Collector ANTIQUES ART INTERIORS

the issue 28 Collector ANTIQUES ART INTERIORS

R45 DISCLAIMER All editorial, business and production correspondence should be addressed to: The Collector P.O. Box 795, Gallo Manor, Sandton 2052. Manuscripts, illustrations and other material must be accompanied by a stamped, self addressed envelope. No responsibility can be accepted for un- solicited material. The editor reserves the right to amend and to alter copy and visual material as deemed necessary. No part of The Collector can be reproduced without written consent of the publisher. Every effort has been made to ensure accuracy on visuals and information all of which have been conﬁ rmed by the advertisers, and their views are not necessarily those of The Collector. All rights reserved. Articles and images published in The Collector have been taken from a variety of sources including the public domain on the internet and from general antiques and collecting sources. The opinions expressed in The Collector are not necessarily those of the publishers.

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withThe CollectorWin SA’s only Antique and Collectables magazine Win a signed copy of the book “Marlene Dietrich” written by her daughter Maria Riva. We have 3 signed copies to give away. Competition closes 1st November 2015 To enter send an email to: [email protected] with the subject line “Marlene Dietrich”. Subscribe @ www.thecollector.co.za

Publisher/Editor Giuli Osso FOLLOW ON Advertising Sales Clyde Terry Tel: (011) 482-4259 E-mail: [email protected] Subscriptions & The Collector Distribution P.O. Box 795 e are so proud toCollector launch issue 28 of the Collector Magazine! Gallo Manor DWThe ear magazine has grown tremendously since the 1st issue was Sandton launched as a brand-tool for the National Antiques Fair. With this 2052 issue we have decided to turn the magazine into an annual publica- Tel: (011) 482-4259 tion available in June. Our new look coffee - table magazine is a great E-mail: [email protected] representation of the antique & collectables trade in South Africa & Website: www.thecollector.co.za our content and visuals match leading international publications. We trust you will enjoy out articles, news and trends in this bumper issue. Design, Cardilogix Pty Ltd Production & www.cardilogix.co.za 2015 has many dates of antique fairs & auctions to remember and to Photography ©® (016) 341-2663 diarise, be sure to contact the fairs and the auction houses to join their mailing lists - this way you will not miss any upcoming event. Printing TANDYM PRINT +27 (21) 505-4200 Be sure to visit the website and share the link with friends & family www.tandym.co.za where the current issue can be downloaded for free! Visit: www.thecollector.co.za.

TheIssue 15 TheIssue 18 Price R30 Price R30 June/July/August 2011 Collector Collector ANTIQUES • EXPERT ADVICE • DESTINATIONS • INSPIRED LIFESTYLE I would like to thank all the loyal patrons and antique dealers who ANTIQUES • EXPERT ADVICE • DESTINATIONS • INSPIRED LIFESTYLE support us at the Fairs. Keep educating yourself, collecting & love what you collect. Always with love Clyde

ISSN 2221-4100 9772221410005 The Collector issue 15.indd 1 2011/05/23 9:01 PM

2 Invitation to consign for our upcoming auctions Art, antiques, objects, furniture & jewellery

Lorenzyl, Dancing  gurine with cymbals SOLD R23 000

Penny Siopis,is, Oil and mixeded media on canvas SOLD R4R44040 000

Patek Philippe Calatrava Three piece Chinese silver tea set -1156 g 18ct gold gents wristwatch SOLD R34 000 SOLD R80 000 Norman Catherine, Oil on canvas French style inlaid desk with brass detailing SOLD R200 000 SOLD R19 000

Chinese cinnabar heart shaped trinket box SOLD Frans Oerder, oil on board R24 000 SOLD R65 000

VisitVisit www.rkauctioneers.co.zawww.rkauctiow.rkau neers co za www.rkauctioneers.co.za • 083 675 8468 • [email protected] foror mmomore iinformationf and for auction dates Corner Garden and Allan Roads, Bordeaux Issue 27 MUST VISIT NELSON MANDELA SQUARE

his is South Africa’s most longstanding and well-organised fair, held indoors at the up- Tmarket Nelson Mandela Square in Sand- ton, South Africa. The fair embraces the traditional antiques trade (fine china, silver, jewellery, paintings), collectors (stamps, coins, postcards), the fast-growing vintage crowd, fans of rustic, primitive and everyday objects as well as de- FAIR cor and design types, looking for unusual bits of small furniture or quirky accent pieces. It is also a magnet for dealers from across the Country The Antiques fair at who, along with domestic buyers and collectors, make monthly pilgrimages here for some serious Nelson Mandela purchasing. art is also attracting increasing excitement, with Square works by artists like Chu Teh-Chun becoming Whether it’s collecting toy trains or very desirable. This trend shows no sign of letting for the best gifting ideas. vintage oatmeal tins, your first and fore- up in 2015. most reason to start a collection, is for the sheer joy and satisfaction it brings to KITCHENALIA Upper & Lower Levels - your life. Kitchenalia is the term coined for the collecting Nelson Mandela Square of kitchenware, kitchen appliances and kitchen 2015 COLLECTING TRENDS equipment. 09h00 - 16h00

Women still seem to love Pyrex, as it is making 1st Sunday of every a comeback along with vintage linens and even grocery collectibles, such as Red Owl and ad- month vertising bowls, cups and utensils. Monmouth pottery, kettles, storage jars, enamel bowls and vintage jelly moulds are also firm favourites. As seen around 2005. Many are becoming aware far as what will be hot in 2015 we imagine all that now is the time to buy Civil War firearms, things that are functional will continue to be big Antiquecloth, leather, and blades. It may be the last time sellers that these items can be regarded as “afford- able” for a long time to come.

MANTIQUES NOT SURE WHAT’S WORTH COLLECTING? With our research, speaking to industry experts Let our NAADA antique dealers & collecting both locally and abroad it’s become evident experts advise you on what pieces to buy and that more baby boomers continue to down size, which to hold on to. adding more items to the collectables market. In- terestingly the hottest trends in antiquing seem to come from a longing for a tangible connection Antique fairs can be big, small, exclu- to the physical world — a way to escape from sive, indoors or outdoors - but only one endless hours of staring at smartphones and can hold the ‘BEST” crown – and that’s computers. As an example, ‘mantiques,’ or an- the Monthly Antique Fair at Nelson tiques for men dominate the landscape. Ranging Mandela Square. See you soon & Happy from collectable automobilia, to rustic oil cans, Collecting! vintage tools, beat-up motorcycles to racy pin- MILITARY RELICS up calendars, advertising posters and vintage Items that soldiers were eager to find as souve- barware, these items defy the traditional rules of nirs have become the hot collectibles today. For antique collecting and make a ‘man cave’ cozy. example, German Luger pistols and Japanese For those men needing some inspiration be sure “Samurai” swords were probably the most pop- to read our article on “Collecting car mascots” it ular souvenir during WWII. German “Spiked” might just be the perfect start to your collection! Helmets. Pickelhauben have been a favorite of collectors, ever since soldiers souvenired them ASIAN ART & COLLECTABLES from the trenches of WWI. A lot of attention on Chinese antiques, such as scroll paintings, vases, the second year of the centennial of WWI will bowls and jade are particularly hot in the collecting world right now- thanks to the increasing reawaken interest in these iconic helmets. numbers of wealthy Chinese collectors who are recovering valuable Chinese objects that ended And finally, Civil War is BACK. Prices have tum- up in the United States and Europe. The trade bled since 2008 to where collectors who had in 20th and 21st century contemporary Chinese abandoned Civil War collecting, are taking a second look. Firearms have fallen to prices last

66 Car Mascots ...

INVESTMENT FURNITURE 46 Stay in touch in Stay https://www.facebook.com/groups/119476728154279/

INSIDE PATEK PHILIPPE

ROYAL CROWN DERBY 12

what’s

Marlene Dietrich 8

Issue 28 FEATURE

DIETRICH THE ‘BLUE ANGEL’ MarlThe movies ene directed by Von Sternberg were not box-office successes and Paramount barred him from directing her again. So began a new phase in her life where she made popular and successful movies such as the comedy ‘Desire’ in 1936 again with Gary Cooper, followed by ‘Destry Rides Again’, a 1939 spoof of the Old West.

Marlene’s manner was that of a serpentine lasso whereby her voice casually winds itself around our most vulnerable fantasies. She has sex but no positive gender. Her masculinity appeals to woman and her sexuality to men” Critic Kenneth Tynan

MARLENE – THE FEMINIST AND THE ACTIVIST

As World War II loomed, Marlene, who was a Berliner, was an early and aggressive opponent of Nazism and reacted to the arrest of Jews by financing the escape of several friends. Whilst filming the melodrama ‘Knight without Armour’ in England, Marlene was approached by agents Source: www.marlene.com, Google & Wikepedia of Hitler offering her large sums of money to return to Germany to star in movies of her choice. “DIETRICH IS SOMETHING THAT NEVER EXISTED BEFORE AND MAY Rejecting his offer, her movies were banned NEVER EXIST AGAIN. THAT’S A WOMAN.” MAURICE CHEVALIER in Germany and in defiance she took out American citizenship in 1939, made anti-Nazi broadcasts in German and entertained Allied ith her sultry glamour and sex Marlene Dietrich’s sultry, seductive image came troops and war prisoners across North Africa appeal, Marlene Dietrich was a to the fore in the Berlin of the 1920’s where and Western Europe. Her song ‘Lilli Marlene’ she appeared in plays, cabaret and in various WGerman-American actress and became an international wartime theme song. singer who broke all the rules in her long career films. It was the American director Josef von After the war, she was awarded the Medal by continually re-inventing herself both profes- Sternberg who cast her in ‘The Blue Angel’ in of Freedom, America’s highest civilian honour; sionally and personally. At a time when women 1930, filmed in both German and in English France named her a Chevalier of the Legion of were portrayed as the weaker sex and needy, that made her a star and won her a Hollywood Honour and Belgium dubbed her a Knight of the Marlene, whether on screen or in cabaret exud- contract. She went on to star in six more Von Order of Leopold. ed sex appeal, confidence and sophistication. Sternberg movies; ‘Morocco’ in 1930 where Her sexuality was tangible and often shocking she again played a cabaret singer opposite Gary Cooper; ‘Dishonoured’ in 1931 where Post-war, she continued making movies, among and she was both audacious and witty. she played a spy and ‘Shanghai Express’ in them the ‘Golden Earrings’ in which she played 1932 where she plays a prostitute. These were an exotic gypsy with Ray Milland, again a Berlin Known best as the cabaret entertainer of followed in 1932 with ‘Blonde Venus’, a mother- cabaret singer in Billy Wilder’s ‘Foreign Affair’ in Weimar-era Germany, Dietrich was personified love soap opera; ‘The Scarlet Empress’ in 1934 1948; a saloon manager in ‘Rancho Notorious’ as Lola-Lola, the seductive cabaret singer in about Catherine the Great and ‘The Devil is a in 1952; a brothel-keeper in Orson Welles’ top hat and silk stockings whom she portrayed Woman’ – her favourite. With each of these ‘Touch of Evil’ in 1958; an aristocratic widow in ‘The Blue Angel’. Both on stage and in her indulgent, exotic romances, her sultry image was in Stanley Kramer’s ‘Judgement at Nuremberg’ private life, Marlene showed herself as a liber- perfectly moulded – down to the golden blond in 1961. Her last film was a small role in the ated woman of the world who earned her own hair, dreamy eyes and seductive gaze filmed 1979 melodrama ‘Just a Gigolo’ and in 1986 living, chose her own men and whose sexuality through soft focus, gauze-covered lenses – and Maximilian Schell made a documentary about was palpable. for that she became a legend. her, entitled ‘Marlene’ and although she was

8 FEATURE Issue 28

Hollywood and in 1953, he became a chicken farmer in California. They never divorced, but lived apart for most of their remaining years. Ru- dolph Sieber died in 1975. Their daughter, also an actress, married William Riva, a scenic artist in 1947 and had four sons. Marlene was devoted to her family, helping them financially and was a familiar sight in Central Park in New York, wheeling their prams and looking after them. In 1972 she moved to Paris and lived the last years of her life as a recluse.

MARLENE DIETRICH’S LEGACY

Marlene was very knowledgeable about antiques, and owned paintings by Delacroix, Cezanne, Utrillo and Corot. Although admired both in Europe and America as an important actress of her time, Marlene Diedrich’s memorabilia - unlike that of other stars of her day - has not fetched anything significant on auction. Pieces from her jewellery collection were sold for a total of $56 000 at auction in the USA. With only one bidder for each item, a diamond and emerald necklace fetched the highest price at nearly $20 000. Personal items, including a double- breasted tuxedo and the dressing room door plaque from her 1964 solo show at Queen’s Theatre, London failed to attract any bids.

interviewed and her voice heard almost continu- A LIFE WELL LIVED ally, she refused to appear on screen. From the 1950’s to the early 1970’s, Marlene performed Marie Magdalene Dietrich was born in Berlin in cabarets all over the world, in London, Las Ve- on December 27th 1901 to Louis Erich Otto gas, Paris, New York, Montreal, Johannesburg, Dietrich, a police lieutenant and former cav- Tokyo and Tel Aviv. alry major and Wilhelmina Elisabeth Josephine Felsing, the daughter of a well-to-do watch mer- Marlene continued to propagate that image in chant. Her father died when she was 9 years real life, setting a fashion trend that became the old and her mother married Edouard von Losch, ‘Dietrich silhouette’ of wearing trousers and man- nish costumes, whilst still looking feminine and a cavalry lieutenant who was later killed on the sexy. She was a close friend of many famous Russian front in 1918. Both her and her sister people, including Ernest Hemingway and Sir Elisabeth were raised in an upper-middle class Alexander Fleming, the discoverer of penicillin. Prussian home, attended private schools, studied She also had widely reported love affairs with French and took music lessons. A hand injury the writer Erich Maria Remarque and actors at 18 forced Marie Magdalene to abandon a Jean Gabin, Michael Wilding and Douglas musical career and try dramatics and it is at this Fairbanks Jnr. point that she decided to join her two names to Marlene as her family disapproved of acting. “I’ve always been attracted to intelligent She attended the Reinhardt Drama School and men. I can pick them in a full room, just like had small roles on stage and in German films. that. I don’t care what age they are.” She married Rudolph Sieber, a young Czecho- Marlene Dietrich slovakian production assistant in 1924 and had a daughter, Maria. Their marriage was distant, with Sieber taking movie jobs in New York and

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For the serious collectors - whether buying or selling, drop us a mail for the admin team to notify you of all our upcoming auctions.

Toys are always in demand, be sure to diarise our toy auction to add to your existing collection or start a new collection.

Young & old welcome! Regular General Sales Collectable Toy Auctions Monthly Antique Auction

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WWW.NAADA.CO.ZA Issue 28 COLLECTING Royal Crown Derby

Source: www.royalcrownderby.co.uk, wikepedia, google, antique-marks.com & chinacraft.co.uk

COMPANY HISTORY town of Derby and helped the town prosper. As In early-1770, Duesbury and Heath pur- the companys figurines and dinnerware became chased the Chelsea China Works in London ottingham Road (Circa 1756-1848) popular throughout Europe, the Chelsea Works from Nicholas Sprimont making them probably In 1756, three men, John Heath a began attracting some of the most skilled artists the largest china manufacturer in the United of the day. NDerby banker, Andrew Planche a Kingdom. Most china making was at Derby with ‘china maker’ and William Duesbury an enamel- mainly decoration at the Chelsea factory and The partnership was immediately successful and ler from Staffordshire, entered into an agreement Duesbury closed the Chelsea factory in 1784 by which they became “co-partners together as within a short period large quantities of good quality china were being dispatched to eager moving the plant, equipment and most of the well in the art of making English China as also in markets in London to be sold by their Factor, a staff to the Derby site. buying and selling all sorts of wares belonging Mr. Williams, at his warehouse at Craig’s Court, to the art of making china”. Charing Cross. Derby figures can be identified by three unglazed patches on the base, and earlier glazed figures John Heath, an Alderman of Derby, was the Figure painting was done by Richard often have a dry edge. Early examples were financier of the venture, contributing £1,000; Askew and James Banford. some of the finest ever modelled in Britain. Andrew Planche the potter, and William Duesbury the artist and motivating force. The fac- Zachariah Boreman and John Brewer In the 1770s, Derby pioneered the use of tory was established on the Nottingham Road. were hired to paint landscapes, still-lifes, unglazed biscuit models in Britain. Derby is located on the River Derwent near and pastorals. Trent. Proximity to the river allowed Duesbury William Duesbury, initially an outside decorator for the factory, took over as director in 1756, and Planche to easily import and export raw Intricate floral patterns were designed materials as well as export the finished product. and painted by William Billingsley and producing pieces in quite open imitation of Additionally, Derby was known for its prolific silk William Pegg. Meissen porcelain. trade and as a haven for artists. Under the remarkable guidance of this design Characteristic Derby ware of the period includes In 1750, the doors of the Chelsea Works factory team, the company established its reputation for ink sets, potpourri vases and salts decorated opened. The factory brought industry to the small excellence in design, quality, and craftsmanship. with landscape scenes set with tiny figures.

12 COLLECTING Issue 28 In the 1770s, the Japan patterns inspired by Bloor and his brother Joseph managed the busi- imari porcelain were introduced and became ness until 1828 when Bloor’s mental incapacity strongly identifi ed with Derby for the next two forced the appointment of a manager, James centuries. Thomason. In 1844, Thomas Clarke, husband of Bloor’s only granddaughter, had Bloor declared Most memorable of all is the work by artists such insane and took control of the works. Joseph as Thomas Steele, Zachariah Boreman, William and Robert Bloor died in 1845 and 1846 ‘Quaker’ Pegg and William Billingsley, whose respectively and at that point Thomas Clarke work included exquisitely painted fl owers, fruit disposed of the business selling many of the and Derbyshire landscapes. moulds and other equipment to manufacturers in the Staffordshire potteries. The Nottingham Rd DUESBURY ACQUIRED THE CHELSEA factory fi nally closed in 1848. PORCELAIN FACTORY IN 1770 – AND PRODUCTS WERE KNOWN AS CHELSEA- *This history of the Nottingham Road DERBY UNTIL THE FACTORY’S CLOSURE factory is based on that provided by IN 1784 – AND BOW IN 1775. Lewellyn Jewett in his 1873 edition of The Ceramic Art of Britain. The product range broadened dramatically, and a stronger china body incorporating bone KING STREET (1848-1935) ash was introduced. Sevres porcelain took over from Meissen as the main source of inspiration, The closure of the Nottingham Road fac- with neoclassical decoration and rich ground tory could have been the end of porcelain colours of claret and turquoise. manufacture in Derby, however, a small group of the factory’s workers, marshaled by Sampson In 1775, Duesbury’s hard work was rewarded Hancock, a fl ower painter, continued the busi- by King George III. A Royal Warrant from King ness from premises at King Street. The book by George III, dated 28th March 1775, appoint- Twitchett & Bailey ‘Royal Crown Derby’ quotes ing William Duesbury and John Heath ‘Derby Sampson Hancock on the origin of the King China Manufacturers to His Majesty’, and in Street factory: recognition the factory adopted a new mark with a crown surmounting the script Duesbury ‘D’ used earlier. ‘I succeeded Robert Bloor, transplanting the Nottingham Road works to my present THE COMPANY THEN BECAME KNOWN factory – King Street. Six working men AS CROWN DERBY. employed at the old factory put their wits together and started my works – William William Duesbury died in 1786 and his Locker, James Hill, Samuel Fearn, Samuel son, also William II, continued the business until Sharp, John Henson and myself’. his death in 1797 at the age of 34. As he was educated and raised close to the porcelain busi- DERBY CROWN ness, William made an excellent leader. He set PORCELAIN CO. (1876-1890) to work developing a number of new glazes and body types. The Derby Crown Porcelain Co. was established in 1876 by Edward Phillips and William In 1795 ill-health had caused him to form a Litherland and, other than location, had no con- partnership with Michael Kean, an Irish china painter and designer, and following his death, nection with the earlier porcelain manufacturers his widow, Elizabeth Duesbury formed a new in the city of Derby. business partnership with Michael Kean. The two business partners married in 1798, but the Phillips, a manufacturer from the North union was short-lived, failing in 1806. The com- Staffordshire potteries, and Litherland, the propri- pany was then passed to Michael Kean, and etor of a porcelain and glass retailer in Liverpool the reputation of the Derby company began to had been associated with the Worcester Royal decline and many important artists left the Derby Porcelain Co. and had been frustrated in their factory in search of other opportunities. efforts to establish a new porcelain factory in Worcester. Phillips, joint Managing Director at The business was advertised as for sale in June Worcester with Richard Binns was eventually 1809, and was eventually sold in December sacked by the Worcester Board of Directors and 1811 to Robert Bloor who had been a clerk at in June 1875 the pair purchased land adjacent Nottingham Road during the period of William to the Derby Workhouse for a new factory. In Duesbury. Bloor had a reputation as a shrewd December 1876 they were the successful bid- businessman. He was recognized as an art ders for the Workhouse itself and its extensive lover with an appreciation for works that were surrounds on the Omaston Road. richly coloured and elegantly styled and under his leadership the company began designing The limited liability company formed by Edward brightly coloured Japanese imari patterns. The Phillips and William Litherland was capitalised new lines featured intricate geometric patterns at £67,850 divided into 160 shares each with layered with various fl oral designs and new artists were hired as the company restored its for- a par value of £500. The major shareholders mer glory. were William Litherland (20 shares), Ed-

13 Issue 28 COLLECTING

ward Phillips (15 shares), John McInnes, a Scot- Sampson Hancock died in 1898, but the tish chemist and paint manufacturer (20 shares); business continued under the management of and Henry Litherland, a china retailer and Wil- his grandson James Robinson, and under the liam’s nephew (20 shares). Minor shareholders, Sampson Hancock name. In 1916 there was an including John Litherland and William Bemrose attempt to combine the small King Street busi- held the remaining five shares. The company ness with the much larger Royal Crown Derby was thus well capitalised and within a few years Porcelain Co. Ltd operating at Omaston Rd. The had a workforce of over 400. attempt was unsuccessful and the King Street business was then sold to a Mr. W. Larcombe CROWN DERBY PORCELAIN CO, WAS who continued the business in partnership (from SET UP IN 1876 AND PRODUCED DECO- 1917) with Captain Francis Howard Paget. RATED AND GILDED BONE CHINA. In the early 1930s, Howard Paget and Mrs Padget assumed ownership of the business and 1877, the old Derby factory was torn down in 1935 they sold the enterprise to the Royal and a new one erected. The opening of the Crown Derby Porcelain Co. Ltd, and the King impressive Osmaston Road factory would be Street premises subsequently closed. the beginning of the modern period of Derby so until his death in 1953. He was succeeded in porcelain and crown derbys patterns became the position by his son Philip I. Robinson. immensely popular during the Victorian era. Vic- ROYAL CROWN DERBY torians relished the romantic and lavish designs PORCELAIN CO. LTD The other independent porcelain factory in that were produced by the Derby factory. (1890-ACTIVE 2011) Derby, the King Street Works, was acquired in 1935 consolidating the Derby porcelain industry William Litherland was the first Chairman of Harold Taylor Robinson, a Staffordshire pottery in one company. the company with Edward Phillips and William entrepreneur took control of Royal Crown Derby Bemrose the inaugural directors. Edward Phillips in 1927 and served as Chairman until his resig- the Managing Director died in 1881, to be nation in 1932. Philip Robinson relinquished the position of replaced by Henry Litherland and John McInnes Chairman in 1958 and that of Managing acting as joint Managing Directors. John McI- In 1927 Robinson was one of the largest and Director in 1960 when a financier, A. T. Smith, nnes became the Chairman in 1883 and the most prosperous of the Staffordshire manufactur- acquired a controlling interest and took the McInnes and Litherland families controlled and ers, controlling Cauldon Potteries Ltd and a position of Managing Director. Robinson family ran the business until 1927. host of associated companies. To acquire the involvement in Royal Crown Derby ended with interest in Royal Crown Derby he floated a new Philip Robinson’s resignation from the Board in company, Derby Securities Ltd, promoting the THE RIGHT TO USE THE TITLE ‘ROYAL’ 1961. In 1964 the company was purchased by AND THE ROYAL ARMS WAS GRANTED company as an investment to various friends. A sum of £35,000 was raised and used to acquire S. Pearson & Son Ltd and became an indepen- BY QUEEN VICTORIA IN 1890 AND THE 61 ordinary shares and 19 preference shares – dently operating company within the Pearson COMPANY CHANGED, IN NAME ONLY, a majority shareholding – in Royal Crown Derby. Group’s Allied English Potteries Ltd. Following TO ROYAL CROWN DERBY PORCELAIN As with many of his earlier businesses, Robinson Pearson’s acquisition of Doulton & Co. Ltd in CO. LTD. personally contributed very little of the capital, November 1971, Allied English Potteries Ltd but somehow ended up with a controlling inter- was merged with the Doulton group and Royal Although Sampson Hancock was clearly the est. Crown Derby became an independently trading motivating force, King Street traded as a series subsidiary of Royal Doulton Tableware Ltd. of partnerships. According to Twitchett & Bailey, Robinson was declared bankrupt in 1932, oc- these were: casioning his resignation as Chairman of Royal Royal Crown Derby Porcelain Co. Ltd continued Crown Derby, but although his shares in Royal • Locker & Co., Late Bloor (1848-1859) Crown Derby were held as security by creditors, as a subsidiary of Royal Doulton from 1971 until • Stevenson Sharp & Co. (1895-1863) he was able to emerge from bankruptcy in 1934 2000 when there was a management buy-out • Stevenson & Hancock (1863-1866) with his controlling interest intact. By 1939 he led by Hugh Gibson a former Royal Doulton • Sampson Hancock (1866-1935) was again Chairman of the company, remaining executive and member of the Pearson family.

14 COLLECTING Issue 28

by the mark of the creator that is on every figurine. Besides the era, collectors may only want figurines from a specific art movement, such as the Aesthetic or Art Nouveau movements.

These factors should be considered when buying Royal Crown Derby figurines for one’s collection. These figurines can be purchased in brick and mortar antique and collectible stores, as well as online using websites like eBay. Knowing what factors to consider in the purchasing process guarantees a satisfactory shopping experience for a figurine collector.

KEY CONSIDERATIONS

There are several things that should be considered before buying Royal Crown Derby figurines:

Not all Royal Crown Derby pieces are the same. They vary in manufacturer, date, brand, style, and value. Depending on what one is looking for when buying Royal Crown Derby figurines, there is a plethora to choose from, from rare antiques to more modern pieces.

Because Royal Crown Derby figurines come from such a complicated and detailed 300-year- old history of company name changes and mergers, there is a lot of background information that shoppers can benefit from knowing before In 1981, the company introduced a line of houses to accommodate key operatives, the set- buying figurines to ensure a successful purchase. paperweights which have become immensely ting up of training schemes to augment the ranks Above all, shoppers should consider these five popular and Royal Crown Derby still continues of skilled labour and, above all, prosecution of factors when buying Royal Crown Derby figu- to produce patterns in the imari style. an expansion programme which has resulted in rines: the manufacturing company, the Derby the works being one of the most modern in the mark on the porcelain, the art movement that Since the 1st July 2000 the company has Industry for producing fine china exclusively. dates the figurine, personal budget, and aspects remained a leading independent of collecting versus selling. manufacturer of tableware and giftware. In 1950 the present Company was privileged to celebrate the achievement of two hundred years’ Today, Royal Crown Derby is owned by S. Pear- continuous production of china in Derby, and in COLLECTING VS. son and Son and is part of the Allied English 1953 a second factory, the ‘Phoenix Mills’, was SELLING Potteries Group. opened. It is within a stone’s throw of Duesbury’s original factory and very close to Cockpit’ Hill. There are two main purposes for purchasing col- FACTS Here much of the ‘gift ware’ and china-handled lectibles like Royal Crown Derby figurines. The cutlery so popular today is made, having been first reason is to build a beautifully prized collection. Collections can vary in theme and include In the Victoria and Albert Museum Library is re-introduced in 1952. Whatever the future years rare items and sentimental pieces. preserved the original manuscript ‘Articles of may bring forth we may rest assured that gen- Agreement between John Heath of Derby, in the erations yet to come will look back upon the For collectors who wish to purchase Royal County of Derby, Gentleman, Andrew Planche productions of today as worthily carrying on the Crown Derby figurines for the purpose of resell- of ye same Place, China Maker and Wm. Dues- high ideals of the generations past. ing them for a profit, the figurines must be able bury of Longton, in ye County of Stafford, Enam- to bring in more money than was initially spent eller’. It was made and entered into the on 1st Royal Crown Derby figurines are distinct to the on them. This type of buyer wants to find hidden January, 1756. United Kingdom and are characterised by the delicate but detailed designs on the porcelain treasures among collectibles at low prices, and more research must be put into the purchasing In the midst of the depression of 1938 a coura- figures. Besides figurines, the historic porcelain decision. Whether collecting or purchasing to geous development programme was planned, company also specialises in high quality china. resell, Royal Crown Derby figurines are excellent under H. T. Robinson, Chairman of the Board additions to any collection, and they are guaran- of Directors, and during the last Great War the Because the company has changed hands sev- teed to add value to one’s assets. company visualized with foresight that its prod- eral times since the mid-1700s, there are differ- ucts would prove a valuable commodity for ent types of figurines to collect from the various export. The development plan included such eras. Collectors may be interested in only a cer- projects as the purchase of more than thirty tain time frame, which can be determined by the date of the Derby figurine’s creation, as well as

15 Issue 28 FEATURE The National Antiques 24 - 26 JULY 2015 10am to 6pm daily – Book Online www.naada.co.za FAIRE “BRINGING THE PAST TO LIFE!” SANDTON CONVENTION CENTRE OPENING NIGHT 23rd JULY 6.30pm

ollecting is a unique human phenomenon often referred to as an ‘investment Caddiction’ and which seems to becoming a global phenomenon. Once bitten by the collecting bug, a person becomes a life-long collector, captivated by their particular field of collecting, continually researching, adding to and building their collection. The beauty of collecting lies in the fact that one can start collecting on a moderate scale, buying what one can afford, but inevitably moving on to investing in even rarer and more valuable pieces.

The proliferation of reality programmes, such as the British Antiques Roadshow and Cash in the Attic, focus on traditional antiques. The Ameri- can shows, such as American Pickers and Pawn Stars, with its focus on more recent collectables from the 50’s through to the ‘70’s, has opened up collecting to younger generations.

Celebrating its 15th successful year as the biggest and most dynamic collecting exhibition, visitors to the annual National Antiques & Decora- tive Arts Faire, which takes place every July at the Sandton Convention Centre, are seduced by the variety of antiques, collectables, art, classic cars and decorative arts. It’s the place to find that statement piece that will be the talking point of your home, that rare piece to add to your collection or just something special that catches your eye.

The profile of visitor includes people who are avid antique and art collectors or those who wish to start collecting as an investment. With the broadening of the range of collectables to include more modern wares, the Faire also attract visitors who are interested in buying specific pieces for decorating purposes, as well as attracting the younger collector. Stephen Falcke, decorator to the stars and to royalty, whose talent in mixing classic styles with contemporary touches, takes pride of place with his decor ex- hibit that enthrals and inspires visitors.

One of the must-attend functions on the Johannesburg social and investment calendar is the Gala Cocktail Opening Night of the Nation- al Antiques Faire which attracts over 500 of the who’s who of the collecting world, top business

16 FEATURE Issue 28 people, the elite and celebrities who gather to South African Masters art pieces in their day-to- mingle and be the first to reserve the best pieces day dealings with collectors, the art section of in antiques, artworks and collectables. the NAADA Faire is dedicated to featuring not only old SA masters but contemporary master art To find out about the NAADA Faire and its up- as well as museum art collections. coming dates, visit www.naada.co.za The NAADA Faire welcomes the SA Mint whose The National Antiques & Decorative Arts Faire, Johannesburg Coin Fair takes centre stage at which takes place at the Sandton Convention the Faire and puts the focus on collecting rare Centre each July offers everything you could numismatics, bank notes and Kruger Rands and wish for under one roof – beautifully styled and through their select and experienced dealers exquisitely presented; a visual banquet of decor Honouring the brave soldiers who have fought in past wars has become a tradition at the NAADA FOR FURTHER Faire. Whether celebrating the centenary of INFORMATION OR FOR World War II or the end of WW11 in Europe, remembering South Africa’s Boer or Border wars BOOKINGS CONTACT: or saluting the struggle war, avid collectors of militaria can lose themselves in the pomp and Giuli Osso at [email protected] or ceremony of the military pavilion. Tel: (011) 802-1602/083-377-6721 or International exhibitors add a touch of the exotic Clyde Terry at [email protected] or to the National Antiques Faire. American ce- Tel: (011) 482-4259/082-883-4933 ramics dealer Ed Pascoe of Pascoe Ceramics settings – from dining areas featuring 24-seater antique mahogany tables laden with collectable porcelain dinner sets and valuable silver dining accessories to seating areas complete with master art, bookshelves filled with collectable books and ornaments that will intrigue and delight collectors.

Juxtaposed to the opulence of 100-year old and older antiques that grace many a wealthy home are the young, up-and-coming collectors who look to find tomorrow’s antiques, today. It might be an Eames chair, a Warhol cupboard or a Norman Catherine sculpture. Others prefer the quirky seventies look, prefer the French proven- cal look or go gaga over a 50’s Coca Cola fridge or a 70’s classic car.

A dedicated art pavilion for the art aficionados who want to experience art both in a gallery setting and as part of exquisite decor settings. With so many antique dealers picking up significant

puts the focus on the 200th anniversary of the prestigious English house of Royal Doulton with some rare and valuable pieces on show. Dutch antiques dealer Ricus Dullaert of Kunsthandel H.W.C. Dullaert showcases never-been-seen before European and Chinese antiques and also specialises in finding antique pieces – whether in bibles, clocks or furniture – that have strong ties to the Dutch/South African Heritage. From the United Kingdom, Art of the Imagination Books Illustrate Limited specialise in fine limited edition books and original art from the Golden Age of Illustration.

Vintage and classic cars have always been a feature at the National Antiques Faire – from vintage cars from the early 1900’s to classic 1950’s and ‘70’s collectable cars. Iconic brand names in classic cars often showcase their new models juxtaposed with the classic ones.

17 2015 NATIONAL NAADA Exhibitor ANTIQUES DECORATIVE ARTS FAIRE Listings &SANDTON, GAUTENG Associated Art Holdings “Bringing the Past to Life”

Clyde on 4th

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Ltd Tel: (011) 482-3266 CONTACT: Bancroft Fax: (011) 482-4259 ANDRE NEL Billymoon & CONTACT: [email protected] Agatha’s HILARY EMENY www.clydeon4th.co.za 43 Long Road, Greymont

Antiques [email protected] Cell: 072-962-5468 www.booksillustrated.com Dealers in a wide cowboysandangels.nel3@ Publisher of ﬁ ne gmail.com CONTACT: range of Antiques limited edition PAUL MRKUSIC & Collectables, with Dealers in a wide books and specialist a specialist Royal range of Antiques & 303 Legacy Corner dealer in Doulton shop Asian Collectables Cnr 5th & Maude Streets illustration. Sandown Latest publication Tel: (011) 784-6922 CONTACT: The Jungle Book Fax: (011) 784-6922 ANDREW & DESIREE Cell: 082-823-1492 WARD-SMITH Cnr 4th Avenue & 6th [email protected] Street, www.bancroftantiques.co.za Parkhurst, Jhb

Stockists of Tel: (011) 788-9950 Convention to Cell: 082-780-5537 Quirky, Georgian to [email protected] Art Deco & other 20th Century styles Antiques and also offers a Collectables Design & Decorating 20th Century Service Design

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Massive Bronze of “ The Archer” by Professor Walter Lenk of Germany on original wooden base C1890 measuring 1metre 32 in height. POA. 75 4th Avenue, Melville, Johannesburg Tel: (011) 482-3266 Cell: 082-883-4933 www.clydeon4th.co.za

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CONTACT: HENRY TAYLOR CONTACT: JEREMY DU MUGHN CONTACT: Shop 7, Cedar Square, PIERRE JOUBERT 19 Fourth Avenue, CONTACT: JOANITA LUBBE Cedar Rd, Fourways CHARLES KERR OR Parktown North MARIA COCHRANE CONTACT: 283/5 Main Road Tel: (011) 705-3194 JAMES VAN Tel: (011) 880-5525 Wynberg, Fax: 086-636-6316 Con Amore Johannesburg HELSDINGEN Fax: 086-600-3559 Cape Town Cell: 082-553-2208 First Floor, 2 Kramer Road Cell: 082-338-8300 Hyde Park Corner Kramerville Tel: (021) 761-2126 Shop 13 Middle Mall [email protected] Gauteng Cell: 082-657-2209 [email protected] Hyde Park Corner, www.henrytaylorgallery.co.za Tel: (011) 262-0385 Johannesburg [email protected] [email protected] [email protected] Specialists in South Specialist in 20th Tel: (011) 325-4477 African Investment Century Decorative [email protected] Specialising in Art and Old Masters. and Fine Art, Con Amore Pretoria [email protected] quality glass, www.charlesgreig.co.za Antique Jewellery, Shop 35DS Brooklyn Mall designer Corner of Fehrsen & Veale Antiques and Street Vintage Lighting. furniture & Brooklyn lighting and Pretoria established investment art. Tel: (012) 346-5471 [email protected] www.conamorehome.com

Specialising in both antique and contemporary decor. Con Amore carries an eclectic range mixing old and new.

OPENING NIGHT 23 July 2015 - 6.30pm for 7pm – BOOK ONLINE www.naada.co.za - CALL (011) 482-4259 THE ART OF INVESTING INwikepedia, google, Saatchiart.comART & JPMorgan.com rt has long been considered an investment may be heavily infl uenced by not only a number Fortunately, when it comes to fi nding a hot artist, Aof passion, one that not only offers aesthetic of macro-factors, such as economic growth and you can look to the market trend. If you go to art pleasure but the potential for economic ben- infl ation, but also micro-factors unique to the mar- shows and auctions, and you begin to hear one efi t. Only recently has art investing been viewed ket, such as global interest in certain genres and name more and more often, it’s likely that that art- through the lens of modern portfolio theory and changes in trends, tastes and culture. ist is trending up. FINDING THE RIGHT PIECE, considered as a potential alternative investment in KNOWING WHEN TO BUY AND WHEN TO a portfolio of assets. As emerging markets become wealthier, the art SELL, ARE ALL THINGS THAT THE SEASONED market is likely to continue to be comprised of a INVESTOR LEARNS OVER TIME. Market paradigms have shifted dramatically over much more diverse set of art buyers. This is gener- the last several decades, as newly created wealth ally good news. When investors are concentrated in emerging markets such as China, Russia and in one geographic region, the art market as a the Middle East has increased the number of par- whole is very sensitive to that region’s economic ticipants in the art trade, giving the market greater environment. resiliency. Undeterred by a rough economic environment in recent years, collectors globally are One way to fi nd out what kind of art lover you are paying record sums for top works. is by visiting galleries and art museums. Museums will give you an indication of the fi eld and gal- First, there are intangible values associated with leries will tell you what’s going on in the world having and enjoying a piece of art. Art provides of art right now. Attending auctions will give you collectors with social status and prestige — an out- great insight into artists, collections, subject matter let to signal their wealth or lifestyle to others. There & pricing. are also the philanthropic benefi ts of purchasing PRICING ART art, from fi nancing up-and-coming artists to build- Most collectors will tell you that pricing art has ing a collection to preserve cultural heritage. more to do with the artist than the piece, at least when it comes to setting the initial price point. But It is worth noting that certain art genres do bet- then the question becomes whether the piece is ter than others for a number of reasons. Art can typical of the artist’s work. Both questions are a be an unpredictable investment in which returns matter of taste.

19 Fourth Avenue ParkTOWN NORTH 2193 Tel: 011 880 5525 Fax: 086 600 3559 E-mail: [email protected] www.jeremystephenantiques.co.za Trading Hours: Mon - Fri 10:00 - 17:00 Saturdays 10:00 - 14:00 2015 NATIONAL NAADA Exhibitor ANTIQUES DECORATIVE ARTS FAIRE Listings &SANDTON, GAUTENG “Bringing the Past to Life” Pascoe Moonstruck Ceramics Kunsthandel Experience H.W.C. Dullaert Lona’s Pianos

CONTACT: RICUS DULLAERT

24-26 July 2015 Tel: (011) 483-2568 Sandton Cell: 073-152-9022 Convention [email protected] CONTACT: Centre, 10am - www. dullaert.com CONTACT: VIVIEN HILTON 6pm daily LONA DAVIS 3A&B Fir Drive Centre CONTACT: ED PASCOE An internationally Drifters Gold Cnr Fir Dr & OR Opening Night acclaimed antiques Lions River Weltevreden Rd LOUISE IRVINE dealer, Ricus Dullaert 3260 Northcliff 23 July 2015 2195 Address: 1871, NW 6.30pm for 7pm imports unique 17th, Cell: 082-447-4819 North River Drive Miami, 18th & 19th Century Fax: 086-510-2199 Florida, 33125 Book Online Dutch Furniture Cell: 082-484-2673 [email protected] or Tel: 305.326.0060 www.naada.co.za and Chinese [email protected] [email protected] Fax: 305.326.0090 www.moonstruckexperience.co.za (011) 482-4259 porcelain as well as Toll Free: 0800 982 448 works of Art from Gauteng Showroom 15th - 19th Century. 266 Jubilee Avenue I specialize in Art [email protected] Midrand or Deco [email protected] Tel: (011) 315-8675 Art Nouveau Lona: 082-5535-315 Vintage Jewellery An international Designer handbags, www.lonaspianos.co.za ceramics dealer, shoes & accessories Pascoe & such as Specialising in Company exhibits “Louis Vuitton”, antique and a wide selection “Chanel” collectable pianos. of new, retired and

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Life Member of the BY APPOINTMENT ONLY American Numismatic Association ANALM 2521 Tel: (012) 361-7819 Chairman NAADA Cel: 078-743-1042 Founding President SAAND (South African Numismatic Dealer Association) [email protected] Past Director of IBNS (International Banknotes Society VISIT JOHN AT - SA and Dutch Chapters) Nelson Mandela Square, Hyde Park & Brooklyn Mall Antique fairs. Issue 28 FEATURE

Thomas Gainsborough An English Master

Source: www.thomas-gainsborough.org, nationalgallery.org.uk, bbc.co.uk,tate.org.uk, Wikepedia & Google

homas Gainsborough, born 14th becoming a master of light and brushwork, never resulted in imitation, and his reactions to May 1727, was a famous 18th but when Gainsborough shifted to portraiture art and to nature were equally personal. He TCentury English painter known for his for income, his talent attracted the likes of King never strove after originality, and certainly was evocative portraiture and landscapes and George III and other nobles, and made him a never in any way a conscious revolutionary, and is most famous for his portrait known as contender for the position of royal painter. ‘The Blue Boy’. yet in some ways his fine art painting was more When elected a founding member of the Royal original than that of any other English painter. Academy, he moved his studio to London. In EARLY LIFE London he first trained under engraver Hubert Gainsborough was born in Sudbury, Suffolk, Gravelot but eventually became associated with England. His father was a weaver involved with William Hogarth and his school. the wool trade. Thomas Gainsborough was one of nine children born to John Gainsborough. CAREER AND Perhaps due to his mother’s penchant for paint- PAINTING STYLE ing flowers and encouraging her son’s talent with a pencil, Gainsborough assembled a rather Gainsborough’s working life falls naturally into impressive portfolio at a young age. By 10, he three periods of fourteen years each: from had drawn some local village landscapes, and 1746-60 at Ipswich, from 1760-74 at Bath, and added caricatures and other facial studies. 1774-88 in London.

His father was sufficiently impressed with his Each of these three periods have their separate work to allow him to go to London, England, characteristics, but the distinction between the where he studied at an academy in St. Martin’s first and second periods is much more clearly Lane under the renowned William Hogarth and marked than that between the second and third. other masters known for etching, historical painting and portraiture. At the beginning of his first period his In 1740, he fell in love & married Margaret Burr, handling is close and precise, both in his the illegitimate daughter of a nobleman, and her portraits and landscapes, and probably dowry allowed him to set up a studio in Ipswich owed a good deal to the example of by the time he was 20. Here he struggled to Dutch realist painters, many of whose earn a living painting portraits of local merchants works were in private collections in East and their families. Anglian houses.

Though famous painters like Hogarth and van Gainsborough was so natural and instinctive Dyck were influences, he favored landscapes, a painter that the influence of others upon him

24 FEATURE Issue 28

highly developed, but a further freedom of the most important in the later part of his career. PORTRAITURE AND handling followed his move to Bath. It is typical of him that no trace of direct imitation FIGURATIVE WORKS of Van Dyck is to be found anywhere in his work. Gainsborough’s earliest known work has neither BATH: INFLUENCE OF the freedom of handling nor the lively power of An increase of dignity in posing, a more regal drawing with the brush which later became such VAN DYCK- sweep in the disposition of draperies, more marked characteristics, but before he left Ipswich MATURITY OF STYLE distinguished compositions, are the outward and a transformation had begun to come over his visible signs of Van Dyck’s influence, but all that handling, and the Dutch meticulousness was In Bath he fell under the spell of Van Dyck, is most precious in his work remains inalienably replaced by a more lively but not less delicate whose influence, together with that of Rubens, is his own. Noted works from this time include: Mrs

touch which corresponded more exactly to his Philip Thicknesse (1760), Mrs William Henry own apprehensions of nature. Portman (1767) It is the virtue of his art that it never gives us the feeling of life arrested, but of life that is pass- At Bath his style reached its highest developing, slipping by even as we look. This is what ment, and the flimsiness and carelessness gives the poignant sadness to his painting, an which mar some of his later work had not yet unbearable pathos pointed, like Watteau’s, with appeared. He continued to paint landscapes as a gaiety beyond recall. well as portraits, but his growing practice as a portrait-painter gave him less and less time for it, The pictures which Gainsborough painted of his and after his early years at Bath he did not have two daughters as children, especially the one much opportunity for direct study from nature. in which the two girls chase a butterfly (1755, National Gallery London), illustrate this quality more than his other early pictures. They show The characteristics of his mature work are an also his extraordinary sensitiveness to form, and extraordinarily delicate perception of beauty the delicacy with which he could observe and and expressiveness in women’s faces, a most record the most subtle variation of surface and subtle and unforced grasp of character, a sense contour. By the date at which he was painting of fresh and throbbing life, all expressed with these portraits of his daughters, Gainsborough’s unsurpassed freedom and lightness of touch in powers of drawing with the brush were already the thinnest and most liquid pigment.

25 Issue 28 FEATURE

For some the best examples of Gainsborough’s In his innocent and simple approach Gainsbor- quality of his work was inimitable, and except portraiture in England, see the National Portrait ough was the forerunner of John Constable. He in landscape he exercised little influence on the Gallery in London. has the same love of great masses of trees, and English school. From the beginning to the end the same love of skies and moving clouds. If the he painted as his own exquisite sensibilities paths of his life had been different he might well directed, and in no other way. GAINSBOROUGH’S have forestalled the innovations of Constable’s LANDSCAPE ART art, but as it was it was left to Constable and the tragically short-lived Richard Parkes Boning- DEATH AND Gainsborough is the father of English landscape ton (1802-28) to translate this intimate love of LEGACY painting. His early work in the careful and homely nature into terms which revolutionized elaborate Dutch manner is atmospheric and the art of Europe. Thomas Gainsborough died of cancer on true. The “Cornard Wood” (National Gallery) August 2, 1788, at the age of 61 in London. illustrates this phase of his work. It is full of close Gainsborough worked in water-colours as well as oils, and his sketches in this medium have a and searching study as were his other early He requested to be buried at St. Anne’s landscapes. On this foundation of detailed study delightful dash, spontaneity, and breadth, but Church at Kew, next to the famous botanical his later style was built. they, too, have an element of convention in artist Francis Bauer. It was also the royal family’s them. They belong to the old master tradition of primary residence and known for its lush and After he had moved from Ipswich to Bath the water-colour, and are sketches of arrangement influence of Rubens superseded that of the Dutch and light and shade preparatory to oil-paintings varied landscape. It was a fitting locale, since painters, and, though the sincerity of feeling rather than finished works of art in themselves. Gainsborough had returned to his love of land- survives, his landscapes become actually more But this does not detract from their delightfulness, scape painting in his waning years and become artificial in structure and colour. Trees of a warm and beside Gainsborough’s charcoal, chalk, known for his simple settings, elegant brushwork rich brown give value to the blues of his skies, water-colour sketches and soft ground etch- and extraordinary use of light. and the masses of his subject are arranged ings, the drawings of the early topographical with a more deliberate art. Yet even when most draughtsmen look very timid and tentative. And yet, Gainsborough’s most recognizable influenced by others Gainsborough remains an painting today is probably a portrait of the son instinctive painter. of a wealthy merchant, known simply as The

LATER LIFE Blue Boy. Legend has it that Gainsborough tried The subject-matter of his pictures is mostly to reconcile with Reynolds, his rival, at his death- In later life, Gainsborough started painting ideal- drawn from the East Anglian scenes of bed. The two share a reputation as the most fa- ized themes of rural life, such as “The Cottage his youth, and in his later work these mous portraitists of the latter 18th century. scenes are invested with the association of Door” (1780), along with pictures of rural beg- gar children, gypsies and child labourers - sad memory. Gainsborough is also known as one of the and ragged but still well-fed. originators of the 18th century British landscape Gainsborough was never drawn to the classical school. A later painter with a similar repu- school of landscape any more than he was Occasionally his pictures became flimsy and tation, John Constable, was a huge fan, to the ‘grand style’ in figure-painting, yet these formless. In any event, the business of profes- saying of Gainsborough’s landscapes, pictures are in a sense ideal, and they are seen sional portrait-painting irked him. He had little through the golden haze of happy memories, patience with boring and tiresome sitters, and he “On looking at them, we find tears in our which gives them a similar sadness to that of his was too natural and instinctive a painter for this eyes and know not what brings them.” figure-pictures. This was Gainsborough’s world not to show in his work. of escape from the daily jars and irritations of His only pupil was his nephew, Gainsborough his life as a portrait-painter, and it is full of an At his best Thomas Gainsborough was a very Dupont. He worked as Gainsborough’s studio innocent rustic life which differentiates it sharply great artist, and his pictures have qualities assistant but his own work was a feeble imitation from the world of Richard Wilson. which may be looked for in vain elsewhere. The of his uncle’s brilliant masterpieces.

26 FEATURE Issue 28

purpose and was popular with both guests and locals alike.

After the Second World War, the house had various functions including a period as an antique shop. In the mid 1950s Mr Doward, an English art dealer working in America who had rediscovered a Gainsborough painting, bought the house intending to live in it. However, he failed to convince his wife to move to Sudbury. Therefore, in 1956 the house was once again put up for sale.

After four centuries as a private residence and forty years in limbo, the building was transformed into a museum and monument to Thomas Gains- borough following a campaign by the Gains- borough’s House National Appeal Committee.

Following generous donations of art, furniture and decorative objects, the house opened to the public in 1961 as a museum, monument and centre for the arts and has remained open for over 50 years. The House’s permanent collection encompasses the whole of Thomas Gains- borough’s career, from his early portraiture and landscapes to later works from his London period. These works are displayed alongside 18th-century furniture and memorabilia. There is a varied programme of exhibitions on both historic British and contemporary art throughout the year.

Many of Gainsborough’s paintings can be seen Gainsborough’s parents bought the house for in art collections all over the world. His famous £230 in 1722 and it remained in the family until landscape, “The Watering Hole” and the por- 1792. When the house was sold at auction, it trait “Mr and Mrs Andrews” can be seen at the was described as ‘consisting of a most excellent National Gallery in London. The well known Brickt Mansion - replete with every convenient “Portrait of a Lady in Blue” painted in the late Accommodation for a genteel Family, or prin- 1770s is on display at the Hermitage in St cipal Manufacturer, having upon the Premises Petersburg. two Buildings - 147 Feet long, with an Orchard, well planted with Fruit Trees in a high state of Perfection, which with a Flower Garden, paved GAINSBOROUGH Yard, and Scite of the Buildings, contain about HOUSE MUSEUM two acres’. Dating to around 1520, the house that now oc- It continued as a private residence until the cupies 46 Gainsborough Street was the birth- 1920s when it was converted into a guesthouse place of one of Britain’s greatest artists. Built and tearooms. Lunches and teas were served around the centrepiece of a huge mulberry and they also catered for wedding receptions. tree, the house’s deceptively large garden dates The garden was frequently open in the sum- back to the early 1600s, and is maintained all mer, both for teas and the hire of the two tennis year round with plants that would have been courts. Photographs and reminiscences from this available in Gainsborough’s lifetime. time indicate that the house adapted well for this

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Left: Anton van Vouw (1862-1945) Bronze “Die Lehman” Signed 1901

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AAs DA Issue 28 COLLECTING

Source of copy and pictures: http://www.ablogtowatch. com/rarest-expensive-patek-philippe-watches/2/

Source: Wikipedia & Google Perfection in time wiss watch-making has produced some impressive brands but none so iconic as the Patek Philippe name. This is largely due to the fact that, unlike other brands that have been absorbed into larger conglomerates or have dived into the world of commercialism, Patek Philippe remains an inde- Spendent company that jealously guards its intellectual property. Its most exclusive watches are often never displayed in stores but go directly to those discerning collectors who line up to own one of the most valuable watches on earth. Although most of Patek Philippe watches were produced in the first half of the 20th Century, their style remains classic, traditional and almost conservative but always desirable and above all valuable. According to a Blogto Watch, when it comes to high-end timepiece auction prices, Patek Philippe leads the pack easily dominating all other watch-makers in regard to achieving regular, record-setting prices. Although some of their most valuable timepieces, which include both pocket and wrist watches, have been produced in the modern era, the watches that fetch high prices at auction are the extremely rare, often unique pieces made for special collectors. A Blogto Watch put together some of the more valuable and rarest Patek Philippe watches in terms of price:-

30 COLLECTING Issue 28

has 1436 stamped on the inside of its caseback The Sky Moon – something the others didn’t have and which Unique Extra Large Single gives it its uniqueness. That, combined with its Tourbillon 6002G - bold numerals, its dial layout and unique char- Button Chronograph - $1 500 000 acteristics, makes this watch both sportier and $2 240,000 timeless and highly desirable to collectors. Without doubt one of the most widely recog- One of the larger watches designed by Patek nized watches that Patek Philippe ever made, Philippe, the monopusher chronograph is from the Sky Moon Tourbillon 6002G, a follow up to 1932. It is 46 mm in diameter and is cased in an an original model, manages to take its original 18k gold case and was produced as a special design to a completely new level. With intricate order and sold for Count Carlo Felice Trossi, the engravings adorning its 18k while gold case, the president of Scuderia Ferrari. The value of this 6002G has one of the most complicated wrist watch is increased due to its famous owner and watch movement that Patek makes. The face added to that is a photograph of Trossi wearing displays the time, perpetual calendar with retro- the watch on his sleeve as he timed laps of his grade date and the phase of the moon, while Ferraris. It was sold by Sotheby’s in May 2008 the dial on the back features a stellar illustration for $2.24 million. of the northern sky as well as indications for si- dereal time on a 24-hour scale, time of meridien passage of Sirius and of the moon, along with the angular progression and the phase of the moon. The movement’s regulating organ is a one-minute tourbillion consisting of 69 parts and weighing a total of just 0.3 grams, and is one of the few tourbillions that are submitted to rigorous chronometry tests, with its rate fluctuations set not Possibly Unique Aviator to exceed -2 and +1 seconds per day. Prototype Wristwatch - $1 710 690

Of all the Patek Philippe watches, which are all unique creations, the Aviator Prototype watch from 1936 is in a class of its own. Measuring at an immense 56mm in diameter, ‘it was designed to be worked by pilots who would wear it on the outside of their flight suit. The movement was made in 1912 but only set some 24 years later Reference 1591 Perpetual in its nickel-chromed case and it is only one of two watches equipped with a ‘splittable centre Calendar - $2 240,714 seconds and hour angle dial’ – which means Valuable in that only two of these were ever that the hour hand rotates once in 24 hours, indi- made, one housed in stainless steel, the other cating the degrees of arc against the centre cir- in 18k yellow gold, the Reference 1591 has cle divided into 360. The ‘minute’ hand rotates refined aesthetics and complex inner workings. once every 4 hours and is read against the scale Manufactured in 1944, during the war years, of 60. The two second-hands revolve every 4 this watch was never catalogued and unknown minutes, showing the angular minutes. Conse- to the market until 1996 when it was first offered quently, the time shown on the watch reads 332 at auction and bought by a Maharaja in India 8.5’, translating into 22 hours, 8 minutes and 30 who enjoyed wearing it whilst playing polo. It seconds, the very last time all watches show in was then given as a present to the man in charge Reference 1563 Split- books and catalogues. This truly unique piece of organizing the Maharaja’s wedding. After was sold by Christie’s on the 11th May, 2009 fetching the over $2 million, it now takes pride of Second Chronograph in 18k for $1 710 690. place at the Patek Philippe Museum. Gold - $1 572 789 - Manufactured in 1947 and sold in 1950, this piece (auctioned by Christie’s in November 2013) is one of only three Reference 1563 that are known to exist. Based on the 1436, it is a bi-compax chronograph and it also has the wa- terproof screw-in case back of the 1436. The difference is to be found in the added feature and complication of the split-seconds chronograph mechanism – known as one of the most difficult to assemble and produce. This particular piece is unique among the three in that it has luminous Breguet numerals and also luminous sword hands – all original to the watch and also

31 Issue 28 COLLECTING

First Ever Grand Complica- tion Pocket Watch by Patek Philippe, made for Stephen Palmer - $2 251 750

This complicated pocket watch was made in 1898 and sold in 1900 to one of the greatest business leaders of the early 29th Century Amer- ica, Mr Stephen S. Palmer. Without question among the most important watches Patek ever made, this minute repeating, perpetual calendar, split-seconds chronograph watch, with grande and petite sonnerie and moon phases, is set in 18k pink gold. Palmer purchased the piece in Patek Philippe Chronomatic Gondolo Top Winder 1900 for the hefty sum of 6 000 Swiss francs and was locked away for more than a century in its original box. This is the finest example of all Grand Complications known today, not only because it was the first ever made, but also the one in the most stellar condition. The Magpie’s Treasure Nest Clock - $2 323 913

This unique Patek Philippe clock’s importance lies not in its mechanical complexity, but rather in its rarety and its intricate use of precious materials. Made in 1992 and built around a quartz movement, it has at its clock a magpie bird, covered in two different shades of gold; in its beak is a 104.75 carat, oval-shaped tanzanite gem that it looks about to place into its yellow gold nest. The tree, sculpted from calcite, onyx and agate, is resting on a substantial piece of rock crystal, adorned with yellow, blue, white, and pink agate flowers and green agate foliage. All are set with diamonds, rubies and amethyst pet- als. Added to the opulence is the bird’s nest full of diamond-set treasures, including a pair of scis- sors, spectacles, thimble, ruby-set ring and enam- Patek Philippe Rare 2458 Observatory Chronometer for JB-Champion el-capped safety pin. A masterpiece adorned with dozens of flowers beautifully hand-crafted, 24.95 carats of diamonds and 13.17 carats of rubies.

Patek Philippe Supercomplication Henry Graves Sold 23-Million

PATEK PHILIPPE, AMERICAN DIGITAL PERPETUAL CALENDAR & MINUTE REPEATER. Movement made in 1947, completed and cased in 1973 32 FINE ART & COLLECTABLES

A GENTLEMAN’S 18CT GOLD WRISTWATCH, PATEK PHILIPPE, GENÈVE, PERPETUAL CALENDAR CHRONOGRAPH, 1951 SOLD R 1 792 000 JOHANNESBURG, SEPTEMBER 2014

FORTHCOMING AUCTIONS Cape Town | 26 & 27 May 2015 Johannesburg | 4 & 5 August 2015 Cape Town | 20 & 21 October 2015 Johannesburg | 10 & 11 November 2015

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[email protected] www.valitradeantiques.co.za CONTACT: EVELYN SBOROS Gauteng Showroom CONTACT: By Appointment or at NICHOLAS MESCHEDE Nelson Mandela Antiques Specialists in Fair & Brooklyn Mall Fair 96 Sixth Rd, Hyde Park, French & European Antiques Cell: 084-273-0745 Tel (011) 442 0909 Fax: (011) 447-3500 [email protected] Cell: 081-044-8420 [email protected] Storm Ferguson Specialists in antique decorative CONTACT: furniture and silver STORM FERGUSON

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ANTIQUE DEALER ADDRESS PHONE NUMBER EMAIL ADDRESS Alec Kaplan and Sons cc 115 Dunottar Street, Sydenham By Appointment Michael Kaplan 083-555-5101 [email protected]

Antique Annie By Appointment Ann Goldschmidt 082-586-0092 (011) 346-0529

Antiques to Date By Appointment Aaron & Stephen Rost 079-517-6822 [email protected]

Aquamarine By Appointment David 079-590-1449 Tienie 083-570-7313 [email protected]

Associated Art Holdings 64 6th Street, Parkhurst By Appointment Baboo Moolla 082-552-7762 / (011) 880-8092 [email protected]

Atkinson & Atkinson 142 Milner Avenue, Roosevelt Park Pamela Atkinson 082-555-2943 [email protected]

Billymoon & Agatha’s Antique Shop 3, Art Centre, 4th Ave (Cnr 6th St), Parkhurst (011) 788-9950 [email protected]

Clyde on 4th 75 4th Ave, Melville Clyde 082-883-4933 - (011) 482-3266 [email protected] www.clydeon4th.co.za

Cowboys & Angles Antique 43 Long Road, Greymont Andre Nel 072-962-5468 [email protected]

DG Collectables (Pty) Ltd. By Appointment Driekus Voster 072-373-7523 [email protected] Gary Baker 081-851-2161 [email protected]

Dunne’s Africa 76 Maria Street, Fontainbleau Paul Brown 082-565-8899 [email protected] Rosie Brown 082-718-6769 Ofﬁ ce (011) 792-3585 www.dunnesafrica.co.za

Easy Pawn Trader & Collectables 51a Broad Way & 072-244-8437 [email protected] 5 Street, Bezvalley Ofﬁ ce (011) 039-2270 [email protected]

Eve’s Antiques & Collectables By Appointment Eve & Ron Cowan 084-517-8075 (011) 648-9360 [email protected]

Heather Knight Antiques By Appointment Heather Knight 082-502-5099 (011) 440-5629 [email protected]

Holtzhausen Clocks & Music Boxes By Appointment (011) 678-7722 www.holtzhausen.com

Ilse French Art By Appointment 083-271-1735 Including Interiors cc 083-777-0160 (011) 486-2907 [email protected]

Inretrospect Cnr 1st Avenue and Sonia Scholtz 082-990-2409 24 Chatou Road Richmond [email protected]

Jeremy Stephen Antiques 19 Fourth Avenue, 082-338-8300 [email protected] Parktown North (011) 880-5525 www.jeremystephenantiques.co.za

Jewellery & Diamond Exchange (011) 802-2183 083-296-6891 [email protected]

John Keogh Rare Coins Comapny 410 Kings Highway By Appointment (012) 361-7819 Lynnwood Pretoria 078-743-1042 [email protected] Ofﬁ ces Dallas Texas & Weesp Netherlands

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Jose Antiques & Interiors By Appointment Jose da Sousa 082-880-6245

Kunshandel H.W.C. Dullaert Showrooms: 22 Grove Road, Ricus Dullaert [email protected] Mountainview 073-152-9022 www.chineseantiquesdullaert.com

Leader’s Treasures By Appointment Maureen Love & Julie Leader

084-908-1040 [email protected]

Liquid Jewellery By Appointment Jolyon Langerman (021) 686-0668 [email protected] Mahlah’s Mahlahs Antiques & Collectables 160 Long Road, Tom - 082-320-1712 Greymont Jane - 083-305-5154 [email protected]

Majestic Antiques and Silver By Appointment Michael - 082-855-4155 [email protected] [email protected]

Moonstruck Experience 3A &B Fir Drive Centre (011) 431-0610 Cnr Fir Drive & Weltervreden road 082-484-2673 [email protected] Northcliff Oddzbin FOR MOREShop INFORMATION No.2 Melpark Heights ON NAADA MEMBERSLucy Xaﬁ s (011) 726 VISIT 8086 084 WWW.NAADA.CO.ZA 035 2522 [email protected] Cnr 7th ave & 9thStreet Melville www.oddzbin.co.za

Old Curiosity Shop By Appointment 823-372-197

Pays des Reves Lifestyle 44 7th Avenue, Parktown North (011) 880-9191 - 082-439-4675 [email protected]

R&E Collectables By Appointment Eleanor Carter - 082-459-0920 Rob Carter - 082-496-8917 Ofﬁ ce (011) 726-5706 [email protected]

Radford Antiques Shop 4, Sunlit Court Avryl Gray 083-457-3635 [email protected] 34 4th Avenue, Parkhurst (011) 788-3635 www.radford.co.za

Rebekha’s Antiques By Appointment 082-441-5376 [email protected]

Sboros Jewellers Evelyn Sboros - 084-273-0745 [email protected]

Sir Percival’s By Appointment Percival 083-256-0467 (011) 442-9039 Bernd082-332-9039 [email protected]

Sovereign Antiques By Appointment 082-818-0603 [email protected]

Stella Maris Antiques & Collectables By Appointment (011) 803-5276 082-456-3777 [email protected]

The “Old & The Beautiful” Antiques By Appointment (011) 660-5514 084-750-9256 [email protected]

The China Collector By Appointment Linda Steele 082-292-0555 [email protected]

Tyrone Sarkis Antiques By Appointment 072-651-5363

Validtrade Antiques 14 Liebenberg Street, Alrode Henika Gadd www.validtradeantiques.co.za Alberton, Gauteng 082-744-4449 [email protected]

Vault Antiques 082-920-5907 [email protected]

Willie Nel Antiques Coins By Appointment Willie Nel 082-644-2689 [email protected]

Ye Olde Collector Kensington, Johannesburg Louise (011) 616-3578 [email protected] Roxanne (011) 6165487 - 082-924-3169 37 Issue 28 MUST VISIT

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Michael’s Collectables Rosehurst, 239 Boom Street Michael Bullick 072-606-1856 [email protected] Pietermaritzburg

Rod & Phyl’s Collectables Durban By Appointment Rod or Phylllis (031) 701-1676 084-548-0366

Romantiques By Appointment Tina Sarkis - 082-458-7341 [email protected] WESTERN CAPE Galleria Fortunata Shop 1, Long Street Antique Arcade (021) 423-2504 [email protected] 127 Long Street, Cape Town

Karoo Moon Country Store Shop A 104, The Old Biscuit Mill (021) 447-5952 373-375 Albert Road Woodstock [email protected]

Phoenix Moon 357-359 Albert Road Woodstock (021) 447-5952 [email protected]

Raymond Davis Jewllery Western Cape Raymond Davis 082-571-6101 [email protected]

The Old Cork Screw 11 Main Road, Franschoek Jeremy Astfalck (021) 876-3671 [email protected] www.theoldcorkscrrew.co.za

Tutamen 15 High St, Hermanus Vanessa Prior (028) 312-3422 [email protected] FREE STATE Die Waenhuis Antiques 110 Nelson Mandela Ave, Bloemfontein Bobby Mitchley (051) 448 5204 083 469 1652 [email protected]

DIRECTORY OF SAADA ASSOCIATION MEMBERS WESTERN CAPE ANTIQUE DEALER ADDRESS PHONE NUMBER EMAIL ADDRESS

Burr & Muir The Mirage Cnr Strand & Hudson Street, Geoff Burr and Graham Mu iCell: 083 261 8366 De Waterkant Area, Cape Town 8001 Tel: 021 418 1269 [email protected] Fax: 021 418 1273 www.burrmuir.com

Kay’s Antiques Ground Floor, Cavendish Square, Nicky Smit Tel: 021 671 8998 [email protected] Claremont, Cape Town, 7708 Fax: 086 619 6677 www.kaysantiques.com

Le Brocanteur 67 Constantia Main Road, Gerard & Justine Ferrigno Cell: 082 958 9734 Wynberg, Cape Town Tel/Fax: 021 761 9142 [email protected]

Maximalist Shop BC5 Simon’s Town Boardwalk Shire and Justin Kerrod Cell: 083 285 8336 Centre,St George’s Street Simonstown, [email protected] next to Jubilee Square www.kerrodantiques.co.za

Myra’s Antiques 78 Church Street, Cape Town, 8005 Myra Harris Cell: 083 658 4224 Tel: 021 423 6561 Fax: 021 424 0364 [email protected]

Piér Rabe AAntiques & Art 5A Distillery Road, Bosman’s Crossing, Stellenbosch Piér & Jo-Marie Rabe Tel: 021 886 6281 [email protected] Tel/Fax: 021 883 9730 or [email protected] www.pierrabe.com 38 MUST VISIT Issue 28

TO ADVERTISE CALL (011) 482-4259 or email: [email protected]

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WESTERN CAPE CONTINUED ANTIQUE DEALER ADDRESS PHONE NUMBER EMAIL ADDRESS

Paisley’s Antique Jewellery Buying & Selling antique Jewellery By Appointment Heleen Bossi [email protected] 083 453 4360 www.paisleys.mahoons.co.za

Piér Rabe Eclectic Unit A037, 1st ﬂ oor The Palms Décor & Lifestyle Centre, Piér & Jo-Marie Rabe [email protected] 145 Lowry Road, Cape Town, 8000 Tel: 021 461 1322 [email protected] Tel/Fax: 021 883 9730 www.pierrabe.com

Piér Rabe @ Die Strand Huis 111 Main Road, Strand, 7140 Piér & Jo-Marie Rabe [email protected] Tel: 021 886 6281 [email protected] Tel/Fax: 021 883 9730 www.pierrabe.com

GAUTENG

Bancroft Vintage 303 Legacy Cnr, Da Vinci Hotel Paul Mrkusic [email protected] Off Nelson Mandela Square, Sandton (011) 784 6922 www.bancroftantiques.co.za

Con Amore Charles Kerr [email protected] 083 327 7769 www.conamorehome.com

Cornelius Lehr Parktown, Johannesburg By Appointment Cornelius Lehr F.B.H.I Cell: 083 377 9076 [email protected] Tel/Fax: 011 726 6420 www.corneliuslehr.com

READ’S Shop C 221, Street Level, Pamela Thomson [email protected] The Mall of Rosebank, Rosebank Tel: 011 880 2702 Fax: 011 880 0103 www.reads.co.za

Take it for granted Antiques 22 8th Street, Lynn Grant & Ashley Judge Cnr 4th Ave, Parkhurst, 2193 Tel: 011 880 6504 Fax: 011 880 6683 [email protected]

CLASSIFIED SECTION & REGULAR ANTIQUE FAIRS

CAPE TOWN: The Alphen Antiques & Collectables Fair Contact Des Dewing, 084 626 7499 Address: 8 Pin Oak Crescent, Fish Hoek email: [email protected]

KWA-ZULU NATAL: Umhlanga Antiques and Collectable Fair Contact R Hawkins, 084 548 0366 Address: Umhlanga Centre (Old Buxtons, Spar) 189 Ridge Road, Umhlanga Village email: [email protected]

PRETORIA: Brooklyn Square Visit www.thecollector.co.za under the Events tab for info on this fair.

PRETORIA: Melrose House Museum Antique Fair Contact Clyde Terry, 082 883 4933. 16 December 2015

GAUTENG: Hyde Park Corner Antique Fair Contact Clyde Terry, 082 883 4933. Last Sunday of every month. Time: 6.30 for 7pm Opening Night JULY 23rd R250 pp GAUTENG: Nelson Mandela Square Antique Fair 2015 1st Sunday of every month. sandton Convention Centre Contact Clyde Terry, 082 883 4933. Exhibition Hall 1 Maude St, Sandton BOOKINGS ESSENTIAL Telephone bookings (011) 482-4259 AFRICAN GEMS & THE COLLECTED online bookings THE WARSTORE ODDZBIN www.naada.co.za MINERALS WORKS JULY 24th - 26th CONTACT: CONTACT: CONTACT: Alan Coleman CONTACT: Lucy Xafi s 2015 Rob Smith Ursula van Eck 100 083 225 6729 (011) 726-8086 083 260 1563 (011) 782 7255 22 Erlswold Way 084 035 2522 Cnr 4th Ave & 5th Street, SPECIALISING Saxonwold Shop No.2 Melpark Linden Mining Memorabilia & Heights Cnr 7th Ave SPECIALISING Fine Mineral Collection SPECIALISING & 9th St Melville World Militaria Dealers Collectables, Objects’dart [email protected] [email protected] [email protected] www.oddzbin.co.za WWW.NAADA.CO.ZA www.africangems.com www.warstore.co.za [email protected] 39 Issue 28 COLLECTING

Source: collectorsweekly.com/games/chess, google, wikepedia, smithsonianmag.com & history.chess

MATE

THE HISTORY OF CHESS SPANS SOME The Persian pastime soon spread to Arab na- carvings of real individuals. The collectors’ world 1500 YEARS. tions, who checkmated the Persians in real battle is dominated by the name of Jaques and the Che ckin the 7th century. With the takeover came the Staunton style. ew board games can claim the same appropriation of culture, including the passing breadth of history as chess, which spans of chess into the Arab world. The Arabs had a Jaques sets are the pinaccle of playing sets and the globe, transcending borders and great deal of influence on the development of Alan Fersht has published the ultimate guide F to Jaques sets. From 1849 to 2014, tens of languages. It is taught to elementary school chess because of their strict Muslim beliefs that thousands of Jaques stamped and signed sets students, many of whom simply enjoy the shapes prohibited them from creating images of living have been sold and cherished and in material of the pieces, and also played by serious grand- things. Hence, the abstract designs of Arab as diverse as ivory (£2,000 to £120,000) Bone masters, a title some say was first bestowed by chess pieces. Today, abstract design versus Czar Nicholas II of Russia in 1914. (status quo travelling sets) and wood (a good realistic representation is a major differentiator early club sized set will cost you up to £5000): between collectible chess sets. there are opportunities for every pocket. THE BEAUTY OF CHESS Middle Eastern chess pieces were normally Then there are the Jaques predecessors and Certainly the history and provenance of the set carved from ivory, bone, or stone. Though they competitors such as Lund, Calvert, Hastilow, and history (in its empirical sense) as it relates to rarely come up for sale, a few of these 7th- and Whitty and so on. the set and its life but the history of chess itself 8th-century chess sets still surface today. It wasn’t has little place to the collector. until the 10th century that chess boards were WHAT TO LOOK FOR IN THE given dark and light squares. A set to touch, admire and perhaps even play EARLY SETS with comes first and then the set’s history and Chess sets are one of the most diverse of col- who might have carved it, owned it or played lectibles both in terms of price (£20 to over • Jaques Chessmen, Staunton or other- wise, with it. That is a true collector’s joy. £1million), age (1000 AD and before to 2014), are by far the most collectible and, as a style (from blocks of stone to intricate figural consequence, the most expensive. This is The game of chess as played in 6th-century In- sets), material (from wood to gold) and size not to say that there are not other Staunton dia used a die to determine which figure would (from minute to gigantic). chessmen that are worth collecting. be moved. The pieces represented the king and • For example, British Chess Company his four military divisions: foot soldiers, cavalry, Most collectors start with a playing set which Xylonite chessmen quickly come to mind. charioteers, and troops atop elephants. When has the virtue of being predominantly non-figural However, if you are looking for one set of the game later expanded into Persia, a wise other than certain “bust” sets where the major vintage Staunton chessmen, you must have man, which would later become what we now pieces and the bishops are sometimes very fine know as a queen, was added. a Jaques.

40 COLLECTING Issue 28

WHAT FOLLOWS IS A DISTILLATION OF One of the real advantages of buying a However two things have occurred which are THE IMPORTANT DETAILS THAT WILL SERVE figural set is that generally price is related to typical of a maturing market. Buyers are wiser AS A ROADMAP FOR ANYONE WHO IS the type, the material and the sheer quality of and more careful which means that it has to be SERIOUSLY CONTEMPLATING THIS the workmanship. A copy of “Chess Men” by a good set to command the best prices and the INVESTMENT. Keats will give you a good idea of many of the greatest demand and the greater values mean different types and get you used to the names: the con artists are now around in numbers: • Historically the key factors are: maker, age, material, size and provenance. Sets John Company, George III Cantonese, Macao, are measured by the height of the king Kholmogory, Pulpit, Kashmir, Pepys etc Whether you are investing £500 or £500,000 and certainly with Staunton sets, being it does matter that you take care and advice. “weighted” is often a decided plus. Generally the more different figures there are the higher the value (are the black and white • If you are looking for collectability and • Always keep an eye out for fake or side the same or are there two different Armies?) investment growth potential, then you want “matched” sets where the pieces are not and whilst provenance will enhance the value a very early Club size wooden set or an original or heavily and badly restored. it is not as important as it is with playing sets in ivory set. Ivory set prices increase exponen- Take advice from a specialist. tially with size. distinguishing one set from another. • Don’t forget also that to play or display a A good rule-of-thumb to follow when col- Treasured but used for so long, it isn’t surprising • set you will need a chess board and often lecting for value rather than utility is larger that they often are damaged: chipped on the a matching board of any note and of qual- is better than smaller, older is better than pawns’ and queens’ crenellations, knights’ ears ity construction could cost nearly as much newer, and ivory is king. as the set itself. broken, bishops with missing finials, and even dog-chewed pieces where some long forgotten • -Original boxes and labels are important • Large Jaques boards from the 19th century ancestor kept an animal at his feet as he played. can cost up to £3000 if they are stamped considerations when contemplating your Even worse are sets from a chess club, where purchase. So is condition. A well restored and some collectors buy only chess boards they have been used and abused in rapid play and game boxes (which date back to the set of chessmen will always command and simuls alike, mixed and matched into differ- 15th century and further). A board where a considerably higher price than a set in ent boxes without regard to parentage. the ownership was attributed to Charles I original condition that is damaged, has a sold for in excess of £500,000 last year. poor finish or both. INVESTMENT POTENTIAL SO WHAT ABOUT THE WHAT A NEW COLLECTOR Those who have invested wisely and followed FIGURAL SETS? the rules now have collections worth many times SHOULD CONSIDER the purchase price but like any form of alterna- Most are for display only and playing a serious game of chess is just not possible but once you tive investment there has to be a readjustment of WHERE TO LOOK? have taken the step of buying your first figural prices at some time. The strength of the market set then you have entered a magical heaven is that there are a growing number of wealthy Everywhere, your local antique store, online, of some of the finest sculpture and art work the purchasers and collectors and that stimulates auctions, garage sales etc. After a while you world has ever known. every sale. may end up buying most of your sets from a

41 Issue 28 COLLECTING

few specialist dealers. This does simplify things at least slightly due to the fact that they have - There are common types of damage, depend- and specialist dealers make a living by having been handmade and a craftsman’s eye did a ing on the piece. The pawns may have chipped the better quality and more unusual items. You lot of measurements. For example English pre- collars. The bishops may have lost part of usually won’t get great bargains from a special- Staunton playing sets are currently underrated the top and finial. The rooks have damaged ist dealer but you should be able to get a fair and valued expect the better version of these crenellations making them look gap-toothed. price and have the dealer stand behind the set sets to be more desirable as time goes on and The knights’ ears are often missing. Crenellation and its description. This may not be the case as the market continues to mature. Here are points may have broken off the coronets of the buying from ebay or a general antique dealer. two St. George/Old English playing sets, the queens. Kings’ crosses may be damaged or Old chess sets are not common items so you will second set being particularly fine. entirely missing. All this can be fixed. have to be willing to put in a fair bit of effort to find antique sets. The quality and size of a set will have an expo- - Of course chess collecting doesn’t have to rely nential effect on its value relative to other sets of on brand name to make it interesting. There are HOW IMPORTANT IS the same type and material. High quality knights wonderful wild chess creations out there wait- (finely carved) are a good indication of a sets ing to be discovered. Some even have highly CONDITION? overall quality for a lot of playing sets. detailed and artistic boards and pieces. These sets can be exciting additions to your collection. There is no set rule. A lot of sets have some dam- IF YOU ARE THINKING age due to their age and the amount of use they The most important thing to remember have received. Finding a mint unresotored 100+ ABOUT GETTING A SET about collecting any item is to have fun year old set is unusual; my first reaction is to get with it. Don’t worry about what other suspicious! THAT ISN’T IN PERFECT people think of your collection. Buy the CONDITION, WHAT DO YOU boards and sets you love. Maybe you A lot of the wood, ivory and bone based sets will have cracks and chips. Obviously the fewer LOOK FOR? will inspire others to learn the wonderful the better. Sets can be restored and it does not game of chess through your unique collec- detract too much from their value, if done well - Take out all the pieces and put them in groups: tion. and not overly intrusive (like a replacement four rooks, four bishops, eight black pawns, eight knight or king). The rarer the set and the better white pawns, etc. Are they all there? Good. the price the more damage you should consider Move on. Slide your hand through four at a time accepting. Part sets and damaged sets have and turn them up. If your set is too little, smile at it usually not been restored already which means fondly and handle it any way you can: the point at least you know what original elements you is to see if the felts are the same. Is it obvious that are starting from. differing felts (mismatched colours, materials) mean the pieces are from different sets? THINK ABOUT STARTING TO - Once you have looked on the bottoms, look COLLECT A CERTAIN STYLE for chips and splits along the whole bodies of OF SET, OR PERIOD, OR A each of the pieces. It might be that the boxwood side is pretty much undamaged. If this is the SPECIFIC COUNTRY OF case, count yourself lucky and take a look at the ORIGIN. ebony side. These are usually broken but that’s okay, since they also are more easily colour All old handmade sets are nearly unique. Even matched after being repaired. Boxwood is hard two sets from the same general pattern will differ to match, and that’s a fact.

42 PAYS DES REVESˆ LIFESTYLE

No 44, 7th Avenue, Parktown North, Johannesburg email: [email protected] Tel:(011) 880-9191 • 082-439-4675 Open: Mon - Fri 9am - 5pm Sat&Sun - 9am - 4pm

ANTIQUES •LINEN • JEWELLERY • COLLECTABLES • INTERIOR ACCESSORIES

Above: Pair of George II bow front dining room pedestals in flame Mahogany inlaid in Satinwood and Kingswood Dimensions 129cm(h) x 70cm(w) x 48.5cm(d) each Issue 28 MUST VISIT

SINCE 1995

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INVESTING IN VINTAGE LUGGAGE oday’s journeys can be fraught with cramped • Vintage luggage makes great storage ADD FLAIR TO TRAVEL Tseats, overhead storage and lost bags, but space, since the container is fun to look at, once upon a time, travel could be a bit more as well. Vintage luggage is as personable as the people stylish and the luggage, a bit more tolerant of be- who carried it, and today, it adds style and fl air ing tossed and trammeled. The history of vintage • Some vintage luggage was stored in base- to travel. Whether you enjoy owning a Mary bags and trunks reveals a world far different than ments, so be wary of mold problems and Poppins carpetbag or a James Bond suitcase, that found on today’s jumbo jets. dampness damage. the sky is the limit when it comes to luggage. Luggage from the 19th to mid-20th Century is increasingly sought after by collectors who appre- • If the luggage has an odor, try putting fresh ciate the quality and historic value of this golden (not used) ground coffee in the suitcase, age of travel. close the case and let it sit for a day for a day or two to remove the smell. Trunks and suitcases that were thrown out a few years ago can now fetch thousands of pounds. • Always check zippers to see if they work. Top examples have doubled in value over the Oftentimes the key has been switched out past decade. and doesn’t work with the lock, so check that as well. TIPS FOR COLLECTORS

• There is no lack of vintage luggage for • Be careful if you want to clean old leather sale, with examples turning up for sale on- - you may discolor it permanently. line, at fl ea markets and in antiques shops. • Get to know luggage maker’s marks so • Many people use the luggage for furniture you can tell genuine pieces from the fake or decor, stacking suitcases atop one an- ones. other for visual impact.

44 COLLECTING Issue 28

In Association withthe

CollectorANTIQUES ART INTERIORS presents the limited Edition Nelson Mandela Loving Cup - “Ngcoba-Sempre Victrix”. Translated this means: Victory- Forever Victorious.

ARDMORE IS INTERNATIONALLY ACCLAIMED FOR ITS CERAMICS.

INTERNATIONAL AUCTION HOUSE CHRISTIE’S OF LONDON HAS DESCRIBED ARDMORE’S CERAMICS AS “MODERN DAY COLLECTABLES”.

Ardmore was Founded 30 years ago in the Drakensberg’s majestic Champagne Valley. Relo- cated since then, Ardmore can now be found in the more accessible KwaZulu-Natal Midlands, along a dirt road that winds its way through rolling green hills and past the old Caversham Mill.

Woven into the fabric of each individually handmade and painted piece is a uniquely South African story with a fascinating history. Collectors can now own part of this history by investing in the Limited Edition Loving Cup. The Collector Series only has 30 of these uniquely designed cups available worldwide. Due to the popularity of this limited edition Loving Cup, The Collector magazine only has 12 cups left of the 30 rare handcrafted pieces.

For further enquiries contact [email protected] or call Clyde on 0114824259/3266

45 Issue 28 FEATURE Source: www.christies.com, Millers Guide, google, wikepedia, onlinegalleries.com, homeguides.sfate.com & interiodec.about.com INVESTMENT urr walnut furniture has been admired for centuries, thanks to its rich, intricately Bfigured pattern. These are created by irregular growths on the trunk or branches that furniture they are cut from. This growth forms only a small part of the tree, therefore only a specific part of the tree can be used in the creation of burr pieces. This ensures that each burr veneer is highly valuable, desirable and absolutely unique.

Due to the limited size of each burr, the real skill is in matching individual pieces together to make them suitable for larger furniture items. This naturally lends an air of exclusivity to the material, with antique pieces fetching huge price tags. In 2010, the Antiques Trade Gazette reported that a burr walnut writing desk was sold at auction, commanding a final, incredible bid of £80,000, marking a record for that day.

The varieties of Walnut wood have been used in furniture making for many centuries. Walnut veneer was highly priced, with the cost reflecting the ‘fanciness’ of the veneer – the more decorative, then the more expensive and desirable. Figured Small Antique Victorian Burr Walnut Credenza / Sideboard Walnut and Burr Walnut (sometimes referred to as Burl Walnut) were considered as the most attractive varieties of Walnut. Burr Walnut veneer was taken from the specific part of the tree where ‘growths’ sprouting smaller branches and/ or roots would occur. As these ‘growth’ areas were limited in both occurrence and size, larger veneers were hard to source and often on bigger furniture (tables, desks, bureaus, cabinets etc), these veneers would have to be carefully joined by matching up the pieces or blending them together.

Whilst burr wood has always been popular, the style enjoyed something of a renaissance in the glory days of the Art Deco period. From the 1930s to the 1950s, famous furniture makers, Harry and Lou Epstein experimented with burr

maple, sycamore and walnut to create their A Victorian burr walnut and marquetry oval breakfast table signature custom-made pieces of furniture, de- sired by collectors the world over. Nowadays, a beautifully finished piece of burr veneer is as contemporary as it was back then. for them to produce the wonderful pieces that pieces such as triple wardrobes as the wonder- can be seen for sale today. ful graining would make it a statement piece and Antique Walnut furniture comes in two it would stand out from the plainer woods. The forms, either plain or Burr grain. Some Walnut furniture from early periods can include Edwardians loved to use this wood as it could very early Queen Ann pieces were seen in this low boys, chest on chests and chest on stands. be finished from a nice mellow sheen to a high timber but it was mainly used in Victorian and These would have been made for very rich gloss French polish and this suited the many dif- Edwardian pieces of cabinet making. Walnut is homes and this is why they can be seen today ferent styled produced from that period. a durable hard wood and was very popular in with high price tags, but they can make a super the Arts and Crafts movement as cabinet makers investment and they are so rare to find. The Antique walnut furniture for sale can be been realized that its versatility would make it easier Victorians loved to use burr grains on large in many forms but as it is such a good quality

46 FEATURE Issue 28 timber, it has lasted over one hundred years the older the piece the less likely there will be and will last many hundreds more if cared for any man-made wood in it. You get pure walnut correctly. when you buy antique walnut furniture.

Hardwoods each have their own advantages. Antique walnut furniture is Some are more durable and some with a higher both functional and amount of natural beauty. The most durable hardwood is maple, but it doesn’t look very beautiful good. As far as beauty the most popular is either cherry or oak. These are still fairly durable. An axiom with regard to an object of artistic value is that it should possess quality. This axiom is applicable to all forms of artistic expression. The best choice of all of the hardwoods is In painting and in sculpture the quality lies in the antique walnut furniture. Walnut is quite durable technique of the artist. In these two branches of for many applications from tables to cabinets. In the arts, quality is evinced far more subtly than addition, it can be finished beautifully to make it in a craft such as furniture making, where it is far one of the prettiest kinds of wood. The prettiest more tangible and explicit. kind of inlay you can find is called a walnut burl. This is the part of the tree where the branch A George II walnut dressing table or lowboy. circa 1730. meets the trunk, which is then taken and sliced Even so, there are many collectors and people thin to show the grain. It looks like a sort of swirl interested in furniture to whom the factor of qual- in the wood, which then is inlayed into the top of ity means nothing at all. There are others who a fine dining table giving it a high quality look us- possess what amounts to an instinctive power ing all natural materials. Now that you have the of discerning what is good, and, having conse- information you need to know about high quality quently a genuine appreciation of old furniture, furniture all you need is to go out there and find prefer a good piece to a mediocre one. They that antique walnut furniture that fits your style. sense the quality in it, although they may not be able to define or explain it. Features of Walnut A piece of furniture can have aesthetic merit without quality ; conversely, a piece can have quality Sideboards without aesthetic merit. The reason for this is that Walnut sideboards are durable and have quality of material and workmanship—as regards a beautiful finish. The grain of the wood is furniture—are subordinate to the all-important generally straight, although it can become wavy factor of design. A piece may still possess an towards the roots of the tree. artistic significance when it is of good design, even if the quality of the material from which it is made, and the workmanship displayed in its Colours of Walnut Walnut can vary in colour, from light to dark construction are inferior. brown. The middle of the walnut tree produces a darker wood, while the outer layers of the When shopping for wood furniture, the process tree, just below the bark, produce a lighter can be overwhelming. There are so many ques- wood. The outer layer is called sapwood and tions. Just as you answer one question, you can the inner layer is called heartwood. Walnut think of 10 others. There are options from “hip sapwood can be 3 inches wide and has and modern” all the way across to traditional a creamy white hue. Walnut heartwood is and ornate, the options seem endless. A German Baroque walnut and burr walnut bureau cabinet probably chocolate brown. Dresden, second quarter 18th century In addition to styles, there are material options to consider, which would include whether to Walnut Sideboard Grain go with man-made materials such as veneered When searching for a walnut sideboard, buyers furniture or natural woods such as walnut. With should consider the grain of the wood. Walnut all these choices, and all these things to know should have a straight grain, which can be fur- before you go from store to store searching for ther accentuated with a clear coat of urethane. the perfect piece, it’s key to know how to spot However, a stained finish may make the grain quality antique furniture. less noticeable. This may be preferred if the walnut has a wavy grain or burrs, which are With a few exceptions, getting antique imperfections in the wood. Burrs may also be walnut furniture is the best choice for covered with a walnut veneer. any budget. It lasts the longest of any material you will ever find. Advantages of Walnut The first big advantage in antique walnut furniture Walnut is a strong, hard, and durable wood. is its proven durability. If antique furniture was Walnut carves well because it has fine grains. going to fall apart under regular use then that This allows for beautiful and intricately designed would have already happened. The second ad- sideboards. Walnut is also resistant to warping vantage is what is called weathering, meaning and shrinking, holding its shape well under a that the furniture has had a chance to go through variety of circumstances. It is also resistant to several seasonal changes. That means that the moisture. Walnut is able to take different types of antique walnut furniture you buy has expanded finishes and stains well, making it versatile for use A Fine Victorian Burr Walnut Davenport and contracted and survived with no splits or in furniture design. If properly cared for, walnut cracks formed because of inferior wood. Finally sideboards can last a lifetime.

47 Issue 28 FEATURE Burr Walnut Sideboards

Burr walnut is a unique type of walnut wood that has distinct patterns and designs. The burrs in the wood create distinguishing characteristics that make it highly sought after. This type of wood is typically used to make ornamental furniture so that its distinct grains and finishes can be highlighted. Sideboards crafted out of this wood are often more expensive in comparison to similar products of a different type of walnut. Burr walnut is known not only for its beauty, but for its durability. The exclusivity and cost of burr walnut means that it is common to see side tables made mostly of common woods with accents of burr walnut. A George II walnut dressing table or lowboy. circa 1730. Solid Walnut vs. Walnut Veneers

Contemporary sideboards are often made with walnut veneers rather than solid walnut because of the high price associated with solid walnut. Although some may consider walnut veneers less desirable than solid walnut, this is not always the case. Both are attractive and each have their own benefits. Often it is quite difficult to tell the difference between the two.

Solid Walnut Sideboards

Solid walnut sideboards are made of 100 percent hardwood. The grain of this wood is typically visible and the sideboard has a heavier feel to it. Solid walnut is often preferred for its stability, extreme durability, and high quality. It can also be sanded, stained, or refinished in the event of damage, or to acquire a new look. Burr Walnit kidney desk Walnut Veneer Sideboards Types of Walnut walnut, is often used in the construction of sideboards and has a light brown appearance with Walnut veneer sideboards have a thin layer of There are various types of walnut wood, each irregular black veins. walnut applied in a sheet on top of plywood, differing in their characteristics. Choosing the chipboard, or another type of less expensive ma- type that best suits a buyer’s needs is often a terial. This makes the sideboard lighter, while al- matter of personal taste and what fits best with Black Walnut lowing the top to be uniquely designed. Walnut the style of the room or hallway. veneer sideboards are also more environmen- Black walnut is characterised by its hardness, tally friendly and often blend several types of extreme strength, and variety of grain. The wood within the unit. Using walnut veneers can English Walnut wood does not bruise, warp, or scratch easily. also help to prevent warping of the sideboard The figure and colouring of the wood, as often associated with changes in humidity. The heartwood of English walnut ranges in well as the open grain and fine texture, are colour from a lighter pale brown to a dark attractive qualities that make black walnut a chocolate brown with darker brown streaks. popular choice for sideboards. The heartwood Conclusion It can also take on a grey, purple, or reddish is a dark, tawny brown, while the sapwood tinge. English walnut sapwood is nearly white. When buying a walnut piece of furniture, is a very light, greyish white. When the wood It has a medium texture and medium size pores, consider the area that it will sit in, the existing which often require filling to give the sideboard is damaged, the defect is not as apparent style of the hallway, dining room, living room or a smooth finish. English walnut is moderately because of the darkness of the wood and its kitchen, as well as the design and cost of the durable and resists decay to some degree. The dense texture. Black walnut is primarily used to piece of furniture. You might also consider the English walnut grain is usually straight, but it can make veneer because it is not widely available. use - whether it will be for display purposes only also have an irregular grain pattern such, as The husk of black walnut can be used to make or if it will be a practical piece storing porcelain, curly or burr. Circassian walnut, a type of English dye and wood stain. books or other items of value.

48 14 Liebenberg Street, Alrode, Gauteng, South Africa ValidtradeHenika 082-744-4449 Antiques www.validtradeantiques.co.za or email: [email protected]

Abobe: Regency style walnut server

Above: Oak Dauphine writing desk

Above: Jester cabinet with Above: Henry II and Renaissance server Below: Very rare Renaissance desk signed brass panels

We also offer a full restoration service. Contact David Gadd on 078 839 0859 or email: [email protected] Issue 28 FEATURE MASTER CRAFTED COINS he South African Mint presents the latest and international collectors and has won numer- Scientific and Cultural Organization (UNESCO) Tin everlasting value. The 2015 coin range ous global awards. The ‘Nocturnal Hunters’ launched the Man and the Biosphere Pro- features the return of classics such as the Kruger- range was introduced in 2014. The first predator gramme to promote ecosystem conservation and rand and new editions that showcase the history, to feature on the coins was the leopard; this the sustainable use of natural resources. South diversity and splendour of our land. year it is the black-backed jackal’s turn. The four Africa participates in this initiative and has six denominations – the R100 (1oz), R50 (1/2oz), biosphere reserves. The 2015 Biosphere range OUR MOST RECENT EDITIONS ARE R20 (1/4oz) and R10 (1/10oz) coins – all de- consists of two R2 (1/4oz) pure-gold coins and REPRESENTED IN ALL THEIR SHINING pict the versatile hunter and true African survivor two R2 sterling-silver coins, each featuring differ- GLORY IN THIS YEAR’S RANGE FROM THE in different manners. ent aspects of the Kogelberg Biosphere Reserve. EVER-POPULAR PROTEA AND NATURA SE- RIES, TO THE THE BIOSPHERE SERIES AND STERLING-SILVER COLLECTIONS.

ISN’T IT TIME YOU ADDED SILVER SERIES

SA’s Marine Protected Areas: Agulhas biore- A NEWTICKEY AND COIN R2 PROTEA SERIES gion. Keeping with the theme of South African TOCROWN YOUR COLLECTION SERIES nature, our Prestige 4-coin silver series pays Our highly collectable 2015 coin range representing the inspiring history, The Life of a Legend - Nelson Mandela: Arrival tribute to the country’s diverse marine protected Trainsdiversity of South and splendour Africa: of ourSteam country, TrainsOur is now available. Tickey in Johannesburg. areas (MPAs). These are a network of areas and Crown combination set completes the 2015 The series is a tribute to The Life of a Legend: established to conserve South Africa’s offshore coin range. The R2 Crown and 2½c Tickey Nelson Mandela. Introduced in 2013, this biodiversity and ensure the sustainablePROTEA use of SERIESsterling-silver coinTICKEY series was AND introduced R2 inTHE 1997 NATURA SERIES series takes you on the fascinating and inspiring marine resources. This year is this series’The Lifethird of a Legend CROWN SERIES Nocturnal Hunters: - Nelson Mandela:and the current Trainstheme of isSouth ‘Trains Africa: of South Africa’The Black Backed Jackal Arrival in Johannesburg journey of Mr Mandela’s life, with a different year, and the MPAs in the Agulhas bioregion with the 2015 coinsSteam featuring Trains steam-powered chapter portrayed annually on the three coins. are represented through a series of breath-taking locomotives. The history of trains echoes the The 2015 Protea range symbolises Nelson wildlife scenes. history of the ‘opening up’ of South Africa. Mandela’s personal growth and transformation The first steam-powered locomotive track was from an inexperienced youth to a young man built between Durban and Harbour Point. The whose evolving views, beliefs and character official opening took place on 26 June 1860, would eventually lead him to the presidency of a with the inaugural steam train journey taking five democratic South Africa. minutes to cover the modest 3,2km distance. This (1 oz) 24 CARAT GOLDcollection pays tributeR2 STERLING to this SILVER exciting time in the(1/10 oz) 24 CARAT GOLD OBVERSE REVERSE OBVERSE evolution of South African transportation.

From iconic leaders to nature, our award-winning SILVER SERIES UNESCO MAN AND SA’scoins Marine are Protected valuable Areas: masterpieces which represent Agulhas bioregion THE BIOSPHERE the very best that South AfricaKogelberg has to Biosphere offer. Reserve Visit the SA Mint stand at the National Antiques Fair UNESCO MAN AND THE 24-26 July 2015 BIOSPHERE 50c STERLING SILVER (1/4 oz) 24 CARAT GOLD REVERSE Sandton OBVERSE THE NATURA SERIES Convention Kogelberg Biosphere Reserve. In this series, we Centre, 10am - 6pm daily pay tribute to humankind’s relationship with na- Nocturnal Hunters: The Black Backed Jackal ture. Over the past half-century, humankind has Since its launch in 1994, this pure-gold coin become more conscious of how it interacts with series has become a firm favourite among local nature. In 1971, the United Nations Educational,

For more information, visit samint.co.za Numismatics sales Tel: (012) 677 2777 Email: [email protected] 50 COLLECTING Issue 28 Successful Collecting – An Art Form “The true collector is an artist, squared. He chooses paintings and hangs them on the wall. In other words, he paints himself a collection,” Marcel Duchamp.

use this data to inform your future decisions and trade in the work of which artists? Which auction general collecting approach and strategy. Once houses are most successful with which type of art individual artworks are identified, the collection and which artists? Which dealers handle which should be assembled in a way that contributes artist’s work? A good collector knows everyone to our greater understanding of the arts or the who handles the art that they collect. Learn to world in general. do comparison-shopping and develop market Jacob Hendrik PIERNEEF savvy. Know who stocks what and at what price An Extensive View of Farmlands The starting point for any collector is to deter- level they usually trade. Be in tune with the latest signed and dated 1926 mine what art you like most. A very common news and developments. If you see something oil on canvas 90 by 120cm phrase amongst novice collectors is: “I don’t you like, buy it right away. Learn to act quickly Sold 11 936 400 - World record for the artist know much about art, but I know what I like”, and use your own judgment so that you can ac- which is usually followed up by the qualification: quire the best art when it comes up for sale, you The process of assimilating a quality collection “I buy what I like”. However, as you develop don’t always get another opportunity and the of art is more than simply acquiring pretty things as a collector, the reasons why you buy what best art does not come up for sale very often. – it speaks of a desire to support the arts. Art you buy, and why you like what you like, should and objects are collected for various reasons – become increasingly complex, conscious and Be true to your tastes and buy what others are to display taste and dominance, to show how sophisticated. In a superior collection, as in a su- not buying. Acknowledging that you like a cer- a person can spare resources for non-utilitarian perior artwork, everything is intentional and has tain type of art, regardless of what the current things, it provides intellectual fulfillment and con- a specific place. Nothing is random or arbitrary. popular choice is or what you think you are sup- stant learning. Through the process of collecting, A good collector knows how everything in their posed to like, will allow you to develop a unique the concomitant information and knowledge it collection fits together and why it fits together. collection. An old truism in collecting is: buy with provides resonates with our innate human cu- your eyes, not your ears. Collectors who are too riosity. Collections allow their owners to relive A collector benefits immensely from being an in- consumed with the ‘investment potential’ of their aspects of their childhood, or connect them to formed buyer and the education process is con- art often make this mistake – being too attentive historical epochs with which they feel an at- tinuous. The more one reads, speaks to profes- to what others say results in collections that are tachment and/or keep the past present. Our sionals in the industry and engages with the arts repetitive and boring. ancient ancestors, those who managed to ac- as a whole, the more the ability to identify the cumulate scarce objects would probably have great art from not-so-great art is honed. If collect- Another feature of good collecting is prov- had a wealth advantage and consequently may ing the work of a particular artist, learn to iden- enance and documentation. Provenance is the have been more prone to survive long enough to tify strong examples from weaker ones and learn history of ownership of a particular work – how bear offspring. Even today, wealth correlates to what constitutes the best examples, and why. If the current owners came to possess an artwork longer life expectancy. collecting the work of an era or movement, learn and the path that got it to its current destination. to distinguish the more important and influential Good documentation and relevant information A ‘collection’ is not simply a group of art works figures from the less so, and understand which is also important. Imagine two similar paintings that have been assimilated together. Rather, for aspect of their oeuvre is the most relevant to your by Irma Stern – both painted in the forties, both a collection to be successful, it requires a thread collection. Depending on your budget, always portraits of attractive African women possibly of continuity that links the works and speaks try and acquire the best example of an artist’s of bigger things holistically than the individual work from the best artist that you can afford. painted on one of her trips in central or eastern works would in isolation. Rather than buy a second rate work from a top Africa. The first work has no known documen- tier artist, buy an important work by a less-expen- tation, while the second has a descriptive title; The process of assimilating a successful or mean- sive artist. From an investment point of view it is the name, location and tribe of the second sitter ingful collection is two pronged: the first requires invariably the best examples of any artist’s work is known; the sitter’s social standing is recorded the ability to evaluate the quality and suitability that will be the most vied for and consequently (understandably, a portrait of a Watussi queen of a particular piece of art. This presupposes re- show the most dramatic increase in value. Alter- is more desirable than a portrait of an unknown search, insight, the refinement of an ‘eye’ and a natively, find an advisor who is well-informed to central African farm worker); and in the artist’s di- general level of knowledge that allows one to assist you in the decision making process. Buy- ary the specific painting is mentioned. The pres- understand a work within its greater historical, ing art ignorantly will result in poor acquisitions ence of these details would considerably benefit social, economic and political context. The sec- and money wasted. the value and desirability of the latter painting. ond is to assess these various factors’ suitability as an addition to the collection to form a mean- Avoid confining yourself to the same galleries Finally, ensure that you look after your art well. ingful grouping that transcends the physical limi- and museums. Try and see the broadest selec- Keep it away from excessive moisture, direct tations of the individual pieces that comprise the tion of art from the widest array of places – go sunlight, sharp objects, staining substances etc. collection. to commercial galleries, public museums, auc- Ensure that you have your art regularly inspected tion houses, try and see private, public and cor- by a conservator to ensure that any age-related Having an ‘eye’ implies the ability to identify porate collections, try and see as much art as damage is monitored and periodically con- good quality art that captures the zeitgeist of the possible. This will broaden your knowledge and served, especially if you live in a particularly moment to which it relates. For a beginner col- your tastes and allow you to be a more discern- inclement climate. lector, this can be improved by observing which ing buyer. art really attracts you and what you naturally Good luck with your collection! migrate towards. Be conscious and cognitive of It is as important to be informed about the art Written by Ruarc Peffers your own reaction to various works and try to and artists you collect as it is to know the market Senior Art Specialist and Auctioneer, understand why you made those choices. Then place in which you collect them. Which galleries Strauss & Co 51 ISN’T IT TIME YOU ADDED A NEW COIN TO YOUR COLLECTION

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I’m the pack of text that sat on a marble mantelpiece under dazzling PREMIER chandeliers as glasses tinkled and lithe limbs pirouetted across polished ﬂ oors. I’m the facing slip that post ofﬁ cer O.S. Woody held in panicky, selection of perspiring hands, his mind racing and his heart pounding, as the Titanic dropped deeper into the deep blue sea. I’m one of the few things found accredited dry in his drenched trench coat, and one of the few things his family had Antique, Art & to hold onto as his body descended into the earthy earth. I’m the discreet document that witnessed Mrs. Woody’s tumultuous affair, and later sat in a Design dealers neat pile while the auctioneer brought down his hammer with fervent force. I’ve sailed the seven seas, experienced subzero temperatures and lived to tell the tale. For more info visit What have you done lately? www.saada.co.za Issue 28 FEATURE JOAN RIVERS

54 FEATURE Issue 28

source: www.hollywoodreporter.com, mirro.co.uk, today.com, harpersbazaar.com, independent.co.uk & google

55 Issue 28 FEATURE Joan Rivers’ Gilded East Side Penthouse

Rivers was known around the world for her tart tongue, but there was one place she did not allow funny business: her condo board at 1 East 62nd Street in New York.

Brooklyn born, Joan Rivers loved her gilded apartment—she described the decor as Louis XIV its own south-facing terrace with views of Central meets Fred and Ginger. She bought the property, Park. Staff quarters can be accessed from this originally built in 1903, in 1988 and carried out floor, which has a separate staircase leading to an exhaustive renovation, determined to ensure the kitchen. many of its original period details were retained. The comedienne described the New York apart- Joan Rivers’ apartment is without a doubt ment as somewhere ‘Marie Antoinette would the hottest celebrity real estate in New have lived’ York. And as expected of this comedy gem, every inch The 5 100sq triplex penthouse is held up by of her stunning home is covered with index cards pillars, floor to ceiling windows and is dripping with jokes spanning her entire career. with chandeliers, marble statues , fresh cut flowers and antiques. It features four bedrooms, five Rivers was a celebrated hostess who loved to fireplaces, and opulent things like gilded antique throw lavish parties and dinners at the apartment, boisserie paneling and columns. She spent her which has 23ft high ceilings. Her guests report- days surrounded by floor to ceiling windows edly included Nancy Reagan, Steve Forbes and and gold plated walls. Yes you read that right Martha Stewart. Ms Rivers’ Thansksgiving Day - gold walls. The limestone mansion was built parties were especially famous. in 1910 for society figure John R Drexel and his socialite wife. After her death, the condo was transferred to her daughter Melissa, who has now put it back on One enters from a residence exclusive elevator the market for $28 million. landing, which opens into one of the grandest rooms in Manhattan. Fact File In the foyer, gold pillars mark the entrance to • Rivers was born on June 8, 1933 in Brook- a lavish living room filled with Georgian-style lyn, New York. furniture, gilded mirrors and a piano, while the dining room is covered in plush velvet and pink • Her full name was Joan Alexandra Molinsk. accents. The master bedroom features a lacy four-poster bed and antique details, while a • She was raised in Brooklyn, New York, luxurious bathroom includes a sunken bathtub and her family later moved to Larchmont, in and lightbulb-lined mirrors reminiscent of Old Westchester County, New York. Hollywood dressing rooms • Joan attended Connecticut College between 1950 and 1952 and gradu- The home’s centerpiece is a ballroom and ated from Barnard College in 1954 with a adjoining music room with 23’ ceilings, gilded Bachelor of Arts degree in English literature antique boisserie paneling and columns and and anthropology. two fireplaces -capacious spaces that allow for entertaining on a grand scale. • She had a series of odd jobs which included working as a tour guide at Adjacent to the music room is a dining room that Rockefeller Center, a writer/proofreader allows for more intimate gatherings -- its three at an advertising agency and as a fashion French doors opening to the south-facing terrace, consultant at Bond Clothing Stores. allowing for al fresco dining. The beautifully ap- pointed wood-paneled library has a fireplace • Her agent Tony Rivers advised her to and faces south and west with views of Central change her name, so she chose Joan Riv- Park, the Manhattan Skyline. 2 bedroom, two- ers as her stage name. bath guest quarters has its own large living room • Rivers worked as a fashion coordinator for with a fireplace and an eat-in kitchen. Bond Clothing Store and as a publicist for Lord and Taylor. The second floor, with a mezzanine that over- looks the music room and ballroom, leads to the • Joan Rivers received her Star on the Hol- master suite, which has French doors opening to lywood Walk of Fame in 1989.

56 FEATURE Issue 28

• Rivers’ first marriage was in 1955 to James getting ready to sell a collection of objects Forbes told me he had been the underbidder.’’ Sanger, the son of a Bond Clothing Stores in 2001. merchandise manager. The marriage was Before the auction Ms. Rivers said this was the annulled on the basis that Sanger did not • She has a priceless collection of Faberge first time she was selling her Fabergé objects. eggs (most of them given to her by her late want children and had not informed Rivers ‘’I want to concentrate on Fabergé jewellery hubby Edgar) which is pretty impressive before the wedding. now,’’ she said. ‘’That’s my passion. It inspires my since few originals exist. She also hawked Faberge-style eggs (and pretty nifty ones) jewellery line.’’ • During the late 1950s, Rivers appeared on TV. in a short-run play, Driftwood, playing a lesbian with a crush on a character played • At Sotheby’s the Rivers collection includes Her Favorite Things by a then-unknown Barbara Streisand. The a gold and enamel cigarette case with play ran for six weeks. Barbara and Joan pink rosettes, a carved nephrite gold and The sharp-tongued comedienne shared some shared a kissed for the production. enamel bonbonnière, whose lid has Cupid of her favorite possessions, including an Al riding an eagle on a cloud, and several Hirschfeld drawing, her two dogs and her first • Rivers is infamous for the amount of plastic elephants in bowenite, obsidian and aven- piece of Fabergé – a picture frame she bought surgery she had done. Her first procedure turine. Ms. Rivers said she acquired her in England. was an eye lift which she did in 1965 in a Fabergés from Wartski in London, À la bid to further her career. Vieille Russie in Manhattan and at auction. “ I spent my whole life collecting, hoping that one day I would have one—and then I did. It • Off screen, one of Rivers’ hobbies is ‘’I’m very good friends with the Forbeses,’’ was filled with the things I loved,” she told the collecting Fabergé eggs. She collected Ms. Rivers said, ‘’but that doesn’t stop me from New York Times during a profile of the property. Fabergé eggs and had a fair amount of competing with them. Once at auction, after I The sale featured an array of decadent decor Fabergé elephants. “My husband just had bought a Fabergé frame that the queen from the 19th and 20th centuries, including a loved elephants,” she said when she was of Denmark had given to Queen Victoria, Kip cobalt blue chandelier and a pair of Chinese cloisonne enamel vases, which hammered for over $32,000.

But what few people knew about Rivers was that in addition to her arts patronage, she was also a devoted Sunday painter, with a studio filled with oil paintings in her New York City apartment.

In her book, Rivers joked that dying of natural causes was boring. “It’s the grand finale, act three, the eleven o’clock number — make it count. If you’re going to die, die interesting! Is there anything worse than a boring death? I think not.”

She surely made it count – in more ways than one!

57 Issue 28 COLLECTING

LUSCIOUSsource: www.apartmenttherapy.com, LUCITE elledecor.com, google, millersguide, google & pinterest.com

f the many passing fancies exhibited various designs, from jewellery to handbags to were not the only ones who found the material at the 1939 World’s Fair, one has furniture. One of the earliest and most famous simultaneously flexible, durable and chic. Oproven its staying power: the acrylic suites of Lucite furniture was commissioned for resin known by the trade names Lucite and Helena Rubinstein’s New York City apartment Lucite is a material often associated with Plexiglas. (images above and right). The suite was totally either Hollywood Regency glamor or Disco-era, unique and almost comically glamorous — no stripper-shoe ‘glam,’ but 80 years after it was first These materials were first developed in the early surprise that it was designed by the artist Ladislas 1930s, by DuPont (Lucite) and Rohm & Haas Medgyes, who was not only an interior decora- created, it is still a versatile and beloved material (Plexiglas). Crystal clear, easily shaped and tor but also a stage designer who had started in interiors. strong. Today as it did in its heyday, Lucite adds a school of stagecraft in Paris that helped pro- modern chic to any room. mote a Surrealist aesthetic. Rubinstein’s acrylic furniture was manufactured by Rohm and Haas (sometimes erroneously credited as “Roman REVIVAL USES Haas,” but the company was actually named for a Mr. Rohm and Mr. Haas, both of whom were • Designer Alexis Bittar set a Lucite come- Lucite jewellery, purses and shoes add a • coincidentally named Otto) around 1939-1940. back in motion when he began selling crystalline look to fashion ensembles. hand-carved Lucite jewellery in New York • Lucite furniture and accents, from chairs During World War II, Lucite was in common to coffee tables to chess sets, are sold as in the early 1990s. While this revival was use for military applications, including airplane home décor items. In addition to appear- not instant, other designers eventually took windshields, bomber noses and submarine ing in furniture and accessories note in a big way. periscopes. After all, it was highly durable, low • Lucite has many industrial uses, including in density, and resistant to wind, water and UV • Lucite made a strong showing in the vehicle windshields and automobile light spring/summer 2010 collections of such covers. rays, which are definitely the qualities you look design powerhouses as Michael Kors and • A Lucite piece can be a whimsical accent for when you’re building a military aircraft. in a room, adding a hint of luminescence. Prada. • And since it’s nearly invisible, it doesn’t take After the war, manufacturers needed to find non- up visual space. military uses for Lucite, so they licensed it widely. Manufacturers like Kartell have kept acrylic It became a favorite material for handbags furniture classy through the decades. The recent The joints and seams almost disappear in a well- and jewellery, and by the 1960s it was often Lucite renaissance can probably be traced back made piece, whether it’s a clean-lined design or found in furniture, as well. Karl Springer, Vladimir to 2002, when Philippe Starck introduced his a new take on an antique style. Kagan, Charles Hollis Jones (image above) and Gaetano Sciolari (image below) are just some Louis Ghost Chair, produced by Kartell. Today, Lucite was commercially available by 1937, of the designers who are well-known for their Lucite is used in interiors of varied styles, its light and the material was soon being used in work in Lucite beginning in the ‘60s, but they touch belying its military past. 58 COLLECTING Issue 28

The popularity of vintage Lucite has shown that this plastic of the past and present has timeless appeal.

CARING FOR YOUR LUCITE PIECES

Caring for acrylic is harder than you might think. According to designer Patricia Gray: “Clean lucite with hot soapy water using a soft cloth. The type of polishing cloth you use will make a difference. The ideal cloth is nonabrasive, absorbent, and lint free. To eliminate any chance distinctly different. Lucite does not shatter, large numbers of collectors. Vintage Lucite of scratching lucite , use only disposable cloths. there is no green edge, and it is much furniture enthusiasts admire its clear and Reusable cloths can retain abrasive particles, clearer than glass, providing a clean look light appearance, which lends a polished but you won’t know for sure until the damage that many find desirable. Jewellery label and clean look to an interior, a quality that is done. Do not use sprays such as Windex or Circa Sixty Three compares the difference is useful in smaller rooms where the illusion Fantastic on lucite.” between Lucite and standard plastic to of space is a priority. the difference between glass and crystal, noting Lucite’s more durable nature over • Vintage Lucite jewellery can be either clear plastic, as well as its absence of seams or tinted. Many Lucite jewellery items of the FEATURES due to the fact that it’s carved rather than molded. past feature bright colors and eye-catching • Naturally clear and transparent, Lucite can stripes. Sturdy and glamorous, clear Lucite be tinted and made opaque when joined • Appeal Vintage Lucite pieces evoke an pieces have a strong yet neutral appear- with other materials. While Lucite boasts era of the past and show a level of detail ance, giving them the ability to mesh with a the icy look of glass, the two materials are and craftsmanship that draws increasingly variety of ensembles.

59 ales Bros have been selling Antiques, premier auctions can still be sold on our weekly ture of our auctions, it is not uncommon to fi nd Fine Art and Collectables in Durban general auctions, which attract their own mass many fascinating lots on our auctions, not often for over a century now and continue following of buyers. We are the preferred choice found in conventional shops. We have a mailing to grow as a source of knowledge of disposal for the majority of executors as our and sms notifi cation list, which can be accessed andD experience in an ever evolving industry. services cater for all stock categories (apart from online or simply email your details with your cell Having gone from selling elusive bits and bobs livestock) and as such handle all matters profes- number and name in the heading along with the cleared from deceased estates and house clear- sionally and effi ciently. We have been known to word Antiques to [email protected] . We ac- ances on mass weekly auctions, we now hold fi nd many “hidden treasures” in estate and house cept stock up to 10 days prior to the auction date exclusively selective Antiques, Fine Art and Col- clearances, which are promptly catalogued and which provides sellers with a quick turn-around lectables Auctions once a month, where only the entered into our monthly selected auctions. best is on offer. These auctions are attended by time and gives buyers the chance for that unique collectors and the trade from around the country Our monthly selected auctions comprise of South and quirky item to fi nd its way onto the auction. and with our online presence bids come in from African and International decorative and invest- all over the world. Stock is sent to us from all cor- ment art, porcelain and ceramics from the major Our purpose built salesroom in Riverhorse Val- ners of the country and from all levels of society; factories; crystal and clocks, Persian carpets and ley, Durban is 1 minute off the N2 highway on choice pieces are reserved for the selected auc- silver; diamonds, gold and militaria and a wide Queen Nandi Drive. View our advert for all our tions and those items not up to the standard of our variety of period antiques pieces. Due to the na- social media links and contact details.

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5 RIVERHORSE PLACE (Off Queen Nandi Drive, above eThekwini Hospital), secure parking and coffee shop 031 512 5020, [email protected] www.dalesbros.co.za, W.com/dalesbros t @dalesbros MUST VISIT Issue 28

BORN 25TH JUNE 1852, GAUDI WAS A Gothic forms, favoring pillars and buttresses over posts in Plaza Real, Barcelona. He designed SPANISH CATALAN ARCHITECT FROM the modern method of constructing buildings two models, one of which had three arms and REUS. around metal frames. the other with six. They are still standing today and many people walk past them not realising tricken with a rheumatic problem that Unfortunately Gaudi’s studies were interrupted that they are actually one of the first Gaudi made walking painful, young Antoni for a while as he had to fulfil military service. works that he created. Gaudí often missed school and had little Working as a draughtsman he finally completed S Other work started to appear and Gaudi cre- interaction with other children, but had ample his term and returned to graduate from the New time to study nature. While seeking his degree School of Architecture in 1877. ated furniture, alter pieces and even gloves for in architecture in Barcelona, Gaudí also studied the Comella firm to show at the Paris Exhibition philosophy, history, and economics. He believed He was an average student at the Escola of 1878. However, it was the friendship that he that differences in architecture were caused by Tècnica Superior d’Arquitectura in Barcelona, formed with Eusebio Guell which really took his society and politics, rather than aesthetics. supposedly his instructor signed his architecture career into another dimension as Guell was to diploma saying “Who knows if we have given commission much work for Gaudi in the following years as well as introducing him to other like Growing up in the rocky, vineyard-strewn Cata- this diploma to a nut or to a genius. Time will tell.” minded artists. lonian countryside instilled in him a profound appreciation of the natural world that would He then went on to open his office in 1878, with Gaudi’s unique approach to the Art Nouveau infuse his work. Gaudi also drew inspiration from one of his first commissions being for the lamp- movement generated some of the most creative

Antoni

GAUDISource: google, wikepedia, globetreks.com, nationalgeographic.com & theguardian.com 61 Issue 28 MUST VISIT

buildings you will see in this Spanish region La Pedrera known as Cataluña. His distinctive style is char- acterized by freedom of form, voluptuous colour Nothing about it looks assembled, or built. and texture, and organic unity. Instead it looks like Gaudí plopped it there as a huge mountain of slippery clay then dug his He was also influenced by Oriental styles, thumbs and fingers into it to make windows, nature, sculpture, and a desire to go beyond doors, balconies, and even chimneys. anything that had ever been done before. Defy- ing labels, Antoni Gaudí’s work might be This is one of Gaudí’s main residential buildings simply called, Gaudí-ism. and one of the most imaginative houses in the history of architecture. This building is more a Research suggested in 2011 that Gaudí used sculpture than a building. The façade is a varied the garden of a psychiatric hospital as a testing and harmonious mass of undulating stone that, ground for his revolutionary designs, with the along with its forged iron balconies, explores patients serving as his artisans. The grounds of the irregularities of the natural world. UNESCO the hospital at Sant Boi, south of Barcelona, recognized this building as World Heritage in are littered with Gaudí-esque constructions, the 1984. most outstanding of which is a bench similar to those in Park Guell, finished with broken tiles in a style known as trencadis that was pioneered Parc Güell by Gaudí. Parc Güell was built between 1900 and 1914 While Gaudí was part of the art nouveau and today is part of the UNESCO World movement, he was also a revolutionary structural Heritage. This is a garden complex that houses engineer. He made an upside-down model of a series of dynamically designed buildings, the Sagrada Familia to test his structural theory, including Gaudí’s house. Most buildings have which he then tested in practice when he built the “trencadis” (surfaces covered with irregular Colonia Guell. ceramic pieces) that is characteristic of Gaudí and Art Nouveau. The colonnade hall and Between 1883 and 1926 Gaudi designed the terrace with serpentine shapes are the most private residences, apartment buildings, public popular places of this park. This park is the per- parks and worship spaces with fantastical, fect place to walk quietly while enjoying nature organic lines and lavish Art Nouveau embellish- and looking at Gaudí’s artwork. ments. Palau Güell Casa Vicens This is the palace residence of the Güell family. This is Gaudí’s first important building. Built The exterior shows a sober façade that doesn’t between 1883 and 1888, Casa Vicens is an resemble other projects made by Gaudí. On the other hand, the interior and the roof make up for imaginative residential project made for a rich the lack of “Gaudiesque” elements in the façade. family that owned a ceramic factory. This is The central living room has an unusual parabolic clearly reflected in the “trencadis” façade that dome and the lounge ceiling is perforated by contains a big variety of ceramic decorations. circles that, under the daylight, give the ceiling You can also see some Islamic architecture a planetarium appearance. The roof counts with influences in its façade and in some of its rooms. chimneys and conical vents resembling fir trees.

62 MUST VISIT Issue 28

Colonia Güell Casa Calvet tion of the relationship between man, nature, and religion through its architecture and façade sculptures. Climbing one of its towers will give Gaudí designed this irregular oval church and Casa Calvet was built between 1898 and 1900 you a unique view of Barcelona. crypt in 1898 and finished its construction in for the Calvets, a family of textile industrialists. 1914. The interior of the crypt has five aisles: This is Gaudi’s most conventional work. Cascada a central one and two more at each side. The original Gaudí columns with various forms are The stone facade reflects baroque influences, Fountain at Park present inside and outside. The windows jut out along with its bay windows, sculptural decora- de la Ciutadella over the walls, and in the upper part of the door tion, and interior decorations. The shape of the a ceramic composition show the four cardinal balconies can be seen as a forerunner to shapes The Cascada was designed by Josep Fontseré virtues. The crypt is built in basaltic stone bricks used at Casa Batlló, where Gaudí turned much in 1881, specifically for the universal exhibition in with mosaics that give an archaic appearance. more to the inspiration of nature. The roof is 1888, with young Gaudí as assistant. Inspiration topped with two pediments, each supporting for the Cascada was the famous Trevi Fountain a wrought iron cross. They are surrounded The construction techniques used here laid the in Rome, Italy. It is located in Barcelona’s most by various pieces of stone ornamentation and foundation of the techniques used in La Sagrada famous park – Park de la Ciutadella. crowned with statues of San Genis and Saint Familia. Peter – Calvets saints. After his work was the subject of a Museum of Modern Art exhibition in New York in the late El Drac de Gaudí at La Sagrada Familia 1950s, Gaudi drew increased interest and his buildings became major tourist destinations. Finca Güell Barcelona is home to the majority of Gaudi’s ar- “My client is not in a hurry,” Antoni Gaudí chitectural works as well as the Gaudi Museum, Finca Güell is a big property of one of Gaudí’s used to say. The pious architect was speaking of God, explaining why the Ro- located at his private residence within the Parc biggest client, Eusebi Güell i Bacigalupi, the Güell, a municipal park he designed and built count of Güell. But what’s interesting is not so man Catholic Sagrada Família church was taking so long to complete. Nearly a century between 1900 and 1914. much the complex, is its entrance iron gate. The later it remains a work in progress—a dream of complex is composed by two buildings linked spires and ornate facades rising hundreds of feet Tragically, in June, 1926, Gaudí was run over by a common monumental cast iron gate above downtown Barcelona, drawing the eyes by a tram. Because he was poorly dressed, he adorned with Art Nouveau vegetal fantasies (and euros) of some two million visitors a year. was not recognized and taxi drivers refused to and a medallion with the “G” of Güell. The most take a “vagabond” to the hospital (they were astonishing feature is its unusual big iron dragon In 1883 Gaudí inherited the Sagrada Família later fined by the police). Gaudí died five days manufactured by the locksmith’s Vallet i Piquer. from another architect, who had laid a tradi- later, and was buried in the crypt of the building tional neo-Gothic base. Gaudí envisioned a to which he had devoted 44 years of his life, the soaring visual narrative of Christ’s life, but knew as yet unfinished Sagrada Familia. Casa Batlló that the massive project could not be completed in his lifetime. For more than 12 years prior to Casa Batlló is the result of a total restoration his death in 1926—he spent his last year living Awards: in 1904 of an old conventional house built in at the site—he rendered his plans as geometric 1900: Casa Calvet named Building of the Year three-dimensional models rather than as conven- 1877. Gaudí used for it the typical constructive by the City of Barcelona tional drawings. Though many were destroyed elements of the Modernisme (Catalan Art Nou- 1969: Casa Milà, Casa Vincens, Colegio by vandals during the Spanish Civil War, those veau) that include ceramics, stone and forged Teresiano, Parque Güell, and Sagrada models have been vital to Gaudí’s successors. iron. Even though it was highly criticized by the Familia, named Historic-Artistic Monuments of city during construction for its radical design that It is also the most famous of Gaudí’s works. National Interest broke all the bylaws of the city, in 1906 it was This church has been in construction since 1984: Casa Milà, Palau Güell, and Parque awarded by the Barcelona City Council as one 1892 and it’s not expected to be finished Güell granted World Heritage status by UN- of the three best buildings of the year. until 2030. The church presents a great depic- ESCO

63 Antiques, Art & Collectables Auctioneers. 29 Village Road, Selby, Johannesburg www.oldjw.co.za [email protected] Tel no: (011) 836 1650 Mon – Fri 08h00 – 16h00 Weekends by Appointment

Clients are welcome to bring in items they want to consign to auction to our warehouse.– Collections and valuations can be arranged

H.J. Dykman copper brandy still. SOLD R44 500.00

Dutch Colonial mahogany “Kussingkas” Original Walter Battis Mixed Media. SOLD - R42 200.00 SOLD - R37 500.00

Victorian Petra Georgian Signed Nancy Dura brooch set mahogany Daum French in gold. secretaire hallmarked silver bookcase. mounted SOLD claret jug. R3 630.00 SOLD R21 700.00 SOLD R28 100.00

Victorian signed C. B. Dale cast iron bench. Stefan Ampenberger oil on board. Vintage Ford Tractor. SOLD - R18 700.00 SOLD - R11 100.00 SOLD - R14 600.00

Old Johannesburg Warehouse (Pty) Ltd is an auctioneering company that holds regular Art, Antiques & Collectables Auctions at our venue, 29 Village Road, Selby, Johannesburg. The venue is a restored Industrial Warehouse with two large open fl oors dedicated to Auctions. Oldjw Auctions are well attended with lots of excitement on Auction days, where food & refreshments are served on our garden roof with views over the city. Secure parking is always available. Auctions are also set up to attract from young to old with something for everyone. Investment Art, Silver, Antique, Retro & Art Deco furniture, Books, Jewellery, Militaria, Vintage clothing, Antique building material, Light fi ttings and rare unusual items.

Issue 28 COLLECTING source: www.cvbmc.org, wikepedia, rlalique.com, google, Millers Guide & darkroastedblend.com

Automobilia MASCOTS

ome people go to car events and take lots automakers fitting them to their vehicles. Moreo- The best-known glass mascots were made by René of pictures of the cars on display; others ver, a healthy business was created in the supply Lalique in France, but other sellers or producers Sseem less interested in the actual cars of accessory mascots available to anyone who of glass mascots include Sabino in France, Red but contort themselves up and down, or side to wanted to add a hood ornament or car mascot Ashay in England, and Persons Majestic in the side, in order to take a picture of a car mascot. to their automobile. U.S. The latter two had their products made in But back in the 1920s and ‘30s, it was not the Czechoslovakia. The Lalique company, like Louis famous badges of these revered cars which the These objects were often intricate works of art Lejeune, is one of the few survivors from this era powerful and rich of France wanted to display, it and today are highly prized by collectors. of motoring. was the actual cars themselves! MOUNTING According to the author of A History of Cars EXAMPLES OF HOOD All mascots were mounted with Breves Gallery written for youth, the first “hood ornament” was a ORNAMENTS INCLUDE mounts of two basic sizes- larger bases to fit the sun-crested falcon (to bring good luck) mounted larger size mascots, and a smaller version to fit the on Egyptian pharaoh Tutankhamun’s chariot. • Archer on Pierce-Arrow cars smaller mascots. • Crest and Wreath on Cadillac cars A hood / bonnet ornament or car mascot • Leaping jaguar on Jaguar cars The full Breves Gallery Knightsbridge address was is a specially crafted model of something always impressed on the outside of the illuminated • Lion rampant on Peugeot cars which symbolizes a car company-like a base types. Two different mounting rings were • Ram’s head on Dodge cars and trucks badge, located on the front center portion used. Virtually all had a cut to accommodate the Rocket on Oldsmobile cars of the hood. In the early years automobiles • types of mascot that obviously were too big to had their radiator caps outside of the hood and • Spirit of Ecstasy on Rolls-Royce Motors allow a solid ring to pass over the body of the on top of the grille. The hood ornament was cars piece. To actually fit this ring, one has to prise the born as a way of decorating the cap. Hood • Three shields on Buick cars ring gently to position the ring around the base, ornaments or car mascots were popular in the • Three-pointed star surrounded by a circle then grip tightly and hopefully line up the ring 1920s, 1930s, 1940s, and 1950s with many on Mercedes-Benz cars and trucks thread to the base.

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The problem is that with the mascot being glass, The most infamous mascot is certainly the and the ring being made of brass, then nickel or Eagle’s head, only because it was often fitted to chrome plated, it is very difficult to complete this Nazi officers’ staff cars. The Greyhound is a non- operation without damaging the lip of the base, commercial model originally designed (accord- thus spoiling the piece forever. Simple red rub- ing to the Catalogue Raisonne) for presentation ber washers were provided to assist the mascot to the Prince of Wales (King Edward VIII, son to sit snugly on to the base, but over the years of King George V, was Prince of Wales from these usually perished away, and were then 1910 until 1936). The example shown in the discarded. The danger of damage is also great reference book by Felix Marcilhac is unsigned. when finally tightening the ring even when fitted The 1931 Yearbook of The Studio states that over the base- obviously when the mascot was this model was designed for a younger brother used on the car whilst driving on the road, the of the Prince of Wales, Prince George (Albert), slightest pressure on an over tightened or slack who later became King George VI and father to mount would result in a serious base fracture. the current Queen Elizabeth II. It is the rarest of Add to this the obvious problems associated all Lalique mascots. At least two examples exist, from heat generated from the inside bulb, and one signed example is badly damaged on the one can see why so few pieces actually used on base and foot. cars whilst driving have survived intact. The best design for illumination is the Large There is now a strong collectors market for Dragonfly, the veining of the wings standing out hood ornaments and car mascots. Sculp- tors such as Bazin, Paillet, Sykes, Renevey, particularly well when used in conjunction with a and Lejeune all created finely detailed Breves mount and coloured filter. sculptures in miniature. For lovers of the female form two fine models were designed, Chrysis and Vitesse. Vitesse is MASCOTS OF a sensuous nude leaning forward in the wind, PARTICULAR NOTE symbolising speed, coming to best effect in blue opalescent glass. Chrysis is a backward leaning The first Lalique mascot was commissioned by nude designed in sensuous abandon, her fingers the Citroen company in 1925, the ‘5 horses’, for entwined in her streaming hair. the model 5CV. There followed 27 more depict- ing horses’ heads, various bird and animal forms, Some of the mascots were used more as nude figures, and even a shooting star. paperweights. The Small Cock is actually far more suited for this purpose as the claws extend The mascots were made mostly in clear glass, over the base, thus making it very difficult to fit to satin finish, frosted finish, varying degrees of tint- the Breves mounts. Three pieces were produced ing of amethyst and pink hues, and in a variety of in a flat disc plane, and are very different from colours: purple, blue, amber, brown topaz, grey, the rest of the range: The St. Christopher, of and also in opalescent glass ranging from deep course, the patron saint of travellers and pos- blue to milky white opalescence. Sometimes sibly the commonest piece; the Archer; and the a yellow opalescence was used with even Greyhound. All three of these have the smaller a ruby topaz central core being used on the base size, and would use a split collar mount. Small Cock. Sometimes staining was added to enhance the line of the piece. René Lalique used much insight in producing such a wide range to choose from. One can Only one mascot was produced in two versions see that the Boar was obviously meant for the - the Horse’s head, Longchamps - unfortunately hunting fraternity. The Fish for the fishermen, and this can cause much confusion as they are actu- so on, but some were very odd choices, like the ally quite different, but only one was shown in Frog; but again, the humorous and fertile mind the 1932 catalogue. The other, more angular, of René Lalique was used to continue to interest piece was produced later and probably in potential clients with very unusual adornments to smaller numbers as very few have survived. their cars.

The third horse’s head, Epsom, is one of the RARITY horse thrusting forward as if to pass some race finishing post, and obviously appealed to many The actual numbers produced are unknown, ‘gentlemen of the turf’ of the time. with, unfortunately, no records existing at the present day Lalique factory. Over the past decade, The rarest production mascot is certainly the many have turned up at auctions or in antique fox with only a few known examples surviving. shops and are now eagerly sought after by The most famous and largest is the ‘Spirit of glass and decorative art collectors world-wide, the Wind’, which epitomises Art Deco styling, plus car enthusiasts wishing to own a part of mo- and was used in the 1928 Paris Motor Salon, toring history. Often they turn up in auction from mounted on a Minerva. At 10in long it would deceased estates, having lain in dusty corners grace the bonnet of even the largest limousine in lofts or motor houses when the once proud of the day. owners no longer had need for them.

67 Issue 28 COLLECTING

Nowadays, they are very rare indeed and fewer sometimes sandblasted on to the piece. Some and fewer are turning up in auctions, as the new of the pieces have ‘LALIQUE’ moulded; the owners do not wish to discard their treasured ac- Small Dragonfly is one such example. Post-war quisitions. As the range was great in the 1930’s, Lalique car mascots were also made by the the original purchaser had a large choice, and, Lalique factory, the glass usually frosted and of course, in their day they were expensive. The ‘LALIQUE’ sandblasted onto the bases; some- more costly pieces were obviously produced in times ‘FRANCE’ was also used. The Chrysis lesser numbers, including, of course, the fox, the and Perch are very commonly found but were owl, the guinea hen, the Epsom, the comet, the really sold as paperweights and not for use on peacock’s head and the ram’s head. All others cars. In this respect, the Chrysis soon had the were bought in greater numbers with possibly mounting base made totally solid without the the falcon, boar, St. Christopher and the small need for an insert ‘ring’ in the glass; the pre-war cock being the most common. examples needed this for use in conjunction with the Breves mount.

COLOUR AND TINTING As the Lalique factory still produces seven paperweights today, which were originally made as As so few were produced in colour, the chance car mascots - Chrysis, eagle’s head, small cock, of obtaining one is very minimal and it is a boar, perch, St. Christopher, and the cock’s quest that could go on for a lifetime. Slightly head - then inexperienced novice collectors are easier to find are the tinted examples, though sometimes fooled by unscrupulous sellers into again few were very strongly tinted. Not many parting with money on modern pieces worth were made in opalescent glass, though again between 70 and 150 pounds, and available here the subject matter is the deciding factor in from high quality glass retailers. They are of present day prices. When two pieces sometimes course all marked clearly by the Crystal found in opalescent glass differ greatly, i.e. the Lalique factory ‘LALIQUE FRANCE’ in script humble fish and the stylish Vitesse, then obviously lightly etched on the bases of the pieces, and the Vitesse is the greater prize, and the value the glass is usually frosted and whiter than the considerably higher. pre-war ones. Very easy to spot after handling pre-war examples, which has a greyer effect. DAMAGE One exception is the St. Christopher made in the 1930’s in clear glass with the ‘R. LALIQUE’ As they are so beautiful and rare compared moulded signature, but still continued in produc- with today’s mass production, these mascots are tion until 1987. This was still using the same greatly sought after by fastidious collectors who moulded signature with the addition of the mod- seek only perfect examples - this is now begin- ern etched signature as well. It is now produced ning to force the rarer examples to higher levels. from a new mould in the same design but, luckily, Three factors govern their value - the rarity of the without the moulded signature - these are also actual piece, the colour or tinting factors, and, of slightly thinner than their pre-war counterparts, course, the condition. and of course made from modern crystal glass.

As the mascots were made specifically as car ornaments and not as paperweights, and were COPIES usually mounted on the radiator, many were damaged by careless owners opening their As with all successful products, it was not long bonnets without care and thus chipping the before other rival firms decided to cash in on piece. The Spirit of the Wind hair tip is espe- Lalique’s success, sometimes blatantly copying cially vulnerable in this area and its value varies his designs. In the UK. Red Ashay and Warren greatly with even the minutest chip taking many Kessler produced their own designs, some be- hundreds of pounds from its value. ing loosely based on Lalique pieces - the Red Ashay Vitesse being an obvious example. Many pieces have suffered damage in their lives and many have been ground by skillful hands In France the Sabino, Etling and Model compa- over the years, and it takes an experienced eye nies were also starting to produce glass mascots to spot this. Sometimes pieces turn up for sale in small numbers, but they were all again inferior offered as perfect by their owners, who are quite and none matched the perfection of Lalique unaware of their imperfections; it is wise to tread production techniques and design genius. Other carefully when contemplating a purchase. In variations are also sometimes encountered, with time, if you are lucky enough to handle these at some as probably as rare as some of the rarer auctions or from antique dealers, you will soon Lalique pieces themselves - there is a Horses be able to spot the vulnerable points. Usually head, Spirit of the Wind and Eagles Head that the piece most likely to have had some damage was marketed in the thirties by the ‘Persons Ma- or grinding are those pieces designed originally jestic Manufacturing Company’ from Worcester, with delicate points or thin edges. Massachusetts USA, as a direct rival to Lalique and for the US market. These mascots were SIGNATURES actually made under licence in Czechoslovakia at the time, and some examples also carry the Most mascots are clearly marked on the base ‘Made in Czechoslovakia’ sandblasted signa- with ‘R. LALIQUE’ either moulded or etched, or ture under the base. These are now collectors

68 COLLECTING Issue 28 items in their own right, and are found in highly Lions are a popular motif in judaica, often flank- Early mascots were usually made from brass, tinted yellow/green glass. They have ‘Persons ing the tablets of the Ten Commandments. bronze and alloys having come in later Majestic Company, Worcester, Massachusetts, USA’ in a raised moulded factory stamping Soon after, Lyons had automotive artist F. Gor- A good level of detail and original plating with around the top edge of the base, and have don Crosby design an official mascot, which has good patination increases desirability. a most noticeable cut out on the base section become known simply as the “leaper”. Today of the Victoire version, where the shape of the it’s the symbol of the company, gracing its cars in lower edge of the hairline is noticeably different one way or another (its profile currently adorns where it meets the neck. the rear decklid of the XF and XJ), its logo, and its buildings. FAKES Of course Jaguar was not the only company that Be aware also today of a few modern Czecho- used hood ornaments. There were Plymouths slovakian design pieces - these are being with sailing ships, Chryslers with wings, and imported into department stores world-wide and are loosely based copies of the original Lalique Packards with cormorants. Figurines like Rolls- designs. So far two types - horses heads and Royce’s Spirit of Ecstasy or Packard’s earlier Spirit of the Wind - have appeared, always Goddess of Speed were an important way of mounted on black square resin bases and establishing a brand identity. As he started to priced at around 50 pounds each. plot Lincoln’s brand, Edsel Ford decided to let Lincoln go to the dogs. Of course, even here devious dealers have removed the glass from its base, added spurious Until the mid 1920s, Lincoln offered a variety of Lalique signatures and tried to pass them off as radiator caps/hood ornaments. It was a time genuine. Luckily the Spirit of the Wind lower hair when car owners would also fit their own line curve differs totally from the Lalique original, and of course the finish is abysmal, cheaply mascots, like those made of glass by Lalique. mass produced, badly moulded and finished As Edsel Ford got more involved with Lincoln, frosted modern glass. though the company continued to use Leland designs and engines into the 1930s, he wanted With items as desirable as Lalique mascots, to give the company his own stamp, so he com- there are bound to be attempts made to copy missioned Gorham silversmiths to design Lincoln his mastery of fine glass, and in 1990 saw the a greyhound hood ornament. Production orna- first; a ram’s head in a multicolour opaque glass ments were made using the lost wax method, with even an ‘R. LALIQUE’ moulded signature just as Rolls-Royce did with their mascots, cast in inserted in the glass. The designer of this piece obviously did not know how to produce an exact brass and then chrome plated. copy of Lalique’s version, so he designed his own ram, complete with similar style to the horns Edsel specifically chose a greyhound because and even encased the lower portion of the glass in his mind, and in many potential consumers’ in a metal mount. Luckily this piece has now minds, the breed stood for speed, stamina and been examined by a reputable auction house beauty. It might not have the poetic ring of and it is doubtful if similar items will ever appear. Jaguar’s “grace, pace and space”, but speed, stamina and beauty have sold a lot of cars. During the past few years, a few deep purple coloured pieces have appeared at auctions Collecting motoring memorabilia - anything from in the UK, USA and France. These appar- mascots and badges to headlights and horns - is ently started life in Australia and filtered into the French, Japanese, USA and UK trade. This odd one of the fastest growing hobbies today. Visit colour was produced by sending Cobalt 80 antique fairs, auctions & build a relationship with irradiation through authentic Lalique clear glass antique dealers to source rare pieces to start a mascots, turning them into an extremely deep collection or to add to an existing collection. purple colour. This was publicly exposed in a High Court action on 14-12-98 in London. Buy- ers should be very wary when they are offered COLLECTORS NOTES perfect purple mascots. Car mascots have become the apex of collecting, particularly in terms of desirability & price. JAGUAR The most collectables adorned car bonnets come from the 1910’s to the 1930’s. It all started with the use of a leaping cat in the 1930s, after William Lyons renamed the Most collectable mascots include: animals, Swallow Sidecar Co. to Jaguar. Some owners characters & figures, manufacturer mascots such had their own mascots made, as hood orna- as Rolls Royce’s legendary “Spirit of Ecstasy” ments became known after they stopped being and advertising mascots such as Michelin’s “Mr radiator caps. Lyons disapproved, and I can Bibendum.” see why. Appropriately aggressive, but Jaguars are known for grace and it’s not quite graceful. Lively, characteful or dramatic poses are particu- Some artists have trouble capturing the big cats. larly sough-after.

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BROOKLYN SQUARE For more information contact Clyde on 011 482 4259 | 082 883 4933 Issue 28 COLLECTING ART DECO JEWELLERY

Source: www.collectorsweekly.com, fedleighton.com, farlang.com, antique-marks.com, artdeco-jewelry.com, google & millers guide

Two of the most revered jewellery designers look of higher end pieces by using cheaper of the period were Cartier and Van Cleef and materials. Arpels, whose diamond-studded bracelets, ruby-fl ecked brooches, and sapphire earrings FINE ART DECO JEWELLERY expressed the opulence and free-spending abandon of the 1920s. Black onyx and red Fine jewellery of the era featured diamonds of coral were also popular materials, for the varying sizes and colorful gemstones. Ruby, graphic properties if not their intrinsic value. sapphire, and emerald were popular gemstones due to their vibrant and contrasting colors. Geo- Of course, Art Deco jewellery did more than metric cuts, such as emerald, Asscher, and tril- just reference geometry and machines. Many liant, were commonly used to match the angular pieces were infl uenced by trends in fi ne art, designs of Art Deco. Diamond baguettes fi lled particularly Cubism and Futurism. entire pieces of jewellery for sparkling effects. Designers also used colorful stones, such as Egyptian Revival designs are also sometimes jade, pearl, onyx, coral, and carnelian. White lumped into the sphere of Art Deco, thanks to metals became more popular for their futuristic he Art Deco period is one of the most their repeated and radiating patterns in colored appeal, so platinum and white gold jewellery is Tpopular and enduring design periods enamels as well as precious metals and stones. prevalent in Art Deco styles. in jewellery’s history. The style refl ected And Art Deco jewellery was produced in gold, the fl amboyant and playful attitudes of perhaps nowhere better than in Pforzheim, Ger- COSTUME ART DECO JEWELLERY the era and gave birth to forms and motifs many, where goldsmiths such as Emil Lettre and that continue to live on today. Theodor Wende made pendants, brooches, Designers incorporated fake gemstones, faux and other forms in graphic, geometric designs, stones, and cheaper materials in costume jewel- Some consumers seek out authentic vintage sometimes incorporating emeralds and pearls lery to imitate the looks of fi ne jewellery at lower and antique pieces from 1920 to 1935 for into their work. prices. Crystal beads and Venetian glass with collections, and others purchase contemporary bright colors replaced expensive gemstones. fashion jewellery featuring Art Deco styles simply ART DECO JEWELLERY Rhodium plating imitated the silvery-white color because they like the patterns and looks. of platinum. Scientists developed new plastics Women adorned themselves with bold, colorful that were crafted into beads, earrings, and ban- Art Deco had strong roots in France, and while pieces of jewellery during the Art Deco period. gle bracelets. Bakelite is a type of plastic made the name is thought to have been taken from Those who could afford large gemstones and L’Exposition des Arts Decoratifs et Industriels from formaldehyde and phenol, and jewellery diamond-studded accessories bought fi ne jewel- Moderne in Paris in 1925, the phrase was not made from this material is a popular collector’s commonly ascribed to the aesthetic until 1968, lery. With scientifi c advancements, designers item due to its vintage origin. Designers made Art when English art historian Bevis Hillier wrote his created costume jewellery that mimicked the Deco jewellery from enamel, ceramics, celluloid, defi nitive “Art Deco of the 20s and 30s.” and other plastics available during that era.

Art Deco jewellery is marked by its geometry COMMON MOTIFS OF ART and symmetry. In this respect, Art Deco has more DECO JEWELLERY in common with the highly graphic and stylized designs of Arts and Crafts than Art Nouveau. In Art Deco incorporates a few recurring themes addition, Art Deco is a product of the machine that were infl uenced by different cultures, societal age. Thus, Art Deco designs often adhere to changes, and other styles. Maintaining some grids, while other examples appear to be in aspects of the Art Nouveau style, Art Deco in- motion, as if their lines had been pulled by the cludes images of graceful animals like panthers, mechanical acceleration of the object itself.

72 COLLECTING Issue 28 gazelles, and greyhounds. Egyptian influence is apparent in jewellery pieces featuring pyramidal shapes, scarabs, and sphinxes. Interest in this culture expanded after the discovery of Tutankha- men’s tomb in 1922. Some Art Deco jewellery includes images of arrows, which maintain the geometric theme and allude to African culture. Rockets and dragons sometimes appear in jewellery and stem from Chinese customs.

COMMON STYLES OF ART DECO JEWELLERY ART DECO: INVESTMENT OPPORTUNITY? After women gained the right to vote, they expressed their independence and individuality Often underestimated Art-Deco jewellery has through Art Deco jewellery and accessories. made a come back amongst serious collectors Bobbed haircuts, shorter dresses, and the flap- and even investors. Says David Bennett, the per lifestyle were characteristics of many women head of Sotheby’s jewellery department for during the 1920s, and their jewellery helped Europe and the Middle East: “Art Deco was express their newfound attitudes toward society. everything jewellery was meant to be--beautiful, The following table highlights some common glamorous, and romantic.” styles of Art Deco Jewellery.

HAIR ORNAMENTS

Early in the period combs, used to support heavier longer hair, were no longer a necessity and Hatpins, not needed on the smaller cloche ATTRACTING COLLECTORS style hats, all but disappeared. In the 1920’s the tiara was replaced by the bandeau which was The current interest in Art Deco jewellery only worn low on the forehead providing the perfect dates from the late 1970’s. There was a time framing to the new shorter hairstyles. Adapted when Art Deco jewellery was actually worth less to the Art Deco style, they were designed with than the stones it was made off, thus leading to honeycomb patterns, lozenge shapes and other many pieces being taken apart to sell or use the geometric motifs and were often convertible to stones separately. bracelets, brooches, necklaces or clips when not in use as a bandeau. The exception to this style There are several reasons why this situation has was found in England where court etiquette still changed so dramatically, and is expected to dictated the wearing of tiaras for important state stay that way: functions. Tiaras were thus produced with Art Deco styling for use at such occasions. REASONS FOR ART-DECO BOOM Late in the period, tiaras re-emerged with a wider popularity and a new heavier more substantial TIMELESS: devotees vary from the Duchess of look to compliment the new longer hairstyles. Windsor to Sarah Jessica Parker. “It goes with Hair clips, combs and aigrettes also returned everything, and it’s still absolutely chic,” says showing new versatility in their convertibility to David Bennett, the head of Sotheby’s jewellery brooches. department for Europe and the Middle East.

73 Issue 28 COLLECTING

LIMITED AVAILABILITY: where designers sell tional pieces-made with precious stones and thousands of jewellery pieces per year nowa- crafted by top designers-can go for much higher. days it used to be a few dozen in the 1920’s. Besides quality of craftsmanship and the strength of the design other key factors in establishing QUALITY: These pieces are the product of a value are a dog’s head stamped inside a piece, time many consider the pinnacle of jewellery employed by French designers only, and for craftsmanship. “You’ll never see anything like it all, the visibility of scant metal on the underside again,” declares Esmerian. “Back then, you had of bracelets, necklaces and earrings. The less to apprentice under a master jeweler. It is not metal used, the more skillful the artisan, and the as it was in the 1920s and ‘30s. Today, people more valuable the piece. Pieces made with jade want coffee breaks.” are especially valuable today too, due to interest from Asian collectors. Prices can hit $100,000 plus, but the starter collector can get in for $1,500. Truly excep-

Earrings • Long, pendant earrings were popular in the Art Deco style. • The pendants featured large stones, gemstones, or diamonds to stand out as a bold statement. • Multiple strands of beads complemented the flapper-style dress and other accessories. • Long earrings accentuated bobbed hairstyles and called attention to the women. • Chandelier earrings were also popular during the Art Deco era.

Necklaces • Necklaces often featured numerous beads or pearls. • Excessively long strands of beads were wrapped around the neck several times to create a layered look. • The beads featured bright colors that typically contrasted the tones of the wearer’s dress or outfit. • For formal occasions, women wore pearl necklaces of varying colors. Bracelets • Short-sleeved and sleeveless dresses were popular in the 1920s, so women adorned their bare arms • in multiple bracelets and thicker cuffs. Flappers often wore thin Bakelite bangles stacked on top of one another. • The multitude of bracelets clinked against each other as the wearer danced at social events. • Thicker bracelets featured large gemstones or colored glass accents and were often studded with diamonds or crystals. • Upper-class women wore tennis bracelets with diamonds and gemstones in square settings. Rings • Cocktail rings were one of the most popular styles of the Art Deco era. • These accessories are oversized rings that often feature a large, centered gem or jewel. • Women wore these eye-catching rings to cocktail parties and illegal speakeasies to flaunt their style. • In later decades, cocktail rings were worn as statement pieces and fashionable accessories for casual events. Watches • Diamond watches became popular for women to wear during the Art Deco era. • Square or rectangular faces were studded with diamonds and featured white metal. • Narrow wrist bands were made of metal and contained more diamonds. • Less expensive styles used leather, plastic, or rhodium-plated wrist bands without stones. Brooches • During the Art Deco era, brooches evolved in style to become dress clips, fur clips, and duettes. • Originally known as pin clips, these accessories were more secure than brooches and contained prongs, clips, or hinged clasps that attached to the fabric. Traditionally, dress clips were worn at the center of the neckline or in pairs at the corners of square necklines. In the 1920s, women starting clipping these accessories to other parts of their ensemble. Dress clips were attached to hats, purses, shoes, belts, and the shoulders of sleeveless dresses. Fur clips were durable enough to grasp fur coats and to secure fur stolls. • Duettes were a special type of clip that featured two pieces that could be worn together as one large accent or separately as coordinating pieces of jewellery. Pin clip designs were intricate and elaborate with multiple gemstones or faux jewels.

74 MUST VISIT Issue 28

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75 A pair of George III silver coolers and liners, Paul Storr, London 1819 SOLD R1 559 600, OCTOBER 2009

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