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<p>[QUOTE="afantiques, post: 197472, member: 25"]My pet peeve is the desire for information that really does not matter. In the majority of cases, the maker of an article is no more than some men in a shed somewhere, fully interchangeable with some other men in another shed.</p><p><br /></p><p>Rarely,, a maker or designer is so good or so influential (not the same thing think Faberge and Disney) that it makes a difference, but usually it is an easy thing to spot the important names, everyone else can be lumped in as 'all the rest'.</p><p><br /></p><p>Far more important is the question of the quality of manufacture and design, and that can be assesed from the object alone.</p><p><br /></p><p>The ubiquity of brand names for modern products has conditioned people to think that makers are important. For antiques, they usually are not. The important skill is to be able to tell the excellent from the mediocre on sight and touch, without labels.</p><p><br /></p><p>Of course, there is money in names, so people will always pursue them.</p><p>I have some paintings by an almost unknown artist that are to me, so good I can feel the sunshine, smell the air and hear the bees. No money, though.</p><p>I was looking at a painting by Constable in a museum once, and thinking "That is a pretty mediocre picture". Loads of money, though. </p><p><br /></p><p>My point, if any, is that things are what they are, good, bad or indifferent and if you learn to avoid the latter two classes, it's about all you need.</p><p><br /></p><p>It does take a bit of time, and often by the time you have the knack you are well on the way to dead.[/QUOTE]</p><p><br /></p>
[QUOTE="afantiques, post: 197472, member: 25"]My pet peeve is the desire for information that really does not matter. In the majority of cases, the maker of an article is no more than some men in a shed somewhere, fully interchangeable with some other men in another shed. Rarely,, a maker or designer is so good or so influential (not the same thing think Faberge and Disney) that it makes a difference, but usually it is an easy thing to spot the important names, everyone else can be lumped in as 'all the rest'. Far more important is the question of the quality of manufacture and design, and that can be assesed from the object alone. The ubiquity of brand names for modern products has conditioned people to think that makers are important. For antiques, they usually are not. The important skill is to be able to tell the excellent from the mediocre on sight and touch, without labels. Of course, there is money in names, so people will always pursue them. I have some paintings by an almost unknown artist that are to me, so good I can feel the sunshine, smell the air and hear the bees. No money, though. I was looking at a painting by Constable in a museum once, and thinking "That is a pretty mediocre picture". Loads of money, though. My point, if any, is that things are what they are, good, bad or indifferent and if you learn to avoid the latter two classes, it's about all you need. It does take a bit of time, and often by the time you have the knack you are well on the way to dead.[/QUOTE]
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