Category Archives: Jewellery

Queen Charlotte from Netflix's Bridgerton and Queen Charlotte wearing a parure.

The Power of the Parure

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The release of series 3 of Bridgerton on Netflix has provided viewers with a visual feast – brightly hued costumes, sensational floral displays, grand balls, outlandish wigs, and of course – some fabulous jewellery! Whilst adapted to the modern -day audience and of course not strictly true to Queen Charlotte’s time, this beautiful display of gem-set jewellery should quite rightly draw attention to the truly amazing pieces produced in the late 18th and early 19th century.

Seen throughout the series and most ostentatiously on Queen Charlotte herself is the parure. Deriving from the French ‘parer’ ‘to adorn,’ the Parure refers to a set of jewels intended to be worn together.

The Bridgerton books by Julia Quinn are set between 1813 and 1827, covering the Regency period and beyond. By this time, parures set with precious and semi-precious stones were worn for court and formal occasions, with an abundance of jewellery at the very height of fashion.

Jewellery in Bridgerton - Queen Charlotte

The finest parures and demi-parures would consist of hair ornaments, necklaces, earrings, bracelets, bodice brooches and stick pins set with aquamarine, topaz, citrine and amethyst. Owing to their age, many parts and the frequent remodelling of jewellery over time, complete parures in their original form, with fitted cases are relatively rare and ever-increasing in value.

As seen in the aquamarine example above, fashionable, pastel-coloured gemstones such as aquamarine, pink topaz, and golden topaz were set within richly hued cannetille settings. Particularly sought-after at auction and therefore increasing in value are pink and golden topaz, whether in closed or the later open back settings.

A sub-section of Georgian jewellery that can very frequently be undervalued or even be dismissed as costume jewellery is paste jewellery. Although set with glass instead of crystalline material, this colourful and vibrant jewellery is increasingly sought-after by collectors. Paste is a notoriously soft material, prone to scratches and chips particularly if stored with other jewellery, so survivors of paste jewellery from this time command a premium. As seen with the following two examples, blue paste in particular has been performing incredibly well at auctions, but examples in all colours can be found in jewellery boxes up and down the country!

Rivière necklaces have very much had the spotlight on the latest series of Bridgerton, with the ‘diamond of the season’ Francesca Bridgerton adorning an array of these classically elegant and universally adored necklaces. Set with a wide range of gemstones, from diamonds to agates to cameos, the rivière necklace consists of a gently graduated pattern and continues in popularity to the modern day! As seen in the example below, rivière necklaces from this time period are frequently seen with a hoop surmount to the principal stone, allowing for the addition of a drop pendant. Values can depend upon the age, condition, gemstone identity, saturation, settings and carat weight.

For an up-to-date, confidential valuation of your Bridgerton-era jewellery by our nationwide, specialist team, contact us.

Vivienne Westwood the Personal Collection - A Review

Vivienne Westwood the personal collection – a review

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June is one of the most important months in the European fashion calendar with Milan Men’s Fashion week and Paris Haute Couture Week, showcasing forthcoming styles.

This year, however, perhaps the more significant occasion for fashion historians took place at Christie’s, London – the sale of the personal collection of British fashion designer Vivienne Westwood.

 

Dame Vivienne Westwood (1941-2022) was a seminal British fashion designer and linchpin of the Punk movement. Her designs simultaneously captured and redefined quintessential British fashion.

The Christie’s auction included pieces worn by Vivienne Westwood from her own collections. The auction was offered in two parts, Part I – a live day sale (including 95 lots) held on 25th June and Part II – an online auction (including 179 lots) closing on the 28th June 2024.

Proceeds from the sale were to be donated to a number of charities important to Westwood: Amnesty International, Medecins Sans Frontieres, Greenpeace and The Vivienne Foundation.

The highest price achieved during the auction reflected these values. Lot 1 – ‘THE BIG PICTURE – Vivienne’s Playing Cards, Collect the Cards, Connect the Cards’ – a series of 10 signed digital prints. Though conceived in 2017, they were printed in 2024 – with Vivienne signing the blank sheets prior to printing in 2022. Each suit was designed by Vivienne to represent those who have had a positive or negative impact on humanity and the environment. The prints used images and symbols recognisable from her career spanning six decades. With 100% of the sale proceeds being donated to Greenpeace, the lot had a total selling price of £37,800.

Her route to becoming one of fashions leading figures, was much like Vivienne herself, unconventional.

She was born in Cheshire, spending her childhood between Cheshire and the county of Derbyshire. When Vivienne was 17, her father took the decision to move his family to Harrow (now in Greater London). She attended Harrow School of Art to study fashion but did not enjoy the course or believe a woman would be able to earn a living with this career. After a spell working in a factory, Vivienne chose primary school teaching as an alternative occupation (sharing her knowledge seemed to be a lifelong endeavour – she continued to teach fashion throughout her life – fashion designer Bella Freud described her as “the greatest teacher I have ever known” [Vogue, December 2022]).

Vivienne Westwood continued to make her own clothes, by the early 1960s was married with a son. During the mid 1960s she met Malcolm McClaren – the man influential on her perception of the possibilities of art and fashion – he would become her second husband.

The pair collaborated on a vision of an entire shop (developed from McClaren’s existing stall) – selling clothes, memorabilia and 1950s inspired pieces for the rebellious, located on at 430 Kings Road, Chelsea. This location was to change the course of fashion and music history – and would be connected with the Vivienne Westwood brand throughout her career.

The shop’s first incarnation dubbed ‘Let It Rock!’ opened in 1971. With each changing collection the store changed its name (‘Too Fast to Live to Young to Die’ 1973, ‘Sex’ 1974 – 1976, and ‘Seditionaries’ 1976 – 1980), – becoming a focal point for the burgeoning punk movement. For these later incarnations Vivienne created what we would now call the Punk Aesthetic – with fetish wear, graphic designs, and accessories of chains and safety pins. The band the Sex Pistols were formed by Malcolm McClaren through the shop (members Glen Matlock and Sid Vicious both worked there) and their name chosen in part to promote it.

By the early 1980’s Vivienne Westwood was not yet a household name and her innovations generally under appreciated. As punk faded, a new scene grew – dubbed by Vivienne ‘New Romantic’. The shop rebranded to ‘World’s End’.

Vivienne held her first fashion collection ‘Pirates’ in 1981.

Christie’s chose to sell Vivienne’s wardrobe in chronologic order – with the earliest dating ensemble created as part of the ‘Witches’ collection (1983) (her first to be shown in Paris and her final collaboration with McClaren).

Lot 2 was from the ‘Witches collection – A navy blue two-piece outfit bearing the ‘World’s End’ label, estimated at £4,000 – 6,000. The garments had been inspired by Vivienne’s meeting artist Keith Haring in late 1982. The total selling price here was £8,190.

Prior to the sale the viewing was packed with celebrities and Sartorialists looking to add to their collections, or simply get a glimpse of a career in microcosm – the sale more typical of a V&A exhibition than auction.

During the preview Christie’s projected one of Vivienne’s quote’s ‘The art lover is a freedom fighter’. With portraiture in mind, Christie’s displayed pieces from the Vivienne Westwood auction alongside paintings included in their forthcoming Old Masters sale. Lot 30 a dress created for the Autumn/ Winter 1998/ 1999 ‘Dressed to Scale’ collection was viewed alongside Sir Peter Lely’s ‘Portrait of Barbara Villiers’ [Lot 20, Old Masters, Christie’s, 2nd July 2024, £567,000]). The corseted piece of silk taffeta fetched the highest price for clothing realising £32,720.

Similarly, two lots included clothing from the AW 1997/8 ‘Five Centuries Ago’ Collection. This show was directly inspired by garments depicted in Tudor and Jacobean portraiture, which had been exhibited at the Tate Gallery in 1996. Lot 23 was a flannel two-piece suit worn by Vivienne on the runway at the close of this show. Estimated at £2,000 – 3,000 it achieved £8,190. Whilst lot 23 a black and gold brocade dress sold for £8,820 (against an estimate of £1,200 – 1,800).

Lot 4 was a three-strand faux pearl necklace and matching earrings produced for the Autumn / Winter 1991/1992 ‘Portrait’ collection. Vivienne had worn the jewellery during publicity for her Swatch Watch campaign – again showing the impact of historic imagery and faux pearls becoming part of her signature style. Estimate at £800 – 1,200 the set sold for £5,040.

The Orb is the symbol most closely associated with the Vivienne Westwood brand. It was conceived in 1986 and first appeared in the ‘Harris Tweed’ Autumn/ Winter 1987/ 1988 collection. Several lots of costume jewellery were available with the Orb central to the design. Lot 9 (estimated at £600 – 900) was a knuckle duster orb ring, created in 1992. Now instantly recognisable as a Vivienne Westwood piece, it sold for £4,043. Lots 10, an orb choker, and 11, a pair of orb earrings, both from the 1993/4 ‘Anglomania’ collection, sold for £10,080 and £4,788 respectively.

This ‘Anglomania’ collection was the first to feature Vivienne’s own tartan – again a style now synonymous with the brand – and marked the beginning of her creative partnership with husband Andreas Kronthaler (which would continue over their almost 35 years together). Vivienne met Andreas in 1988 whilst teaching fashion design in Vienna. The tartan was named ‘McAndreas’ after him and produced by weavers Locharron. Lot 12 was a two-piece tartan suit utilising the fabric, here selling for £5,292 (inc. BP).

The ‘Anglomania’ show was memorable, due to Naomi Campbell’s catwalk tumble whilst wearing a pair of super elevated platform shoes. Lot 13 was a velvet jacket, identical to that worn by Campbell during the show, offered together with a blouse. Estimate at £800 – 1,200 it sold for £11,340.

Several pairs of platform shoes were included in the auction – the highest price achieved for footwear was lot 39 – A pair of brown leather ‘Animal Toe’ heeled ‘Trainer Shoes’ from the AW 2002/3 ‘Anglophilia’ Collection. These sold for £6,048.

From the same collection and inspired by Elizabeth II Golden Jubilee celebrations was lot 40 – a complete ensemble from the Gold Label, against a pre-sale guide of £1,500 – 2,500 it sold for £13,860.

Lot 68 was given special attention during the viewing and placed in a space alone. The satin ‘Cinderella’ dress in ice blue colour was created as part of the 2011 ‘Gaia The Only One’ collection. Taking influence from ballet and 18th century fashion it achieved ten times its mid estimate figure selling for a total of £25,200.

Part I was a white glove, 100% sold auction – achieving a sale total including buyer’s premium of £465,192.

Part II included further items from Vivienne’s collection – many of them being individual garments and accessories.

Lot 105 was of costume jewellery produced for the 1993 ‘Grand Hotel’ collection and reflected Vivienne Westwood’s earlier career. The ‘Sex’ choker and earrings sold for £7,560 (inc B.P).

Several of the pieces could have been purchased for inclusion in a contemporary wardrobe. Lot 193 was a striking blanket coat from the AW 2004/5 ‘Exhibition’ collection. The graphic fabric, in a punk / graffiti inspired motif, sold for £4,410 (inc. B.P).

From the later part of Westwood’s career was an unusual handmade headdress designed for AW 2017/18 (lot 258). Inscribed ‘Ecotric’ in felt pen and manufactured from pieces associated with waste, it achieved £2,520.

A lot which seemed to show how 1950s style continued to influence Westwood was 104 – a faux leopard fur coat from the AW 1991/2 ‘Dressing Up’ collection. Here the estimate was £1,500 – 2,500, it achieved £6,930.

Lot 162 showed the cross-over in Westwood collections of punk symbolism, with historical classical inspired pieces and contemporary prints. From the ‘Summertime’ collection, Spring/ Summer 2000 it included a long sleeve Lycra top and a silk skirt – selling for within estimate at £2,142.

An ensemble which highlighted the continuing influence of the punk style alongside the importance of her environmental message was lot 232 – a jersey t-shirt from the 2012 ‘War and Peace’ collection. Printed with the Gaia family tree and a climate change map of the world, it realised £2,016.

Towards the end of the auction were several pieces designed by Vivienne Westwood’s husband and current brand Creative Director, Andreas Kronthaler. Produced for Vivienne Westwood label and from Vivienne’s wardrobe, lot 272, a brass necklace with tooth shaped charms from ‘Rock Me Amadeus’ Collection, 2020 – the estimate here was £500 – 800 but total price of £3,276.

The highest price achieved during the online auction was not for clothing, but for the neon sign, specially commissioned by Christie’s to display at the King Street headquarters. In two pieces, totalling over 10 meters in diameter, it was not included in the printed catalogue, despite this it eventually sold for £30,240 (inc. BP).

As with Part I – Part II was 100% sold achieving a total of £289,296, bringing the combined figure for the two sales to just over £750k.

 

Read more articles by Stephanie Connell.

This week’s pick – Trooping the Colour and Princess Catherine

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What fan of Princess Catherine would I be if this week’s pick didn’t focus on her one-off appearance for the King’s birthday?

Princess Catherine delighted the nation on the 15th June by attending the celebrations. With her family by her side and gleaming smile, I don’t think anyone could tell she was undergoing any treatment.

She wore a Jenny Packham dress, reworked from last year’s coronation.

Long-sleeved with thin black piping at the waist and an oversized bow on her lapel, she completed the look with a white Philip Treacy headpiece, white pumps and a black clutch.

As for the jewellery, the Princess of Wales wore Cassandra Goad Cavolfiore earrings in 18ct yellow gold, set with 2mm white cultured pearls and approximately 0.30ct of diamonds. These retail for £5,620.

One could accentuate the look with the matching Carioca cuff bracelet by Cassandra Goad, retailing for £9,580.

As a Colonel of Irish Guards, the Princess added to her jewels, the Irish Guards Regimental brooch.

The Irish Guards, to whom the Princess wrote a letter wishing them good luck for the event and to let them know how proud she was of them, were among the British troops participating in the parade.

Little fact about this year’s Trooping of the Colour: for the first time in more than 100 years, soldiers on parade were allowed to have beards, approved by the King earlier this year and which applies across the Army.

The Princess has once again shown how devoted and courageous she is: being scrutinised by millions during these times could certainly not have been easy. But, let’s be honest, she smashed it! My only glamour during my treatment was putting on my wig for very special occasions!

Though delighted to see the Princess at a public event, she has warned she is “not out of the woods yet” and it will be some time before she makes another appearance.

Until her treatment is over, I wish her and all those affected by the disease much strength.

The Trooping of the Colour marks the official birthday of the British Sovereign and has been celebrated in June for over 260 years.

Over 1400 parading soldiers, 200 horses and 400 musicians participate, together with an RAF fly-past.

The operational soldiers wear the ceremonial uniform of red tunics and bearskin hats and are inspected by the Sovereign once they reach Horse Guard’s Parade in Whitehall. The parade moves from Buckingham Palace and down The Mall to Horse Guard’s Parade and carries on to Whitehall.

Pick of the week highlights of the Bonhams jewellery sale

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I had the pleasure of viewing the upcoming jewellery sale at Bonhams on New Bond Street this week. I received such a warm greeting from an old colleague at the front desk, and proceeded to head to the viewing room. Now, some might say they are too scared or intimidated to walk through these halls, let alone have the audacity to look at a jewellery sale on display. But here’s the secret… It’s open to everyone! And you should take advantage of these viewings. Think of it as a free museum entrance with endless exhibitions of exceptional goods, which have been, more often than not, hidden away from the public for generations.

I had the pleasure of being shown some highlights of this 118 lot sale.

These included a pair of Castellani sapphire bracelets from 1865.

These bracelets of Byzantine inspiration really are beautifully made. Castellani is one of the best when it comes to archaeological revival style jewellery and these pieces are no exception. “To have one bracelet is wonderful but to have two is very rare” said Jean Ghika, Global Head of Jewellery. With an estimate of £25,000 – 35,000, I am sure they will find a new home.

Still in the antique jewellery section of the sale are these spectacular “Night and Day” diamond earrings.

Still in their original box, these earrings can be altered depending on the mood. One can wear the diamonds for a dash of dazzle or cover them up with the cannetille beads. It is an extraordinary piece and statement to earlier craftmanship. They have an estimate of £12,000 – 18,000.

It should come as no surprise that my eye was immediately drawn to an early 20th century Cartier piece: an enamel and diamond fob watch circa 1910.

The delicate purple guilloché enamel is highlighted by a central diamond and a diamond border. The reverse is everything that makes Cartier watches: blue steeled hands, engine-turned dial and attention to detail. The very attractive estimate of £6,000 – 8,000 is bound to call out collectors.

Amongst the highlights is a sapphire and diamond cluster ring, circa 1890 with an estimate of £60,000 – 80,000. Why the price tag? That would be due to the origin of the sapphire: Kashmir with no evidence of treatment. Though a little abraided on the facet edges, a quick repolish would restore this stone and ring to its original glamourous state.

This piece shows once more the importance of getting gems certificated, as origin or colour and clarity can affect its value dramatically. This is even more apparent with the “Toi et Moi” blue and pink diamond crossover ring by Mouawad.

Both diamonds weigh a little over 5 carats, natural Fancy Intense Blue colour, VVS2 clarity and natural Fancy Purple-Pink colour, I1 clarity.

Bonhams says: “It is estimated that as little as 1 in 10,000 gem-quality diamonds extracted from the Earth’s crust show noticeable colour and of these stones, an exceedingly small percentage are blue or pink. The majority of these rare marvels of nature are under 2.00 carats in weight and stones exceeding 5.00 carats, are even rarer. Stones with high intensity colour grades such as ‘Fancy Deep’, ‘Fancy Vivid’ and ‘Fancy Intense’ are considered some of the most desirable colour classifications by GIA.” Due to its rarity the estimate for this ring is £1,000,000 – 1,500,000.

The Bonhams London Jewels sale that was held on 13th June garnered extraordinary results, with a total of £6,590,562, with 78% sold by lot.

Jewellery Pick of the Week Cannes Film Festival

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It should come as no surprise to those who have read my previous articles that I would have chosen Cannes Film Festival for this week’s pick. A red carpet is always a good opportunity to see some of the most beautiful haute couture and jewellery which are inaccessible to most of us. Today I am looking at jewellery pieces by Tiffany & Co. worn by Camille Cottin – for whom I happen to have written a feature length jewellery heist screenplay.

As Mistress of Ceremony of the 77th Cannes Festival, and ambassador for Tiffany & Co., the spectacular French actress wore Tiffany Edge diamond drop earrings. These are set with 3.27cts of diamonds, mounted in platinum and 18ct yellow gold and retail for £32,800.

That same evening for the gala’s opening dinner, while still adhering to a very chic and elegant style, she sported another Tiffany & Co. suite from the HardWear collection.

Her neck was adorned with the Tiffany HardWear Graduated Link Necklace in yellow gold and pavé diamonds. It retails for £72,500 and is set with 9.07cts of diamonds.

The earrings en suite are set with 1.18cts of diamonds and retail for £15,800.

This particular jewellery line comes in white, yellow and rose gold, and can, as demonstrated the last few days, be worn to any circumstances, it really is a girl’s best friend.

The choice in design from Tiffany & Co. jewellery seems to resonate the theme of this year’s opening ceremony: women at the forefront of film and creativity. Camille Cottin’s speech mentioned #MeToo movement, the extraordinary Meryl Streep was awarded the Palme d’Or after a moving speech by Juliette Binoche, and Greta Gerwig (director of Barbie) was appointed President of the jury, six years after the last female jury president Cate Blanchett, in 2018. The HardWear collection says it all in its name and in its polished smooth and geometric lines. How could a jewellery collection be more perfect to echo both femininity and power.

To find out more about our jewellery valuation service, call us on 01883 722736 or email [email protected]

Jewellery Remodelling and Rediscovering Lost Treasures

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In an age where sustainability reigns as a paramount concern, the world of luxury is undergoing a profound transformation. Amidst this shift, an ancient practice finds renewed relevance: jewellery remodelling. Beyond mere aesthetics, this artful process breathes new life into forgotten treasures, championing environmental stewardship while indulging in the opulence of the past.

For those unsure of where to begin their jewellery remodelling odyssey, fear not – expert guidance from professionals like Lottie Leigh awaits. With a refined process honed over time, clients are gently ushered through the labyrinth of design possibilities. Even the most uncertain find clarity through collaborative visioning, discovering desires they didn’t know they had. It’s a journey of self-discovery as much as it is about transforming jewels, guided by passion and precision.

A Tradition of Elegance: From Aristocracy to Modernity

The art of jewellery remodelling is steeped in history, tracing its roots back through centuries of opulent adornment. From the courts of European monarchs to the palaces of Asia, this practice has long been a hallmark of aristocratic taste. Notably, the royal family has been a bastion of jewellery remodelling, with illustrious examples found in the treasure troves of the Princess of Wales. Pieces once cherished and now languishing in drawers find new life through thoughtful redesign – a testament to the enduring allure of sustainable luxury.

The Digital Canvas: Bringing Dreams to Life with CAD/3D Design

Innovation meets tradition in Lottie Leigh’s digital atelier, where dreams take shape with unparalleled precision, all driven by you. Here’s how Lottie facilitates this process: Through the marvels of CAD/3D design, you, as the client, assume full control, meticulously crafting every detail of your envisioned piece. Imagine this: a 360-degree image displayed on a screen, granting you the ability to explore and refine your creation to perfection.

But it doesn’t end there. Once your design is finalised, Lottie employs 3D printing technology to materialise it. This means you can not only see but also physically try on your design, ensuring it aligns seamlessly with your style and preferences. After all, being able to see and try on the design before anything is made is paramount. How can you truly know you love something without experiencing it firsthand?

This transformative tool not only streamlines the design process but also transcends geographical barriers, enabling seamless remote collaboration from inception to completion. It’s a modern twist on an ancient art, where imagination knows no bounds.

From Old to New: Trading Unworn Treasures for Fresh Beginnings

For those seeking to breathe new life into dormant jewels, an option exists to trade and upgrade unworn gemstones. Whether it’s diamonds, sapphires, or emeralds or other precious gems, these forgotten treasures find new purpose in bespoke creations. This exchange not only revitalises collections but minimizes environmental impact, aligning with the ethos of sustainable luxury. It’s a journey of transformation – a testament to the timeless allure of reinvention.

In the tapestry of luxury, jewellery remodelling stands as a beacon of sustainability and elegance – a testament to the enduring allure of heirloom treasures and the boundless creativity of human ingenuity. From the hallowed halls of royalty to the ateliers of modern artisans, this artful practice bridges past and present, leaving an indelible mark on both history and the future. As we embark on this odyssey of remembrance and renewal, may each jewel shine brightly, a testament to the timeless union of luxury and sustainability.

Doerr Dallas are delighted to have Lottie share her knowledge and expertise with us and our client base. Many of us have pieces gifted to us by our family members that are sitting in drawers that sadly we do not wear as fashion changes, so having an option to redesign is wonderful.

It is always important to remember that once you have ‘redesigned’ a piece of jewellery the need for re-valuing becomes more important. At the moment, with jewellery prices on the high street increasing; the price of gold going up daily, we are recommending to our clients to update their jewellery valuations if their current valuation was over two years ago.

To arrange a jewellery valuation give us a call on 01883 722736 or email us on [email protected]

 

This Week’s Jewellery Pick

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I recently finished the multiple award-winning show The Marvellous Mrs Maisel. And if you haven’t seen it yet, you know what you’ll be doing straight after reading this article!

The main character, Midge Maisel, played to perfection by Rachel Brosnahan is based on Joan Rivers.

Other characters are real, such as Lenny Bruce, others fictional. Created by Amy Sherman-Palladino, it portrays women’s experiences in the mid-20th century, focusing specifically on a young Jewish woman trying it to make it on the comedy scene.

The series is mostly set in the late 50s and 60s and the costume and jewellery are divine. Costume designer Donna Zakowska created a dream wardrobe for all the characters, earning her awards for her creativity.

Not only are the dresses and jewels visually stunning, they add and carry the story, they are a story of their own. Today I will look at the pearls used in the series and especially one set of doublestrand cultured pearls which Mrs Maisel wears for her first official stand-up at the Gaslight Café (a sticky downtown New York club where the great Joan Rivers also performed).

In this moment she experiences great success, slightly undermined by some misogynistic remarks, then put to right by her estranged husband, and the outfit is perfect and effective. A black dress complemented by a pearl necklace.

The double-strand is strung and knotted with 6mm peach cultured pearls. The pearls appear to be uniform in shape, colour and lustre.

And when looking to purchase pearls, these are the most determining factors in assessing pearl necklaces. In this scene, the choice of colour sends the message of softness, being peach and not gold, and also lets us extrapolate that she could become very successful in the future, the pearls being almost golden. Mrs Maisel and her success shine thanks to the peachy colour and also due to the pearls’ lustre. Lustre measures the rate of light reflecting off the surface of the pearl and the sharpness of reflection visible on its surface. We often describe these as poor, fair, good and excellent. The better the lustre, the more radiance and glow they emit.

The pearls are also well matched and round. Their shape in this scene is key. She is trying to make a name for herself in a male dominated industry, all the while maintaining and celebrating her femininity and exposing her marital instability and struggles as a mother. The roundness works brilliantly.

Though the above baroque pearl necklace comes with a generous price tag of £7,500 they would have sent a very different message than perfectly round pearls.

It was common practise to have faux pearls at the time and they were very effective. In today’s market they do not have any value. The costs of cultured pearls vary greatly depending on the factors mentioned above, amongst others. But essentially, their value depends on what they mean and signify to the wearer.

Protecting the Cash in the Attic

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Frequently, for those whose homes are filled with antiques and art – particularly when they have been treasured family possessions for generations – potential replacement values for insurance can be overlooked.

Whilst jewellery and silver are often undervalued for insurance – recent costs having increased – there are certain types of objects which can be discounted completely.

With that in mind, Doerr Dallas Valuations would like to share a few examples where interesting history and excellent quality have led to growing value and this fact may lead to under insurance.

Georgian Costume Jewellery

The 18th and early 19th centuries were a time of great innovation and advances in technology. One of the fields in which this was obvious was jewellery design. With sumptuary laws being ignored, and with a growing middleclass keeping up with the latest trends, the desire to own the most fashionable jewellery became widespread. This demand was met by advances in artificial stone production – what would now be described as paste jewellery. Paste stones could be manufactured in a range of dazzling colours – mimicking – or even more vivid than their precious stone equivalents. It made jewellery more affordable to the fashionable of the day.

Costume jewellery, in terms of its financial value, has often been disregarded in comparison with fine jewellery equivalents. However, in recent years a strong market for costume jewellery as a whole is evident. Recently, the Georgian paste jewellery market has strengthened resulting in rocketing prices.

At auction, estimates have been smashed – in February 2023 a suite of blue paste jewellery (parure) comprised of a necklace (which would have been attached by a ribbon), a bracelet and a pair of earrings was offered in auction (Woolley & Wallis lot 148) with an estimate of £200 – £300. The eventual total selling price was over £25,000!

Domestic Metalware

Objects made from brass, copper and pewter may appear ordinary but again their values can be surprising. Lighting, fire grates, door furniture, mortars are all things to consider when arranging an insurance valuation.

Early pieces are highly prized by collectors and their replacement value can be in the thousands. In a recent auction, (The Chapman Pewter Collection – Bishop Miller; April 2023) a rare pewter candlestick manufactured during the reign of Elizabeth I/ James I achieved a selling price of over £30,000 (Lot 43). If you are uncertain as to the origin of your metalware, it is always best to consult a specialist valuer.

Furniture

In recent years the antique furniture market has been much maligned, with reports of the decrease in values being widespread. While the market may not be that of the 1980s, quality antique furniture continues to be esteemed and seeking replacements competitive.

Modest oak and antique country furniture should be closely looked at when considering insurance. Windsor chairs, mule chests, dressers and farmhouse tables are respected amongst collectors.

Treen

In a similar vein to country furniture and domestic metalware – treen – domestic objects made from wood may have been disregarded. In this fierce collecting field, prices can be surprising and some objects extremely rare.

 

 

Toys, Games and Juvenilia

When considering a valuation, looking at the playroom or nursery may not be the first area for attention but with the market for antique toys and games proving ever popular, replacing these treasured possessions can be costly.

Important and interesting 18th and 19th century dolls houses are collected not only by those interested in toys, but for those with a passion for architectural history. These microcosms of the family home often include complete furniture and decoration – showing how families lived and operated their homes. To replace good examples, the anticipated cost will be upwards of £10,000.

Rocking horses have a history which dates back thousands of years – the toy in the current form has existed since the 19th century. Rocking horses, both antique and modern, are a focal point for a playroom and as such should often be insured. When looking to acquire a good 19th or early 20th century example, one should budget over £2,000.

Playing cards, board games and games compendiums may be valuable depending upon age, manufacturer and scarcity. Toy specialists can offer guidance on teddies, dolls and antique toys and games.

Exploring the hidden treasures in your attic could be a delightful journey down memory lane. These items which hold dear memories close to your heart might even surprise you with their financial value.

Jewellery Pick of the week – an alligator hinged bangle by Barry Kieselstein-Cord

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This week’s pick is a gold piece of jewellery with a lot of character and no gems. An alligator hinged bangle by Barry Kieselstein-Cord from the 1980s.

This bangle is made of 18ct yellow gold and realistically designed as an alligator with detailed teeth, eyes and skin. And it could be yours for £20,000.

It was offered at auction at Christie’s with an estimate of $4,000-6,000 and sold for $16,250, including premium.

So why the price tag? This item is a good example of how premium is added to craftsmanship. The bangle weighs a little over 100grms and has been worked and moulded with great care, attention and exceptional know-how.

Barry Kieselstein-Cord didn’t always work with gold. His first collection, dating 1972, was crafted in sterling silver. When we think of silver jewellery, one of the famous names that come to mind is George Jensen. Barry Kieselstein-Cord’s collection was bought and presented at Jensen’s flagship store on Madison Avenue in New York City (now closed).

He shot to stardom and his jewellery was soon a key accessory to have. Movie stars like Diane Keaton were quick to get their hands on this new stylist’s designs. He also worked closely with Calvin Klein and Helmut Newton.

His brand has extended into handbags over the years and are considered works of art. So much so that The Museum of Fine Arts in Houston exhibits his Alligator Trophy Handbag made in 1992.

He also created belt buckles, which caught the attention of the Spanish bull fighter El Cordobès who purchased a horse-head buckle in the 70s.

Whilst he was working with sterling silver he made a skull necklace for Mick Jagger’s 30th birthday and continues to this day to make iconic pieces. Though access to these is very limited and exclusive.

So if you want a piece of history, keep your eye on auctions and specialised vintage jewellery shops as these pieces are very rare and the market is scarce for these recognisable pieces.

This Week’s Jewellery Pick

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This week I saw a lovely collection of antique jewels, dating from the mid-19th century. Mid-19th century felt ‘relatively’ close until I realised it was getting closer to being 200 years old rather than 100… If you’re like me, the 80s was still only 20 years ago! Enough revelation on how old I am and back to this beautiful collection.

The one piece which caught my eye was an onyx mourning brooch dated 1854.

The oval onyx plaque, measuring 4cm x 4.5cm, has an overlaid border of acanthus leaf gold detail, the central glazed compartment with a lock of hair within a surround of 31 seed pearls, in closed-back setting. The reverse was engraved with ‘In Memory of Henry Thomas, Sept 14th 1854, Oct 54 years & 11 Months’.

Though its value might be relatively low, around £500 for Insurance purposes and £200 for open market value, one can immediately sense the priceless sentimental value this piece had.

When Prince Albert died on 14th December 1861 of typhoid fever, Queen Victoria entered a state of mourning and wore black for the remainder of her life.

It was then that onyx became fashionable. The court was quick to follow the new strict “dress code”. With wars and epidemics, death was everywhere. The demand for hair for mourning jewellery was such that it is said an extra 50 tonnes of human hair a year was imported to England to meet the demand.

Though a very personal jewel, the demand for mourning jewellery is constant. The below items, comprising of two mid-19th century gold and enamel mourning brooches and an 1830s gold locket, sold at Bonhams for £1,000 (including premium).

Mourning jewels are both sad and a beautiful statement of the love someone has for a departed. Whether antique or new, it is a celebration of the life that once was.

Stay tuned for next week’s jewellery pick…