TEFAF Maastricht: The Jewellery & Watches That Stole the Show

Posted on March 20, 2025March 20, 2025 by Liz Bailey

The European Fine Art Foundation, or TEFAF was founded in 1988, and holds two major international fairs per year, the TEFAF New York, covering Modern and Contemporary Art and Design, as well as its flagship event, the TEFAF Maastricht, which ran from 15^th-20^th March this year.

TEFAF Maastricht showcases 7,000 years of art history and provides international dealers and collectors with the opportunity to present and acquire fine and museum quality works, including paintings, sculpture, furniture, collectables, books, and of course – fine jewellery and watches.

If, like me, you have missed your first-class ticket to New York this week, here are my ‘top picks’ of the pieces on display at this year’s fair.

Surely one of the jewellery ‘headliners’ at this year’s fair is of course Van Cleef & Arpels, who were exhibiting around 30 pieces available to purchase from their heritage collection. A collection I would personally love to see, the selected pieces reflect the maison’s impact and excellence in 20^th century jewellery design.

The Orsay Bracelet, a platinum ruby and diamond bangle with VCA’s signature ‘mystery setting’ – an innovation in the 1930s of setting stones with seemingly no metal holding them in place – and a brand hallmark that continues into present collections. This bangle dates from 1994.

Another masterpiece on display is a platinum, turquoise and diamond necklace from the 1950s. Dating to circa 1955, this exquisite piece reflects the brand’s appreciation for jewellery history, decorated with floral garlands and a graduated design, and of course fine turquoise drops.

Epoque Fine Jewels from Belgium were also at the fair, exhibiting an incredible Art Nouveau gold, diamond, enamel and glass choker by René Lalique. Dating to circa 1905, this exceptional choker necklace is interspersed with Lalique’s wonderful glass panels moulded with thistle flowers and accented beautifully with a rich yellow gold setting, brown enamel border and sparkling diamond detailing. This was a real treat to see in person!

Contemporary jewels to really catch my eye from the fair are on offer from Hemmerle, Feng J and Margot Mckinney. Hemmerle are previewing a pair of beautifully naturalistic pinecone earrings cast in copper and white gold, and accented with natural pearls and diamonds. Meanwhile, Australian fourth generation jeweller Margot McKinney has a typically vibrant, vivid and colourful collection of jewels that encompass a wonderful exuberance and joy- it is hard to pick a favourite!

Somlo London of Burlington Arcade have on display two beautiful Patek Philippe pocket watches, each exceptional in their own right, with an option for him and for her.

The first is an 18ct gold Perpetual Calendar hunter pocket watch with equation of time. This fine timepiece dates to 1982, and is double stamped with Patek Philippe, and the retailer of the piece, Beyer of Zurich. A sophisticated, and complicated timepiece, this watch displays the difference between mean solar time, or our conventional time, and true solar time, based on the actual position of the sun. Owing to the Earth’s orbit, this discrepancy can fluctuate throughout the year, and is reflected in the -15 and +15 subsidiary scale to 12 – now how many watches can do that!

My second selection from Somlo is this beautifully decorated Patek Philippe fob watch, crafted circa 1889. Cased in 18ct gold and detailed with split pearls, this fob watch is hand painted to the case back with an enamel portrait of Saint Fabiola, an early Christian Saint.

So there we have it, my round up of the TEFAF works and exhibitors to keep on your radar, whether you are lucky enough to attend this international event, or, like me, will be looking on enviously! Let us know which pieces have caught your eye!

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

Glasgow’s Burrell Collection: A Hidden Treasure in the Park

Posted on March 20, 2025March 20, 2025 by Fiona Hamilton

No cultural city break to Glasgow is complete without a visit to the fabulous Burrell Collection. This striking purpose-built museum opened in 1983.

The first year saw one million visitors through the doors and the opening helped launch the rebirth of the arts in Glasgow, a wonderful contrast to the previous decades of post-industrial decline.
This incredible collection comprises in the region of nine thousand exhibits, all of which were gifted to the city by William Burrell (1861-1958).

Burrell had very specific wishes regarding the housing of his collection and stipulated that in order for the collection to be fully appreciated visitors had to view it within a countryside setting. Finally, in 1983, after many years of searching for a the right location, the award-winning museum opened in Pollok Country Park to much critical and public acclaim. Situated in three hundred and sixty one acres of wooded parkland and gardens the site also boasts a herd of Highland Cattle!

Following a £68.25 million refurbishment, the museum reopened in 2017 after a closure of six years.

Glasgow shipping magnate Sir William Burrell (1861-1958) spent his childhood in Glasgow. His love for art became apparent when at aged fifteen he invested in his first acquisition, a painting, bought with money that had been given to him, ear-marked for the purchase of a cricket bat. This was to become the beginning of his love of art and antiques. After joining his father and brother in the family business he made some shrewd investments which then enabled him to carry on learning, researching and purchasing art for the rest of his life.

This remarkable collection is formed of an eclectic array of art and antiques, (including more than twenty works by Degas), Highlights include ‘The Thinker’ by Auguste Rodin, 12th century arms and armour, medieval works of art, a number of the world’s most important tapestries and a renowned collection of Chinese art.

By 1900 William Burrell was well respected collector who had built up his extensive knowledge and he was generous with loaning out items for exhibitions from his collection.

1901 saw the Glasgow International Exhibition, in Kelvingrove Park. Running from May until November of that year, displays included sculptures of soap, an Indian theatre and various works of art, one hundred and sixty of which were loaned by William Burrell.

Sir William was a strong believer in free education for everyone and he believed that the people of the city should have access to his remarkable collection. In 1944, he and his wife Constance generously gifted the Collection to the City of Glasgow.

I was fortunate enough to have been involved in a study day behind the scenes of The Burrell back in 1997. The warren-like basement holds a large percentage of the collection’s objects. Handling the beautifully catalogued and meticulously stored objets d’art, it felt like a day in Aladdin’s Cave and was an experience I will never forget.

Fiona’s pick of The Burrell

If I was to choose one item from the thousands on display it would have to be the mesmerising Greek cast Bronze of a young man, found at Thessaly and dating from 100BC – 100 AD.

Easily accessible by car and local train The Burrell Collection also boasts a light and airy café with park views, and a well-stocked shop making it perfect for a full day out.

See www.burrellcollection.com

“The Burrell Collection is one of Europe’s most beautiful museums…There is nowhere like this place”
Edwin Heathcote, Financial Times, March 2022.

Rachel Ruysch – The Flourishing Career of a Forgotten Old Master

Posted on March 12, 2025March 13, 2025 by David Dallas

Continuing on the theme of famous female Old Master painters, I am turning my attention to Rachel Ruysch (1664-1750). She has many virtues. Apart from being a wonderful painter, she has been very thoughtful to future generations of scholars by almost always signing her works and giving her age, so a chronology of her oeuvre is simple to work out. This is a practice she began at 15 and continued until she was 83, although she lived to be 86 and was married for 52 years.

She had several advantages at the start of her career. The first of which was being born in the Hague to Frederick Ruysch, a professor of anatomy and botany (she was to become the most famous flower painter of her generation) and Maria Post, whose uncle Frans was a distinguished landscape painter famous for his views painted in the Dutch colony of Nieuw Holland, in Brazil. Another boon was to be apprenticed to the brilliant Delft still life painter Willem van Aelst (1627-1683), who had so impressed Ferdinand II de Medici, when court painter in Florence, that he gave van Aelst a gold medal and chain at a public ceremony to acknowledge his genius.

Her early works are forest floor scenes in the manner of Matthias Withoos and Otto Marseus van Schrieck, which allowed her to introduce various insects and lizards amongst the plant roots, which she would have copied as a child in her father’s private museum. He had invented a technique for embalming plants and animals, the secrets of which he refused to divulge.

At the age of 15 she was apprenticed to Willem van Aelst and he taught her the art of composing bunches of flowers in a vase in a naturalistic way, even though many of the plants could not have been blooming at the same time. The meticulously painted petals are enlivened by dewdrops, ants, caterpillars and other plant-loving insects.

In 1693 she married the portrait painter Juriaen Pool and they subsequently had 10 children. Childcare was not a problem, as Rachel’s flower pieces sold for between 750-1,250 guilders. To put this in context, Rembrandt rarely received more than 500 guilders for a picture in his lifetime, but he did produce the ‘1000 guilder’ print. In the portrait of her by her husband, Juriaen Pool, she sits with her head in her right hand, a symbol of melancholy and genius, since antiquity, whilst her husband, who is in the background both physically and metaphorically, points to one of her pictures on the easel.

At the end of the century, she and Juriaen moved to The Hague and became members of the Painter’s Guild there in 1701. She was the first female member of the Artists’ Society, The Confrerie Pictura. From 1708-1716 she worked in Dusseldorf as Court Painter to Johann Wilhelm, the Elector Palatine.

She continued to produce brilliant flower still lifes into the middle of the 18th Century and her reputation was such that at her death in 1750, eleven poets paid their respects by writing poems about her.

Although she has always been a sought-after artist by connoisseurs, she is not a household name today. As she was a relatively prolific painter, over 250 works by her are known, she appears at auction on a regular basis, 71 paintings in the last 35 years. The world record price at auction is £1.65M and 9 of her paintings have made more than half a million dollars. If you would like to see works by Rachel Ruysch, The National Gallery in London has three. Furthermore, there is a wonderful exhibition dedicated to her work, currently at the Altepinakotech in Munich until March 16th. It then relocates to Toledo, Ohio from April 13th – July 22nd and ends its tour at the MFA in Boston from August 23rd to December 7th. I think it more than justifies a trip to New England in the fall!

PS…
When she was around the age of 50, she won 70,000 guilders in a lottery and gave up painting for a while!

Votes for Women: The Legacy of the Suffragettes

Posted on March 6, 2025March 10, 2025 by Fiona Hamilton

As we approach Spring and International Women’s Day, it seems the perfect time to take a moment to remember the huge sacrifices made by thousands of pioneering women in the 19th and early 20th century, in the bid to gain votes for women. Jeopardising their lives, safety and often their place in society this incredible group secured the right to vote for future generations.

Although it was as early as 1832 that the first petition of Women’s Suffrage was presented to Parliament, it was the years that followed which saw the movement gain momentum.

As one of the most recognisable names associated with the vote for women campaign Emmeline Pankhurst was involved with Women’s Suffrage from 1880 and was one of the original founding members of the Women’s Social and Political Union (WSPU), the motto of which was ‘Deeds Not Words. Led by an all-female staff, in a combination of paid and volunteer roles, 1906 saw the WSPU headquarters open in central London. This quickly became the base for planning the more confrontational stage of the campaign and the use of more radical tactics, and planned protests started to appear, alongside a more creatively-minded publicity campaign. A weekly newspaper was launched and by 1909 it had a circulation of an impressive 22,000. Various fundraising events and high profile demonstrations were planned throughout the ninety regional offices.

Following this increase in headline-catching protests more than thirteen hundred women were incarcerated, a large percentage in Holloway Prison, which became all female prison in 1903. The following poem was penned by Kathleen Emerson who was jailed for taking part in the mass window breaking in London, 1912.

The Women in Prison by Kathleen Emerson (1912)

Oh, Holloway, grim Holloway
With grey, forbidding towers!
Stern are they walls, but sterner still
Is woman’s free, unconquered will.
And though to-day and yesterday
Brought long and lonely hours,
Those hours spent in captivity
Are stepping-stones to liberty.

Although Millicent Fawcett, Christabel and Emmeline Pankhurst are amongst the most recognisable names in suffrage history it is a myth that the groups were made up of entirely middle-class white women. In fact, the cause attracted women of many classes and nationalities. It was reported by inmates at the time that depending on their class the women were treated very differently.

Having had a privileged upbringing, Queen’s Victoria’s goddaughter Sophia Duleep Singh, an important supporter of Indian heritage in Britain, dedicated much of her time to campaigns and worthy causes and became one of the more militant campaigners. We continue to pay tribute and recognise the selfless acts of the countless courageous women who fought against the odds for their future, the future of their families and of generations of women to come.

Selected significant dates:

1832
First petition on women’s suffrage presented to Parliament.
1889
The Women’s Franchise League is formed and aims to win the vote for married women as well as single and widowed women.
1897
Formation of the National Union of Women’s Suffrage Societies (NUWSS), led by Millicent Fawcett (1847-1929).
1903
The Women’s Social and Political Union (WSPU) is founded in Manchester by Emmeline Pankhurst (1858-1928).
1908
Hunger striking adopted as a WSPU strategy leading to forcible feeding in 1909.
1909
Muriel Matters hires an airship painted ‘Votes For Women’ to fly over The House of Commons dropping propaganda leaflets.
1913
‘The Cat and Mouse Act’, is introduced, targeting suffragettes on hunger-strike permitting them to be released into the community to then be rearrested once they had regained their health.
1914
Britain declares war on Germany on 4 August. 1914-18 saw an estimated two million women replace men in traditionally male jobs.
1918
The Representation of the People Act is passed on 6 February giving women the vote provided they are aged over 30 and either they, or their husband, meet a property qualification and women vote in a general election for the first time on 14 December with over eight million women eligible.
1928
The Equal Franchise Act is passed giving women equal voting rights with men. All women aged over 21 can now vote in elections. Fifteen million women are eligible.

Notable auction highlights of suffragette related ephemera

The above five lots were part of the auction ‘Votes For Women, the Lesley Mees Collection.’ Bonhams, Knightsbridge, 22 September – 33 October 2023. Photographs courtesy of Bonhams.
For further information, artefacts and objects relating to the campaign, please visit The London Museum.

To arrange a valuation please call us on 01883 722736 or email us on [email protected].

Who Inspires Us? The Women Who Drive Our Passion

Posted on March 6, 2025March 20, 2025 by Rachel Doerr

Rachel Doerr, Managing Director

“For me, it starts with my mum. She always encouraged me and pushed me forward. Her influence extended to the music she played, like Joni Mitchell, Diana Ross and Barbra Streisand. Their voices of strength left a lasting impression.
In my career, I have been lucky to have strong women believe in me, like Ann Coad and Christel Goldthorpe. Now, I am surrounded by an incredible team, from jewellery and silver specialists to our brilliant admin and marketing teams. On this special day, I want to thank them all.”

Aurélia Turrall, Jewellery Specialist

“The women who inspire me in my industry are my Doerr Dallas Valuations colleagues. Each and every one of these extraordinary women has a wealth of knowledge that is only fictionalised in most books and films. Each one excels in one specific area and everyday I try to better myself by learning from them all, whether it be knowledge on instruments and kit to purchase to perfect valuations, or knowledge about a specific jewellery brand, gemstone or period in time. The rise of AI means nothing when you work with such splendid minds!”

Stephanie Connell, Senior Valuer & Collectibles Specialist

“On International Women’s Day it is important to me to consider all of the female designers and artists whose work has been pivotal but whose names have been overlooked or forgotten. One such designer is Clara Driscoll. Clara was one of the most important glass designers of the late 19th and early 20th centuries. Her work was produced for Tiffany Studios – so if you can imagine the famous Tiffany lamps – the design you’re thinking of was likely created by Clara Driscoll.”

Francesca Orme, Jewellery Specialist

“My grandmother Maria Valentini is who I’d like to recognise for International Women’s Day. An inspiration not only as a woman but my reason for loving working with jewellery and appreciating all aspects of it.”

Kristin Panagiotou, Administration Manager

“The former Vice-President, Kamala Harris, is someone who I find inspirational. As the first woman to hold the position of Vice-President, as well as the first South Asian American and first Black American, she tirelessly worked and continues to break boundaries by striving to improve immigration policy, women’s rights and gun violence to name a few. Through her perseverance, activism and commitment to fighting injustice she is an inspiration to all women, young and old.”

Fiona Hamilton, Silver Specialist

“Miranda Leslie née Grant is also from the Highlands of Scotland and came to Bonhams Edinburgh in 2002 as Head of Jewellery and Silver, becoming Managing Director in 2008. Miranda was charismatic, generous with her expansive knowledge, and supportive and I feel privileged to have had her as a mentor.”

Jenny Knott, Silver & Jewellery Specialist

“International Women’s day gives us an opportunity to remember the pioneering women upon whose shoulders we stand. I am inspired by women, who against the odds, and often in the face of personal loss and economic imperative, forged careers as silversmiths and businesswomen; most famously, but by no means uniquely, Hester Bateman. A few years ago, I came across the work of Rauni Higson. I love the naturalist flow to her work. Since seeing and valuing some of her pieces, I have followed her career. I love her sentiment that silver is ‘a magical material that responds to light like nothing else except perhaps the moon. It has entranced humans forever, and it is extraordinary malleability means that almost any form that can be imagined can be realised, with enough time, skill and patience’. Having been tutored herself by master craftsmen, she now mentors up and coming silversmiths. She lives and works in Snowdonia, and her connection to the landscape is self-eident in her work. For silversmithing to continue as a craft we need craftspeople like Rauni with her integrity, skill and innovation.”

Jenny Serra, Marketing Manager

“This year, my inspiration for International Women’s Day is the iconic Iris Apfel, who passed away last year at the age of 102. The recent auction of her clothes and jewellery highlighted just how remarkable she was. She secured her first modelling contract at 97 and lived boldly, unapologetically, and entirely on her own terms. Her fearless approach to life is something to aspire to. If I can make it to 100 while embracing even a fraction of that spirit, I would consider it an incredible achievement.”

Jane Vann, Private Client Services Administrator

“Anne, The Princess Royal, is a very inspirational, hard working & brave woman.
Her no nonsense approach has stood her in good stead for many years, enabling her to become a top level event rider and the first Royal to compete in the Olympic Games. She also had to endure an attempt in her life & failed kidnapping in 1974. She is probably the hardest working member of the Royal family & I really admire her dedication, determination & no fuss attitude – she is very inspirational!”

Ashley Crawford, Asian Art Expert

“One of my favorite female artists is Akiko Higashimura, an author of josei manga, or “women’s comics”. Higashamura has achieved wide success in what otherwise remains a male-dominated field, with her books translated into many languages and frequently adapted to anime and live-action TV series and films. Her plots feature imperfect heroines navigating their way through issues that women face in modern-day Japan. It goes without saying that Higashimura’s novels pass the Bechdel test! Higashimura and her heroines are admirable role models to celebrate this International Women’s Day and I’m looking forward to reading what she publishes next!”

Liz Bailey, Jewellery, Silver & Watch Specialist

“Doerr Dallas is host to a wonderful selection of women who I absolutely admire! From the wonderful MD Rachel, the team in marketing and administration to our selection of specialists. This group of women is immensely dedicated, knowledgeable and supportive of one another. The breadth and depth of knowledge of the team is something that I really appreciate and admire. The six of us jewellery girls have combined decades of experience – between us the amount of jewellery and watches we will have valued collectively is staggering! It is always a great pleasure to talk with and learn from the other specialists we have in the team, covering silver, collectables, Asian art, fashion and Russian works of art to name a few!”

To arrange a valuation for your items please call us on 01883 722736 or email us on [email protected]

Diamond Prices and Jewellery Insurance – The Truth Behind the Headlines

Posted on February 27, 2025February 27, 2025 by Annabell Parry

Anyone in the jewellery or related industries can’t open their laptop without being hit by another doom-laden headline about diamond prices.

The latest reports declare that Anglo American, the majority owner of De Beers, has published another vast write-down of its investment. Meanwhile, Alrosa, the Russian diamond giant, has been propped up by the Russian government. Both companies are reportedly stockpiling around $2 billion worth of unsold diamonds in an increasingly challenging global market, driven by geopolitical tensions and advancing technology.

These are mining giants, and the headlines are dramatic. However, it takes around two years for a diamond to move from the mine to the shop window. This is a crucial factor when valuing an engagement ring. Despite the headlines, these market shifts do not immediately affect valuations or replacement costs. Diamond prices fluctuate constantly, and experienced valuers rely on top trade sources such as RapNet. The best valuers consult at least three independent sources for each stone they assess.

A knowledgeable valuer will also understand the impact of Russian sanctions introduced in 2024, the conflict in the Middle East, and the downturn in Chinese middle-class spending. All of these factors influence diamond pricing and the ability to source replacements in case of loss.

The Danger of Headlines

Professional brokers, insurers, and jewellery owners are often short on time, scanning dozens of headlines each day. Decisions made solely on headlines risk being based on incomplete or misleading information. At worst, they could be influenced by an opinion piece paid for by a company with something to sell.

Diamonds hold a unique place in the retail market, as they have for centuries. Once reserved for royalty and the wealthiest elites, diamonds became a mainstream expectation by the 1950s, particularly as engagement rings for modern, independent women.

The Perception of Falling Prices

“But diamond prices are falling,” you may say.

Historically, younger buyers and the bridal market have been major consumers of small natural diamonds. However, over the past decade, their social feeds have been flooded with man-made diamonds (not ‘laboratory-grown’ which is a misnomer) and high-quality, stylish dress jewellery from brands like TJC and Pandora. The shift in pricing, environmental concerns, and changing consumer preferences have had a major impact on the lower-to-mid market.

It is true that diamonds under 1.50ct have seen price drops, in some cases by as much as 30%, as their key buyers have moved away.

Prices are per diamond for a round brilliant cut, F colour VS1 clarity GIA diamond Report in March of each year.

These are approximate selling prices in the UK at that time with the historic approximate retail margins and timely interest rates taken into consideration.

But Do Not Be Fooled

The high-net-worth market is thriving.

Diamonds over 2ct have always been beyond the reach of most buyers, making them the preferred size for professionals and affluent individuals. Second marriages, milestone anniversaries, or the sale of a business often drive purchases at this level. This is not the market that man-made diamonds have disrupted.

For high-net-worth and ultra-high-net-worth clients, jewellery values are not falling. Rubies bought in the 1990s, heirloom Art Deco and Cartier pieces, and upgraded engagement rings all hold their worth. In fact, many of my clients own multiple engagement rings, one for weekday wear and another for weekends.

Man-made diamonds are certainly purchased, but often as travel jewellery or gifts for daughters rather than as investment pieces.

A glance at recent fine jewellery auctions shows that branded vintage pieces from Cartier, Verdura, and Van Cleef & Arpels continue to command strong prices, along with larger, certified diamonds. These are not easily replaced and require an expert valuer to determine a proper replacement figure. Some brands such as Cartier and Tiffany increase their prices twice a year. On average the basic beautiful LOVE bangle from Cartier increases £300 every year.

New

Pragnalls Jewellers 1.51ct - £18,000	Pragnalls Jewellers 3.02ct - £74,650
Second Hand

Cartier yellow and white diamond cross over ring Wooley & Wallis auctioneers Estimate £4-6k Hammer £9.5k	Victorian antique cluster ring Harper Field Auctions Estimate £8,500 - £10,500, Hammer £28,500	1980's Cartier Panthere earrings $66,000 at Opulent Jewellers - USA

Additional Factors

Another important factor is the price of gold – the value of a 1 Troy Ounce of gold has increased 819% from 2000 – 2024, as displayed in this graph:

Pound / Dollar interest rates have fallen and retail margins have had to be pared back to compete with global and technological competition and wages for goldsmiths, polishers, cutters, apprentices, setters have in some cases tripled since 2000.

The Role of Professional Valuers

Valuing jewellery, like the value of a car, is a sum of its parts plus the brand, popularity, rarity and condition. One would not stop valuing cars because the price of steel had dipped. So too is the case for the valuation of diamond jewellery even when the markets are in flux.

Jewellery valuation is a specialised profession that does not always get the credit it deserves. It requires years, often decades, of expertise, and valuers do not typically shout about their knowledge.

But in a world flooded with misinformation and sensational headlines, their insight is more relevant than ever.

So, where do you get your information?

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

General Contents – The invisible problem

Posted on February 26, 2025March 20, 2025 by Alastair Meiklejon

Back in 2022, I wrote an article that quickly became one of the most read pieces that I had created up to that point and it focussed on what I believed to be a hidden problem in the world of insurance – the things that clients and brokers overlook – the hidden general contents.

In the three years since then, you would be amazed how many conversations I have had with brokers about washing machines and carpets – it is not what I would describe as the glamorous end of what we do as valuers, but it is of such importance that it really needs to be at the forefront of people’s minds when correctly insuring a property and its contents.

Back in 2022 we saw what can only be described as an astonishing increase in the cost of goods and services, and according to the office of national statistics a 16% increase in the cost of furniture over the 12 months previously – meaning that a £10,000 settee bought in 2021, would now be £11,600 just 12 months later.

This surge in furniture costs was driven by a combination of factors that all collided at once. Supply chain disruptions from the pandemic were still causing delays, raw material prices were climbing, and labour shortages meant longer lead times and higher production costs. On top of that, a shift in consumer behaviour saw people investing more in their homes, with demand for larger, more comfortable furniture increasing as remote working and home entertainment became the norm. Retailers, faced with rising expenses and strong demand, passed these costs onto consumers, resulting in the sharp 16% rise. While inflation has eased slightly since then, the cumulative effect means replacement costs today are far higher than most people realise.

Where we are at in 2025 isn’t quite as bad, but cumulatively that same settee would be close to £15,000 now after the past few years increases reducing to around 2.5%. However, there was a peak at the end of 2024 – so it is unknown where this could head.

The forgotten items are always the same pieces, from 2022 – to now. Whilst we all remember the £5,000 painting that we bought, the name of the gallery and we have probably tracked the increase in value of the artist – maybe in a little file of ‘important things’. What most of us have not done is looked at a similarly priced pair of curtains and thought about what they would cost to replace….to be fair it isn’t on a list of ‘exciting things to do at the weekend’ is it?

One of the major misconceptions that many clients still have is that they don’t need to have a valuation, because they last purchased anything new in 2003 and they would do things completely differently now if they had to redecorate…..however….whilst this may be true, it is in fact the exact reason why they need to have an up to date valuation completed.

In the years since the end of lockdown, so many new standard ways of living have emerged. For example, the first year encompassed the “I must not let go of my lockdown hobbies and ways” period, meaning that £2,000 bread maker was still being used weekly, as was the kiln for your newly found love of studio pottery, but most likely it was the newly built summer house where one of the family spent a significant amount of the year, usually with a very large television, and a bar. It’s actually quite frightening how common it is for these additional parts of the property to be excluded from the schedule and usually at best there is a small amount on the policy included for their general contents.

In addition, the shift to remote work has brought an increase in home office setups, which often involve high-end furniture, equipment, and technology. These items are frequently overlooked when it comes to valuations but can significantly affect the overall value of your contents. As more people continue to work from home, ensuring these assets are properly covered is essential.

There has of course been “Cluttercore” which, don’t laugh was an actual thing…..Walking into someone’s house where a single wall may have had 30 pictures all intricately squeezed in isn’t uncommon, and suddenly a grandmothers antique frog collection from the 1920s needs to go on display.

Whilst the future of TikTok has been in jeopardy of late, the one place where it has always been at the forefront is convincing people that they should paint their own furniture, stain their own curtains and generally create many houses full of unfinished projects – (don’t ask my wife about the outhouse full of chairs, it’s a work in progress) which in turn has created houses of ‘things’ which has been a big change to the ‘minimalist’ ways of living for the last decade or so, and personally I am a fan, I like to know that I can find a pasta pan without having to drive to the storage container.

One of the biggest things that I have seen a rise in is subscriptions. Whilst most people reading this will have enjoyed Netflix for a few years before 2020, what one couldn’t envisage was the template of subscriptions to be copied over into many more areas; books, food, plants, clothes and many more which of course have not been included in recent valuations or schedules.

One of the biggest areas that have changed is the “massive settee that you can fit nine people on” trend that seems to be occupying the country, before when a quiet farmhouse in Wiltshire was happy with the three red leather Chesterfields that had been there since the 1980s, it was clearly the right time to replace with a corner unit where a family could literally eat, sleep, and watch previously mentioned Netflix subscriptions.

Meanwhile, another often-overlooked asset class is memorabilia. With memorabilia auctions on the rise, the value of collectibles – from sports items to historical artifacts – has seen dramatic increases over the past 12 months. We’ve seen the auctions of Freddie Mercury, Vivienne Westwood, Mark Knopfler and Nigel Mansell, to name a few in the past 18 months. If you have any memorabilia, now is the time to review its current worth, as it may have appreciated substantially in a short time.

So hopefully a few of these examples might convince you that you or your clients are long overdue a valuation – we won’t judge, unless that corner unit has a built in fridge and drinks holders, that is.

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

Barry Humphries: A Life in Comedy, Art and Satire

Posted on February 19, 2025February 19, 2025 by Jonathan Horwich

Early Life and Education

John Barry Humphries was born on February 17 1934, in Melbourne, Australia. Raised in a comfortable suburban home, he developed a love for theatre, literature, and surreal humour from an early age. He was also a budding artist – as a young child his father would encourage him by drawing head studies and he would do the bodies. Then as a teenager he became a junior pupil in the life class at Melbourne’s George Bell painting school and he continued to paint throughout his life.

Career Beginnings and Move to London

Humphries first made a mark in the Melbourne theatre scene in the 1950s, performing in satirical revues. During this time, he created Dame Edna Everage, originally as a parody of an Australian suburban housewife. In 1959, he moved to London, where he became involved in the vibrant theatre and comedy world. He worked with comedy legends such as Peter Cook and Dudley Moore and became part of the satire boom that influenced British comedy for decades to follow.

Rise to Fame: The Evolution of Dame Edna

Barry’s best known and perhaps best loved character, Dame Edna Everage had transformed over the years from a meek Melbourne housewife in the 50s into an extravagant, purple-haired “megastar” known for her razor-sharp wit, oversized glasses, and love of gladioli. She hosted TV talk shows such as The Dame Edna Experience; and also live stage shows in London’s West End, such as Edna-The Spectacle where she humorously and often ruthlessly insulted members of the audience.

I was an audience member at one of these shows in the early 90s. Our seats were fairly near the front of the stalls, and as I was sitting in the aisle unwittingly I became a prime target for Dane Edna’s audience spotters, who picked me out to come up on stage along with a dozen other people. We were all lined up across the right hand side of the stage, standing rather awkwardly waiting for what was to come. I got off quite lightly, for women Dame Edna made a thorough search through their handbags looking for anything suitably embarrassing and for men it was down to their ‘pocket litter’ and wallets. Somehow I had managed to lose my wallet or at least misplace it in between leaving the car and arriving at the theatre so I just got a severe teasing for having done so…..

Other Iconic Characters

Humphries was a master of character comedy and created several other satirical figures, including:

Sir Les Patterson – A vulgar, drunken Australian politician who with his heavily food stained tie and suit lapels unashamedly mocked all and every cultural stereotype.
Sandy Stone – A melancholic elderly man reminiscing about a lost Australia.
Barry McKenzie – A beer-loving Australian expatriate, featured in comic strips and films.

Film, TV, and Literary Work

Humphries enjoyed success in various mediums:

Voiced Bruce the Shark in Finding Nemo (2003).
Appeared in The Hobbit: An Unexpected Journey (2012).
Wrote novels, memoirs (More Please, My Life as Me), and satirical essays.
Starred in numerous stage productions, including one-man shows combining comedy, improv, and audience interaction.

Later Life and Legacy

Despite announcing his retirement several times, Humphries continued performing well into his 80s. He received numerous honours, including a Commander of the Order of the British Empire (CBE) and an Officer of the Order of Australia (AO).

Barry Humphries was not only a brilliant comedian and satirist but also a passionate art collector. Over his lifetime, he built an impressive collection of paintings, drawings, and sculptures, particularly focusing on Australian modernist and surrealist art.

Humphries’ Love of Fine Art

Through his appreciation for modernist and avant-garde art in his youth, Barry was also influenced by movements such as Dadaism and Surrealism. Barry further developed an extraordinarily good ‘eye ‘ for Fine Art and objects. This innate ability later lead to an almost obsessive desire to acquire art and objects he lusted for.

Later during his time in London, Barry mingled with artists and intellectuals, which only deepened this already very strong interest in collecting.

I first came across Barry in the early 1980’s when I was a picture specialist at Christie’s in South Kensington. We held regular sales of Australian and decorative International Fine Art and objects and Barry was a regular attendee at many of these sales. I met him viewing in person at our auction previews on many occasions over the years. He cut a very striking figure in his broad brimmed black velvet hat, usually pulled down low over his eyes and an equally black stylish cape, this gave him an air of mystery always caused a buzz in the sale room. It was always exciting whenever a celebrity came to view one of our auctions , however Barry was different in that he was not only very knowledgeable, he was also very happy to spend time talking about what interested him and why and he was happy to share his knowledge … in his purchasing he showed all the classic hallmarks of the truly dedicated collector, I remember him declaring that he was constantly stretching his finances to buy the best and rarest pieces and then worrying about where the money was going to come from afterwards…..!

Artistic Influence on His Comedy

His love of surrealism and modernist art influenced his comedic style, seen in the absurdity of his characters and his sharp satire. His appreciation for visual aesthetics was also evident in the flamboyant costumes and theatricality of Dame Edna Everage.

Barry Humphries’ art collection is a true reflection of his intellectual curiosity, humour, and love for the avant-garde, making him not just a performer but also a serious connoisseur of fine art.

Barry died on April 22, 2023, at the age of 89, a significant number of works from his collection along with pieces from his work as an entertainer such as Dame Edna’s flamboyant glasses were included in the first of a series of auctions, this first auction took place in London on February 13th and is called ‘Barry Humphries, the personal collection’, unsurprisingly the printed catalogue has completely sold out, however it’s still possible to view the auction online and I have highlighted the results for a few pieces from this remarkable very personal collection, which includes numerous pairs of Dame Edna’s trademark glasses along with Fine objects, original paintings and prints by various artists, plus a number of fine original paintings by Barry himself!

Barry really was a man of many talents and interests and he leaves behind a much larger legacy as one of the greatest satirists and entertainers of his time. While his humour, characters, and sharp social commentary remain an enduring part of comedy history; his contribution as an avid, determined and hugely knowledgeable art collector adds significantly to his much more widely known legacy as an entertainer.

Post auction insurance values

A very recent auction such as this one has arguably established a market or auction value represented by the prices achieved, however they do not represent a value for insurance purposes, they are only the price achieved on the day and on another day at another time the price may well be quite different. Therefore, it is important to have any new purchases valued for insurance and added to your policy schedule as soon as possible and from then on, have them re-valued on a regular basis, ideally every four years also with the rest of your collection.
Looking at the results of the sale, I’d say there were two distinct groups of buyers. Generally, prices for the traditional art, sculpture, and paintings were closer to their estimates than those for the Dame Edna souvenirs, dresses, glasses, and so on.

Barry Humphries was, as I saw him, a very serious collector who made significant financial sacrifices to amass such a fine ‘private collection’, as the auction title suggests. Strong prices were achieved for the traditional art, sculpture, and paintings, which sold much closer to their estimates. The more ‘frivolous’ Dame Edna souvenirs, strictly speaking not collected by Barry but ‘acquired’ over the years, were less predictable.

The top lot of the sale, Sand Dunes by Charles Conder, sold for £239,400 against an estimate of £200K to £300K, so spot on. I imagine the buyers of dresses and glasses had little or no interest in this painting or any of the other serious artworks. Quite understandably, they just wanted to own something as a memory of a celebrity they loved and weren’t too concerned about what they should pay.

I don’t envy the person who had to estimate the value of Edna’s glasses or stage costumes. Perhaps the estimates were perfectly reasonable if people hadn’t loved Dame Edna so much. In hindsight, they might appear cautious, but I think they were fair to begin with. After that, it simply became a matter of passion and a hugely enjoyable bidding war to determine the winners.

By contrast, prices for the paintings were more predictable as there were comparable results from past auctions, many likely bought by Barry himself. On average, these works sold closer to their estimates, though some did exceed expectations. That happens even in single-owner sales of non-famous people’s collections, where prices almost always exceed expectations. I once worked it out and found that, on average, the final total for a single-owner sale was 2.4 times the pre-sale low estimate.

As they say in football, this was a game of two halves. Fans of Dame Edna were on one side and, on the other, serious collectors of late 19th- and 20th-century British illustrators, Australian artists, and admirers of Oscar Wilde and his followers. It made for a truly memorable auction and great entertainment. The final sale total was £4,627,224.

Barry would have loved it!

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

Unapologeticaly Iris – The Iris Apfel Collection Auction

Posted on February 19, 2025February 19, 2025 by Liz Bailey

Highly anticipated, Christie’s Sale of Iris Apfel’s collection took place as a timed auction from New York, running from 28th January until 13th February. The sale included 220 lots from the late ‘Matriarch of Maximialism’s’ personal collection across fashion, furnishings, textiles, accessories and of course, jewellery.

Known and celebrated for her bold and bright signature style, Apfel was a renowned interior designer, fashion icon, model, curator and collector. Her irreverent, eclectic and playful style was absolutely reflected in the incredible lots on offer.

Accessories

It seems fitting that the lot to ‘kick off’ this stylish sale was a selection of eighteen pairs of glasses. In bright hues, zebra prints and heart shapes, this striking mixed lot certainly set the tone for the rest of the sale. Estimated initially at $400-600, the bids were sitting at over ten times that amount a mere few days into the two-week timed sale, and one lucky bidder secured this lot for $15,120.

Another lot that was unsurprisingly popular was lot 48, ten pairs of eyewear. Only two days into the sale the bidding was at $3,500 against a modest $200-300 estimate, and bidding concluded at an incredible $16,380.

Another lot of Apfel’s accessories included a selection of evening bags. Including all the hallmarks of Apfel’s signature style to include embroidery, bold colours, feathers and embellishments, this popular lot sold for $10,080.

Furnishings

The daughter of an antique dealer and an expert on interiors (having decorated the White House for no less than nine Presidents!) bidders were offered a glimpse into Apfel’s extraordinary collection of interiors and decorative objects.

Animals were a huge feature in Apfel’s interiors collection, multiple paintings of Maltese dogs (a clear favourite), Black Forest bears, and even a giant carved ostrich were just a few of the animal lots on offer. The carved 1970s Italian ostrich stood 124cm high and had been featured in Apfel’s Architectural Digest issue of 2016, estimated at 6,000-8,000, this big bird sold for $16,380.

Vibrant prints, colours, and an eclectic mixture of items from Greek style all the way to the present day ensured the catalogue was a visual treat!

A personal favourite of mine was a pair of wonderful Italian armchairs. Modelled with a scallop shell back, dolphin armrests and raised on shell legs, these 20th century carved and silvered chairs exuded sheer opulence! Estimated at $2,000-3,000, these chairs reached $8,820. The back and seat in scallop-shell form, the arms modeled as dolphins raised on shell-form legs, the back legs on each example attached backwards. 40 in. (101.5 cm) high, overall.

Fashion

Hotly anticipated was Apfel’s selection of fashion and couture pieces. Taking up just under half of the sale, there were ninety-six lots from Iris’s collection, ranging from group lots of unattributed vintage clothing at the lower end of the offering, all the way to custom couture pieces Iris wore in printed publications. This wonderful mixture of high-low dressing was absolutely Apfel’s trademark and lent an accessibility to collectors of all levels.

Designer garments by Carolina Herrera, Balenciaga, Dries Van Noten, Moschino, Christian Dior, Alice & Olivia, Valentino, Prada, Jean Paul Gautier, Iris Apfel x H&M and countless other designers were offered with estimates from $100-200 to $1,200-1,800.

Lot 51: A MULTICOLOR FEATHER COAT
LABELED DIOR HAUTE COUTURE, PARIS, 21ST CENTURY

Amongst the top sellers was this fabulous Dior Haute Couture feather coat that Apfel had been photographed in by James Mollison for the Collectors series, featured in a 2018 Issue of Christie’s Magazine. This piece instantly attracted bids and reached $9,000 very early on in the timed sale, finally settling at $11,970 at the conclusion of the sale.

A heavily beaded and embroidered coat by Stacey Bendet for Alice & Olivia in 2022 was also fought for by bidders and reached $6,048 against a $400-600 estimate.

Another garment by this designer was an eye-catching A-line skirt detailed with Iris’ own embroidered and sequinned portrait sold for $7,560.

Jewellery

Another layer of Apfel’s iconic style was of course her jewellery. This sale featured sixteen lots of jewellery, all beautifully bold and eye-catching!

Group lots of brightly coloured lucite bangles, costume jewellery acquired from travels to Eastern Europe, the Middle East, China and the Hindu Kush region, beaded necklaces, rhinestone suites, and Southwestern American jewels were all a part of this spectacular offering of stylish jewellery.

The top-selling lot for the jewellery was this wonderful selection of turquoise, lucite and resin costume jewellery. Featuring an Alexis Bittar bangle, Jianhui London necklaces and bracelet, Rara Avis bracelets, blue hardstone studded lucite cuffs and bangle among others, this beautiful collection sold for $9,450 against an estimate of $300-500.

Pieces from Apfel’s own line of costume jewellery Rara Avis, originally sold through the Home Shopping Network were also amongst the lots on offer. Her playful lucite bangles set with googly eyes were trademark Iris and one of the most popular designs from Rara Avis at the time. These typically retail on the secondary market between $300-400, however with the added provenance, this lot of fifteen bangles (six by Rara Avis) sold for $6,300.

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

What makes Austrian emeralds so rare and unique?

Posted on February 14, 2025February 14, 2025 by Liz Bailey

A lot that stood out to me around the salerooms last week was this this pretty cluster ring. Sold at Woolley & Wallis and described as ‘An unusual emerald and diamond ring, late 19th century,’ this ring was set with a principal oval emerald cabochon and surrounded by cushion shaped diamonds.

Accompanied by a certificate from Gemmological Certification Services, the emerald’s origin was stated as Austrian, with indications of moderate clarity enhancement. The unusual factor, then, in this lot was the origin of the emerald! Usually at auction we can see Zambian (increasingly!) and the historically favoured Colombian emeralds. An emerald from an altogether different locale in Austria, was an unusual thing indeed!

The Austrian emerald deposit lies in the Habachtal Valley. Located in the Hohe Tauern National Park, and a favourite with hikers, this valley is known for its emerald deposits and rich mining history!

The first written reference to the Habachtal emeralds is in 1797, although in 1992, Roman jewels in the Treasure of Lyon-Vaise included emerald necklaces and earrings set with emeralds mined in the Habachtal Valley. These pieces are thought to have been buried for fear of Germanic raids and the coins allow its burial to be dated to after AD 258.

The first international appearance of Habachtal emeralds was in 1861 at the London World Industrial Exhibition. Mining operations by Samuel Goldschmidt began in the early 1860s, and he sold these crystals from his Viennese storefront. Following his death in the 1870s, the mines were ran by various English companies until around 1913 – purportedly selling the stones as ‘Indian emeralds’ “because the deposit was not known to most of the people in gem trade and would have sold for a much lower price.” (Laing Antiques).

The ring above dates to this later period of English owned mining in the Habachtal area and could well have been originally sold as an ‘Indian’ emerald. Identifying features for Habachtal emeralds are typically heavily included, with “highly-ordered graphite, and extremely water-rich melt inclusions.” (Rainer, 2020). Sold as Indian emeralds and typically assessed as lower quality owing to their multiple inclusions, examples of Habachtal emeralds are not frequently identified! Below is an example of a diamond and 2.10ct Austrian emerald ring currently retailing for €14,500.

Habachtal emeralds are still mined in the present day, although it much lower quantities than the late 19^th century. The yield is typically small scale and is reserved for collectors of specimens, much like the example below sold at Christies in 2023.

To arrange your own jewellery valuation, call us on 01883 722736 or email us on [email protected]