We were so excited to have experts Thomas Forrester and Neil Shuttleworth from SAS

Auctions in Newbury here at Hungerford Arcade filming an alternative programme to Bargain Hunt for Newbury Weekly News.

L-R David Evans, Diana Barley, Thomas Forrester, Adrian Gilmour, Rita Kibble, Neil Shuttleworth, Maddie Evans & Richard Evans

Each pair of contestants had £300 to spend and with the help of their experts, bought some wonderful items.

All the money raised when the items are sold at auction with go to a Children’s Hospice.

The contestants were Maddie & Richard Evans with their expert Neil and Diana Barley & David Evans with their expert, Thomas.

A great afternoon was had by everyone.

My name is Jacque and my obsession is all about the glow!  I am of course talking about Uranium and Vaseline glass collecting which i have been amassing for the past 3 – 4 years.  I have 2 units here at the Arcade (109 & K), with good intentions to sell the Uranium glass to spread the love of glowing glass!  At the moment I only have a small collection on offer and am failing miserably as most pieces I acquire stay at home on my shelves

Uranium glass can actually be dated back to Roman times (79AD), but it had its heyday from the 1880’s to the 1920 – 30’s when it enjoyed its greatest popularity with the likes of James Powell Whitefriars Company producing many types of decorative Uranium glass.

To get glass to glow, uranium oxide is usually added to a glass mix before melting or colouration, it can be as low as 2% or as high as 25% uranium added, with the colour range generally from yellow to green, though it can also be found in amber / blue glass.  The fun of uranium is when you shine UV light on to it and see it become fluorescent and really does become a thing of beauty.  If you are worried about collecting, most pieces are considered harmless and not very radio active

It became very popular in North America in the early 20th Century and was extensively produced into tableware and household items for everyday use,  for example, Depression glass was low cost or distributed free around the time of the great depression. WW2 stopped production in America of uranium glass because it was classed as a strategic material needed for the Manhattan Project.  It never regained the heights of popularity from the late 19th – early 20th century but was still produced right up until the 2000’s.

Vaseline glass can also be another type of UV reactive glass, at the end of the 19th century glassmakers developed more opaque types of decorative glass by added certain minerals including Iron Oxide. This gave glass the appearance of petroleum jelly, which gave rise to the name Vaseline glass

Other types of UV reactive glass to look out for are:

Custard Glass – opaque or semi opaque pale yellow

Jadite Glass – opaque or semi opaque pale green

Burmese Glass – opaque shades pink to yellow

Names to look out for when hunting out the glow (remember to carry a UV torch with you)

Davidson & Co

Bagley Glass

August Walther & Sohne

Thomas Webb

James Powell / Whitefriars

Sowerby

Murano

This week we had a visit from Carol Atkins who works at AAW Control Systems Limited in Newbury. Carol came to us in search of a gift for one of the electrical engineers who is now retiring after 19 years of service at AWW!

After a good look around the Arcade, Carol and Vanessa discovered a fantastic pocket watch in unit 18 (Sarah Allison).

The watch is a beautiful example of a Birmingham 1908 Silver Waltham Full Hunter Pocket Watch as pictured. We are delighted that Carol chose to come to us in search of a gift and feel her choice is most fitting of a retirement present.

Click here to see more about AWW Control Systems Ltd.

We just want to say Happy Mothers Day to all the wonderful ladies out there from all of us at Hungerford Arcade. We have dressed our window to celebrate this occasion and wish you all a fabulous day this Sunday.

Here at the Arcade one of our dealers (Brenda Neal Unit 4) has a stunning sculpture by Carole Danyluk, Carole was raised and educated in Alberta and now calls British Columbia home. Her lifetime interest in the fine arts led her to a Bachelors of Art from the University of Alberta and a Bachelor of Art Education from the University of Calgary. She has also studied architectural drawing at NAIT.

“The thing that makes bronze different from other media is the degree of commitment and responsibility that goes with it. You have to be willing to work hard and willing to surrender sometimes. Bronze is pretty much forever.” — Carole Danyluk

Carole Danyluk’s extraordinary background has enhanced her Wildlife Bronze in marvellous ways. From art teacher, to Published Wildlife Photographer, Carole deeply knows how to capture life-like qualities, accuracy and detail in bronze.

Carole’s unique style departs from the stoic formal images so typically seen in bronze, rather portraying the animals as they really are in nature. Amazingly, her lively sculptures really appear to be in play or caught in the middle of a scratch – you feel as though you’ve truly stumbled across the creature in the wild.

Using the ancient Lost-Wax Technique, it’s incredible Carole made such a radical switch from photography to the unruly and unforgiving medium which is bronze. However, her elegant suspension and precise detail exemplifies the daring but worthy switch.

The laborious complex casting process is 125 individual steps for a single piece of a bronze addition. Once one piece is completed, Carole amazingly repeats the entire process again. The sheer hours and effort for a bronze series is extraordinary. After casting, the original clay model is photographed being split in two, guaranteeing no further additions to a series.

As a female in a male dominated medium, Danyluk brings a unique maternal, whimsical and tender quality to her pieces. She successfully captures the personality of the animal in her work. In addition, her masterful patina work, all done with acid and blow torch, portrays vivid colours typically unseen in the medium.

Carole’s distinctive sculptures are collected by and sought after by individuals from around the world. 

This month we were approached by Helen Findlay from Hungerford Primary School with a wonderful idea and small request. Helen asked if we would be interested in loaning a variety of antique or vintage items that could be used in a staff meeting some educational fun!

The idea was to have approximately 20 or so items that would be hidden from the staff in pillow cases so they couldn’t see what the item was. Firstly the staff had to try and guess what the item was or what it could be simply through feeling it in the pillow case. 

We supplied a mixture of objects for the staff to use. Some were easy to guess and some not so easy! Anything from heavy Victorian Irons, Stoneware Hot Water Bottles and Copper Bed Pans to Vintage Horse Chogs,  Ale Warmers and even a Victorian game of Quoits!

The Bed Pan being too large for a pillow case was therefore described in detail by Dave Mayer (Headmaster) to Matt Lambert (Year 4 Teacher). The idea being that Matt had to draw the item without seeing it based on the description given, then guess what the item was.

It sounds like a lot of fun was had and what a great idea for something different to do for a staff meeting.

We are delighted to have been part of this at the Hungerford Arcade and very much look forward to doing it again in the future, well done Hungerford Primary!

You can see more on Hungerford Primary School here.

We have this beautiful Native American Navajo sand picture signed by Gilbert Yazzie currently available from one of our stall holder (Chula, Unit 22). Sand paintings, as created by Native American Navajo Indians, were not made to be an “art object,” but rather were made as part of an elaborate healing ritual or ceremony. 

The artist, or in the Navajo context, the medicine man, would use naturally colored grains of sand, and pour them by hand to create these elaborate “paintings.” After the medicine man completed the sand painting, the person who needed the healing was asked to sit on top of the sand painting (scroll down to see a picture of this).

The belief was that the sand painting provided a portal so that the healing spirits could come through the painting and heal the patient. 

After removing the illness from the person, the healing spirits returned to the sand painting, and therefore the illness was believed to have been transferred over to – or was now contained within – the sand painting itself.

So once the healing ceremony was over, the painting was destroyed in order to destroy the illness as well. While one can find “sand paintings” that can be purchased as art works, they were clearly made to be art works for sale, since the paintings in healing ceremonies were destroyed as part of the ritual.