Charles Ede – 50 years in antiques

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Near the fireplace in the home of British art dealer Charis Tyndall is a small dark material similar to a lump of coal. On closer inspection, it is actually a fragment of an ancient Egyptian statue from the 14th century BC. AD, representing the ear, wig and a little mane of Sekhmet, the lion-headed goddess. “If you don’t know what you’re looking at, you might think it’s a piece of rubble,” she laughs. “The nonchalance of it can be quite pleasant. Only Ancient Shards do this – this is one of the reasons they are becoming so incredibly popular. “

Tyndall is the director of London-based antique dealer Charles Ede, which is celebrating 50 years of business. She speaks to me on the phone from the Marylebone gallery, her anecdote on the Egyptian fragment is an example of the changing tastes of historical art collectors, one of the “major changes” that she identifies that the gallery has encountered in during its five decades.

Nine Roman ointments © Courtesy of Charles Ede

Fifty years seems like a drop in the ocean for a shopping gallery specializing in antiques from Ancient Egypt, Greece and the Roman Empire, which has sold more than 30,000 items to museums and collectors around the world . Still, Tyndall says for her and her managing director Martin Clist, the antiques business has changed. Adapting to changing tastes, digital developments and the rise of contemporary art have kept the gallery on its toes. One example this week is his cross-platform events at the Masterpiece online show, as well as an in-person exhibition of the same pieces in his gallery.

Tastes and fashions have leaned towards smaller, more unassuming pieces – like the tendency to fragment whole objects – reflecting a cultural shift where “people aren’t as flashy as they once were.” She compares 19th and 21st century homes, which moved away from the gilded furniture and scrolling acanthus leaves of the old to today’s minimalist interiors. As in any market, what’s in vogue will change, but unlike the rapid movements in the contemporary art world, in antiques it’s “much slower”. “You aren’t suddenly going to find yourself owning something deeply old-fashioned!” “

Fleuron of the Roman column, 1st-2nd century AD

Egyptian granodiorite head of the lion goddess Sekhmet, 1390-1352 BC. AD © Courtesy of Charles Ede (2)

Another change for the gallery is the pressure from ancient art collectors demanding greater transparency on the provenance of objects. Ideas about cultural heritage and ownership are challenged and challenged. “We are faced with questions that people weren’t asking before,” Tyndall says. “People wonder how other people behaved and how the objects moved. They want proof that they haven’t been deported from their home country in the past 20 or 30 years.

She notes that the gallery “keeps copies of absolutely everything”, but adds: “there is an effort to be made. [provenance] more in black and white but it’s difficult. . . all that is Roman does not come from Italy. Geographic lines have been drawn and we apply them to ancient cultures. It is important to ask questions, but it is also about the legality of the trade. Items were meant to be traded as long as they had left the country legally.

With the emergence of new artistic innovations such as non-fungible tokens (NFTs), how does a gallery specializing in ancient art keep “up to date” when its works are the exact opposite? The answer is by working together. At Charles Ede’s joint booth with New York contemporary gallery Sean Kelly during the fall edition of Tefaf New York 2019, the juxtaposition of their genres produced a striking visual mix. Galleries have associated a sculpture of Asclepius draped in Roman marble with works by Scottish abstract painter Callum Innes, whose process – ‘depainting’ his canvases using turpentine to remove coats of paint – Tyndall compares to the creation of marble statues. “It’s the same principle of stripping something to create what you want hidden inside.”

Joint stand of Charles Ede with Sean Kelly at Tefaf New York 2019 © JSP Art Photography

The recent trend of cross-collecting, fueled in part by fairs spanning all genres that have coupled the works of cutting-edge artists with those of their ancestors of ancient art, reflects the changes in modern tastes. Popular collections no longer lean heavily on one side or the other of the historical spectrum; they incorporate a wide range of pieces and eras.

“Antiques can bring a level of seriousness to a modern collection and contemporary art can bring a certain sensuality to an antique and keep it relevant so that it’s not just another broken sculpture. It helps you reinvent these pieces and I find that exciting, ”she adds.

Contemporary art may not be a threat to the gallery or the ancient art market, but rapid moves into the digital sphere are more difficult. “We love the tangible and the analog,” says Tyndall. As the pandemic has accelerated the exodus of the art world to go live, companies operating in antiques and old masters have suffered the biggest losses (a drop of 39% in 2020 from the previous year for old art against 20% for contemporary art, according to the 2021 Art Market Report).

Greek head from a male banquet, 500-330 BC © Courtesy of Charles Ede

Fortunately, there is a certain weight to being a long-standing gallery that “really helped” Charles Ede avoid a drop in profits, Tyndall confirms. “We have a reputation, so people weren’t nervous about buying from us without meeting us.” The digital challenges they faced are more technical: browsing juddery websites hosting online art fairs, testing virtual tours of galleries, trying to sell certain items on a screen. The nuances of a pattern on a Hellenistic vase, for example, its size, the way light bounces off it, are all lost in the flat pixels of an online image. “Thank goodness there is Zoom! Exclaims Tyndall, describing how she used the platform to show her clients rooms, allowing them to “get a feel for scale and natural light.”

A concession that exchanges bits and pieces of the past must always look to the future. The key, for Tyndall, is adaptability. “With every change, you always have the opportunity to question your professional conduct and adjust it flexibly. She thinks that studying the past through these artefacts helps us learn from it. “It makes us look at ourselves, human history and the way we have treated each other,” she recalls.

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