UK

In the continuing series looking through the keyhole of ‘bricks and mortar’ shops in 2017, ATG talks to Lucinda Silcock who runs St Martin’s Antiques Centre in Stamford.

Since its launch eight years ago, Derwen Fairs’ antiques and vintage market at the National Botanic Gardens of Wales has gone from a one to two-day run, trebled in size to 100 stands and has four dates this year.

This Tiffany gold necklace and earclip suite composed of textured rose petal links by Angela Cummings (c.1944) sold for £10,200 at Bonhams Knightsbridge (25/20/12% buyer’s premium) on March 15.

Nick Arkell is one of the owners of Walton House Antiques, a shop in Mere, Wiltshire, which specialises in furniture, fine art and antiques. He is exhibiting at the ADFL Petworth fair.

Petworth has faced some speculation about its future as a hub from members of the trade during the past few years. Once a celebrated spot for art and antiques, the closure of several local shops led to fears that it was losing its footing as a destination for collectors.

The first of the biannual Antique Scientific Instrument Fairs due to be held on Sunday, April 30, at the Doubletree by Hilton Hotel in Bloomsbury, London, has been cancelled owing to unexpected refurbishment work at the hotel, advises Don Edwards, the organiser.

Torn, punched with holes, creased, wrinkled and showing loss at the folds, an ‘Organizational Clothing and Equipment Record’ used at Fort Hood, Texas, in 1958 would not at first sight seem an attractive proposition.

Three high-quality sales from the north to the south gave a cheerful air to spring. The catalogue at Tennants in North Yorkshire pretty much covered the range but in Sussex and Buckinghamshire the emphasis was on furniture.

In the chapter titled ‘Modern Jewellery’ in her taste-making book, The Art of Beauty (1878), English writer Mary Eliza Haweis references the “artistic appreciation of good forms and good work” she found at Messrs Phillips of Cockspur Street.

The apparent decline in passing trade is a subject occupying the minds of many shop-owning dealers. But some, such as Brentford’s Hill House, have taken matters into their own hands by staging promotional events to encourage attendance.

MADAM – As someone with a foot in both artist and auctioneer camps, I’d like to add a contrary view to the often one-sided debate on Artist’s Resale Right (ATG No 2287).

Dominated as they were by furniture, the March sales at Lewes and Donnington Priory included other highlights.

A late 19th century/early 20th century ruby cameo and baroque pearl pendant once formed part of the celebrated jewellery collection assembled by Ganna Walska (1887-1984). It sold for a multi-estimate £55,000 at Sotheby’s (25/20/12% buyer’s premium) sale of fine jewels in Bond Street on March 22.

Charles Rattray was a tobacconist and blender of fine tobaccos at 160 High Street, Perth. The firm occupied these premises from c.1915 until 1981.

MADAM – Having read your story about the reappearance on the market of boatswain whistles that had been pulled from sale in 2008 by the Antique Plate Committee (ATG No 2282), I would like to draw the attention of your readers to the work of this committee and the Hallmarking Act 1973.

Generally regarded as a guide of things to come, the Spring Fine Sale at Tennants (20% buyer’s premium) at Leyburn on March 24-25 left auctioneer Jeremy Pattison in an upbeat mood.

A textbook Renaissance style jewel by Carlo Giuliano (1831-95) led a strong jewellery offering at Thomas Watson (24% buyer’s premium) in Darlington on March 21.

The collective noun ‘petroliania’ may be unfamiliar to some readers, but it’s a useful and profitable one as evidenced at the biannual sales held by Chippenham Auctions’ sister-auction house Richard Edmonds (20% buyer’s premium).

A piece of Russian porcelain and an Asian painting raised most interest at West Country auctioneers Tamlyns (18% buyer’s premium) on March 8. However, a 13in long (34cm) gouache scroll painting of magpies and prunus was considerably more of a surprise.

“Seeing the vans arrive and all the wonderful things being unloaded and then built into something beautiful on their stands is a real buzz: we can’t wait.” These are the words of Richard Burgoin, director of Arthur Swallow Fairs, when talking about his ‘summer of salvage’.