10 November 2016

Variations on a theme: two armchairs designed by C.F.A. Voysey (1857-1941)

C.F.A Voysey’s armchair, with a heart-shape in the back, is one of his most recognisable designs.
The armchair with rush seat (above) is a close variant of this widely published model, which is itself known in various forms; see, for instance, Wendy Hitchmough, C.F.A. Voysey, London, 1995, p. 155, fig. 28, showing examples in an interior at Voysey's The Homestead, Frinton-on-Sea.

A version dating from 1906, with a leather seat, is in the collectio...


7 November 2016

Charles Lepec: two recently identified works

As was acknowledged during their lifetimes, the crucial relationship between the fabulously wealthy patron and collector Alfred Morrison (1821-97), and the supremely talented enamel artist Charles Lepec (1830-90), led to much of Lepec's artistic output, during the 1860s, finding a home at Morrison's Fonthill House, Wiltshire.  A number of the pieces commissioned or acquired by Morrison, many of which were exhibited at the Paris Exposition Universelle, 1867, have been traced; see Olivier Hurst...


2 October 2016

PAD London 5-9 October 2016

By the time we arrived on Saturday morning, Berkeley Square was knee-deep in trucks and vans jostling gently for position.  Inside the elegant temporary gallery constructed for PAD, exhibitors maneuvered cooperatively around the stand builders completing their tasks.  And by mid-afternoon many installations were taking shape.


26 June 2016

Masterpiece, London: a return to Regency

At the end of a week that has seen the United Kingdom head off into uncharted territory, we have all had to continue going about our daily activities.  For us, this has meant setting up our stand at Masterpiece: the elite end-of-season London fair.


27 May 2016

Ivory: what is the latest?

According to the entirely justified headline to an online article in Apollo, 'Antique ivory poses no threat to elephant conservation: in fact, it needs protection itself' (see here).

We all love elephants, and who brought up on Jean de Brunhoff's Babar (below) would not?