Category Archives: Jewellery

Pandemic Pearls – Biggest shock for Years?

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Pearls – the gem that will go with everything, crosses the generations and decades. Safe, predictable, eternal. Is now the time to reassess their value?

Thanks to the Chinese market, there has been a growing production of quality fresh-water and saltwater pearls over the last decade. The downside of this monumental growth is that the market is arguably becoming saturated.

This is borne out in the price of pearls at auction. Japanese salt water Akoya, good Chinese fresh water and even small Tahitian pearls keep on under-performing and can be picked up for next to nothing.

This situation may be about to undergo a seismic change.

If I can cast your mind back to 2020, the world literally stopped. Not only the obvious things such as air travel and carefree shopping, but the thousands of ‘route to market’ supply lines. This included the people who support and make those supply lines run like clockwork – Normality went on hold.

Pearl Creation

The industry of Pearl farming and production walks a delicate tightrope between man and nature. There are many different types of pearl bearing molluscs, who have their own specific growth cycle, but to make a generalisation each pearl mollusc is either dived for by hand or is born, raised and seeded in stringently checked temperatures with the correct food, space and daylight. This process generally can take between 2-4 years of consistent care and attention – this was not possible during the pandemic.

During the global lockdowns, pearl growers, specialists, itinerant labourers and their vital support network all returned home. For the first time in decades, the seasonal flow of global pearl farming ground to a halt as there simply were not enough people to assure the continuity especially for South Sea, Tahitian and fine quality pearls.

Take the case of Paspaley in Northern Australia, a threegeneration pearl farming family who produce some of the most beautiful pearls in the world. They were so affected by the pandemic that they applied for and received a licence for specialised staff to continue working, but they were only allowed to work on boats moored offshore so there was no chance of Covid spreading. Even with this intervention their normal levels of production were curtailed.

This seismic shock to the usual farming life has caused a gap in the pearl production world and a shadow over future yields over the next few years.

Only time will tell what the quality and yield will be but it is understood by those in the know that it will take 2-3 years to get ‘back to normal’.

The basic economic principal of supply and demand may come to bear with reduced gem quality pearls coming to the market where the prices may harden and quite likely increase. Not only will this hopefully invigorate the auction pearl market but also remind pearl owner’s to have their pieces re-valued. Depending on how this industry is affected, Covid may have caused the pearls in your jewellery box to be very under-valued. A once predictable and safe commodity may have a trick in the tail and prove to be more valuable than they once were.

B for Boucheron

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Aurélia Turrall, Jewellery Specialist

Boucheron, a brief history

The luxurious brand’s story starts when Frédéric Boucheron became an apprentice jeweller to Jules Chaise at the young age of 14 in 1844. Descendant from a family of drapers, he seemed to already have a thorough understanding of how to work with delicate fabrics like silk and lace.

He opened his first boutique in 1858 at Palais Royal, in Paris, next to the Louvre. A decade later, he won gold medal at the Exposition Universelle. He partnered with Paul Legrand for several years as chief designer. During their collaboration, Boucheron won the Grand Prix for Outstanding Innovation in a jewellery collection in 1889.

After winning this prize, Frédéric Boucheron opened the first boutique in 1893, Place Vendome in the heart of Paris. He was the first jeweller to take up space in this exquisite location, at n.26 where it is said that it was the sunniest part of the square and “the diamonds would sparkle all the more brilliantly”.

In 1900 he was awarded the Légion d’Honneur for his display at the Exposition Universelle, encapsulating the Art Nouveau style. He died two years later and left the Maison to his son Louis.

Outstanding and Unique Innovation

In 1879, Boucheron created a clasp-less necklace, named the “Point d’Interrogation” (the question mark). It was the first time a jeweller had created a piece of jewellery which women could place on themselves without any assistance if they so wished. Throughout the 164 years the Maison Boucheron has reinvented the style and adapted it to different styles with more or less foliate detail or a more contemporary look. It is its “stylistic approach, featuring asymmetry and curved lines” which make this necklace a signature piece for the jeweller, synonym of freedom and outstanding innovation.

Carat, 159 carat to be exact

Boucheron is synonymous of luxurious jewellery and “drapes” Royalty such as Queen Elizabeth II, Queen Rania of Jordan and some of the most famous women. One of these famous women of the 19th century was Marie-Louise MacKay, married to John MacKay who made his fortune through silver mining in the USA. She was intent on building one of the most important jewellery collections and Boucheron was her go-to jeweller. In 1878, Boucheron was entrusted with setting what was said to be the most beautiful Kashmir sapphire in the world, weighing 159 carats, of oval shape. It was valued at over Francs 700,000.

Hotel de Nocé

The Boucheron store is located in the grand Hotel de Nocé, built in 1717 and named after Charles de Nocé. The building has passed to numerous owners, including Jean-Baptiste-Francois Gigot d’Orcy, who had a passion for minerology. Sometimes the Hotel is called Hotel d’Orcy. The Hotel was home to some of the most famous people such as Marquis de la Baume, the “most expensive boot maker in the world” Yantorny and Countess Castiglione, also known as Virginia Oldoini, ex-mistress to Napoleon III. When Boucheron moved in to the building in 1893, “the most beautiful woman of her century” refused to move out until 1894. Two portraits of the Countess still look down on the boutique to this day.

Boucheron was the first jeweller to take up space on Place Vendome.
When Boucheron was bought in 2016 by the Kering group, they undertook a full restoration of the Hotel.

The façade of the building is listed which means that if Boucheron were to move out, it would be impossible for the new owners to make any changes. The inside was restored to its glorious state, with attention to detail such as Chinese wallpaper restored by Atelier Mériguet-Carrière.

With the renovation came the creation of hotel rooms, where guests come to spend a night within the Boucheron boutique at the heart of Paris.

Princess Eugenie

In 2018, on her wedding day, Princess Eugénie wore the Greville emerald and diamond tiara, initially created by Boucheron in 1900 and set with a 93.70 carat cabochon emerald, mounted in platinum.

The tiara in 1921 after modifications to include the centre emerald and a more geometric style, contemporary of Art Déco jewellery.

The Hon. Mrs Greville, who lived at Polesden Lacey, was a friend of Prince Albert and Elizabeth, Queen Mother. After they were married, the couple spent their honeymoon in Mrs Greville’s home.

In her will, Mrs Greville bequeathed the tiara to the Queen, who in turn lent it to Princess Eugénie for her wedding. It was the first time in over a century, that the Boucheron tiara had been seen in public.

Reflet wristwatch

In 1947, Boucheron created the Reflet wristwatch with interchangeable bracelets. The collection has a rectangular dial with baton hourmarkers and Roman numerals.

The watch comes in stainless steel or gold, with or without diamonds.
Not only was Boucheron the first jewellery to introduce this system, it has also added extra sparkle. Its sapphire glass is particularly magic: a breadth on the glass and the Place Vendome column appears for a brief instant.

Each watch is engraved to the reverse “Je ne sonne que les heures heureuses” (I only ring the happiest hours).

Only women

Traditionally, the jewellery industry has been male-led, but in 2015, Boucheron appointed Hélène Poulit-Duquesne as CEO and Claire Choisne, as Creative Director.

Hélène Poulit-Duquesne graduated from l’ESSEC, one of the most prestigious business school. She began her career in 1998 when she joined LVMH. Later she would join Cartier, where in 2014 she became Director of International Business and Client Development.

Claire Choisne also began her career in 1998. In 2001 she joined Lorenz Baumer as Creative Studio Manager. Over a decade ago, she moved to Boucheron, where she oversees all the jewellery and watches designs.
Boucheron has paved the way, once more, by handing the direction of a leading jeweller to two women, and has created resplendent new collections.

Nagaur necklace

In 2015, Claire Choisne integrated sand from the Thar desert in Rajasthan to include in the new Boucheron collection, the Nagaur necklace.

It is inspired by the Nagaur fortress.

The necklace is set with multiple strings of pearls with the sand encased in the rock crystal pendant, overlaid with diamonds.

The necklace is part of the Bleu de Jodhpur collection which comprises of 105 designs. Claire Choisne, says, “The aim was to create an image of India far from all clichés and stereotypes with the innovation of unused materials. The city of Jodhpur covered with the blue façades of its houses became a strong inspiration. Bold blue represents audacity because of the innovations behind the creations. The link between Jodhpur, the ‘Sun City’, and Boucheron, a jeweller in the ‘City of Light’, made the inspiration more obvious. India has always been an important concept in Boucheron’s creative history with its rich and vibrant heritage, the architecture of its palaces and the colours of its towns and cities. I believe that through audacity and maintaining a clear link between heritage and modernity, one is able to create figurative designs and thus translate this into contemporary high jewellery.”

A revival of the Plume de Paon is now set with marble and diamonds on white gold.

Boucheron is synonymous of luxury and exquisite craftsmanship. Throughout the centuries, the Maison has invented, innovated and reinvented its timeless pieces, moving through the fashions and adapting to contemporary designs. It undoubtedly has the “je ne sais quoi” that great and unrivalled French jewellers have.

 

Australian Opal

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Mary Waterfall, Jewellery Specialist

According to Aboriginal legend a giant rainbow snake formed the main rivers throughout Australia when he slithered across the land in search of water. The water in Australia is said to be blessed by the Rainbow Serpent, as water is one of the necessities of life. Without the Great Artisian Basin, a body of water under the Australian Earth, opal would not have been formed. There are therefore great connections between the Rainbow Serpent and the opals of Australia.

Opals are truly mesmerizing treasures of the earth, the way their vibrant colours dance with the light. Australia has been the main producer of opals since the 19th century. Opal is a hardened silica gel composed of tiny silica spheres and the stunning iridescence seen in opal is caused by the way these little spheres interact and diffract light. The larger the spheres the greater the range of colours.
Many people believe opals to be unlucky because it is quite common for opal stones to fall out of their setting and be lost. However, this is not because of some great curse, it is due to the fact that opals are composed of 5-10% water and over time they can dry out and shrink and therefore become loose and fall out of jewellery settings.
The major mines in Australia can be found in Queensland, New South Wales, and South Australia. When valuing and grading an opal it needs to be assessed under the correct light source. It needs to be examined holistically – face up but also underneath, if the setting allows, so that any defects, holes, and fractures can be taken into consideration. The following
factors determine the value: the opal type – i.e. solid black, grey, white, crystal type, The origin, body tone, play of colour, colour depth percentage, colour pattern, shape, cut, polish, weight, dimensions, visual inclusions,
condition, and provenance.
One of the most famous Australian opals is The Aurora Australis. It was discovered in 1938 in Lighting Ridge (NSW) in an old seabed. Its body colour is black which highlights the dramatic play of colour of intense blues, greens, and reds. It got its name because it resembled the brightness of the Southern Lights. It weighs 180cts and has been cut and polished into an oval shape. It is said to be worth an estimated $1,000,000 AUD.

Opal can also be found in other countries such as Ethiopia, USA and Mexico, however Australian opal is considered the finest.
As with most gemstones there are many synthetic opals and opals that have been artificially enhanced on the market. Slocum stone is a man-made glass that imitates the play of colour in opal. Gilson imitation opal has a very defined mosaic pattern which can be detected under magnification that is said to resemble chicken wire.
Black opal is the most highly prized and valuable, however before purchasing the consumer should be aware of treatments such as ‘smoking’. The opal is wrapped in paper and the paper is heated to a temperature that makes it smoulder. The smouldering paper then releases fine black particles of soot that enter the pores of the opal and darken its body colour.
The darker body colour contrasts with the opal’s play-of-colour, making it appear stronger and more obvious. Many Ethiopian opals are smoked and consequently are less valuable. The question is can you tell the difference?
“In precious opals there might be a dash of red here, a seductive swirl of blue there, and in the center, perhaps, a flirtatious glance of green. But each stone flickers with a unique fire and a good opal is one with an opinion of
its own.” Victoria Finlay

Bugs and minibeasts in jewellery

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Jenny Knott, Silver & Jewellery Specialist

History is crawling with jewellery depicting bugs and minibeasts. Our preoccupation with insects and mini-reptiles is thousands of years old. Mankind has always made jewellery to be beautiful, but also often talismanic. In the case of bugs and minibeasts it was believed the jewellery would bring to the wearer the attributes associated with creatures themselves.
Ancient Egyptian scarab images are familiar to most of us. The Egyptians saw the beetle as a symbol of renewal and rebirth. It was believed to be a manifestation of Ra, God of the sun, and the connection was thought to be so powerful that the sun god was considered to be reborn each morning in the form of a winged scarab beetle. This connection with renewal, rebirth, hope and good luck makes it easy to understand why the scarab has such a prominent place in jewellery from ancient times and remains a potent and popular motif to this day.
The interest in all things Egyptian reached a crescendo with the Egyptian Revival, a movement centred around archaeological discoveries in the 19th century, the translation of the Rosetta stone; the construction of the Suez Canal and later, importantly, the discovery of the tomb of Tutankhamun; in which there was, of course, much jewellery, including gold and carved lapis lazuli scarab jewellery which was put into the tomb to help with the transition to the next life.

These events provoked a huge wave of popularity in all things Egyptian; including an interest in snakes which became hugely commercial in the Victorian period. This trend was undoubtedly encouraged by the engagement ring presented to Queen Victoria by Prince Albert in the earlier part of the century. The ring, in the form of a coiled snake, symbolised eternal love with its endless coil. Victoria’s ring was set with an emerald to the head, this being Victora’s birthstone. Known as an ouroboros, the emblematic snake or serpent with its tail in its mouth represents eternity and rebirth. It is a motif which occurs frequently in jewellery, not only in rings but also necklaces and often suspending a heart locket.

The bee was also an important symbol in some early civilisations. It was considered to be sacred and was believed to be a bridge between the natural world and the underworld. The Mayans thought that the bee was a symbol of goodness and would bring life and abundance. Ancient Greeks saw bees as characterising wealth and well-being. The hierarchy of the hive with its Queen and workers as well associations with hard work and individuals working together for communal good added to the imagery. It is easy to see why humankind has been drawn to the bee as a powerful symbol.


The fascination with insects and minibeasts arguably reached its zenith in 19th century. The rise of industrialisation and with it rapid urbanisation meant a large migration to town and city dwelling. This gave rise to a nostalgia for the countryside and nature. People felt that they were falling out of step with nature, and they sought to reconnect through jewellery depicting birds and insects.
It’s easy to see why butterflies, lady birds, and dragon flies lend themselves to beautiful and inspirational jewellery. However, the Victorians embraced all insects, including flies which symbolised secrets and secret keeping; as well as the fly on the wall which hears all but does not divulge. Spiders, similarly, were related to intrigue and secrets and remain a perennially popular motif. You may remember Baroness Hale wore a substantial spider brooch when delivering the verdict on the legitimacy of Boris Johnson’s prorogation of parliament. There was much speculation about what she might have intended to convey. Retrospectively, she said that had she known that people would be looking to interpret the brooch she might have chosen innocuous bunch of flowers. However, the episode serves to show the power of the symbolism. Politicians started to wear spider brooch tee-shirts and the late Ruth Bader-Ginsburg described the stylish arachnid as ‘a symbol of swashbuckling womanhood’. Not bad for a costume piece that had cost £12 from Cards Galore.

We are drawn to wear insect jewellery for its symbolism and meaning, but that is not the whole story. The other side of the equation is how well the subject matter lends itself to interpretation in so many of the media associated with jewellery making; from fine pavé set pieces with emeralds, diamonds, rubies and sapphires, to enamel work, glass, carved stones and pearls. The interpretations are almost limitless, as is the appetite for this jewellery. Although not every interpretation is easy to stomach. Now considered in questionable taste we have also used the body parts of insects themselves as part of the jewels, including butterfly wings and scarab shells. Even this, however, is not as distasteful as the practice of late 19th century Britain, and still current in some parts of South America, of wearing live insects, sometimes caged and occasionally even with jewel encrusted shells.

Notwithstanding the huge influence of the 19th century, insect jewellery continued to be popular in the early 20th century. René Lalique produced some exquisite plique-a-jour butterfly and dragonfly pieces. Child and Child produced realistically designed butterfly pieces in shaded enamels; Boucheron is known for its bee pins and many other important ateliers produced fine gem-set pieces in this genre. These are always in high demand when they come up at auction.

Hello magazine recently announced, ‘Butterfly jewellery is making a comeback’. Good to know, but it’s never really gone away. The Duchess of Sussex often wears a pair of butterfly earrings which used to belong to Princess Diana and other celebrities are pictured with butterfly jewellery; but the truth is that this jewellery has never gone out of fashion. Prices at auction are strong with huge demand for good pieces; but more modest offerings do well too. Whether antique or modern where demand is great, price matches demand. As I have been writing this two of the pieces illustrated, the snake necklace and the costume butterfly brooch went under the hammer. Both realised twice their higher end estimates. Proof, if proof were needed that the world of insects is indeed buzzing – sorry, I couldn’t help myself!

What jewellery does Santa wear?

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Aurélia Turrall, Jewellery Specialist

We all know at this time of year Santa is extremely busy, up against a very tight deadline. I’ve not come across Santa myself, but in my imagination, he surely must be wearing a pocket watch so he can keep on top of his schedule and targets in good time. And let’s not forget he has a lot to do in just 24 hours so time is of the essence.

In my mind, the pocket watch is mounted in yellow gold, with delicate floral chasing. Chasing is a technique where the jeweller outlines a design by pushing back the gold around the edges to define the motif. I would imagine the watch to be old, dating from the late 19th century, and so it would also be decorated with some guilloché enamel, perhaps blue or pink; Santa is dapper and I am sure he appreciates a touch of colour outside of his red and white suit. Guilloché is one of my favourite techniques of applying enamel. It creates all sorts of highly elaborate patterns which adds elegance to any piece of jewellery. Perhaps the watch has both pink and blue enamel: a pink guilloché enamel bezel overlaid with blue enamelled Arabic numerals. The hands would be discreet, also made of gold. It is most likely suspended by a fine pinchbeck chain, terminating in a barrel clasp decorated with turquoise cabochons.

Pinchbeck chains are named after an 18th century London clockmaker, who used a combination of copper and zinc to make it resemble gold. Gold only came in 18ct at the time and was expensive. This new technique allowed people to purchase gold-like jewellery.

The pocket watch might look something like this:

To the reverse, the pocket watch would enclose a photograph of his wife Mary.

Santa probably has family heirlooms too such as a signet ring set with a stone. That stone could be lapis lazuli (blue with specks of “gold” pyrite), onyx (black) or carnelian (red) for example. The ring could be set with a carnelian intaglio mounted in gold. Intaglio is the technique of carving into the stone to depict a portrait for example. Santa’s intaglio would be carved with a cherub to represent all the children of the world.

He most likely also has another signet ring set with a bloodstone: green jasper with specks of red hematite, the stone of courage. It is engraved with his initials “SC”, the motto “No child to far to reach” and a family crest depicting his reindeers and helpers. Santa can then seal all his letters, replying to the children who have written to him throughout the year.

Santa also wears cufflinks under his red suit. One might be able to get a glance at them when he is in his workshop perhaps, when he is not wearing his red jacket. The cufflinks are by Cartier, from the Santos line. They are square plaques set with malachite, a green stone, set in palladium. They are chic and timeless, Cartier’s signature.

I believe Santa also wears a necklace, a gold box chain.

It suspends the very important keys to his sleigh but also several small pendants which represent all the faiths of the world, throughout time.

Lastly, I think Santa wears a bracelet symbolising his reindeers. It is of chevron design, mounted in rubber and silver. Here an example of what it might look like by David Yurman.

It echoes ancient jewellery that used strands of braided human hair set as bracelets.

The same technique was used with elephant hair.

These are the jewels I imagine Santa to be wearing, but I’m sure whatever he wears he looks dashing! Here’s hoping I might finally get a glimpse of him this Christmas. Wishing you all Happy Holidays.

 

David Morris Jewellers

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Mary Waterfall, Jewellery Specialist

David Morris is affectionately known as ‘The London Jeweller’. The prestigious shop in Bond Street continues to attract royalty and high end clientele with the spectacular creations that are intricately created there. Each piece is handcrafted to the highest standard in the workshop above the store. Although it is one of the last remaining jewellery workshops in Bond Street, it’s reputation continues to shine, putting British jewellery design firmly on the map of world class jewellers.
David Morris started his career as an apprentice in Hatton Garden at the age of 15. His love and natural creative flare for jewellery design led to the opening of his first shop in Hatton Garden in 1962. After winning The De Beers Diamond Awards two years in a row he started attracting real international acclaim. As the reputation and success of the David Morris brand grew, the company relocated to Mayfair in 1969 and then to it’s current home in Bond Street in 1996.
In amongst the glamour and the grandeur, the David Morris brand prides itself on being very much a family jewellers. In 2003 Jeremy Morris took over the helm of the company from his father as managing director and principal designer.
The company proudly states on their website: “A marriage of beauty and technology, in its approach to design and craftsmanship David Morris is as wonderfully unique as its collection of rare gemstones. Whether it is a piece from our beautiful fine jewellery collections or a bespoke creation, David Morris jewellery transcends generations, each design expressing ingenuity, creativity and unparalleled quality.”
Some of the unique creations include The Miss World Crown. It was originally commissioned by Eric Morely,  the founder of the Miss World Competition in 1969. He was inspired by the breath-taking sapphire and diamond tiara Morris had created in 1967 for the Countess Marie Kinsky of Austria on her wedding day, in her marriage to Crown Prince Hans Adam of Lichenstein. The stunning turquoise and diamond crown is still used in the competition today.

In 2012 the silver dragon on the bonnet of the vintage Aston Martin the Duke of Cambridge drove down the Mall on his wedding day was made by David Morris. Originally commissioned by the Queen for Prince Charles’s 21st birthday.

I recently had the privilege of valuing some David Morris pieces. Including these beautiful hoops from the Rose Collection. These exquisite rose cut diamond hoops are composed of four graduated rose cut diamonds, each within a brilliant cut diamond surround, with further scintillating micro set diamond detail to the inside of the hoop and clip. The total carat weight is approximately 3.40cts. These were originally purchased in 2008 for £12,500. The current retail price for these earrings is now £38,700. This example not only illustrates the strength and popularity of David Morris designs, it also highlights the importance of getting an updated jewellery valuation because prices and values can change dramatically over time. Doerr Valuations are delighted to be hosting a Wednesday Club event at David Morris on the 15th December. It will be a unique opportunity to see some of the stunning pieces in the current range and to find out more about the diamonds, gems and fascinating creative process from their experienced sales team. I for one cannot wait.

Silver – Provenance, Provenance, Provenance and Royal Rifts

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Colin T. Fraser, Consultant Specialist

So much of what we see and value day to day sadly can’t tell us much of its personal story from creation, survival and provenance. When we do come across an item which can it is plain to see, (usually with some digging and research) the rewards and interest that can result are marvellous.

We often say that provenance changes an item completely; it lifts it from being a standard piece to a ‘treasure’. In this case the understanding of an object not only elevates the story to one of exceptional Royal provenance, (by no fewer than eight reigning monarchs) but one of international legal cases and Royal rifts – the likes of which would not have been seen
until…Megxit!

These standard spoons are just that – fine examples of standard mid-18th century tablespoons which could have graced any middle or upper class British home.

However, their Royal lineage becomes clear when looking at the reverse of the handle which is engraved with an intertwined mirrored monogram GR, within a strap and buckle bearing the Motto HONI SOIT QUI MAL Y PENSE,
(meaning ‘shame on anyone who thinks evil of it’ , being the motto of the Most Excellent Order of the Garter), and surmounted by a Royal crown. They are fully London hallmarked to the lower section of stem for William Soame in 1733. This would be exciting enough to find. However, it is the addition of the tiny, later script initials above the hallmark which adds another layer of interest. Engraved ‘EA / Fs’ for Ernest Augustus Fidekommiss (entailed [to the estate of ] Ernest Augustus).

These spoons were originally part of the wide ranging British Royal silver collection and were part of the considerable amount housed in Hanover in the Palace of Herrenhausen, then part of the British territory of Hanover.
On the death of King William IV and the accession of Queen Victoria in 1837, the territory had to be split from the British crown, as under Salic law Queen Victoria was barred accession to the Hanoverian throne.

This set in motion very difficult relationships between Queen Victoria and her uncle, the now King of Hanover. His seizure of not only the palace but contents, and the considerable collection of British Royal silver and works of art within. Unthinkable at the time, these tense Royal relationships
almost ended in public lawsuit.

As part of this seizure of the Palace and contents H.R.H Ernest Augustus I Duke of Cumberland and King of Hanover added the small, discreet but very telling monogram to the silver. This really was his way of stating his right to the silver and that it now formed part of his collection.

The collection was wide and varied and included European as well as English silver. Perhaps most famously the impressive series of 72 candlesticks. They were delivered over an extended period with the first two dozen delivered on 16th September in 1744. From their original order it was intended to recycle old silver from the Royal Jewel House. To this end, for this commission and others, including the remarkable commission of five eight-light chandeliers after a design by William Kent, it is recorded that ‘a salver, a wine fountain and cistern, pastry dishes, a night lamp and stand, one hundred and twenty plates and dishes, a spittoon,  further plates and dishes, tea kettles, a chamber pot, a standish (inkstand), five keys and a warming stand’ were supplied to Behrens with close control taken over the weight and purity of the silver.

Various sets of these candlesticks and other items by Behrens for the Hanoverian Court still survive. An impressive group of table wares and one of the chandeliers can be seen in The Museum of Fine Arts in Boston. Two
others of the chandeliers are within the collection of the National Trust and are displayed in situ at Anglesey Abbey, Cambridgeshire. The silver stayed at the Palace of Herrenhausen until shortly after the Seven Weeks war in 1866 and the Prussian annexation of Hanover. The plate survived intact as it has been hidden in a vault within the Royal palace, despite the palace being looted by Prussian troops. With the family’s deposition from the throne, although allowed to keep the titular title of King of Hanover, they
were also given the title of Dukes of Brunswick. They fled to Penzig, Austria and to the villa of Gmuden, where the plate would latterly be kept.

The collection descended through the family until the death of Ernest Augustus II and was sold by his son Ernest Augustus III in 1924 to the Viennese dealers Gluckselig and to Crichton Brothers of Bond Street London, arguably the most important dealers in antique silver in Europe at the time. It was then split by them with items variously being sold to collectors and institutions alike. To this day, both major institutional and private collections consider items with this provenance amongst the most
important within their collections; not only the fine quality and provenance of the items but the remarkable story they tell. This surely proves that an item as simple as a spoon – or in this case a set of six – can have a remarkable story to tell and not only be witness but be part of history as it happens.

When considered, the royal lineage of these spoons is amazing, irrefutably owned as follows:

King George II, 1727 – 1760
King George III, 1760 – 1820
King George IV, 1820 – 1830
King William IV, 1830 – 1837
H.R.H Ernest Augustus I Duke of Cumberland and King of
Hanover, 1837 – 1851
King George V of Hanover, 1851 – 1878
King Ernest Augustus II of Hanover, 1878 – 1923
King Ernest Augustus III of Hanover, 1923 – 1953

If only such items could talk!

 

Harry Winston

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Mary Waterfall, Jewellery Specialist

He was known as ‘The King Of Diamonds’ and ‘The Jeweller to the Stars’. He inspired a legendary brand based on the philosophy that jewellery design should be dictated by the gemstones themselves and not their settings. He used to carry around in his pocket some of the rarest diamonds in the world, worth millions of dollars, just for the pleasure of having them close by.

He is famed for saying “I love the diamond business. It’s a Cinderella world. It has everything! People! Drama! Romance! Precious stones! Speculation! Excitement! What more could you want?”. Perhaps his most well know statement: “People will stare, make it worth their while”

Harry Winston worked at his fathers jewellery shop and developed a keen eye for jewellery and gems from an early age. There’s a story that when he was 12, he spotted a green stone at the local pawn brokers which was supposedly glass and cost him 25 cents. It turned out to be a 2ct emerald which Winston sold a couple of days later for $800!

In 1920 he launched his first business in New York, The Premier Diamond Company, and in 1932 he opened Harry Winston Inc. His insistence on excellence, attention to detail, passion, discretion and knowledge attracted a high profile clientele including royalty, movie stars and business moguls.

Winston was one of the first big brand jewellers to truly understand the power of celebrity marketing. In 1943 the actress Jennifer Jones was adorned with Harry Winston diamonds at the Academy Awards. Ann Bancroft seduced Dustin Hoffman in the movie The Graduate wearing Winston diamonds, and not much else. In the movie Gentlemen prefer Blonds Marilyn Monroe sings those famous lyrics “ Talk to me Harry Winston…” in the song Diamonds are a Girls Best Friend.

In 1968 he used publicity to his advantage once again when the 601ct Lesotho diamond was cleaved on live TV! It went on to be cut into eighteen magnificent diamonds including the 40.42ct marquise cut Lesotho III which Aristotle Onassis gave to Jacqueline Kennedy as an engagement ring.

Throughout his career it is estimated that Harry Winston owned more than a third of the worlds most famous diamonds. Perhaps the most well known being The Hope Diamond. This beautiful blue diamond weighing 45.52cts is seeped in history and believed to be cursed. It is said to have attributed to many misfortunes in the lives of its owners such as King Louis XIV, Marie Antoinette. Winston purchased it in 1949 as part of the Mclean Jewellery Estate. He held on to it for ten years and exhibited it around the US as part of his ‘Court of Jewels’. He went on to donate it to the Smithsonian museum where it resides today.

Many recognised his jewels but few recognised the man himself. He was very rarely photographed and many did not know his face until it was published next to his obituary in 1978. Discretion was paramount to this man and it is said he had a concealed private elevator in his office so he and his VIP clients could come and go without being noticed.

Harry’s legacy lives on in The House Of Winston as they continue to deal with legendary stones. In March 2021 to celebrate what would have been Harry’s 125th birthday,they unveiled the Winston Pink Legacy Diamond ring, a vivid pink diamond weighing 18.96cts. Nayla Hayek bought the diamond from Christies in 2018 for a record breaking $50 million. It now forms part of the Incredibles Collection.

Harry Winston continues to thrive as a leading brand in the world of luxury jewellers, with stores all over the world including New York, London, Tokyo and Paris.

The breath-taking gems and designs continue to attract the rich and famous.

These stunning Winston Cluster earrings, composed of high quality diamonds with the largest pear-shape weighing 0.75ct, currently retail for £53,000.

When was the last time you had your jewellery valued? Please ensure your documentation is up to date to avoid a shortfall in compensation in the event of loss.

If I had £5,000 to invest what would I buy?

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Jenny Knott, Silver & Jewellery Specialist

There is a perennial discussion around the valuation of silver in the current market; the feeling being that the many demands on silver in industry and technology will drive the price up as demand out strips supply. Many believe that it is only a matter of time before the base metal prices soars. Some say that it is already artificially suppressed by governments. There is much speculation.

Therefore, if I have £5,000 to spend on silver maybe I should buy uncommercial silver at scrap prices, hang onto it and hedge my bets. However, apart from the possible future pay out, and that is a big ‘however; where’s the enjoyment in that?

I have always felt that first and foremost I should like to enjoy my silver, and if it appreciates then happy days, but if not, I have had the pleasure of owning beautiful and possibly also useful items.

Fashions in silver, as with everything else change. There have been shifts in the market and mid-century silver, like mid-century furniture, is seeing something of a renaissance and might be a good place to invest a few thousand pounds. Makers like Gerald Benny and Stuart Devlin were influential pioneers in post war Britain, taking some of their inspiration from the clean lines of Scandinavian silversmiths, led of course by
Georg Jensen. £5,000 would enable you to purchase something from this genre of silver. It is likely to hold its value and may continue to rise and the objects themselves are stylish and pay tribute to the metal they are worked in.

However, if I forget about future proofing my investment and simply consider having £5,000 in my hand with no caveats, I would take myself along to The Goldsmiths Hall and buy something I fell in love with. I would have an individual piece which would give me great pleasure and I would have the additional thrill of supporting both emerging and established silversmiths. It is vitally important that we nurture silversmiths and encourage and support their craft. It is because others did this in the past, that we have such a rich variety of choice available to us today.

I particularly like the sinuous feel of Adrian Hope’s work and I could well be tempted to purchase silver bowls by Annabel Hood or Juliette Bigley. The Goldsmith’s Fair is a melting pot of top contemporary talent, and it would
be an utter joy to wander around pondering my self- indulgent spend.

The Goldsmiths Hall hosts an annual event in late September and early October each year. However, individual silversmiths exhibit all year round and can be found through their web sites. After a year of being unable to exhibit in 3D the appetite for seeing potential clients and having their wares on show have a renewed piquancy.

If I had £5,000 to invest what would I buy?

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Aurélia Turrall, Jewellery Specialist

Autumn is upon us, and so we all prepare to bring our winter coats and hats down from the attic ready to face the colder days and chill in the air. But it’s not all doom and gloom. Who says new season, says new coats, and perhaps new jewels…

If I had £5,000 I would buy myself a beautiful Art Déco diamond double clip brooch. And that would certainly brighten up any cold day and any winter coat or hat! Why would I pick that particular piece? The answer is simple and straight forward: one can never go wrong with diamonds. Diamonds are timeless, full of fire, brilliance and sparkle. Diamonds set in Art Déco pieces are often a mix between old brilliant-cut (round) and very sharp calibré-cut. Calibré-cut is the name for those stones which have been cut to fit a precise piece of jewellery. They come in all sorts of shapes and sizes and can be diamonds, rubies, sapphires, emeralds, onyx… the list goes on. It is that unique combination of cuts which I find fascinating and exciting when wearing a piece of jewellery. Choosing an older piece of jewellery means embracing its history. With Art Déco, the history is in the stones, but not only. The material used to mount the stones changed from gold to platinum. Platinum became a new favourite in the roaring 20s and was used by all the great designers. So much so that Cartier launched their new platinum jewellery collection on the same day they opened their studio in Paris, rue de la Paix, because of what it represented in the world of jewellery. This new technique offered more sturdiness to the pieces and brighter metal.

But Art Déco is so much more than stones and metal. It is a symbol, synonymous of freedom and order after a world in chaos. The straight lines found in Art Déco jewellery break with the traditional ribbons and swags from the Belle époque. They can appear simple but are in fact very complex, combining circular shapes with kite or baguette-cuts for example. They are designed with an edge to give women an edge. The pieces can be angular but more importantly they have clean lines, with perfect symmetry, no room for “delicacy” found in earlier jewels. Even though on close inspection, Art Déco pieces are incredibly delicate as they try to juggle new shapes, cuts and combinations of colours. With an all diamond-set piece, one is able to add it to any coloured outfit.

A double-clip brooch from that period would combine all of the above and even more. I would pick this item for its ambivalence. It can be worn as one piece, or separately, allowing to wear one part on a silk scarf, to tie the two ends together for example, and the other perhaps on one’s coat, hat or a suit.

Chic and timeless, an Art Déco piece worn in a man’s world makes a strong statement of equality and fearlessness, fitting any suit or garment with its contemporary look filled with history.