Journal

22 May 2019

An Evening with Compton Verney

Thank you to everyone who attended our evening talk on Thursday. We thoroughly enjoyed learning more about Compton Verney's redesigned galleries and collection origins.

Our special thanks go out to Annelise Hone, Compton Verney's Collection Manager, for a inspiring presentation; Fran from Wyld Cookery for creating our delicious canapes; Josyane for designing another unique gallery installation, Don Grant for being in charge of the bar, and to Florence & Ilse for making the evening come together.

 

 

 

08 May 2019

The House & Garden Top 100 Interior Designers

We’re properly honoured to be included in the H&G 2019 Top 100. Huge thanks are due to Sharon, Flo, Ilse and Don, our Riviere Interiors team, for their dedication, loyalty, skills and attention to detail and to our valued clients who invest their trust and confidence in us to work, (and play), in their homes and workplaces.

All our design work is collaborative and nothing could be achieved without the skilled craftspeople, artisans and suppliers who turn ideas into reality.
Many thanks also to Hatta Byng, Liz Elliot and all at House and Garden UK for raising the profile and recognition of Interior Designers who represent such a wide cross section of styles, (including the odd little niche partnership!). It is exciting and rewarding to be selected again, alongside such talented and inspiring designers.

01 May 2019

Exhibition of Antique Folk Art 2019

Our Annual Exhibition will take place at our Battersea Gallery from 10th-18th May, with the Preview opening on Thursday 9th May, 11-6pm

The illustrated Exhibition Catalogue is now available, at a cost of £10 inclusive of P&P. Please contact us if you would like to receive a hard copy, or if you would like to be added to our Mailing List to be notified about future events.

The digital e-Catalogue #54, for the 2019 Exhibition is scheduled to be distributed to our full mailing list next Wednesday 10th May.

 

15 April 2019

Easter Opening Hours

A reminder to everyone that we will be closed on Good Friday and Easter Monday but open as usual on Saturday 20th April (9:30am - 4:30pm)

All of us at Robert Young Antiques (including the Delft Bunny) hope you have an enjoyable and very Happy Easter break!

 

 

04 April 2019

An Evening with Compton Verney

Simply Folk Art

(Limited space available, booking on a ‘first-come first-served’ basis)

Thursday 16th May, 6.30 pm - 8.30 pm.

We are delighted to announce that we will be hosting an evening talk with Annelise Hone, Collections Manager at Compton Verney, home of the nation’s largest public collection of antique British Folk Art.

Having recognised a growth of interest in the popularity of the genre, the museum was inspired to successfully apply for funding to renovate their Folk Art Galleries, completed in 2018, with the express ambition of increasing the understanding and knowledge of their diverse collection.

Annelise will be discussing the growing interest and popularity of Folk Art, the newly curated Galleries and the developing recognition of Folk Art, whilst highlighting selected works and the narrative surrounding them. 

The evening at Robert Young Antiques has been planned to coincide with our 20th Annual Exhibition of Antique Folk Art and will be hosted at our Battersea Gallery. The talk is scheduled to last for about an hour, followed by an informal Q&A and discussion.

Guests will be offered complimentary drinks. Admission is free but a small optional donation to Compton Verney would be much appreciated.

TO RESERVE A PLACE PLEASE EMAIL US AT office@robertyoungantiques.com

 

 

 

  

 

22 February 2019

A CLOSER LOOK

EARLY C18th CHEST OF DRAWERS

Further to our previous explorations into what makes pieces interesting or special, we have been encouraged to continue our “Closer Look” initiative and share our insight into what differentiates the works we select from other perfectly genuine, yet somehow ordinary examples.

This chest of two short and three long drawers, dates from the first decade of the C18th and is a curious hybrid, which more than in part contributes to its overall rarity and appeal.

It has a solid mortice and tenon, peg jointed carcass and drawer linings which run from front to back, a construction typical of the late C17th. However, the delightful shallow depth, the graduated drawers, the detail of the moulding cut into the solid rails surounding each drawer and the fielded or “block moulded” drawer-fronts, indicate that it is of slightly later date.

It has a fine thin plank top, which is enhanced by the bold applied moulding to the underside of the overhang, lending it a stylish “architectural” form which is complimented by the applied moulding beneath the bottom drawer and on the side returns. Together these “frame” the drawers in a pleasing fashion, which is further enhanced by the unusually tall “straight through” stile feet. These are simply extensions of the uprights and integral to the construction, yet lend a lightness and elegance to the chest.

The sides have a single plain horizontal panel above a tall vertical. These are plain and not fielded panels, and are inset into the framework in the traditional C17th manner, with a simple moulded detail, in contrast to the more sophisticated front. The drawers retain the original hand-made steel locks, yet curiously there are handle marks showing that originally, the chest had simple turned wooden pull-knob handles, in the manner associated with chests from the second half of the C17th. These drawers have been later fitted with the existing shaped and engraved brass plate handles and cast brass escutcheons, a style which became fashionable in the Queen Anne and Early Georgian period. 

Apart from these interesting hybrid elements of the construction, what is it that makes this so immediately appealing and “special”?

Colour of course! Colour and surface patina are paramount prerequisites to all of the finest and most desirable examples of early vernacular furniture. All the most exciting pieces boast a unique individuality, depth and variation of colour and a patinated “skin” that seduces the eye and tells the story of its age and integrity. 

So, when looking a little closer, you will note the variety and depth of surface to this chest. The rail under the two top drawers is golden in hue and paler where it has been worn and rubbed by years of use and handling. The centre of the second long drawer also has a paler honey colour where it has been regularly pushed closed, probably by knees. Signs of wear also lend a lighter colour and time-worn appeal to the top edge of the bottom drawer. 

The top is "leathery" and not quite so well burnished because it has been exposed to more direct sunlight. It also bears various incidental scars, stains and years of use under candlelight. The front edge of the top has developed a rounded profile, with multiple small bumps and knocks, which now reflect light in little patches of sparkle. The sides remain plainer and darker than the top and front as they have met with much less handling and wear, less light and less attention from polish and dusters.

Then there are the particular qualities of the design to reconsider. The overall proportions and gradation, and particularly the block mouldings of the drawer fronts, create a variety of reflections, highlights and shadows, which lend it a subtle elegance and greatly enhance the surface interest.

It is sometimes worth taking a little longer to look and consider what it is that makes something special and how it came to be. It can be both exciting and rewarding......

 

 

03 January 2019

7th January - 2nd February 2019
Artist's Reception at Robert Young Antiques;  Friday 18th January 5-7pm

"An Unusual Arrangement" is the title of Sayal-Bennett's forthcoming installation, the third in our series of Contemporary Collaborations, showcasing works by emerging artists, exploring relationships between historic and modern works of art.

Amba Sayal-Bennett lives and works in London. She received her BFA from Oxford University and her MA in The History of Art from The Courtauld Institute. She has recently completed her PhD in Art Practice and Learning at Goldsmiths. She is currently studying Sculpture at the Royal College of Art. Recent exhibitions include: Fakers, Thames-Side Studios Gallery, London; Some Places Exist Only Once, Schimmel Projects Art Centre, Dresden; Opening Remarks, Athr Gallery, Jeddah; As You Become, Exhibit 320, Delhi; To Our Fellow Artists and Poets Who Are Confused About Which Way to Go, Lundgren Gallery, Palma de Mallorca; and ROYGBIV, Kate Werble Gallery, New York.

For this installation, Sayal-Bennett has studied and re-made objects from Robert Young Antiques, drawing on their photographic cataloguing conventions to explore the effects and affects caused by their bracketing out of context. She uses translation and reconstruction as methods of enquiry to account for the active role of matter, or non-human bodies, in processes of knowing. By re-recreating a lighting device, bending the metal by hand and manipulating the curved form, she discovered that the irregular circles in the original object were contingent on the properties of the material. This observation arose out of sustained material enquiry. In An Unusual Arrangement Sayal-Bennett stages and explores how her experience of knowing is one of material participation.

Sayal-Bennett’s practice interrogates how one’s material environment can be encountered as a ‘live surface’, and her work engages with the sensations and textures through which ordinary life is experienced. It is this dislodging of physical sensation from natural referents that she explores within her work, principally through the de-contextualization, translation, and restaging of affective experiences.

Erin Hughes, Contemporary Collaborations Curator
erin@robertyoungantiques.com


 

 

 

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