Antiques and furnishings valued at £200,000 have been stolen from a stately home in Worcestershire.
Burglars targeted Earls Croome Court, near Upton-upon-Severn, between 16 June and 3 July.
Their haul included a 30-light chandelier, 11 oak doors, two toilets with basins, washing machines, iron gates and a kitchen sink.
The house is the former home of the Earls of Coventry and was bought by the Croome Heritage Trust in 2007.
West Mercia Police said the stolen items could be offered for resale and urged people to be on their guard.
BBC News
Wednesday, July 08, 2009
Entwined Dolphin Fountain with Shell and Triton
Architectural Heritage's Entwined Dolphin Fountain with Shell and Triton circa 1830 was entered to Lapda's object of the year competition. 'To my knowledge, this is the earliest known signed piece by Austin & Seeley,' said Alex Puddy. Unfortunately the fountain did not win however we felt it important to highlight such an interesting piece;
Entwined Dolphin Fountain with Shell and Triton. A large artificial stone fountain by Austin & Seeley, circa 1835. This rare survival from the early 19th Century is a fine example from the workshops of Austin & Seeley, modelled with a merman blowing a conch seated above a shell basin, the stylised conch shell bowl is supported by three entwined dolphins. This fountain is unusually signed in relief on the rocky outcrop below the merman (Austin & Seeley 183…). The fountain appears on the cover of the specimen book of Austin & Seeley’s artificial stone manufactory, a catalogue of 1844 , where a line drawing is shown on page 18, titled as above.
The date of this catalogue entry corresponds to the company’s participation at the Great Exhibition. Here they displayed a fountain some 20 feet in height amongst other items from their manufactory. The company’s beginning is a little difficult to date, however it is known that Felix Austin procured moulds from a previous manufacturer Van Spangen Powell & Co., around 1828 and that their office was registered at Keeple Row, Regent’s Park in 1825 (probably their showroom) with the manufacturing taking place near Thames Tunnel, Rotherhithe.
As with other companies imitating natural stone, such as Coade, competitive pricing, when compared to carved stone or marble, was one of the main selling points, alongside its ‘hardness and durability’, especially when used for fountains. Around 1840 Austin went into partnership with the sculptor John Seeley, and at this time over one hundred models of fountains, gures, pier ornaments, vases etc. were available. Made from a compound of Portland cement, ground stone, coarse sand and pulverised marble, items from the maker were never normally marked or stamped. However, it is possible to recognise items made by Austin & Seeley in cross-section, the compound resembling nougat.
Lapda object of the year
Architectural Heritage
Entwined Dolphin Fountain with Shell and Triton. A large artificial stone fountain by Austin & Seeley, circa 1835. This rare survival from the early 19th Century is a fine example from the workshops of Austin & Seeley, modelled with a merman blowing a conch seated above a shell basin, the stylised conch shell bowl is supported by three entwined dolphins. This fountain is unusually signed in relief on the rocky outcrop below the merman (Austin & Seeley 183…). The fountain appears on the cover of the specimen book of Austin & Seeley’s artificial stone manufactory, a catalogue of 1844 , where a line drawing is shown on page 18, titled as above.
The date of this catalogue entry corresponds to the company’s participation at the Great Exhibition. Here they displayed a fountain some 20 feet in height amongst other items from their manufactory. The company’s beginning is a little difficult to date, however it is known that Felix Austin procured moulds from a previous manufacturer Van Spangen Powell & Co., around 1828 and that their office was registered at Keeple Row, Regent’s Park in 1825 (probably their showroom) with the manufacturing taking place near Thames Tunnel, Rotherhithe.
As with other companies imitating natural stone, such as Coade, competitive pricing, when compared to carved stone or marble, was one of the main selling points, alongside its ‘hardness and durability’, especially when used for fountains. Around 1840 Austin went into partnership with the sculptor John Seeley, and at this time over one hundred models of fountains, gures, pier ornaments, vases etc. were available. Made from a compound of Portland cement, ground stone, coarse sand and pulverised marble, items from the maker were never normally marked or stamped. However, it is possible to recognise items made by Austin & Seeley in cross-section, the compound resembling nougat.
Lapda object of the year
Architectural Heritage
Strategy for Sustainable Construction
Strategy for Sustainable Construction
Taken from Green Building Magazine, Summer 2009
It is almost a year since the Strategy for Sustainable Construction was released to the world. This joint industry and government initiative intended to promote leadership and behavioural change, as well as delivering benefits to both the construction industry and the wider economy.
A lot has changed in the last year, especially in the wider economy, which has affected construction more than any other industry. In this light, it is likely that some objectives of the Strategy for Sustainable Construction will be significantly more or less challenging than originally planned, depending which one you consider.
There are eleven main areas covered in the strategy with over seventy targets and objectives detailed across these areas.
For waste, the main overarching target relates to the diversion of construction waste from landfill. Specially, by 2012, a fifty per cent reduction of construction, demolition and excavation waste to landfill compared to 2008.
There were six actions identified to help achieve this target. These include the construction waste commitment, developing advice for small builders, developing sector resource efficiency plans, setting an overall target for diverting demolition waste from landfill, extending the Plasterboard Manufacturer's agreement to the rest of the supply chain, and a twenty per cent reduction in construction packaging waste.
The Construction Waste Commitment is led by WRAP (Waste and Resources action Programme), who have asked individual construction companies to sign up to halving waste to landfill. To date one hundred organisations have signed up to this voluntary commitment.
Developing guidance for small builders on waste reduction is being led by the National Federation of Builders, with help from others. It has also recently published a waste saving guide that could help reduce waste disposal costs by up to forty per cent for small builders following its advice.
Strategy for Sustainable Construction
Taken from Green Building Magazine, Summer 2009
It is almost a year since the Strategy for Sustainable Construction was released to the world. This joint industry and government initiative intended to promote leadership and behavioural change, as well as delivering benefits to both the construction industry and the wider economy.
A lot has changed in the last year, especially in the wider economy, which has affected construction more than any other industry. In this light, it is likely that some objectives of the Strategy for Sustainable Construction will be significantly more or less challenging than originally planned, depending which one you consider.
There are eleven main areas covered in the strategy with over seventy targets and objectives detailed across these areas.
For waste, the main overarching target relates to the diversion of construction waste from landfill. Specially, by 2012, a fifty per cent reduction of construction, demolition and excavation waste to landfill compared to 2008.
There were six actions identified to help achieve this target. These include the construction waste commitment, developing advice for small builders, developing sector resource efficiency plans, setting an overall target for diverting demolition waste from landfill, extending the Plasterboard Manufacturer's agreement to the rest of the supply chain, and a twenty per cent reduction in construction packaging waste.
The Construction Waste Commitment is led by WRAP (Waste and Resources action Programme), who have asked individual construction companies to sign up to halving waste to landfill. To date one hundred organisations have signed up to this voluntary commitment.
Developing guidance for small builders on waste reduction is being led by the National Federation of Builders, with help from others. It has also recently published a waste saving guide that could help reduce waste disposal costs by up to forty per cent for small builders following its advice.
Strategy for Sustainable Construction
Pugin and the Gothic Revival
Pugin and the Gothic Revival sale at Bonhams Knightsbridge
15 Jul 2009
Fine classical examples of Pugin's designs across a wide range of media, such as Window grilles as found in the House of Lords, hand block printed wallpaper, and a magnificent hexafoil corona at £10,000 - £15,000. Items by other Gothic designers range from stained glass panels to items with architectural interest.
Above: A Victorian Gothic design cast iron fireplace insert with a monogram to the frieze, cast registration lozenge to the back, 103cm high, 106cm wide. Estimate: £500 - 800
Above: A magnificent pair of Gothic Revival fire dogs A W N Pugin for Abney Hall, Cheadle the manufacture attributed to John Hardman & Co., in brass and polished steel, each cast with four columns having pierced supports and knopped finials, embellished with fleur-de-lys motifs 88cm high (2). Estimate: £5,000 - 7,000
Above: A fine and rare Gothic Revival stained and painted glass triptych 'choir loft' window attributed to the Munich Retained Glass Company of Chicago, circa 1920, of upright rectangular form in twelve sections, depicting St. Cecilia at an organ, flanked by standing figures of angels, King David with harp, and a Pope, within an arch, pointed arch tops, 316cm high, 245cm wide overall. Estimate: £10,000 - 15,000
Above: A W N Pugin for Minton a decorative Tile, circa 1860 decorated with white flora and green leaves on a deep red and blue ground, together with a run of four blue and white Minton tiles and a blue, white and red tile attributed to Pugin 22.5cm and 20cm square, makers' marks (6). Estimate: £400 - 600
Above: A large pair of Gothic design pitch pine doors with blackened cast iron mounts, 19th century of pointed arch top outline and planked construction over a chamfered frame, the ironwork in the style of William Butterfield, with stylised straps, handle and latch, each 263cm high, 83cm wide (2). Estimate: £800 - 1,200
Pugin and the Gothic Revival
15 Jul 2009
Fine classical examples of Pugin's designs across a wide range of media, such as Window grilles as found in the House of Lords, hand block printed wallpaper, and a magnificent hexafoil corona at £10,000 - £15,000. Items by other Gothic designers range from stained glass panels to items with architectural interest.
Above: A Victorian Gothic design cast iron fireplace insert with a monogram to the frieze, cast registration lozenge to the back, 103cm high, 106cm wide. Estimate: £500 - 800
Above: A magnificent pair of Gothic Revival fire dogs A W N Pugin for Abney Hall, Cheadle the manufacture attributed to John Hardman & Co., in brass and polished steel, each cast with four columns having pierced supports and knopped finials, embellished with fleur-de-lys motifs 88cm high (2). Estimate: £5,000 - 7,000
Above: A fine and rare Gothic Revival stained and painted glass triptych 'choir loft' window attributed to the Munich Retained Glass Company of Chicago, circa 1920, of upright rectangular form in twelve sections, depicting St. Cecilia at an organ, flanked by standing figures of angels, King David with harp, and a Pope, within an arch, pointed arch tops, 316cm high, 245cm wide overall. Estimate: £10,000 - 15,000
Above: A W N Pugin for Minton a decorative Tile, circa 1860 decorated with white flora and green leaves on a deep red and blue ground, together with a run of four blue and white Minton tiles and a blue, white and red tile attributed to Pugin 22.5cm and 20cm square, makers' marks (6). Estimate: £400 - 600
Above: A large pair of Gothic design pitch pine doors with blackened cast iron mounts, 19th century of pointed arch top outline and planked construction over a chamfered frame, the ironwork in the style of William Butterfield, with stylised straps, handle and latch, each 263cm high, 83cm wide (2). Estimate: £800 - 1,200
Pugin and the Gothic Revival
Tuesday, July 07, 2009
Design and Salvage
The London Magazine, July 2009
Maria Speake from Retrouvius is interviewed by The London Magazine for a special design edition:
Maria studied architecture at the Mackintosh School of Architecture in Glasgow and set up architectural and furniture salvage business Retrouvius with husband Adam Hills on the side. 'It was partly out of financial need and partly out of an intuitive revulsion for destruction,' she says. Time spent on building sites gave her an invaluable understanding of materials: 'It was a delicious process of learning about things like tiles, wood and stained glass, which you are very detached from as an architecture student.'
The pair moved the business to London a few years later, setting up their shop just off the Harrow Road. Maria's progress into interior design was accidental. 'I was coaxed into design projects through a wish to show how the incredible materials we found could be used in a contemporary way', she says. She has worked on everything from a Suffolk beach house to a racy London town house for Coco de Mer founder Sam Roddick. Her architectural knowledge gives her a unique approach: 'It made me realise how malleable buildings are,' she says. "They're not static, like people think. But it also gave me a hatred of the aggressive way buildings are so often mauled. It can make me over-sentimental.'
The pair are amazingly skilled at finding unusual pieces of furniture, fabrics and tiles, which they source from a mix of building sites, factory clearances and museums. They have even reclaimed a stone floor from the Armani store on New Bond Street. 'I love pieces that can add stories to a home,' explains Maria.
Retrouvius
Maria Speake from Retrouvius is interviewed by The London Magazine for a special design edition:
Maria studied architecture at the Mackintosh School of Architecture in Glasgow and set up architectural and furniture salvage business Retrouvius with husband Adam Hills on the side. 'It was partly out of financial need and partly out of an intuitive revulsion for destruction,' she says. Time spent on building sites gave her an invaluable understanding of materials: 'It was a delicious process of learning about things like tiles, wood and stained glass, which you are very detached from as an architecture student.'
The pair moved the business to London a few years later, setting up their shop just off the Harrow Road. Maria's progress into interior design was accidental. 'I was coaxed into design projects through a wish to show how the incredible materials we found could be used in a contemporary way', she says. She has worked on everything from a Suffolk beach house to a racy London town house for Coco de Mer founder Sam Roddick. Her architectural knowledge gives her a unique approach: 'It made me realise how malleable buildings are,' she says. "They're not static, like people think. But it also gave me a hatred of the aggressive way buildings are so often mauled. It can make me over-sentimental.'
The pair are amazingly skilled at finding unusual pieces of furniture, fabrics and tiles, which they source from a mix of building sites, factory clearances and museums. They have even reclaimed a stone floor from the Armani store on New Bond Street. 'I love pieces that can add stories to a home,' explains Maria.
Retrouvius
Friday, July 03, 2009
Gaze Rural & Domestic Bygones
Gaze, Diss Norfolk 04 July 2009
Over 1000 lots auctioned by Carl Willows at Gaze auction house.
Above: Lot 6293. A Singer 46K circa 1900 in original bentwood case, excellent Ottoman Carnation decoration, Serial No P362774 it has an estimate of £55 to £65.
Above: Lot 6314. An enamel sign - Petter Oil Engines, estimated at £100 to £150.
Above: Lot 6338. A 15th Century and later tinker's barrow, spoked wheel driving a grindstone with various compartments housing tools and fittings, estimated at £600 to £800.
Above: Lot 6339. A run of three 1930's cinema seats, estimated at £80 to £120.
Above: Lot 7014. A bier - metal spoked wheels, estimated at £150 to £180.
Gaze Rural & Domestic Bygones catalogue
Over 1000 lots auctioned by Carl Willows at Gaze auction house.
Above: Lot 6293. A Singer 46K circa 1900 in original bentwood case, excellent Ottoman Carnation decoration, Serial No P362774 it has an estimate of £55 to £65.
Above: Lot 6314. An enamel sign - Petter Oil Engines, estimated at £100 to £150.
Above: Lot 6338. A 15th Century and later tinker's barrow, spoked wheel driving a grindstone with various compartments housing tools and fittings, estimated at £600 to £800.
Above: Lot 6339. A run of three 1930's cinema seats, estimated at £80 to £120.
Above: Lot 7014. A bier - metal spoked wheels, estimated at £150 to £180.
Gaze Rural & Domestic Bygones catalogue
Wednesday, July 01, 2009
Exploding German balls and big sales at Salvo Fair 2009
Above: Biggest stand and sale went to Ronson Reclaim from Gloucestershire
Salvo Fair 26-28 June 2009, Knebworth House, Herts UK
RONSON Reclaim had the biggest stand at 3,000sqft at Knebworth and the highest single sale at this years fair of £30,000 to a new client on the Sunday. Several dealers reported sales in excess of £10,000 including newcomer Neale Hargreaves of Hargreaves Reclaimed Flooring from Scotland with a sale of reclaimed Travertine floor slabs which came from the Royal Museum in Edinburgh, on offer at £70sqm for 600sqm.
Last year exceeded expectations with the recession looming, and this year we were all slightly nervous, but it was deemed the best yet by most of the dealers present with a constant flood of privates, together with a respectable number of trade buyers, not only on the Friday trade day but throughout the weekend. Among the 67 stands were a sprinkling of Belgian, French, Irish and for the first time this year, German dealers, amongst whose stock were 200 round cast iron balls used in an old mill for crushing pigment. Amazingly, if two balls were thrown against each other they exploded as if a large percussion cap had gone off. No-one has yet explained why but it provided much merriment and one or two near heart attacks during the festivities.
The weather was warm, with rain showers on Friday but none during the weekend, apart from a three hour downpour during the traditional Saturday night exhibitor barbie which did not dampen spirits, although a shortage of food did. Salvo will try to get this right next year.
A new layout was tried, with the grand avenue opening out at the far end into a large square, which will be enlarged and improved next year. Stands are likely to be capped at a maximum of 80 next year, so if you would like a stand please book early. The dates are 25, 26 and 27 June 2010.
Once again our thanks go to this year's two sponsors, Period Living magazine and T W Gaze auctioneers who both turned out in force over the weekend, as well as Wocko and the Knebworth Estate, and all the exhibitors and visitors, who made the fair a pleasure to run.
Above: Robots descend on Salvo Fair 2009 to join the thousands of other visitors who came to rummage amongst the the architectural salvage, garden antiques and reclaimed building materials.
Above: Guy Trench's stand.
Guy said, "Another great fair, thoroughly enjoyed and signs of some good after sales."
Above: Morris interiors stand.
Mark Morris said, "A very successful fair all round the attendance was superb and we did very well. If there was one piece of advice I could give to exhibitors next year it would be to take a mobile credit card machine. Most of our sales were made through it and I believe it generated more sales as the visitors did not have to go off site to get cash."
Above: The stand of Ronson Reclaim
Ron Jones said, "The fair was a complete success, we were very happy, the weather was great and we look forward to next year. The only thing I would suggest for future fairs is to encourage bigger items."
Above: Smiths Architectural Salvage
Tony Smith said, "Another good fair which we very much enjoyed and sold a lot of doors."
Above: The stand of Steptoe's Yard.
Andrew Shorten said, "To all old and new contacts met at the Salvo fair thankyou for making it such an enjoyable weekend and see you next year."
Salvo Fair
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