June 22, 2026

Behind the Scenes of the Year of the Dealer 1 – Frank Partridge & Sons at V&A South Kensington

Our first in this new series of Behind the Scenes of the Year of the Dealer is on one of the films at the V&A South Kensington – Frank Partridge & Sons and The Great Bed of Ware – here’s the film

This film is about average in terms of the length of all the YoD films at films at 3 minutes 40 seconds, but it was planned to be a bit longer at nearly 5 minutes. This was too long for a trail; we thought that about 4 minutes was the longest we should make the films – this was to factor in that some viewers may watch the films on their phone in front of the object in the museum – so we cut quite a lot of information about the more recent history of Frank Partridge & Sons out of the film and moved that information to the Frank Partridge films at The Bowes Museum, Preston Park Museum, Temple Newsam, and Lady Lever Art Gallery (Partridge is the only dealer represented in all 5 museum film trails). We edited the script to reduce the running time of the V&A Partridge film; there were also too many images as well, which meant they appeared and disappeared on screen too rapidly, so we removed some of the images to allow the images that remained a little more time on screen.

One of the images we removed was this photograph of the Great Bed of Ware at Frank Partridge’s shop at 26 King Street, St. James’s in London in 1931 (see below). The photograph shows a man kneeling in front of the bed – perhaps this is Frank Partridge, but we couldn’t be sure and as we had other images of the bed in Partridge’s shop we included those instead.

The Great Bed of Ware at Frank Partridge’s antique shop in London in 1931. Image from The Sphere, July 25th 1931.

We also wondered about telling more of the story about the Great Bed of Ware – it has a long history, including being illustrated in Samuel Meyrick and Henry Shaw Specimens of Ancient Furniture (1836) (see below), one of the earliest depictions of the bed. But we really wanted to focus on the dealer, Frank Partridge, so decided not to include a more fulsome history of the bed. Such information is more commonly highlighted when the Great Bed of Ware is discussed anyway, and is available at the V&A and elsewhere.

The Great Bed of Ware, Samuel Meyrick and Henry Shaw, Specimens of Ancient Furniture (1836), plate 37.

One of the other changes we made was the representation of the house (the equivalent of the price of the antique to the price of a house at the time the antique was acquired by the museum is the common theme throughout all the YoD films) – we didn’t like the first attempt…the house looked too modern and a bit too ‘American’ (see below) (not that we have anything against Americans!), so we swapped the image for the more appropriate looking 1930s house (the bed was sold to the V&A in 1931) in the final version of the Frank Partridge & Sons digital film trial. We also decided that all the images of houses in the films should be images of houses dating from around the time that the dealer sold the object (the antique) to the respective museum, rather than this generic house image (below).

There were several other changes and edits to the film. I think we must have made at least 6 or 7 versions of each of the YoD films before we settled on the final versions – so that’s 50 films x 7…and enormous amount of work! For the V&A Partridge film one thing we debated about for a while was the use of what I called ‘the Monty Python Hand’ as a way of highlighting the carved initials ‘F.P.’ in the frame of the bed (see below).

We tried various ways of highlighting the initials but we quite liked the quirky-ness of the Victorian hand – we used the hand in some of the other YoD films too. Patrick Bannon, who made all the films for us, also voiced the script for the extract from Frank Partridge’s memoirs in the V&A Partridge film – Partridge was originally from Hertfordshire, rather than the Wirral though (where Patrick is from)…so a bit of artistic license (as well as questions of economy) was needed!

See next week for more Behind the Scenes of the Year of the Dealer 2.

Mark

June 15, 2026

Behind the Scenes of the Year of the Dealer

As part of the Year of the Dealer digital film trails launch (see previous post), we are going to post some weekly updates for those following and watching the Year of the Dealer films. As you may know, there are 50 antiques highlighted in the Year of the Dealer films, so that’s just under one per week for the full year of the Year of the Dealer.

And so, each week we are going to reveal some of the stories, images, ideas for each of the film- things that never made the ‘cut’ or that we could not include for various reasons – a kind of behind the scenes look at the making of the Year of the Dealer.

In anticipation of that, here is a preliminary to the first of the YoD posts – we show here (below) Patrick Bannon, who is a photographer and film maker in Yorkshire and was the camera man for all the Year of the Dealer films. Here’s Patrick at Lady Lever Art Gallery filming our ‘What is an Antique?’ film with Fiona Slattery Clark, Curator of Decorative Art at National Museums Liverpool.

Patrick Bannon with Fiona Slattery Clark at Lady Lever Art Gallery, Port Sunlight, Wirral, filming the Year of the Dealer, ‘What is an Antique?’ film in 2022. Image, Year of the Dealer project, University of Leeds.

We will still be posting our usual antique dealer research updates on the Blog too of course, but watch out for the next in our behind the scenes of the Year of the Dealer next week!

Mark

June 11, 2026

The Year of the Dealer Digital Film Trails Launched!

After many years of invigorating research and work, the digital film trails for the Year of the Dealer project are finally launched today, Thursday 11th June!

As many of our readers will know, The Year of the Dealer is a project that began 4 or 5 years ago, and it’s taken an enormous effort, working with a brilliant team at the University of Leeds and colleagues at our 5 Year of the Dealer collaborating partner museums – The Bowes Museum, Lady Lever Art Gallery, Preston Park Museum, Temple Newsam, and the V&A South Kensington – to finally launch the digital film trails.

You can watch all the films here – on the Year of the Dealer main project website, but also on all five partner museum websites too – we hope you enjoy watching the films – but you can also go and see the antiques highlighted in the films at each of our five partner museums.

Focusing on ten familiar objects at each of the five museums, the films highlight how some of our most prized treasures ended up in collections and reveal their hidden histories as ‘antiques’. Guided by two friendly avatars, Mark and Mo (see below) – with introductions by respective museum directors, curators and collections officers – 50 antiques and over 40 antique dealer histories are explored.

Mark and Mo – the avatar guides in the Year of the Dealer digital film trails. Image, The Year of the Dealer project, University of Leeds.

The films reveal the fascinating stories of the dealers who sold the antiques to the museums – including Edgar Gorer, a leading specialist in antique Chinese porcelain, who sadly perished in the sinking of the Lusitania in 1915; and antique dealer Frank Partridge, who miraculously survived the same disaster.

Several films highlight the important role that women have played in the history of antique dealing. One features an antique lace collar on display at The Bowes Museum in Barnard Castle, originally from the collection of Jane Clarke, one of the most prominent antique dealers of the 19th century (see below).

17th century Lace Collar, part of the Year of the Dealer digital film trail at The Bowes Museum, Barnard Castle. Image, The Year of the Dealer Project, University of Leeds & The Bowes Museum.

The Year of the Dealer project draws together several years of research, including museum and dealers’ archives, auction catalogue records and oral history interviews, to bring these previously little-known stories to life.

Other antiques in the digital film trails include the important library table, made by Thomas Chippendale in the 1770s for Harewood House in Yorkshire, sold to Temple Newsam, Leeds in 1964 by H. Blairman & Sons for a world record price of 41,000 guineas (see below);

The Harewood Library Desk, c.1770, part of the Year of the Dealer digital film trail at Temple Newsam, Leeds. Image, The Year of the Dealer project, University of Leeds & Temple Newsam, Leeds Museums & Galleries.

A rare pair of 17th century Chinese ‘Prunus’ pattern jars, sold by the special dealer in Chinese Works of Art Edgar Gorer to the collector William Hesketh Lever in 1911 for the spectacular sum of £6,500 (equivalent to as much as £3.8 million at the time) and now at Lady Lever Art Gallery (see below).

A pair of Chinese 17th century ‘prunus’ jars, part of the Year of the Dealer digital film trail at Lady Lever Art Gallery. Image, The Year of the Dealer project, University of Leeds & Lady Lever Art Gallery, Port Sunlight.

The Bowes Museum’s famous 18th century silver swan automaton, acquired by John and Josephine Bowes from the dealers Briquet and Samper of Paris in 1872 for about £200 (see below).

18th century silver swan automaton, part of the Year of the Dealer digital film trail at The Bowes Museum, Barnard Castle. Image, The Year of the Dealer project, University of Leeds & The Bowes Museum.

The Great Bed of Ware, sold by the antique dealer Frank Partridge to the V&A Museum in 1931 for £4,060 (see below).

The Great Bed of Ware, part of the Year of the Dealer digital film trail at the V&A South Kensington. Image, The Year of the Dealer project, University of Leeds & V&A South Kensington.

There are also some much more humble objects sold by antique dealers to museums, such as this toy Noah’s Ark c.1900, sold to Preston Park Museum, Stockton, in 1969 by Caedmon Antiques of Whitby for a few pounds (see below).

Toy Noah’s Ark, c.1900, part of the Year of the Dealer digital film trail at Preston Park Museum, Stockton. Image, The Year of the Dealer project, University of Leeds & Preston Park Museum, Stockton.

We hope you enjoy the Year of the Dealer films, and that it will encourage you to think further about the role that antique dealers have played in the development of collections.

Mark

May 16, 2026

A late 19th century Antique Dealer – W. D. Cutter

The history of antique dealing is littered with fascinating ephemera – dealer catalogues, invoices, letters, drawings and sketches, stock books, sales books and photograph albums. Some of the most interesting survivals are auction sale catalogues, often generated when a dealer makes changes to a business (sales of surplus stock when moving to different premises for example), or when a dealer retires, or dies. One such catalogue recently joined the collection of antique dealer ephemera that are such important resources for the antique dealer research project.

The catalogue presents ‘The Extensive and Valuable Stock of Works of Art, the property of Mr W.D. Cutter of Great Russell Street, who is retiring from business’ which was was sold over 3 days, 14th -16th May 1924. It gives us a unique insight into the remaining trading stock of an important and well-known (in the late 19th century at least) antique dealer.

Catalogue of the auction sale of the stock of W.D. Cutter; Sotheby, Wilkinson & Hodge, London 1924. Image, Antique Dealer Research Project, University of Leeds.

William Doherty Cutter (born c.1848) traded as ‘antique furniture dealer and curiosity dealer’ at 36 Great Russell Street, London in the 1880s, but the business can be traced back to as early as the 1860s, so may have been started by William’s father or mother or other member of the Cutter family. Cutter’s were well known as suppliers of ‘curiosities’ of natural history and ethnography to the British Museum from the late 1860s to c.1900 – their shop was very close to the British Museum in Great Russell Street. Cutter is mentioned in Provenance: Twelve collectors of ethnographic art in England 1760-1990′ edited by H. Waterfield and J.C.H. King (2006), as well as having a short entry in my Biographical Dictionary of 19th century Antique and Curiosity Dealers (2009). He appears to have been a very important antique dealer, now little known of course; he was active at the famous Hamilton Palace auction sale in 1882, buying a small number of Lots, including ‘a large cameo, with three heads in profile’ (Lot 2166) for £7.0.0. Both of Cutter’s daughters, Marjorie Doherty (born c.1896) and Eva (born c.1890) worked for their father in his antique dealing business – (it’s said that Eva took over the business in c.1890, but this can’t be true as she would have only just been born).

What’s fascinating about the auction catalogue of Cutter’s stock is the sheer range and quality of the antiques he held in stock in 1924. This extends far beyond the natural history and ethnographic specimens that Cutter’s are said to have supplied to the British Museum in the second half of the 19th century. The auction sale had 499 Lots of Cutter’s stock, which ranged from bronzes, ivories, Chinese and European porcelain, silver, clocks, marble and terracotta sculptures, Chinese hardstone carvings and cloisonne, as well as some antique furniture, an array of objet d’art and a small number of paintings.

This range of ‘antiques’ is typical of late 19th and early 20th century collecting interests of course, but Cutter seems to have also been something of a specialist in Renaissance bronzes. Lot 135, for example, ‘A FINE INKSTAND, of the school of Riccio…’ (see below, centre – Andrea Briosco, called Riccio, (1470-1532)). The bronze inkstand was sold to ‘Kerin’ for £30 (equivalent to about £13,630, as ‘income value’, according to Measuringworth.com.) Gerald Kerin formed a partnership with the dealer Alfred Spero in 1928 – both Kerin and Spero were dealers based in London specialising in Renaissance bronzes and bought heavily at the Cutter auction sale.

Lot 49 (see below bottom left) ‘A VERY FINE 15th CENTURY IVORY GROUP of ‘The Adoration of the Magi 6 1/2 in.’ was bought by the dealer ‘Garabed’ for £7 & 10 shillings (equivalent to about £3,400). A. Garabed was well-known dealer trading at Pall Mall Safety Deposit, Carlton Street, London at the time. And Lot 153, ‘A VERY FINE FIGURE OF A POPE, in pear-wood, coloured to imitate bronze, full-length in vestments, standing with right arm raised, 6 7/8 in.’,(below bottom right) sold to the dealer ‘Lewis’ for £3 & 10 shillings (equivalent to about £1,590). Lewis could be any number of antique dealers of the Lewis family in the 1920s.

Auction catalogue of the W.D. Cutter sale, May 1924. Photograph, Antique Dealer Research Project, University of Leeds.

Lot 93,(see above, top middle) ‘A FINE 16th CENTURY PLAQUE of Christ bearing the Cross, a ”cire perdu” casting, with figures in very high relief (up to 1 1/2 in.), oblong, octagonal, 9 1/2 in. by 6 1/2 in.’, was sold to Alfred Spero for £40 (equivalent to £18,170) – the most expensive object sold at the Cutter auction. Alfred Spero was trading from a shop at 33 King Street, St. James’s in London in the 1920s, right next to Christie’s auction rooms.

The bronze shown in Cutter’s stock is a well-known casting, previously attributed to Ferdinando Tacca (1619-1686), but is now said to be by Francesco Fanelli (1608-1661). There are three known versions of bronze, in different shapes and sizes, in museum collections in the USA. One version, rectangular in shape, in the collections of The Minneapolis Institute of Art (see below).

Francesco Fanelli (1608-1661), Christ bearing the cross, mid-17th century. Minneapolis Institute of Art, USA, (66.43.1) The Christina N and Swan J. Turnblad Memorial Fund. Image Minneapolis Institute of Art.

Two other versions are octagonal in shape, the same as the example in the Cutter auction. These are in the collections at The Metropolitan Museum of Art in New York and at the Spencer Museum of Art, Kansas, USA (see below).

Francesco Fanelli (1608-1661), Christ bearing the Cross, mid-17th century. Metropolitan Museum of Art, New York, USA. Image, Metropolitan Museum of Art, New York.
Francesco Fanelli (1608-1661), Christ bearing the Cross, mid 1600s. Spencer Museum of Art, Kansas. Image copyright Spencer Museum of Art, Kansas, USA.

The Metropolitan Museum of Art and the Spencer Museum of Art examples show different fixing holes and other variations, so cannot be the Cutter example, which raises the possibility that Cutter’s example is a previously unrecorded, and as yet unlocated, example of this famous bronze.

Other examples of Renaissance bronzes in the W.D. Cutter auction sale include Lot 128, ‘AN EARLY EQUESTRIAN FIGURE, in pseudo-classical costume, 8 in.’ (sold again to Kerin, at £3.0.0.) (see below top left).

Auction catalogue of the W.D. Cutter sale, May 1924. Photograph, Antique Dealer Research Project, University of Leeds.

And a bronze sculpture of a man (below, right), Lot 138, ‘A FINE 16th CENTURY FIGURE of a man, with curling hair and beard, standing nude with head turned to right and looking downwards, both arms bent with fingers open 15 1/2 in.’ This was sold for £20.0.0. (to a buyer who’s name is too hard to decipher?).

Auction catalogue of the W.D. Cutter sale, May 1924. Photograph, Antique Dealer Research Project, University of Leeds.

The Cutter auction catalogue is a rare document of the stock of a formerly well-known, but now forgotten, antique dealer, and illustrates the high quality stock that W.D. Cutter held. The catalogue will be joining the range of antique dealer ephemera at the Brotherton Library at the University of Leeds in due course.

Mark

April 15, 2026

An Under-studied early 20th Century Dealership: Baliol of Albemarle Street

One of our occasional guest blog posts – this time another post from our friend Chris Coles. Thanks Chris for such a fascinating blog post! – Mark

One of the real pleasures involved with researching antiques is uncovering some of the stories relating to dealers of the past who might now have slipped into obscurity. The Antique Dealer Research Project map website is always the best place to start of course and so, when I discovered that a piece I was researching had provenance to a firm named Baliol Ltd (not Balliol like the Oxford college) I was intrigued. Here is the link to the Baliol page on the project website https://antiquetrade.leeds.ac.uk/dealerships/37156

The firm advertised in Country Life and Connoisseur but not particularly regularly. They were certainly not amongst the firms who showed stock for sale in every issue and, as such, their importance as a dealership has perhaps been overlooked. This short post is an attempt to rectify this and also a call to those who may have more information about the firm to get in touch and help preserve the name for future generations.

Baliol-what we know so far

All the adverts for the firm that I have been able to locate have come from 1931, which also seems to be the year when the firm came to some prominence. The first reference I have found to the firm is from April 1931, but not in an advert, rather in a reference to a court case. The same text appeared in a vast number of newspapers, syndicated across the UK, but the version transcribed below appeared in the Dundee Courier on the 14th of April 1931. The article reads as follows:

‘FURNITURE ALLEGED TO HAVE BEEN FAKED

Two captains, a widow, furniture which was alleged to have been “faked”, and a cheque for £450 figured in a case at Marlborough Police Court, London, yesterday. The men were Capt. H. J. Newnes, of Royal Crescent, Holland Park, London, and Capt. A Salisbury Devenport, of Marylebone Road, London. The widow was Mrs Stubbs, managing director of Baliol Ltd., Albemarle Street, London. The two men were charged with conspiring together to obtain a cheque for £450 from Baliol Ltd.

It was alleged that Newnes called on Mrs Stubbs and suggested she should see some furniture which Devenport had in store. He is alleged to have said it had been in Devenport’s family for more than 100 years. Mrs Stubbs went and saw a chair and a table, which, it was alleged, Devenport told her were genuine Chippendale. She gave him a cheque for £450, taking the furniture by taxi to her stores. She offered Newnes £10 as commission. The next day, it was stated, Mrs Stubbs had the furniture examined by an expert, who said it was faked. Both men denied the charge, and the hearing was adjourned’.

Both men were found guilty of all charges.

  Clearly Mrs Stubbs’ knowledge of antique English furniture was a little deficient in this instance, but the quality of the pieces they dealt in is illustrative of their importance in the history of the antique trade.  For example, Country Life (9th of May 1931) carried a write-up about pieces in stock at ‘Messrs Baliol’s of Albemarle Street’ which included ‘a large break-front bookcase…made of yew wood of mellow colour. The centre section of the upper stage is surmounted by a pediment, and this stage is flanked by pilasters with leaf capitals. The cupboard doors are fitted with wire trellis. In the lower stage, which is fitted with drawers, is a fluted and pateraed frieze corresponding to that of the upper stage but narrower’.

This piece, described so beautifully by the author of the article J. De Serre, is highly likely to be a very famous bookcase which was subsequently acquired by Randolph and taken to Grosvenor House in 1937. This piece was latterly in the Simon Sainsbury collection, having passed through the hands of antique dealers Mallett & Sons (twice) and Hotspur Ltd., and is now with Hawker Antiques, part of Jamb Ltd, on the Pimlico Road – see www.jamb.co.uk (see below).

A George III Solid Yew Wood Breakfront Bookcase, c.1775. Image courtesy of Jamb.

The bookcase would be a jewel in any antique furniture dealer’s stock but it was certainly not the only very fine piece Baliol handled. In 1931 they acquired the famous corner writing chair, immortalised in the Dictionary of English Furniture that had belonged to the famous collector Henry Hirsch and graced his Park Lane mansion. In 1976, Connoisseur ran a feature on adverts of the 1920s and erroneously reprinted the Balliol advert for the chair which had featured in the magazine, presumably in July 1931 (see below). The text of the firm’s advert highlights the Hirsch provenance, using the tag line ‘The writing chair of the millionaire collector Henry Hirsch’. The chair also featured in Christie’s yearbook 1931, having achieved the very high price of £1008 in the Hirsch sale on the 10th of June 1931 (lot 70).

Advertisement for Baliol Ltd., Connoisseur, June 1931, republished in Connoisseur 1976.

  Another advert was placed by Baliol Ltd in The Art Newspaper (16th May 1931) (see below) adds a lot of additional information to our understanding of the firm. It also makes clear that the firm dealt in ‘Old Masters, furniture, tapestries, needlework and Chinese porcelain’ with ‘a guarantee of authenticity given with everything’. With lots of stories about fakes and forgeries circulating in the press, such statements in antique dealer’s adverts were quite common in the period. The firm also appealed to the trade, stating ‘Trade please note – Baliol will search all England, Ireland or Scotland for the pieces you require’.

Advertisement for Baliol Ltd., Art Newspaper 16th May 1931.

In terms of stock, they showed a Tudor oak bed and a beautiful demilune table piano, the case probably by William Moore of Dublin. This lovely piano was clearly not a quick seller as it was still available when profiled by Country Life on the 1st of August 1931. But it’s clear that Baliol sold ‘Old Master’ paintings alongside antique furniture.  They illustrated a painting by Ferdinand Bol (1616-1680); they also had a very fine Dutch painting by Gerrit van Honthorst (1592-1656) in 1931, ‘Smiling Girl, a Courtesan, holding an obscene image’ (1625), which Baliol bought at Christie’s on 3rd July 1931 (lot 85), and is now in the collection of the Saint Louis Art Museum, Saint Louis, Missouri, USA (63.1954).

Gerrit van Honthorst (1592-1656) ‘Smiling Girl, a Courtesan, holding an obscene image’ (1625). St. Louis Art Museum, St. Louis, Missouri, USA. Object No. (63.1954). Image copyright St. Louis Art Museum.

  The advert also states that the firm had branches ‘at Bournemouth and Manchester’.  I haven’t found any further information about the Manchester premises, but an advert in the property section of Country Life (8th October 1932) sheds fascinating light on the Bournemouth arm of the business.

Baliol Ltd., advertisement, Country Life, 8th October 1932.

The advert shows a detached mansion in Bournemouth which was offered for sale ‘with or without fine antique furniture’. We are told that the ‘Riviera-like terraced house’ has ‘reception rooms luxuriously decorated and furnished in periods of Adams’ (sic), Chippendale, William and Mary and Tudor’. The image of one of the interiors shows some lovely pieces of antique furniture, including a William and Mary settee, a Hepplewhite chair, a cockpen chair and the William Moore-type table piano. Presumably, Baliol realised that having a display property on the English Riviera in the fashionable town of Bournemouth was a perfect way to capture those clients holidaying in the milder climes.  

Clearly the firm traded at the very highest level, but seemingly only for a very short period. Where the interesting name for the firm came from is certainly one question I would like answered. I have found the name Baliol being used as the middle name of some important families and wonder whether there was any familial link between any of these and Mrs Stubbs?

Please do get in touch if you have any further information on Baliol Ltd. Post a comment on the Blog or email us at antiquedealers@leeds.ac.uk

Chris Coles.

March 28, 2026

The Year of the Dealer

Some exciting news (I hope!) – the final part of The Year of the Dealer project is finally ready for launch. It’s been an absolutely mammoth task, spanning the last few years, creating the digital film trails, but we are very nearly ready to press the button and make the project ‘live’. We are aiming to press the launch button in June – we’re just working with our fantastic partner museums to make sure everything lines up and we’ll be good to go!

The Year of the Dealer project has involved multiple outputs over the last few years, including a film (Quinneys 2021), workshops and events, and an art-film ‘Echo’ – you can read all about the project on the Antique Dealer Research Project website

Year of the Dealer project website 2026.

The Year of the Dealer digital trails is the final part of the (current) project and has involved creating 50 short digital trails in collaboration with 5 of the UK’s leading museums – The Bowes Museum, The Lady Lever Art Gallery, Preston Park Museum, Temple Newsam, and the V&A Museum. We have picked 10 objects at each museum and told the stories of the antique dealers behind the objects. All 57 digital films (there are also 7 introductory and supplementary films) will go ‘live’ in a couple of weeks and will be live for a year, to make 2026-2027 The Year of the Dealer!

To whet your appetite, here’s a promotional film we have made, highlighting the Year of the Dealer project (see below).

Do watch out for the Year of the Dealer when it launches – and we will be posting updates on the Antique Dealer Research blog about the Year of the Dealer digital films and associated events throughout the coming year.

Mark

February 7, 2026

Remembering Tony Lumb (and Charles Lumb & Sons)

We were very sad indeed to hear that Tony Lumb, of the very well-known antique dealers Charles Lumb & Sons of Harrogate, Yorkshire, passed away over the Christmas period. Tony, together with his wife Mary, was a great supporter of the Antique Dealers Research Project at the University of Leeds – in fact we conducted an oral history interview with Tony and Mary (and James Lomax, former curator at Temple Newsam, Leeds) back in 2014 and we have very fond memories of Tony and Mary – they both came along to the premier of our film of the play ‘Quinneys’ (1915) which we made in 2021, screened at York Picture House in November 2021.

Tony Lumb at home in Knaresborough, 2014. Photograph, Antique Dealers Research Project, University of Leeds.

Tony was born in 1935 and joined his family antique dealing business, Charles Lumb & Sons, in 1956 after completing his National Service. The business had been started by Tony’s grandfather, Charles Lumb (1878-1963), who was born in Dewsbury, Yorkshire in 1878 and trained as a cabinetmaker; he established Charles Lumb & Sons as antique dealers in Harrogate in 1907. Below is a photograph of one of the early business premises of Charles Lumb, a small 19th century workshop where Charles Lumb traded from just after the end of the First World War in 1918 or 1919 – the photograph is from the 1980s, when Charles Lumb & Sons still owned the property and used it as a store for their stock of antiques.

Charles Lumb & Sons, Montpellier Street/Montpellier Mews, Harrogate; shop/workshop opened in about 1918/19. Photograph courtesy of Tony and Mary Lumb.

Charles Lumb opened a shop in Swan Road in Harrogate in the early 1920s, before moving to larger premises in Montpellier Street, Harrogate in the 1930s. Below is an advertisement produced by Charles Lumb & Sons in 1938, trading from their Montpellier Street address.

Charles Lumb & Sons, advertisement, Apollo, August 1938. Photograph, Antique Dealers Research Project, University of Leeds.

Tony’s father, Frank Lumb and his uncle Reg, together with Tony, ran the antique business after Charles Lumb died in 1963. By then they had moved the business, opening a new shop at 34 Montpellier Parade, Harrogate in 1947, and were one of the most important antique dealers in the UK. Below is a photograph of Charles Lumb’s shop at Montpellier Parade in 1954, just a couple of years before Tony Lumb joined the business in 1956.

Charles Lumb & Sons, Montpellier Parade shop interior, 1954. Photograph courtesy of Tony and Mary Lumb.

When Reg Lumb died in 1976 Frank, with Tony and Mary, continued to run the antique dealing business; Frank Lumb was working in the antique shop until his early 90s; he died aged 97 in 1993. Tony and Mary finally closed Charles Lumb & Sons in 2012.

Mary and Tony Lumb, 2014. Photograph, Antique Dealers Research Project, University of Leeds.

Tony served on the Council of the British Antique Dealers Association (BADA) in the 1970s, and served as Vice President of the BADA during the early 1980s. He was always interested in the developments of the Antique Dealers Research Project at the University of Leeds, and were so sorry to hear that he had passed away. We were particularly sorry that Tony will not see the launch of the Year of the Dealer project (which launches on 1st March 2026) – Charles Lumb & Sons are the subject of one of the ‘dealer trails’ films at Temple Newsam, the country house museum near Leeds. This wonderful 18th century Dutch giltwood chandelier (see below) is featured in the short film focused on Charles Lumb & Sons – (the chandelier was sold to Temple Newsam by Charles Lumb & Sons in 1950, for £159 and 10 shillings).

18th century Dutch giltwood chandelier at Temple Newsam, Leeds. Photograph, Antique Dealers Research Project, University of Leeds and Leeds Museums & Galleries.

We send our sincerest condolences to Mary and the Lumb family.

Mark

January 25, 2026

Antique Shops Then and Now part IV

Our popular theme of Antique Shops Then & Now continues with part IV. This time we look to Scotland and one of the largest antique dealing businesses in Scotland, John Bell of Aberdeen.

Below is John Bell’s shop at 56-58 Bridge Street, Aberdeen in the 1950s.

John Bell of Aberdeen, Bridge Street, Aberdeen, c.1957. Image Antiques Yearbook 1957/1958 (Tantivy Press). Photograph Antique Dealers Research Project, University of Leeds.

And here’s the same building in 2026; no longer an antique shop of course, but one can get a sense of the scale of the John Bell business in its heyday – it was an enormous operation, occupying half of the whole building in Bridge Street, over 4 floors.

Bridge Street, Aberdeen, former antique shop of John Bell of Aberdeen, 2026. Photograph Antique Dealers Research Project University of Leeds.

Some readers of the Blog may remember the advertisements of John Bell in various magazines; these were a constant presence from the 1920s up until the 1980s. Below is one of their adverts from 1938, when they were trading from their Bridge Street, Aberdeen shop (which they opened in the early 1930s) and at Sauchiehall Street in Glasgow. Bell had bought the famous antique dealing business of Robert Lauder in Glasgow in 1938 and their branch at 398 Sauchiehall Street was Lauder’s old shop. John Bell also opened another branch in Braemar in the 1950s, only open during the Spring and Summer, no doubt to key into the Scottish tourist trade.

Advertisement for John Bell antique dealers, Apollo magazine, July 1938. Antique Dealers Research Project, University of Leeds.

John Bell was established in 1905 and became of the most successful and important antique dealers in Britain. John Bell (1870-1914) sadly died in 1914, and the antique dealing business was continued by his son, W.S. Bell (1898-1973), who was only 16 years old at the time of his father’s death. Here’s W.S. Bell in 1936, around the time he opened the Bridge Street shop.

W.S. Bell, of John Bell of Aberdeen, 1936. Photograph Antique Dealers Research Project, University of Leeds.

William S. Bell expanded the business, creating one of the largest retail, wholesale and export antique dealers in the UK. They also built an extensive export trade with American dealers and collectors, sending vast quantities of antiques to the USA; as well as to the expanding markets for British antiques in Australia and South Africa. Here’s one of the showrooms in John Bell’s shop in Bridge Street in about 1957 (see below).

John Bell of Aberdeen, Bridge Street, Aberdeen, c.1957. Image Antiques Yearbook 1957/1958 (Tantivy Press). Photograph Antique Dealers Research Project, University of Leeds.

Bell’s shop is packed a range of antiques that would have been attractive to middle class antique collectors and furnishers in the 1950s – 18th century furniture dominated, but as you can see also on display is extensive amounts of antique sliver, as well as antique ceramics and some paintings and tapestries.

One gets a sense of the sheer scale of John Bell’s business in this other image of another showroom in the Bridge Street antique shop (also from the 1950s) – (see below). This showroom looks much more aimed at the wholesale and export markets, with antiques stacked in rows; there’s also earlier antique furniture for sale (mostly 17th and 18th century oak) as well as a much wider range of collectables, suitable for export.

John Bell of Aberdeen, Bridge Street, Aberdeen, c.1958. Image Antiques Yearbook 1957/1958 (Tantivy Press). Photograph Antique Dealers Research Project, University of Leeds.

John Bell of Aberdeen are the subject of one of the little films in our Project – ‘Sold! The Year of the Dealer’, and we are very excited to announce that the YoD is finally being launched to the public on 1st April 2026. The John Bell antique in the Year of the Dealer films is in the suite of 10 films at The Bowes Museum in Barnard Castle – it’s an early 19th century bookcase, which was sold to The Bowes Museum by John Bell of Aberdeen in 1962 (so about the time of the photographs of John Bell’s shop) for £195. Here’s the bookcase (see below).

Early 19th century bookcase, sold to The Bowes Museum in 1962 by John Bell of Aberdeen. Photograph, Antique Dealers Research Project & The Bowes Museum.

The YoD films will soon be available to view – in fact we’re going to do a series of posts on the research blog about the YoD project in the coming weeks – so do keep your eye on the Blog!

Mark

December 24, 2025

Merry Christmas to all our Readers!

Wishing all our many readers (this year more than 15,000 of you!) a Very Merry Christmas and a Happy and Healthy New Year!

Our Christmas image this year is a photograph of the Christmas window display of the well-known antique dealers Norman Adams, who were established in Boston, USA in 1923 before opening their famous shop in Hans Road, London (next to Harrods) in 1928. They opened their shop in New York in 1929 (run by a young Alistair Stair); the photograph is of their New York shop at Christmas time 1930. Enjoy!

Norman Adams Ltd, Christmas Window Display 1930, 155 East 54th Street, New York. Photograph Antique Dealers Research Project, University of Leeds (courtesy of Christopher Claxton Stevens).
December 22, 2025

Antique Shops Then and Now part III

Our theme of ‘Antique Shops Then and Now’ continues with part III. The main antique shop ‘Then and Now’ focus is ‘Shirley Brown’ – an antique shop in Tredington, Warwickshire. Shirley Brown was established in 1923 in Shirley in the West Midlands. Our friend, the antique dealer David Love of Harrogate, who initially worked in his mother’s antique shop, Araxie Love in Shipston-on-Stour, near Tredington, tells us that the business was actually owned by the antique dealer Joseph Brown but Joseph called it ‘Shirley Brown’ as there was another dealer called Brown trading in Shirley at the time. Shirley Brown moved to Tredington in 1948, opening his business in a large historic house – here’s Shirley Brown’s shop in the 1950s.

Shirley Brown antique shop, Tredington, Warwickshire, 1953. Photograph, Antiques Year Book 1953 (Tantivy Press).
Shirley Brown antique shop, Tredington, Warwickshire, 1955. Photograph, Antiques Year Book 1955 (Tantivy Press).

Here is the building (no longer an antique shop; it’s now a private home), in 2025 – it’s remained remarkably the same over the past 70 years (even the weather vane remains!)

House in Tredington, Warwickshire, formerly Shirley Brown antique shop. Photograph Antique Dealer Research Project, University of Leeds, 2025.

The building that ‘Shirley Brown’ chose for their antique shop is a typical historic house antique shop business and continued a trend for antique shops trading from historic buildings that goes back to at least the 1920s in Britain – see numerous blog posts on this theme (if you search ‘historic house’ in the Blog search function you’ll see them all).

Shirley Brown was elected to the British Antique Dealer’s Association (BADA) in 1933 and traded from Tredington until the mid 1980s when the business closed, after almost 40 years in Tredington and 60 years trading overall. Tredington is a quiet village rather than a bustling commercial centre, but was obviously a profitable location for an antique shop – it also had ‘The Thursday Shop’, owned and run by Margaret Jameson, who established her antique shop there in 1940 (and also was still trading in the early 1980s). Margaret is more famous as the author of ‘The Thursday Shop’ an autobiographical account of her life as an antique dealer, published in 1969 under the pseudonym of ‘Anne Summers’. Her shop was only open to retail shoppers on a Thursday (hence the title of her book).

Mark

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