Posts tagged ‘Dealer Exhibitions’

October 29, 2026

Behind the Scenes of the Year of the Dealer 17 – M. Harris & Sons at The V&A Museum South Kensington

Another in our continuing series of ‘Behind the Scenes of the Year of the Dealer’ – this time back to the V&A South Kensington and the film that focuses on the antique dealer M. Harris & Sons – you can see the final version of the film HERE.

As usual, we had a lot more to say about the well-known antique dealer Moss Harris than we could fit into the films. For example, we had dozens and dozens of images of the antique shops of M. Harris & Sons but, as we’ve stated several times in the ‘Behind the Scenes of the Year of the Dealer’ blog posts, we just did not have the space to add more images into the films (without making the images just a blur!). But we thought you might still like to see just a few of the images we didn’t use; so here are some more M. Harris & Sons images from our dealer archives. Below are some fascinating photographs of a display of antique chairs at the Moss Harris’ shop in St. James’s Street, London in 1938. This display, showing chairs dating from the early 17th century to the early 19th century, was part of a special exhibition staged by M. Harris & Sons celebrating the success of the publication of their book, The English Chair (1937).

Exhibition of antique chairs at M. Harris & Sons, St. James’s Street, London 1938. Photograph, Antique Dealer Research project, University of Leeds.
Exhibition of antique chairs at M. Harris & Sons, St. James’s Street, London 1938. Photograph, Antique Dealer Research project, University of Leeds.

The display at M. Harris & Sons in 1938 has striking similarities with the more recent display of chairs in the redesign of the furniture galleries at the V&A Museum in London – the Dr. Susan Weber Gallery, designed by Nord Architects and curated by Nick Humphrey and Leela Meinertas, which was opened in 2011 (see below). I guess these similarities are just a further reminder of how symbiotic the relationship is between the museum and the market. (c.f. The SOLD! exhibition at The Bowes Museum in 2019)

Dr Susan Weber Gallery, Furniture Collections at the V&A Museum, London. Designed by Nord Architects, London and curated by Nick Humphrey and Leela Meinertas; opened 2011. Photograph, Charles Hosea Photography.

Interesting though these observations might be, what readers of the Blog seem to be interested in, and what makes really makes these ‘Behind the Scenes’ blog posts work, is for us to tell you a little more about how the YoD films were made and give you some insight into the processes and decisions we made during the making of the films. And so, we thought you would be interested to hear a little more about the music we used in the Year of the Dealer films, and how and why we chose it.

If you click on any of the YoD films, you will hear a short sequence of music at the start and which also appears at the closing sequence in the films as well – this is a Classical piece which we licensed for use in the films – it’s by Paul Mottram, on the album Natural Pathways (2020)- the actual track is called ‘Upland Breeze’ – you can hear Paul Mottram’s album HERE. Patrick sorted the music out for us and also suggested the music, which we all liked (thanks again Patrick!).

The music in the YoD films is great of course, but it was not first choice, or at least it was not exactly what we wanted in terms of general ‘tone’ for the YoD films. What we really wanted for the music was something much more edgy – something that was symptomatic of the provocation that is at the heart of the YoD project – the complex question about the relationship between ‘art’ and ‘money’. The idea we had was that we wanted a piece of music that had the kind of ‘edginess’ that would further amplify this idea. The purpose of the edginess of the music was that it would implicitly draw attention to the relationship between the symbolic value of antiques and the economic value of antiques. We were doing this anyway in the YoD films by highlighting the prices that the antiques were sold at when they ended up at the various museums (I’m sure you have noticed this!).

Anyway, we tried to get some edgy music and top of the list, for edginess and quirkiness, was the version of the song ‘Money (that’s what I want)’ by the Flying Lizards (1979) – if you don’t know the song you can watch the YouTube video and hear ‘Money’ (that’s what I want)’ HERE

Still from performance of ‘Money (that’s what I want)’ by The Flying Lizards (1979), Top of the Pops, with Deborah Evans-Strickland on lead vocals.

‘Money (that’s what I want)’ was originally recorded by the American singer Barrett Strong (1941-2023) in 1959, but the Flying Lizards version of 1979 had just the right edginess of tone, exactly what we thought we wanted for the YoD films. We did quite a bit of investigative work in trying to work out how we would get a license for the music – we were excited to discover that David Toop, a leading academic well-known for his expertise and interest in avant-garde music, was a member of The Flying Lizards back in the 1970s. David was a visiting Professor at Leeds College of Music (so potentially quite close by) and at one stage we thought about contacting David and asking if we might be able to use a little bit of the music from the Flying Lizards version of ‘Money (that’s what I want)’ for the YoD films.

Ultimately though, we decided that it would cost too much of our limited budget, so we went for some more pragmatic (in terms of cost) and less contentious (in terms of our potential audience for the YoD films) piece of music – but I wonder what you think… ….would the YoD films be more effective with ‘I want Money….that’s what I want….’ streaming in the background in the opening and closing sequences of the YoD films?

Do look out for the next in the series of ‘Behind the Scenes of the Year of the Dealer’.

Mark

October 25, 2026

Behind the Scenes of the Year of the Dealer 16 – R.A. Lee at Temple Newsam

Our next in the series ‘Behind the Scenes of the Year of the Dealer’ returns to Temple Newsam and the film that focuses on the antique dealer R.A. Lee – you can see the final version of the film HERE.

For this ‘Behind the Scenes’ we can recount a fascinating story about Ronald A. Lee, as told to us by his daughter Georgina Gough. You can also hear Georgina in the YoD films telling us about her father and the R.A. Lee business, both in the Temple Newsam film of course, and in the other YoD film devoted to R.A. Lee at the V&A South Kensington. We also did an oral history interview with Georgina as part of the Voices of the Trade strand of the research project – you can read more about that HERE.

Georgina Gough. Photograph courtesy of Georgina Gough, 2015.

Georgina’s story is related to another object that Ronald Lee sold to a museum, this time a ’13th century Ciborium’ sold to The National Museum of Scotland in Edinburgh by R.A. Lee in 1966. As some of our readers will know, originally there were to be 7 YoD trails, before Covid 19 intervened, and The National Museum of Scotland was initially part of the larger group of museums we had planned for the YoD trails. In fact, as well as the five existing YoD partner museums (Temple Newsam, Lady Lever Art Gallery, The Bowes Museum, V&A Museum and Preston Park Museum), we had also included The Ashmolean Museum as part of the YoD, but for various reasons, all arising from the Covid pandemic, we could no longer include The Ashmolean Museum and National Museum of Scotland. The YoD was an awful lot of work, so maybe creating films of another 20 objects in another 2 museums would have been a bit of a stretch; but Ronald Lee’s Ciborium would certainly have been part of the YoD films at National Museum of Scotland had they gone ahead.

Anyway, Georgina’s story about her father does help us highlight yet another example of the relationship between antique dealers and public museums and recounts a lovely story about her father, Ronald Lee and his wife Betty. As Georgina recalls, Ronald bought his wife Betty a present, a small pierced 13th century copper-gilt circular foot, seemingly from the base of a cup or a bowl – Ronald gave Betty this small part-object sometime in the 1950s (see below). Ronald paid £30 for the 13th Century circular foot, and Georgina recalls that Betty placed the small object on the mantlepiece at home – which at that date would have been Ormeley Lodge on Ham Common to the south west of London.

13th century Cooper-gilt circular foot that Ronald Lee gave to his wife Betty. Photograph, Antique Dealer Research Project, University of Leeds.

In late April 1965, Ronald went, as usual, to a view an auction sale at Sotheby’s in New Bond Street – ‘Highly Important Medieval Works of Art, Limoges Painted Enamels and a St. Porchaire Salt’ (Sale Tuesday 27th April 1965). Amongst the things he saw was Lot 57, ‘AN INTERESTING LIMOGES BOWL FROM A CIBORIUM, of copper-gilt with champleve enamel…..(foot missing)…French, early 13th Century’, The Property of Mrs. M. Craig-de Cleves’. (see below).

13th Century Ciborium Bowl. Sotheby’s auction sale April 27th 1965, Lot 57. Photograph Sotheby’s.
Auction catalogue entry for the 13th Century Ciborium Bowl, Sotheby’s Lot 57, auction sale 27th April 1965.

Like many antique dealers, Ronald seems to have had a form of photographic memory and he recalled the small copper-gilt foot on the mantlepiece at home. Georgina remembers the story, which was also reported in the Press at the time – her father rushed home, popped the circular foot in his pocket and returned to Sotheby’s where he surreptitiously offered the foot to the bowl – and like Cinderella’s slipper if fitted perfectly!

Ronald bought the bowl, paying £2,600 for it at the auction. The newspaper report quoted Ronald – ‘he supposed it would still have to belong to his wife, but if any museum was really anxious to have it, they might be willing to let it go’. Georgina does not recall how such a conversation went, but Ronald offered the bowl, now with its foot, in a selling Exhibition of Works of Art and Antiques held at his home/shop at Byfleet Manor in Surrey in June 1965, where it was fully described, and was one of only 3 full colour images in the catalogue (see below).

13th Century Limoges Ciborium illustrated in the R.A. Lee Exhibition of Works of Art and Antiques, June 1965. Photograph, Antique Dealer Research Project, University of Leeds.

Of course R. A. Lee did sell the Ciborium Bowl with its foot – it was sold in August 1966 to the National Museum of Scotland for £8,500. It remains in their collection – see HERE.

Ciborium, French, probably 19th century. National Museums Scotland. Acquired with contributions from Friends of the Royal Scottish Museum, The Railton Bequest and HM Treasury, 1966. Photograph, copyright NMS.

Perhaps the sad part of the story is not that Ronald sold his wife’s present (Betty must have agreed), but that the Ciborium has subsequently been reassessed and is now thought to be a 19th century copy. Notwithstanding this, Ronald Lee’s reuniting the foot to the bowl is such a brilliant story and one we would have told had we managed to include National Museum of Scotland in the YoD digital trails!

[I am reminded that we’ve highlighted the story about R A Lee and the ciborium before…in the blog in July 2017 but it’s such a lovely story!….and was nearly 10 years ago!….but do read the earlier version too!]

Do look out for the next in the series of ‘Behind the Scenes of the Year of the Dealer’.

Mark

June 14, 2018

Antique Dealer Exhibitions & new material in the Phillips of Hitchin archives

As followers of the Antique Dealer blog will be aware, one aspect of the continued development of the Antique Dealer research project has been an investigation into the emergence and role of themed exhibitions staged by antique dealers over the course of the 20th century.  Indeed, as a platform for dissemination of information on antiques and as a mechanism for the marketing of antiques, these exhibitions very usefully draw attention to the deep synergies between structures of knowledge and the art market.  Dealers have regularly organised selling exhibitions of course – the famous ‘Summer Exhibitions’ held by the leading New Bond Street dealership Frank Partridge & Sons from the 1950s to the 1980s, were opportunities to showcase new stock and for the swish private preview parties for the exhibitions, which were significant events in the social calendar.  Such exhibitions were attended by the most influential collectors, museum curators, interior decorators and antique dealers.   But what is of particular interest to the research project are the more scholarly, thematic exhibitions that antique dealers have staged over the years. These exhibitions, which remain a regular part of the current practices of antique dealing at the top of the antique trade, demonstrate the discrete, focused and scholarly contributions that many antique dealers have made to the knowledge of antiques – such exhibitions have often been accompanied by museum-type catalogues composed by antique dealers who are acknowledged as leading specialists in their field.

We are very fortunate that in the recent additions to the Phillips of Hitchin archive (again very generously sent up to us in Leeds by Jerome Phillips, who found the extra material whilst tidying up some stores – thank you again Jerome!) we now have a range of material that illustrates the detailed planning and execution of a range of ground-breaking exhibitions held by Phillips of Hitchin during the 1970s and 1980s.  Jerome organised these immensely influential selling exhibitions on specific furniture types – a model, unsurprisingly, that was also being adopted in public museums such as Temple Newsam in Leeds at the time (see, for example the exhibitions on ‘School Furniture’ organised by the furniture history scholar Christopher Gilbert at Temple Newsam in 1978 and a similar exhibition at Temple Newsam on ‘Common Furniture’ in 1982).

The Phillips of Hitchin exhibitions in June 1981 and June 1984 (staged to coincide with the Grosvenor House Antiques Fair held each June (except 1981) in London) are key examples of these types of antique dealer exhibitions.  In 1981 the exhibition on ‘Dining Room Furniture 1730-1830’ was a scholarly project, with antique furniture placed in rooms to mirror the social use of the objects at the time they were made – rather like a ‘period room’ setting that was also so popular in museums at the time.

Phillips of Hitchin exhibition ‘Dining Room Furniture 1730-1830’ June 1981. Photograph Phillips of Hitchin archives, Brotherton Library Special Collections, University of Leeds.

Here’s another room at The Manor House, Phillips of Hitchin’s shop, with the assembly of some furniture suggestive of a more rustic dining space. The exhibition had a fully illustrated catalogue – Jerome remains a leading scholar on antique furniture and wrote many essays on the subject that appeared in publications such as Antique Collector; it’s also worth mentioning that in 1978 Jerome composed the new Introduction to the reprint of R.W. Symonds Masterpieces of English Furniture and Clocks (first published in 1940).

Phillips of Hitchin exhibition ‘Dining Room Furniture 1730-1830’ June 1981. Photograph, Phillips of Hitchin archives, Brotherton Library Special Collections, University of Leeds.

Phillips of Hitchin’s exhibitions on dining furniture might be considered as relatively conventional, and of course they were more than just museum-type scholarly projects and also offered the opportunity for potential buyers to imagine new schemes for their dining rooms.   Jerome’s next exhibition, in June 1984, was of a type that was more ground-breaking, for the antique trade at least (as I mentioned, museums such as Temple Newsam were already organising exhibitions focused on specialist furniture types in the 1970s).  The ‘Travelling and Campaigning Furniture 1790-1850’ exhibition in 1984 involved considerable primary research and was again accompanied by a catalogue with a discursive essay on the historical development of travelling and campaigning furniture.

Phillips of Hitchin catalogue for Exhibition of Travelling and Campaigning Furniture 1790-1850.

 

The Travelling and Campaigning Furniture exhibition was obviously more specialist in nature, as I imagine was the audience for the exhibition – specialist collectors of ‘metamorphic’ furniture and museum curators perhaps? But the exhibition itself was a considerable success, according to the detail in the Phillips of Hitchin archives on the exhibition.  Indeed, reading the archive one cannot but admire the research and the time and effort that went into the planning and delivery of these exhibitions.

Phillips of Hitchin exhibition ‘Travelling and Campaigning Furniture 1790-1850’ June 1984. Photograph, Phillips of Hitchin archive, Brotherton Library Special Collections, University of Leeds.

The new parts of the Phillips of Hitchin archive contains numerous photographs of the actual exhibitions, together with correspondence and supplementary detail on the planning of the exhibitions themselves – it’s a wealth of material that helps us to understand the objectives and complex nature of these scholarly and selling events.

Phillips of Hitchin exhibition ‘Travelling and Campaigning Furniture 1790-1850’ June 1984. Photograph, Phillips of Hitchin archive, Brotherton Library Special Collections, University of Leeds.

One further thing, and something that also demonstrates the richness of the archives that Jerome so generously donated to Leeds University, is that Jerome also saved the object labels from the exhibition! …..and here’s just one of a number of those labels from an object from the ‘Travelling and Campaigning Furniture 1790-1850’ exhibition.

Phillips of Hitchin exhibition ‘Travelling and Campaigning Furniture 1790-1850’ June 1984, object label. Phillips of Hitchin archive, Brotherton Library Special Collections, University of Leeds.

There’s more to say about the significance of these scholarly selling exhibitions organised by dealers such as Phillips of Hitchin and we are fortunate to have such archive material to help us to continue to explore and analyse the cultural history of the British antique trade.

Mark

 

January 27, 2015

Art Dealers & Antique Dealers – James Connell & Sons, Glasgow

As followers of the Antique Dealers Project blog will already know, one of the problems we’ve encountered as the project has developed is where to draw the line around ‘antique dealers’ as a practice (or profession).  Earlier posts have pointed towards the overlaps between the antique trade and the second-hand trade – the shift between ‘antique’ and ‘second-hand’ is always a moveable feast!

One of the decisions we took early on in the development of the research questions for the project was that we were not going to focus on the ‘Fine Art’ trade – the history of the Picture Dealer is already a well mapped out research area, and we thought we would leave to other scholars – (many of which, I count as good friends and colleagues actually!)

Anyway, as we already knew, things are complicated! This was brought into sharper focus when I recently acquired a little catalogue of an exhibition held at James Connell & Sons, in Glasgow.

Connell cover

James Connell & Sons, Exhibition Catalogue. c.1910

Connell is well known amongst art historians as a ‘Fine Art’ dealer – one who emerged from the picture frame making trades in the middle decades of the 19th century – for more specific detail on Connell do take a look at the excellent research projects on the Art Trade (Dr Pamela Fletcher’s fab site at Bowdoin College) The London Gallery Project

Or the large research project ‘Mapping the Profession and Practice of Sculpture in Britain and Ireland 1851-1951‘

Connell in these projects is located in the boundaries of the picture trade – and I expect that is where they properly reside – however, as you’ll see by the title of the little exhibiton catalogue (above) Connell also, occasionally I imagine, sold ‘Antique Furniture’ (or ‘Old Furniture’ as their catalogue suggests) – which (for us, at least) further complicates the boundaries of the antique trade – not that they are ever defined so clearly anyway, we know that!

Anyway, I thought it would be interesting to show the Connell catalogue – it’s a small ‘souvenir’ (as they state) of an undated exhibition, but certainly seems to date from c.1910.

connell frontis

Connell catalogue, c.1910

The introductory page states that Connell ‘have been fortunate in acquiring recently superb examples of Chippendale, Adam, Sheraton, and Hepplewhite furniture from well-known collections. Those beautiful specimens form a most interesting exhibition. which is presently being held at their galleries, 31 Renfield Street, Glasgow.’

Connell chest

‘Satinwood Commode’ from Connell catalogue, c.1910

There are perhaps a dozen individually photographed pieces of furniture, ranging from 16th/17th century oak, to late 18th century satinwood furniture – not sure that some of the pieces would pass the ‘authenticity test’ today, but that’s beside the point.  The real interest here, as far as the current research project in the ‘antique trade’ in concerned, is that catalogues such as Connell’s demonstrate the blurred boundaries of the history of the ‘art’ market.

Mark

 

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