Features

The typical Georgian silver coffee pot is one of the great bargains of 21st century antiques collecting.

Victorian silver novelties do not come much better than this claret jug, formed as a 9in (23cm) tall kneeling elephant by James Barclay Hennell, London 1881. The hinged head (currently lacking tusks) forms the cover.

Dealers, fair organisers and auction houses often hold events that coincide with important anniversaries.

For better or worse, Brexit is finally set to proceed and will be a major factor in the year ahead – as will timed auctions, anti-money laundering rules, the looming prospect of a near-total ivory trade ban, antiquities challenges and a new buying ethos based on cultural sensitivities, changes at major fairs and a growing ‘green’ movement.

Building your collection can involve a lot of thought along with the time and money involved, but it is also worth spending a while thinking about how to share it.

As a collector, there are a number of attractive reasons why you may wish to loan an artwork or antique to an institution, either temporarily or long term, writes Petra Warrington of Hunters Law.

Georgia Powell launched her collections management company CURA in September 2019 with her business partner Liza Shapiro.

Given the growing number of claims made by national governments and heritage authorities when it comes to the antiquities sector, 2020 looks set to be another year of further controversies. Here, lawyer Fred Clark, an associate in Boodle Hatfield LLP’s art team, surveys the legal landscape of the ancient art market and looks ahead to what may well become a more regulated world.

In a rollercoaster year for the British Antique Dealers’ Association, September brought news that the BADA fair had been sold, while other headlines included Bonhams holding sales in Oxford once again and Jeremy Lamond leaving Halls of Shrewsbury after 23 years at the firm.

The UK ‘regional’ salerooms enjoyed a vintage autumn season with exceptional Chinese works of art spread across half a dozen auction houses, while other November headlines included the Metropolitan Police’s Art and Antiques Unit marking its milestone of turning 50 this year.

Hot topics in July included the 'furniture deal of the year', the Antiquities Dealers’ Association warning that dealers and auctioneers should stand up to “the politicisation of the antiquities trade” and a saleroom shutting down.

While gold prices hitting an all-time high and an art adviser being sentenced to 12 years for fraud were big moments in August, another notable bit of news was Woolley & Wallis chairman Paul Viney stepping down.

In March UK’s art market reclaimed its second position in the global league table, while new discoveries of Constable sketches and a number of auction houses opening new businesses or locations in London were among the developments.

Two rare panels created by a Sienese artist featuring St Clare caught the eye when they sold at a December auction, while a sale offering items from a name synonymous with British studio pottery was also a stand-out.

Rising buyer's premiums, change at The Fine Art Society and Masterpiece in Hong Kong being affected by the wave of protests were among the topics making headlines in February.

The headlines in May included a ram raid at the Petworth fair, John Sandon calling it a day after 43 years as the director of British ceramics at Bonhams and two auction house relaunches.

The big issues in January included early discussions on Brexit red tape, the end of a 10-year tussle over Artist’s Resale Right in France and the ABA turning to Biblio for fair sponsorship after protests about Amazon-owned AbeBooks.

A new ABA president was appointed and a BADA president resigned in April, while fresh EU cultural goods rules and a prolific pensioner art thief sentenced to jail were among the other events making the news.

Sotheby's going into private ownership was a big bit of news in June, while book and map fairs teaming up to run across four days and the 'Toulouse Caravaggio' also caught the attention.

Cutting up examples for new artworks can be controversial – but here is a case for the defence