Robert Herrick: Poems of Christmas

Posted on October 21, 2023October 23, 2024 by Rupert Neelands

The poem ‘To Daffadills’ beginning ‘Faire Daffadills, we weep to see/You haste away so soon’ graces many an anthology. It is often mistakenly thought of as by Wordsworth. But the author was Robert Herrick, a 17th-century country vicar who made a speciality of lyric verse in short lines. Although Herrick’s life was a quiet one, yielding few facts, his work displays an appealing hedonism and deep preoccupation with the fleeting nature of time. He penned the famous lines: ‘Gather ye Rose-buds while ye may/Old Time is still a flying’ which open the poem ‘To the Virgins, to make much of Time’.

Hesperides: or The Works both Humane and Divine of Thomas Herrick, printed in London for John Williams and Francis Eglesfield, in 1648, contained the poet’s collected verse. As the ‘humane’ poems occupy 398 pages of the octavo volume, compared to just 79 pages for the divine, one can deduce that sacred subjects were not his favourite. Hesperides remained an under appreciated book for two centuries, though Anthony Wood recorded that the volume made Herrick ‘much admired in the time … especially by the generous and boon loyalists’ (Wood, Athenae Oxonienses, 1721, II, pp. 122-123). It is a rare book today. Sotheby’s sold the Stockhausen copy for $35,000 in 2015, and the Huth copy for £15,000 in the same year.

One subject that seems to bridge the secular and religious divide in Hesperides is Christmas. Herrick’s Christmas poems include two splendid carols, sung before James I at Whitehall and set to music by Henry Lawes, as well as ‘An Ode of the Birth of Our Saviour’. In the latter, the poet is deeply shocked that the ‘pretty Baby’ and ‘Kingly Stranger’ should have his birthplace in a ‘base Out-stable’, preferring him to possess a cradle of ‘interwoven osiers fragrant posies/Of daffodils and roses’. This is the country cradle of rushes deployed in nativity scenes such as Georges de la Tour’s Adoration of the Shepherds. ‘As Gospel tells’ the actual cradle ‘Was nothing else,/But here a homely manger’. But the poet promises to totally transform the conditions spoken of in the Gospel. The baby’s rough clothing will be exchanged for silks sewn with ‘precious jewels’ and ‘lily-work’, the manger will be turned into a chamber of ivory and amber:

But we with silks, not crewels,
With sundry precious jewels,
And lily-work will dress thee;
And as we disposses[s] thee
Of clouts, we’ll make a chamber,
Sweet babe, for Thee, of ivory,
And plaister’d round with amber.

The allusions to silks, jewels and other precious commodities would have been made from a standpoint of knowledge as Herrick was born into a family of goldsmiths in 1591, the seventh child of Julia Stone and Nicholas Herrick. He was named after an uncle, Robert Herrick (or Heyrick), Member of Parliament for Leicester. Tragedy struck when, the year after his birth, his father died in a possible case of suicide (he fell from an upper window of his house in Cheapside two days after making his will). Fortunately, his uncle provided for him.

In 1607 Herrick was apprenticed to another uncle, Sir William Herrick, a goldsmith with close ties to James I. He got through six years of the ten year apprenticeship, then sought a different future in law. At the comparatively advanced age of 22, he matriculated at St. John’s College, Cambridge. Surviving letters to Sir William indicate that his nephew’s finances could barely cope with a year’s carousing at St. John’s, and he moved to Trinity Hall where he spent three more years reading law, graduating in 1617.

For reasons we don’t know Herrick never became a practising lawyer. In the twelve years between his graduation from Cambridge in 1617, and his appointment as vicar of Dean Prior ‘tantalisingly little’ is known for certain about his life (see poetryfoundation.org). It is widely accepted that he spent much of his time in London. Writing in the mid- 19th century, Henry Vizetelly described him as being ‘in familiar intercourse with the chief wits, and writers of the age. Herrick had for his early intimates Ben Jonson, [John] Selden, William Lawes the eminent composer, and Endymion Porter, groom of the chamber to the King, besides many others of equal note’ (Christmas with the Poets, London, David Bogue, 1851).

The teacher/pupil relationship with Ben Jonson (1572-1637) was real enough for Herrick to address five poems to him, including an epitaph. The first verse of ‘His Prayer to Ben. Jonson’ pays due homage to the great classicist, as a playwright ranked second only to Shakespeare:

When I a Verse shall make,
Know I have praid thee,
For old Religions sake,
Saint Ben to aide me.

Endymion Porter (1587-1649) was a diplomat and patron of the arts, fiercely loyal to Charles I, who also wrote verses. Both he and his wife, Olivia, niece to the Duke of Buckingham, were painted by van Dyck. While Herrick himself never married, he was preoccupied with women as a subject, writing about Julia and other ‘mistresses’ in as many as 158 poems. It is possible that none of the women he so admired in verse existed as real people.

It may have been owing to the influence of Endymion Porter that Herrick briefly obtained the position of assistant chaplain to the Duke of Buckingham, playing his part in the catastrophic expedition to free the French Huguenots on the Ile de Ré in 1627. But that was the beginning and end of his military career. He was appointed to the living of Dean Prior in South Devon in 1629, a post he took up in 1630, perhaps with the conscious aim of having more time and opportunity for his poetry.

Dean Prior in the 17th century must be regarded as extremely remote and therefore ideal for a hermit like Herrick. The nearest towns, Exeter and Plymouth, were almost a day’s ride away. London was a five-day trek. Though the vicarage next to the church was by no means ostentatious, the poet-clergyman never agitated for change and lived in Dean Prior for a total of 31 years, the period split into two by the civil war.

Whereas Herrick was a royalist and traditional Anglican, and is often grouped among 17th-century ‘cavalier poets’, the population of the west country was strongly sympathetic to the Puritan cause. The Civil War which began in 1642 made his position precarious; in 1647 he was among 142 Devonshire clergymen expelled from their parishes because of their loyalty to the King. He went to live in Westminster, where he could be supported by his family and friends. His first period as vicar had lasted for 17 years. On his return to Devon at the Restoration of 1660, he served for 14 years more, ending with his death in 1674. While the 14th-century parish church of St. George the Martyr still stands, his gravestone has disappeared, exactly as he predicted it would.

Herrick would certainly have missed old friends on his return to the capital. Ben Jonson had died ten years earlier, William Lawes had been killed at the siege of Chester, Endymion Porter had fled abroad, returning to England only to die in poverty in 1649. ‘Selden alone survived in the enjoyment of a green old age’ (Vizetelly). New literary friendships were forged with Charles Cotton, translator of Montaigne and contributor to The Compleat Angler, and Sir John Denham, the bard of Cooper’s Hill. Herrick also had his octavo volume of poetry, largely written in Devon, to think about for the press. Being close to the printers must have been a stimulus despite the existence of this biblical quatrain preceding the errata:

For these transgressions which thou
here dost see
Condemne the Printer, Reader,
and not me;
Who gave him forth good Grain,
though he mistook
The Seed; so sowed these
Tares throughout my Book.

Herrick revised his work, carefully considered what order to place the poems in, and even went to the trouble of versifying the table of contents. The religious poems have an independent title, His Noble Numbers, and separate pagination; dated 1647, the year of his return from Dean Prior, they may originally have been intended for separate publication

Hesperides contains some 1400 lyrics in all, of which there are sixteen or so Christmas poems. While this is only a fraction of the content, it is hard to think of any other poet who has taken such pains to record the festivities. We are used to thinking of indulgent Christmases as a Victorian invention. Reading Herrick’s accounts of wassailing and other Christmas ‘ceremonials’ will show this to be a misconception. For Christmas traditions in 17th-century Devon are time honoured and have no identifiable beginning.

As opposed to being treated as a single day in modern fashion, Christmas drinking and feasting lasts for a whole season, coming to another climax on Twelfth Night, and even extending up to Candlemas Eve on 1st February. There is little if any mention of young children. It is maidens and young men who are at the centre of Herrick’s Christmas, and happy carousing, happy eating of plum pies and pastries, are the order of the day.

‘Ceremonies for Christmas’ is primarily about the lighting of the Christmas log. The speaker demands that it be brought into the room, accompanied by a suitable uproar of noise from the ‘merry boys’. Thanks to ‘my good dame’, a generous hostess, drinking opportunities are unlimited:

Come, bring with a noise, My merry, merry boys, The Christmas log to the firing; While my good dame, she Bids ye all be free And drink to your heart’s desiring.

The speaker next demands that the new block of wood for the Christmas fire be lit with a piece of the old wood, saved from the previous Christmas: ‘With the last year’s brand/Light the new block’. The middle stanza also refers to the ‘psaltries’ (or guitars) that have to be played as the wood kindles, bringing ‘sweet luck’. Once these ceremonies have been performed, the orders are to:

Drink now the strong beer,
Cut the white loaf here;
The while the meat is a-shredding
For the rare mince-pie,
And the plums stand by
To fill the paste that’s a-kneading.

It’s an abrupt end but typically matter of fact in manner. From this poem alone Herrick’s approval of wassailing or drinking to excess is unquestionable. However, his poem ‘Wassail’, written in 3-line stanzas, is ironically so called, for it takes to task the miserly household that refuses to open its doors for Christmas. Nothing is so grievous as the lack of beer. ‘Alas! We bless, but see none here/That brings us either ale or beer;/ In a dry house all things are near’. Neither are there any happy noises in a house ‘Where chimneys do for ever weep/For want of warmth, and stomachs keep,/With noise, the servants’ eyes from sleep’.

‘Twelfth Night or King and Queen’ describes the ‘cake full of plums’ (the ancestor of our Christmas pudding), and the election of the Twelfth Night king and queen by the successful recovery of a bean and pea hidden inside it: ‘Now, now the mirth comes/With the cake full of plums,/Where bean’s the king of the sport here’. Once the election is decided, the invitation is issued to all to ‘…make/Joy-sops with the cake’, and drink to a cup’s limits:

… let not a man then be seen here,
Who unurged will not drink,
To the base from the brink,
A health to the king and queen here.

The reference to ‘lamb’s wool’ in the penultimate stanza becomes less puzzling once ‘… a bowl full/With gentle lamb’s wool’ is recognised as the Devonshire name for a bowl of spiced beer. Herrick even provides a list of ingredients: ‘sugar, nutmeg and ginger,/With store of ale, too’, all necessary ‘to make the wassail a swinger’. Guests are encouraged to wassail the king and queen, and an assurance is given that the drinking is all good natured:

… though with ale ye be wet here,
Yet part ye from hence
As free from offence
As when ye innocent met here.

Herrick’s poems could be very short indeed. Two of the Christmas lyrics consist of only one 4-line stanza. ‘Another to the Maids’ warns the maids in a household against kindling the Christmas fire with ‘unwash’d hands’, the belief being that this will only put the fire out:

Wash your hands, or else the fire
Will not teend to your desire;
Unwash’d hands, ye maidens, know,
Dead the fire, though ye blow.

A second short poem, called simply ‘Another’, forms a companion-piece to the first, advising the maids to wassail the fruit trees in order to improve their fertility:

Wassail the trees, that they may bear
You many a plum and many a pear:
For more or less fruits they will bring,
As you do give them wassailing.

At fifty lines in length ‘A New Year’s Gift sent to Sir Simon Steward’ was one of the more ambitious Christmas poems. It is a composition that can be dated. Sir Simon (1575-1632) had been a student at Trinity Hall living on there for some years after his graduation. Besides combining the roles of a Justice of the Peace, High Sheriff, and MP, he was an occasional poet. Herrick sent him his long string of rhyming couplets in January, 1624, starting that no kind of bad political news would be the subject his letter. Instead Sir Simon should expect to find:

… here a jolly
Verse, crown’d with ivy and with holly,
That tells the winter’s tales and mirth,
That milkmaids make about the hearth,

In the mid stage of the poem various ‘Christmas sports’ and customs are affectionately named or mentioned, not least the choosing of the Twelfth Night king and queen. Sir Simon and his household are urged to read the poem, and ‘Remember us in cups full crown’d’. But the mood is not all joyful; in the final part Herrick touches on his favourite theme of the brevity of time, and insists that thoughts of future Christmases are preferable to ‘fled Decembers’. Better, it is suggested, to drink on until Father Bacchus ‘twirls the house about your ears’, attaching ‘your cares’ to the past year not the future one:

Then as yet sit about your embers,
Call not to mind those fled Decembers,
But think on those that are t’appear
As daughters to the instant year:
Sit crown’d with rosebuds, and carouse
Till Liber Pater twirls the house
About your ears; and lay upon
The year your cares that’s fled and gone.

However, the last piece of advice is light hearted. It is to enjoy the Christmas plays, and ‘Frolic the full twelve holidays’.

‘Ceremonies for Candlemas Eve’ is another poem about transience and the need to avoid regret. Who hasn’t taken down the Christmas decorations with a sense of relief and a feeling that it’s time to move on? Herrick captures that feeling, beginning his poem with the call to take down the Christmas greenery on Candlemas Eve (i.e. 1st February). He is happy to see a new plant, ‘the greener box … domineer’ instead. However, the box also has its time limit in the house, holding sway only up to ‘dancing Easter day’. His poem begins:

Down with the rosemary and bays,
Down with the mistletoe;
Instead of holly, now up-raise
The greener box (for show).
The holly hitherto did sway:
Let box now domineer
Until the dancing Easter day,
Or Easter’s eve appear.

As the year progresses, there is a recognisable succession of plants traditionally used for adornment. The ‘youthful box’ renews houses but when ‘Grown old, surrender must his place/Unto the crisped yew’. The yew is followed by the birch ‘And many flowers beside’ which do honour to Whitsuntide. In the final stanza, ‘green rushes’, ‘bents’ (so called because they are flowers which bend or droop?) and ‘cooler oaken boughs’ are considered ‘comely ornaments/To re-adorn the house’. But the poem does not end there.

Herrick adds an extra couplet to remind us that, as greenery goes in and out of favour in the house, so the shifts of time effect change in all things:

Green rushes, then, and sweetest bents,
With cooler oaken boughs
Come in with comely ornaments
To re-adorn the house.
Thus times do shift; each thing
his turn does hold;
New things succeed,
as former things grow old.

Through these varied poems Herrick gives us a remarkably strong picture of what a 17th-century Christmas in Devon was like, something to think about as we are enjoying our Christmas in the early 21stcentury. Anyone interested in reading more of his work should consult the website luminarium.org where his poems are available online.

John Constable and the Stour Valley

Posted on October 17, 2023August 9, 2024 by David Dallas

I can’t think of a painter who was as influenced by, or devoted to recording the landscape of his boyhood, as John Constable R.A. (1776-1837). He is famously recorded as saying: “Still I should paint my own places best; painting is with me but another word for feeling, and I associate ‘my careless boyhood’ with all that lies on the banks of the Stour; those scenes made me a painter, and I am grateful.”

He was born in East Bergholt in Suffolk and the villages of the Stour Valley were the subjects of his early work. However, as Michael Rosenthal points out in his excellent book ‘Constable, the painter and his landscape’ published in 1983, it was not all plain sailing. Despite the familiarity and love of the place, there were emotional associations that precluded Constable painting certain aspects of his childhood landscape. For instance, he was incapable of painting land owned by his father, Golding, a successful farmer, mill owner and grain merchant, until Golding came to terms with is son’s desire to become a painter. Golding wanted him to join and then run the family business, as John’s elder brother had learning difficulties. By 1799, Golding had relented to some extent, granted his son a small allowance and John then entered the Royal Academy Schools.

In 1808 Golding gave him a small grain store in East Bergholt to convert into a studio, now owned by my friend, Susan Morris. She’s the only one of my friends who has a fridge magnet of her house! Father and son were truly reconciled.

In 1816 he married Maria Bicknell, whom he had known since 1809. Their love was a source of great comfort to Constable, but the union was not approved of by Maria’s grandfather, Dr Rhudde, rector of East Bergholt, who threatened to disinherit her. He thought the Constables were socially inferior. However, Golding and Ann Constable died in quick succession and John inherited one fifth of the family business, which eased the financial pressure.

Now with several children to support, he embarked on an ambitious plan to enhance his reputation by producing large canvases for exhibition in both London and Paris. He returned to his beloved Stour Valley for these and produced a series of ‘six footers’ (the size of the canvas), of which the most famous is ‘The Hay Wain’.

It was exhibited at the Paris Salon in 1824, where it caused a sensation, because of its vibrant technique and colour and its truth to nature. It was awarded a gold medal by Charles X. Delacroix repainted the background of his ‘Massacre de Scio’, as a result of seeing it.

By the early 1820s, Maria was showing signs of tuberculosis and Constable took lodgings in Brighton for her health. He made numerous drawings of the South Downs and Coast, and produced a marvellous oil painting of the ‘Chain Pier, Brighton’, which was exhibited in 1827. Sadly, the sea air did not save Maria and after the birth of their seventh child, Maria died in November 1828. Constable was distraught. He wrote to his brother, also called Golding, ‘hourly do I feel the loss of my departed angel…the face of the world is totally changed for me’.

The period following Maria’s death was a profoundly melancholic one for Constable. He dressed in black and was prone to anxiety. I always think that Hadleigh Castle sums up Constable’s state of mind at this time. A lonely figure and his dog stand beside the ruined castle, whilst a storm approaches from the sea, with just two shafts of light to suggest some source of hope. The palette is subdued but the brushwork vigorous, the product of a troubled mind.

On a less sombre note, there is a charming story that Constable relates to his friend Archdeacon Fisher of Salisbury. He was travelling in the 1820s in a carriage from Ipswich to London with two strangers. By way of making conversation, he pointed out of the window and remarked “Don’t you think this is a beautiful landscape?” One of the strangers said “yes I do, Sir, but you should remember this is Constable country.”

Sir Roger Moore

Posted on October 10, 2023September 9, 2024 by Stephanie Connell

The Personal Collection – Auction Review

For the art world, autumn brings a new season of exciting and ‘must view’ auctions. Last week Bonhams, London held one of the most electrifying – ‘Sir Roger Moore – The Personal Collection’.

Sir Roger Moore (1927 – 2017), was one of the most recognisable and treasured actors of his generation. He was widely adored by fans for his appearances as James Bond, as well as Simon Templar in The Saint and Lord Brett Sinclair in The Persuaders! to name a few.

The James Bond film ‘Octopussy’ (1983) starring Sir Roger Moore captures a fictional auction, with competitive bidding in a crowded saleroom (on that occasion for a “Faberge egg”). This scene could almost have been replicated on the sale day at Bonhams busy New Bond Street galleries.

The ‘white glove’ sale included over 220 lots, which took over nine hours to sell. The collection, which was being offered on behalf of the late star’s family, unsurprisingly garnered widespread presale interest from the media, enthusiasts, and collectors alike.

Much of the sale focused on Sir Roger Moore’s acting career, with scripts, awards and costumes all going under the hammer. Many lots related directly to James Bond, which is one of the strongest areas in film memorabilia collecting. Fittingly, this year marks 50 years since the actor’s first appearance in the role. Sir Roger was enormously influential as a taste maker in gentlemen’s fashion. Therefore, clothing, accessories and timepieces were some of the lots ‘to watch’. Antiques and art from the stars collection indicated his taste as a collector.

Early in the auction, various desk accessories, pens and stationery were offered produced by the likes of Montblanc, Cartier, and Gucci. Lot 3 was one such lot, an ‘RM’ monogrammed Gucci address and notebook – despite the original pages having been replaced with facsimiles (and the numbers having been removed) it offered a glimpse into Sir Roger’s showbusiness circle, including details for figures such as Michael Caine, Sean Connery, Kirk Douglas, HRH Princess Margaret, Paul McCartney, and Sidney Poitier. Estimated at £1,000 – 1,500 it achieved £6,400 (inc BP). Perhaps more surprising was the price achieved for Lot 6 a Morocco leather monogrammed stationery rack. The lot which included Sir Roger Moore letterheaded notepaper was estimated at £80 – 120. The final total sales price was £8,960 ( inc BP).

Sir Roger was an avid backgammon player and as James Bond notably competed on screen against villain Kamal Khan in a key scene of the movie Octopussy. The market for backgammon is currently particularly strong – the buzz during the viewing indicated the two lots of cased backgammon sets (Lot 10 and Lot 11) would far exceed their estimates.

Lot 10 was a personalised set embossed with the actor’s name. The footnote for the lot credited this example as having been used on the set of James Bond by Sir Roger to play against producer ‘Cubby’ Broccoli. The pre-sale estimate of £300 – 500 indicated the value of the set rather than the interesting provenance, it eventually sold for £15,360 (inc. B.P). The second of the sets Lot 11 was a more modest travelling willow basket example, estimated at £100 – 150, despite the estimate it fetched £10,880 (inc. BP).

In the world of James Bond poster collecting, examples printed in Australia are amongst the most affordable. However, for those included in such a collection this trend, would be tested. Four of the Lots (36, 42, 64 and 164) were Australian daybill posters for the films The Spy Who Loved Me, Moonraker, For You Eyes Only and A View To A Kill. Having each been signed by Sir Roger, they were offered with the same estimate of £500 – 700 each, a combined total presale low estimate of £2,000. Their eventual combined total was £46,720 inc BP. Having achieved individually £8,960; £10,240; £14,080 and £13,440 inc BP.

The James Bond franchise provided many modern-day collectors with their first glimpse into the world of luxury watches. Therefore, some of the most sought pieces in the collection were James Bond related watches. The highest price of the entire auction was achieved by Lot 92 a cased presentation set of twenty 007 watches produced by Swatch. Manufactured in 2002 to celebrate the James Bond film anniversary these sets typically fetch at auction between £4,000 – 6,000. This example however had been personally dedicated to Mr. Roger Moore. It had been estimated at £10,000 – 15,000 and sold for £76,660 (inc. BP).

Omega is a brand with a strong connection with James Bond. Lot 158 was an Omega Seamaster bracelet watch, produced in 2012 as a Limited Edition to celebrate ’50 Years of 007’. The clasp bore the inscription ‘To Roger love from Michael and Barbara’, which although not mentioned in the catalogue, may have indicated that the piece was a gift from Bond producers Barbara Broccoli and Michael G. Wilson. Sold with the accompany box, card and instructions it achieved £57,550 (inc BP, estimate £20,000 – 30,000). The following item Lot 159 was also an Omega wristwatch this time a Speedmaster Automatic MK40 triple calendar chronograph, inscribed ‘Roger Moore’ and dated November 1996. It was offered with presentation box and original warranty – despite an estimate of £5,000 – 7,000 it sold for a total of £61,360.

Sir Roger Moore was known particularly for his impeccable sartorial choices. For the style aficionados the auction included many of his suits, jackets, ties, and cufflinks. Highlights from the sale had even been previewed on Saville Row, with Gieves & Hawkes. Sir Roger had a close association with the designer and tailor Doug Hayward and several pieces designed by him went under the hammer. Foremost amongst them was Lot 170, a double-breasted dinner suit made for Sir Roger’s role in A View To A Kill and worn at the Royal premiere of the film in 1985. The fully labelled costume, the ultimate in James Bond style, sold within estimate at £25,600 (estimate £20,000 – 30,000). To compliment this outfit Lot 178 estimated at £400 – 600 was two black silk bow ties, including one by Turnbull & Asser. They sold for £6,144 (inc BP).

Lot 80 was a collection of twelve ties including five designed by Hayward, with others by Louis Vuitton and Ralph Lauren. The collection sold for a little over a thousand pounds each, with a selling price of £12,160 (estimate £400 – 600).

Roger Moore was well-known for his association with skiing, emphasised by his stunning downhill scenes featured in the James Bond films. However, many of these snowbound acrobatics were performed by a stunt double. According to an interview given by his son Geoffrey Moore prior to the auction, Roger Moore’s film contract did not allow him to ski. In fact, Sir Roger apparently did not take up skiing until preparing for filming of A View To A Kill in 1985. Afterwards Sir Roger was passionate about the sport.

One of the most desirable pieces in the auction was Lot 166 a white ski suit by Bogner purchased for, and identical to that, worn by Sir Roger in the pre-title sequence of A View To A Kill. Such instantly recognisable film costume is rare on the open market. It was sold within the estimate of £15,000 – 25,000, with the total sales price £28,160.

Towards the latter portion of the sale six lots of personally owned skis were included. The top Lot here was 219 a pair of Kästle skis bearing Roger Moore’s printed signature, offered together with a pair of Interport poles. Against an estimate of £800 – 1,200 they sold for £4,864 (inc. BP).

Amongst the awards the ‘star’ lot was saved until last. Lot 224 being the presentation plaque given to Sir Roger Moore to commemorate the placement of his Star on the iconic Hollywood Walk of Fame. His ‘Star’ was unveiled three days prior to his 80th birthday on the 11th of October 2007. The commemorative piece was estimated at £10,000 – 15,000 and was offered almost 9.5 hours after the sale had commenced at almost 10:30pm. The final lot was eventually sold to a room bidder for a hammer price of £19,000 (£24,430 inc BP).

The final sale total reached just over £1.1 million against a pre-sale high estimate of around £415,000.

Dale Chihuly

Posted on October 3, 2023January 3, 2025 by Jonathan Horwich

Dale Chihuly is an Internationally renowned American glass artist known for his innovative and intricate glass sculptures and installations. He was born on September 20, 1941, in Tacoma, Washington, USA. Chihuly’s early life played a significant role in shaping his career as an artist, here are some key points.

Family Background

Dale Chihuly was raised in a middle-class family in Tacoma, Washington. His father worked as a meatpacker and union organiser, while his mother was a homemaker.

Early Interest in Art

Chihuly developed an early interest in art and began working with glass in the early 1960s while studying interior design at the University of Washington in Seattle. During this time, he had the opportunity to work at the Venini glass factory in Venice, Italy, which ignited his passion for glassblowing.

Education

After completing his undergraduate studies, Chihuly pursued a Master of Fine Arts (MFA) degree in ceramics at the Rhode Island School of Design (RISD).

Founding Pilchuck Glass School

In 1971, Chihuly co-founded the Pilchuck Glass School in Stanwood, Washington. This school played a crucial role in the development of the American studio glass movement, providing a space for artists to experiment and collaborate with glass as a medium.

Artistic Influences

Chihuly was influenced by various artistic movements and styles, including the Murano Italian glassblowing tradition, Native American art, and the Studio Glass Movement. His work often combines traditional glassblowing techniques with contemporary artistic concepts.

Career Development

Dale Chihuly’s early career was spent in experimentation and innovation in glass art, which resulted in the production of his best-known series of glass sculptures, including the iconic Macchia and Persian series.

International Recognition

Over the years, Chihuly’s work has gained international acclaim, and he has become one of the world’s best known and most prominent glass artists. Here are just six of his most famous and widely recognised works and projects.

Chihuly’s body of work extends far beyond these few examples, and his contributions to the world of glass art are extensive and influential.

Here are some lesser-known facts about Dale Chihuly:

Early Interest in Interior Design:

Before becoming a renowned glass artist, Chihuly initially pursued a degree in interior design at the University of Washington. His interest in design played a role in his creative approach to glass art and sculpture.

Inspiration from Indigenous Art:

Chihuly has drawn inspiration from indigenous art and cultures around the world. In particular, he has been influenced by Native American art, and some of his works incorporate elements reminiscent of Native American basketry and design.

Innovation in Glassblowing:

Chihuly is known for his innovative techniques in glassblowing. He introduced the concept of the “team approach” to glassblowing, where he works closely with a team of skilled artisans who help bring his intricate and large-scale designs to life.

Blind in One Eye:

In 1976, Chihuly was involved in a car accident in which he lost vision in one eye after being struck by a metal rod. Despite this life changing injury for any artist working in any medium, he continued to create glass art and adapted his techniques to accommodate his visual impairment.

Collections in Unusual Places:

Chihuly’s work can be found in some unexpected places. In addition to galleries and museums and private homes his glass sculptures have been displayed in unique locations such as botanical gardens, casinos, and even underwater. For example, his glass installations have been featured in underwater settings like aquariums and also Venice during his “Chihuly Over Venice” in 1996, see 5 on previous page.

After looking at some of the images of Dale’s huge installations and projects you would be forgiven for thinking that owning a piece is only possible for the elite collector with deep pockets and lots of space! Happily, Dale makes some beautiful table size and smaller single pieces that all use the exact same wonderfully uplifting ‘hot’ colours and flowing shapes. The first Exhibition of Dale’s work I saw was at the Halcyon Gallery London in January 2108. I remember being blown away by the vibrancy of his colours and the sheer energy and scale of the larger pieces and the gem like qualities of the smaller works which were all beautifully displayed in elegant glass display cases.

Chihuly’s works come up at auction fairly regularly and also appear on the art selling sites, Artsy and 1st Dibs, I have made a small selection of auction sales with prices and estimates as a guide and some currently available pieces for sale on these two main selling sites, which I hope will further wet your appetite for works by the master of glass, Dale Chihuly.

Nephrite

Posted on September 27, 2023August 9, 2024 by Aurélia Turrall

Nephrite can be found in three major locations: northwestern China, Siberia and British Columbia, though China has been said to provide to best quality nephrite, such as the “mutton fat”.

The mines in British Columbia formed in the Mesozoic, 251.9 to 66.0 million years ago, when Pangea started to separate and dinosaurs walked the planet.

Nephrite, along with jadeite, is often referred to as jade. It comes in an array of colours and can be translucent to opaque.

Although nephrite comes in various colours, it is usually less pronounced than in jadeite. What else differentiates jadeite from nephrite? Their chemical composition to start with. This would be difficult to identify when out shopping for a jade necklace, but jadeite’s composition is: NaAlSi2O6 and nephrite’s is Ca2(Mg,Fe)5Si8O22(OH)2.

The deposits location is also different. Jadeite is only found in Myanmar as opposed to nephrite, which ranges across the borders.

Nephrite is harder than jadeite, making it a good candidate for sculptures.

Nephrite rates 6 to 6.5 on the Mohs scale. The Mohs scale of mineral hardness was created by Friedrich Mohs in 1822 and determines the scratch resistance of minerals when scratched by another mineral.

The Mohs scale is used to manufacture everyday objects: your mobile phone’s screen glass is made of a material that scratches at level 6, some at level 7.

Compared to jadeite, if nephrite chips, it will have a more waxy texture to it and could leave a powdery residue.

Though it may scratch, it is nonetheless a hard gemstone, made up of minuscule interlocking minerals which form a larger one, this is called a metamorphic gem. It was in fact hard enough for when man first made tools.

Due to its relative hardness and arrays of colours in which it comes, it is very sought after. However, jadeite is more valuable than nephrite, but the latter remains a great contender for jewellery pieces and for being carved and polished.

This autumn (2023) Sotheby’s HK is offering for sale the below fire opal, icy jadeite and diamond brooch with an estimate of HKD40,000-50,000 (approximately £4,000-5,000).

Nephrite comes in all shapes and forms. The above is set with two cabochon nephrite. A common and traditional piece of jewellery is the hololith bangle, made out of one piece of stone.

“Bi”, a flat disc with hole in the middle and representing heaven, is also made of one piece of stone.

They can be fashioned into any shape or form, it’s no wonder why they are one of Hollywood’s favourite go to pieces for a chic and understated statement.

Actress Emilia Clarke wore these exquisite earrings to the Emmys, and though they are most likely to be jadeite jade rather than nephrite, there are some affordable pieces retailing with similar spark.

Such as these teardrop earrings selling for £300.

Or this beaded necklace, retailing for £2,500.

If money is not an issue, then perhaps, its counterpart in jadeite jade could be an option, as with the opposing jadeite jade necklace, which sold with Sotheby’s in 2020, for USD 10.4 million.

Perhaps this is the price to pay for a little bit of heaven, as Confucius described jade, and who wouldn’t want that?

‘Freddie Mercury: A world of his own’ auction

Posted on September 19, 2023October 21, 2024 by Stephanie Connell

Over the last few days auctioneers Sotheby’s held what could be described as “the sale of the century” – the collection of the late British rock music icon Freddie Mercury.

Rarely has auction captured the public imagination so powerfully. Sotheby’s dedicated their entire New Bond Street galleries to a month-long preview of the sale, aptly titled ‘Freddie Mercury: A World of His Own’.

The demand has been unprecedented. Almost 150,000 people of all ages and nationalities visited the saleroom to attend the preview, often patiently queuing for over two hours. For many the viewing appeared to be a pilgrimage to pay tribute to Freddie and his career, for others a chance to see a blockbuster event at the intersection of art and celebrity. Freddie’s influence goes far beyond the boundaries of music, he has become a cultural cornerstone, style idol, and one of the definitive figures in British music history.

Freddie left his entire collection (as well as his home Garden Lodge) to his dear friend Mary Austin. Mary has carefully preserved these pieces since Freddie’s untimely death in 1991.

Mary has described having taken the “difficult decision” to sell the collection this year. Due to Freddie’s appreciation for Sotheby’s, the company was chosen as the sale venue. Freddie famously said (as quoted in the book accompanying the sale) “The one thing I would really miss if I left Britain would be Sotheby’s”. Those who knew him speak of Freddie continuing to visit Sotheby’s until a few days prior to his tragic passing.

The sale offered a genuinely unique insight into the private life of the star. The auction of over 1,400 lots was held over six separate sale days. The sessions were arranged to reflect both Freddie’s public career and private collection. Freddie was an avid collector with a keen eye, the different sale days aimed to reveal this. Freddie’s love of Japan, his devotion to his cats, flamboyant wardrobe, appreciation for antiques, dedication to his craft of song writing and success as a member of Queen were all apparent.

The work of instantly recognisable artists and manufacturers were included throughout: Cartier, Tiffany, Lalique, Faberge, Dali, Picasso, Miro to name but a few. Those pieces closely associated with Queen and Freddie Mercury’s career as a singer and songwriter generated some of the strongest prices.

Bidding was fierce during every day and across all areas of the sale – with buyers from across the globe clamouring to own a piece of the Freddie “magic”. Almost all the pre-sale estimates were far exceeded and on some occasions by over a hundred-fold!

I will now take the opportunity to give an overview of each sale day and its highlights.

Day One: The Evening Sale

The Evening Sale was a microcosm of the collection – some fifty-nine lots including major highlights in art, design, jewellery, lyrics, instruments, and stage costume. The atmosphere unlike a typical Sotheby’s evening sale – the packed saleroom crowd seemed there to celebrate Freddie’s life.

The auction started as it meant to go on – Lot 1, the door to Freddie Mercury’s home the Garden Lodge took almost 25 minutes to sell. The green painted door was a London landmark – the exterior entrance to Freddie’s private residence. Now more like a piece of contemporary art having been heavily graffitied by visiting fans. The reverse in contrast was cleanly painted in jade green. The pre-sale estimate of £15,000 – 25,000 was quickly surpassed. The hammer eventually fell at £325,000 (including buyer’s premium £412,750).

Several important pieces reflecting Freddie’s appreciation of Art Nouveau were offered. One of the most striking was the Tiffany Studios seven-light Lily table lamp. Designed circa 1910, it showcased the skill of Louis Comfort Tiffany in producing beautiful products using relatively new technology. The piece was offered with a pre-sale estimate of £8,000 – 12,000 – the final sale price including buyers premium £60,960.

Another Art Nouveau piece of note was lot 6, a gold and jewel mounted agate vesta case created by Faberge. The vesta had been purchased by Freddie from an auction held at Sotheby’s Geneva in May 1991. It sold for a total of £95,250 (including BP, estimate £6,000 – 8,000).

Freddie’s appreciation for Japanese art and design is well known and Sotheby’s dedicated an entire day to this element of the collection. The key piece of Japanese art within the Evening Sale was a woodblock print ‘Sudden Shower over Shin-Ohasi Bridge and Atake’ by Utagawa Hiroshige. The catalogue detailed how Freddie and Mary Austin had sourced the woodblock during a visit to Japan in the 1970s. The estimate of £30,000 – 50,000 indicated the importance of the work, it sold for a total of £292,100 (inc BP).

Jewellery from Freddie’s personal collection generated some of the strongest bidding of the evening. The German silver snake bangle, notably worn by Freddie in the Bohemian Rhapsody music video (as well as numerous other appearances in the 1970s) was estimated at £7,000 – 9,000. Arguably one of the most iconic lots offered in the sale, the hammer eventually fell at £500,000 (£698,500 inc. BP). Another piece of note was Lot 32 an onyx and diamond ring by Cartier. The jewel, reputedly a gift from Elton John to his close friend Freddie, was sold with an estimate of £4,000 – 6,000. The total selling price (inc BP) was £273,050 with 100% of the hammer price being donated to the Elton John Aids Foundation.

Many of Freddie’s biggest fans and most passionate collectors awaited the lots closely associated with his craft as a song writer. Lot 42 was the extremely important signed eight-page manuscript lyrics for ‘Bohemian Rhapsody’. Queen’s most ground-breaking and recognisable song is now a standard of popular music. The manuscript offers a deep insight into Freddie’s process in writing it. The importance of the work was indicated by the pre-sale estimate of £800,000 – 1,200,000. The total selling price was £1,379,000. Lot 44 Freddie’s Yamaha grand piano had been acquired by the star in 1975. The treasured instrument was used to composed many of Queen’s most famous songs and entertain guests at his home. With an estimate of £2m – 3m, prior to the auction Sotheby’s announced it would be offered without reserve. It eventually sold for slightly below the low estimate at £1,742,000.

Lot 57 was perhaps the most recognisable of the stage costumes available. Freddie’s crown and cloak worn on the ‘Magic’ tour during June – August 1986. The outfit had featured in much of the advertising and publicity for the auction. This regalia fit for a king achieved £635,000 (inc. BP – est. £60,000 – 80,000).

The final evening sale total was over £12 million.

Day Two: ‘On Stage’

The second day of the auction concentrated on Freddie Mercury’s professional career as a performer and musician. Costumes, awards (including Gold Discs), rare vinyl and lyrics were all on offer. This area of the sale had been a clear draw with fans during the sale viewing.

Lot 240 a military style jacket created for Freddie and worn at his 39th birthday party in September 1985 (and again worn later the same year at the finale of Fashion Aid) garnered much advanced bidding online. Against an estimate of £12,000 – 16,000 the final total selling price was £457,200.

Gold Discs Sales Awards are always in high demand with collectors, especially when the recipient is the composor. Freddie’s disc collection was a major feature of the auction viewing layout and all sold well. The RIAA Gold Disc presented to Freddie for sales of ‘Bohemian Rhapsody’ sold for £114,300 (est £4,000 – 6,000).

Lot 110 was one of the most important lots in Queen’s iconography – a collection of Freddie’s pen and ink designs for the band’s logo. The group of drawings included the final version of the iconic insignia. The lot achieved £190,500 (est £8,000 – 12,000).

The total realised for the second day was over £9.4m

Day Three: ‘At Home’

The third day of the sale was comprised of over 250 lots. ‘At Home’ offered the clearest indicated as to Freddie’s interior design style and passion as a collector. The auction resulted in a World Record price for the work of artist Rudi Patterson (British-Jamaican, 1933-2013). Whilst German porcelain, French glass, Chinoiserie inspired objects and furniture, works by Erte, and Icart all featured in number.

Lot 501 was probably one of the most surprising. A 20th century Chinese armchair carved with a dragon motif was estimated at an affordable £300 – 500. The piece was one of Freddie’s first acquisitions – it eventually sold for an astonishing £44,450.

One of the most stylish musical instruments offered during the six days was lot 524 Freddie’s grand piano (and matching stool) by John Broadwood & Sons. The piano in elegant Chinoiserie case was manufactured circa 1934 and purchased by Freddie during the 1970s. Considering the price realised for Yamaha piano sold during the Evening Sale, the estimate of £40,000 – 60,000 for the Broadwood appeared rather modest. Bidders agreed and the final sale total here was £444,500.

Within the Lalique collection, lot 571 the stunning blue Perruches vase, was a highpoint. Designed in 1919 it sold for £34,290 (est £4,000 – 6,000).

The humble auction catalogue was also highly prized. Lot 665 being one such example -the collection of annotated Sotheby’s, Christies and Bonhams 1991 sale catalogues (with invoices) sold for £12,700 (estimate £200 – 300).

Several items of furniture designed by Robin Moore Ede, who worked closely Freddie on the interior of Garden Lodge, were highly desirable. Indicative of Freddie Mercury as host, lot 650 Freddie’s D-shaped bar sold for £120,650 (est. £6,000 – 9,000).

Finally for feline fans lot 642, a silver model of a cat by Sarah Jones, dated 1987 had a pre-sale estimate of just £100 – 150. The lot sold for £21,590.

The eventual total for the third day was just over £5.3 million.

Day Four: ‘In Love with Japan’

The fourth day focused entirely on Freddie’s Japanese collection. His love affair with the Japan began in 1975 and continued throughout his life. The sale of 200 lots, included 37 lots of woodblock prints, 56 lots of kimonos, as well as decorative ceramics, silver, lacquer work and cloisonne.

Within the woodblocks Lot 1029 Ito Shinsui’s ‘Woman Wearing an Undersash’ reflected both Freddie’s love of kimono and Japanese prints. The beautiful scene sold for £38,100 (est. £1,000 – 1,500).

Several decorative boxes were included, part of the collection of traditional crafts or kôgei that Freddie treasured. The highest priced piece here was for lot 1056, a Taisho period document box by Wajim Keizuka selling for £76,200 (the estimate £4,000 – 6,000).

Lot 1063 an Ando style vase was one of the most desirable pieces of cloisonne. Decorated with koi carp and produced during the Meiji / Taisho period it was estimated at £1,500 – 2,000 but eventually sold for £57,100.

Freddie wore kimono at home and on stage and they served as presents for friends. The leading kimono in the collection (lot 1162) had been displayed prominently in the galleries. This decorative garment was offered at £1,200 – 1,800 with the final sales price reaching £27,940.

The Japanese collection final total was over £2.6 million.

Day Five & Six: Crazy Little Things 1 & 2

Potentially the most affordable lots of the sale were the offered during two online auctions titled ‘Crazy Little Things’. Bidding was available for over a month allowing interested spectators to see prices creep higher and higher.

Almost 700 lots were sold during these two auctions. Several items were estimated at levels almost unheard of for Sotheby’s since the 1980s. However, Freddie fever had now taken hold and bidding was not for the faint hearted.

Part 1 contained additional property from Freddie’s home. Cats featured heavily. Lot 1502 was described humorously as ‘a motley group of feline ornaments’. The clowder included twenty-nine in total and appeared to have been amassed by Freddie over several years.

They had been estimated at £300 – 500, a low estimate of a little over £10 each. The collection sold for £30,480! Similarly, lot 1513 a dish in the form of a cat was estimated at a meagre £40 – 60. Manufactured by Americn company N.S. Gustin the online bidding ended at £12,065 (inc. BP).

Lot 1782 Freddie’s 1982 BT red plastic rotary phone my well have been a world record price. Against an estimate of £1,000 – 2,000 it achieved £8,890.

Freddie’s decorative shower door, emblazoned with his initials was sold as lot 1794. The striking bathroom accessory reached £12,700 (est. £500 – 700).

Part 2 focussed on Freddie as a performer, with most of the lots being awards, ephemera and clothing.

Again, awards relating to ‘Bohemian Rhapsody’ were amongst the most esteemed. Lot 2039 the British BPI Award for sales of over 500,000 copies sold for £152,400 (est. £3,000 – 5,000).

Freddie’s aviator sunglasses had been offered with a guide of £2,000 – 3,000. However, such a recognisable piece would always be prized. The selling price here was £40,040.

Finally, to (possibly) the most talked about lot of the auction – the penultimate item in the sale lot 2348 Freddie Mercury’s silver Tiffany & Co. moustache comb. A replica or Freddie’s famous moustache had hung above the entrance way to Sotheby’s London headquarters for over a month – a symbol of the star. With an estimate of only £400 – 600 the virtual hammer fell at £152,400.

The combined total for ‘Crazy Little Things’ was over £10.3million bringing the total for the entire event (including buyer’s premium) to just under £40 million.

Rachel Doerr spoke with Mike Moran, English musician, songwriter, composer and record producer, following the auction who said ‘Wonderful but strange experience to see many of these treasures somewhere other than beautiful Garden Lodge. Spotted a couple of presents I’d given Freddie as Christmas and birthday presents plus some of my scribbled music and lyrics for the Barcelona lots which went for a bit over £157,500.(wish I’d kept a couple!)’- Mike Moran Sept 15, 2023

Mike Moran studied at the Royal College of Music in London prior to becoming a session musician and a composer and arranger. Moran has worked with many musicians, including Ozzy Osbourne, George Harrison and various members of Queen. He was co-producer, arranger, keyboards performer and co-author of all the tracks on the album Barcelona, the classical crossover collaboration between Freddie Mercury and opera singer Montserrat Caballé, released in 1988.

Decoding Bencharong Porcelain

Posted on September 12, 2023January 3, 2025 by Ashley Crawford

During the eighteenth and nineteenth centuries, Bencharong porcelain was considered Thailand’s most valuable ceramic ware and is still widely celebrated in Thai culture today.

First commissioned by the royal Thai court from the late Ayutthaya period (1351-1767), Bencharong wares were produced in a variety of shapes, colours, and sizes, featuring both religious and secular motifs.

Three Bencharong wares on display at the newly reopened Humboldt Forum.

These pieces are instantly recognizable for their bright palette, geometric patterns, and frequent appearance of Thai Buddhist scenes. The name “Bencharong” means “five colours” in Thai; however, most Bencharong palettes range from three to eight colours.

The Bencharong palette first included yellow, black, white, red, and turquoise. Later, blue, orange, purple, and pink increasingly appeared.There is more than meets the eye, however, as this quintessentially “Thai” form was crafted entirely in China at Jingdezhen!

The most common theory for Bencharong’s name cites a literal translation from Bencharong’s Chinese Ming predecessor, wucai (“five colours” in Chinese). Another theory links the name to bencharongse, a Thai cotton dyeing technique with a similar five-colour palette, dating to the Sukhothai period (1238-1438).

Techniques

Bencharong techniques closely resemble those of Ming and Qing wucai (sometimes called yingcai in the Qing Dynasty or famille verte, noire, or jaune). Like Bencharong, wucai was also glazed, double fired, and decorated with three-to-eight polychrome enamels.

The primary differences between domestic wuai and Bencharong are Bencharong’s different colour palette (particularly turquoise), which catered to Thai tastes, its lack of underglaze blue, and its enamel, which was more thickly applied.Bencharong enamels also cover the entire surface of the body, displaying no white porcelain, unlike many of their domestic Chinese counterparts.

Bencharong’s production history is difficult to reconstruct, as no commission records remain. However, recent excavations at Jingdezhen have revealed decorated Bencharong sherds, suggesting that Bencharong wares were both fired and decorated at Jingdezhen, during a period when some export wares were only fired at Jingdezhen and decorated after export.

Closeup of a wucai famille verte dish on display at the Holburne Museum. Both familie verte and Bencharong emply the same porcelain techniques.

Dating and Uses

One useful technique to date Bencharong objects is by palette. Objects such as the one below (currently on display at the Humboldt Forum in Berlin) can be dated to the eighteenth century because nineteenth- century pieces often heavily feature pink or gold, a technique called Lai Nam Thong.

This piece also minimizes use of purple and blue, meaning that it was unlikely produced after 1800. When examining an object, don’t forget to examine the interior, which can provide useful clues! For example, turquoise interiors are only found in earlier Bencharong wares. Precise dating is typically unreliable, as Bencharong styles did not always align with Thai reigns.

18th century Bencharong lidded bowl on display at the Humboldt Forum, featuring a Thai Buddhist figure called a thephanom.

Bencharong was often used as a dining ware, and therefore often came in matching sets.

Early Bencharong court wares also sometimes served as containers for cosmetics or medicine.

Initially, Bencharong was only produced for the Thai court, but high nineteenth-century demand necessitated expanded production for Thai nobility and merchants.

In the nineteenth century, King Rama II so admired Bencharong that he attempted to produce copies himself, as he was an amateur artist!

Visual Characteristics

Bencharong decorations often reflect traditional artistic tastes across Thai media. Bencharong’s most common motifs include geometric patterns, Buddhist or Hindu iconography, mythic or literary creatures, and Thai flora and fauna.

The entire surface of the Buddhist lidded bowl at the Humboldt Forum is covered with polychrome enamels in red, navy, turquoise, white, yellow, and green, with floral bands and motifs surrounding Buddhist figures. These bands typically frame primary motifs and are either plain or subtly decorated.

The various floral patterns, particularly the yellow stem pattern at the top of the bowl, are commonly found in Buddhist Bencharong wares. The red band near the bottom of the bowl and repeated throughout the lid is a lai kruay cherng pattern (a funnel motif) depicting repeating tri-lobed flowers.

Given Buddhism’s predominance in Thailand, many Bencharong wares depict scenes specific to Thai Theravada Buddhism. This scene takes place in the Himaphan forest, a lower Buddhist heaven. At the center of the primary scene sits a thephanom on a red medallion shaped like a lotus petal, with his hands in anjali mudra.

The thephanom is a minor celestial being in Thai Theravada Buddhism, often mistaken by contemporary viewers for a Buddha. He wears jewellery and an ornate Thai headdress.

Although he is featured alone here, he is often surrounded by norasinghs, Thai Buddhist semi-deities who flank the thephanom and can be identified by their human upper body and lion/ deer mixture lower body.

Collecting Bencharong

Bencharong remains a popular form in museums and in private collections throughout the world, with a demand for a contemporary reproduction market in Thailand. Taking your Bencharong wares to a valuer may help you determine whether your objects are antiques or are contemporary reproductions.

Bencharong reveals a rich history of trade, religious activity at Thailand’s royal court, and upper-class desires to emulate royal tastes.

Further academic examination of the history of Bencharong may result in a better understanding of China’s historical relationship with Thailand, religious and secular imagery in Early-Bangkok Period art, merchant trade culture, and the upper class’ relationship with the royal Thai court.

Meanwhile, there is plenty Bencharong for us to enjoy in public collections, such as the Humboldt Forum, the V&A, and the British Museum!

Caring for your furniture and rugs

Posted on September 5, 2023January 3, 2025 by Alastair Meiklejon

Without doubt, one of the most common questions that we at Doerr Dallas Valuations get asked is “What is the best way to take care of… (insert as appropriate)” and the simple answer is that everyone has their own way and own interpretation for different items – some people swear by old wives tales, whilst some find new solutions and potions on Amazon and insist that their carpet has never looked cleaner. So as a rough guide I have compiled the following advice for certain groups of items.

Furniture

When people ask about furniture, it is generally whilst talking about wood items, such as mahogany, oak, walnut, rosewood, and many other weird and wonderful materials that we are privileged to work with.

The first thing to say is – look at where the item is kept; Is it in sunlight? Next to a radiator? In a damp shower room?

If any of these answers are ‘yes’ then seriously consider relocating the items, as ultimately, it’s not going to end well. Warping, fading and serious cracks may appear after time and that will result in a costly visit to the restorers.

Whilst we all remember the smell of the spray cans of furniture polish commonly seen in the 80s and the 90s, these really are not a good way of polishing or cleaning antique furniture, the artificial chemicals will gradually damage the finish and leave you with an item needing to be professionally restored – the general rule of thumb, is less is more.

A lint free cloth with natural beeswax is always the best route, applied until the wood is nourished (this might take a little while, but have patience) will gradually bring back a nice genuine shine and bring out the grain of the wood, as opposed to a silicone type shine that a spray can will bring – it also smells a lot better in my opinion.

Any metal work, such as handles or escutcheons, should be dealt with very carefully – personally I would leave them well alone and enjoy the patina that develops over time, especially with brass work. However if you have to clean them, a very fine wire wool, used sparingly is really your best option – never, ever use Brasso, or similar products as you will end up with a rather ugly rash around wherever you have used it.

Ultimately, furniture is there to be used and a good tablecloth or coasters are one of the most simple ways of keeping the piece in tip top condition – you are more likely to damage it with a stray glass of red wine, rather than normal use over decades.

Rugs

Rugs and carpets are some of the most susceptible items in the household to damage, but how do we avoid the wear and tear?

Again, much like furniture, one should always think about where a carpet is going to be positioned, direct sunlight and damp areas are of course a big no due to the impact that both factors can have on the material. Additionally, turning a rug is a really good idea – for example if in a drawing room, there will always be that one corner that is worn more frequently than the others, and turning the rug will spread the wear more evenly – why not try them in different parts of the household?

When it comes to spillages, again the glass of red wine seems to be the biggest culprit of terrible stains. The experts are unanimous in their recommendations – DO NOT SCRUB – always blot the stain with a kitchen towel and then flush with water, and repeat… this may take some time.

If you are lucky enough to have a furry friend, then they present a slightly different problem and a slightly different method of attack; white vinegar diluted with water is generally considered to be the best option, as the chemicals in urine can attack the fibres and cause significant damage – the logic behind the vinegar is that it works against those chemicals.

The one area that I would strongly recommend not doing anything to, is silk rugs. Whilst there are options out there, the risk for things going horribly wrong are so great, and ultimately a good carpet cleaner or restorer will be able to advise you as to what action to take.

So whilst furniture and rugs are both somewhat daunting in terms of maintenance, it really is a case of keeping on top of little things regularly and they will continue to give you years, if not decades of reliable service.

Jane Birkin

Posted on August 29, 2023January 3, 2025 by Helen Doyle

Jane Birkin was a British-French actress, singer, and model. She was born in Marylebone in 1946 and moved to France in the 1960’s. She gained international fame for her role in the film ‘Blowup’ and is also known for her collaboration and relationship with French singer Serge Gainsbourg, with whom she recorded the iconic song ‘Je t’aime… moi non plus’. She had a successful career in music, film, and fashion, and was an influential figure in popular culture. In addition to her acting and musical credits, by a chance encounter, she lent her name to the Hermès Birkin handbag, the most iconic and sought-after luxury handbag in the world.

The Birkin bag was created by the French fashion house Hermès in 1984 and came into existence after Jane Birkin sat next to Jean- Louis Dumas, the then-CEO of Hermès, during a flight from Paris to London.

A Chance Encounter

Birkin had been upgraded to first class on an Air France flight and found herself sitting next to Dumas. Having just had her handbag destroyed by her then husband Jacques Doillon, she doesn’t recall which handbag she had decided to travel with that day. However, it was at the beginning of the journey, when trying to fit her bag in the overhead compartment that all the contents fell out. As she scrambled to collect her possessions, the gentleman next to her suggested that she should have a handbag with pockets, to which she replied, “The day Hermès makes one with pockets I will have that.” And he said: “But I am Hermès, and I will put pockets in for you.”

Birkin went on to suggest they make a handbag that is bigger than the Kelly but smaller than a suitcase. They went on to design it by roughly sketching the design on an in-flight sick bag! Once completed Dumas promised to create it, saying, “I’ll make it for you.”

In 1984, Dumas created a black supple leather bag for her: the Birkin bag, based on her design.

Birkin later went to Hermès to purchase the result of her in-flight special order, and Dumas gifted her the bag in exchange for her lending her surname to christen the design. She said she was very flattered to have the handbag named after her. Hermès later paid her £30,000 a year in royalties for using her name which was then passed on to her nominated charities. Jane Birkin loved her bag and decorated the straps with beaded bracelets, a miniature harmonica, and even a Hermès watch. About the watch, she said: “I don’t like to wear them, but sometimes you need the time.”

Birkin once commented that “Now when I go to America to sing, they say, ‘Birkin? Like the bag?’” I say, “Yes indeed: and the bag will now sing.”

The Birkin Bag

The Birkin bag is known for its classic and timeless design. Featuring clean lines and minimal hardware, it is a structured, rectangular tote bag that is available in various sizes, colours, and materials, including leather, exotic skins, and special limitededition versions. It is meticulously handcrafted by skilled artisans at Hermès workshops. The construction process is labour-intensive and can take several days to complete, ensuring exceptional quality and attention to detail. Due to this timely construction, it is renowned for its exclusivity and limited availability. Hermès restricts the number of bags produced each year, leading to high demand and often long waiting lists for customers wishing to purchase one.

The Birkin bag is considered a symbol of luxury and status. Its high-quality materials, craftsmanship, and prestigious brand association contribute to its premium price tag, often reaching anywhere from tens of thousands of pounds to hundreds of thousands for rare and unique examples. Due to its association with Jane Birkin, it is also extremely popular with celebrities and fashion icons. This further elevated its status as a fashion statement and investment piece.

The Birkin bag’s desirability and limited supply have contributed to a thriving resale market. Pre-owned Birkin bags not only retain their value very well but often appreciate over time, making them an attractive investment for collectors and fashion enthusiasts. The demand for Birkin bags is incredibly high, and the waiting list to purchase one is extremely long. It’s not uncommon for customers to wait months or even years before they can get their hands on a Birkin bag.

Value

Since the death of Jane Birkin, it has been reported that there has been an increase in searches for the Birkin bag by online pre-owned platforms and boutiques.

With no advertising, the Birkin bag’s cultural cache came from its scarcity, with secondhand versions increasing in value and often overtaking their original price.

Today, the Birkin bag has a starting price of about £7,000 with some worth up to £500,000 making it the world’s most expensive handbag with resell prices breaking global records.

Here are some examples of the Hermès Birkin selling for record breaking prices auction.

Its not only the exotic skins that sell for exceptional prices but all the Classic examples.

Here is an example of a biscuit Togo Birkin bag, with gold hardware, selling at auction in New York for $29,000.

I wonder how much the Birkin handbag will retail for in another 40 years. When the Birkin bag was first introduced in the 1980’s its RRP was $2000 now that price is over $10,000 and the second-hand figure is even higher! With these increases happening every year its essential to review your handbags value.

It’s amazing to consider the events of that day and how if Jane Birkin hadn’t been upgraded to first class, the Birkin bag may never have been designed.

Coral…. Did you know?

Posted on August 22, 2023January 3, 2025 by Annabell Parry

There are six types of precious coral from deepest red to porcelain white and none are endangered.

Did you know that Mediterranean Rubrum coral is still dived for by hand by around 50 licenced divers at a depth of 50 metres? Japanese and Taiwanese coral is even deeper; at a depth of 80 metres to 300 metres and can only be harvested by a submersible with strict quotas.

It is reef and shallow water coral, such as golden and black coral, that are endangered. These are known as common coral and reside on the global CITES protection list.

Did you know that coral was used in Rome as early as 1500 BC? It has been used as amulets in the Catholic faith for centuries and revered in Buddhism. To this day it is an expression of status and wealth in Benin in Africa, Poland and Ukraine and it has been used as currency across the world.

In the Mediterranean, coral harvesting has been documented since the 15th century and its secrets and systems were passed down through each generation of a family. This industry was particularly buoyant at Torre Del Greco, a beautiful fishing village on the slopes of Vesuvius. Which for decades in the 1800’s saw almost every local family involved in the coral trade in some form from diving to forming the beads to selling the strings of coral. This development and success of the coral industry at Torre del Greco was arguably thanks to Ferdinand IV of Bourbon, who worked to regulate the fishing of coral from this area of Naples and protect local jobs. He recognised the huge demand for beautiful coral jewellery and religious accessories, the ownership of which was seen as a status symbol across Spain, Italy, Poland and Ukraine, which lasts to this day. Look through several Old Master paintings and you may well find coral pieces to denote protection and wealth.

Even good things come to an end and the Mediterranean monopoly on coral supply was to change in the 1870’s when a different species of coral, ‘Momo’ coral was discovered in Japan and later in Taiwan and Hawaii. These finds would open up coral appreciation to the world and the largest market for coral is now the Far Eastern market.

Collectors are starting to wake up to the beauty of coral that Cartier and Van Cleef and Arpels have been giving to their high net worth clients for over a century.

Precious coral, particularly antique and vintage pieces, are becoming very sought after and gaining good prices at European auctions. Keep an eye out for depth of colour and condition, and a smattering of diamonds is always nice too.

Did you know that the size of coral necklaces depend on the type and size of coral branch? Mediterranean coral can grow up to eight millimetres in diameter, however Midway coral from Hawaii up to 20 millimetres. Each piece of harvested coral from deep in the ocean is cleaned, divided and polished by hand into perfect beads, then matched into earrings and necklaces. It can take over a year to make a larger sized necklace.

There is a huge market in China and the Far East for the top quality Oxblood and Momo coral pieces. So much of the finest coral will make it’s way there and prices rival that of fine jade.

However, you may well have vintage pieces in your jewellery box and I strongly suggest you review their value. It may just surprise you.