The 46th Annual S.A. Antique Dealers Fair was held at the Wanderers Club from the 9th to 11th October 2009. We, at SAADA, pride ourselves on bringing you South Africa’s top dealers. Our dealers spend months sourcing special and rare pieces both locally and internationally which are showcased at the SAADA Fairs. Both of our SAADA fairs are fully vetted fairs, according to CINOA (Confederation Internatione des Negociants en Oevres d’Art) guide lines. Here is a preview of some of these items that were on display in October 2009 in Johannesburg.
Beast Head Tiles
Jeremy Stephen Antiques
Fabulous beast head tiles found in the Hebei Province in China. These tiles were used to decorate the inside of tomb walls and date from about the 5th dynasty.
The Enigma of collecting
By Justin Kerrod
South African Studio pottery is a combination of many elements &
influences. Drawing influence from the Anglo oriental tradition (made
famous by Bernard Leach), The Rural African tradition, and a strong Scandinavian Design aesthetic. This combination gives South African ceramics it’s unique flavour. Nowhere else in the world is there the combination of Oriental, European and African influence on pottery. Naturally there are other influences, but none as strong. Pottery made at Rorke’s Drift is one of the strongest examples of the European,
African & Anglo Oriental mix.
The appeal of Studio pottery is for me, the amount of philosophical idealism that drives the potter. The Desire to create the perfect pot and the idea that the pot should speak for itself.
The theory of the unknown Craftsman is both the blessing and the Curse. The unknown craftsman is in fact unknown, maybe the philosophy has worked? Did the ideals of the studio potter work against him or us?
There is no need to understand how a Royal Albert Cup came into being, no need to think. Studio Pottery needs a little more thought, understanding and depth.
What goes into the creation of a Studio Pot?
The Studio potter takes a lump of clay, turns it , moulds it ,fires it, decorates it, glazes it, fires it – not restricted by order or repetition.
Each step has had the potter’s skill. The master potter has usually built the kiln by hand, from studying from previous master potters. Some make their own clay, using special recipes. Once the object has been formed with acute regard for form, function and utility, the potter can glaze, decorate & fire many times over to create the perfect finish, using a deep understanding of Chemistry to formulate the desired effect. Understanding the effect of different temperatures, Firing environments, oxygen amounts in the kiln, components in the clay, chemicals in the glaze etc. the potter chooses carefully to create the object.
South African Master potters, Esias Bosch, Tim Morris, Chris Green, Hym Rabinowitz, Andrew Walford, Steve Shapiro to mention a few!
19th century walnut-veneered Secretaire in three sections, with lower drawers with shaped fronts, sloped cabinet opening to reveal fitted writing desk, and bow fronted upper cabinet and side drawers, all with inlay detailing.
Royal Silver Tazza
A magnificent and rare George IV royal silver tazza made in London in 1821 by Robert Hennell and engraved with the royal coat of arms signifying that it was made for the Kind of England.
Muller Fréres ‘Moth’ vase
Webb Cameo glass scent bottle
An Ankara Dancer by Cl J.R. Colinet from Burr & Muir. Ankara Dancer is a 64cm bronze and ivory dancer of a woman, bent over at the waist, her dripping costume revealing her bare breasts. It is widely believed that Ankara Dancer ranks as one of the top sculptures of the Art Deco period.
An early 19th Century mahoganyhanging bookcase.
Coconut cup and cover
A Rare mid 19th century Indian coconut cup with silver mounts. The cup is carved with figures and the lid is chased with bird feathers. The knob is cast as the head of a bird of paradise. The handle is entwined serpents.
Jeremy Astfalck, owner of The Old Corkscrew in Franschhoek, has uncovered a unique and extremely rare piece of Irish silver that will be exhibited at the annual SAADA fair in October. The history of the interest in Irish silver is very close to the history of the political interest in Ireland. Wealthy Irish Americans who followed the changes in Irish politics have also been very keen on acquiring anything to do with Ireland, and Irish silver was a favourite. Along with a booming economy when Ireland became part of the Euro zone, this foreign interest coupled with local demand has seen prices in the silver market rocket.
The publication of three landmark books on the subject of silver made in Ireland has opened the way to appreciating not only the rarity but also the almost unique look and feel of this silver. Anything hallmarked in Dublin has always carried the “Harp crowned” mark making it instantly recognisable as Irish in origin. But the smaller towns of Cork and Limerick who did not have a centrally controlled hallmarking authority have always attracted keen interest. Here the master silversmiths would mark their wares with their names or initials and a variety of marks illustrating the quality of the silver. Examples include Sterling, Starling and Stirling all of which correspond to the required level of purity in order to be hallmarked in Dublin.
The milk jug pictured has the very unusual addition of a handle in the form of an Ostrich which would in all likelihood have been the crest of the family for whom it was made. This led to researching the families who had such a crest, and two families named Wray and Newnan exist who had such armorial crests. Most pieces of Irish provincial silver carry the initials of the maker but here we have both marks known and used by this silversmith. The marks are SW over STERLING and SW over WALSH and are stamped onto the base. They were recorded as being used by Stephen Walsh in Cork between 1760 and 1780.
This magnificent piece of Irish rococo silver is typical with its ornate decoration featuring seashells, scroll work and cast ornamentation. At present this is the second recorded example of a Rococo milk jug the other appearing on the front cover of CORK SILVER AND GOLD published in 2005.
This Apsara tile comes from the Xian in China. These tiles were used as decorations on the tomb wall. The tombs these tiles come from are Chin Dynasty tombs of the 11th and 12th century.