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 (1936–2024): Celebrating a Legacy of Innovation in British Jewellery

Posted on April 23, 2025April 23, 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]

Reading Gandharan Friezes

Posted on April 23, 2025April 23, 2025 by Ashley Crawford

Earlier this month, I explored the South Asian and Himalayan collections at the Smithsonian National Museum of Asian Art in Washington, DC for the first time. While there were many spectacular objects on display, the Gandharan friezes were a particular highlight, showcasing a range of scenes from the Buddha’s life.

To the untrained eye, these scenes might at first appear confusing, but with some background information, they become easy to interpret and spot throughout Buddhist art in other periods and regions. Gandharan art holds particular historical significance because the Gandharan period was the first to represent the Buddha anthropomorphically. While often categorized as Indian art, the contemporary region today would be Afghanistan or Pakistan. These friezes depict the Buddha Shakyamuni, the historical Buddha who lived around 600 BCE. The first known images of the anthropomorphic Buddha appeared on Kushan coins from approximately 50 CE, and the most classical friezes and sculptures were produced over the next four hundred years. Gandharan images of the Buddha are distinguishable for their Graeco-Roman influences and sublime facial expressions.

Gandharan Scenes

Gandharan friezes depict stories from the Buddha’s life or previous lives and adorned Buddhist temples and other architectural sites during the Kushan Dynasty. While for some Buddhist art enthusiasts, Buddhist scenes on Gandharan friezes feel familiar today because the stories are so frequently repeated throughout Buddhist history, during the Gandharan period, the novelty of the Buddha appearing in anthropomorphic form in these tales for the very first time would have had a very powerful impact. These friezes offered viewers a completely new way of understanding and ultimately worshipping the Buddha. The Smithsonian has four extraordinary friezes on display, read from right to left, depicting the Buddha’s birth, the bhumisparsha mudra, the first sermon, and the Buddha’s death.

The first story, the Buddha’s birth, shows the Buddha’s mother Maya giving birth to him in a garden amongst onlookers, while standing in a traditional yakshi (tree spirit) pose, paying tribute to India’s Vedic heritage. What is remarkable about the Buddha’s birth scene is that he emerged from her right side, already equipped with an ushnisha (cranial protuberance) and nimbus, both symbols of his holiness. Recent examples of auction offerings depicting this scene are available here and here.

The second scene depicts the Buddha calling the Earth to witness at Bodhgaya, which is one of the most popular Buddha’s life scenes depicted in Buddhist art, symbolized by his display of the bhumisparsha mudra; the Buddha is shown seated in lotus position with his right hand touching the ground. This action was in response to the demon Mara doubting the Buddha. As the Buddha proves him wrong, human and animal onlookers gasp in awe. Two soldiers below from Mara’s army are defeated.

After this success, the Buddha conducts his first sermon in the third frieze. Sitting in lotus pose under the bodhi tree, he displays the abhaya mudra (the gesture of reassurance) with his right hand and holds a teaching scroll with his left. Dedicated worshippers and monks listen to his preachings. A focal point of this story is the wheel of the law, displayed on the Buddha’s pedestal. In the final frieze, the Buddha achieves nirvana and leaves the cycle of birth. Mirroring his birth from his mother’s right side, he dies for the final time by laying down onto his right side. Below him sits Subhadra, the Buddha’s last convert. Recent sales showing this scene with the Buddha’s first sermon are available here and here.

The Current Gandharan Market

While there are many Gandharan sculptures available on the market, the popularity of this period has stood the test of time. The most popular Western markets are in New York, London, and Paris, although regional auction houses and galleries also frequently offer Gandharan art. Factors to consider when purchasing a Gandharan piece include authenticity (there are many fakes), age (the best objects typically come from around the middle of the period), quality, size, condition, whether there has been restoration, and especially provenance. There are many works of low-to-medium quality on the market, so choosing sculptures with higher levels of craftsmanship will ensure they better retain their value over time. It remains to be seen how severely US tariffs will affect the global Gandharan art market in 2025 (as it is affecting all related Asian art markets), but this market has traditionally been less susceptible to damage, given the steadfast nature of interest in the subject material. There are multiple factors to consider when assessing your Gandharan sculptures, and Doerr Dallas is here to help!

To arrange an Asian Art valuation, call us on 01883 722736 or email us on [email protected]

Fabergé, Folklore and Fry’s: An Easter Egg Hunt Through History

Posted on April 15, 2025April 15, 2025 by Jenny Knott

Easter does seem to have been a long time coming this year, but it’s not the latest ever Easter. The date of Easter is determined by lunar cycles and changes every year because it is set as the first Sunday after the first full moon following the vernal equinox. This is based on a formula established by the Council of Nicaea in 325 AD, and Easter can fall anywhere between March 22nd and April 25th. Lent is always 40 days though and for those champing at the bit to be reunited with chocolate and other treats, the wait is almost over.

For many Christians Easter is the most significant event in the Church calendar. Although the welcome of Spring is universal, the association of numerous traditions is mainly Christian. Easter eggs largely derive from Christian traditions, where they symbolise the resurrection of Christ. Eggs were forbidden during the 40 day period of fasting leading up to Easter. As a result, people would boil or preserve eggs to keep them from spoiling, and then eat them to celebrate the end of Lent and the arrival of Easter. Over time, this practice evolved into decorating eggs in vibrant colours to represent the joy of Christ’s resurrection, with the egg itself representing the sealed tomb of Christ and the cracking of the egg symbolising his resurrection. However, the tradition of decorating eggs dates back to long before Christianity. In many cultures, eggs have stood for fertility, rebirth, and the cyclical nature of life. In ancient Persia, eggs were painted and exchanged during the celebration of Nowruz, the Persian New Year, which marks the arrival of spring. Similarly, in ancient Egypt, eggs were often used in funerary rituals, symbolising the cycle of life, death, and resurrection.

The modern Easter egg hunt has its roots in 18th-century Europe. The Easter Bunny tradition is most commonly traced back to the early 1700s in Germany, where it was believed that a hare would lay eggs for children to find during Easter. German immigrants brought this tradition to the United States in the 1700s, particularly to Pennsylvania. In this iteration, the hare (or rabbit) would lay coloured eggs, which children would hunt for on Easter Sunday.

In the 19th and 20th centuries, the commercialisation of Easter saw the advent of chocolate Easter eggs, a trend that began in Europe. The first chocolate eggs were made in France and Germany, and by the early 20th century, chocolate manufacturers like Cadbury began mass-producing eggs. Today, Easter eggs come in numerous forms – chocolate, plastic, or even surprise-filled – and are an essential part of Easter celebrations around the world. The most lavish egg in the UK continues to be The Bettys Grande Easter Egg. A modest price rise since last year sees it weigh in at £395 for over five kilos of Grand Cru Swiss chocolate. For reasons of personal preference related to nomenclature I would be happy to settle for ‘Jenny the Sheep’ at a modest £18. If you love Cadbury’s creme eggs, an Easter institution begun in 1971 when they were in fact Fry’s creme eggs, don’t delay, they will disappear from the shelves on Easter Monday. They are strictly available only from New Year until Easter.

The Spring season this year been host to the sublime and the ‘rare and unusual’ in the egg world, the later being a spherical hen’s egg sold recently at Bearnes Hampton and Littlewood. Spotted by egg handler Alion Greene the circular egg sold for £420, with the proceeds donated to charity.

By far the pick of the clutch however, are the eggs within the recent collection of Fabergé, sold on March 19th by Dreweatts. The whole sale generated huge interest and was a white glove event, meaning that every lot sold. World authority on Fabergé, Geoffrey Munn, called the collection, ‘nothing short of extraordinary’. Almost every lot sold well above estimate, highlighting once again the importance of keeping abreast of current prices and not relying on old data. A collection of gem-set egg pendants estimated at £1800-2200 hammered at £9000. The biggest surprise may have been the early 20th century diamond and enamel egg pendant and case, the top half of brown leather encased in gold lattice work with rose diamond line dividers and the lower part decorated in panels of royal blue enamel decorated again with the rose diamonds so often favoured by Fabergé work masters. Like all the best Fabergé eggs it contains a secret inside and opens to reveal a removable egg shaped pendant designed as a swan and set throughout with rose cut diamonds and a cabochon ruby eye. This was modestly estimated at £1000-1500, having previously sold at Christies New York in 2001 for $4500, less than a quarter of the £20,000 realised in the Dreweatts sale. Although it was apparently unmarked, the hammer price together with the hallmark Fabergé details suggests that its origin must have been Fabergé.

Should any of our dear readers suffer from ovophobia, you can avoid eggs at Easter by signing up for The Easter Monday Cheese rolling competition in Gloucestershire where participants race down a steep hill after a large wheel of cheese. At Doerr Dallas however, we are mostly looking forward to a welcome break and would like to take the opportunity to wish you all a Happy Easter, however you are spending it.

Rowing in Style: CHANEL Brings Luxury to The Boat Race

Posted on April 10, 2025April 10, 2025 by Aurélia Turrall

This year’s long awaited boat race will take place on Sunday 13 April along the 4.25 miles between Putney and Mortlake and sees the teams of Oxford and Cambridge compete in this much beloved sporting event, established in 1829.

So why is a jewellery specialist reporting on this particular sporting event?

That’s because this year, the event, which is attended by over 250,000 spectators on the riverbank, watched on live television by millions and broadcast on the BBC, is sponsored by Chanel and will be known as The CHANEL J12 Boat Race.

“On behalf of the wider Boat Race community, we are so thrilled to welcome CHANEL as our new Title Sponsor.

We knew when we first met, on June 10 – the same date as the first ever Boat Race in 1829 – that they understood the appeal of our event and we’re very confident that their involvement will help us take the event to new places and new people, as well as enhancing it for our millions of existing followers.” Says Siobhan Cassidy, Chair of The Boat Race Company Ltd.

But why J12? The Chanel J12 is a unisex watch launched in 2000 by the luxury brand Chanel. It comes in white, black, with or without diamonds, and is mounted in ceramic and usually ranges in between £3,000 and £16,600.

The below J12 retails for £5,000 and is one of my personal favourites. Dress it up or down, it suits every occasion, well almost!

The diamond-set version retails for £16,600 and is also mounted in ceramic and stainless steel.

The name of the collection was inspired by the early 20^th century J Class 12-metre race boats.

Gabrielle Chanel, aka Coco Chanel, was an avid sportswoman. And most clothes of early 20^th century were rather restrictive. Stepping away from the Belle Epoque era with swags and flowers, jewels mounted en tremblant, Coco Chanel was one of the pioneers of short hair “à la garçonne” worn with stylish suits. New textured and fashion styles allowed women to dress as they choose to, with more freedom to enjoy the sports they wanted to such as cycling and horse riding. Newfound freedom, giving women a more masculine but still sexy look.

It is at the same time that Cartier had created the wristwatch, the Santos-Dumont. No more cumbersome watch chains and pocket watches. A simple turn of the wrist and voilà!

But for this event it is Chanel leading the way, rather than Cartier. Perhaps more synonymous of polo events and other horse related sports.

The President of CHANEL Watches & Fine Jewellery, Frédéric Grangié says “We are delighted to sign a strategic partnership with The Boat Race who share the same values of collective endeavour and the pursuit of excellence. It’s an honour to be the first ever official timekeeper in the race’s 195-year history to simultaneously become Title Sponsor and principal Partner.

“Synchronicity in rowing is as crucial to the race as watchmaking craftsmanship to ensure accurate timing. Every rower, like every mechanism in a watch, must work together as one; the balance, the weight and the oar movements must all be impeccably timed.

“We look forward to working with The Boat Race over the coming years to bring this partnership to life, through the world of CHANEL and our iconic J12 watches.”

For the last 25 years the J12 has not disappointed its clientèle and Chanel has adapted new styles and versions of this now iconic watch. The key to success is indeed reinvention. Such as their Premiere collection which has seen many tweaks over the years since its launch in 1987.

The below watch mounted in stainless steel retails for £4,400 and is a classic.

But Chanel launched in 2024 a version of the watch with headphones integrated: the Premiere Sound H10166. It retails for £12,600.

Innovation, reinvention and… quality. Those trademarks are key to Chanel and they have once again proven why they are a leading luxury brand.

We wish the teams best of luck!

Barry Humphries: a Passionate Book Collector

Posted on April 10, 2025April 10, 2025 by Richard Fattorini

While Barry Humphries’ flamboyant stage personas of Dame Edna Everage and Sir Les Paterson captivated audiences worldwide, his private passion lay in art collecting and the dedicated and determined pursuit of rare book collecting, amassing a library of some 7,000 volumes.

A Lifelong Love of Books

Barry Humphries’ fascination with books began while growing up in Melbourne, Australia and he had to overcome the resistance of his mother who disapproved of his second-hand book-buying habit. Humphries recalled his mother asking “Do you have to buy these bits and pieces? You never know where they’ve been!”; one day he came home from school to discover that his mother had given all his books away to the Salvation Army. When he asked why, his mother exclaimed “Because you’ve already read them!” A lesser person may have been deterred, but this episode appears to have inspired Humphries to collect even more.

The Collector’s Eye

Humphries’ literary tastes were broad, but he had a particular fondness for decadent and fin de siècle literature. He collected works by authors such as Oscar Wilde, Aubrey Beardsley, Max Beerbohm, and Ronald Firbank—writers known for their wit, eccentricity, and subversive takes on society. His library included rare first editions, signed copies, and obscure publications that many modern readers may not have encountered. He also collected Gothic novels, ghost stories and his library shelves were packed with the works of William Beckford, Matthew “Monk” Lewis, Wilkie Collins, M.R. James, Edgar Allan Poe, M.P. Shiel and Ambrose Bierce.

His passion also extended beyond English-language works, with an appreciation for French literature and he was particularly drawn to Symbolist and Surrealist writers, Charles Baudelaire, and finely illustrated editions. Humphries also had an eye for fine bindings and his library shelves were full of gilt-tooled goatskin bound volumes by great binders of the 20^th century.

On 13 February Christie’s held a live auction titled “Barry Humphries: The Collection”. The 241 lot sale featured paintings by the Australian impressionist artist Charles Conder, Dame Edna dresses and glasses; the sale also included a select group of some 80 rare books and manuscripts from Humphries’ private library which revealed a glimpse of the riches contained within.

Record Results

Many of the highest prices fetched for books in the Christie’s sale were for works by Oscar Wilde. Leading the Wilde selection was a special signed limited edition of The Importance of Being Earnest published in 1899, which was copy number 1 of just 12 large paper copies in a fine gilt decorated vellum binding designed by Charles Shannon. This copy had been presented by Wilde to his publisher Leonard Smithers and sold for £138,600, the second highest price recorded at auction. A first edition deluxe large-paper copy of the same work limited to 100 copies and signed by Wilde fetched £44,100.

Other notable results for works by Wilde included a record £35,280 bid for a first edition of A House of Pomegranates (1891) helped by the presence of two autograph manuscript pages by Wilde for his short story The Fisherman and his Soul. A deluxe large paper copy of The Picture of Dorian Gray limited to just 250 signed copies and with an autograph letter by Wilde bound-in fetched £50,400.

Among other highlights from the library sold at Christie’s was an original pen and ink design by Aubrey Beardsley for The Yellow Book which realised £60,480 and an illustrated autograph letter by Beardsley to his publisher that sold for £32,000.

A first edition of Aleister Crowley’s The Diary of Drug Fiend (1922) made a record £32,760 (estimate £2000-3000) due to its rare original pictorial dust-jacket of which very few examples survive. An inscribed copy of Matthew Lewis’s 1796 Gothic novel The Monk fetched a record £30,240 (estimate £2500-3500) and a presentation copy of F. Scott Fitzgerald’s This Side of Paradise (New York, 1920) realised £4,410.

The Barry Humphries auction at Christies realised a total of £4.6 million, of which the books and manuscripts accounted for almost £1 million.

A Second Selection from Barry Humphries’ Library

Following on from the success of the February sale, Forum Auctions held a sale on 26 March billed as “The Library of Barry Humphries”. This sale of 243 lots of books and manuscripts also offered works on paper and a few objets from Humphries’ library, including bronze sculptures and bookends. In the Forum catalogue introduction Rupert Humphries described his father’s library as follows: “Thick curtains were shut to keep out natural lights, and deep purple, red, black and yellow spines lined the sagging shelves with books stacked two, sometimes three layers deep. Many in morocco leather boxes with ornate gilt designs that he had commissioned […] The warm glow of iridescent glass lamps and a heavy art-deco chandelier, the smell of incense in the air. It was like a setting from one of the decadent stories he loved so much, maybe Prince Zaleski’s dilapidated abbey in Wales.”

Leading the Forum results was a superb set of four special editions of Evelyn Waugh’s novels, Decline and Fall, Vile Bodies, A Handful of Dust, and Black Mischief. These were each limited to just 12 copies printed for the author. This particular set had been presented by Waugh to Thomas Balston, director of the publishers Duckworth and Co. who had given Waugh his first advance for his biography of Rosetti. This handsome set bound in blue morocco fetched £19,530.

The sale was arranged chronologically and began with books from the late 18^th century, notably a collection of books by and from the library of the novelist and eccentric English dilettante William Beckford (1760-1844). Highlights included a first edition of Beckford’s novel Vathek (1786) which was handsomely bound in red morocco and had been owned by Lady Caroline Lamb which realised £10,080. The same price was bid for a second edition of Samuel Rogers’s poem Human Life which contained an original watercolour portrait of the author as well as Beckford’s typically caustic comments written in pencil.

One of the outstanding bindings was an Art Nouveau design by a pioneer of modern German bookbinding Paul Kersten which realised £11,500. A first edition of Charles Baudelaire’s Les Fleurs du Mal (1857) was bid to £10,710; a rare presentation copy of Mrs Riddell’s Weird Stories (1882) fetched £6930; and Arthur Machen’s own copy of his collection of short stories The House of Souls (1906) made £2016.

A Legacy in Literature

The Forum sale realised a total of £615,000 with 87.2% of lots sold. Rupert Humphries concluded his introduction by commenting “As this sale commences I like to think that [my father] will be happy knowing that a little part of him will continue to be treasured in other libraries and bookcases around the world, and perhaps even in a few old book shops”. I have no doubt to say I am certain they will and I like to think that others will be inspired to start their own collections of books on whatever subjects or authors interest them.

Book Valuations

For books that are sold at auctions like this, we would suggest insurance values that match the price they sold for at auction – at least in the immediate period after the sale.

Valuing books is complex because their worth depends on multiple factors beyond age and rarity. Condition is crucial – a book with its original dust jacket can be worth many times more than one without, especially for 20th-century first editions. Inscriptions and signatures also impact value, but not always positively; a book signed by the author to a notable figure can increase its worth significantly, while a generic inscription may have little effect. Provenance matters too – books from famous collections or with unique associations often command higher prices. Additionally, first editions vary by publisher, print run, and issue points, making identification and valuation a specialised skill requiring detailed knowledge and expertise.

If you have a collection of books, photographs or maps, get in touch to arrange an up to date valuation by emailing us on [email protected] or call us on 01883 722736.

Van Cleef & Arpels’ Tribute to Paris, the City of Pearls

Posted on April 3, 2025April 2, 2025 by Liz Bailey

Last month, jewellery specialist Liz Bailey visited the ‘Paris – City of Pearls’ Exhibition hosted by Van Cleef & Arpels L’Ecole School of Jewellery Arts. Held at the Hôtel de Mercy-Argenteau, nestled in a busy Parisian boulevard, VCA’s L’Ecole hosts regular lectures and exhibitions. Running until June of this year is this wonderful exhibition, documenting Paris’ unique position as the undisputed European ‘City of Pearls.’

Featuring pieces from France’s Third Republic onwards, the exhibition traces the exciting period from the late 1860s when many pearls found their way to the most prestigious jewellers in Paris on the Place Vendome and Rue de la Paix from the Arab and Persian Gulf. These great jewellers avidly sought out the finest pearls to adorn the aristocratic elite.

Examples from the French Art Nouveau are also on display from Vever, Fouquet and Lalique. These pieces differed drastically from their Belle Epoque contemporaries that opted for small, uniform pink pearls from the Gulf. These creative pieces instead displayed the beautiful free forms of baroque and Mississippi pearls, with these designers frequently favouring their unusual shapes and colours, as well as their comparable availability! A personal highlight was this stunning corsage ornament dating to circa 1900 by Henry Vever, designed as a wonderful sprawling flower, the petals in the form of Mississippi pearls with diamond centres and stems, and breathtaking plique-a-jour enamel foliage.

During the height of ‘pearl-mania’ in the early 20^th century, Cartier was certainly one of the jewellers that created the most exquisite pieces, in jewellery and even watches. This exhibition displayed two beautiful Cartier bracelet watches, each with platinum cases and set with natural pearls to the crown, lugs and bracelet. It was in America however that the value of pearls reached its highest point, and in 1917 Jacques’ brother Pierre notoriously acquired his mansion on New York’s Fifth Avenue, acquired in exchange for a double strand pearl necklace.

The 1920s saw the Parisian fashion for pearls extend across the media, with these biogenic gems everywhere, from opera to cinema, literature posters and magazines. The International Exhibition of Modern Decorative and Industrial Arts showcased some of the most spectacular designs of the time and was the impetus for some breathtaking Art Deco pearl jewellery. Whilst the fresh arrival of the cultured pearl from Japan was a part of the public consciousness at this time, “for a while the demand for the natural pearl continued to increase,” only weakened by the economic crisis of 1929 and further with World War II.

Post-war pieces in the exhibition included both cultured and natural pearl pieces, representative of the growth in popularity of cultured pearl jewellery from this point onwards, with many Parisian merchants such as the Rosenthals even moving to Tahiti to reorient their business around the region’s black pearls. Strict trading agreements and initiatives are in place between France and the Gulf region to ensure the sustainability and success of the pearl.

Contemporary pieces on display include the iconic JAR sheep’s head clip, created by the infamously mysterious Parisian jeweller in 2006, and sold at Christies Paris in 2021 for €500,000. Another breathtaking jewel was a the ‘Cadeau Imperial’, a natural pearl, mystery-set ruby and diamond multi strand collar necklace, dating to 2011.

From the sky-high value of pearls during the early 20^th century ‘pearl-mania,’ to the post-war cooling of prices and influx of cultured pearls onto the market, the values of pearls, as with any commodity, are subject to rise and fall. In the last year, we have seen a strengthening in prices for designer cultured pearl pieces, and a continued buoyancy for natural pearl pieces. To ensure your pearls are adequately covered, contact our team today for a specialist valuation.

L’Ecole School of Jewellery Arts was founded in 2012 with support from Van Cleef & Arpels, with schools in Paris, Hong Kong, Shanghai, Dubai and other locations. Created to make jewellery accessible to all and running a fantastic array of exhibitions, courses, podcasts and programmes, L’Ecole is certainly an organisation to be on any jewellery enthusiast’s radar! Paris City of Pearls will run until June of this year.

Holding it all together: The Key to Keeping Jewellery Secure

Posted on March 27, 2025April 2, 2025 by Jenny Knott

Eagle eyed observers at the Commonwealth Service on 11th March this year, noticed that something was absent from The Princess of Wales’ otherwise immaculate and eye-catching ensemble.

One tiny diamond was missing from the drop pearl and diamond earrings that she was wearing. These earrings had been gifted to Princess Diana by Collingwoods. They were a favourite of Diana and are now much loved by Princess Catherine. Few jewellery collections are better maintained than those of the Royal family, yet this event shows that accidents can happen to even the best cared for jewels. For those of us without entourages to look after these things, we need to be even more vigilant about our jewellery.

Buying, acquiring or even inheriting jewellery can be so wonderfully exciting that when picking out the perfect necklace, earrings, bracelet or ring, the last thing that most people consider is the clasp, catch or claws. However, we should give these much more attention, as this is that will keep those much prized stones in place, or even keep the necklace or bracelet around your neck or wrist. I write as someone who found a much loved chain link bracelet in an umbrella stand when it had broken as I took a coat off and inadvertently flung the bracelet into this receptacle. The discovery was several years after I thought I had lost it forever; not all mishaps end so well.

As heart-breaking as it is to discover your jewellery has been lost or damaged, it will add insult to injury to then be told that your insurance policy does not cover you. Jewellery insurance typically covers damage, theft, or loss, but whether it specifically covers clasps and settings depends on the terms of the policy. Many policies state that claws and clasps must be regularly checked by an expert and this, along with valuations, are often able to highlight possible problems before they become a disaster.

Things of which to be mindful include:

Remember that gold is a soft material, the higher the carat of gold the softer it is, therefore claws on rings are susceptible to wearing down, or catching on threads of clothes and peeling back.
Clasps on necklaces can suffer loss of their spring mechanism.
Links in a bracelet can wear and become thin, as can the shanks on rings, especially when worn stacked with other rings. Shanks can split.
Pearls and bead necklaces should always be knotted so stop beads spilling everywhere if broken. Knotted necklaces should be checked regularly, especially if they are frequently worn.

There are some easy ways to help mitigate against the chance of accidental damage or loss.

Rings:

Claws do not necessarily need to be replaced; they can often be retipped.

Clasps:

Clasps are critical to ensure that jewellery stays in place. There are many choices of clasps. The jump ring or spring ring clasp. This is the most common and consists of a metal jump ring with a spring loaded mechanism which opens and closes with applied pressure. The lobster claw clasp, which works in a similar way to the jump ring clasp but are often larger. Both work well unless the spring mechanisms fail. Antique necklaces often have box clasps, which have a tab or prong which fits into the ‘box’ and snaps into place. These work well as long as the fit stays tight.

Safety chains:

These are small chains attached to jewellery which add an extra level of additional security to prevent loss. On bracelets and necklaces, a safety chain will join the ends should the clasp fail. On a brooch it is often attached to a small pin which is to be used in tandem with the main brooch pin.

Earring backs:

Unless your earrings have integral fittings I think the safest fittings are alpha backs. You can see from the diagram that the posts are notched, and the spring clasps ensure that they can’t come away. If you have earrings with a shepherd’s crook fitting, which are common with antique pendant earrings, you can add an extra level of security with a plastic stopper.

As the Princess of Wales images proves accidents do happen but reducing the chances of mishaps might save your precious jewellery. Precious does not just apply to value, sentimental attachment can be far more emotive than actual cost.

The three crucial steps are:

Have clasps, claws and settings regularly checked by an expert, especially if after checking your policy your insurance is predicated on this as a requirement.
Repair and replace broken, elements in your jewellery and regularly restring necklaces.
Buy clasps, safety chains and earring backs that are best suited to the security of your jewellery.