Curating a Nation: The Art of the Scottish Parliament

Posted on August 7, 2025August 7, 2025 by Fiona Hamilton

The original Parliament of Scotland (Estates of Scotland) existed from the early 13th century right up until 1707. Following The Acts of Union 1707, the Kingdom of Great Britain was formed, the Parliament of Scotland closed, and a Parliament of Great Britain was created.

Fast forward through many turbulent years and the first elections for the Scottish Parliament were held on 6 May 1999.

On 1 July 1999, the Scottish Parliament was officially opened by Her Majesty The Queen and was awarded its full law-making powers, and a competition was launched to design a new building. This was ultimately won by Spanish architect the late Enric Miralles, with his firm EMBT, in collaboration with RMJM and Ove Arup & Partners.

The completion of the Scottish parliament in the Autumn of 2004 brought excitement, anticipation and pride to Edinburgh and the rest of Scotland, representing power and debate north of the border.

The building is an arresting example of contemporary architecture, situated in Holyrood Park at the foot of Arthurs Seat and opposite Holyrood Palace. Taking inspiration from not only the immediately surrounding landscape but further afield, the ponds to the front concourse representing the lochs of Scotland.

The interior is an eye-catching mix of granite, oak and glass, bringing in shafts of light to this remarkable space. Not only the perfect location for debating the important issues of Scotland but a perfect backdrop to showcase a wide range of artistic talent.

Entering the large reception my eye was drawn to the Honours Regalia sculpture. Standing just over 50cm high this modern representation of the crown, sword and sceptre was commissioned by the Incorporation of Goldsmiths of The City of Edinburgh. Made by renowned silversmith the late Graham Stewart, it is part plated in 24ct gold and bears the distinct Edinburgh castle hallmark. Presented by Her Majesty The Queen at the opening of Holyrood in 2004 this deeply symbolic sculpture takes pride of place.

Moving round to the left is the striking installation ‘Psalmsong 2003’ by Alison Kinnaird. Mounted on the curved wall and beautifully lit, this atmospheric and haunting work represents the circle of life and requires more than one viewing!

‘The Anchorites’ by Will Maclean is a symbolic and imaginative sculpture of a small boat on an unknown journey, viewed from above, alluding to early Celtic monks seeking isolated spots for meditation.

The central figurative shield shape contains male and female attributes alongside the basics for survival – corn, grinding stones and wood. Born in Inverness and inspired by Highland culture, the sea and emigration, Will Maclean studied at Gray’s School of Art after several years at sea.

Approaching the wide staircase the bright marine colours of Ian Hamilton Finlay’s deconstructed boat is striking against the plain concrete wall. Working in collaboration with Peter Grant, this is a humorous take on the over lapping boards which form the coble.

The original coble boat has its roots in Whitby, hence the registration number WY, but these flat-bottomed boats were also used to fish for salmon in Scotland.

Following the sweeping staircase, we come across ‘Quartet 1980’ by James Munro. Shining in the Scottish summer sun, this abstract steel sculpture represents the shadows cast by a quartet of musicians. Music played a large part in Munro’s life; he became an accomplished vibraphone and keyboard player following the post WWII jazz movement. The family had a large impact in arts and music in East Lothian. Today you can follow The Munro family Public Art Trail across East Lothian and Edinburgh.

With reference to the distinctive forms of the furniture of Charles Rennie Mackintosh, the steel chair with its tall back sits above his playful interpretation of The Stone of Destiny.

Wyllie left his job as a Customs and Excise officer in Greenock in 1980 to study art and proclaimed himself to be a “scul?tor” as a result of him being unsure if he was an actual sculptor.

It’s evident that much knowledge and consideration went into the selection of the works to be displayed within The Scottish Parliament. It’s a dynamic and varied collection which truly represents the heritage of Scotland and the pride and traditions of its people.

For tours and general information see parliament.scot

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

The Eyes Have It – With Eye-Catching Prices!

Posted on August 7, 2025August 7, 2025 by Stephanie Connell

John Lennon, Gandhi, Malcolm X, Iris Apfel and Benjamin Franklin – what do they all have in common? Glasses!

Spectacles are so associated with these historical figures; it may be the first thing used to describe their appearance. The same can be said of fictional characters – from Harry Potter to Clark Kent glasses are a defining feature.

Interestingly, eyeglasses are documented as having been used as early as the late 13th century. By the 20th century, their connection with impairment and use by academics and learned individuals may have resulted in what one might call ‘geek chic’.

In the world of memorabilia, instantly recognisable glasses are highly sought after by collectors – certain frame shapes immediately evoking renowned figures.

As one would anticipate, provenance is a key factor in determining value. The closer the association with a star (or the production) the higher the prices. In recent years, sales from the estates or collections of famously bespectacled individuals have allow buyers the opportunity to purchase pieces guaranteed to be genuine.

Earlier this year the sale of Barry Humphries: The Personal Collection was held at Christie’s, and clearly illustrated this point. The sale included several pairs of glasses worn by Humphries as his most famous comic character ‘Dame Edna Everage’.

The glasses were offered individually with an estimate of £1,000 – 1,500 each. Spectacles were a crucial part of the iconic characters costume – therefore these unusual designs generated enormous interest.

It can be difficult to predict the value of such pieces, where rarity, excellent provenance, and a strong fan base combine. The highest priced paid was for the yellow lacquered ‘possum’ glasses. Based on the characters catchphrase the ‘eye-catching’ eyewear sold for £37,800! (insurance replacement in the region of £55,000). While a glittered-star and diamante pair by David Cox also sold for just over £30,000 (insurance region of £45,000).

Another comedy great’s glasses were also sold this year. In January 2025 auctioneers Hanson’s offered the collection of the late British comedian Eric Morecambe. The highest price achieved during the two-day 816 lot auction was for a pair of Eric’s signature glasses (offered together with a pipe). The pre-sale estimate of £2,000 – 4,000 was fair in light of the provenance. However, one serious fan was determined to purchase the glasses. They reached a hammer price of £20,000 (insurance value anticipate £40,000).

Post-sale it was revealed that fellow celebrity glasses wearer Robbie Williams had been the buyer. It is common for serious memorabilia collectors to have an emotional reaction when acquiring an important personal piece. Williams commented he had shed ‘happy, childlike tears’ upon successfully purchasing the lot.

When Sir Michael Caine offered his personal collection at Bonhams in 2022, one of the highest prices amongst the memorabilia was for a lot described as ‘a pair of Sir Michael Caine’s iconic spectacles’.

Manufactured by Rodenstock, similar vintage pairs can be purchased in a retail environment for under £200. However, as with the previous pairs discussed the importance of the provenance resulted in a final total of £16,500 (Insurance price £25,000).

There have been a few instances in recent years were glasses worn by John Lennon have gone under the hammer. In 2020 Sotheby’s held an auction dedicated to The Beatles. And what was the highest price achieved during the auction? As one may guess it was for a pair of these frames. With provenance suggesting they had been given by Lennon to his housekeeper in 1965, they were believed possibly the first pair of round frames he owned. With an estimate of £30,000 – 40,000, they sold for £44,100. If you are lucky enough to own a pair of John Lennon glasses expect to insure them for a minimum of £70,000.

These glasses were of a similar design to a pair which hold the world record for a pair of glasses at auction. In August 2020 East Bristol Auctions offered a pair of gold-plated round spectacles which by repute had belonged to Mahatma Gandhi.

According to information provided by the vendor they had been gifted to their uncle in South Africa c. 1920 – 1930. Both Gandhi’s historical importance and the iconic nature of the piece led to a pre-sale assessment of £10,000 – 15,000. This time they achieved a hammer price of £260,000 (total selling price of £316,000, insurance replacement £450,000 region). Sunglasses and glasses relating to Gandhi have appeared on the open market on a few occasions, if looking to invest anticipate over £10,000 for any pair.

In 2025, glasses are highly fashionable, regularly worn on the red carpet by A-list actors such as Pedro Pascal, Jonathan Bailey, and Robert Downey Jr. Designer brands such as Jacques Marie Mage, Tom Ford, Cutler & Gross and Cartier are currently offering collections of ultra-luxe frames, possibly the star worn collectables of the future.

If you are looking to start collecting, the market is ever changing but new or previously unknown examples appear regularly. Retaining the provenance is essential and will dictate any future change in value.

Tariffs on Diamonds: What They Mean for the Global Market

Posted on August 6, 2025August 7, 2025 by Aurélia Turrall

Friday marked an important day in diamond and jewellery trade worldwide. The Trump administration’s tariffs were imposed from August 1. These will have a major impact on diamond and gemstone importers, exporters, and jewellery making countries.

Though the deadline for implementing the new tariffs was extended from July 9 to August 1, the threat to the market remains. The extension was “necessary and appropriate” said US President Donald Trump in an executive order, to continue discussions and negotiations with all continents. There does not appear to be any further suspension of the implementation of the tariffs.

So what does this mean for most countries?

Whilst there were discussions over 10% tariff on EU goods imported into the US it is unclear whether or not this was applicable to diamonds and the Antwerp World Diamond Centre is still working on getting answers. “There is still no official confirmation yet on which specific products may be excluded from these tariffs”, stated the AWDC. For now, the tariff has been set at 15% for EU countries.

What of other countries such as South Africa, India and Israel? In 2016, Israel’s total export was constituted of 23.2% of cut diamonds. This is the country’s biggest export product and represents 12% of worldwide production of cut diamonds. Israel exports their diamond to the United States accounting for 36% of overall Israel export diamonds, making it the largest market for polished diamonds. Followed by Hong Kong with 28% and then Belgium with 8%.

It is said that 90% of cut diamonds come from India. If you’re wearing a piece of jewellery which is set with a diamond, chances that diamond has been cut in India. The Trump administration confirmed that on top of the baseline 10% rate, the US will impose a further 25% tariff rate on all goods coming from India. This is a huge blow for the country. The US represents its biggest importer of polished diamonds. Of course, this trade war is yet another tactical move to destabilise Russia. How so? Donald Trump explained on the Truth Social platform: “Remember, while India is our friend, we have, over the years, done relatively little business with them because their tariffs are far too high, among the highest in the world, and they have the most strenuous and obnoxious nonmonetary trade barriers of any country,” he stated. “Also, they have always bought a vast majority of their military equipment from Russia, and are Russia’s largest buyer of energy, along with China, at a time when everyone wants Russia to stop the killing in Ukraine. India will therefore be paying a tariff of 25%, plus a penalty for the above, starting on August 1.”

These punishments will be hard-felt by countries such as India. They will also impact South Africa and Thailand. South Africa, home to De Beers Group diamond mine, will be hit by a 30% increase from its current 10% tariff. And Thailand’s rate will go up from 10% to 36%.

It is inevitable that this will have an impact on all those who trade in the jewellery industry, but also, of course, for consumers. This will undoubtedly make its way to the bottom line and what consumers have to pay for any product set with diamonds, coloured stones, precious and even semi-precious metals. Some might argue that De Beers Group will have to rethink the stock it holds and perhaps sell its diamonds at a discounted rate. However, sceptics do not account for desirability which has, for some, no price. As in all period of crisis, some things remain the same. Death and taxes! But on a lighter note, anniversaries, birthdays and engagements will continue to come. And while some might trade in a diamond for a slightly less exuberant purchase, most will continue to purchase diamonds and coloured stone jewellery. Whatever the occasion, a “diamond is a girl’s best friend”.

Update 7th August 2025

The Trump administration had announced a 25% tariff on all Indian diamonds imported in the United States. That tariff was said to be subject to extra penalties. These were unclear and vague until recently.

Yesterday, the Trump administration announced a 50% tariff on all diamonds imported from India. “It’s a very black day for the gem and jewelry sector,” Kirit Bhansali, chairman of India’s Gem & Jewellery Export Promotion Council (GJEPC), told Rapaport News on Wednesday.

India is being penalised for buying Russian oil and “There is no immediate solution.” How any country is supposed to thrive, or even survive with such penalties has yet to be determined.

India is hopeful that a US representative will visit the country in the next few weeks to discuss any possibility of revisiting this new tariff. The consequences of this tariff will be felt worldwide with a ripple effect at every echelon of the jewellery and diamond trade. As a reminder, 11 out of 12 diamonds are estimated to be cut in India. This includes diamonds of all shapes and sizes, whether bought on a local market or through the most luxurious brands.

Just as the diamond trading world focuses all its efforts into marketing natural diamonds, promoting and explaining the differences with synthetic diamonds, these sanctions will not only impact India, who deals with natural diamonds, but will most certainly have a drastic effect on the synthetic diamond market as well. I suspect the tariffs will indirectly boost synthetic diamond sales, just as prices are crashing.

The real question is who will benefit from these tariffs? Most certainly not the American people who now won’t be able to afford the precious diamond jewel they had set their eyes on. It would appear that neither consumer nor dealer will benefit. Of course, luxury brands and traders could put their prices up. But that is not sustainable and they will eventually lose a great share of their market. Whether selling smaller diamonds or larger, of 2 carat and over. Currently, the most profit is being made in the sale of the slightly smaller round brilliant-cut diamonds, around 1ct to 1.5 carat. The slightly larger diamonds, of pear or oval shape for example, are seeing higher prices due to a shortage, and so dealers are having to reduce their margins. So what will an extra 50% do on these margins? “[A rate of] 25% was also difficult, but this is beyond [our] control” says Banshali, chairman of the GJEPC.

The turmoil is only just beginning for jewellery trade but I am hopeful more negotiations will stabilise the markets in these volatile times.

Why Collectible Guitars Are Among the Hottest Investments in Music Memorabilia

Posted on July 31, 2025July 31, 2025 by Alastair Meiklejon

I have always said that having musical instruments in a household is a prerequisite for a happy home, a piano that can be played by members of the family and as is the case with my house – guitars – probably too many for most, but not nearly enough for my stable.

The market for collectible guitars has hit such a massive high in the last few years, it has almost seen a clear division of people who want to buy an instrument;

The musicians who aspire to own the pinnacle of instruments.

Those who want to own an instrument owned by a famous musician.

Investors.

Where guitars are very special in terms of value is that most players will universally agree that the best guitars were made in past – a golden era being from 1950-1970. This was when Gibson, Fender, Rickenbacker, Gretsch et al released some of the most revered designs of all time. Not just exceptional for guitar design, but pieces of art that have become symbols of a period of time that was the turning point for music.

So why are these instruments different?

The very strange thing is that guitars for the most part haven’t changed in design since the 1950s, If you watch any band on YouTube (I wish I could say Top of The Pops, RIP) then I would suggest 90% of the guitars in the video are designed long before any of them were born, and probably before their parents were born.

These are the instruments that shaped my youth, and probably yours, even if you didn’t know it – and because of this – the golden era of instrument manufacturing was those first years. To acquire a first year production of the Fender Telecaster (then known as the Broadcaster, or even the ‘Nocaster’) is such a grail that people are willing to pay in excess of £100,000 for a completely original guitar, as things are modified or changed then the prices decrease accordingly, but it’s not unusual to see guitars that have lived a very hard life still changing hands in the top five figure range.

Along with Fender, the other big name in the guitar world has to be Gibson. Originally noted for making mandolins, and later jazz guitars, the quality of the luthiers employed by them was outstanding in these years and they were at the forefront of guitar design and production.
In 1952, the well-known guitarist and innovator Les Paul collaborated with Gibson to create a guitar that is not only a piece of iconic design in the guitar world, but ultimately the design world. The Les Paul evolved to become one of the most, if not the most desirable guitar of all time with models from 1958-1960 being the top of the tree, with prices of these guitars rising over the last 40 years at rates which would put them in the higher echelon of investment funds.

The list of fans reads like a ‘who’s who’ of influential guitarists, from Jimmy Page, Eric Clapton, Peter Green, Keith Richards, Jeff Beck – you could go on for days. The 1959 Les Paul has reached some incredible prices, with items reaching up to £250,000-£500,000 retail and recently, one Mark Knopfler owned guitar made close to £700,000 at auction, it’s not impossible to think that one day, even guitars not owned by celebrities will reach that kind of figure.

If you ask a child to draw an electric guitar, they will either draw a Les Paul, or a Stratocaster – and this has always been the case, unless you were a child of the 80s like myself, when you would have drawn something horrible and pointy – and we can all blame Motley Crue for that.

One of the most interesting guitars that have sold recently almost dispels this theory though, where a cheap copy (albeit licensed by Gibson) of a Les Paul made a significant amount of money.

Noel Gallagher’s Epiphone Les Paul Standard, a cherry sunburst model, holds a significant place in Britpop history. As Gallagher’s primary guitar during Oasis’s formative years, it was instrumental in shaping the sound of their debut album, Definitely Maybe. This guitar was used extensively during early recording sessions at Manchester’s Out of the Blue Studios and Wales’s Monnow Valley Studios, and it featured prominently in live performances at venues like The Boardwalk in Manchester and London’s Water Rats and also appearing in the music video for Supersonic, filmed upon a rooftop in Manchester.

Despite being a more affordable instrument compared to its Gibson counterparts, this Epiphone Les Paul became iconic through its association with Noel and Oasis’s meteoric rise. Its cultural significance was underscored when it went up for auction at Sotheby’s in September 2024. Initially estimated to fetch between £60,000 and £80,000, the guitar surpassed expectations, selling for £132,000, making it one of the most valuable Epiphone guitars ever sold, however – in my opinion, given the recent explosion in interest for the band – I would see this guitar having to be insured for close to £500,000 – it really is that important.

This sale not only highlights the guitar’s historical importance but also reflects the enduring legacy of Oasis and the Britpop era. Gallagher’s Epiphone Les Paul remains a symbol of a pivotal moment in British music history, embodying the raw energy and ambition that propelled Oasis to international fame.

So, how does this result impact the guitar market? Well, it indicates that in many areas of memorabilia, the association with a certain musician or celebrity can outstrip the value of an instrument to a huge degree – for example the next Epiphone Les Paul, manufactured after Noel Gallaghers guitar by the same person in the Samick factory of Korea, is probably worth about £200 – which is clearly a lot less, but wait for someone to purchase the guitar, write a multi-platinum selling album and then see what it’s worth!

From Harry Potter to the Gutenberg Bible: A Valuer’s Perspective on Rare Books

Posted on July 31, 2025July 31, 2025 by Richard Fattorini

We sat down with Rare Books & Manuscripts, Historical Photographs and Maps Consultant Specialist Richard Fattorini to talk about the world of rare book valuations. From surprising discoveries to shifting market trends, Richard shares what collectors need to know, common misconceptions, and why keeping valuations up to date is essential.

What types of items do you most enjoy valuing?

I most enjoy valuing rare books with historical significance or fascinating provenance: first editions, signed copies, or books with annotations by notable figures. There’s something deeply rewarding about uncovering the story behind a unique book.

How do you stay up to date with current market trends?

I keep an eye on auction results from the international auction houses Sotheby’s, Christie’s and Bonhams, together with the leading UK book auctioneers; I read publications including the Antiques Trade Gazette (which I write for) The Book Collector, and Fine Books & Collections, I also attend antiquarian book fairs, and maintain close contact with dealers and collectors. Online resources like Vialibri and RareBookHub are also essential for tracking real-time market shifts.

What’s something most people misunderstand about valuations?

People often assume that older books are always more valuable. In fact, rarity, condition, desirability, provenance, and whether it’s a true first edition or the presence of a dust-jacket or a fine binding often have a greater impact on value than age alone.

Have you noticed any recent trends in the market for rare books?

Yes, there’s increasing interest in 20th-century literature, especially first editions of modern classics by authors like James Joyce, Virginia Woolf, and J.R.R. Tolkien. There’s also growing recognition of works by women and authors from underrepresented backgrounds, which is influencing market demand.

What’s something you’ve seen increase in value unexpectedly?

Early Harry Potter editions have risen sharply in value. First printings of Harry Potter and the Philosopher’s Stone are now highly sought-after collector’s items, especially those from the initial 500-copy print run. Also landmark works in the history of science and ideas.

Are there any types of items people often forget to insure or undervalue?

Inherited books or family heirlooms are frequently overlooked. People often don’t realise that an old leather-bound volume or signed classic sitting on their shelf could be worth thousands.

What’s the most unusual or interesting item you’ve valued?

A 17th-century manuscript herbal, hand-illustrated with detailed botanical drawings and marginal notes from generations of practitioners. It offered a remarkable window into the medical practices of the time.

Can you share a time when a valuation uncovered something surprising?

I once assessed a shelf of books that seemed fairly ordinary, only to find a signed first edition of The Great Gatsby hidden among them. The owner had no idea it was worth six figures!

What documents or information are most helpful for you when doing a valuation?

Any provenance: purchase receipts, previous valuations, or correspondence related to the book can be extremely helpful. Detailed photographs of the binding, dust jacket (if applicable), title page and any inscriptions are also valuable when assessing condition remotely.

Why is it important to keep valuations up to date?

The market for rare books is dynamic. A title that was modestly priced ten years ago might now be highly sought after, and vice versa. Regular valuations ensure accurate insurance coverage and informed decision-making for collectors.

What risks do people face if their insurance valuations are out of date?

They may find themselves underinsured. If a book is damaged, lost or stolen, an outdated valuation could result in a claim that doesn’t reflect the item’s true market value, leaving the owner significantly out of pocket.

What is one item you’d love to value?

I’d love to value a Gutenberg Bible. As the first substantial book printed with movable type in Europe, it represents the beginning of the printed word as we know it. Very few complete copies exist, and each has its own fascinating history. To examine and value such a culturally and historically significant object would be a once-in-a-lifetime opportunity.

Charles Eames – Elegance, Function, and Modern Form

Posted on July 24, 2025July 24, 2025 by Alastair Meiklejon

“The details are not the details; they make the design”

Charles Eames is around you, he is almost omnipresent in the western world, and today it is likely that you have encountered some of his work, but you may never realise it or appreciate it – That in many ways is the definition of good design; elegance and function.

Time Magazine, in their infinite wisdom of consumerism once called the Eames designed ‘LCW’ moulded plywood chair, the ‘Chair of The Century’, and whilst I agree with the sentiment, I wonder if they chose the wrong piece – what the stipulations for such an award, I wouldn’t know. In my opinion the very well-known Lounger chair and matching ottoman are as about as iconic as a Cadillac, a Fender Stratocaster, or any other piece of mid century American design.

The lounger chair started life in 1956 when the already well respected designer wanted to create a chair that the encompassing comfort and feel of a baseball glove (see Joe Colombo for more on that!) and to have a piece of furniture that was not only aesthetically pleasing, but practical and comfortable, its construction using plywood and a cast metal base could have been used in almost a utility fashion, but instead it formed one of the most endearing designs of all time, with pieces seen in the homes of style icons, musicians, and in the 1990s being one of the key aspects of the American televisual institution that was ‘Friends’.

The chair was initially produced by Herman Miller in the United States, and Vitra within Europe. Its these original chairs that now command the highest figures with original ‘first generation’ chairs needing to be insured for close to £25,000 – even modern official pieces retail at close to £11,000 so making sure these items are covered correctly is vital. As with many iconic designs, there are licensed pieces, replica versions, and some pretty terrible fakes out there, so it’s very important to know which one you are sitting on.

Whilst the Lounger was of course iconic, there were many other projects that Eames worked on that many people just would not realise, for example; During World War II, Charles and Ray Eames were contracted to design leg splints for casualties – whilst this seems a bizarre connection, their knowledge of design and strength of plywood meant that they excelled at this and were later tasked with creating more items for the war effort including stretchers, pilots seats and even a plywood fuselage for a military aircraft. They were most definitely in their stride during these war year and the necessity to create reliable products, that were not only quick to produce, but cheap to manufacture and easily scalable during an increasing war effort towards the latter part of the war.

The experience they gained during those years mean that their ambition for good design to available to the general public was now even more possible, the facilities and equipment available to them in the booming economy of the United States in the 1950s meant that it wasn’t unreasonable to expect a middle income house in Los Angeles to have many design pieces that were not just designed for style, but accessibility. One such piece was ‘La Chaise’, another iconic piece comprising stunning lines of moulded fibreglass in an almost shell like form, raised upon chrome stilts and an oak cross frame base – inspired by the ‘Floating Figure’ sculpture by Gaston Lachaise (you will notice the nod in the title of the piece) it was designed for the 1948 International competition for low cost furniture, and encompassing as much irony as furniture design possibly can is now retailed for close to £10,000 and originals should be insured for around the £30,000 mark – would this disappoint the Eames powerhouse of design, possibly but then one could say the same about all pieces of good utility design that become iconic; the Rolex Submariner, the Citroen DS, and many more items that appear in auction houses across the country.

The piece that defines Eames design for me though, is the Aluminium series office chair. As a 21 year old student growing up in Regency Cheltenham, I had never been exposed to such revelations as a fabric seated office chair that just oozed style and was incredibly comfortable. My then girlfriend, (herself an award winning furniture designer) bought one back to our apartment in Montpellier and subsequently, the following Christmas was rather lean… however 20 or so years on, she still has it and its escalated in value. Not to the extent of the major players, but still needs to be insured for £2000, with similar new chairs retailing around the same figure.

The devil is always in the detail, and Charles & Ray Eames knew this, with design for the masses being at the forefront of their ethos and target market their appeal has never died, through decades of change and fashion, the designs remain largely unchanged and still perfectly suitable for a modern world for this age, and plenty to come.

Hublot: Creating a ‘Big Bang’ for Football

Posted on July 24, 2025August 13, 2025 by Liz Bailey

Acting as official sponsors of the UEFA Women’s Euros 2025, Hublot has been thrown into the spotlight once more. Having boasted a longstanding association with the game by sponsoring FIFA World Cups and prevalent players such as Kylian Mbappé, their presence at the Women’s Euros throws the brand into the pinnacle of football once more in Switzerland, the brand’s home turf.

All UEFA referees will be wearing the Hublot Big Bang e Gen3 connected watch, a state-of-the-art smartwatch created exclusively for referees and their assistants. Retailing at £4,800, this piece is currently sold out at the brand’s main retailers for this watch. The average secondary resale price of this watch is currently £3,425.

Moving onto the teams themselves, Hublot has partnerships with two prominent players within the Women’s Euros, Norway’s Ada Hegerberg, and Spain’s Aitana Bonmatí.

Both Ada and Aitana will be wearing pieces from the Big Bang One Click Joyful collection in Hublot’s summer campaign. Ada will wear the One Click Joyful Steel Pink, a 33mm steel piece on a white and pink-lined rubber strap that has thirty-six pink sapphires set into the bezel, Aitana will wear the One Click Joyful Steel Orange and Blue versions, the same watch but with thirty-six orange or blue sapphires set into the bezel. This limited collection is available to purchase at retail for £12,200.

Kylian Mbappé has been an ambassador for Hublot since 2018. Throughout this seven-year relationship with the brand, he has been photographed in an array of Hublot’s designs, and his style hallmarks can be seen across these public appearances.

In 2022, Mbappé was seen wearing these two Hublot rainbow watches, both in press conferences and on social media/news outlets. Produced in limited numbers, these Rainbow Hublot watches are set throughout with vari-hue sapphires, rainbow enamel markers, and finished with a rainbow alligator leather strap.

Three more watches worn by Kylian Mbappé over the course of his relationship with Hublot are pictured above.

Contrasting with the colourful rainbow watches seen in other appearances, these mono and dual tone timepieces do also feature skeleton dials that expose the movements within. Never compromising on creativity, these watches are set within anodised ‘Millenial Pink’ aluminium, a colourless sapphire crystal, and 18ct brushed gold cases respectively.

Insurance Valuations for Hublot Watches

It is worth noting that the majority of the watches featured above would be (currently) replaced from the retail market – these references are readily available to purchase online. However, Hublot watches can decrease in value in the secondary market, and therefore once either obsolete or discontinued, would be valued at this level, which can be anywhere from 30-60% lower than the original retail price, depending on the model, condition, and desirability.

Models that retain the most value on the secondary market include the Big Bang watches that the brand is arguably best known for, but as a whole this is something to consider when building, and looking to insure your collection. We would recommend regular valuations of your watch collection to ensure that your cover is in line with the market, and therefore prevent over, or under-insuring your collection.

What the July Sales Reveal About the Old Master Market

Posted on July 17, 2025July 23, 2025 by David Dallas

The results of the Old Master Sales in London last week established two things. First, the gulf in the fortunes of the two great rivals Sotheby’s and Christie’s has been reinforced and second, there is such a dearth of decent Old Masters available, that both auction houses had to bulk the Day Sales with rather modest 19th Century British and Continental paintings of the traditional type, i.e. not Pre-Raphaelite or Impressionists, both of which schools still have a keen following, in order to get reasonable-sized sales. Both day sales made a little over £4M.

Sotheby’s evening sale of the best Old Masters made £14.47M with all but 5 of the 31 lots finding buyers. The newly discovered early oil painting by Turner of the Hotwells in Bristol, making a surprising £1.8M against an estimate of £200,000-300,000. This painting came up at Dreweatts last year and made £400. Subsequent cleaning revealed a signature, and all Turner scholars now agree that it is his missing R.A. exhibit of 1793, which was always thought to have been a watercolour.
The top price was the beautiful panel painted in oil and tempera of the Saint Quirinus of Neuss by the Renaissance Master Lorenzo di Credi. Saint Quirinus was a Christian soldier martyr from the 4th Century, who is very rarely depicted. This did not prevent him making £2.7M with buyer’s premium.

Christie’s evening sale had 39 lots and like Sotheby’s, sold all but 5. The total of £55.26M however, was nearly 4 times greater than Sotheby’s and was mostly accounted for by the magnificent Canaletto of the Bucintoro returning to Venice on Ascension Day. This large canvas, measuring 86 x 138 cm, was in almost pristine state and at £31.935M, including premium, exceeded the previous world record for the artist by more than 60%.

Another hefty price was the glamorous still Life by Jan Davidsz. de Heem of fruit, a pie, a silver tazza, a wanli bowl, strong box and ewer on a draped table, which although not as flamboyant as the one in Jordan Saunders’ sale, made £3.67M.

One might have supposed that paintings by Pieter Brueghel the Younger, who is little more than a factory churning out pastiches of his fathers’ work, would suffer in the current picky climate, but both offerings sold. The “Visit to the Farm”, making £819,000, more than double the bottom estimate. The pretty little still life by Balthasar van der Ast did not fare so well and failed to sell against an estimate of £200,000-300,000. Old fashioned taste, I suppose.

The star lot at Bonhams sale was the portrait of Sir Edward Monins by George Gower, the leading portraitist at the end of Queen Elizabeth I’s reign. Sir Edward is wearing a very elegant doublet of narrow black and gold hoops and despite looking somewhat like a cut out (there is no sense of volume in the shoulders) made a very strong £1.1M against an estimate of £200,000-300,000. Once again, proving the power of image over draughtsmanship!

Sotheby’s has $1.8B of debt, its owner, Patrick Drahi, has a reputed $3B of debt. A lifeline was thrown to them by ADQ, an Abu Dhabi sovereign wealth fund, which has purchased a $1 billion share. What percentage this represents, no-one is sure. One thing is certain though, the Art Market is shrinking. Masterpieces are in short supply and the value of many Works of Art, especially Old Masters is declining. Christie’s, on the other hand, is owned by Francois Pinault of Artemis Group, one of the richest men in the world, with an estimated wealth of $19.7 billion. Both Sotheby’s and Christie’s have seen turnover drop by several billion over the last 2 years and can probably expect the slide to continue.

Perhaps re-branding themselves as purveyors of luxury goods rather than auctioneers of fine Works of Art has undermined the status of what they sell. What is certain is that so much antique stuff – porcelain, glass, silver, brown furniture and old paintings, doesn’t chime with modern taste and shows no sign of making a comeback, but there is always a market for a masterpiece.

Why Relying on Old Valuations Could Cost You Thousands

Posted on July 17, 2025August 13, 2025 by Annabell Parry and Aurélia Turrall

The Case for Up-to-Date Jewellery Valuations in a Rapidly Shifting Market

Gold at an all-time high, diamonds in freefall, ruby values that look like telephone numbers. Welcome to jewellery valuations in 2025 as the jewellery market is moving and shifting at great speed and it can sometimes be difficult to keep up.

Which is why it is so important you have your appraisals up to date.

The global diamond jewellery market reached £46 billion in 2023, £49.3 billion in 2024 and is set to reach over £90 billion by 2032. Why the continuous rise? Let’s explore a few key areas impacting jewellery value and market trends.

It’s been an interesting year for everyone but for insurance teams that depends on accurate and dependable valuations, then it’s become increasingly vital to work with valuation specialists.

For a private client to ensure your values are up to date and you are not going to have a shock in the event of a claim, a valuation needs to be within the last 24 months.

Look at any jewellery auction across the country this year and every heavy gold piece will have early offers ahead of the auction. Small time gold buyers have sprung up all over the country and are making the most of the increasingly high gold bullion price.

Brick and mortar jewellers are reviewing their prices every three months and this week I received an email from a goldsmith who I regularly use stating;

“All gold prices are estimated at present, we advise that the final bill will be slightly amended due to the fluid nature of the gold price”. To qualify the need for this unusual statement, as I write pure Gold is trading at $2481 per troy ounce. It was $1805 per ounce 12 months ago.

Insurers and their clients need to be reviewing their policies, not just for gold.

Diamonds – What price difference are we talking about?

Comparatively, a De Beers ring set with a brilliant-cut diamond weighing 0.51 carat, G colour and VS1 clarity retails for £5,900. Pandora offers the same diamond, but lab-grown for £825. There’s no denying the price tag is attractive and not surprising that they are projected to represent 25% of the market by 2030.

Another shift is the confidence in online shopping and the rise of E-Commerce. Consumers will spend a great deal more without seeing the item than they did prior to Covid. A recent study showed that online jewellery sales had gone up by 30% during that period.

Art Deco Tutti Frutti bracelet by Cartier – This stunning bracelet came up for sale at Sotheby’s on 28th April 2020 over the course of a four-day sale, online only due to confinement restrictions. It sold for £1 million and set a world record for any jewel sold online and any jewel sold in 2020.

When reputation and trust precede a brand, clients will happily buy blindly. And that is what luxury brands are banking on and it’s working. There is a steady continuous increase in prices each year on the most popular items.

A pair of Tiffany & Co. Victoria diamond earrings have gone from £3,100 in 2003, to £4,925 in 2010, £8,775 in 2021 and up to its current value of £9,125.

There are no signs of slowing down for luxury brands. When it comes to branded pieces, such as De Beers or Tiffany & Co. it still seems to be a safe investment with return on investment definitely worth the waiting for. With values of signed pieces creeping up and diamond markets fluctuating as do the insurance values.

Rubies and sapphires have seen some big increases. If your clients’ purchased sizable gemstones in the 1960’s,70’s,80’s, 90’s ( before excessive treatments became the norm) then these gems are very attractive to the market. There are simply not enough to fill demand.

Interestingly there is far less demand for emeralds at present! But, that could change due to fashion or popularity (if the stars start wearing emeralds, we could see market changes)!

The big question over the next 18 months will be how to value diamonds? Natural diamonds that is.

It is now common knowledge that manufactured diamonds (also known as Lab grown diamonds) currently change hands for about 5-15% of their natural counterparts. If you would like to know a little more as to why this is do look back at some of the previous articles. Manufactured diamonds are here to stay and have found a home in the Bridal and costume jewellery market. This has sent the market for smaller, natural lower quality diamonds tumbling. Why have a lower quality smaller natural stone when you could have a fine colour and clarity manufactured earring set which you don’t mind losing on the beach!

However, the smart minds will be watching the bigger, higher quality natural stone prices. That is diamonds over 3ct, G/H colour and above with a good cut and proportions.

Why? Because these will be in smaller and smaller supply in the coming years – and we are already seeing the effect at the point of sale both on the high street and at auction.

American Tariffs, the Ukrainian / Russian conflict and the Israeli/ Palestinian conflict have interrupted the long-established routes for rough diamond via the cutting centres to the waiting consumer. This is a subject, in its own right, to explore in the future.

There are still plenty of diamonds to purchase in Europe. Despite Americans holding tight onto their precious stocks as increased tariffs mean they cannot competitively purchase at the moment.

The stock of the better-quality stones, so loved by high-net-worth clients, may well start to dry up due to the convulsing diamond industry and therefore those prices will rise. These thoughts have been recently reinforced following published comments from the London diamond Bourse and Diamnet Founder Howard Levine.

This is a defining period for the jewellery trade as rarity, real luxury, taste and craftsmanship will continue to be sought out. These rare pieces, newly purchased or family held, need to be valued effectively and not be confused and undervalued with the mass produced, lower quality pieces.

The need for a valuation – for clients who haven’t had their jewellery values in the last 24 months, they will see a difference in valued and could find any claim could be problematic without one. Applying generic inflation percentages as a tool to update valuations, would be incorrect and inevitably lead to jewellery being under or over insured.

Because jewellery is the product of so many moving parts, it is essential to revalue one’s jewellery collection on a regular basis. Prices may vary several times within a single calendar year and our recommendation would be to get an official jewellery valuation at least every other year. And while your specialist is there, make sure every clasp and setting of stones is checked. A lost stone has monetary value but, in most cases, the emotional attachment to the piece makes the gem priceless and irreplaceable.

Strawberries and Bling: The Watches That Won Wimbledon in 2025

Posted on July 17, 2025July 16, 2025 by Alastair Meiklejon

If, like me you, didn’t get the opportunity to visit the hallowed grounds of Wimbledon this year, I hope you enjoyed the coverage provided on the television. What you may have noticed is that a lot of the images you will have seen at home not only presented a lot of great tennis, but also a lot of celebrities in the royal box – whether or not seeing Hugh Grant taking a quick cat nap is as entertaining as some of the games of this year is debatable. What can’t be denied is the sheer wealth of impressive watches that we saw – some of them completely expected and some nice surprises.

The Princess of Wales – Cartier Ballon Bleu

The Ballon Bleu is quickly becoming her fashion staple, and why not – it’s the perfect size at 33mm and has all the traits of style and understated elegance. Currently retailing for around £6,000, it’s a great watch for all seasons and is as comfortable on centre court at Wimbledon as it is in Annabel’s on a Friday night.

David Beckham – Tudor Black Bay Chronograph Custom

Well, he wasn’t going to wear a , was he?

Possibly the most talked about watch of this year was an item given as a present from Tudor to celebrate Sir (can we say that yet?) Dave’s 50^th birthday. It’s a dramatic piece with enough diamonds for a royal tiara, but still, in a David Beckham way has a little bit of subtlety to it. You can’t buy one, so any figure would by hypothetical but given its provenance it’s going to be insured for north of £200,000.

Roger Federer and Leonardo DiCaprio – Rolex Land Dweller

I am fairly sure that everyone around Wimbledon was expecting the eight time Wimbledon champion to be wearing a Rolex, and of course he didn’t disappoint. The arguably greatest man to ever play the game (of course this is very debatable) arrived with the new kid on the block, the Land Dweller. Whilst it may sound like the name that a Korean car manufacturer might give to their new SUV, it’s actually a pretty stylish piece of work, just don’t mention the Tissot PRX….

Leonardo DiCaprio also entered Centre Court with the same watch, whilst dressed fairly casually, it proved a point that the Land Dweller can be worn up or down, much in the same way that the ever popular Datejust can. Currently, you have a slightly lower chance of getting hold of a Land Dweller than you do getting said royal box tickets for the men’s final, meaning that the £13,000 (model no.127334) will currently set you back close to £45,000 on the secondary market, which is not surprising.

Russell Crowe – Rolex Daytona Tiffany Dial, AKA – Maximus Blingiest Rolexus

Who would have thought that a turquoise dial with gold case would work anywhere outside of a Swatch launch party, but it does…

On an Oysterflex strap it gives a strange sense of sportiness and refinement that continues the legacy of the Daytona into areas where it has never been before. In typical Rolex style, the chances of owning one of these are less than surviving in the Colosseum, so you will currently pay north of £75,000 to get your hands on one, despite having a retail price of less than half that.

Eddie Redmayne – Omega Seamaster Aqua Terra Shades

We couldn’t talk about the watches of this year without mentioning an Omega, a genuinely brilliant brand with all the performance, all the technology, and all the style of its main competitor, just without the Instagram tags and mugging statistics. The ‘Day of The Jackal’ star arrived in a suitably smart cream suit, which really should have been accompanied by a nice cravat – but alas. With a red dial, this Omega steps away from its conservative approach but still gives a nice subtle vibe. As with most Omega watches, you can actually buy this one – with a price of £7,000, it’s not cheap but a lovely thing that will match your strawberries at Wimbledon – if you would risk it in a suit that colour.

Of course, there were many other watches on display – notable mentions include Chris Hemsworth in the Audemars Piguet Royal Oak Double Balance Wheel, which not only sounds like a piece of gym equipment from school, it’s actually the same size too.

Tom Holland wore an Ice blue dial Daytona, which as one of the stars of the 2022 boom, peaked at well into the six figures, but thankfully now is slightly more accessible at just under £100,000 (I did say slightly).

What this year did show is that as well as a fashion show, it’s also a great opportunity for the great and the good to show what they have in the watch box, or what they may have been given at the hotel the night before from a brand representative.

No doubt next year will bring more interesting watches, and hopefully a slightly longer women’s final.