Letters to the Editor

I do hope Dr Mike Wain has better luck than I did in finding out who painted his picture ('In-cider knowledge needed…', ATG No 2519).

In 2013 Antiques Trade Gazette was kind enough to print a letter from me in which I protested the practice of dealers and auctioneers of labelling as ‘suffragette’ any piece of jewellery that combined stones approximating to suffragette colours of purple, white and green.

I have just received ATG No 2516 wherein the old question of first edition and first impression is raised in the Letters section.

I have had this large unsigned painting in my collection for over 20 years, which is indistinctly titled 'The Cider Gatherers'.

I have been a collector of early old Sheffield plate of the first period, for more than 50 years, and continue to buy at online UK auctions. I am resident in France.

I write in response to the appeal from Mark Berridge, archivist of Bude Castle (Letters, ATG No 2516), who asked for information about a portrait allegedly of Lady Sybil Edith Mary Nicholson (1880-1946), who lived in the castle from 1930.

I would be grateful if any of your readers could possibly identify the sitter/artist of the attached image.

I was disappointed to read Christiane Pearl’s letter (‘Why I believe younger buyers need a reality check’, ATG No 2513).

I understand that the Battersea antiques fair had to be ticketed this time to recoup monies lost to previous cancellations.

I read your great publication well after it’s published, but if no one has come up with anything better here’s something about the prints asked about in your July 10 issue (Letters, ATG No 2500)

I wonder if it could be explained to me why, in the currently fashionable world of ‘modern first editions’, there is a trend to link the words ‘first edition’ and ‘impression’ in the same sentence.

I wonder whether anyone can help in my quest. I am researching for a book on the history of The Castle here in Bude, Cornwall (built in 1830 by inventor, engineer and scientist Sir Goldsworthy Gurney, now a heritage centre).

I was saddened on hearing of Alan Hobart’s death (Obituary, ATG No 2513).

In reference to James Shaw’s letter published in ATG No 2513 (‘To ping or not to ping, that is the question’).

I recently set up a vintage and antiques shop on Etsy.com and I wondered if other dealers had experienced a change in the online younger antique buyer of today.

With reference to the article headed ‘Derby duo ready for research’ in Auction Reports, ATG No 2509, referral to WD John’s William Billingsley 1758-1828 (1968) would seem to resolve the matter as to the artist and the lack of a Derby factory mark.

I was surprised in a recently broadcast episode of Antiques Roadshow to see Andy McConnell advocating pinging as the sole means of assessing drinking glasses of various values and ages.

In what appears to be a deliberate attempt to eliminate me from history I draw your attention to an error and lacunae in your 50th anniversary edition (ATG No 2509).

The headline ‘Memories of big hitters of the auction world: Brooks, Came and Butler’ (Letters & Opinion ATG No 2507) is a little misleading.

John Dixon of Georgian Antiques in Leith defended his title won in 2019 in the annual Scottish Art Dealers (SAD) golf challenge at Bruntsfield Links Golfing Society in Edinburgh recently.