Bermondsey, London UK -
Stall and hire rates have been cut in a move to attract more dealers to London's Friday Bermondsey Market, now back in Bermondsey Square. Southwark Council reduced the cost of a 9 x 3ft stall to a half price £25 from November 1st and the offer will last until the end of January.
Joan Bygrave, chairman of the Bermondsey Antiques Market Traders Association, said. "At present we have between 60 and 70 dealers with a maximum capacity of 200 in the square, with the numbers gradually building up week by week.
Bermondsey Square Market
Wednesday, November 05, 2008
Monday, November 03, 2008
Blue John
Chatsworth, Derbyshire UK
Above: A Blue John Vase in the state bedroom at Chatsworth House
Blue John Stone is a rare, semiprecious mineral found at only one location in the world - a hillside near Mam Tor, just outside Castleton. The name Blue John derives from the French Bleu Jaune meaning Blue Yellow, it is a form of fluorite and was discovered as miners were exploring the cave systems of Castleton for lead.
Blue John fluorite has been worked into ornaments since 1750. Within ten years there were sixteen mines working the area to supply thirty-odd local firms who fashioned it into inlays for fireplace and other ornaments for the stately homes of England. Old craftsman dried the Blue John stone and noticed that it changed colour to pink and red. It is not clear if this was discovered by accident as a result of a mistake in drying the stone. At 230°C the Blue John stone changes colour but at these temperatures, gases are produced which can sometimes explode and destroy the piece.
Nowadays, the caves of Castleton are magnificent show caves and are some of the most popular tourist attractions in Derbyshire. Of the four show caves only Treak Cliff and, to a lesser extent, Blue John have veins of Blue John Stone. Treak Cliff Cavern still mines about 500 kilograms of Blue John Stone each year. The veins of Blue John Stone are easy to see and many of the formations are well lit. Blue John Stone is a semiprecious stone and gives Castleton its nickname of 'Gem of the Peaks'.
Above: A Blue John Vase in the state bedroom at Chatsworth House
Blue John Stone is a rare, semiprecious mineral found at only one location in the world - a hillside near Mam Tor, just outside Castleton. The name Blue John derives from the French Bleu Jaune meaning Blue Yellow, it is a form of fluorite and was discovered as miners were exploring the cave systems of Castleton for lead.
Blue John fluorite has been worked into ornaments since 1750. Within ten years there were sixteen mines working the area to supply thirty-odd local firms who fashioned it into inlays for fireplace and other ornaments for the stately homes of England. Old craftsman dried the Blue John stone and noticed that it changed colour to pink and red. It is not clear if this was discovered by accident as a result of a mistake in drying the stone. At 230°C the Blue John stone changes colour but at these temperatures, gases are produced which can sometimes explode and destroy the piece.
Nowadays, the caves of Castleton are magnificent show caves and are some of the most popular tourist attractions in Derbyshire. Of the four show caves only Treak Cliff and, to a lesser extent, Blue John have veins of Blue John Stone. Treak Cliff Cavern still mines about 500 kilograms of Blue John Stone each year. The veins of Blue John Stone are easy to see and many of the formations are well lit. Blue John Stone is a semiprecious stone and gives Castleton its nickname of 'Gem of the Peaks'.
Ashford Marble
Chatsworth, Derbyshire UK
Above: The black marble mines of Ashford-in-the-Water Derbyshire [map from Peak Heritage]
Above: Ashford marble columns in the chapel at Chatsworth
Above: A large Ashford marble vase with hard stone inlay
Above: Ashford marble steps and columns
Above: Black Ashford marble columns
The Chatsworth house collection comprises some of Europe's finest private art collections, representing 400 years of European culture and craftsmanship.
Among the interesting features are two examples of Ashford Marble. The Ashford marble mill was founded by Henry Watson on the River Wye in 1748, the main source was from Arrock Quarry beside the road to Sheldon, close to Chatsworth house.
The marble existed in prehistoric times, a dressed slab was found in a tumulus on fin cop above Monsal Dale. Strictly speaking Ashford marble is not a marble but an impure form of limestone naturally impregnated with a bitumen, Because it changes from a grey to a glossy black when polished.
At Chatsworth Bess of Hardwick commissioned a black marble chimney piece in 1580. About 1700 the great Grandson, of Bess of Hardwick, the 4th Earl of Devonshire, used the marble for interior building work during his major rebuilding off Chatsworth. In the 1830's the 6th Duke had a massive marble doorway executed at Ashford for his new wing at Chatsworth, as well as ornamental gritstone balustrades for the stairs and external battlements.
The work produced was very much in tune with the tastes of Victorian English society and was in such demand that the whole village was taken over by its manufacture. Ashford marble found popularity as a decorative material when polished the black marble provided a perfect background for mosaic and inlaid patterns. Local workers made tourist souvenirs of inlaid ornaments. In 1835 William Adam began working floral inlay designs, some believe the 6th Duke of Devonshre encouraged this after he had been to Italy and seen the inlay there. The work produced was reputed to be equal to the finest produced in Florence and examples from several craftsmen were shown at the great exhibition in 1851.
Most prized was the rare Duke's red, found in limited supply in the Ashford locality. The entire supply was stored at Chatsworth on the orders of the 7th Duke of Devonshire, in 1970's Duke's red marble was incorporated in the Cavendish crest, a serpent laid near Chatsworth house.
The very popularity of Ashford black marble was also its nemesis as cheap substitutes of painted designs on treated slate were frequently being created. Ashford marble remained popular throughout the reign of Queen Victoria, but towards the end of the century tastes were changing. The quarry closed in 1905 though inlay work continued for a few years until the marble reserves were used up. The site of the marble works was partly lost in the construction of the A6.
There are still two examples of Ashford marble at Chatsworth. The chapel features black marble columns and steps and there is also a fine example of a large Asford marble inlaid vase.
Chatsworth
Above: The black marble mines of Ashford-in-the-Water Derbyshire [map from Peak Heritage]
Above: Ashford marble columns in the chapel at Chatsworth
Above: A large Ashford marble vase with hard stone inlay
Above: Ashford marble steps and columns
Above: Black Ashford marble columns
The Chatsworth house collection comprises some of Europe's finest private art collections, representing 400 years of European culture and craftsmanship.
Among the interesting features are two examples of Ashford Marble. The Ashford marble mill was founded by Henry Watson on the River Wye in 1748, the main source was from Arrock Quarry beside the road to Sheldon, close to Chatsworth house.
The marble existed in prehistoric times, a dressed slab was found in a tumulus on fin cop above Monsal Dale. Strictly speaking Ashford marble is not a marble but an impure form of limestone naturally impregnated with a bitumen, Because it changes from a grey to a glossy black when polished.
At Chatsworth Bess of Hardwick commissioned a black marble chimney piece in 1580. About 1700 the great Grandson, of Bess of Hardwick, the 4th Earl of Devonshire, used the marble for interior building work during his major rebuilding off Chatsworth. In the 1830's the 6th Duke had a massive marble doorway executed at Ashford for his new wing at Chatsworth, as well as ornamental gritstone balustrades for the stairs and external battlements.
The work produced was very much in tune with the tastes of Victorian English society and was in such demand that the whole village was taken over by its manufacture. Ashford marble found popularity as a decorative material when polished the black marble provided a perfect background for mosaic and inlaid patterns. Local workers made tourist souvenirs of inlaid ornaments. In 1835 William Adam began working floral inlay designs, some believe the 6th Duke of Devonshre encouraged this after he had been to Italy and seen the inlay there. The work produced was reputed to be equal to the finest produced in Florence and examples from several craftsmen were shown at the great exhibition in 1851.
Most prized was the rare Duke's red, found in limited supply in the Ashford locality. The entire supply was stored at Chatsworth on the orders of the 7th Duke of Devonshire, in 1970's Duke's red marble was incorporated in the Cavendish crest, a serpent laid near Chatsworth house.
The very popularity of Ashford black marble was also its nemesis as cheap substitutes of painted designs on treated slate were frequently being created. Ashford marble remained popular throughout the reign of Queen Victoria, but towards the end of the century tastes were changing. The quarry closed in 1905 though inlay work continued for a few years until the marble reserves were used up. The site of the marble works was partly lost in the construction of the A6.
There are still two examples of Ashford marble at Chatsworth. The chapel features black marble columns and steps and there is also a fine example of a large Asford marble inlaid vase.
Chatsworth
Friday, October 31, 2008
Beyond Limits
Chatsworth House, Derbyshire UK
Above: Marc Quinn, Planet, painted bronze and steel and size 398 by 353 by 926cm
Above: Eric Goulder, Bella Figura, bronze and height 232cm
Above: Richard Hudson, Love Me, polished bronze and height 200cm
Above: Lynn Chadwick, Sitting Couple, bronze and height 255cm
Above: Claude Lalanne, Pomme de New York, bronze and height 248cm
Above: Robert Indiana, The American Love (White Blue Red), polychrome aluminium and size 366 by 366 by 188cm
Above: Salvador Dali, Femme en Flamme, bronze and height 360cm
When looking around Chatsworth House it is evident that the current 12th Duke Peregrine Cavendish and Dutchess Amanda Cavendish are keen collectors of modern art. It is therefore no surprise that Sotheby's chose to house the Beyond Limits exhibition in the grounds of Chatsworth. Beyond Limits is a selling exhibition of monumental modern and contemporary sculpture. It is now in it's third year, following the success of last year where almost all of the 22 pieces found a buyer, and attracted more than 30,000 extra visitors to the garden at Chatsworth.
Director Alexander Platon who has organised the last two exhibitions said, “In the past couple of years, we’ve seen sculpture emerge as one of the fastest growing sectors of the international art scene. It’s a fantastically exciting development, and one that has been particularly evident at the recent Beyond Limits exhibitions we’ve held at Chatsworth: last year’s show attracted buyers from around the world, while at the same time drawing in droves of visitors from across the UK. What to my mind makes the event here so compelling is not only the exciting nature of the pieces we’re able to bring together, but also – and very importantly – the drama of the setting: the gardens here provide the most magnificent backdrop imaginable and that, combined with the hugely powerful juxtaposition of history and modernity, makes for an all-consuming experience.”
This year, Chilean artist Fernando Casasempere has created a work (Fusion) directly inspired by a visit to Chatsworth, while Yorkshire-born Richard Hudson has created a bronze (Love Me) especially for the occasion. Their work will be shown alongside that of other leading contemporary sculptors, such as Jaume Plensa, Fernando Botero, Ron Arad, Kiki Smith, Bernar Venet, Jedd Novatt, Arnaldo Pomodoro, Claude Lalanne, Beverly Pepper, François Xavier Lalanne, Robert Indiana, Manolo Valdes, Kan Yasuda and Eric Goulder. Marc Quinn, Zaha Hadid and Zadok Ben David will also once again be represented. While contemporary sculptors dominate, their work will be complemented by that of artists whose work defines the “modern” era of the early 20th-century artists like Salvador Dalí, Aristide Maillol and Lynn Chadwick.
Perhaps the most dominant pieces is Mark Quinns 'Planet', a ten meter seven ton bronze and steel sculpture of a baby, painted brilliant white and sat playfully in front of Chatsworth house. Mark Quinns sculpture is a literal and symbolic sign of how large the scale of the contemporary art market has become. Quins other works include, a sculpture of Alison Lapper (a disabled pregnant friend of Quinn) on the fourth plinth at Trafalgar square in 2005 and a gold statue of Kate Moss in a yoga position.
Sotheby's Beyond Limits
Above: Marc Quinn, Planet, painted bronze and steel and size 398 by 353 by 926cm
Above: Eric Goulder, Bella Figura, bronze and height 232cm
Above: Richard Hudson, Love Me, polished bronze and height 200cm
Above: Lynn Chadwick, Sitting Couple, bronze and height 255cm
Above: Claude Lalanne, Pomme de New York, bronze and height 248cm
Above: Robert Indiana, The American Love (White Blue Red), polychrome aluminium and size 366 by 366 by 188cm
Above: Salvador Dali, Femme en Flamme, bronze and height 360cm
When looking around Chatsworth House it is evident that the current 12th Duke Peregrine Cavendish and Dutchess Amanda Cavendish are keen collectors of modern art. It is therefore no surprise that Sotheby's chose to house the Beyond Limits exhibition in the grounds of Chatsworth. Beyond Limits is a selling exhibition of monumental modern and contemporary sculpture. It is now in it's third year, following the success of last year where almost all of the 22 pieces found a buyer, and attracted more than 30,000 extra visitors to the garden at Chatsworth.
Director Alexander Platon who has organised the last two exhibitions said, “In the past couple of years, we’ve seen sculpture emerge as one of the fastest growing sectors of the international art scene. It’s a fantastically exciting development, and one that has been particularly evident at the recent Beyond Limits exhibitions we’ve held at Chatsworth: last year’s show attracted buyers from around the world, while at the same time drawing in droves of visitors from across the UK. What to my mind makes the event here so compelling is not only the exciting nature of the pieces we’re able to bring together, but also – and very importantly – the drama of the setting: the gardens here provide the most magnificent backdrop imaginable and that, combined with the hugely powerful juxtaposition of history and modernity, makes for an all-consuming experience.”
This year, Chilean artist Fernando Casasempere has created a work (Fusion) directly inspired by a visit to Chatsworth, while Yorkshire-born Richard Hudson has created a bronze (Love Me) especially for the occasion. Their work will be shown alongside that of other leading contemporary sculptors, such as Jaume Plensa, Fernando Botero, Ron Arad, Kiki Smith, Bernar Venet, Jedd Novatt, Arnaldo Pomodoro, Claude Lalanne, Beverly Pepper, François Xavier Lalanne, Robert Indiana, Manolo Valdes, Kan Yasuda and Eric Goulder. Marc Quinn, Zaha Hadid and Zadok Ben David will also once again be represented. While contemporary sculptors dominate, their work will be complemented by that of artists whose work defines the “modern” era of the early 20th-century artists like Salvador Dalí, Aristide Maillol and Lynn Chadwick.
Perhaps the most dominant pieces is Mark Quinns 'Planet', a ten meter seven ton bronze and steel sculpture of a baby, painted brilliant white and sat playfully in front of Chatsworth house. Mark Quinns sculpture is a literal and symbolic sign of how large the scale of the contemporary art market has become. Quins other works include, a sculpture of Alison Lapper (a disabled pregnant friend of Quinn) on the fourth plinth at Trafalgar square in 2005 and a gold statue of Kate Moss in a yoga position.
Sotheby's Beyond Limits
Wednesday, October 29, 2008
Banksy and Pest Control
Lyon & Tunbull, Contemporary art sale London
The question of authenticity remains high on the agenda in the Banksy market after a last minute intervention by the self-styled guerrilla artist had a devastating effect on Lyon & Turnbull's latest attempt to break into the London contemporary art market. in a statement released by his publicist the day before L&T's sale of modern and contemporary art and design in Marleybone on September 27th, Banksy refused to authenticate five street works at the sale estimated at over £200,000. These works had been removed form their original settings and had been approved by Vermin, the recently established authentication service made up of a 'board of experts' set up as an alternative to the Banksy approved verification panel, Pest Control.
Banksy's statement read "For the sake of keeping all street art where it belongs, I'd encourage people not to buy anything by anybody unless it was created for sale in the first place."
A further statement posted on the Pest Control website stated: "All works authenticated by Pest Control have been done so in conjunction with the artist. Banksy does not provide this service through any other third parties and we would caution collectors against relying on such bodies."
The reasons behind Banksy's protective stance are thought to be threefold. Firstly, public acknowledgement of original street works may open the artist up to potential prosecution for vandalism. Then there is the issue of fakes, Pest Control say that they have identified 89 street pieces and 137 screen prints falsely attributed to the artist so far this year. Thirdly, Pest Control, which is also closely associated with Banksy's primary dealer lazarides, wish to maintain their position as the sole authentication body and thereby control the supply of approved works on the market.
Banksy and Pest Control
Lyon & Turnbull
The question of authenticity remains high on the agenda in the Banksy market after a last minute intervention by the self-styled guerrilla artist had a devastating effect on Lyon & Turnbull's latest attempt to break into the London contemporary art market. in a statement released by his publicist the day before L&T's sale of modern and contemporary art and design in Marleybone on September 27th, Banksy refused to authenticate five street works at the sale estimated at over £200,000. These works had been removed form their original settings and had been approved by Vermin, the recently established authentication service made up of a 'board of experts' set up as an alternative to the Banksy approved verification panel, Pest Control.
Banksy's statement read "For the sake of keeping all street art where it belongs, I'd encourage people not to buy anything by anybody unless it was created for sale in the first place."
A further statement posted on the Pest Control website stated: "All works authenticated by Pest Control have been done so in conjunction with the artist. Banksy does not provide this service through any other third parties and we would caution collectors against relying on such bodies."
The reasons behind Banksy's protective stance are thought to be threefold. Firstly, public acknowledgement of original street works may open the artist up to potential prosecution for vandalism. Then there is the issue of fakes, Pest Control say that they have identified 89 street pieces and 137 screen prints falsely attributed to the artist so far this year. Thirdly, Pest Control, which is also closely associated with Banksy's primary dealer lazarides, wish to maintain their position as the sole authentication body and thereby control the supply of approved works on the market.
Banksy and Pest Control
Lyon & Turnbull
Want to know more about porcelain?
Auction Atrium, Kensington Showroom
Auction Atrium are to hold a two-part evening course on English and Continental Porcelain. Aimed at those who want to know more about the start of porcelain manufacture in Europe, the course will be run at their Kensington showroom by former Christie's South Kensington specialist Mark Longley, who is a now valuer at Auction Atrium.
The course will offer a broad introduction to the subject of English and European porcelain, focussing on the major factories and the products they made.
Session One of An Introduction to Continental Porcelian runs from 7-9pm on Tuesday, November 18. Session Two is the same time a week later. Course fees are £5 per session, with proceeds going to hosting the Age Concern Annual Tea Dance.
Further details on 0207 792 9020
Auction Atrium are to hold a two-part evening course on English and Continental Porcelain. Aimed at those who want to know more about the start of porcelain manufacture in Europe, the course will be run at their Kensington showroom by former Christie's South Kensington specialist Mark Longley, who is a now valuer at Auction Atrium.
The course will offer a broad introduction to the subject of English and European porcelain, focussing on the major factories and the products they made.
Session One of An Introduction to Continental Porcelian runs from 7-9pm on Tuesday, November 18. Session Two is the same time a week later. Course fees are £5 per session, with proceeds going to hosting the Age Concern Annual Tea Dance.
Further details on 0207 792 9020
The most expensive piece of recycled art?
Healer, by Ghanaian sculpture El Anatsui
Above Healer by the Ghanaian sculpture El Anatsui, which is made of thousands of gin and whiskey bottle tops, brought some relief in a difficult financial climate when it sold above estimate for £290,000 at Sotheby's contemporary art sale on October 17th.
When local distilleries in Nigeria recycle each other's bottles, the screw caps associated with each brand are discarded in the process. By collecting these materials, and laboriously sewing them together with copper wire, Anatsui’s transformative process aims to "subvert the stereotype of metal as a stiff, rigid medium and rather showing it as a soft, pliable, almost sensuous material capable of attaining immense dimensions and being adapted to specific spaces" (Anatsui 2005).
Throughout a distinguished forty-year career as a sculptor and professor, Anatsui has addressed a vast range of social, political and historical concerns, and embraced an equally diverse vocabulary of media and process. Using anything from chainsaws and welding torches to this intricate and meditative 'sewing' process, he has shaped materials ranging from cassava graters and railway sleepers to driftwood, iron nails and obituary notice printing plates.
October Gallery
Above Healer by the Ghanaian sculpture El Anatsui, which is made of thousands of gin and whiskey bottle tops, brought some relief in a difficult financial climate when it sold above estimate for £290,000 at Sotheby's contemporary art sale on October 17th.
When local distilleries in Nigeria recycle each other's bottles, the screw caps associated with each brand are discarded in the process. By collecting these materials, and laboriously sewing them together with copper wire, Anatsui’s transformative process aims to "subvert the stereotype of metal as a stiff, rigid medium and rather showing it as a soft, pliable, almost sensuous material capable of attaining immense dimensions and being adapted to specific spaces" (Anatsui 2005).
Throughout a distinguished forty-year career as a sculptor and professor, Anatsui has addressed a vast range of social, political and historical concerns, and embraced an equally diverse vocabulary of media and process. Using anything from chainsaws and welding torches to this intricate and meditative 'sewing' process, he has shaped materials ranging from cassava graters and railway sleepers to driftwood, iron nails and obituary notice printing plates.
October Gallery
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