June 23rd Newsletter

“Time is the most valuable thing a man can spend”
– Theophrastus

LAYAWAY PAYMENT OPTION

For many of us, this abstract question sooner or later becomes a practical conundrum. We start, perhaps, by admiring an antique or other collectable in a friend’s home, and think how pleasing it would be to own something similar. The friend mentions a dealer – Mark Goodger, for example – and suggests looking at his website. There we spot something with which we are smitten: a deal is done and we become the proud possessor of a beautiful Georgian tea-caddy, Victorian games box or art deco cocktail set.

Of course, some of us stop there, with that single purchase; but others start delving into the history of our new acquisition and of other objects like it. A second purchase takes place, and then a third perhaps following the same theme. These may then form the nucleus of a collection, to which over time additions are made that complement our original choices.

As this process continues, the assiduous collector becomes more knowledgeable both about possible new purchases and about objects already acquired. An expert like Mark can help immensely, because he gets to know the kind of thing that his clients are attracted to, and can steer us clear of dubious pieces. He can also help us strike a balance between continuity and uniformity. Sometimes an item turns up for sale that almost duplicates an item we already own, except that it is a better example – more original perhaps, or in finer condition. Do we walk away, add it to the collection or replace the inferior with the superior?

Some years ago, I was lucky enough to be shown one of the best private clock collections in the world. Most of the clocks on display dated from the golden age of English clockmaking, from about 1670 to 1720. During this period there were rapid advances in timekeeping, both technically and aesthetically, with English makers such as Edward East, Thomas Tompion, Joseph Knibb and Daniel Quare leading the world.
The collection I visited contained numerous examples of clocks by all four, and many others. It was hugely impressive, almost overwhelming; yet I couldn’t help noticing that many of the clocks on display appeared to be virtually identical. Although 300 years ago horology relied almost entirely on skilled craftsmanship, makers nonetheless developed ‘house styles’, both to simplify design and manufacture and to differentiate their own works from those of rivals.

Joseph Knibb, one of the greatest makers of all time, was especially conscious of this and today his exquisite spring-driven table clocks are divided by horologists into phases one, two and three. While not all the clocks in each ‘phase’ are identical, they have a similar size and appearance and other common features. A representative group of late 17^th century clocks might include one or two examples of each – but during the visit to my friend’s collection I was gazing at 15 or 20 clocks by Knibb, all more or less indistinguishable from one another.

When I discussed my mixed feelings about this with another collector, his advice was simple – which doesn’t necessarily mean it’s easy to put into practice. Once you’ve accumulated ten pieces for your collection, make a point of reselling one for every three you add thereafter. And once you get to twenty, make it two for every three. That, he said, will keep your collection looking and feeling fresh, while relieving some of the pressure on your bank balance.
There is certainly logic in this somewhat brutal philosophy, although it can also cause seller’s remorse. Over the years I’ve parted with clocks, watches, paintings and militaria that once belonged to my father, a keen though eclectic collector himself. I’ve also hardened my heart to dispose of pieces I had bought myself, but which for one reason or another didn’t fit in. If I had my time again some of those pieces might have escaped the auctioneer’s gavel, yet the principle I think is sound. The proceeds helped to fund other purchases, and I’m vain enough to claim that this discipline of pruning has over time enhanced my collection, just as dead-heading roses improves the rose-garden.

The views expressed in this article are those of the author. They are not necessarily shared or endorsed by Mark Goodger Antiques.

The word “caddy” comes from the Malay word “Kati”, which refers to a wooden chest that can hold a certain amount of tea. Later this month, we have the release of The Story of British Tea Chests and Caddies, which includes a chapter written by Mark Goodger himself! This is a must-buy book for historians, collectors and those interested in antiques and decorative arts. Click on the image below to pre-order your copy!