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Detective work that can unveil a masterpiece

Beautiful though it was, it had been branded a fake for more than a century after being exhibited at the Guildhall in London in 1899. It had the subject matter and style of the great J.M.W. Turner, but alterations that appeared to have been carried out by someone else.

Now, though, years of research and technological assessment have turned those doubts on their head and the il painting of Cilgerran Castle in Wales has been sold as a genuine Turner for £1 million.

It’s a great result all round, but how do experts make such decisions? Before the advent of modern techniques like X-Ray spectometry and other means of non-invasive checking, it was largely a matter of written records, comparisons with other known works by the same artist and the connoisseurial eye. Everything from composition to brushstrokes can count and there is no doubt that these days science plays a bigger role than ever before. Confirming one artist’s painting, for instance, was possible by analysing tiny particles of hair towards the bottom of the canvas. He had become so intensely involved in painting that his stubble had been caught in the oils.

Occasionally, a previously hidden thumb print or perhaps an earlier painting in the artist’s style will emerge by scanning the work. Even these can be faked though, so you need to be careful.

Nonetheless, this sort of detective work can be as captivating as the art itself and simply adds to the fascination that attracts so many people to our world.

Check those attics and the cupboard under the stairs

Brown furniture is out, so they say, but I disagree. While the heavy and imposing presence of mahogany – once that most desired of woods – may have fallen away in popularity, plenty of pieces crafted by the hands of the most consummate designers down the ages still attract a keen following.

For me, the Arts & Crafts movement of the late 19th and early 20th century provided one of the most creative and enduring periods, giving us William Morris, Charles Rennie Macintosh, Ernest Gimson and Gordon Russell, among others.

The art critic Nikolaus Pevsner described Gimson as “the greatest of the English architect-designers”, a worthy title, but one earned not without competition from the other greats. Macintosh, of course, was Scottish.

Russell, who lived until 1982, put down his saw and plane at the end of the 1920s to manage what became a furniture factory, putting out beautiful cabinets, tables, chairs and other pieces that are treasured to this day. But it is his own hand-crafted pieces that are most sought after.

Just east of Petersfield, you can still visit the active workshop of the late Edward Barnsley, though you will need deep pockets to commission something special.

To the north of England, the modest but no less accomplished hands of Robert ‘Mouseman’ Thompson added his signature carved mouse to every piece from 1919, creating not just an avid fan base inspired by the honest solidity and supreme craftsmanship of his oak cupboards, bread boards and chairs, and by the captivating rippled surfaces of his chests of drawers and tables, a feature created using an adze to catch the light in the most enchanting way.

Look them all up on the internet and then tell me brown furniture has had its day. Alternatively, bring your examples to me on one of our valuation days.

Check those attics and the cupboard under the stairs

Every time I stage a valuation day at our Fernhurst rooms I’m reminded of that classic episode of Only Fools and Horses where the Trotter family’s heirloom, a discarded pocket watch, turns out to be a lost Harrison worth millions. The image of their battered Reliant Robin parked on double yellow lines outside Sotheby’s in Bond Street is priceless. Finally Del Boy and Rodney became the millionaires they’d always dreamed of being.

It’s just as exciting for the valuer when something special is handed across the table at one of these valuation days. It’s surprising just how many people really do have something of value in the attic or in the cupboard under the stairs.

Headline-grabbing finds of recent years have included a rather battered looking box used as a TV stand that turned out to be the Mazarin Chest, an extremely rare Japanese antique valued at £6.3 million.

Another was the portrait of a man in a ruff picked up at a Cheshire antique shop for £400 in 2004. Ten years later it was spotted as a genuine Van Dyck on the Antiques Roadshow and valued at £400,000.

One of my favourite stories is of the New York family who bought a fairly plain looking white bowl at a garage sale for $3 only to find out later that it was an ancient Chinese treasure over 1,000 years old and worth $2.2 million.

Now I’m looking to make a discovery. What have you got for me? You can bring in an item or photo any time. Check in your attic and see what you find!

Evidence of the versatile winning formula of auctions

I was delighted to read that auctions have been providing a little light in the darkness recently.

Among all the gloomy articles about impending disaster arriving from one corner or another was the latest news from the Office for National Statistics, which reveal that auction houses and clothes shoppers have made a significant contribution to the recovery of retail sales in October. Economists had expected an uptick of 0.5%, but these two sectors helped that rise to 0.8%

That may seem small beer, but when you’re looking at an economy worth trillions, this is actually a very important piece of news in boosting confidence.

So why have auctions become so important? As discussed in this column more than once, they were already set up to handle the pandemic well, with sophisticated, user-friendly systems for bidding online. With many people sitting at home finally having the time to test this out, auctions attracted a whole new audience of bidders, while existing clients also found more time to take part in this convenient method of acquiring goods.

Not only that, the experience of bidding online is entertaining and exciting too, so who wouldn’t want to give it a go. I envy anybody who enjoys the thrill of that first successful bid at auction.

I would argue that it’s also the key to attracting the next generation of buyers, who are already sold into the idea of trading in second-hand goods as they recycle clothes, shoes and tech.

Auctions have already succeeded for millennia; now they are proving just how adaptable they remain.

 

The continuing promise of Victorian watercolours

In my view, one of the most under-priced areas of the fine art and collectables market is Victorian watercolours. Some artists’ work can fetch a pretty penny, but for the most part landscapes, genre scenes, figural studies and the rest can be had for little more than a hundred pounds or two; sometimes considerably less.

Why is this?

One explanation is that tastes have simply moved on and buyers today can’t relate to the subjects depicted. Another is that people expect their art to ‘perform’ more. A nicely mounted and framed riverside view or idyllic cottage scene may be well executed but perhaps does not leap from the wall in the way a bit of brashly coloured Street art does.

Whatever the reason, it’s hard to believe that the spirit of nature and humanity captured in these views has no place among the collections of the future. I see many of them as a tonic, a perfect means to gently attract the attention of the viewer and make them ponder awhile, stepping off the conveyor belt of modern life to contemplate and drink in the serenity of a time gone by, when life was a simpler – if sometimes tougher – affair.

A plentiful supply of notable compositions comes to auction on a regular basis. Why not see if you can find one you like for the wall. We can all do with an occasional bit of slowing down, and gazing on an accomplished work by one of these masters of times gone by is an effective way of doing that.

Not everything is grim when to comes to climate change solutions

The COP26 summit is yet another reminder of the grim fate that awaits humanity if it does not get its act together on the climate. Gas-guzzling boilers? No more to be sold by 2035. Coal? Out by 2040. Log burners? Forget it.

As with everything that is unhealthy when it comes to food and drink, it seems that there is a conspiracy afoot to take all enjoyment out of life.

So thank goodness for the virtues of antiques. As I have often rehearsed in this column, furniture, silver, works of art and ceramics, among many other well-crafted and delightful treasures, tick every green box that can be thought of when it comes to saving the planet.

As the Antiques Are Green movement advises us: “Invest in the Future, Recycle the Past.”

And what an example this campaign gives us to prove its point, the humble Windsor chair, a thing of beauty and practicality: “The chair parts were made by craftsmen who lived in the woods where the materials came from,” AAG tells us. “The turnings were produced on treadle-operated lathes, then parts were taken on foot to a local workshop to be assembled. From there the completed chairs would be distributed around the country by horse and cart or waterways.”

Some of these chairs are now well into their second century of use and treasured as much now as when they were first made – arguably more so.

“By buying this chair to use again we have conserved our natural resources and prevented the carbon footprint of another chair being produced, that possibly would come all the way from the Far East,” says AAG. On the other hand, a new mass-produced chair will hit the waste tip long before the antique Windsor chair is sold again at auction, goes to the restorers and is revived and retailed again for another 40 years’ use.

Rowland Hill’s simple idea that changed the world

If auctions are about anything, they are about history: making it, celebrating it, retelling stories.

As I have written many times before, objects that raise huge sums at auction often have little intrinsic value in themselves; a masterpiece by Francis Bacon is still no more than a collection of materials – oil paints, canvas and wooden frame – but the creative process, the resulting ‘art’, the proximity to genius and the historic associations that it has make it worth more than its weight in gold.

Ounce for ounce, nothing outside of digital art carries more value than rare stamps. Now one of the rarest – and arguably the most important ever printed – is up for sale.

The first Penny Black went on sale in 1840, revolutionising people’s ability to communicate with each other. Suddenly, anyone could send a letter from one end of the country to the other without the recipient having to pay for a bespoke mail service that excluded all but the wealthy.

The stamp on offer here is attached to what is known as the Wallace document, named after Robert Wallace, who headed up the commission on postal reform. The document is dated April 10, 1840 and the Penny Black became valid postal tender almost four weeks later on May 6.

A simple and inexpensive process coupled with the iconic design of the Queen’s head, Rowland Hill’s ground-breaking concept became a worldwide phenomenon adopted by every country.

Developing the system and service to support that idea was rather more complex, but it is still in place today.

You never know what might be hanging on your wall

What have you got on your wall? I thought about this last week when I heard of the sale of artworks that had been hanging on the wall of a Las Vegas hotel. They were not just any old daubs, mind you, but nine pictures and two ceramic artworks by arguably the most important artist of the 20th century: Pablo Picasso.

Hung on the restaurant wall of the Bellagio Hotel, the artworks spanned more than 50 years of Picasso’s career, with the top price among them coming for the 1938 painting Woman in a Red-Orange Beret. Expected to fetch $20m-30m, it sold for a very encouraging $40.5m.

In fact, as a whole the consignment did rather better than hoped, totalling $110m.

That’s quite a wallful.

It reminded me, too, of the first great discovery on the Antiques Roadshow. Back in 1986, a couple in Barnstaple, Devon decided to show a painting that they had owned since 1930 to art expert Peter Nahum, one of the show’s specialists. They hadn’t thought it worth anything but were curious to find out more about it and, anyway, were taking their dog for a walk so thought they might as well drop in on the show which was filming in the town.

It transpired that it was the most important missing work by the Victorian artist Richard Dadd and dated to about 1845 – two years after he had killed his father in a mad frenzy. Titled The Halt in the Desert, it was painted while Dadd was detained in Broadmoor and shows a rather peaceful moonlit scene. The British Museum bought it for a large six-figure sum.

How Banksy ripped up the rule book to raise his reputation even further

So now we know: a work of art can be worth far more once you destroy it. Well that’s true if you’re Banksy. Just a few weeks ago I mused on how much his ‘transformed picture’ Love is in the bin – previously Girl with Balloon – might make when it appeared at Sotheby’s on October 14. It had previously sold for £1m in 2018, and the moment the hammer fell, the canvas dropped through a shredder hidden in the bottom of the frame.

Shocking it may have been at the time, but it was a stunt that caught the art market’s attention, fascination and even admiration, turning the picture immediately into Banksy’s most famous / notorious artwork, and so also the most valuable of his paintings.

It remains the greatest irony that the artist who does more than any other to subvert the art market and its processes has proved himself yet again the ultimate master of the industry’s marketing machine.

In this context, while Sotheby’s estimate of £4-6 million might have looked a little punchy, it did not seem beyond the bounds of possibility. So what happened on the night? Forget the estimate; frenzied bidding took the painting to £18.5 million hammer, a record for any piece of Street art, sealing Banksy’s status at the top of the international art pantheon for living artists alongside the likes of David Hockney, Ed Ruscha, Beeple and Jeff Koons.

 

Auctions can be a great way of setting the record straight

Paul McCartney has no desire to write an autobiography, I understand. However, a new broadcast interview does provide further insights into the endlessly fascinating subject of The Beatles. Despite the long-held view that it was Macca who pulled the plug on the Fab Four – the result of his announcement during an interview at the beginning of the 1970s – he now reveals that all he was doing was finally letting slip what had been decided some time before. According to Sir Paul, it was John Lennon who called time on the band as he sought pastures new with Yoko Ono. The other bandmates, including McCartney, had wanted to carry on.

Setting the record straight provides some of the most newsworthy stories, and auctions are often the catalyst for this.

The latest example is the decision by Al Capone’s descendants to consign 174 personal items for auction. Ageing themselves, his grandchildren wish to divest themselves of these important artefacts, firstly so at least some of them can go to public institutions, secondly because they are concerned about wildfires near their homes and thirdly because it creates an opportunity for revising the public opinion of Chicago’s most notorious gangster.

A letter from Capone, written to his son while languishing in Alcatraz, shows his touching human side, argues his granddaughter. “These are not the words or ideas of a man who is a ruthless gangster. These are the words of a loving father,” she told The Guardian.

Maybe, but sadism and sentimentality in the same person are not mutually exclusive, as many a tyrant has shown. Capone may have been cuddly with some, but the Roaring Twenties Capo had a public reputation that was richly deserved.