Author Archive: Doerr Dallas Valuations

The French Crown Jewels – Greatest Acquisitions and Additions to The Collection

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Aurélia Turrall, Jewellery Specialist

Henri IV and his wife Catherine de Medicis decided to rebuild and add to the collection of the Crown jewels. Nicolas Harlay de Sancy was in charge of Henri IV finances. He owned two diamonds which he purchased from the King of Portugal. He recut these and named them Grand Sancy and Beau Sancy. He offered to sell the Sancy to Henri IV who declined stating it was too expensive. Instead, he bought the Beau Sancy.

The diamonds most likely came from India and could have been part of the jewels belonging to Charles the Bold, Duke of Burgundy 1467-1477. Amongst his jewels were the White Rose diamond. It is rumoured the Sancy could
be the same stone.

The Beau Sancy, K colour, light brown, SI1 clarity, type IIa (type IIa diamonds are chemically “cleaner” and often have exceptional clarity) weighing 34.98 carats. In 1610, Marie de Medicis had the Beau Sancy set atop her coronation crown.

The following day, Henri IV was murdered by Ravaillac. For four centuries the diamond was owned by several European Royal houses, such as the House of Medici, Kings of England and Prussia. It was sold by Sotheby’s in 2012 for £5.3 million to a private collector.

The Sancy weighs 55.23 carats. It has 51 facets and was considered to be one of the most beautiful diamond for almost two centuries until the Cullinan was found in 1905 in South Africa.

It was purchased by James I for 60,000 French crowns and was set in the Mirror of Great Britain.

The Sancy was described in the Tower of London’s inventory as “…one fayre dyamonde, cut in fawcetts, bought of Sauncy…”

The Sancy was briefly owned by Charles I, King of England and then by his son James II. James had to flee to France under Louis XIV protection and brought with him the Sancy which he agreed to sell to Cardinal Mazarin in 1657 for £25,000.

Cardinal Mazarin was advisor to the young Louis XIV. Incredibly wealthy with a fortune said to be worth 22 tonnes of gold, he purchased gems and jewels which he will then bequeath to Louis XIV on his death with the condition that these could not be sold, had to remain all together and would be called the “Mazarins”.

Amongst those were 12 stones which he purchased from Henrietta Maria, Queen Consort of England, wife of Charles I in exile from England. These stones are the foundation of the 18 “Mazarins”.

Louis XIV added to his collection by purchasing the Diamant de Guise in 1665 and in 1673 the Hortensia diamond, a pink 21.32 carat diamond.
Most, if not all diamonds came from India, more accessible than Borneo where diamonds were also found. During one of his last trips, Jean-Baptiste Tavernier brought back the “Tavernier Blue” which became the “Grand bleu de Louis XIV”. It weighed approximately 115.40 carats.

It was stolen in the great theft of 1792 and recut, down to 69 carats. It is said to be the well-known cursed Hope diamond, recut to prevent proper identification.

Tavernier also brought back the Grand Sapphire of Louis XIV, of Ceylon origin. The king purchased it in 1669 and weighs 135.80 carats. It was believed that sapphires could cure plagues which is why it was never cut. I is exhibited in Paris.

In 1691 an inventory was drawn up stating that there were: 5,885 diamonds, 1,588 coloured gems, 488 pearls adding to a total of 11,430,481 pounds.

The Regent diamond was added to the collection a few years later, bought by the Duke of Orléans in 1717, then Regent of France, for £135,000 (the equivalent of £21 million). It had taken two years to cut, 1703-1705, and finally weighed 140.64 carats.

It was considered to be the most beautiful and clean diamond, until the Cullinan, becoming a symbol of the French crown.

In 1722, the Regent was set at the front of Louis XV coronation the crown, the Sancy at the top of the fleur-de-lys alongside Mazarin diamonds.

It was subsequently set in Louis XVI coronation crown in 1775. In 1791 is was valued at £480,000 (the equivalent of £58 million).

Having won the Campagnes d’Italie (wars in Italy), a superstitious Napoleon had the Regent set in his sword in 1812, convinced it had made him win the wars. It was later set in Princess Eugenie’s diadem in 1825.

The French Crown Jewels – Early Jewels

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Aurélia Turrall, Jewellery Specialist

Francis I, French king from 1515-1547, decided to differentiate personal jewels to those belonging to the State. At the time, jewels were used to finance wars and for political purposes. In 1530 he selected 8 gems and jewels. Kings and Queens would enjoy these gems and jewels throughout their reign but the collection would be inalienable and had to be passed down on their death. The collection included three spinels called “balais rubies”, from the north region of Afghanistan called Badakhchan. In many crown jewels, spinels are described as rubies.

The most important was the Côte-de-Bretagne, a 214 carat spinel, probably from Pakistan. Originally it was an odd-shaped stone, with three points.

The stone belonged to Anne de Bretagne, wife of Louis XII and are linked to how Brittany became part of France.

The Côte-de-Bretagne is the only “survivor” of the original collection put together by Francois Ier. It has been pawned several times, coming and going numerous times. It has stood the test of time but not intact; re-cut for Louis XV in the shape of a dragon, bringing its weight down to 107 carats. The stone is so large that it could have financed a whole city at the time.

The other spinels were the Oeuf de Naples (the egg of Naples, top) a 247 carat spinel added by Francis II, and l’A-Romain (the Roman A, for Anne of Brittany, bottom).

A diamond pendant was amongst the 1565 inventory of Mary Stuart. It was a diamond pendant with table cut diamonds, bought to her by her husband, Francis II, when she was Queen consort of France between 1559 and 1560.

He also purchased the Great Table, a 41 carat diamond, worth 212kgs of gold. 30 years after Francis I death, his grandson Henri III pawned the Crown jewels, against his grandfather’s wishes, in order to pay for the religious wars. Very few jewels were bought back but the Côte-de-Bretagne was miraculously recovered.

Crown Jewels of The United Kingdom – Early Jewels

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Aurélia Turrall, Jewellery Specialist

The crown jewels are a collection of jewellery that belong to the Queen in right of the Crown. They are comprised of heirlooms and jewels presented to her during her reign. The Queen regularly wears these pieces in official portraits and formal occasions. The jewels will be passed down to the next Monarch and will be worn to further ceremonies and coronation.
From Henry VIII to Queen Elizabeth II, the monarchs have purchased and been gifted with the most important pieces of the collection.
Jewellery and diamonds in particular have always played a big part in history, being traded, stolen, gifted, looted. Coloured gems have different meanings depending on the country but diamonds is, across the board, the one gem which symbolises power and wealth. Its origin comes from the Greek adamas, which signifies invincible. Every monarch has been depicted in portrait adorned with diamonds.

King Henry VIII is painted wearing black stones in this portrait, but these are in fact diamonds. Diamonds were not depicted in all their glory radiating light and clarity until much later. At this time, the painter’s workshop would complete the painting and did not have access to the gems, therefore altering the diamonds’ colours.
Queen Elizabeth I obtained the Mirror of Portugal from Dom Antonio, fleeing to England after being defeated by the Spanish. He sold the stone, a table-cut diamond weighing 30 carats, to the monarch in an attempt to finance more battles against Spain. Defeated once more, Queen Elizabeth now has hold of the diamond. She has the diamond set in a gold pendant within an enamel surround, suspended from gold chains.
The Queen is shown wearing gold and jewellery in her hair but also on her garment.

The Mirror of Portugal is then bequeathed to James I. It will later be sold to Cardinal Mazarin and recut into the Mazarin III. The Mazarin III was stolen in 1792 during the great heist of the Garde Meuble in Paris and has yet to be recovered.

One of the most famous diamonds to have been part of the Crown jewels is the Sancy. It weighs 55.23 carats, has 51 facets and was considered to be one of the most beautiful diamond for almost two centuries until the Cullinan was found in 1905 in South Africa.
It was purchased by James I for 60,000 French crowns and was set in the Mirror of Great Britain.
The Sancy was described in the Tower of London’s inventory as “…one fayre dyamonde, cut in fawcetts, bought of Sauncy…”
The Sancy was briefly owned by Charles I, King of England and then by his son James II. James had to flee to France under Louis XIV protection and brought with him the Sancy which he agreed to sell to Cardinal Mazarin in 1657 for £25,000. The Sancy is now exhibited in the Louvre.
Anne of Denmark, consort of James I, seen in this portrait wearing large jewels on her corsage, pearl necklace and earrings, diamond in her hair.

After 1725, diamonds were heavily imported from Brazil, as new sources were discovered. Diamonds are then preferred to coloured gems.
Queen Charlotte is painted wearing diamond diadem, girandole earrings, a diamond dog collar and pearls. Girandole earrings were very fashionable in the 18th century and named after a candelabra. They comprise of a central stone suspending three drops.

Last week’s Old Master Sales in London

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Last week’s Old Master sales in London provedonce again, that good Old Masters in an excellent state of preservation and fresh to the market make very solid prices.
The pick of the bunch were definitely at Christie’s where the evening sale made £45M as opposed to Sotheby’s comparatively paltry £17.2M. In fact, the tiny pen and ink study of the Head of a Bear by Leonardo da Vinci, which sold at Christies for £8.857M made half the whole of the Sotheby’s evening sale on it’s own. My stand-out lots at Christie’s were first the exquisite Music Lesson by Frans van Mieris, on panel made out from a small arched-top painting to a larger rectangle by the artist himself, which, at £3.5M indicated that no-one was put off by the alteration to its shape. Second was the magnificent large View of Verona by Bernardo Bellotto, Canaletto’s nephew, which took £10.575M. My third choice was the very rare canvas of Saint Andrew by the French follower of Caravaggio, Georges de la Tour. This made a very respectable £4M. I don’t know how many paintings by this rare master are still in private hands, but it will be a tiny number. The only disappointment to my mind was the beautiful Lawrence portrait of Richard Meade, which sold for £598K, within the estimate but not a true reflection of its worth.
Sotheby’s was not such a rosy picture, with 21of the 50 paintings not finding a buyer on the night. The large Turner sea piece of 1808 made £4.79M with premiums, but had recently been on the market for £8M. The Willem Kalf still life made £1.46M despite being in rather worn condition.
One of my particular favourites was the luscious View of Port Louis in Mauritius, by William Hodges, R.A. in oil on paper. Hodges is famous for accompanying Captain Cook to the South Pacific and painted the only portrait of him from life. This canvas made a healthy £189,000.

 

 

Salt – The Condiment Worth More Than Gold!

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By Alastair Meiklejon, Senior Valuer

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I would imagine that most of our readers draw a salary from their jobs, but how would you feel if you were paid in salt, rather than currency?

The Hammersley Salt

Well, the word ‘salary’ actually derives from the Latin word ‘salarium’, relating to the quantity of salt that Roman soldiers would receive in return for their efforts… Whether or not they were actually paid in salt is debatable, but the value of their pay was certainly linked to the value of salt at the time.

The ‘salt cellar’, or correctly termed ‘saler’, came about due to the need for a receptacle to hold the wondrous gift of the sea, and was a huge status symbol in the Middle Ages. In fact, your social standing could be easily recognised as to where you were seated at the table in relation to ‘the master’s salt’ – either above it for the higher ranking of the seated guests, or beneath it for those deemed less important.

In advance of our upcoming webinar, due to be broadcast on location at the impressive premises of The Worshipful Company of Haberdashers on Thursday 1st July 2021, we are honoured to announce that we will be talking about one of the most important salt cellars in the United Kingdom, possibly the world.

Dutch silver standing salt by Adam van Vianen, (Utrecht, 1621), estimated at £600,000-800,000 at Sotheby’s Treasures sale on July 6

The Hammersley Salt is a part of the stunning collection situated at The Worshipful Company of Haberdashers. The piece dates from 1595, and the only word that can be used to sum up its presence is magnificent.

Standing at 20 centimetres high and weighing in at 32 Troy ounces the drum shaped body is detailed with a frieze of classical figures, with engraving detailing the gift from Sir Hugh Hammersley Kt and Alderman of London 1636 it is raised upon a domed and circular spread foot with an additional selection of figures upon the frieze with an ogee border, having a detachable saltwell to the upper section and marked with an ovolo and guilloche border.

It is hard to think that this piece was used for serving salt to the great and the good at the time of Elizabeth I, and what is mesmerising about The Hammersley Salt is that one can see the visible corrosion from the salt being in contact with the silver over the 500 years since it was first used.

The company formed in 1448, and has curated one of the most formidable collections of fine silver in the country, which one of our silver specialist’s Jenny Knott and myself have had the absolute privilege of working with this year. During the webinar, we will be honoured to be joined by Dr David Bartle, archivist of The Haberdashers Company, to discuss the piece, its origins and how it came to be in the possession of The Company.
We look forward to you joining us for a unique event, truly worth its salt.

 

Affordable Modern Masters

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[embedyt] https://www.youtube.com/watch?v=sc5dTOMI4fw[/embedyt]

 

Article by Jonathan Horwich

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Lucian Freud, Francis Bacon, Pablo Picasso, David Hockney, Pierre Auguste Renoir are just a few of the Titans of Modern Art. They all have stellar international reputations, with their finest works being fought over by mega-collectors worldwide and making millions.

This leaves us mere mortals, who might aspire to own a work by any of these greats, without hope; the assumption being that price precludes ownership. Thus, collectors may totally discount the possibility of acquiring anything at more affordable prices.

However, there are buying opportunities out there for all of these artists which may not seem immediately obvious. When faced with astronomical prices for finished major works, collectors should be encouraged to look below the surface for less apparent opportunities…

For example, during Francis Bacon’s early career in the 1930s, he worked as a commercial furniture and rug designer. After the war he emerges as the great painter we know today, and of course his paintings are now out of financial reach to the masses. However, his rugs, although expensive, and his much cheaper surviving pieces of furniture, offer some buying opportunities, (no.’s 1-2). As do his limited-edition prints, each one is signed by him, even all three works in a Triptych, (no.’s 3-5).

Following this theme, I looked for more affordable pieces. Among my favourite finds is no. 7, Lucian Freud’s artist’s palette. It is one he actually used and still has all his signature colours. Equally, Freud’s etchings are accessible and affordable and they are a direct link to his skill as a draughtsman. The process of making an etching involves the artist drawing his subject direct onto the printing plate, and so is only one step away from an original drawing in my mind.

I think David Hockney offers us the greatest number of different buying opportunities, from faxes, to iPad drawings, to office-made, limited-edition ink jet prints and he is still finding new ways to make art, which at 83 is truly remarkable!

 

 

 

‘Guitars – Rock ‘n’ Roll Never Dies!

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An early Rickenbacker Frying Pan

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By Alastair Meiklejon, Senior Valuer

A late 1950s Les Paul

It happens every year, and it’s the ultimate guilty pleasure.
The Eurovision Song Contest this year was hotly anticipated in the wake of last year’s cancellation of the annual parade of the great (and not so great) in European pop, and it certainly didn’t fail to get the viewers talking. Our entry suffered a rather incredible snub from the public of an entire continent which was possibly an achievement in itself. However, the obvious and clear winner on the night was in fact a rock band hailing from… Rome, Italy.
Maneskin, with their entry ‘Zitti e buoni’ stole the hearts of Europe and despite the political voting from the vast majority of the judging panels, took their overwhelming score from the public vote. Now, what made this win special was the band’s clear love of the rock image, which over the decades has defined itself as: lots of guitars, not a lot of shirts.
During their acceptance speech their lead singer Damiano David declared that “Rock and Roll Never Dies” and that comment could never be truer than now. The eternal icon of Rock has to be the electric guitar. It has made heroes, millionaires, and icons, so why are old guitars making incredible prices across the globe?
The electric guitar started out in the 1930s as a way for jazz musicians and some country acts to amplify their sound when performing to an audience and this was the case for the next couple of decades. Rickenbacker, (more about them later), developed a pick-up for a slide guitar made by National, and this was dubbed the ‘Frying Pan’ due to its culinary outline.
The 1950s were really the start of the solid body electric. Leo Fender brought out the ‘Broadcaster’, whilst Gibson, who were already well known for their big-box jazz guitars, brought out the ‘Les Paul’, which was designed by Les Paul, alongside Ted McCarty, who was probably one of the most important people in the music industry that you have never heard of. His innovations at Gibson during this period really can’t be overlooked.
During this golden era of guitars, more models would evolve such as the Stratocaster – which possibly, alongside the Les Paul, is the most recognisable instrument of all time. The Gibson 335 – undoubtedly the most versatile guitar one can play – and lots of other models like the
SG, Explorer, Jaguar, Jazzmaster and two of my personal favourites – the Gretsch 6120, and the Rickenbacker 360/12.
Fast forward to 2021 and what are the most popular guitar models right now? Well, it’s exactly the same as it was in the 50s, 60s, 70s (not the 80s – blame hair metal) and 90s. They got it right first time.
This leads us into why vintage guitars command so much money. While a modern USA Stratocaster can be bought for under £1000 why does a guitar that looks exactly the same from 1958 cost maybe 40 times as much? Well, whilst my learned friend David Dallas would rightly comment that some artists produce better paintings during certain parts of their career – it’s the same with guitars. The early ones were made with far better components; the pick- ups were wound by hand and the amount they produced in a year was probably lower than gets produced in a day in 2021. The other big factor that simply can’t be accounted for is “feel” …. hardly a technical term, but I was very fortunate enough to once play a 1958 Les Paul Standard, which is now a £500,000 guitar and there are simply no words to describe how different the weight, fingerboard, sound or just overall ‘feel’ are. That’s why musicians and collectors are happy to pay the big money for these items.
So, alongside Rock and Roll, the electric guitar is certainly a survivor and has outlasted the formats it was designed to be played on many times, and no doubt, when downloads are old technology, the guitar will still be at the forefront making the music.

A mid 1950s Fender Stratocaster

Why I Love Researching Artists and Paintings

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By Dave Dallas, Old Master Specialist

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Image 0125 George Frederick Harris

I was recently asked by a collector friend in New York to do some research on the American painter G F Harris. All I had to go on were his initials. I subsequently discovered he is called Gregory Frank Harris, was born in 1953 and paints pretty girls by the sea in an accomplished latter-day Impressionist style.
However, before I discovered his true identity, I stumbled on a 19th century Welsh painter George Frederick Harris, who was born in Birmingham on October 30th 1856, but lived most of his life in Merthyr Tydfil. Merthyr was an unlikely place for a would-be artist in the Victorian age as it was a town with strong coal mining roots, but it was prosperous and this led to it having a large Jewish community. In fact, it had its own Synagogue and the pink opaline glass lamps from this building are now in the collection of the St Fagan’s National Museum of History, Cardiff.

Queenie
Rolf Harris

George Frederick Harris was a decent portrait and still-life painter, I don’t know how successful he was but there are over 40 paintings by him in public art collections. In 1920 he left Wales for Australia but sadly died of pneumonia in Sydney 4 years later.
His artistic legacy, however, lives on in his grandson, Rolf. Rolf entertained many children in the UK in the 1960s with his broad-brush painting technique, singing to himself on live British television and painting briskly with a decorator’s brush. The seemingly random first strokes then turned into a cabin amongst palm trees or whatever. The trick was to try and work out what the subject was before he finished the painting.
In 2005, he painted a portrait of H.M. The Queen. Now he is detained at her displeasure. You never know what you are going to unearth when you start a little gentle research.

Girls on a beach