This Summer’s Unmissable Exhibitions

Posted on May 28, 2025May 28, 2025 by Ashley Crawford, Fiona Hamilton, Jenny Knott, Liz Bailey, Richard Fattorini, Stephanie Connell and Ben Hanly

Our team of specialists have picked the unmissable exhibitions from Summer ’25. Looking to fill those long summer days with fine art, culture and exquisite jewels? We are on hand to direct you to some of this summer’s must-see events and finest works on display.

Ashley Crawford, Asian Art Fair

The Treasure House Fair, Royal Hospital Chelsea, running from 26 June – 1 July 2025.

“I’m looking forward to attending the Treasure House fair in Chelsea this June, which is the successor to the long popular Masterpiece Fair. There is an electric mixture of fine and decorative arts from all over the world, and, of course, the food can’t be beat!”

Fiona Hamilton, Silver Specialist

Royal Scottish Academy Annual Exhibition, Edinburgh, 3rd May until 8th June.

“A must see in the Edinburgh art calendar is the RSA Annual Exhibition. Now in its 199th year the largest and longest running annual exhibition of art and architecture in Scotland showcases a fantastic variety of work, there really is something for everyone! For a post exhibition refreshment why not visit the fascinating Edinburgh Gin Bar and Distillery in the city centre!”

Siena: The Rise of Painting, 1300-1350, National Gallery, London, running until 22nd June 2025.

“The Siena exhibition at the National Gallery looks wonderful. It’s about painting in Siena, Italy between 1300 and 1350 and how that period and the numerous artists working in Siena at the time, was not only hugely important in its own right, but went on to shape so much that followed, not only in painting but also other artistic mediums.”

Jenny Knott, Silver Specialist

Edwardians: Age of Elegance, The King’s Gallery, Buckingham Palace, running until 23rd November 2025.

“Showcasing more than 300 objects from the Royal Collection dating from 1863 to 1918, the Edwardians: Age of Elegance exhibition promises opulence and glamour! Featuring works by the most renowned artists of the period, including Carl Fabergé, Frederic Leighton, Edward Burne-Jones, Rosa Bonheur, John Singer Sargent and William Morris, this exhibition features a range of jewellery, works of art, paintings, books, and many more. Highlights include the Dagmar Necklace of 1863, an elaborate diamond, pearl and enamel necklace that was a wedding gift to Alexandra from Frederik VII of Denmark.”

Cartier, Victoria & Albert Museum, London, running until 16th November 2025.

“How could we not feature the hotly anticipated Cartier exhibition at the V&A! Featuring over 350 pieces including jewellery, watches, clocks and historic gemstones, this is a rare chance to see pieces from the span of Cartier’s history. Exhibiting many pieces from private collections and amassing plenty of five-star reviews already, this certainly is my pick of the bunch for exhibitions this year – and I can’t wait to attend!”

Liz Bailey, Jewellery, Silver & Watch Specialist

Cartier Style, a talk by Helen Molesworth & Pierre Rainero, Victoria & Albert Museum, London, Thursday 5th June, 7pm

“I am looking forward to attending this talk by my former colleague Helen Molesworth, now the V&A Senior Curator of Jewellery and Image, with Pierre Rainero, Style and Heritage Director of Cartier.”

“As the Image, Style and Heritage Director of Cartier for more than two decades, Pierre Rainero is responsible for overseeing and preserving the aesthetic integrity of the Maison, ensuring seamless integration of innovation and legacy with each new piece. Join him in conversation with V&A Senior Curator of Jewellery Helen Molesworth for an exploration of the evolution of Cartier’s style over its storied history to contemporary designs, discussing the links that unite past, present and future production.” V&A

Richard Fattorini, Rare Books & Manuscripts, Historical Photographs and Maps Specialist

Josephine Bowes: Trendsetters and Trailblazers at the Bowes Museum co. Durham. Ends 29 June.

“I am fascinated to see how Josephine Bowes sought to establish the fantastic collection which now forms the Bowes Museum. It is rare for a woman to have formed such a collection during this period and she sought to buy examples from a wide range of disciplines and artists.”

Stephanie Connell, Senior Valuer & Collectors Specialist

Siena: The Rise of Painting, 1300 - 1350, National Gallery,Until 22 June 2025

Goya to Impressionism: Masterpieces form the Oskar Reinhart Collection, Courtauld Gallery, Until 26th May

Leigh Bowery!, Tate Modern, Until 31st August

Antony Gormley: WITNESS. Early Lead Works, White Cube, Mason’s Yard, Until 8th June

David Hockney: Bigger & Closer (not smaller & further away) Lewis Cubitt Square and Lightroom entrance, King’s Cross, Until 29th June

“This summer, I’m particularly looking forward to a mix of historic and contemporary shows across London. Goya to Impressionism at the Courtauld brings together highlights from the Oskar Reinhart Collection, offering a rare opportunity to see these works in the UK. Leigh Bowery! at Tate Modern promises to be bold, challenging and visually striking. Antony Gormley’s early lead sculptures at White Cube should offer something raw and introspective. And I’ll definitely be catching Hockney’s immersive digital show in King’s Cross – it’s ambitious in scale and packed with colour and movement.”

Stephanie Connell, Senior Valuer & Collectors Specialist

Whether your summer takes you north to Edinburgh or keeps you in the capital, there’s no shortage of exceptional exhibitions to explore. From Renaissance masterpieces to bold contemporary installations, this season’s line-up is a reminder of the richness and range of the art world. We hope you get the chance to see something that stays with you long after the summer ends.

From Hampstead to Somerset House: Highlights from London’s Spring Art Fairs

Posted on May 22, 2025May 23, 2025 by Ashley Crawford and Ben Hanly

Recently two of our specialists have been exploring some of the London art exhibitions – Photo London 2025 and the Affordable Art Fair. Here is their experiences in their own words:

Ashley Crawford, Asian Art Specialist

Recently, I attended the annual Affordable Art Fair in Hampstead (one location of several worldwide taking place throughout the year) to explore artworks by Contemporary Asian artists, both living in Asia and throughout the diaspora. The Affordable Art Fair generally sells works up to approximately 7,500 GBP and often below 1,000 GBP. This event is not only a great way to support living artists, but is also an opportunity to observe wider art market trends and discover up-and-coming artists locally and from around the world.

My first stop was TNB Gallery, a Korean Contemporary art gallery. I was immediately drawn to a series by Jeong Oh, who is known for her mixed media depictions of traditional antique Korean moon jars. Her series Holds All Good Things uses mother-of-pearl to depict the smooth, white glaze of moon jars with touches of color in a way that makes the jars particularly contemporary, while paying homage to their antique Korean heritage. Mother-of-pearl has also long been used in various Korean art forms. The three dimensionality and presence of mother-of-pearl means that these works appear different when viewed from various angles. The addition of gold creates a touch of drama that is otherwise absent from traditional moon jars. Oh’s larger works have recently been offered for roughly 7,500 GBP – 20,000 GBP, but her smaller objects on display at the Affordable Art Fair were all listed at about 1,000 GBP or under. For collectors searching for actual ceramic moon jars, they will be spoiled for choice; this ceramic form dates from the late 17^th century, with many contemporary renderings and antiques from the centuries in between. The most famous Contemporary moon jar artist is Young-Sook Park. Although his works are not the most affordable, there is ample modern-day production of this beloved Korean art form to suit a wide range of budgets.

Next, I visited Hanoi Art House, which specializes in Contemporary Vietnamese art. Contemporary Southeast Asian artists have typically been underrepresented in London (especially compared to Paris), even within Asian art circles, but the Affordable Art Fairs in Battersea and Hampstead have consistently showcased living Vietnamese artists over the past several years. My favorite works at Hanoi Art House were lacquer-on-wood paintings by Bui Trong Du, who is best known for his depictions of Vietnamese women in traditional dress, often in nature and amongst birds. The ladies’ dresses are intricately decorated. Like Jeong Oh, Bui Trong Du draws on his cultural heritage to inspire his Contemporary renderings, as Vietnamese lacquer dates to at least the 4^th century BCE. His works are typically offered for 500 GBP – 9,000 GBP. The works on display at the fair were within his more affordable range.

Lastly, I visited the UK-based Anrad Gallery, which showcased South Asian artists. The highlight of this exhibit was a series of Pichwai paintings by Contemporary artist Sushil Soni. Pichwai is an antique Indian tradition of painting on cloth, depicting Krishna’s Leelas (divine exploits) on temple walls. This practice dates back four centuries. As with the artists at the other galleries discussed here, Soni takes a beloved artistic tradition and breathes new life into it. Anrad Gallery displayed twelve paintings from Soni’s series Baraah Maas (Twelve Months) (2022). Each individual work was listed for 975 GBP. His larger works can be offered for around 1,000 GBP, so these fall within his typical range.

Pictured above is a vibrant scene of a Holi celebration, again, emphasizing and celebrating India’s cultural heritage.

There is something at the Affordable Art Fair for everyone. I was pleased this year with the continued presence of Asian artists and look forward to returning to the next fair in Battersea this October!

Contemporary Art Specialist Ben Hanly:

The first two weeks of May are busy ones in the London art scene, with 2 very different fairs opening their doors to London’s art loving audiences.

The first fair to open from 7th-11th May, is the Affordable Art Fair, which first launched in London’s Battersea Park back in October 1999. The founding philosophy of the fair was, and still is, to democratise the buying of art – to make the experience easy, accessible and affordable to the general public who often assume that buying art is for ‘other’ people and not themselves. The fair has been roaring success and has now grown into a veritable leviathan with fairs in 13 cities worldwide, including 3 in London at Battersea Park (October and March) and 1 at Hampstead in May.

The May edition in Hampstead Heath had everything one comes to expect from the AAF, with 106 galleries exhibiting and displaying works of art starting at £100 and maxing out at £10,000. Turner prize-nominated David Shrigley was among those showing work, with 106 galleries showcasing contemporary paintings, prints, ceramics, sculpture and photography.

This year the Fair invited artist Claire Knill (represented by Lara Bowen Contemporary) to be the fair’s official installation artist. Knill’s large-scale geometric work, Willow Tree, which took centre stage in the main atrium, transforming the space with movement, light, and reflection. The work focusses on the connection between art and mental well-being.

Sessions this year include Summer Lates, where ticket holders can enjoy live DJ sets with a drink in hand while browsing the fair for new art pieces, and family mornings with free activities from painting workshops to face painting.

There is no denying the huge impact that the AAF has had on the international Art Fair landscape. More prestigious fairs may judge it as being too entry level and decorative, however, none can knock its enduring appeal. Similarly, all international art fairs have taken a leaf out of the AAF’s book and put increasing effort and money into developing exciting engagement programs and talks with the aim of appealing to new collectors.

Photo London, which ran from 15th-18th May, is London’s premier photographic fair which brings the finest international photography to the British capital every year. Staged at Somerset House the home of the Courtauld Galleries, the Fair presents the best historic and vintage works while also spotlighting fresh perspectives in photography. Along with a selection of the world’s leading photography dealers and galleries Photo London’s Discovery is dedicated to the most exciting emerging galleries and artists. In addition, each edition sees a unique Public Programme including special exhibitions and installations; and several Awards announced, headlined by the Photo London Master of Photography Award.

Beyond the Fair, Photo London regularly hosts Pre-Fair Talks engaging with the craft, market and knowledge of photography and acts as a catalyst for London’s dynamic photography community, with major institutions, auction houses, galleries and the burgeoning creative communities in the East End and South London presenting a series of Satellite Events.

This year the Fair marks its 10th anniversary in the capital, and with it, a new direction under the newly appointed Director, Sophie Parker, who was determined to move away from the clichés of pretty pictures of supermodels, artful murmurations of birds and majestic beasts and present something more serious, international and inclusive culturally.

By and large Sophie Parker has begun to achieve this. 100 galleries took stands in the Fair, ranging from small to large operations, all showing their finest works. At least half the exhibitors this year were foreign galleries, with an increasing presence from Asia. Well established galleries such a the Grob Gallery, showed superb examples by European greats such as Billy Brandt, Brassai and Brancussi; whilst GBS Gallery showed a strong selection of contemporary photography including ethereal landscapes by Harry Cory Wright and figure studies by the Canadian artist Laura Jane Petelko. There was a strong presence of Paris based galleries, including Galerie Bendana-Pinel who showed the work of Niccolo Montesei – one of the short-listed photographers of the Nikon Emerging Photographer Award, and Galerie Clémentine de la Féronnière who showed beautiful nocturnal landscapes by the Paris based artist, Juliette Agnel.

The price pointing at Photo London was naturally higher than at the Affordable Art Fair, with prices starting at about £1,500 and reaching over £200,000 for a rare Brancusi photograph. Having said that, many wonderful things could be bought under the AAF’s top limit of £10,000, meaning that both fairs give new or modestly funded collectors the scope to start their own art collecting journey.

Today, as the fair marks a decade of operations, photography is firmly entrenched in the art world mainstream. Blue-chip galleries now routinely display photographic works alongside painting and sculpture at art fairs like Frieze and Art Basel. This shift was exemplified by mega-gallery Hauser & Wirth’s decision to represent Cindy Sherman in 2021—a bellwether event for photography’s ascent. Sherman, who began her career in the 1970s, was long overlooked by major art fairs but now shares gallery representation with icons like Louise Bourgeois and Philip Guston. In 2023, fellow mega-gallery Gagosian announced its representation of Nan Goldin and brought original prints by Francesca Woodman to Art Basel, alongside personal works by the fashion photographer Richard Avedon.

Together, the Affordable Art Fair and Photo London highlight the breadth and depth of London’s art scene this May – from accessible, playful pieces to museum-quality photography. Whether you’re starting your collection or expanding it, there’s no shortage of opportunity to engage with art that resonates, challenges or simply brings joy.

To arrange a valuation of your art or photographs, give us a call on 01883 722736 or email us at [email protected].

As Chelsea Celebrates Gardens, We Uncover Their Hidden Worth

Posted on May 22, 2025May 21, 2025 by Stephanie Connell

The RHS Chelsea Flower Show 2025, is currently underway. In recognition of Chelsea, we are considering an often-neglected area for insurance: the garden.

We will be sharing some recent auction highlights, illustrating the fascinating and valuable items that can be hidden in our outdoor spaces.

The history of British gardening has deep “roots” dating to The Romans. The first pleasure gardens were planted in England almost 2000 years ago. Domestic gardening, as understood today really evolved over the past two centuries. Currently, it is estimated that 78% of British adults have access to a private garden, with the UK garden market worth over £8 billion annually. It is clear, we are a nation of gardeners.

So let us turn our attention to these spaces. Earlier this year, Chiswick Auctions uncovered a fascinating piece in a London garden. What at first glance appeared to be a forgotten broken flowerpot, surrounded by weeds, turned out to be a significant discovery. This unassuming ceramic vessel was an unknown work produced by the eminent studio potter Hans Coper (1920 – 1981). (Chiswick Auctions, Design, 15th April 2025, lot 267). Notable for its monumental proportions, it was one of Coper’s largest creations. Coper’s work is highly desirable and can fetch hundreds of thousands of pounds.

Working with the family, the auctioneers found it commissioned by their late mother in 1964. Unfortunately, at some point, it had been broken into two pieces, the owner then choosing to place it in her London garden.

A lost treasure, the work was estimated at £6,000 to £8,000. Despite its condition, it sold for a total of £45,990.

Investing in garden statuary can significantly enhance an outdoor space, and historical influences continue to shape the design of our gardens.

This results in exceptional items from antiquity, occasionally being unearthed in British domestic gardens.

In May, auctioneers Toovey’s, offered an important bust of the Roman Emperor Septimius Severus (Toovey’s Auctions, Furniture etc, 15th May 2025, lot 2350). Produced in the late 2nd or early 3rd century AD, the sculpture was once part of the collection held at the Perthshire estate of Rossie Priory. It was subsequently obtained in the mid 20th century by the artist Edward Halliday CBE (1902 – 1984).

Halliday chose to exhibit it outdoors. Photographs from the 1950s, show the impressive figure of Septimius Severus on display in the garden of Halliday’s St. John’s Wood home, in one image even wearing a policeman’s helmet. The ancient figure of the emperor remained outdoors until he was consigned for auction.

The bust was offered with a pre-sale estimate of £40,000 to £60,000. The total selling price for this rare survivor was just over £142,000.

Edward Halliday additionally acquired a 2nd century AD cinerary urn also from Rossie Priory (As before lot 2351). This artifact was similarly utilised by the Halliday family as a garden ornament. The carved marble was estimated at £2,000 – 3,000, the result on this occasion was £5,176 (hammer price £4,000).

Several of Britain’s foremost artists and designers have created works specifically for outdoor use. These striking objects and artworks can be prominent features in British gardens.

Archibald Knox (1864 – 1933) was a pivotal figure in the Arts & Crafts movement. Knox’s work was wide ranging. As principal designer of Liberty & Co., his designs helped shape the Liberty ‘look’.

While many are familiar with Knox’s metalwork designs for Liberty, it is worth noting that he also created pieces for the garden. Marketed as ‘Modern Celtic Art’ the range included planters, garden urns, and objects in sandstone and terracotta.

These understated pieces deserve careful attention. In summer 2024, auctioneers Rosebery’s sold a scarce sundial designed by Knox, manufactured by Liberty & Co., circa 1905. (Lot 59, Rosebery’s, Design, 17th July 2024). The ‘Floralis’ pattern work in terracotta and brass sold for a total of over £6,000.

This collection can go unrecognised. If you are considering replacement costs, Liberty urns typically exceed £1,000 on the open market (for an example to illustrate see lot 1491, Mallams Auctioneers – The House & Garden Sale, 25th March 2025).

Edward Bawden (1903 – 1989) was a central figure in British art. As a printmaker, painter, and illustrator, he captured a distinctly English perspective. Surprisingly, his work extended to designing garden furniture. Initially creating furniture for his home in Saffron Walden, these pieces were produced commercially in the 1950s, by the Bilston Foundry in Staffordshire.

Bawden’s seating sometimes appears at auction and can occasionally go unattributed. In early 2024 an example of a Bawden cast iron bench emerged at Sworders. In apparently excellent condition it reached a hammer price of £4,000 (Sworders, Design, 16th January 2024, lot 180).

Other notable names include the Coalbrookdale Company (circa 1709 – circa 1927) renowned for its production of cast iron garden furniture, primarily during the 19th century.

Coalbrookdale originals can be worth several thousand pounds. For instance, a rare example of the Osmunda Fern Pattern bench, manufactured in the late 19th century was sold by Dreweatt’s last year. It achieved just over £10,000 (Dreweatt’s, Ken Bolan: My Mind’s Eye, 14th May 2024, lot 185).

Garden enthusiasts may appreciate a quote from British garden designer Gertrude Jekyll (1843 – 1932), “The lesson I have thoroughly learnt, and wish to pass on to others, is to know the enduring happiness that the love of a garden gives…”

To arrange a valuation of your items, call us on 01883 722736 or email us on [email protected].

What’s Really Going On in the Whisky Market?

Posted on May 15, 2025May 16, 2025 by Colin T Fraser

Whisky…. What on earth is going on!!

While this grand title may suggest some clairvoyant insight, sadly, I can’t promise that. However, I hope to offer some common sense, which seems to have been a bit lost over the last decade (or more, depending on who you ask) in the ever-popular area of whisky investment and collecting.

Whisky has rarely been out of the news in the last ten years, with bottle prices surging, being redefined as an asset class, and various million-pound-plus casks (including the £16m Ardbeg cask) delivering remarkable returns for sellers.

As with any market, this upward trend could not last forever (although it seemed never to slow!), and for some, it has ended very badly. However, this current downturn in cask prices is not just due to a shift in demand for the drink but also stems from a far more sinister cause.

As with many markets that have boomed in the past, unscrupulous dealers, so-called experts, and brokers have flooded in, seeking a quick profit (and it seems they are getting it!). Sadly, it appears that casks of whisky were the asset they had been waiting for.

It should also be remembered and clearly stated that this market has existed for decades, even centuries, before these issues arose. There are many fine, honest, and trustworthy sellers of casks who have weathered the ups and downs of the market and will continue to thrive.

The recent BBC documentary, Disclosure: Hunting the Whisky Bandits, aired in late March and exposed to a wide audience the practices that now appear to have been prevalent in certain parts of the market.

The tactics used seem, at best, misleading (though they could be considered fraudulent) and, at worst, criminal. People are now facing the loss of life savings and pensions, with little chance of recouping their investment, let alone the vast profits that were, essentially, promised.

So how could this happen? Frankly, there are too many factors to cover here, but two stand out to me.

Firstly, the genuine returns some casks have brought since their purchase in the mid to late 1990s are enormous. Stories of Macallan casks bought for £2,000, forgotten until a dusty receipt is found, then sold for over £1m, are true – though rare, but true. Scammers can use genuine past data to project a forecast for the future, but no market’s past performance is a reliable guide to its future. This has allowed for gross overselling.

The market then and now are completely different worlds, and the stocks available back then are no longer available today. The market crashed in the 90s due to the whisky loch of oversupply, followed by a boom from the early 2000s onwards, driven by a new generation of drinkers and a scarcity of stock.

But the key is that these overpriced casks are not genuine ‘greats’. A Swatch wristwatch is not a Rolex, a D-flawless natural diamond is not a D-flawless lab-grown diamond, and while some may consider them investments, they exist on entirely different planes.

Secondly, and perhaps where the real criminal activity lies, is in investing in a physical asset you never actually take delivery of or even see.

These casks must be stored in HMRC-controlled and licensed warehouses, many of which don’t deal with the public, meaning you never take physical possession of the goods. In some cases, your certificate of ownership is no more valuable than a diamond grading certificate from the Peckham branch of the Trotters Independent Trading Co. School of Diamond Grading (an odd reference, not meant to make light of the situation, but you get the point). This has led to casks that never existed being sold to people or, in some cases, casks that do exist being sold more than once. Often, this occurs alongside inflated prices, creating a double whammy.

I don’t want to dwell on what has happened or how it occurred, as there is plenty in the documentary to watch and other articles offering more in-depth coverage. But what can we learn from this, and what should you do if you’re concerned you might be caught in one of these traps?

Firstly, we must always remember that investing in anything carries risks, even buying a cask for personal consumption. There are risks involved – always drink responsibly. Don’t get caught up in the hype of promised returns; nothing is guaranteed. Only buy from a broker with proven provenance, which is a key term in any field we value. And, of course, ensure your paperwork is in order.

The best and most official guidelines for buying a personal cask come from the Scotch Whisky Association and can be found here: Personal Investment in a Scotch Whisky Cask.

But also get your cask valued on a semi regular basis. Ask for samples and regauge figures – the measure of what volume and strength is in the cask which will ultimately determine return.

If you’re concerned about a cask you own, speak to the seller and request a Delivery Order in your name. If that cannot be supplied due to warehouse restrictions, consider having the cask moved to a different warehouse. Any cost involved will be well worth the peace of mind. After all, this is your cask; you should have clear ownership and be actively involved in its journey.

I’ve been asked recently how prices have been affected. The truth is, we don’t know yet. However, it’s fair to say that the hot market of 3-4 years ago has cooled, and prices have compressed. I don’t think this is directly in reaction to the recent news, but if a glut of casks comes onto the market as a result, it could have a worsening effect.

And finally, a question I was asked only today: “If I want to buy a cask, what do I do?” Firstly, understand the risks involved by speaking to a reputable broker or distillery directly (there are only a few that sell casks). Buying a blue-chip whisky will always offer the best return and/or protection, but these casks are rare and still highly sought after.

The point many private buyers seem to miss is crucial: know your exit strategy. Are you buying to bottle for a special occasion like a family wedding, birthday, or anniversary, or are you looking to sell? Those are all very different opportunities.

As I said to one would-be investor who had it all wrong: buy a few bottles, look at them until you’re bored, and if you can afford to, enjoy them with friends. After all, whisky was made to be drunk and enjoyed!

Firsts London 2025: A Rare Book Fair in Full Bloom

Posted on May 14, 2025May 14, 2025 by Richard Fattorini

The UK’s biggest international rare book fair, Firsts London, is returning to the Saatchi Gallery in Chelsea from 15 to 18 May 2025. This exciting annual event which is always a pleasure to visit takes place just before the world-famous Chelsea Flower Show and will bring together over 100 rare book dealers from around the world under one roof. They’ll be exhibiting a wide range of antiquarian and modern books, manuscripts, maps, and prints. It’s a brilliant opportunity to view, browse and buy books and works on paper from medieval manuscripts to modern first editions, and a great place to meet and chat with knowledgeable booksellers in person.

This year’s theme is ‘Books in Bloom’ and many dealers will highlight works that focus on flowers, plants, and gardens, from early herbals illustrated with woodcuts to contemporary art books. To celebrate this theme the bookfair has partnered with Chelsea Physic Garden who will have a presence throughout Firsts London, and visitors will be able to talk to members of their knowledgeable team about the Garden’s horticultural, educational, and research activities, as well as their collection of books of manuscripts.

A well-known supporter of Firsts London is gardener, author and bibliophile Alan Titchmarsh who, quoting Cicero, said ‘If you have a garden and a library, you have everything you need’. Titchmarsh has been collecting gardening books for over 50 years and says the fair brings together some of his favourites. For him, the mix of beautiful bindings, fine printing, and plant knowledge makes these books irresistible.

The connection between plants and books goes back centuries. Early plant illustrations were used mainly as sources for medical use, but over time, they also became appreciated for their artistic beauty. As trade and exploration expanded from the 1400s, people discovered new plants from across the globe. This sparked a growing interest in botany, especially from the 1600s onwards and into the Victorian era, when fine hand-coloured natural history books were being made for both a scientific audience and sought after by bibliophiles for the beauty of their illustrations.

Books about gardens and plants have also shaped literature. From Shakespeare’s A Midsummer Night’s Dream to children’s classics like Frances Hodgson Burnett’s The Secret Garden, novels, plays and poems have celebrated the symbolism and beauty of plants and flowers. Books of pressed flowers and hand-made seaweed albums show how much people have loved preserving nature in books. With its mix of rare books, stunning art, and botanical treasures, Firsts London 2025 promises to be a unique and delightful experience for book lovers and plant enthusiasts alike. If botanical books are not your bag, fear not, there will be books on every subject under the sun on show, from travel and exploration, to Private Press books, poetry, literature, classical texts, fine bindings, history, children’s books, photographs, science fiction, fantasy and horror.

Alongside the fair there is an extensive Events programme aimed at new collectors and book lovers of all ages. The talks include ‘Provenance and Book Collecting’ with David Pearson, a leading expert on the history of books; ‘The Book Collector’ in conversation with three prominent young book dealers Tom Lintern-Mole, Jess Starr and Tom Ayling; ‘Gnome Kings, Fairy Folk, and Little Elephants: an evening of storytelling’ with Charles van Sandwyk; a hands-on calligraphy session with Toby Pennington; and ‘Old Books, New Knowledge: Three hundred years of the Chelsea Physic Garden Library’; for these and all other events, see the Firsts London website and book early to avoid disappointment. I hope to see you there!

Mary Moser, R.A. – The Forgotten Founding Artist of the Royal Academy

Posted on May 8, 2025May 8, 2025 by David Dallas

The spotlight this week falls on a female artist, who was celebrated in her own day, but is now almost totally forgotten, even amongst cognoscenti. I am referring to Mary Moser. She and Angelica Kauffman were the only two female founder members of The Royal Academy of Arts, but to conform with the mores of the mid 18th Century, were not allowed to be present in Zoffany’s group portrait of the Royal Academicians in a Life Class, as the model was a naked man. Instead, they appear as portraits hanging on the R.A.’s wall in the background of the painting!

Mary was a portrait painter and pupil of her talented father George Michael Moser (1706-1783), who was Swiss and an engraver and medallist. She won her first medal at the Society of Arts for flower drawings, when she was just 14 and it is as a flower painter that she is remembered, if at all, today. She painted portraits and history pictures as well as flowerpieces and her portrait of the sculptor Joseph Nollekens is in the Yale Center for British Art.

Her private life was colourful. When she was 45 she began an affair with the painter Richard Cosway, who was estranged from his wife, Maria, who may have been having an affair with Thomas Jefferson. Mary and Cosway went on a six-month sketching tour. Soon after which she married Capt. Hugh Lloyd, a widower, whose wife had been a great friend of hers. This was in October 1793.

At around this time she was awarded the most important commission of her career. Queen Charlotte had acquired Frogmore House in 1792 and asked James Wyatt to extend it. The South Pavilion was part of this scheme and Mary was paid £900 to decorate this room with flower paintings on canvas and on the walls themselves. Her style is very much derived from the Old Masters and, in particular, from Jean-Baptiste Monnoyer. This scheme of decoration is still in Frogmore, and I hope appreciated by Harry and Meghan, when they were resident. Now it is just part of a guided tour.

As well as painting for the Royal Family, Mary taught the 6 daughters of King George III and Queen Charlotte how to draw. Her paintings very rarely appear at auction, only three have come up in the last 30 years; one pair failed to sell and the sole success was for a canvas measuring 21 x 14 ins which sold for £17,250 in November 1996, at Sotheby’s London.

Do look out for her work, as they are very accomplished, out of favour and bound to be inexpensive.

To arrange an art valuation, call us on 01883 722736 or email us at [email protected].

Playing cards – Gambling with Trumps, Suits, and Kings

Posted on April 30, 2025May 1, 2025 by Alastair Meiklejon

Diamonds are forever but so are clubs, hearts, and spades….

The playing of cards must be one of the few things in the world that everyone can connect with – you don’t need to be a poker champion, or go to a casino every night of the week to know what a playing card is, and most likely you know the rules to one or two games, whether that is Blackjack, Gin Rummy, or even just Patience – it’s all part of the same breed of games that utilises one key item a 52 card pack (or deck) of cards. What other pastime can you say that about?

The History

The definition of a playing card, as we know it is a form of card or paper however the first form of ‘cards’ were a completely different kettle of fish. During the Tang dynasty (618-907AD) emerged a game that involved using wooden markers, that were more similar to what we know as dominoes – following the growth of the different games that were played with these cards, they spread around Asia, Persia and further afield.

The first ‘decks’ of card that we can probably identify as looking like a modern pack emerged in Egypt in the 13th century, these were the first to identify what we would refer to as ‘suits’ such as coins, sticks, swords and other such things. Within a century, the popularity of cards and the variation on the games had spread and throughout Europe each country had its own cards and games, with the Latin countries favouring the traditional suits, whereas Germany incorporated Hearts, Bells, Acorns, and Leaves.

The French created a system using Hearts, Diamonds, Clubs, and Spades which quickly became the universal standard in the 15th century and is still widely recognised as the modern format of playing cards used to this day.

Throughout the following few centuries other refinements took place, for example the printed numerals in each corner was a necessity in gambling games, enabling a player to see their card without having to hold the entirety of it in front of them, causing issues with cheating.

Another potential issue was the marking of cards, with paper and card still being an expensive product to create, there quickly became an issue because of the nature of the material as every card was either easy to mark or accidently spoil, with either wine, beer or just general dirt from the 17th and 18th century gambling dens and pubs, which meant that packs of cards were used up very quickly and discarded, which is why you will see the backs of many individual cards used for other purposes, with artists of the period using them as sketch pads.

In the last few hundred years playing cards have changed little, with a pack from 300 years ago still being completely recognisable, and one from 100 years ago being virtually identical.

The Market for Collectible Cards

When we look at values, there are two specific markets – the antique and the collectible – with the latter being modern cards that may have been used for a certain event or by a certain person, or even in a certain film. As with most items of this nature, condition is paramount.

Back in 2023, a pack of 17th Century English cards were sold by a provincial auction house that belonged to MP Jeffery Amherst of Riverhead in Kent, these were left with a note detailing the fact that these were used by King Charles II and Queen Catherine, which is quite a bold statement, but following research, it is very likely to be true. Whilst these cards sold at auction for £10,700 – it wouldn’t be unreasonable for them to achieve three of four times that, possibly even £50,000 to the right buyer in a private sale.

When we look at the Mamluk cards of the 15th and 16th century, what is very clear to see is just how decorative they really – all hand painted and with gilt floriate and scroll work, cards such as the ones illustrated have sold for well in excess of £10,000, with insurable values being considerably more, ranging from £20,000 – £30,000.

As discussed earlier, The French were the forerunners in establishing a universal playing card and so any part of that history is incredibly valuable to card collectors, with early sets making well into five figures with more decorative cards, or complete sheets (uncut cards) making even more.

So, whilst collecting anything for profit is always a bit of a gamble – with playing cards, you can be sure that you are collecting an item that constitutes not only one of the world’s oldest games, but the fabric of many of the world’s oldest and most important pastimes.

Neil Armstrong’s Omega Speedmaster Sells for $2.1 Million at Auction

Posted on April 24, 2025April 24, 2025 by Liz Bailey

Offering the unprecedented chance to own a timepiece worn by the first man to walk on the moon, RR Auctions of Massachusets sold Neil Armstrong’s commemorative Omega Speedmaster on 17th April. With an estimate of ‘$2,000,000+’ it achieved a historic result of $2,125,000.

Omega Speedmaster, ref . BA 145.022-69

Omega originally produced 28 of these commemorative Speedmaster watches to mark the occasion of the Apollo 11 mission taking place in July 1969. On 20th July of that year, Neil Armstrong was the first man to walk on the moon.

During the Apollo 11 mission, each astronaut was officially equipped with an Omega Speedmaster, qualified by NASA in 1965 as the only watch for manned space missions. Alongside Neil Armstrong and Aldrin, the Omega Speedmaster Professional became “the first watch worn on the moon”.

To mark this incredible historical moment for space discovery and horology, Omega produced the very first Speedmaster chronograph in 18ct yellow gold, accented with a burgundy red aluminium inlay bezel with dot over 90, black markers and hands. The BA 145.022-69 was powered by a cal. 861 17 jewel manual wind movement.

The first of these 28 watches were inscribed to the case back “To mark man’s conquest of space with time, through time, on time” together with the recipient’s name. The first two of these references were supposed to be presented to President Richard Nixon and Vice President Spiro T. Agnew although they had to decline the gift due to compliance reasons. The remaining 26 watches were presented to NASA astronauts both alive and deceased who paved the way for the moon landings in the Mercury, Gemini, and Apollo programs at a gala dinner in November of that year. Numbers 29 to 32 were given to Swiss personalities and bear the same case back inscriptions as the astronaut’s timepieces and exclude their sequential number, making these watches the only 3 out of 1,014 total pieces with this attribute.

Of course, Neil Armstrong, “Buzz” Aldrin, and Michael Collin were the highest profile recipients of these limited astronaut watches. However, other recipients’ BA 145.022-69’s have passed through auction rooms in the last couple of years, creating an exciting build up in interest around this collector’s reference and paving the way for the sale of Neil Armstrong’s watch.

“To mark man’s conquest of space with time, through time, on time”. The Twenty Six Speedmasters presented by Omega to NASA

A quick browse of the major salerooms results from 2021 to present shows six of these watches, nearly a fifth of the total production selling at auction in less than five years. In fact, RR Auctions sold two of these examples in 2022 and 2023, which no doubt helped to bolster vendor confidence in consigning Armstrong’s watch!

Wally Schirra was a Nasa astronaut for a decade from 1959, his expeditions on Mercury Atlas 8, Gemini 6A and Apollo 7 were instrumental in informing the Apollo 11 mission. Wally the first astronaut to go into space three times, and the only astronaut to have flown into space in the Mercury, Gemini, and Apollo programs. In total, he logged a remarkable 295 hours and 15 minutes in space. Upon his death in 2008, noted space collector Larry McGlynn purchased this watch directly from the Schirra family and subsequently offered for sale fourteen years later. This watch reached $1,906,954 (£1,469,403) at auction.

This watch, belonging to Apollo 12 moonwalker Alan Bean sold for $302,500 (£233,091) against a $200,000+ estimate in April 2023. Alan was still in Apollo 12 quarantine from his ‘Skylab Mission II’ in November 1969 and so received his watch at a later date. His was number 26, perhaps reflective of the timeframe in which he was able to access his watch.

Apollo 13 Command Module Pilot John “Jack” Swigert Jr’s Speedmaster was sold by Sotheby’s at their Important Watches Sale in June 2023. Played by Kevin Bacon in the 1995 film Apollo 13 recounting this renowned and ‘unlucky’ mission in which the oxygen tank in the service module exploded and the crew was forced to rely on their lunar module as a lifeboat. Swigert’s watch was essential in his on-board calculations of oxygen reserves and life-saving timing – this piece sold in June 2023 for $152,400 (£117,333).

In May 2023, Phillips sold another of these Apollo 11 Speedmasters, this one presented to Captain Charles ‘Pete’ Conrad Jr. This watch was number 12 of 1,014 and awarded to Conrad in recognition of his service as the commander of the Apollo XII space mission, in which he became the third person to walk on the moon in November 1969. This piece sold for 1,397,000 HKD (£136,983).

In January 2021, Antiquorum sold a somewhat mysterious Apollo 11 Speedmaster. Bearing simply the name ‘Adolf Brandle’ with no further inscription or number, the lot presented somewhat of a challenge to collectors and enthusiasts. Having been through various sales from 2019 onwards, auctioneers were unable to trace Brandle’s association with NASA, and furthermore the watch’s original movement had been ‘swapped out.’ Presenting a conundrum to many considering its mysterious history, this watch eventually sold for €124,800 (£105.800).

‘The First Watch Worn on the Moon’
Limited Public Release

Following the first 32 of this special reference, Omega sold the remaining of the 1,014 watches to the public. These limited-edition watches differed in their case back inscription, engraved to each ‘The First Watch Worn on the Moon.’

In 2024, Bonhams sold one of these limited watches at their Hong Kong auction. This edition was number 626 of 1,014, and was presented for sale complete with original paperwork, iconic crater box and in good condition. This watch sold for HK$384,000 (£37,539).

Other results for these watches include CHF47,880 (£43,141) at Sotheby’s in 2022, and €54,600 (46,183) at Antiquorum in 2022. We would look to recommend an insurance figure of around £50,000 in the current market, subject to change upon physical inspection of the watch in question.

This year, Space Age interest for watches in the open market appears to be piquing, with Sotheby’s Geneva homing in on this trend hosting a specialist ‘Area 51’ space themed watch sale this month that performed exceptionally well. This area of collecting certainly appears to be one that is in the spotlight once more, and we would urge any collectors to ensure their pieces are fully covered with a specialist valuation.

The ‘Jump Hour’ Watch – a minimalist’s dream?

Posted on April 23, 2025April 24, 2025 by Liz Bailey

One of the hotly anticipated announcements to come from this month’s Watches & Wonders fair was Cartier’s addition to their Privé collection. The Tank à Guichets, a 1920s Jump Hour model – and arguably the most distinctive of the Tank models – has been selected this year, reimagined in a choice of yellow, white and rose gold, plus a platinum model with rearranged ‘driver style’ dial configuration. Limited edition and likely to be extremely sought-after by collectors, the latter platinum version is to be released with only 200 editions. The price for this piece has not yet been released by Cartier.

The ‘Jump Hour’ watch features a sudden hour display instead of a conventional dial with sweeping seconds hand. At the advent of a new hour, the wheel ‘jumps’ along, resulting in a fuss-free and pared back dial. These innovative and charming watches were first designed in the late 19^th century and found a popularity in the dawn of the Deco period, with watchmakers favouring bold lines and innovative design.

The original Cartier Tank à Guichets was released in 1928, evolving from the first Tank model 11 years earlier. The apertures, or ‘guichets’ replaced hands and created a minimalist, yet technologically advanced aesthetic. Incredibly rare, these early Tank à Guichets are infrequently seen at auction, with the below example selling at Phillips in 2017 for $131,250 and a 1929 example selling at Antiquorum in 1998 for CHF100,300. It will be interesting to see if any more original examples appear on the rostrum in the next few months following this re-release.

Previous re-releases of the Tank à Guichet have taken place from 1996 to 2006 but always released in very strict and limited production numbers – a total of three were released in yellow gold and platinum in 1996, and limited runs of 150 at most thereafter.

Cartier however is not the only watchmaker that has the jump hour watch within its design heritage. The idea for the jump hour came from engineer Josef Pallweber in 1883 for use on a pocket watch. Late 19^th and early 20th century pocket watches with jump hour functions can be sourced at auction relatively affordably, anywhere from a couple of hundred pounds for silver examples, creeping into the thousands for fine examples by the likes of Breguet and Niton.

Jump Hour wristwatches were also produced by Rolex, Patek Philippe, IWC, and Bulova amongst others during the 1920s and 30s. As seen below, prices and values on these can vary drastically, with more commonly produced models such as the Rolex Prince below achieving less than £20,000, and more scarce or even unique models such as the Tiffany stamped Patek reaching in excess of six figures as it sold 20 years ago, with the likelihood it could achieve seven in today’s market.

The quartz crisis interestingly saw a resurgence in design appetite for the jump hour watch, as the popularity of digital displays on electronic watches encouraged watchmakers and consumers in this design direction. These 1970s models included the Sicura and Cambino Jump Hour models, released in relatively large numbers and can be secured for less than £100 at auction.

Contemporary fine and independent watchmakers have used the jump hour function in the last 20 years or so to make design statements in limited numbers. These exclusive and interesting watches have been performing well at auction and look to increase further with the appetite for Jump Hours increasing following Cartier’s latest release.

Late 19^th, early 20^th and 21^st century jump hour watches are not only distinctive but are much rarer than their conventional dial with hands counterparts. It is vital that these pieces are adequately insured to reflect this scarcity and increasing market appreciation.

To arrange a watch valuation, call us on 01883 722736 or email us on [email protected]

Alan Gard (1936–2025): Celebrating a Legacy of Innovation in British Jewellery

Posted on April 23, 2025May 21, 2025 by Liz Bailey

The jewellery industry was saddened to learn of the death of one of the great mid-century British jewellers, Alan Gard. Alan Martin Gard apprenticed at Bond Street and worked for Andrew Grima, before forming his own jewellery business in 1964 at the age of 29.

Working in the 1960s and with contemporaries such as John Donald, David Thomas and Gillian Packard, Gard was a key part of the experimentation and exuberance of the British ‘jewellery renaissance.’ During this decade, jewellers disrupted conventional design and the austerity of the decades before, with experimentation in goldsmithing, statement pieces, gemstone setting and sculptural forms. Gard continued to work until the 21^st century, adapting and refining his style with his own take on contemporary design, however it is the experimental pieces from the 1960s and the earlier portion of his career in which he gained his fame that are the most distinctive.

Gaining well-deserved repute for his skill and eye, Gard’s work soon achieved royal acclaim. His Lilypad brooch of 1967 was in Princess Margaret’s collection and was sold at Christie’s legendary sale of her jewels in 2006 for £10,200.

More recently, in September 2023, at the age of 87 he was commissioned by the author Jeffrey Archer to recreate the Imperial State Crown for his novel Traitors Gate – it took Gard 500 hours to complete and was a complete replica, formed from a base metal alloy, cultured pearls, synthetic stones and glass stones – a true testament to his craftsmanship.

Textured Gold

Experimenting with the forms, malleability and limitations of gold in the 1960s, Gard created wonderfully textured pieces, working with bark-like textures, nests of gold, rods, nugget-like forms, polished accents and maze-like structures to name a few. Most frequently working in 18ct yellow gold, it is these pieces that purist collectors’ favour.

Stunning Sculptural Forms

Alan Gard created bold, sculptural, and statement pieces. Often wonderfully dimensional and formed from layers and nests of gold, these jewels are so typical of their time and yet can appear incredibly modern and fresh today. The suite below crafted with a flattened, pierced and abstract design, is set with fifty-one ruby cabochons and sold at Bonhams in 2016 for £17,500.

Celebrating Gemstones

Another of Gard’s design hallmarks is the sparing use of diamonds. They are frequently used as small accents to add a slight sparkle to dramatic gold settings but are hardly ever the principal stone. Instead, Gard favoured coloured gemstones, and natural crystal forms with unpolished rough specimens, and where polished he showcased gemstone’s natural inclusions and conventional ‘imperfections.’ One such example is the pink tourmaline ring above, in which the tourmaline’s prevalent needle-like inclusions provide a symmetry to the gold needle ‘nest’ surround.

Another example of tourmaline in Gard’s work is shown in this brooch dating to 1967. Here he celebrates the natural form of tourmaline, using wonderful ‘watermelon’ slices of the natural crystal as the centrepiece of his design.

Other rough and polished gems to feature in his jewels include amethyst, peridot, ruby, emerald, turquoise, aquamarine, pearl, opal and countless others.

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