Roadshow Miscellaneous specialist Mark Hill goes behind the scenes of the BBC Antiques Roadshow as it celebrates its 40th anniversary in 2017…

A set of Beatles autographs, a battered teddy bear, granny’s beloved china tea set, a diamond ring, a plastic doll, a tribal spear, a Dinky toy, a unicorn’s horn, and an old sewing machine…no, not an offbeat episode of The Generation Game, but part of the stream of many hundreds of objects a specialist may see during a typical filming day for the Antiques Roadshow. This year also sees my tenth anniversary as a specialist on the show and I’ve seen every one of those objects – and many, many more. I never tire of it, I always want more, and every filming day is like Christmas. You never know what you’ll unwrap next and you never know to which distant lands or parts of history you’ll be transported. It’s the closest to being Doctor Who that I’ll ever get to be. And at the core of it all is the object. But the Roadshow is …

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Opalescent Sunflower Vase

It’s usually the things that nobody knows about that attract and intrigue me. If they’re of a certain (good, or fine) quality, or have an interesting look, I want to know more. Browsing around the Cambridge Glass Fair, I came upon this rather unusual looking small posy vase. Somewhat etherial, it’s also rather appealing. But it looks like a child painted it!“, I hear you cry. You could indeed say that. But look closer and think. The enamelled flowers and leaves are rather evenly applied and don’t waver all around. The sunflowers themselves are placed directly opposite each other and, most importantly, the enamel is baked on, rather than just being painted on. So unless someone had access to a kiln or furnace, this was done in a factory. So, arguably, a child couldn’t have done this. Furthermore, the colour tone of the enamel is similar to those used at Haida (Nový Bor) in today’s Czech Republic. As well as its factories, the town is known for its glass school (fachschule) founded in 1870. Then …

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Mossy Dwarf

As regular readers of my blog will know, I’m a huge fan of etchings and have bought them since I was schoolboy. I never spend much, I just buy what I like. The more bizarre or bonkers they are, the better. I usually buy without knowing much or anything about the etching or the artist, and I enjoy the research challenge when I get home. Most end up being professionally mounted in secondhand frames I also acquire inexpensively. My two latest purchases are both unframed, and cost me £15 and £20 respectively. The first (above) is reminiscent of a book illustration and is superbly quirky – it made me smile. It shows a line of finely dressed 17thC or 18thC ladies and gentlemen approaching a seated bearded dwarf in a hat. Behind him are two cats and a strange imp standing in a flower pot with his arms outstretched and a sun and moon above his hands. Above them is a partial face of an old bearded man, who I presume to be God or Old Father Time. …

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Artist and caricaturist Fougasse is best known for his iconic ‘Careless Talk Costs Lives‘ posters, produced during World War Two to caution the public against gossiping and accidentally spreading information that may be of use to German spies during the War. Fougasse was the pseudonym of Cyril Kenneth Bird (1887-1965), a qualified civil engineer, who turned to drawing while convalescing after suffering serious wounds at Gallipoli during World War One. He chose the name as it was the bread-derived nickname of a French landmine, the effectiveness of which was “not always reliable, and its aim uncertain“. Adopting a quirky, almost sparse, style laden with quintessentially British humour, he was successful and became one of the best known cartoonists of the day. As well as illustrating various books, he contributed to Punch, The Graphic and Tatler, and was editor of Punch from 1937-49. During World War Two, he worked for free producing poster designs for the Ministry of Information, including the ‘Careless Talk Cost Lives‘ series, where each design contains a ‘hidden’ Hitler and/or Goering, listening in to …

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This October saw my 20th anniversary working professionally in the antiques business. In October 1996, I was offered a full time role as a porter in Bonhams‘ Collectors Department, then based in Lots Road, Chelsea. Several months of being a general porter setting up and manning views for £50 per week were over, and I was delighted to accept a job for £7,500 a year. My first boss was Alexander Crum Ewing (above, on the rostrum, and still a dear friend), and my colleagues were Leigh Gotch (head of the toy department), his assistant James Bridges, Ted Owen (head of the entertainment department), his assistant Nicky Tonkinson, Elizabeth Carr-Wilson, and Sara Sturgess, who ran the pen department.

It was the closest thing to an apprenticeship that I could have found or desired and I was in my element, dealing with everything from vintage writing equipment, scientific instruments, and mechanical music, to a whole range of toys, dolls and teddies and entertainment memorabilia, including working on the now legendary Beatles and Elvis sales. …

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Henryk Albin Tomaszewski Glass

Attributions in the world of antiques and collecting change frequently, and across the board too, from porcelain to furniture to glass. This is particularly the case with ‘new markets’, like mid-century modern Italian ceramics and postwar Czech glass design.  A new source will be unearthed, such as a catalogue or forgotten book, or a piece will be discovered with a correct, original label. On rare occasions, the designer or maker themselves surfaces to set the story straight. The sculptural design shown here, in olive green and yellow, is usually attributed to the talented Czech designer Pavel Hlava. This is mainly due to the fact that he produced some blown glass during the 1970s & 80s with internal structures vaguely similar to these. It’s also because, along with Frantisek Vizner, he’s a well-known ‘big name’ and many are keen to raise the profile – and value – of their piece by attributing it to him. I never believed this attribution, as the glass is thicker than most of Hlava’s work, the machined base is different, the actual …

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Snowflakes Glass Vase

Browsing around the excellent and huge Hopkinson Vintage, Antiques & Art Centre just by Nottingham’s station after doing a NADFAS lecture, I stumbled upon this vase. I was delighted as it had a label – something I’ve been looking for for ages. When sold on eBay or in countless fairs, shops and antiques centres across Europe and US, they are always either labelled ‘Murano Glass’, or ‘Italian Glass’, indicating factories based in Empoli near Florence. None of this is true, but I needed to find one with a label to be able to prove it and write a blog post. As the original silver and black foil label on the example I found clearly indicates (below), they were in fact made in China. Stop gasping – and relax. Although most collectors eschew and pass over Chinese glass, most of which is derivative and poor quality, I think these are worthy of consideration. Marketed under the brand Snowflakes, this diverse range was made by The Dalian Glass Co. Ltd  which is one of many glass factories …

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Last Thursday Alfie’s Antiques Market in Church St, Marylebone, London hit a major anniversary when it turned 40. It’s almost as old as me! A day of festivities, including a lecture on 20thC Glass given by me, culminated in an intimate party, held as part of the London Design Festival. Exhibiting in a pop-up shop was London’s glass legend, Peter Layton, who was also celebrating 40 years of business by selling some of his newest designs in stunning black and white, as well as much-loved favourites including jewellery and his gorgeous Aeriel range of stone-forms and dropper bottles. The Antiques Young Guns also created a pop-up shop just 2 minutes walk away, with a varied stock that showcased the future of antiques, from posters to taxidermy to 18th & 19thC furniture and decorative accessories. For those into antiques, fashion, jewellery, mid-century modern design, and collectables with a leaning towards the 20th century, I can’t emhasise how wonderful and unique Alfie’s is – especially in this day and age of identical high streets across the world. I’ve …

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Farnell Mascot Soldier Bears Pocket

Sometimes it takes the smallest of things to help children begin to understand a complex situation. In this instance, it was a small teddy bear. During World War One, Farnell (known as the ‘English Steiff’ by collectors) produced tiny 3.5in high bears which they called ‘Mascot Bears’. They were given as gifts and taken to the Front by soldiers, as mementos of home and loved ones as they endured the trenches and the terrors of war. A staggering quarter of a million soldiers were under 19 years old, the average age of a soldier was 24, and the average life expectancy in the trenches was only six weeks. I was first captivated by these tiny teddies after helping to sell the amazing Campbell Collection in 1999, when I worked at Sotheby’s, but it took me another 14 years to actually buy one for myself (above right). In 2014, the centenary of the start of World War One, I wrote an article about Mascot Bears for Homes & Antiques magazine, that appeared in their July issue. They’ve very …

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Sam Herman Glass

Sam Herman (b.1936) is undoubtedly one of the most important and influential living glass artists and makers in the world today. After studying and helping to develop the new studio glass techniques directly under their inventors, Harvey Littleton and Dominick Labino, at the University of Wisconsin, he brought them to the UK in 1965. He worked briefly with Michael Harris at the Royal College of Art, before becoming a Research Fellow there in the same year and then, a few years later, Lecturer in Glass. He went on to co-found The Glasshouse in London in 1969, helping and inspiring hundreds of glass artists, providing them with the tools, support and space to create, and the venue to sell from. In 1974, he was invited by the South Australian Government to bring his unique style, skills and studio glass techniques to Adelaide, where he founded a glass studio at the Jam Factory. On his return to England in 1979, he founded his own studio in Lots Road, Chelsea, and became an Honorary …

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Ten years ago today, the first retrospective exhibition of West German ceramics of the 1960s & 70s, featuring the Graham Cooley Collection, closed at the King’s Lynn Arts Centre. Over 500 ceramics were included, and over 3,500 people came to visit. It was accompanied by a catalogue of the same title, written by me, of which three editions, totalling several thousand copies, have now sold out. Together they launched ‘Fat Lava’ into the world. As well as bringing these ceramics together for the first time, the exhibition and book also revealed factory and designer names, ranges – and the sheer variety available out there. Since then, the term has gone on to become commonplace in the retro, vintage, collectables and antiques world. No vintage or 20thC design shop in the Western world worth its salt hasn’t handled at least a few, or has some in stock, and there are dozens of specialist dealers – and many thousands of collectors. Fat Lava has been featured in prestigious interior design magazines from Elle Decor to World of Interiors, …

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Wilhelm von Eiff Glass

I’m a great fan of the Glass Fair at Knebworth and The National Glass Fair, and have been a regular visitor (and buyer!) since it was based in Cambridge years ago. They promise over 300 years in glass in one day, and they and the dealers who attend have always delivered it too. It’s the sheer variety available – there truly is something for everyone. I’m always on the look out for pieces that are unusual, rare and of a certain quality and I certainly found something that fulfills all those aspects last time. It was the small size of 5in (12cm) and finish that first caught my eye. The matte finish caught the light, and it almost glowed white. Looking closer, the finely-worked detail provided a feast for the eyes and for the mind. The pleasingly proportioned body is carved and engraved nearly all over with frieze of a man, a kneeling woman holding a bowl, two lions and a tree. The style perfectly combines the Antique with Art Deco – …

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