Posts tagged ‘S.W. Wolsey’

July 11, 2026

S.W. Wolsey – Photo Archive – the ‘Lovely Hall’ bed

Whilst our ‘Behind the Scenes of the Year of the Dealer’ posts are ongoing for the next 12 months we thought the blog also needs to continue to post our research updates on the antique dealer research project. So, this blog post focuses on one of our usual themes of stories and information from the antique dealer archives. This time it’s the famous dealer in antique oak furniture and related objects, S.W. Wolsey (1895-1980).

We were recently very fortunate to receive a donation of a large number of albums of photographs (of antique oak furniture and objects) that formed the stock of S.W. Wolsey. The albums were kindly donated to the project by Richard Marshall, who recently administered the Estate of the Luff family – thanks again to Richard! Peter Luff was a great friend of Sam Wolsey – Luff and Wolsey wrote a well-known book, Furniture in England: The Age of the Joiner (Arthur Barker Ltd., London, 1968). Indeed, several photographs in the Wolsey archive photograph albums donated by Richard Marshall were also used in the Furniture in England book.

Furniture in England, The Age of the Joiner – S.W. Wolsey & R.W.P. Luff (1968). Image, Antique Dealer Research Project, University of Leeds.

We have posted on S.W. Wolsey on the research blog before (see blog post S.W. Wolsey and Peter Luff 31st December 2020), but just to remind readers, Samuel Wilfred Wolsey was one of the leading dealers in antique oak furniture in the middle decades of the 20th century; the photograph albums contain images of some of the most important oak furniture that passed through the firm of S.W. Wolsey, many of which are now in prominent public museums.

There are scores of objects to highlight in the photograph albums but one example stands out as particularly interesting – especially as it has a long history going back to the start of the ‘modern’ antique trade in the opening decades of the 19th century (see my book The Emergence of the Antique and Curiosity Dealer 1815-1850: the commodification of historical objects (Routledge, 2020), pp.61-72, if you are interested to read more about this.

The object in question is the ‘Lovely Hall’ bed – a 16th century four-post bed that was first illustrated in Samuel Rush Meyrick and Henry Shaw, Specimens of Ancient Furniture (1836) – (see below).

S.W. Wolsey advertisement for the sale of the ‘Lovely Hall’ bed, June 1961. Photograph, Antique Dealer Research Project, University of Leeds.

In Specimens of Ancient Furniture (1836) the bed was described by Samuel Rush Meyrick as ‘Bedsted of the Time of Henry the Eight, in the possession of the Rev. Wm. Allen, Lovely Hall, near Blackburn.’ Meyrick’s description continues – ‘This interesting example, which unfortunately has lost its true cornice, no doubt highly enriched, was observed by Mr. Allen in the course of his professional duties, in administering to a dying parishioner the last consolations of religion, and purchased by him after the decease of the sick person from his heir.’ (Specimens, (1836), p.39).

Lovely Hall, Salesbury, near to Blackburn in Lancashire, dates from c.1600 and was owned by the Starkie family from the 1750s until the 1960s, so perhaps Rev. Allen rented the hall from the Starkie family. The bed was transferred to Holme Cliviger Hall, near Burnley, also in Lancashire, sometime after the 1830s, becoming property of the Whittaker family who owned Holme Hall.

Holme Cliviger Hall (also known as Holme Hall). Image from Robert Wade photostream.

Despite the bed being illustrated in Specimens in 1836 it seems to have been unrecorded again until it appeared on the market in 1960, when it was acquired by S.W. Wolsey. According to some notes by S.W. Wolsey associated with the S.W. Wolsey photograph albums, Wolsey acquired the bed from direct decedents of the Whittaker family. This may be true, but the Whittaker’s sold Holme Hall in 1950 and Wolsey bought the bed from a private collector then living in Putney in South West London (who was not called Whittaker, but may indeed have been a member of the family). The collector had advertised the bed ‘For Sale’ in Apollo magazine in March 1960 (see below) mentioning that the bed was ‘lately from the Holme near Burnley’.

Advert for the sale of the bed, Apollo, March 1960. Image, Antique Dealers Research Project, University of Leeds.

Wolsey displayed his important purchase as a key centrepiece on his stand at the Grosvenor House Antique Dealers Fair in London in June 1961 (see below).

S.W. Wolsey stand at the Grosvenor House Antiques Fair 1961. S.W. Wolsey photograph albums.
S.W. Wolsey stand at the Grosvenor House Antiques Fair 1961. S.W. Wolsey photograph albums.

The S.W. Wolsey photograph albums also have several photographs of the bed and details of the frame and carvings, including a photograph of the bed fully assembled in Wolsey’s shop in Buckingham Gate, London (see below).

The bed fully assembled in S.W. Wolsey shop at Buckingham Gate, London. S.W. Wolsey photograph albums.

Henry Shaw’s illustration of the bed in Specimens (1836) shows it with a plain cornice. As mentioned, Meyrick’s commentary on the bed highlighted that it had ‘lost its true cornice’ by the 1830s. This was something that S.W. Wolsey also speculated upon in his notes associated with the photograph albums – writing ‘It appears that, following the publication of the Shaw book in 1836, an elaborate and expensive ‘Gothic’ canopy was made for the bed no doubt under the influence of a book by A. Welby Pugin…’ (perhaps Wolsey meant Gothic Furniture in the style of the 15th century designed and etched by A.N.W. Pugin (London, 1835).

The advertisement of the bed for sale states ‘the tester [canopy/cornice] has now been restored’ but does not indicate how old the restoration might be; it’s probable that the tester was replaced in the 19th century as Wolsey suggests. The Wolsey photographs include some wonderful detailed images of the tester (see below), which as we know is a 19th century copy in the 16th century style; and the headboard (see below) which dates from the 16th century.

Bed tester (canopy) (19th century). S.W. Wolsey photograph albums.
Bed head (16th century). S.W. Wolsey photograph albums.

It’s interesting that in Wolsey’s display of the bed at the Grosvenor House Antiques Fair (1961), he chose to cover the canopy with a textile hanging – perhaps a compromise to appease the Grosvenor House Antiques Fair vetting committee?

The photographs associated with the bed in the Wolsey photograph albums also include some absolutely fascinating images of the rear of the headboard (see below), which seem to have been taken in a storeroom (perhaps at Wolsey’s shop?). They seem to show various old repairs to the headboard – just as one might expect given that the bed is over 400 years old.

Back of the headboard for the bed. Photograph from the S.W. Wolsey photograph albums.

These important photograph albums will be making their way to the Brotherton Library at the University of Leeds in due course. But the key question (for me at least) is where this very famous bed is today? If anyone knows, do send me a note!

Mark

January 30, 2025

Antique Dealers and Museums

The relationships between the antique trade and public museums is an expansive and complex subject, and there’s not really enough space in a short blog post to do the subject any real justice at all. But a recent addition to the antique dealer project archive of antique dealer ephemera is worth highlighting as it is further evidence of the fascinating dialogue between antique dealers and the public museum. The ephemera in question is a rare survival, an exhibition catalogue of the exhibition ‘In the Days of Queen Charlotte‘ held at Luton Public Museum in May to June 1939.

Exhibition catalogue, Luton Public Museum, ‘In the Days of Queen Charlotte’, May-June 1939. Image, Antique Dealer Research Project, University of Leeds.

The exhibition was organised in collaboration with the British Antique Dealers’ Association and exhibitors included most of the leading antique dealers of the day, such as H. Blairman & Sons, Frank Partridge & Sons, M. Harris & Sons, H. M. Lee, Mallett & Son, S.J. Phillips, S. W Wolsey, Stoner & Evans, J. Rochelle Thomas, and many more. It built on the success of the famous ‘Art Treasures‘ exhibition held at Grafton Galleries in 1928 (also under the auspices of the BADA) and the antique dealers exhibition at Christie’s auction rooms in 1932. However, there was a key distinction between these earlier exhibitions and the Luton Museum exhibition, which was of course that the 1939 exhibition was held in a public museum. I believe this was one of the earliest of what one might call hybrid exhibitions (those staged by the antique trade in public museums) that took place in Britain, and was a catalyst for the much more ambitious collaborations between the antique trade and public museums in the form of public exhibitions that took place later in the 20th century, at The Victoria & Albert Museum in 1962 (organised by CINOA, the International Confederation of Dealers in Works of Art), and again at the V&A Museum in 1968 (organised by the BADA as part of the celebrations of the Golden Jubilee of the establishment of the BADA (1918)). There was also similar dealer exhibitions in public museums in Europe, all organised by CINOA, the earliest of which appears to have been held at the Rijksmuseum in Amsterdam in 1936, with similar exhibitions at the Musee des Arts Decoratifs in Paris in 1954 and at the Historisch Museum in Amsterdam in 1970. And perhaps the most ambitious of these initiatives was the exhibition, ‘The Grand Gallery‘, staged at the Metropolitan Museum of Art in New York in 1974 (again organised by CINOA) and which was partly staged to celebrate the additions to the Metropolitan Museum collections acquired through or gifted by, the New York based antique dealers Joseph and Ernest Brummer.

The exhibition at Luton Public Museum, like the other later exhibitions at the various museums, was partly for public education – the exhibitions often had antiques loaned by influential collectors for example. At the Luton Public Museum exhibition, Queen Mary (an avid collector of antiques) loaned a pair of 18th century Wedgwood & Bentley jasper plaques (c.1780), and the Duke of Kent loaned a collection of 20 stipple engravings of members of the Royal Family (published in 1806).

Plate from Luton Public Museum exhibition catalogue, 1939. Photograph, Antique Dealers Research Project, University of Leeds.

Of course one of the main purposes of these antique dealer organised public museum exhibitions was to showcase, and sell, antiques displayed by antique dealers. Indeed, at the Luton Public Museum exhibition all the objects on display, apart from the loans by Queen Mary and the Duke of Kent, were offered for sale – Moss Harris & Sons offered this 18th century wine cooler (see below) and J. Rochelle Thomas, a pair of 18th century vase and covers (see below).

‘A Chippendale Mahogany Wine-cooler’, exhibited by M. Harris & Sons at the Luton exhibition, 1939. Photograph, Antique Dealer Research Project, University of Leeds.
‘A Pair of Chelsea vases and covers’, exhibited by J. Rochelle Thomas at the Luton Public Museum exhibition, 1939. Photograph, Antique Dealer Research Project, University of Leeds.

The arrangement of the exhibits at the museum also seemed to mirror the displays of antiques at major antique fairs at the time – such as those at the Antique Dealers Fair held at the Grosvenor House Hotel from 1934 – as one might expect of course – the overlap between modes of display in the worlds of commerce and in the public museum are often much closer than one thinks.

The Luton Public Museum ‘In the Days of Queen Charlotte‘ exhibition, 1939, from Connoisseur, September 1939. Photograph, Antique Dealer Research Project, University of Leeds.

Indeed, all of these antique dealer organised exhibitions draw further attention to the close relationship between the market for antiques (as figured in the presence of antique dealers) and the role of the public museum as a frame for ‘decorative art’ (also known as ‘antiques’ of course). The exhibition I curated at The Bowes Museum back in 2019 – ‘SOLD! The Great British Antiques Story‘, was partly an attempt to draw the attention to the symbiotic relationship between the realm of the art market and the so-called ‘disinterested’ realm of the public museum. If you are interested, you can read more about this in the SOLD! exhibition catalogue – still available, for FREE, as a PDF download via the Antique Dealer Research Project Website HERE.

Mark

December 31, 2020

More Antique Dealer Archives – S. W. Wolsey and Peter Luff

Happy New Year to everyone! We hope that 2021 proves to be a much, much better year than 2020.

I thought we’d end 2020 with a blog post on yet another exciting addition to the Antique Dealer archives – this one, like many of the bits and pieces of antique dealer related ephemera, was spotted by Mo (my wife) in her regular trawls through Ebay on my behalf (I never seem to have enough spare time to keep eyes on sites such as Ebay, so Mo is becoming a great ‘spotter’!). Anyway, it was a great ‘spot’ this time – a small cache of manuscript archive that seems to have escaped from the library/archive of the well-known antique furniture dealer S.W. Wolsey (1895-1980); Wolsey’s archive was, I understand, partially destroyed, but I also believe that some of the archive remains in a private collection?

S.W. Wolsey Archive.

The partial archive comprises a selection of typed draft articles, with MS corrections and edits, on antique oak furniture for publications such as Antique Collector written in the 1960s by the furniture historian R.W.P. (Peter) Luff. Also included are a number of fascinating letters exchanged between Samuel Wolsey and Peter Luff in which they discuss their views on the history of oak furniture; there are also some delicious insights into various visits to Country Houses, such as a visit to Longford Castle in September 1963 that was undertaken by Peter Luff and which includes the report of a wry comment by the then Lord Radnor about the restoration of an oak table for Lord Radnor’s father, undertaken by the antique dealers’ Mallett & Son, (‘….for whom he had few good words’)

  Samuel Wilfred Wolsey was perhaps the leading dealer of the 20th century trading in antique oak furniture and related objects. The business was begun by his father Francis Wolsey in the early 20th century and continued by Samuel and his brother. In 1922 Samuel married Isabel Schenker, the daughter of the famous dealer in antique oak furniture Rueben Schenker (see blog post 30th September) and began trading on his own in 1923 – so Wolsey must have learnt a lot about dealing in ‘old oak furniture’ from Shenker. Samuel retired from business in 1969, the year after Furniture in England was published.  The archive contains a small number letters from Wolsey concerning antique oak furniture that passed through the business, including some very well known pieces. For example, the famous ‘Shakespeare’s Chair’ – which Francis Wolsey purchased at Christie’s on 13th April 1947, paying 175gns (£183.15.0.) for the chair.

Another well-known chair figured in the archive is a Charles II walnut cane-seated chair, with a carved front-rail, ‘GEORGE LEWIS – FEBVERY ANNO DO 1687/8, and was formerly in the collections of the antiquarian George Weare Braikenridge (1775-1856); the chair was displayed by Wolsey at the Grosvenor House Antiques Fair in 1949 – here’s the ‘pass-in’ form for the chair at the fair.

S.W. Wolsey archive – ‘pass-in’ form for the Grosvenor House Antiques Fair, 1947.

And here’s a close up of the chair, which ended up, via the dealer Ronald A. Lee, in the collections of John Bryan in the USA.

Charles II walnut chair, with carved inscription. S.W. Wolsey archive.

The Wolsey archive will be making it’s way to the Brotherton Special Collections at the University of Leeds in due course.

Mark

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