Kent would have been named its king. To his
enemies, led by artist William Hogarth, Kent was simply
over the top. He had returned from his decade in Italy
ready to create lavish Italianate interiors for the rich
young men he had guided on their Grand Tours. If you
think Georgian good taste is all about fne Chippendale
and burnished mahogany furniture, or about the demure
British art of sober understatement, you are in for a shock.
Beyond Kents reinvention of himself and the challenge
to our ideas of good taste, the exhibition includes other key
themes that are very relevant today. Its subtitle, Designing
Georgian Britain, encourages visitors to see Kent as a
product of his times, and the context of his world. This
year marks the tercentenary of the arrival of our German
royal family, with George I being imported from Hanover
in 1714. The Act of Union of 1707 brought together
Scotland, Wales and England under one parliament at
Westminster. There were great expectations of a new
royal palace, Houses of Parliament and a fresh look for
the new nation at the start of the century, when Great
Britain would overtake Spain and France as the worlds
leading imperial nation. Kent was caught up in a mission
to promote national status and identity, not so much
through decorating and furnishing country houses, but
more through redesigning central London, with buildings
such as Kensington Palace and Horse Guards.
ON KENTS TRAIL
The best places to see Kents legacy now are country
houses open to the public, such as Houghton and Holkham
in Norfolk, his garden at Rousham in Oxfordshire and at
Lord Burlingtons villa at Chiswick. The trail of pieces by
Kent takes dedication to follow. In auction houses and
antiques shops you can fnd elaborately carved and gilded
furniture associated with William Kent, or in his style,
but only one original design by him for a piece of furniture
is known. As he was only too happy to collaborate with
local craftsmen, leaving them with a design (or even a
doodle) to work from, we cannot say for certain that an
object is by Kent in the sense of coming from a workshop
documented by bills and receipts. Provenance (the family
tree of ownership of a work of art) is the best key to
attribution and can multiply the value of Kent furniture and
silver over ten-fold, so research makes all the diference.
Julius Bryant is Keeper of Word & Image at the Victoria &
Albert Museum, and co-curator of William Kent: Designing
Georgian Britain, organised by the Bard Graduate Center,
New York City and the V&A; until 13 July; vam.ac.uk
RIGHT The Bute
epergne, a table
centrepiece
designed by
Kent, was
made by
goldsmith
Thomas Heming
in 1756 for Lord
Bute. Its gilded
vine leaves are a
classic Kentian
combination
of the natural
and the articial
WILLIAM KENT
|
MADE WITH PRIDE
WHERE TO SEE
HOUGHTON HALL
Kings Lynn, Norfolk
Built in the 1720s for Sir Robert
Walpole, Britains frst Prime
Minister, Kent designed dazzling
interiors here; houghtonhall.com
HOLKHAM HALL
Wells-next-the-Sea, Norfolk
Described by Simon Jenkins as the
perfect English house from the
Golden Age of the Grand Tour,
Holkham, again, is a house where
Kent spun his magic on the
interiors; holkham.co.uk
CHISWICK HOUSE, LONDON
The frst and one of the fnest
neo-Palladian houses in Britain.
Kent also created beautiful gardens
here, which have been recently
restored. For more visit chgt.org.uk
HORSE GUARDS, LONDON
The Palladian infuence here is clear,
and the design has a close
resemblance to Holkham Hall.
ROUSHAM HOUSE & GARDENS
North of Oxford
Kent arranged gardens in terms of
space, light, form and colour. Here
the gardens, open every day, remain
almost as Kent left them. The house
is open only by appointment;
rousham.org
STOWE LANDSCAPE GARDENS
Stowe, Buckinghamshire
Kent designed many of the buildings
in this famous garden during the
1730s; nationaltrust.org.uk
WHAT TO READ
William Kent: Designing
Georgian Britain by Susan Weber,
published by Yale University Press;
accompanies the V&A exhibition
William Kent: Architect,
Designer, Opportunist by
Timothy Mowl, published by Cape
The Kings
Staircase at
Kensington
Palace
The Gallery, Chiswick
House in a watercolour
by William Henry Hunt
from 1828
COUNTDOWN
TO CAMERA
They make it look so easy, but what is it really like
to be in front of the camera as an Antiques Roadshow
specialist, and how do they get chosen to appear on
the programme? Caroline Wheater investigates
FILMING
|
BEHIND THE SCENES
F
rom the end of May to early October the Roadshow goes on the
road. One week the production crew and selected specialists
could be in Wales, the next Northern Ireland, as they meet
visitors, assess their cherished antiques and record the special
stories that will become the next series. Its a long, hard, exciting day,
says miscellaneous expert John Foster. Youre seeing hundreds of
people who all deserve some time because theyve queued for so long.
Most experts have lost their voices by the end of the day. Stamina is a
prerequisite for the specialists, on their toes from 8.30am to 7pm, with
a short break for lunch, maybe. Director Simon Brant knows how
important it is to stay focused. A lacklustre flming performance wont
engage the owner or look good on camera, he says. It helps that
theres a defnite adrenalin rush as visitors bring in their items.
It also helps that the Roadshow specialists a roster of more than 60
men and women, invited to up to ten locations per series are chosen
because they are names in their feld, as well as great communicators.
As Series Editor Simon Shaw explains, to be a regular Roadshow
contributor, they need to be at the top of their game and have brilliant
knowledge, which they can share in an articulate and engaging way.
Over 60 recordings are made at each location, with each specialist
flming up to four items of the many they see. With a few minutes to
assess antiques as they come in, then with flming slots lasting between
eight and twenty minutes, winging it is not an option and specialists
undergo a strict recruitment process before being let loose on visitors.
The very best way to fnd potential future specialists is through our
Observer Days, says Simon Shaw. On each series we ofer six people
who have been recommended to us, or who we have heard about, the
chance to come along and see how the show operates.
During the technical run through the day before the shows are
flmed, observers are given advice on camera techniques and how to
engage a visitor, before taking part in a trial flming slot to see how
they get on. On the next day they sit alongside existing Roadshow
specialists, in a supporting role. Ideally, we record a test item that they
have found, says Simon. If someone has done well, I invite them back
to another Observer Day during that series; then they may join as an
P
art of the busy jewellery table at the
Roadshow for over twenty years, John
fondly remembers his rst recording. It
was a lovely Art Deco diamond wristwatch
brought in by a young woman. I was only an
observer but Geoffrey Munn said Go on,
lm it! He knew that once Id done one
recording my condence would grow and
Id feel more comfortable dealing with
visitors. Now John has mastered the art
and is helped by his incredible depth of
knowledge, built up over 40 years of
immersion in the world of antique jewellery.
With the help of my jewellers loupe I can
recognise things very quickly, even if they
are neglected and covered in dirt. Hes also
grown adept at spotting visitors who will
react well on camera, which adds to the
drama. If Ive got an object with a good
story not necessarily a high value and a
condent and self-assured owner, it is a very
potent mix and Im in the zone, he says.
Occasionally a little trembling can be
noticed on lm, but John is known for his
rock-steady hands. He explains: Ive always
felt condent about doing presentations
and give around 60 lectures a year. So Ive
never been fazed by speaking in public. He
also knows how important it is to relieve any
tension that he and the owners might be
feeling. I always have a few jokes with them
to lighten the atmosphere, and quite often I
use the crowd as a foil. Then the recording
is like having a chat with a friend.
John joined the Roadshow in 1991 and is
an independent valuer, historian and author
ABOVE Ready to go? A cameraman lines up the next shot BELOW
Visitors and crew watch, fascinated, as a recording takes place
A few jokes lighten the atmosphere
JOHN BENJAMIN
BEHIND THE SCENES
|
FILMING
FILMING
|
BEHIND THE SCENES
assistant specialist the following series. Whether they are 24 [the
age of newest recruit, assistant expert Lawrence Hendra] or 44, they
are on probation for the frst couple of years. The experienced
specialists are driving the recordings, but we have to look to the
future and spotting the rising stars is important.
So what gives someone that star quality? It helps if the specialists
unravel the story of an object with a bit of showmanship. Personal
warmth is important too, says Director Simon Brant. When flming,
experts have to be able to create an instant connection with the
owners, he says. They need to listen to what the owner is saying, not
go into lecture mode. That makes viewers at home feel included too.
Crucially, experts mustnt give too much away when they spot
something that could be worth flming. Armed with the bones of a
story, they fll in a form noting the owners name, the type of object
and its interest without revealing the value. Simon Shaw then meets
each owner and decides which items to flm. Part of the magic of the
Roadshow is the spontaneous conversation and sharing of new
information with the owner, he says. I like surprise: delight at a
valuation or a crestfallen face can be equally revealing.
My job is about storytelling
ELAINE BINNING
E
laine has been a
stalwart on the
show for fteen
years, and is just as
enthusiastic as she was
the day she joined. I was
completely at sea when I
started, and I still get
nervous now, but that
gives you an edge. I now
feel I know how to do a
recording, but I always
kick myself afterwards
Im never satised. It was
and is a great challenge
and the adrenalin still
ows. An auctioneer by
profession, shes used to
a busy physical job and
takes the demands of the
Roadshow in her stride,
staying focused all day.
You might have anything
from three minutes
notice before making a
recording, to a gap of
four hours looking at
other items in between
nding the object and it
being lmed, but it still
has to sound fresh.
When shes being
lmed shes learned not
to be distracted by the
cameras and the crowds.
Im not aware of the
people watching Im
looking at the object and
listening to the owner,
thinking about what
I want to say. My job is
about storytelling, with a
beginning, middle and
end. Although recordings
are edited, what viewers
see on camera is a
genuine conversation that
we have never had before.
Elaines particular
interest is furniture,
although she has lmed
items as diverse as
chrome car mascots and
bronze monkeys. She
joined the show in 1999
and one of her favourite
nds was an album of
paintings depicting a
19th-century Quaker
household
The best recordings
are short and sweet
LAWRENCE HENDRA
A
fan of the Roadshow
since childhood,
Lawrence even
insisted on watching the
programme with his
housemates at university.
Now, aged 24, he is the
shows latest newcomer and
his rst lmed item as an
assistant specialist aired
earlier this year. The lm
crew have been very
encouraging and share their
wealth of experience during
recordings.
They always tell you to
pretend the camera isnt
there, which is obviously
impossible, but you do get
the hang of it. Ive learnt from
the other experts that the
best recordings are short and
sweet and not full of tedious
information. I love to see
Philip Mould build a rapport
with owners, and the way
Andy McConnell handles
objects with sky-high
enthusiasm. How does it feel
to be the junior member of a
national treasure? Its been
daunting, says Lawrence,
but all the experts have been
very kind in sharing their
wisdom, and I enjoy learning
about their specialities,
whenever I get the chance.
Lawrence is an Associate
Director at Philip Mould &
Company. He has been
interested in art dealing since
the age of thirteen and was
an independent dealer
before joining Philips gallery
BEHIND THE SCENES
|
FILMING
A
lthough Ronnie was used to appearing in front of
thousands of people, introducing live music and
DJ-ing when he was younger, he found his rst
Roadshow recording in 2011 nerve-wracking. I was
absolutely terried, he recalls. I was on an Observer Day
and although Id had a screen test the day before, the
idea of being lmed for real was not in the equation.
Then a feathered cape came in that no one knew about
so they asked me to lm it. I was thinking, Im not ready
for this I want to go home! It was a pelerine, a short
cape worn by American society ladies for evenings at the
opera. These were originally prestige objects made by
the Native Americans of the Great Lakes, explains
Ronnie, but by the late 19th century the fashion had
gone mainstream and they were making these capes to
sell. I valued it at around 1,000. Despite his misgivings
at being lmed, Producer Michle Burgess miked Ronnie
up and he was away, in at the deep end in front of three
cameras and crowds of people, waxing lyrical about the
cape. Three years on he doesnt suffer from nerves any
more. Ive grown in condence and I always choose
things that I love so that I can talk about them with
enthusiasm. He knows that being lmed can be an
anxious time for the owners and aims to put them at
ease. I tell them I used to be nervous too and try to
reassure them so that when were lming its more like
two people having a chat. I talk to the crowd too and ask
them what they think of the day. It makes for an informal,
friendly atmosphere.
Ronnie has been in the antiques business for 30 years
and is now an independent specialist. One of his
favourite nds was a rare Fijian war club, worth 35,000
I always choose
things that I love
RONNIE ARCHER MORGAN
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Climb a tower for a panoramic view, bed down in a college, or
explore the great antiques shops and galleries. Ben Vanheems
delivers his defnitive guide to town and gown
CAMBRIDGE
Combng
TRAVEL
|
OUT & ABOUT
L
ying on the edge of the pancake-fat Fens at the
head of navigation of the River Cam, Cambridges
easy-to-reach location saw it develop as a thriving
centre of commerce long before the university
came along. Yet its the college courts and chapels of the
university that draw todays visitors, who travel to
Cambridge to experience its intellectual atmosphere and
discover its surprisingly colourful history.
This seat of learning was founded in 1209 when a band
of scholars fed to Cambridge from Oxford to escape
persecution among their group. Safe from the gallows, the
students formed their own community of learning and in
1284 the frst college, Peterhouse, was built as the
fedgling university found its feet. Over the centuries a
further 30 colleges followed, each with a story to tell, and
each giving rise to its own history-moulding alumni, from
Isaac Newton to Stephen Hawking.
WALKERS PARADISE
Cambridge is both fat and compact, making it perfect for
the weekender preferring an unhurried stroll to a runabout
rush just watch out for the often silent bicycles. Some
colleges grounds and courts (known
as quads in Oxford) are free to
explore, though most charge a
modest entrance fee. Get the inside
track on the colleges, the formation of
the university and its famous alumni
by booking a place on one of the
walking tours departing from the
Tourist Information Centre. I followed
veteran Blue Badge Guide John
Newnham, who says of Cambridges
appeal: its a place that grows on you.
Its history, character, people and
sense of place make it quite unlike
any other town in Britain.
Most tours take in Kings College
Chapel, the heart of Cambridge whose
Christmas Eve service, A Festival of
Nine Lessons and Carols, is broadcast to
the world. The skywards-thrusting
building has twenty-six enormous
JOHN BEAZOR ANTIQUES
7880 Regent Street,
01223 355178,
johnbeazorantiques.co.uk.
Lovers of 18th and 19th century
furniture should make a beeline
for this family rm, now in its third
generation. Founded in Great
Yarmouth in 1875, the business
moved to Cambridge 65 years
later. Current owner Martin
Beazor has everything from a
George IV period tortoiseshell
tea caddy, to a mahogany
long-case clock on offer.
THE HIVE, Gwydir Street,
off Mill Road, 01223 300269,
hiveantiques.co.uk.
A short meander along Mill
Road brings you to this trove of
collectables, jewellery, glassware
and kitchenalia. Its also the place
for tiles: Victorian, hearth, Delft
and splashbacks from 5 each.
HOPE STREET YARD,
off Mill Road, 01223 410435,
hopestreetyard.co.uk.
Delve around the units at
Hope Street Yard for reclaimed
architectural gems, garden
accessories and furniture, and
vintage door and window ttings.
PETER CRABBE ANTIQUES
3 Pembroke Street,
01223 357117.
Take home an original print of
one of the colleges. Find furniture
and porcelain too in this compact
connoisseurs refuge.
WATERSIDE ANTIQUES,
55a-55b Waterside, Ely, 01353
667066, watersideantiques.co.uk.
Its a short trip to Ely to wander
around East Anglias largest
antiques centre. With 10,000
square feet of oor space and
over 65 dealers, youll need a full
afternoon or more!
TREASURE HUNT
TOP The Front Court
at Kings College, with
the Chapel on the left
LEFT A Grade II listed
Victorian hexagonal
Penfold post box
outside Kings College
ABOVE Magdalene
Bridge RIGHT Statue
of Religion on the
Kings College Front
Court fountain
OUT & ABOUT
|
TRAVEL
ABOVE Punting
on the Cam past
Kings College.
LEFT AND RIGHT
At Kettles Yard
you can see Five
ships Mounts
Bay, circa 1928 by
Alfred Wallis and
Red Stone Dancer,
1913-14, by Henri
Gaudier-Brzeska
stained glass windows, twenty-four dating to the 16th
century, as well as the worlds largest fan vault ceiling,
completed 500 years ago next year.
Though not as grand in scale, Great St Marys, almost
opposite Kings College Chapel, is worth the visit to climb
the tower and enjoy the view over the town one of the
few places in Cambridge ofering such a panorama.
The towers bells were the model for the hourly chimes of
Big Ben in London and it is from this central university
church that all road distances to Cambridge are measured.
MUSEUMS AND GALLERIES
As youd expect from a town steeped in history Cambridge
has its fair share of museums and galleries, many of which
are free to visit. The oldest pieces are held in the
Fitzwilliam on Trumpington Street, where European art
from the 14th to the 20th century is displayed alongside
fve millennia of historic treasures, all displayed in
the Museums spacious rooms. More recent pieces
by artists such as Barbara Hepworth, Henry
Moore and Alfred Wallis can be found at Kettles
Yard, the inspiring former home of Jim Ede, a
curator at the Tate Gallery in the 1920s and 30s.
For a vibrant evocation of domestic life in
times past make a beeline for the Cambridge and
County Folk Museum. Set within a 17th-century
timber-framed building on Castle Street, the
museum brings history to life with its displays of
familiar and not-so-familiar household
items stretching back some 400 years. Other
museums not to be missed include the Whipple
ABOVE Bicycles are
a traditional and
efcient method of
transport around this
level Fen town for
academics and locals
alike and tend to
be parked anywhere
RIGHT The entrance
portico of the
Fitzwilliam Museum,
Trumpington Street;
its collection includes
this illuminated
Florentine Book of
Hours, circa 1450
TRAVEL
|
OUT & ABOUT
Museum of the History of Science, where
you will fnd a mindboggling array of
scientifc instruments from the Middle
Ages to the present day; the Sedgwick
Museum of Earth Sciences for fossils
and prehistory; and The Polar
Museum at the Scott Polar Research
Institute for stirring explorers tales.

BROWSING TO BUY
Start your shopping exploration of
Cambridge with a potter along Trinity
Street and Kings Parade. This is the area for
gift shops, boutiques and a number of galleries,
including the capacious Primavera, where fve rooms of
British contemporary paintings, sculpture, ceramics and
woodcrafts await the discerning buyer. Around the corner
in Market Square youll fnd a bustling market every day
of the week a general market with everything from
fowers to hats from Monday to Saturday, and an arts,
crafts and local produce market on Sundays.
For a refreshing range of independent and idiosyncratic
shops walk the Mill Road mile. Recently voted one of
Britains favourite high streets, this eclectic shopping
street is packed full of bohemian browsing emporiums and
more places to enjoy a (chain-free) cofee or a spot of
international cuisine than you can shake a stick at.
SOMETHING TO EAT
Other excellent eating opportunities abound in this
cosmopolitan city. A must for lunch is the Michaelhouse
Caf, set within St Michaels Church on Trinity Street.
This Cambridge institution serves up a satisfying array of
generously flled sandwiches, salads and cakes plus a daily-
changing menu from its hot counter (01223 309147,
michaelhousecafe.co.uk). Good pub options include the
16th-century Eagle on Benet Street, whose doors Watson
and Crick burst through to announce they had discovered
the secret of life the structure of DNA. The Eagle does
traditional British fare to perfection, with favourites such as
hand-battered fsh and chips (01223 505020, visitcambridge.
org/food-and-drink/the-eagle-p506461). Those with
hearty appetites are well catered for at The Cambridge
Chop House on Kings Parade, which ofers hungry diners
a selection of steaks, chops and other meaty mains including
a suet pudding of the day. A three-course meal typically
costs just shy of 30 (01223 359506, cambscuisine.com/
cambridge-chop-house). Stylishly crisp and contemporary
THE LOCAL
AUCTION HOUSE
01223 213343; chefns.co.uk
See our piece on Roadshow specialist
John Foster (pages 23-27) at Chefns,
auctioneers of a wide range of ne art and
antiques. At one recent sale a pair of
19th century pearl and diamond
earrings fetched an impressive
42,000 more than four times
the original estimate
ABOVE The
Great Gate
of St Johns
College is
particularly
imposing
RIGHT Buskers
entertain
passers-by
LEFT Join a
walking tour
with a Blue
Badge Guide
to learn more
about the town
OUT & ABOUT
|
TRAVEL
WHERE TO STAY
HOW TO GET THERE
COLLEGE ROOMS, central
Cambridge, 0871 226 8006,
visitcambridge.org.
If your visit is outside term
time, why not become a
student for the weekend? Eat
in a college hall, saunter
through its courts and stay in a
college room. Most colleges
(including Clare, right) offer this
experience, and all proceeds
are ploughed back into the
colleges upkeep. Bed and
breakfast from 34 per person.
CAMBRIDGE CITY HOTEL,
Downing Street, 01223 464491,
cambridgecityhotel.co.uk.
Stay in the contemporary and
smart Cambridge City hotel
and the town is literally on your
doorstep. The hotel includes a
lounge bar and a restaurant
staffed by friendly and
knowledgeable staff. A room
for two costs from 145 per
night for bed and breakfast.
AND FINALLY...
Cambridge is well-connected, lying at the intersection of the M11 from the south
and A14 running east to west. Free parking and swift bus connections at the citys
ve park-and-ride car parks make this an attractive option. There is a fast and
frequent rail service from Londons Kings Cross and Liverpool Street stations and
from the north via Peterborough. The X5 cross country Stagecoach service,
stagecoachbus.com, links Cambridge with its intellectual rival Oxford.
Midsummer House on Midsummer Common is where to
push the boat out for a special occasion. Embark on a
culinary journey with the seven-course menu of this two
Michelin-starred restaurant for 75, or the full ten courses
for 95 (01223 369299, midsummerhouse.co.uk). Alimentum
near the rail station on Hills Road presents an afordable
alternative. Also holding a Michelin star, enjoy a creative
three-course la carte menu employing slow cooking
techniques and locally sourced, seasonal produce for 49
or a two-course fxed price pre-theatre menu from 18.50.
(01223 413000, restaurantalimentum.co.uk).
Experience the pleasure of
punting. Whether you try the
chaufeured option or take
the plunge (metaphorically
speaking!) and hire your own,
this is a great way to see certain
architectural highlights, such as
the Bridge of Sighs (left). Try
Scudamores, 01223 359750,
scudamores.com, for punt hire.
ABOVE Wander
the universitys
Botanic Garden
RIGHT Market
stall delights
FAR RIGHT
The sign of The
Eagle pub; St
Johns College
TRAVEL
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OUT & ABOUT
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he chair is, at its simplest, a humble
piece of folk-art: practical, simple
and made for the cottage reside.
At its most sophisticated, its a
masterpiece of cabinet making formed from
exotic woods, ornately ormolu-mounted and
decorated beyond all necessity. This is the
joy of furniture: a product that, throughout
history, has crossed the divide between
functionality and art, challenging the best
craftsmen, architects, designers and artists to
constantly re-invent its basic characteristics
and fashion it from some of the most
challenging materials. Early examples of
furniture include the ne stone dressers from
the Neolithic brochs (drystone dwellings) of
the Orkneys. Our museums are full of the
ancient and the modern; from the wondrous
furniture of Tutankhamuns tomb, or the
FINEST OF FORMS
Whether a chair or a cabinet, this is a great time to buy antique furniture, says
Marc Allum and, if its cared for well, youll love to live with it for years
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carbonised frames of everyday Roman home
furnishings, frozen in time by the eruption of
Vesuvius, to the impractical and often
uncomfortable seating solutions designed by
some of historys greatest minds, all in pursuit
of a place to park our posteriors! Historically,
we are fortunate that society has, by common
default, left us with a very good physical,
written and artistic record of the moveable
household effects that have provided us with
the objects on which to sit, sleep, eat and
work. Whatever your taste in furniture, be it
antique, mid-century modern or even at-
pack, it all needs looking after in its own way.
THE RESTORERS BRIEF
One of the great joys of well-crafted antique
furniture is that at the hands of a good
restorer, most pieces, whatever their
problems, are invariably salvageable. The
criteria for deciding to repair or not to repair
can be complicated, but generally the brief
should be to conserve a piece with a minimum
amount of disruption to its original nish and
integrity. Of course, a restorer will do as
the client requires; some people have a
preference for very shiny, clean-looking
furniture with no hint of a woodworm hole,
even if it is 200 years old. Personally, I prefer
the warts-and-all look because generally I
believe that patination, candle burns and
historic woodworm can be an intrinsic part of
the history of any furniture, a part well worth
preserving when achieved with the minimum
of interference. Of course, its always possible
to do odd jobs yourself, such as re-gluing
small detached pieces of veneer, but if in
doubt, always seek professional advice.
ANTIQUES
|
MASTERCLASS
TAKING CARE
Having spent much of my working life in the
auction business and also having moved
house no less than nine times, I am well
versed in the possibilities and consequences
of the damage that can occur to pieces. The
problem is that furniture is often the sum of
many parts; this makes it vulnerable in ways
that people dont tend to consider. A
Georgian bureau, for example, with a leather
inset fall-front (and lopers to support it),
internal pigeon holes, three lower drawers
and bracket feet, might appear to be quite
robust, but woodworm, central heating, hot
cups of coffee and poor handling can lead to
disastrous damage if you dont observe just a
few basic health care rules. It also serves to
illustrate that restoring furniture is not just
about wood. Complicated and elaborate
examples can draw upon a whole range of
skills, including the repair of marble, gilding,
leather and upholstery, caning, painting and
polishing. Of course, this may require the
services of several different restorers. The
good news is that if pieces are both practical
and economically viable to repair, its possible
to restore just about anything.
WHAT TO DO
In the main, the following suggestions are
common sense and apply to antique furniture
with polished nishes or potentially fragile
parts. Theres nothing worse than the idea of
living in a museum, but a few coasters can
save a good walnut table from the wet foot-
rim of a misplaced wine glass. Likewise a hot
cup of tea! Do not write directly on to paper
laid on a good wooden surface, the pen will
leave an impression in the wood. Make sure
that heavy objects, such as bronzes, are not
likely to scratch polished surfaces. You can
buy small pads to avoid this. Always dust
carefully with a clean soft cloth, being careful
not to catch loose veneers and metal mounts.
If necessary, use a ne brush to dust out
awkward angles, decoration and crevices.
Be extremely careful with the type of
products you apply to surfaces. Make sure
you use good waxes; do not put modern
spray products on to old Chinoiserie lacquer
Given the still depressed state of the brown
furniture market there are many bargains to be
had in the salerooms. I recently purchased a
well-proportioned mahogany pier table for 38
Im always being asked
how to remove water
stains and cup rings
from polished surfaces.
Dont attempt this if you
are uncertain about the
nish. Generally, if the
stain is white it will have
only affected the wax or
polish layer. Olive oil,
mayonnaise or petroleum
jelly can make such
marks disappear. Its all
about the oils. If this
works, polish afterwards
with a good wax. If the
stain is darker, its likely
to have penetrated
through to the wood.
This is more difcult.
Toothpaste is mildly
abrasive and a good rub
may lessen the mark.
Again, wax afterwards.
If in doubt, seek
professional advice.
FIND A RESTORER
Try The Institute of
Conservation,
icon.org.uk, and
The Conservation
Register, conservation
register.com.
WHAT TO READ
The Complete Guide
to Furniture Restoration
by William Cook,
Southwater, 2012.
nishes and, if in doubt, always ask for
professional advice. Do not polish metal
mounts or handles if you think that it will
detract from their nish or harm the furniture
in any way. Make sure that all moving parts,
such as drop-down aps, leaves, drawers,
wind out mechanisms and casters are always
adequately supported when opening or
moving. If you dont pull out the lopers on
your Georgian bureau, the sheer weight of
the writing ap will rip the hinges off! This
can also happen with fold-over tea and card
tables. Never drag furniture across the oor.
Ive seen many a bracket foot ripped clean
off a Georgian chest of drawers in this way.
The old rabbit-skin glue becomes dry and
brittle with age and although easily repaired,
its simple to avoid. Also, if you think
something is too heavy to move, its often
much easier if you take out the drawers or
unscrew heavy mirror doors from wardrobes.
Its no fun to nd them falling out or ying
open half way down a ight of stairs!
BENEFITS OF RESTORATION
If all of that hasnt put you off owning antique
furniture, there are a number of benets that
restoration can offer you. Firstly, you need a
good restorer. Luckily, despite the decline in
the antique furniture market and changes in
fashion and decorating trends, there are still
quite a few around. My restorer is always
busy and thats mainly down to his admirable
skill. When you nd someone who suits you,
get a good feel for the work that will be
required and the cost. This allows you to
make informed decisions about whether or
not its worth buying a piece at auction and
commissioning restoration work. Given the
still depressed state of the brown furniture
market there are many bargains to be had in
the salerooms. I recently purchased a well-
proportioned mahogany pier table for 38.
It was in poor condition, but some new
beading and a quick clean and polish came
in at an affordable 150. This resulted in an
elegant looking and useful hall table for
under 200. However, many pieces will not
be economically viable to restore, so always
get a quote if you are not sure.
Marc is a freelance art and antiques writer,
lecturer, broadcaster and consultant and has
been with the Antiques Roadshow since 1998.
REMOVING RINGS
MASTERCLASS
|
ANTIQUES
What do you think? Turn the page to discover
what the Antiques Roadshow team had to say
Of the Orient
CLUE: made by a
master craftsman
OUR TIP: produced at
a top Japanese factory
TELL US: is this a modern
copy or a genuine antique?
A touch of
blue and white
WHAT
S it
worth?
Can you guess the
values of these
Roadshow items?
Hot stuff ?
HINT: a First World War scene
Battle-inspired
VALUES
|
ANTIQUES
A TURK FOR TULIPS
Lars Tharp decided to have some fun when this
Delftware tulip vase, modelled as a resplendently
turbaned Turk, was unwrapped at Farnborough
Wind Tunnels, Hampshire. Is this an early piece of
Delftware from the 1620s or 30s, when tulipmania
was at its height, or one of the many copies we see at
every show? he asked the visitor, who listened on
tenterhooks. Im sure youd like it to be an original
and Id love to be
able to tell you that it
is. However, it looks
too good to be true;
there just doesnt
seem to be enough
wear, so as a copy it
might be worth 500
to 1,000. But on
closer examination,
I dont think it is a
copy, so lets bump it
up a bit, shall we?
SOLDIERING ON
The owners of this French painting of troops on their
way to the trenches spotted it in a brocante in the
French town of Valery-sur-Somme. They paid 1,500
for it and decided to take it to the Roadshow at
Scarborough, North Yorkshire, for an expert opinion.
Its highly evocative of the period and signed
Georges Leroux, said Dendy Easton. He was born in
1877 and studied in Paris at the outbreak of the First
World War. He joined the army and went to ght at
the Front, so this is someone painting from rst-hand
experience. The war would have had a huge impact
on his life;
this is
probably
one of a
series of
war works
by him.
You made
a very
good buy.
WHITE SPACE
Lars Tharp was struck by the way large parts of this
late 19th-century Japanese porcelain vase were bare
of detailed decoration when he examined it at the
Roadshow in Scarborough, North Yorkshire. What a
lovely scene of grey carp languorously swimming
through eddies of water, with delicately painted
chrysanthemum owers adding just the right touch
of colour. A design doesnt work unless it has space
to work in, and while European decorators were
cramming objects with detail, the Japanese stayed
true to their wonderful
tradition of allowing
areas to remain clear
of embellishment. It is
a beautifully thrown
pot and there is a little
spray of bamboo on
the base which is the
mark of Fukagawa,
one of the best
factories in Japan
at that time.
VALUE: 2,000
VALUE: 20,000 - 30,000
VALUE: 5,000 - 7,000
PLAY ALONG! When it comes to values, are you a novice, a
connoisseur or expert? Press the red button on your remote
or download the Roadshow app to play Guess the Value.
SILVER SENSATION
When the Roadshow visited Port Sunlight on the
Wirral, Ian Pickfords day was made by the arrival of
this elegant mustard pot at the silver table. There
are so many things about the piece that shrieked
Charles Robert Ashbee, the founder of the Guild of
Handicraft and a leading light of the Arts & Crafts
movement, he said, from the swirling handle that
sweeps all the way from the top to the base, to the
use of the green cabochon stones. The planishing a
technique that leaves the mark of the hammer on
the surface to
show the item
is hand-made
is also highly
characteristic
of his work
and it is a
real bonus
that the
spoon is still
with the pot.
VALUE: 3,500
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ANTIQUES
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VALUES
W
hen this 92cm high model
of the Angel Of The North
statue was brought to the
Sage Centre at Gateshead,
specialist Philip Mould was excited. This
isnt something one would see often, he
said as he surveyed the piece. It was
commissioned from Antony Gormley
(inset) in 1995 by Gateshead Council, as a
way of attracting funding and support
from politicians and local residents for
the fnal artwork that has stood, 20
metres high on its hill-top site beside the
A1, since its unveiling in 1998.
The depiction of an angel was an
inspired choice and this is probably the
most successful contemporary sculpture
in Britain, Philip told councillor John
McElroy, whose father had once worked
in the pit over which the Angel now
stands. The concept of angels runs deep
in the human psyche, Philip went on.
It was an angel who heralded the birth
of Christ and angels appear in art, both
singly and in groups, throughout the
ages. Antony Gormley gave the concept a
makeover when he created his terse,
modern version, which is positioned on a
site that evokes deep emotions in the
people of the north east.
When it came to valuing the maquette,
Philip was able to base its potential worth
on the sale of another, larger cast iron
example that sold at auction in 2008 for
2,281,250. This one is half the size. I
have no hesitation in giving it a value of
1m, he told John. This was the frst
time an object had been valued at that
fgure on the Roadshow and, as Series
Editor Simon Shaw later said, it was one
of the most exciting moments we have
ever had. For Philip it was also a great
thrill that something that was made in
the last ffteen years had broken the
record for the most valuable item to have
been on the show.
The piece has now come to rest, after a
hard working early life as ambassador for
the Angel of the North project, touring the
country and being viewed by politicians
and leading lights in the art world. It
stands on a metre-high plinth in a
reception area outside the council
chamber at Gateshead Civic Centre
(gateshead.gov.uk/angel), available for all
to see during opening hours. And the
crowds keep coming. As Antony Gormley
himself has said of angels: No-one has
ever seen one and we need to keep
imagining them.
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ROADSHOW FIRST
This maquette was the last model of Antony Gormleys Angel of
The North to be made before the full size sculpture was cast. It
was also the frst 1 million object to be valued at a Roadshow
A TRUE
HALL OF FAME
|
FILMING
ANTIQUES
ROADSHOW
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ANTIQUES
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BBC ANTIQUES ROADSHOW MAGAZINE ISSUE 3 JULY 2014

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20-22 JUNE
West Dean Design and
Craft Fair, featuring MADE
The team behind MADE London
and the Brighton Art Fair have
collaborated with West Dean
College on this major new
Design and Craft fair. It will
include 85 innovative and original
makers and designers displaying
and selling their work.
Open: 10am-5pm Admission:
8.50. West Dean, near
Chichester, West Sussex Contact:
01243 811301; westdean.org.uk
26 JUNE-2 JULY
Masterpiece London
Showcasing a selection of
some of the nest master works
available, from paintings to
medieval art, Masterpiece
London attracts colourful visitors;
Vogue editor Anna Wintour and
HRH Princess Eugenie were
among the visitors in 2013.
Open: Times vary; call or visit
website for details Admission:
25. Ely House, 37 Dover Street,
London Contact: 020 7499 7470;
masterpiecefair.com
27-29 JUNE
Kedleston Hall:
Antiques in the Park
Embrace the British summertime
and enjoy some outdoor antiques
hunting in these idyllic grounds.
The vast area has space for
numerous outdoor stands, with
marquees too should it rain.
Open: Friday, 8am-5pm;
Saturday and Sunday, 9am-5pm.
Admission: 5. Kedleston Hall,
near Quarndon, Derbyshire
Contact: 01332 830444;
jaguarfairs.com
29 JUNE
Matford Centre Antiques
and Collectors Fair
500 stands of antiques on offer,
with a dedicated furniture quarter.
Open: 9.30am-4.30pm
Admission: From 3. The
Matford Centre, Matford Park
Road, Marsh Barton, Exeter,
Devon Contact: 01363 776600;
antiques-fairs.com
4-6 JULY
Grimsthorpe Castle Antiques
and Collectors Weekend
The price of admission includes
entry to this beautiful castle and
its grounds, offering an interesting
day out for the whole family.
5.50. Grimsthorpe, Bourne,
Lincolnshire Contact: 07772
349431; elddogfairs.com
4-6 JULY
Shepton Mallet Antiques
and Collectors Fair
This large fair will feature as
many as 600 indoor and outdoor
stands, promising visitors plenty
of choice and the possibility
of unique discoveries.
Open: Times vary; call or visit
website for details Admission:
From 5. Royal Bath & West
Showground, Shepton Mallet,
Somerset Contact: 01636
702326; iacf.co.uk

6 JULY
Meadowbank Stadium
Antique & Collectors Fair
With its 150 stands of antiques
and collectables for visitors to
browse through, this is set to
be Edinburghs liveliest fair
this month. Open: 10am-4pm
Admission: 1.50.
Meadowbank Stadium,
London Road, Edinburgh
Contact: 01764 654555;
scotfairs.co.uk
6 JULY
Guildhall Antique, Vintage
and Collectors Fair,
Fullhurst, Leicester
Set in the spacious grounds
of a listed building, this
international one-day fair
will feature 200 indoor and
outdoor stands selling a
selection of Europes best
antiques and collectables.
Open: 9.30am-3.30pm
Admission: 2.50.
Fullhurst, Imperial Avenue,
Leicester, Leicestershire
Contact: 0116 287 2011;
guildhallantiquefairs.co.uk
8 JULY
Sunbury Antiques Market,
Kempton Park
This large and popular market
includes more than 700 stands
offering a vast range of antiques
and providing collectors with a
happy hunting ground.
Open: 6.30am Admission: Free.
Kempton Park Race Course,
Sunbury-on-Thames, Middlesex
Contact: 01932 230946;
sunburyantiques.com
11-12 JULY
Swinderby Antiques and
Collectors Fair
This two-day fair, the rst of its
kind at this venue, will feature
600 stands full of antiques, from
jewellery to furniture and textiles.
Open & Admission: Times
and prices vary: call or visit
website for details.
RAF Swinderby, Lincoln,
Lincolnshire Contact: 01636
702326; iacf.co.uk
12-13 JULY
Norfolk Showground Antique
and Collectors Fair
Find anything from clocks to
ornaments as you browse 400
inside and outside stands.
Open: Saturday, 10am-5pm,
Sunday, 9am-4pm Admission:
5. Norfolk Showground,
Dereham Road, Costessey,
Norwich Contact: 01702 549623;
aztecevents.co.uk
15-16 JULY
The Antiques Vintage and
Architectural Fair, Kent
With the venue sprawling across
ve hundred acres of the Kent
countryside, this vast fair has
space for over 1,300 stands
packed with antique nds.
from 3. The Hop Farm, Paddock
Wood, Tonbridge, Kent
Contact: 07828 772475;
bentleysfairs.co.uk
22-23 JULY
Ardingly International
Antiques & Collectors Fair
Lose yourself in this fairs 1,700
stands in a bid to discover gems
from UK and international dealers
in one of Europe's largest fairs.
Open: Tuesday, 9am-5pm,
Wednesday, 8am-4pm
Admission: prices vary; call
or see website for details.
South of England Showground,
Selseld Road, Ardingly,
West Sussex Contact:
01636 702326; iacf.co.uk
TREASURE HUNTING
Our guide to the must-see antiques, craft and salvage fairs
taking place around the country this month
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|
OUT & ABOUT
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ANTIQUES
|
ROADSHOW QUIZ
Pit
your
wits!
Have fun with
this months quiz,
with questions
posed by our
quizmaster,
Roadshow
specialist Clive
Stewart-Lockhart
1
This useful Victorian
chair opens out to form a
set of library steps. For
those who still read books
rather than e-books, it was a
bargain at auction for 110!
What is the name given to a
piece of furniture that converts
from one use to another?
a) Anthropomorphic
b) Zoomorphic
c) Metamorphic
3
In an era before most car mascots
were banned and owners wanted
to personalise their cars, there
was a thriving market in unusual
designs. Possibly to compete with Rolls
Royces Spirit of Ecstasy, this glass
piece is sometimes called Spirit of the
Wind or Victoire. Who made it?
a) Tiffany
b) Sabino
c) Lalique
4
Although much restored,
this Chinese dish of the
early Ming Dynasty made
4,200 recently. Lasting from 1368 to
1644, pieces made during this period are
considered highly desirable. Which of the
following is not a Chinese Dynasty?
a) Qing
b) Fang
c) Tang
d) Han
2
This workbox was made in one of the frst
English trading posts in south-east India.
It is covered in ivory panels, which have
been engraved and decorated in black. A wide
range of other objects, from tea caddies to large
bureau bookcases, were also produced here.
Where was this workbox made?
a) Vizagapatam
b) Darjeeling
c) Calcutta
A N S W E R S 1 : c , 2 : a , 3 : c , 4 : b , 5 : b 6 : c , 7 : a , 8 : c .
Clive joined the
Roadshow in 1994,
having begun his career
in antiques in 1973
at Sothebys. He
advises on all things
miscellaneous, with an
especial interest in
books, paintings and
oriental ceramics.
Today he is Managing
Director of auction
house Woolley and
Wallis (woolleyand
wallis.co.uk).
EXPERT EYE
6
This portrait, titled Dr Alan
Barham Carter as a cat, depicts
a neurologist who treated the
artist. Famed for his cat portraits,
what was the artists name?
a) HM Bateman
b) Cecil Aldin
c) Louis Wain
7
The slightly
unusual decoration
of stylised
arrowheads and circles
on this Toby jugs coat
gave rise to him being
called a Convict type.
Made in Stafordshire in
around 1800, this range
of colours is typical of a
particular maker. What
was their name?
a) Pratt
b) Wood
c) Whieldon HOW DID
YOU DO?
ROADSHOW QUIZ
|
ANTIQUES
5
In the latter part of the 19th century many
jewellery designers and manufacturers
based their designs on classical and
historical themes. This openwork pendant by
Carlo Giuliano has a garnet cross at the centre,
with further diamonds and pearls and polychrome
enamel. What is this style of design called?
a) Classical
b) Renaissance revival
c) Art Nouveau
8
These days silver objects are often not used for their
intended purpose. Although this is a little unstable,
as there is no foot or handle, I have seen similar
pieces used as gravy boats. Made in 1825 and now worth
about 200, what was it originally intended for?
a) Wine tasting
b) Pouring sand for blotting
c) Feeding babies
THE ANTIQUES HUNTER
On a day to day basis I aid the acquisition process at the National
Trust by making sure everything we bring in is properly accounted
for, and by discovering new objects. This can be by studying catalogues,
or by subscribing to auction sites and setting up alerts for lots that
refer to our properties. Outside work I have my own small collection
of British Victorian ceramics with Chinoiserie elements. I fnd the
interaction between east and west in decorative art fascinating
particularly at a time when the east was so dif cult to reach. I have just
fnished working on a project cataloguing Chinese wallpapers in Trust
properties. We are hoping the catalogue will show some surprising
trends and also be productive in helping others date their wallpapers.
GERMINATING IDEAS
As a blogger, I fnd that engaging people with the content and
responding to their comments is just as important as the post itself.
Striking up a dialogue makes your readers feel at home and often has a
benefcial efect for the writer. Blogs are almost like a cofee house;
a place where ideas can germinate and debate can happen. We have
many curators working in under-researched areas and several times
the blog has helped us answer important questions. One example
was when we posted about a selection of card racks at Attingham
House in Shropshire. We asked our readers if they could help us
discover how the racks were used. The response was huge. It emerged
that they were intended for calling cards in the Regency period, and
became a bit like a social barometer: if your card rack was full,
you were obviously very popular.
DEFINING EXTRAORDINARY
The items I acquire for the Trust can be anything from a Rembrandt
to a fre bucket. Though we all know that a Rembrandt is a fabulous
piece of art, if we look at it in a certain way a fre bucket can be equally
important. Even though the object may seem humble, it tells a story,
speaking about fre prevention at the time; or it could just be beautiful
My
world
National Trust registrar and blogger
Emile de Bruijn reveals his tips for
a good blog post, and the stories
behind his real-life treasure hunt
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3 to follow on Twitter
@patrickbaty Historical paint guru and connoisseur
@2nerdyhistgirls Lively pair of historical novelists who dig
up all sorts of amazing facts, pictures and stories
@CraigClunas Unexpected insights into high and low
Chinese culture by a respected art historian
in its own right. When it comes to fnding extraordinary items, much
depends on your defnition of extraordinary. If, to you, the word means
something precious, an example would be the pair of 18th- to
19th-century silver candelabra that came to Knole House, Kent
recently. They had been in the Sackville family for a long time and are
an excellent example of silversmithery. But on the other hand, I
recently found a charming picture of a room at Attingham just as
interesting. The Edwardian artist Ethel Sands painted it when she
visited the property and, although it is far less valuable in monetary
terms than the silver candelabra, it is still so beautiful and evocative of
the favour of the home at the time.
Emile de Bruijn is a registrar at the National Trust, nationaltrust.org.uk.
He runs the Treasure Hunt blog at nttreasurehunt.wordpress.com
I decided to set up a blog so I could share
some of the great stories I encounter at
the National Trust. I always include
beautiful images and accurate information
focusing on a detail. In a way, the Roadshow
is similar to a blog. It is digestible
information, focused on individual stories
Emiles new
catalogue of
Chinese
wallpapers
includes those
at Ickworth,
Suffolk (top),
and Penrhyn
Castle,
Gwynedd
(above)
ONLINE
|
EMILE DE BRUIJN
Emiles favourite blogs
stylecourt.blogspot.co.uk A rich compendium of visual
juxtapositions, melding art, design, interiors and fashion
enflade18thc.com Excellent art-historical noticeboard, a
must for exhibition news and serious art book reviews
knoleconservationteam.wordpress.com Candid insight
into how a Tudor palace is cared for in the 21st century
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ORIGINAL PAINTINGS OF LONDON
From our base in Jersey in the Channel Islands, we sell
original 17th 20th century oil paintings, watercolours,
drawings and etchings, in particular views of London such
as this atmospheric scene of Piccadilly Circus by Maurice
Blieck (1876-1922). Prices range from 250 to 25,000 and
include works by Whistler, Wyllie, Dixon, Goff and Hyde-
Pownall, among a host of other artists who worked in the
capital. We are a member of BADA, LAPADA & CINOA.
Visit our website to see our current stock or request our
latest catalogue.
Atelier Ltd, 01534 855728;
atelierlimited.com

ORIGINAL PAINTINGS OF LONDON
From our base in Jersey in the Channel Islands we sell original
17
th
20
th
century oil paintings, watercolours, drawings and
etchings and in particular views of London such as this atmospheric
scene of Piccadilly Circus by Maurice Blieck (1876-1922). Prices range
from 250 to 25,000 and include works by Whistler, Wyllie, Dixon,
Goff and Hyde-Pownall among a host of other artists who worked in
the capital. Member BADA, LAPADA & CINOA. Visit our website to see
our current stock or request our latest catalogue.
Atelier Ltd, 01534 855728; ATELIER
atelierlimited.com Est. 1997

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To advertise on these pages call Sue Tannatt on 01959 543581
AUCTIONS, FAIRS & MARKETS
MARKETPLACE
Bamfords
Auctioneers & Valuers
Sold for 450
QUARTERLY FINE ART AND ANTIQUE SALES
WEEKLY VICTORIAN AND EDWARDIAN SALES
at
The Derby Saleroom, Chequers Road, Derby, DE21 6EN
and
The Auction House, Peak Village, Chatswor th Rd, Rowsley, Derbyshire DE4 2JE
Bamfords are currently
accepting items for their
Militaria sale in July
Local Service,
International Prices
We are open for clients to consign
items to a sale Monday to Friday
9am to 5pm.
Valuation Service for items requiring a
written valuation from one of our team
of auctioneers and specialist valuers is
available on Thurdays
Valuations held at our salerooms on a
Thursday, Derby 10am - 12noon
and Rowsley 2pm - 4pm
Derby: 01332 210000
fineart@bamfords-auctions.co.uk
Bakewell: 01629 730920
bakewell@bamfords-auctions.co.uk
ENQUIRIES
Westside 92 x 130mm_Layout 1 27/02/2014 09:15 Page 1
We make furniture, often bespoke, frequently unique.
01904 400 728
www.manofart.co.uk
Come and see us at the International Antiques and Collectables Fair
at Ardingly on the 17th & 18th June
Made by hand for you.
Your ideas are always welcome.
ANTIQUE RESTORATION
For seventy years Portobello Market has been a beacon on the
antique hunters map, luring visitors from across the globe. With
local resident author Julian Mash (right) as our guide, we weave
our way through its stalls, to view the quirky pieces up for sale
TO MARKET,
o market
PORTOBELLO MARKET | OUT & ABOUT
IMAGES JOHNMILLAR
000_AR_Portobellov3.indd 45 20/05/2014 12:41
ANTIQUES
ROADSHOW
JULY
2014
3.99
BBC
AN
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E ISSUE 3 JULY 2014

RO
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STO
RIES CO
LLECTABLE TIPS IN
SPIRIN
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NEW!
MAGAZINE
100s of
dazzling
collectables
WIN!
A STAY INA
BEAUTIFUL
LANDMARK
FUN AT THE
ROADSHOW!
INSPIRED
BY OUR
HISTORY
Romantic
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The 50p pot
worth 1,000s
PAY JUST 19.15 FOR 6 ISSUES AND
SAVE 20% WHEN YOU SUBSCRIBE
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The Antiques Roadshow word mark and logo are trademarks of the British Broadcasting Corporation. Copyright 2000.
BBC Antiques Roadshow Magazine is published under licence from BBC Worldwide.
Hotline open: Mon-Fri 8am-9.30pm, Sat 9am-4pm. Please note that calls are charged
at your local rate, for further information please check with your service provider.
ONLINE kelseyshop.co.uk/ar/p112
CALL 0845 872 7385 & quote offer code P112
ORDER
FOSTERS
fancy
Youll fnd Roadshow specialist John Foster at
the miscellaneous table on flming days, but
theres no pinning himdown otherwise, as
he shoots fromone project to another, always
with an eye for the covetable and curious
WORDS | CAROLINE WHEATER IMAGES | SYLVAINE POITAU
John, prior to an auction sale, with green toleware tea canisters from a grocers shop and an antique globe
JOHN FOSTER | ANTIQUES
023_AR_GetToKnowJohnFoster.indd 23 20/05/2014 12:42
To advertise on these pages call Sue Tannatt on 01959 543581
OUTDOOR COATINGS
MARKETPLACE
AUCTIONS & COURSES
FINISHING TOUCHES
GIFT IDEAS
Have you ever wanted to learn more about antiques? These unique weekend breaks are a great opportunity
to get hands-on advice and specialist tips from professional auctioneer and TV expert, Adam Partridge.
+ Go bargain hunting for antiques in the company of a professional auctioneer
+ Get expert tips and advice on buying and selling
+ Find out how much your antiques are worth
13th - 15th June CHESHIRE AUCTION WEEKEND
Take part in an auction at Adam Partridge Auctioneers & Valuers and
get a tour of Capesthorne Hall, an 18th century country house.

6th - 8th August THE POTTERIES, STAFFORDSHIRE
Visit the Bingley Hall Antiques Fair with over 400 stalls & get a tour of the Gladstone
Pottery Museum, the last complete Victorian pottery factory in the country.
12th - 14th September HORNCASTLE, LINCOLNSHIRE
Visit the Horncastle Antiques Centre and a take trip to Tattershall
Castle, described as the fnest piece of medieval brick-work in England.
14th - 16th November SHEPTON MALLET
Visit the Shepton Mallet Antiques and Collectors Fair with 600 stalls and a take a
look around No.1 Royal Crescent, a Georgian house museum.
For details please call 01625 431 788
Alternatively email: media@adampartridge.co.uk
ANTIQUES WEEKENDS 2014
0845 835 0520 or 01625 431 788
The Cheshire Saleroom, Withyfold Drive, Macclesfeld, SK10 2BD
info@adampartridge.co.uk www.adampartridge.co.uk
Shortlisted for Best Auction House
BRANCHES IN MACCLESFIELD, ALTRINCHAM & LIVERPOOL
Tattershall Castle
For our upcoming Macclesfeld sale dates please visit www.adampartridge.co.uk
and for Liverpool visit www.theliverpoolsaleroom.co.uk
Free valuation days every Monday in Macclesfeld, Tuesday in Altrincham
and Wednesday in Liverpool
Free home visits by appointment
Valuations for insurance and probate
Full house clearances
BYGONE NEWSPAPERS
ORIGINAL Daily
Newspapers 1847 2014
A perfect gift to
commemorate any
special occasion
Each newspaper is
accompanied with a
Certifcate of Authenticity
We offer a great range of
high quality nostalgic gifts
For Free Details FREEPHONE 0800 138 0990 to 8pm
Int: 00 44 1934 412844 www.bygonenews.com/RSM
Anniversary & Birthday Gift Ideas
Liquid Weather offers
LUTYENESQUE treatment
for new masonry
The water based, acrylic resin product can be readily
applied by brush, sponge, cloth or spray to instantly
tone down new brickwork, masonry, concrete, roof tiles
or paving to offer an authentic aged patina.
Importantly, Liquid Weather contains no harmful or
aggressive chemicals so is safe to use with normal
personal protection gear; additionally, it will not inhibit
future weathering such as growth of moss or lichen.
The coating is, however, highly resistant to the elements
and physical abrasion, so will not require re-applying.
For further information please contact: Global Merchandise
Limited, Orion house, Barn Hill, Stamford, PE9 2AE.
Tel: 01780 766787 Fax: 01780 758501
E-mail: info@liquidweather.co.uk
www.liquidweather.co.uk
AT THE AUCTIONS
What price this Pan Am poster?
THROUGH THE DOOR
To Virginia Woolf's Sussex home
GET TO KNOW
The Roadshow's Lennox Cato
OUR AUGUST ISSUE!
ON SALE 4 JULY
BEHIND THE SCENES
Come to Wentworth Woodhouse
MAGAZINE
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COMING NEXT MONTH
A HOLIDAY
WITH HISTORY
Enter and you could win a stay at a
Landmark Trust holiday property
TERMS AND CONDITIONS
PROMOTER: KELSEY PUBLISHING LTD. The competition closes at 11.59pm on 16 July 2014. Open to
residents of the UK aged over 18 except employees of Kelsey Publishing Ltd and anyone connected with
the competition. The rst correct entry drawn after the closing date will win. The draw is nal and no
correspondence will be entered into. The winner will be notied within 28 days of the close of the competition.
Only one entry permitted per person and no bulk entries will be accepted. The prize is 500 worth of
vouchers to be redeemed against a stay at a Landmark Trust holiday property in the UK before 31 July 2015.
Travel is not included and no travel insurance or liability is provided for the winners travel to and from the
Landmark Trust property. There is no cash alternative and the prize is not transferable. We reserve the right
to cancel the competition, if circumstances change that are beyond our control. By entering you agree to be
bound by all the rules and agree that your surname and county may be released if you win. For details of
winners send an SAE to LANDMARK TRUST COMPETITION, Kelsey Publishing Ltd, Cudham Tithe Barn,
Berrys Hill, Cudham, Kent TN16 3AG within two months of the closing date. Kelsey Publishing Ltd will only
use your personal details for the purposes of administering this promotion and will not publish them or provide
them to anyone without permission. See page 6 for Kelsey Publishing Limiteds multi-layered privacy notice.
HOW TO ENTER
ANSWER THE FOLLOWING
QUESTION:
Who was the founder
of the Landmark Trust?
A Sir John Brown; B Sir John
Jones; C Sir John Smith.
Enter by 16 July 2014 online at
bbcantiquesroadshowmagazine.
com or send a postcard with
your answer, name, address
and telephone contact details
to LANDMARK TRUST
COMPETITION, PO Box 504,
Leicester, LE94 OAE. Subject to
availability. No cash alternative.
T
he Landmark Trust was founded in 1965 to
restore and preserve architecturally interesting
and historic buildings at risk, giving them a
future by letting them out for self-catering
stays. The rental income pays for the buildings upkeep,
but Landmark relies on grants and voluntary sources of
income to rescue further buildings. From its earliest days
the Landmark Trust has taken a distinctive approach to
its collection of buildings. Rather than imposing
modernity upon them, it takes a considered approach to
restoration, bringing out the historic character of each one.
There are 194 Landmark Trust buildings throughout
the UK as well as in France and Italy, many spectacular
and all of them rich in history and atmosphere. The list of
properties includes pavilions and longhouses, artillery
forts and Gothick follies, clan chiefs castles and cotton
weavers cottages, the homes of great writers and the
creations of renowned architects. In France Landmark
looks after the Duke and Duchess of Windsors former
country retreat south-west of Paris, and in Italy there are
six remarkable buildings, most with a British cultural
connection, including a villa designed by Andrea Palladio
and a magnifcent former monastery. Our prize is 500
worth of vouchers, to be redeemed against a stay at a
Landmark Trust holiday property in the UK before 31 July
2015. The Landmark Trust, landmarktrust.org.uk
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CLOCKWISE, FROM LEFT
Landmark sites include the
Dunmore Pineapple, Central
Scotland; Freston Tower,
Suffolk; Goddards, Surrey;
The Library, Devon
WIN!
FROM TOP
Tixall Gatehouse,
Staffordshire;
comfortable
Landmark interiors
COMPETITION
|
CHANCE TO WIN
N
Congratulations to the winner of our May
competition, Mr Farmer, who has won a VIP day and
a two-night stay at the Mount Somerset Hotel and Spa
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Former Principal Ballerina with the Royal Ballet and Strictly Come
Dancing judge, Darcey Bussell, recalls her day at the Roadshow
To see the Royal
Ballet School
hosting the
Roadshow last
summer was
such a thrill
Though Ive always felt privileged to have studied at The Royal
Ballet Schools White Lodge in Richmond, I do remember how
cold it was in the winter months and quiet, too. Sometimes
youd only come across a lone cyclist heading up the grassy
drive. So to see the place last summer, looking so beautiful in the
sunshine, hosting the Antiques Roadshow and packed with so
many people was a thrill.
I was also delighted to actually be on the programme. As a
family, were very keen on it. My daughters (Phoebe, aged 13
and Zoe, who is 11) are both into history, and its the stories
behind the objects that we all fnd so fascinating. What also
surprised me on my visit was the number of
neighbours I spotted, who had made the trip
from Wimbledon to take their items to the
show. One bought a set of silver spoons with a
crest; another the most beautiful set of
Victorian fshing fies in a tortoiseshell box. I
hadnt brought anything myself, though if
I had done, it might have been one of the
elegant old pigskin vanity cases my Granny
gave me very useful for keeping brushes and
pins and elastic hair bobbles in.
I was at the show partly to talk about the new museum weve
been able to open at White Lodge. An exhibition of my costumes
has recently opened there, with pieces including one of my very
frst practice tutus, and the last costume I ever wore on stage as
Principal Ballerina of the Royal Ballet; I danced in Kenneth
MacMillans work Song of the Earth. I keep other mementoes
from my dancing career at home ballet shoes for instance.
They dont last long! Sometimes it can be a case of one pair per
performance. You take them of, sigh a farewell, wrap them in
tissue paper and put them away in a box for good. I often give
pairs to charity auctions, as long as the weevils havent got to
them frst theyre known for being attracted to used shoes!
There will be some wonderful treasures on display at the
White Lodge Museum, among them Margot Fonteyns make-
up box, which I was asked to look at on camera during the
Roadshow flming. She took it on tour with her to Moscow, a big
occasion as it was the frst time she performed in what has
always been the home of ballet. It was amazing to handle her
Charles Fox wax make-up sticks all dancers use them (we
always do our own make-up), so it felt like a real connection.
When it comes to our family collections at
home, we have some contemporary paintings
we brought back from our time in Australia.
We were lucky to live in one of the oldest
parts of Sydney where, even in such a young
country, you had a sense of history. My
husband Angus and I are very keen on black
and white photographs, particularly those
elegant fashion images by photographers
such as Norman Parkinson, dating from the
1950s, which we tend to buy at auction. The
main collector in the family, though, is our elder daughter,
Phoebe. Shes passionate about vintage costume: frilled collars,
lace gloves, shes got them all and she looks great in them, too.
She bought the most beautiful, early 19th-century black velvet
dress from Portobello Market recently. Angus and I joke that if
we didnt limit her pocket money, wed be bankrupt by now.
Darcey Bussell: from Student to Star of The Royal Ballet is
open until October 2014 at the White Lodge Museum, Richmond,
London; 020 8392 8440; royalballetschool.org.uk
It was amazing
to handle Margot
Fonteyns wax
make-up sticks; all
dancers use them,
so it felt like a real
connection
FILMING
|
ENDNOTE
Sir Alfred James Munnings, KCVO, PRA (18781959)
The Racehorse Belfonds with H.Semblat up, at Chantilly
oil on canvas, signed, 31 x 38 in.
Thomas Whitcombe (17521824)
The Battle of Camperdown, 11th October 1797
oil on canvas, signed and dated, 32 x 48 in.
David Shepherd, C.B.E. (b.1931)
Lion and lioness
oil on canvas, signed, 21 x 40 in.
Archibald Thorburn (18601935)
Grouse in flight
watercolour and gouache, signed and dated, 13 x 22 in.
Specialists in Sporting,
Wildlife and Marine paintings
from 18th Century to the present day
7 Bury Street, St Jamess, London Sw1y 6aL
|
Tel: +44 (0)20 7839 8083
|
Fax: +44 (0)207 839 8085
For a list of our forthcoming exhibitions please see our website
www.rountreetryon.com
Reliable, Trustworthy, Discreet
We help with acquisitions, selling, valuing, probate, insurance, restoration and
general art market advice with no hidden costs or added buyers premium.
Selection of current clients: British Museum, Royal Navy Museum, National Railway Museum, Financial
institutions, Royal Families including UK, Qatar, Lichtenstein and many other notable private collectors.
C9 HARRI SON JUMPI NG HOUR MK I I LI MI TED EDI TI ON
Bespoke ETA 2824-2 Jumping Hour automatic modication by Master
Watchmaker Johannes Jahnke / Each piece, of only 250, personally assembled by
Johannes and his team in Switzerland / 43mm, surgical grade stainless steel case
with sapphire crystal and transparent case back / CITES certied, premium grade,
Louisiana alligator deployment strap / 5 year movement guarantee
Swiss movement, English heart

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