“Deification and the Sacraments: Perspectives East and West” - Conference in London, June 25-26

There are still some places left for anyone interested in attending the conference which will take place on June 25-26 in London, on “Deification and Sacraments: Perspectives East and West.” My good friend Fr Andrew Marlborough, who is an occasional contributor to the NLM writing about sacred art, is one of the organizers of what promises to be a great event, with a spectacular lineup of great speakers. (Two that caught my eye are Dr Matthew Levering and Fr Uwe Michael Lang.)

To register, go to the St Mary’s University Online Store here, or scan the QR code below.

“Deification and the Sacraments” - Conference in London, June 25-26

My friend Fr Andrew Marlborough has contacted me recently to tell me about a conference he is helping to organize, which will take place June 25-26 in London, on “Deification and Sacraments: Perspectives East and West.” The line-up of speakers is strong; two names that caught my eye in particular are Dr. Matthew Levering and Fr Uwe Michael Lang, CO.

Fr Andrew is a priest based in England who has previously written for the New Liturgical Movement about items of interest that appear at auction houses throughout Britain and Europe. Before becoming a priest, he worked in the commercial art world.

See the poster and QR code below for more details.

A Recent Discovery - Is This The Earliest Image of Our Lady of Sorrows?

I was recently contacted by my friend Fr. Andrew Marlborough, a priest based in England, who has written for the New Liturgical Movement in the past about items of interest that appear in auction houses throughout Britain and Europe. Before becoming a priest, his career was in the commercial art world.

This time, he wanted to know if I could shed any light on a recent purchase he had made, which, he was speculating, might be the earliest known example of an image of Our Lady of Sorrows, dating back over 1,000 years and possibly as much as 1,400 years. I could not offer any new information, so I open this up to New Liturgical Movement readers. It was described in the auction house as early Byzantine, but Fr. Andrew thinks it might be of Ottonian or Carolingian origin. Here is the object, followed by the letter he sent to me, with his description and thoughts. 

Fr Andrew wrote:

I recently purchased this small gilt-bronze roundel (7.5 cm diameter) at an auction in London. It was catalogued as 6th-8th century Byzantine and described as the Virgin Mary ‘grasping a long staff’. But I could see that it is clearly an early image of Our Lady of Sorrows. It is generally thought that this devotion developed between the 12th and 15th centuries. Therefore, it seemed a rather important object that could rewrite a chapter in the history of Marian iconography. I suspect the Byzantine attribution is wrong and that it is a little later, possibly Carolingian or Ottonian. If so, it could be one of the earliest depictions in art of Our Lady of Sorrows, if not the earliest.

As well as the question of dating, there is also the question of function. The auctioneers described it as a Byzantine phalera. These were decorative metal roundels which adorned the chest armour of soldiers or the harnesses of their horses in antiquity. This is possible, but I wonder if it may have been some kind of ornament for religious processions, pilgrimages, or for membership of a confraternity. Markings visible only on one side of the reverse suggest it has been used as a brooch. The amount of hand-finished detail on the roundel is impressive and finely executed. The use of gilding also indicates that it was a costly and highly prized object.

Stylistically, it seems more Western. This is supported by the fact that Eastern depictions of the Virgin Mary without Jesus are very unusual. The style of the sword/dagger may also help identify its date and origin.

I’d be grateful if anyone can shed further light on this.

He asks that anyone with information write to him at: andrew.marlborough@gmail.com.

Important Conference in London: The Royal Priesthood and the Renewal of the Church

June 20-22, at St Mary’s University in London: Register Today.

My friend Fr Andrew Marlborough sent me information about what promises to be a great conference, which he is helping to organise, on “The Royal Priesthood and the Renewal of the Church”. Readers may recognise his name from articles of his which we have shared here on sacred art and artefacts appearing in auction houses in the UK and Europe.

The poster is below. As you can see (click to enlarge), there is a great list of speakers, including highly respected names from both sides of the pond. I am delighted that Fr Brad Elliott, OP, was also recently added to the list of speakers; he is the author of the book I recently featured, The Shape of the Artistic Mind, about creativity and the virtue of art according to St Thomas.

Around the Auctions

Here is another in a series of occasional articles from Fr Andrew Marlborough, who prior to joining the clergy worked in the world of art sales. Our hope is that these articles will raise awareness of the sort of liturgical artifacts that might be found in auction houses, so that more can be saved for Church use.

Fr Andrew writes:

There continues to be an overwhelming amount of Catholic sacred art appearing on the auction market. Dozens and dozens of sacred vessels, monstrances, relics, vestments, and other items appear at auction every week across Europe and America. Although alarming, this is a material expression of the crisis in the Church, but also provides an opportunity for those looking for well-crafted traditional items, often at reasonable prices when compared to the cost of commissioning something new today. For a longer report on this situation, see my previous article.  

A few recent examples show the broad range of what can be obtained. Firstly, a real bargain was this charming Continental silver chalice sold in a small UK auction in September. It was catalogued rather vaguely as simply ‘antique’ but the foliate detail around the foot-rim, gadrooned knop, and the overall style, reflect chalices made in the Low Countries in the 17th and 18th centuries. A good size at 20cm, and in need of a good polish, it sold for just £130 (excluding commission). (Images credit Andrew Smith Auctions) 

From a similar place and period, but a finer example, was this silver-gilt chalice made by Joannes van Sychen in Ghent in 1728. The stylistic similarity to the above chalice can be seen in the foot rim detail and gadrooned knop design, but the lively modelling of cherubs among heavenly clouds around the lower bowl is unusual and quite stunning. At 24cm high and 530g in weight it was still great value, selling in October for 2600 Euros (excluding commission) at a provincial auction in Belgium. (Images credit Flanders Auctions)

Continue Reading this Article. . .

Commissioning a Portable Altar Appropriate for the TLM

My friend Fr Andrew Marlborough, a priest of the diocese of Plymouth, in England, (whom our readers may remember from his writings about the recovery of liturgical artifacts from auction houses) recently contacted me about a portable altar he had made for personal use.

I asked him to describe the process and how consideration of the different requirements that went into the design of altar. The carpenter who built the altar is Dutch, his name is Daan Lockefeer: www.lockefeermeubelmaker.nl.

Fr Andrew wrote: When asked to help at a university chaplaincy, I was shocked to learn that there was no proper altar or liturgical space to use. This was especially sad because the university had once been a thriving convent school with a beautiful chapel, now converted into a lecture theatre.

The experience made me determined to find a fitting solution for offering Holy Mass in temporary spaces. This was amplified by a desire to help priests who celebrate the Traditional Latin Mass in places with no permanent altar. So, I set out to source a portable altar for such situations.

At first, I looked at second-hand small chapel altars but most of these were still too big to be easily moveable. Then I also considered buying an old military chaplain’s altar, or one of the beautifully-crafted St Joseph’s Workshop portable altars. But these seemed really for more occasional backcountry or field use and are just too small for normal circumstances.

I soon realised that what I really needed was a transportable altar that was still a traditional size but which could fold up to be transported in the back of a car. And this type of altar seemed not to be available. So, I decided to commission a prototype from a cabinet-maker. I consider this to be a first attempt which can be improved upon in later designs and I hope it might stimulate further discussion and similar commissions.

The first thing was to establish the size needed. This is really important for good ars celebrandi and sadly many modern altars are made without proper reference to the accumulated practical wisdom of tradition. Reflection on this, and discussion with a traditional priest-friend, made me realise that the ideal size was 100cm high x 150cm long x 60cm deep.

Another major step was the realisation of the essential difference in design of this altar from the ‘all-in-one’ military-inspired portable field altars. Sacred vessels, Crucifix, candlesticks, sacred art, and other elements can easily be transported separately. What was essential here was a basic structure of the correct size which could be dressed with altar linens and which could accommodate an altar stone.

There were several design challenges to address. The first was the configuration of the folding mensa. After initially considering a centrefold, we realised that the central section on which the corporal, and so the Sacred Body & Blood of Our Lord, would rest, should be of one piece. Given the ideal overall length of 150cm, it was decided that this central section should be 75cm, with folding end panels of 37.5cm each, secured by extra-strong hinges. The second design question was how to construct the legs. It was decided here that single-piece removable legs, strengthened by removable stretchers, would be better and stronger than folding legs. The third challenge was how to incorporate an altar stone into the design. The need for a thin mensa to keep weight down meant that recessing an altar stone permanently into the wood surface wasn’t possible. After considering several options, the best solution seemed to be a simple shallow pull-out drawer located directly under the mensa centre which can accommodate an altar stone that is removed in transit.

Finally, it was decided that the best material to use would be oak. The overall result is a strong, relatively light, basic altar structure of the correct dimensions, which can be easily transported in an average car. The cost before shipping was 1200 Euros.

Three Historic Chalices Form a United Testimony of Faith

Here is another guest article by my friend, Andrew Marlborough, a 6th-year seminarian studying at Allen Hall in London, and who worked in the art gallery business for 10 years before joining seminary in England. 

“Three historic chalices that appeared at auction in the UK recently deserve special mention. Although quite different, they stand as a united witness to the survival of Catholic faith under persecution. This witness is sorely needed today in the current troubled times for the Church and the world. And it is amplified all the more by the fact that these remarkable vessels have contained the Precious Blood of the Son of God Himself, our High Priest and Victim, whose sacrificial love is the very bedrock of our faith.

The oldest example was an exceptionally rare late 15th-century Irish silver-gilt chalice, sold by Duke’s in Dorset on 1st July 2021 for £48,000.

Although made just before the Reformation, its survival through the period is remarkable, given the widespread destruction of Catholic culture at the time. Its plain conical-form bowl, ornate knop, and overall appearance reflect a clear late-medieval style. The chalice belongs to a small group of related pre-Reformation vessels, such as the Matheus Macraith chalice at Clonfert Cathedral in Galway, and the De Burgo O’Malley and Kirwan chalices in the National Museum of Ireland. The auctioneer’s description noted that the Museum of Ireland suggested it may have been made in the Cork area. This handsome and rare chalice was bought by an Irish foundation which will loan it for public exhibition, starting this March with the exhibition, ‘Thirst for the Divine’ at Villanova University in the US. It is also a joy to report that he hopes it will be used occasionally in the Holy Sacrifice of the Mass. This is surely a great example for other collectors to follow. 

The second was an historic silver chalice sold by Sotheby’s London on 3rd August 2020 for £20,000.

It was another Irish provincial example, but this time from the mid-17th century recusant period, and of documentary importance. Its elegant profile results from the characteristically tall hexagonal spreading foot found on other surviving chalices from this period, and from the Baroque style tulip-form bowl. The foot bears an engraved Crucifix, surrounded by instruments of the Passion, and a memento mori motif. The great historical significance of the chalice derives from an inscription on the base reading:

This chalice was made for Terlagh O Briene and Ellinorie Briene of Comoragh the 26th of October 1643. 

This places it right at the start of the Irish Confederate Wars between Catholic landowners and the English administration under Charles I. Not too much is known about Terlagh and his wife Ellinorie but their son Derby O’Brien was taken prisoner and died in captivity in 1656, and four of his sons were later hanged by Cromwell’s men for defending their estate. This important chalice, a tangible expression of Catholic endurance under persecution, was bought by the Australian Catholic University for display in its art collection. 

Finally, a very fine and rare Polish mid-17th century Baroque style silver-gilt chalice was sold by Tenants Auctioneers in Yorkshire on 13th November last year for £6,500.

Although dated 1652 and from almost the same date as the Terlagh O’Briene example above, it was of finer craftsmanship and more ornately decorated, revealing the different cultural context in which it was made. This quality, combined with the rarity of surviving Polish chalices from the period make it good value. So much Polish Church plate was destroyed or looted over the years of the country’s traumatic history. The ornate base is mounted with garnets, but the most interesting and beautiful part of the chalice is the central knop cast with three angels. The auctioneer’s description noted that the vessel had been used at St Anne’s Orthodox Monastery in York. It would be fascinating to know the story of how it survived the centuries and ended up there.

Portable Altars at Auction; Guest Post by Andrew Marlborough

This week, I present another guest article by my friend, Andrew Marlborough, who worked in the art gallery business for 10 years before joining seminary in England. The hope here is that more people will start to look at auction houses so that such pieces might remain in Catholic hands.

Andrew writes: It was a great joy to discover the superb portable altars crafted by Rick Murphey at St Joseph’s Apprentice, which Dr Peter Kwasniewski has already written about.

The inspiration for these most likely came from examples used by First and Second World War Catholic and Anglican military chaplains. These were often cleverly designed to fold into a small flush-sided rectangular shape and be as strong and lightweight as possible, with compartments for candles, chalice, paten, linens etc. Several surviving examples have appeared at auction in the UK over the past year, at good value.

The first was sold by John Goodwin auctioneers in Ledbury in October 2020. It was of plain form but made of fine oak and velvet-lined. The interior contained a small silver chalice and paten, along with a host-box. An accompanying letter of provenance affirmed that it had been used by a chaplain in WWI. It realized just £190 (excluding buyer’s premium). 

On 7th October this year, Swan Fine Art in Tetbury offered a very fine example, also in oak, and with a beautifully carved reredos. The interior was velvet-lined to accommodate many accessories, including a silver chalice and paten, spoon, candlesticks, host-boxes, cruets, and linens. The case was made by Mowbray & Co., of Oxford and London, a well-known firm for small ecclesiastical work, whilst the silver was by Frederick Wray of London and hallmarked for 1910. It sold for £500 (excluding buyer’s premium).

A third portable altar was sold on 27th October by Plymouth Auctions. This example was later in date and more compact, though also made of oak, and contained in a leather carrying case. It included candlesticks, Crucifix, pyxes, paten, and other items, and realised just £150 (excluding buyer’s premium).

Andrew Marlborough is a 6th-year seminarian for Plymouth Diocese in the UK, studying at Allen Hall in London. Before entering seminary he worked for 10 years in the auction and art gallery business.

Sacred Art That Survived the Oppression of the Church in Britain and Ireland Up for Auction

Here is another in the occasional series of pieces by my friend in England, Andrew Marlborough, who worked in the art gallery business for 10 years before joining seminary in England, highlighting pieces coming up for auction. The hope is to encourage people to consider looking at auction houses as possible sources for art and sacred vessels that might still serve their religious purpose.

Andrew writes: Catholic sacred art which survived penal times is of the greatest importance. It is the material expression of the endurance and even flourishing of the faith under persecution. Among these objects, sacred vessels used in the Holy Sacrifice of the Mass are surely the most significant. Some of you may have read my previous article which included an Irish silver recusant chalice, used by Fr John Barnewall to celebrate Mass during penal times in Ireland in the late 17th and early 18th century. 

Another exceptionally rare Irish chalice is appearing at auction on July 2nd at Duke’s in Dorchester in Dorset, England. This example was made in the late 15th century, shortly before the Reformation, probably in Cork, and would surely have been used during times of persecution. It is incredibly rare for such a piece to come to auction with comparable chalices in major museum collections. The pre-sale estimate is £5,000-10,000 and it may well go beyond that. For someone with the funds, this is a great opportunity to own an important piece of Catholic history, and perhaps to enable it to be used again one day in Holy Mass.

In April this year, a 17th-century English silver recusant Pax appeared at auction. This object was used at the kiss of peace in Mass. It is inspiring to know that this would have been kissed with great devotion by persecuted Catholics longing for the peace of Christ in the midst of great suffering. A more affordable but nonetheless important piece of sacred art, it sold for £220 (plus commission).

Before the Reformation, Nottingham in England was the center of a thriving school of alabaster carving which was famous throughout Europe for its quality. Many of these objects were destroyed but do appear at auction from time to time. A good example was this small piece depicting the Holy Trinity with Saints, which was a popular theme of the school. It sold for £6,000 (plus commission).

Andrew Marlborough is a 5th-year seminarian for Plymouth Diocese in the UK, studying at Allen Hall in London. Before entering seminary he worked for 10 years in the auction and art gallery business.

How to Find Catholic Works of Art at Auction Houses, and How to Bid

After last week’s article about the quality of Catholic art and artifacts that may be found at an auction house, I asked the writer, Andrew Marlborough, to provide some guidance on how to find such pieces and on how to bid and buy. He kindly provided the following. One thing that I would add to his excellent advice is that in regard to fulfilling the purpose of such objects as sacred vessels or sacred art, the authenticity of their provenance has little bearing on their usefulness in context of the liturgy. In deciding on whether to buy, I would judge them first on their suitability for the liturgical context, and secondly, by comparing their prices with the market for sacred art, contemporary or antique, rather than their value as antiques alone.

Andrew wrote: “Buying things at auction has become a lot easier in recent years as auction houses are selling more things to private customers, as well as trade buyers. The top end of the market is dominated by the ‘big three’ companies - Christie’s, Sotheby’s, and Bonham’s. For those with deep pockets, you can go directly to their websites. Below that there are many smaller metropolitan and provincial salerooms, which frequently sell items of Catholic interest. The best way to find things is by searching one of several online databases which between them process most of the catalogs from these companies. You can simply go to the website and use search terms such as “Jesus”, “chalice”, “St Joseph”, etc. These databases also provide a subscription search service so they will actively look for things coming up which match your criteria. They also enable you to bid online via their sites, as well as having lots of useful advice for buyers. These are the two main dealers who buy up sacred art and architectural furnishings in Europe and America:

Europe: https://www.fluminalis.com/
USA: http://www.usedchurchitems.com/

The following might also be helpful, depending on where you live:

www.the-saleroom.com

www.invaluable.com
www.auction.fr

When it comes to bidding there are a few things to keep in mind:

First, always be sure to ask the auctioneers for a condition report and provenance before you buy something.

Second, set yourself a limit for bidding as it’s easy to get carried away, but be aware that often smaller auction houses often undervalue things.

Third, remember that you will have to pay a fee to the auctioneer, possibly a small fee for bidding through one of the internet portals mentioned above, and whatever shipping costs are involved, which may include import tax if you are buying from another country.

Finally, remember the wise old saying often applied to auctions - caveat emptor (buyer beware!).

Another place to find things is the online auction sites like eBay and Catawiki. These are more risky but they can also be good places to find things. Watch out for fakes though, especially relics. Only bid if you are confident about authenticity: www.ebay.com, www.catawiki.com

Andrew Marlborough is a 5th-year seminarian for Plymouth Diocese in the UK, studying at Allen Hall in London. Before entering seminary he worked for 10 years in the auction and art gallery business.

St Joseph holding the baby Jesus in the style of Franz Ittenbach (1813-1879). Bought in Leicestershire, England in December 2020 by a devout young Catholic, and just in time for the Year of St Joseph, for £1,300.

Postscript: Fr Augustine Thompson asked me to add this to the post. He remarks: ‘One can often get remarkable buys on eBay. I got the chalice seen below, with paten, scruple spoon, and box for $150. Appraised by a silversmith at $5000. Not a bad deal!’

I‘ ’m thinking that you have the expertise to develop a nice little sideline, Father, if you ever need it!

Sacred Art at Antique Auctions - A Crisis and An Opportunity

This week, I present a guest article by a friend of mine, Andrew Marlborough, who worked in the art gallery business for 10 years before joining seminary in England. He told me recently that he sees a lot of high-quality art going to auction that could still have a Catholic purpose, and so I asked him to describe what he sees at the auction houses. He suggests the creation of a non-profit to collect these. Given the prices that he quoted below, these are items that churches and individuals can consider buying directly if they can get some guidance on where and when they are sold. The auction houses Andrew is looking at are listed below.

Andrew writes: It’s a sad fact of these times that the Church in the West is hemorrhaging its material culture at an alarming rate. Every week across Europe and America, thousands of sacred and devotional artworks are sold through live and online auctions, and by dealers. Some come from declining religious orders or closing parishes; others are perhaps inherited by non-practicing family members who sell them. Among the many objects being sold, it is especially disturbing to see so many sacred vessels and relics.

But as we know, a crisis can also be an opportunity. The crisis of faith which underpins this situation can help us return to the Lord when we realize we are lost without Him. Seeing so much Catholic art being sold can motivate us to assess the importance of beauty and culture in the Church’s mission, and to do all we can to ensure it is once again used to glorify God. This means we need Catholics with the funds and interest who are willing to buy things back from the open market. To do this is an act of charity not to be underestimated.

It would be wonderful if someone were to establishe a non-profit organisation with the mission of rescuing Catholic sacred and devotional art, and other cultural material, from the open market, to restore its use or preserve it respectfully. A good model which could be adapted from a secular context is that of the National Art Collections Fund in the UK, which provides funding for museums and institutions to save nationally important works of art from the open market. As this doesn’t exist yet for a Catholic context, it is necessary to engage directly with auction houses and dealers. This can be a little daunting but also enjoyable, and many of these businesses have made great improvements in customer service in recent years. Whilst the more expensive objects sometimes make the Catholic news, many more affordable things appear frequently. What follows is a small snapshot of things sold in recent months. Prices given exclude the auctioneer’s commission, which is generally between 20% and 25% of the sellingprice.

An historically important Irish recusant chalice

On November 24th, 2020, the London auctioneers Dix Noonan Webb offered a very rare Irish recusant chalice (fig.1), which had been used by Fr John Barnewall to celebrate Mass during penal times in Ireland in the late 17th and early 18th century. It sold for £3,000. Even though several times the estimate, it still seems a low price. Surely in the highest category of importance, it is both a sacred vessel used for the Holy Eucharist and a witness to the survival of Catholic Faith under persecution.

Figure 1

The Rev John Barnewall (ordained in 1680) was registered as a “Popish Priest” of Ardbraccan, Martry and Rathboyne, and living in Neilstown. Under great persecution, he celebrated secret Masses in the hills, under hedges or other hiding places. Noted for his charity, learning and selflessness, he had many narrow escapes from the priest hunters. It is thought that he was martyred for his faith towards the end of his life after many years of heroic perseverance.

Paintings dispersed from Grace Dieu Chapel

On December 1st, 2020, Gildings Auctioneers in Leicestershire sold a group of paintings and furniture which came from the chapel of Grace Dieu Manor. This historic property played a vital role in the restoration of Catholicism in England in the 19th century; it was from this base that the great Rosminian Fr Aloysius Gentili (1801-1848) and his brethren evangelised much of the area. The sale included an unsigned portrait of Gentili (fig. 2) which sold for £300.

Figure 2

The auction also included a stunning painting of St Joseph holding the baby Jesus (fig.3) in the style of Franz Ittenbach (1813-1879). Thankfully bought by a devout young Catholic, and just in time for the Year of St Joseph, it realised £1,300.

Figure 3

Sacred vessels and art from the former Capuchin Friary in Bruges

More recently, on 18th and 19th February this year, the Belgian auctioneers Carlo Bonte sold 19 lots from the Capuchin Friary in Friday Market, Bruges. The Order seems to have decided to sell the property in 2018 and the building is being repurposed for tourism. The collection consisted of many fine sacred vessels and paintings.

These included a large and sensitively-painted study of the Adoration with St Francis (fig.4) attributed to Jacob van Oost (1603-1671), and dated 1648. It outstripped its 3,000-5,000 Euro estimate to sell for 18,500 Euros. The work had been previously inventoried by the Belgian Royal Institute for Cultural Heritage, suggesting its importance.

Figure 4

Detail

Continue Reading this Article. . .